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Männer GF L-UPL Superfinal 2022/23
15.04.2023, stimo arena Kloten
SV Wiler-Ersigen
Bild: André Düsel - www.fotografie-duesel.ch
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Maker: Alfred Donne (1801-1878) & Leon Foucault (1819-1868)
Born: France
Active: France
Medium: wood engraving
Size: 3 1/2 in x 3 1/2 in
Location:
Object No. 2022.163f
Shelf: PER-1844-45
Publication: The Museum of Science and Art London: Walton and Maberly, 1855, Volume 6, edited by Dionysius Lardner., pg 97
Other Collections:
Notes: This volume contains four wood engravings copies from Donne's original publication Cours de Microscopie Complementaire des Etudes Medicales. Donné employed an engraver to copy the 86 micro-daguerreotypes taken by Léon Foucault, to be published in 1845 in an album (Donné and Foucault, 1845) to illustrate his "Cours de Microscopie". This is the earliest publication with illustrations copied from photographs of medical specimens. Sometimes it is incorrectly stated that illustrations are prints from the daguerreotype plates themselves, probably because Donné announced his intention of doing this. — Gernsheim, Alison, Medical Photography in the Nineteenth Century. London: British Medical Association, Medical and Biological Illustration Vol. XI. No. 2. April 1961; page 86. New Haven: Yale University Press; p. 99..
Alfred François Donné (13 September 1801 – 7 March 1878) was a bacteriologist and a French doctor, born in Noyon, France and died in Paris. Donné was the discoverer of Trichomonas vaginalis and leukemia. He was also the inventor of the photomicrography.
Léon Foucault (18 September 1819 – 11 February 1868), his student and laboratory assistant, is best known for his demonstration of the Foucault pendulum, a device demonstrating the effect of the Earth's rotation. He also made an early measurement of the speed of light, discovered eddy currents, and is credited with naming the gyroscope (although he did not invent it).
"This fictitious application of the photographic art, to the promotion of natural science, after some experimental essays, more or less successful, was first carried out, so as to be available for the practical purposes of science, by Dr. Donné assisted by M. Leon Foccult, in 1845. In the year Dr. Donné published an atlas to illustrate his course on microscopic anatomy and physiology, which had appeared in the previous year, consisting of twenty plates, on each of which were four microscopic engravings made from daguerreotype plates which had been produced in the manner above described. I avail myself gladly of the kind permission of the authors of this work, and of Mr. Bailliére, its publisher, to reproduce four of these engravings upon the scale on which they are given by the authors."
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Die beiden Herren liefen den halben Vormittag am Hafenbecken auf und ab, sie unterhielten sich angeregt und schauten dabei immer runter aufs Wasser.
The Indian Memorial at Neuve Chapelle commemorates over 4,700 Indian soldiers and labourers who lost their lives on the Western Front during the First World War and have no known graves. The location of the memorial was specially chosen as it was at Neuve Chapelle in March 1915 that the Indian Corps fought its first major action as a single unit. The memorial takes the form of a sanctuary enclosed within a circular wall after the manner of the enclosing railings of early Indian shrines. The column in the foreground of the enclosure stands almost 15 feet high and was inspired by the famous inscribed columns erected by the Emperor Ashkora throughout India in the 3rd century BC. The column is surmounted with a Lotus capital, the Imperial British Crown and the Star of India. Two tigers are carved on either side of the column guarding the temple of the dead. On the lower part of the column the words ‘God is One, He is the Victory’ are inscribed in English, with similar texts in Arabic, Hindi, and Gurmukhi.
The memorial was designed by the celebrated British architect, Sir Herbert Baker, and unveiled by the Earl of Birkenhead on 7 October 1927. Lord Birkenhead, then Secretary of State for India, had served as a staff officer with the Indian Corps during the war. The ceremony was also attended by the Maharaja of Karputhala, Marshal Ferdinand Foch, Rudyard Kipling, and a large contingent of Indian veterans.
The Indian Expeditionary Force on the Western Front
The British government declared war on Germany on 4 August 1914. Just four days later two infantry divisions and a cavalry brigade of the Indian Army were ordered to mobilise and prepare for overseas service. Units of the Indian Expeditionary Force began arriving in France in September and by late October they were involved in heavy fighting on the Messines Ridge in Belgium. It was at Messines on 31 October that Khudadad Khan performed the act of gallantry for which he was later awarded the Victoria Cross, becoming the first Indian born soldier to be so honoured. The Indian Corps, which was composed of the 3rd (Lahore) and 7th (Meerut) divisions, went on to fight in some of the bloodiest battles of the first year of the war. At Neuve Chapelle, from 10 – 13 March 1915, Indian soldiers made up half of the attacking force and despite suffering very heavy casualties succeeded in capturing important sections of the German line. The officers and men of the Corps further distinguished themselves at St. Julien in the Ypres Salient in April 1915, at Aubers Ridge and Festubert in May, and at Loos in September before being redeployed to the Middle East in December. The Indian Cavalry Corps remained on the Western Front until the spring of 1918 and Indian labour companies, which had begun arriving in France in 1917, performed vital and often dangerous logistical work behind the lines until after the Armistice.
Over the course of the war, India sent over 140,000 men to the Western Front – 90,000 serving in the infantry and cavalry and as many as 50,000 non-combatant labourers. They hailed from the length and breadth of British India: from the Punjab, Garwahl, the Frontiers, Bengal, Nepal, Madras, and Burma, and represented an extremely diverse range of religious, linguistic, and ethnic cultures. The officer corps was composed mostly of men of European descent. Of the combatants, over 8,550 were killed and as many as 50,000 more were wounded. Almost 5,000 of the dead have no known grave and are commemorated on the Menin Gate at Ieper and here at Neuve Chapelle.
In 1964 a Special Bronze Panel was added to this memorial with the names of 210 servicemen of undivided India who died during the 1914-1918 war, whose graves at Zehrensdorf Indian Cemetery, Germany, had become unmaintainable. Although this plaque still exists, the graves were reinstated in 2005.
This site also contains the Neuve-Chapelle 1939-1945 Cremation Memorial. In 1964 the remains of 8 Indian soldiers (including 2 unidentified) were exhumed from Sarrebourg French Military Cemetery Extension and cremated. The names of the 6 identified soldiers are engraved on panels at the Neuve Chapelle Memorial along with the following inscription:
1939 - 1945
IN HONOUR OF THESE SOLDIERS WHO DIED IN CAPTIVITY IN NORTH-WEST EUROPE AND WHOSE MORTAL REMAINS WERE COMMITTED TO FIRE.
* 39 members of the 1914-1918 Indian Forces commemorated here were cremated at Patcham Down, Sussex. In 2010, their point of commemoration was transferred back to Patcham Down when a new memorial was unveiled there.
Source: www.cwgc.org/find-a-cemetery/cemetery/144000/NEUVE-CHAPEL...
Provincial Criminal Court
Object ID: 57028, Conrad-von-Hötzendorf street 41, 43
Cadastral Community: Jakomini. The monumental three-storey building block with late historic-old German facades was built between 1890 and 1895.
Landesgericht für Strafsachen
Objekt ID: 57028, Conrad-von-Hötzendorf-Straße 41, 43
Katastralgemeinde: Jakomini. Der monumentale dreigeschoßige Baublock mit späthistoristisch-altdeutschen Fassaden wurde zwischen 1890 und 1895 errichtet.
During the National Socialist dictatorship from 1938 to 1945 was in this building the place of execution, in which women and men from Austria as well as from many other European countries were beheaded for their political beliefs, national origin or because of their faith. Honor to all of the Victims! The city of Graz in 1988. Austrian League for Human Rights
Während der Nationalsozialistischen Gewaltherrschaft von 1938 bis 1945 befand sich in diesem Gebäude jene Hinrichtungsstätte, in der Frauen und Männer aus Österreich wie aus vielen anderen Europäischen Ländern wegen ihrer politischen Überzeugung, nationalen Herkunft oder wegen ihres Glaubens enthauptet wurden. Ehre Allen Opfern! Die Stadt Graz 1988. Österreichische Liga für Menschenrechte
(further information you can see by clicking on the link at the end of page!)
History and judicial organization
The Revolution of 1848 marked also the Austria jurisdiction of that time in a substantial manner with manifestations that act to the present day. The with this associated judicial organization brought then - here particularly interesting - most of all four court levels or court types: District Courts, Higher Civil Courts (Landesgerichte), Higher Regional Courts (Oberlandesgerichte) and a Supreme Court. To those four kinds of courts, the procedures of first instance - differentiated by sum in dispute or seriousness of the offense - and the review of judicial decisions on appeal were distributed in a manageable manner. That in the course of this the (only) Supreme Court already at the time of the monarchy could be found in Vienna is understandable, that it remained there from 1918 until today (apart from the period of National Socialism) is known.
The next level below the Supreme Court was and is formed by the High Regional Courts. In 1855 there were in the whole Empire nineteen, today there are four in Austria, namely in Vienna, Linz, Innsbruck and Graz. They act primarily as appellate courts. Next come the so-called courts of first instance. This generic term was necessary because there were, besides the regional courts also district courts - partly later - special courts for commercial, youth, labor and social welfare cases or should be. Of all these existed at the time of the monarchy, of course, already a significant number, in the area of present-day Austria were originally seventeen, today there are twenty after the Juvenile Court in Vienna had been dissolved in 2003 (Federal Law Gazette 30/2003). The district of the Higher Regional Court of Graz accounts for the Regional Court for Civil Matters and the National Criminal Court in Graz, the Klagenfurt Regional Court and the Regional Court of Leoben. The lowest level eventually was formed by the district courts. "Lowest" in this context is of course no rating but merely an expression of the position in the structure of jurisdiction. In Styria there were initially 45 district courts, including the district of the Provincial Court of Leoben 22 (Reich Law Gazette 339/1849). Those were merged over time. District courts are now still in Schladming, Liezen, Murau, Judenburg, Mürzzuschlag, Bruck/Mur and Leoben. Aside from court consolidations, modifications of the district sizes, responsibility shifts caused by changes in the value limits and also renamings there were naturally in the past 160 years repeatedly also suggestions or ideas for actual substantive changes of this Court System. For example, there was talk of dissolving the Courts of First Instance and to distribute their agendas to the district courts. Or these courts should be strengthened and therefore waived of the Higher Regional Court. Nothing of it gained majority, the from the mid-19th Century stemming basic system remained established and is valid until today .
THE REGIONAL COURT LEOBEN
After creating the legal basis for the new judicial organization, it was now about to implement them. It arose the familiar question of "where" and "with whom". The decision for Leoben was already on 25th July in 1849 published (Reich Law Gazette 339/1849) and also the top management for Upper Styria was very soon decided. As of 28/12/1849 the previous "Council of the Styrian state law" Dr. Heinrich Perissutti was appointed President of the Provincial Court of Leoben. He took on 18 February 1850 in Graz his oath of office and actually was taking up activities on 4 April 1850. He moved - then granted - to Leoben, there is evidence that he had lived at Unteren Platz, house number 121 (today Timmerdorfer lane 2). The accommodation question for the court in Leoben also could be settled successfully in a short time. This should move into the former Dominican monastery (now Land Registry 60327, Leoben register number 103), a building that was owned by the city of Leoben and the judiciary has been left to everlasting time for its own purposes (Treaty of 11 August 1853). This had to be adapted but only for the new task and it did take some time but, that is to say early summer 1856.
The aforementioned modifications of the judicial organization were in the first years in Leoben area relatively noticeable. Firstly, the High Regional Courts of Graz and Klagenfurt were merged with headquarters in Graz (1852 enacted and 1854 implemented) and on the other hand it came to a "downgrating" as to the label of the Provincial Court Leoben to a "district court" (19 January 1853).
The First World War, the downfall of the monarchy, the First Republic and the Corporate State brought in Upper Styria as to judicial organization only one significant, lasting change. The district courts Aflenz, Mautern and Obdach were merged with neighboring courts (Federal Law Gazette 187/1923, 276/1923). With the seizure of power by the Nazis in 1938 but went down the country's independent judiciary. Justice solely "In the name of the German people" should be distributed and probably to some extend it had a different status than before. Pure terminologically, the county court became a Higher District Court, the district courts have mutated into local courts (Journal of Laws for the country Austria 350/1938). What changed further was the area of the district. The Ausseerland was separated from Styria and the Gau (administrative district) of "Upper Danube" and thus to the district of the Higher District Court in Wels assigned.
After the end of the Second World War it came to the restoration of the on 13 March 1938 existing judicial organization, Bad Aussee, therefore, returned to the district of the Court of Leoben (State Gazette 47/1945). There were other changes. The most significant over time was probably that the1946 set up labor courts, which had replaced the earlier commercial courts, together with the arbitration courts of the Social Insurance and the mediation courts on 1 January 1987 merged in the ordinary jurisdiction (Federal Law Gazette 104/1985).
As already indicated, the terminology of the Leoben Court of Justice was subject to alterations. Beginning of 1849 had been created among other things the "Higher District Court" Leoben. With Order of 19 January 1853 (Reich Law Gazette 10/1853) to "District Court" downgraded, the Nazis transformed the term from 13 August 1938 (Journal of Laws for the country of Austria 350/1938 ) into "Higher District Court". The Court Organization Act of 3 July 1945 (State Gazette 47/1945) re-established the "District Court", until on the first of March 1993 the time came that the most original denomination "Higher District Court" was again brought back to life (Federal Law Gazette 91/1993). Without that during the whole period of the responsibilities and tasks anything really notheworthy would have changed, the Court in Leoben got three different names in five time periods.
de.wikipedia.org/wiki/Liste_der_denkmalgesch%C3%BCtzten_O...
www.justiz.gv.at/web2013/html/default/2c94848540b9d489014...
Männer GF NLB Auf-/Abstiegs-Playoffs 2022/23
31.03.2023, Buchholz Uster
Jean-Luc Klöti (#91 UHC Uster), Joris Hänseler (#51 UHC Uster)
Bild: André Düsel - www.fotografie-duesel.ch
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Männer GF L-UPL Superfinal 2022/23
15.04.2023, stimo arena Kloten
Patrick Eder (#30 Floorball Köniz)
Bild: André Düsel - www.fotografie-duesel.ch
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Männer GF L-UPL Superfinal 2022/23
15.04.2023, stimo arena Kloten
Patrick Eder (#30 Floorball Köniz), Marco Louis (#94 SV Wiler-Ersigen)
Bild: André Düsel - www.fotografie-duesel.ch
Instagram: @ad_sportpictures Ι @fotografieduesel.ch
Männer GF L-UPL Superfinal 2022/23
15.04.2023, stimo arena Kloten
Yanick Flury (#1 SV Wiler-Ersigen)
Bild: André Düsel - www.fotografie-duesel.ch
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Stefan Eichberg, Till Schmidt, Rolf- Rudolf Lütgens, Guido Schikore, Johannes Bahr, Gabriel Kemmether, Angelika Hart
Yesterday was President's Day here in USA. The outfit I wore, while not patriotic was fun and I did sneak in a few photos.
Spotted this building on St James Road in Edgbaston called The Roundhouse. Have probably been past it before, but didn't really pay any attention to it.
The building is Grade II listed.
ST JAMES'S ROAD
1.
5104 Edgbaston B15
No 16 (The Round House)
SP 0585 NE 40/46
II 26.8.81
2.
A good example of a stucco cottage ornee combining the picturesque Italian
rustic manner with gothic-Tudor details. The central cornical roofed rotunda
was originally built as a freestanding folly circa 1810, in grounds that were
then part of No 29 George Road. The wings to the garden front and the wings
on the roadside were added circa 1830 on conversion to a separate dwelling.
Further addition of service wing on west side circa 1860-70 and some early
C20 alterations. The rotunda on 2 storeys, rising above the single storey
wings, has a conical graded slate roof with very deep overhang to eaves.
As originally built it was probably thatched. Crowning stucco chimney with
Victorian ornamental pots has attached dovecote gable to one side. The wings
have hipped slate roofs with flat eaves, the roofs over link sections wrapped
around the rotunda. The lean-to forebuilding with the entrance in the angle,
to right hand of road front, has been much altered this century. Random fenestration:
the tower retaining an assortment of pointed arch casements, one on first
floor very small; the wings have drip moulds over their casements and there
is an oval window in the left hand wing. On the garden front the 1830 wings
symmetrically flank the rotunda, terminating in slightly advanced bays containing
late C19 French windows. The hipped slate roofs, with overhanging eaves,
are gracefully swept around the rotunda over the link sections which have
2 light casements with drip moulds. On this front the rotunda has centrally
placed 2 light leaded casements, that on first floor original with pointed
arches to lights. The 2 storey late C19 service wing has exposed brickwork
to its west flank. Inside the house was considerably altered in the early
C20: door furniture, staircase etc, but the ground floor room of the rotunda,
facing the garden, a small mantlepiece with roundel corner blocks and cornice-shelf.
Listing NGR: SP0590885629
This text is a legacy record and has not been updated since the building was originally listed. Details of the building may have changed in the intervening time. You should not rely on this listing as an accurate description of the building.
Source: English Heritage
Listed building text is © Crown Copyright. Reproduced under licence.
Superfinal Männer Saison 2020/2021
Floorball Köniz - SV Wiler-Ersigen am Samstag 24. April 2021 in der Axa-Arena Winterthur
Bild: Michael Peter
Männer NLA Gruppe 1 Runde 13 2020/21 , Switzerland: 14.02.2021, Zuchwil, Sporthalle Sportzentrum Zuchwil, Marco Louis (Nr. 94, SV Wiler-Ersigen) bejubelt das 4:4
Credit: Claudio Schwarz, unihockey-fotos.ch
Instagram: @purzlbaum | @unihockeyfotos
Männer GF L-UPL Superfinal 2022/23
15.04.2023, stimo arena Kloten
Bestplayer Simon Jirebeck (#31 Floorball Köniz)
Bild: André Düsel - www.fotografie-duesel.ch
Instagram: @ad_sportpictures Ι @fotografieduesel.ch
Tumm Tumm is one of the many mushrooming places that deliver at home, food that is cooked in a homely manner. I ordered a few things from Tumm Tumm and was quite happy with what was delivered to us.
First of all I must say that the packaging of food was extremely good at Tumm Tumm. Many a times food delivery tends to be sloppy, but here it wasn’t the case. Even the quality of cutlery was quite good.
Onto the food - I got rotis, egg curry and kathal biryani - for lunch. The egg curry was truly like I’m having something out of my own kitchen. It tasted decent too. Maybe I would have like a smoother curry and the tomatoes to be cooked a bit longer. But these were smaller problems that can be managed and importantly did not take away from the taste of the food.
The kathal biryani was great (once I got over the shock that it wasn’t mutton biryani!). The rice was cooked beautifully and the kathal was cooked very well. The spices did reach the centre of the kathal pieces, yet it was moist.
Overall, the service did not take time to deliver and the food was good and cooked like at home - do it try it out now.
About Tumm Tumm
So the story goes 3 technology nerds got together because of their passion for food and realized that there is a big market for Home Made Fresh Cooked Food. They came up with the idea and decided to launch TummTumm, a platform for home chefs and small food business owners who want to show case their fingerlicious lip smacking food.
TummTumm is aiming to build the world’s largest platform of meals and dishes with the help of Home Chefs and small food operators who are passionate about cooking and want to develop a fan base for the food they make.
Tumm Tumm provides the following services to all the Home chefs and small food owners:
A technology platform for showcasing their delicacies and receiving orders.
An awesome delivery service for delivering their food to the customer.
Online Order Management System to manage their orders real time.
So, if you can't order from Tumm Tumm, how about cooking for them?
XOXO
Shivangi
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Zug United - Floorball Köniz
Playoff Viertelfinal 2. Spiel
Resultat 6 : 5 nach Verlängerung am 1. März 2020 in der Sporthalle der Kantonsschule Zug
Bild: Michael Peter
American postcard by Fotofolio, N.Y., N.Y., no. Z323. Photo: Annie Leibovitz. Caption: Clint Eastwood, Burbank, California, 1980.
American film actor and director Clint Eastwood (1930) rose to fame as the Man with No Name in Sergio Leone's classic Spaghetti Westerns Per un pugno di dollari/A Fistful of Dollars (1964), Per qualche dollaro in più/For a Few Dollars More (1965), and Il buono, il brutto, il cattivo/The Good, the Bad and the Ugly (1966). Later in the US, he played hard-edge police inspector Harry Callahan in the five Dirty Harry films, which elevated him to superstar status. Eastwood also directed and produced such award-winning masterpieces as Unforgiven (1992), Mystic River (2003) and Million Dollar Baby (2004).
Clinton ‘Clint’ Eastwood, Jr. was born in San Francisco, California in 1930. His parents were Clinton Eastwood, Sr., a steelworker and migrant worker, and Margaret Ruth (Runner) Eastwood, a factory worker. Clint has a younger sister, Jeanne. Because of his father's difficulty in finding steady work during the depression, Eastwood moved with his family from one Northern California town to another, attending some eight elementary schools in the process. Later he had odd jobs as a firefighter and lumberjack in Oregon, as well as a steelworker in Seattle. In 1951, Eastwood was drafted into the US Army, where he was a swimming instructor during the Korean War. He briefly attended Los Angeles City College but dropped out to pursue acting. Eastwood married Maggie Johnson in 1953, six months after they met on a blind date. However, their matrimony would not prove altogether smooth, with Eastwood believing that he had married too early. In 1954, the good-looking Eastwood with his towering height and slender frame got a contract at Universal. At first, he was criticized for his stiff manner, his squint, and hissing his lines through his teeth. His first acting role was an uncredited bit part as a laboratory assistant in the Sci-Fi horror film Revenge of the Creature (Jack Arnold, 1955). Over the next three years, he more bit parts in such films as Lady Godiva of Coventry (Arthur Lubin, 1955), Tarantula (Jack Arnold, 1955), and the war drama Away All Boats (Joseph Pevney, 1956) with George Nader and Lex Barker. His first bigger roles were in the B-Western Ambush at Cimarron Pass (Jodie Copelan, 1958), and the war film Lafayette Escadrille (William A. Wellman, 1958), starring Tab Hunter and Etchika Choureau. In 1959, he became a TV star as Rowdy Yates in the Western series Rawhide (1959–1966). Although Rawhide never won an Emmy, it was a rating success for several years. During a trial separation from Maggie Johnson, an affair with dancer Roxanne Tunis produced Eastwood’s first child, Kimber Tunis (1964). An intensely private person, Clint Eastwood was rarely featured in the tabloid press. However, he had more affairs, e.g. with actresses Catherine Deneuve, Inger Stevens and Jean Seberg. After a reconciliation, he had two children with Johnson: Kyle Eastwood (1968) and Alison Eastwood (1972), though he was not present at either birth. Johnson filed for legal separation in 1978, but the pair divorced in 1984.
In late 1963, Clint Eastwood's Rawhide co-star Eric Fleming rejected an offer to star in an Italian-made Western. Eastwood, who in turn saw the film as an opportunity to escape from his Rawhide image, signed the contract. The Western was called Per un pugno di dollari/A Fistful of Dollars (1964), to be directed in a remote region of Spain by the then relatively unknown Sergio Leone. A Fistful of Dollars, with Gian Maria Volonté and Marianne Koch, was a remake of Akira Kurosawa's Yojimbo (1961). Eastwood played a cynical gunfighter who comes to a small border town, torn apart by two feuding families. Hiring himself as a mercenary, the lone drifter plays one side against the other until nothing remains of either side. Eastwood developed a minimalist acting style creating the character's distinctive visual style. Although a non-smoker, Leone insisted Eastwood smoke cigars as an essential ingredient of the ‘mask’ he attempted to create for the loner character. Per un pugno di dollari/A Fistful of Dollars (Sergio Leone, 1964) was the first instalment of the Dollars trilogy. Later, United Artists, who distributed it in the US, coined another term: the Man With No Name trilogy. ‘The second part was Per qualche dollaro in più/For a Few Dollars More (Sergio Leone, 1965), a richer, more mythologized film that focused on two ruthless bounty hunters (Eastwood and Lee Van Cleef) who form a tenuous partnership to hunt down a wanted bandit (Gian Maria Volontè). Both films were a huge success in Italy. They both contain all of Leone's eventual trademarks: taciturn characters, precise framing, extreme close-ups, and the haunting music of Ennio Morricone. Eastwood also appeared in a segment of Dino De Laurentiis’ five-part anthology production Le Streghe/The Witches (Vittorio De Sica a.o., 1967). But his performance opposite De Laurentiis' wife Silvana Mangano did not please the critics. Eastwood then played in the third and best Dollars film, Il buono, il brutto, il cattivo/The Good, the Bad and the Ugly (Sergio Leone, 1966). Again he played the mysterious Man with No Name, wearing the same trademark poncho (reportedly without ever having washed it). Lee Van Cleef returned as a ruthless fortune seeker, with Eli Wallach portraying the cunning Mexican bandit Tuco Ramirez. Yuri German at AllMovie: “Immensely entertaining and beautifully shot in Techniscope by Tonino Delli Colli, the movie is a virtually definitive 'spaghetti western,' rivalled only by Leone's own Once Upon a Time in the West (1968).” The Dollars trilogy was not released in the United States until 1967, when A Fistful of Dollars opened in January, followed by For a Few Dollars More in May, and The Good, the Bad and the Ugly in December. Eastwood redubbed his dialogue for the American releases. All the films were commercially successful, particularly The Good, the Bad and the Ugly which turned Eastwood into a major film star. All three films received bad reviews and began a battle for Eastwood to win American film critics' respect. According to IMDb, Sergio Leone asked Eastwood, Wallach, and Van Cleef to appear again in C'era una volta il West/Once Upon A Time in the West (Sergio Leone, 1968), but declined when they heard that their characters were going to be killed off in the first five minutes.
Stardom brought more roles for Clint Eastwood. He signed to star in the American revisionist western Hang 'Em High (Ted Post, 1968), playing a man who takes up a Marshal's badge and seeks revenge as a lawman after being lynched by vigilantes and left for dead. Using money earned from the Dollars trilogy, accountant and Eastwood advisor Irving Leonard helped establish Eastwood's production company, Malpaso Productions, named after Malpaso Creek on Eastwood's property in Monterey County, California. Leonard arranged for Hang 'Em High to be a joint production with United Artists. Critics praised Hang 'Em High. In July 1968, it had an unprecedented opening weekend in United Artists' history. His following film was Coogan's Bluff (Don Siegel, 1968), about an Arizona deputy sheriff tracking a wanted psychopathic criminal (Don Stroud) through the streets of New York City. Don Siegel was a Universal contract director who later became Eastwood's close friend, forming a partnership that would last more than ten years and produce five films. Coogan’s Bluff was controversial for its portrayal of violence. Eastwood created the prototype for the macho cop of the Dirty Harry film series. Coogan's Bluff also became the first collaboration with Argentine composer Lalo Schifrin, who would later compose the jazzy score to several Eastwood films in the 1970s and 1980s, including the Dirty Harry films. Eastwood played the right-hand man of squad commander Richard Burton in the war epic Where Eagles Dare (Brian G. Hutton, 1968), about a World War II squad parachuting into a Gestapo stronghold in the alpine mountains. Eastwood then branched out to star in the only musical of his career, Paint Your Wagon (Joshua Logan, 1969). Then, Eastwood starred in the Western Two Mules for Sister Sara (Don Sigel, 1970), with Shirley MacLaine, and as one of a group of Americans who steal a fortune in gold from the Nazis, in the World War II film Kelly's Heroes (Brian G. Hutton, 1970)). Kelly's Heroes was Eastwood's last film, not produced by his own Malpaso Productions.
Clint Eastwood’s next film, The Beguiled (Don Siegel, 1970), was a tale of a wounded Union soldier, held captive by the sexually repressed matron of a southern girl's school. Upon release, the film received major recognition in France. In the US it was a box office flop. Eastwood's career reached a turning point with Dirty Harry (Don Siegel, 1971), The film centres around a hard-edged San Francisco police inspector named Harry Callahan who is determined to stop a psychotic killer by any means. Dirty Harry achieved huge success after its release in December 1971. It was Siegel's highest-grossing film and the start of a series featuring the character Harry Callahan. He next starred in the loner Western Joe Kidd (John Sturges, 1972). In 1973, Eastwood directed his first Western, High Plains Drifter, and starred alongside Verna Bloom. The revisionist film received a mixed reception but was a major box office success. Eastwood next turned his attention towards Breezy (Clint Eastwood, 1973), a film about love blossoming between a middle-aged man and a teenage girl. During casting, Eastwood met actress Sondra Locke, who would become an important figure in his life. He reprised his role as Detective Harry Callahan in Magnum Force (Ted Post, 1973). This sequel to Dirty Harry was about a group of rogue young officers (including David Soul and Robert Urich) in the San Francisco Police Force who systematically exterminate the city's worst criminals. Eastwood teamed up with Jeff Bridges in the buddy action caper Thunderbolt and Lightfoot (Michael Cimino, 1974). Eastwood's acting was noted by critics but was overshadowed by Bridges who was nominated for an Academy Award for Best Supporting Actor. His next film The Eiger Sanction (Clint Eastwood, 1975), based on Trevanian's spy novel, was a commercial and critical failure. His next film The Outlaw Josey Wales (Clint Eastwood, 1976) was widely acclaimed, with many critics and viewers seeing Eastwood's role as an iconic one that related to America's ancestral past and the destiny of the nation after the American Civil War. The third Dirty Harry film, The Enforcer (James Fargo, 1976) had Harry partnered with a new female officer (Tyne Daly) to face a San Francisco Bay terrorist organization. The film, culminating in a shootout on Alcatraz island, was a major commercial success grossing $100 million worldwide. In 1977, he directed and starred in The Gauntlet opposite Sondra Locke. Eastwood portrays a down-and-out cop who falls in love with a prostitute he is assigned to escort from Las Vegas to Phoenix, to testify against the mafia. In 1978 Eastwood starred with Locke and an orang-utan called Clyde in Every Which Way but Loose. Panned by critics, the film proved a surprise success and became the second-highest-grossing film in 1978. Eastwood then starred in the thriller Escape from Alcatraz (1979), the last of his films to be directed by Don Siegel. The film was a major success and began a critically acclaimed period for Eastwood. Eastwood's relationship with Sondra Locke had begun in 1975 during the production of The Outlaw Josey Wales. They lived together for almost fourteen years, during which Locke remained married (in name only) to her gay husband, Gordon Anderson. Eastwood befriended Locke's husband and purchased a house in Crescent Heights for Anderson and his male lover.
In 1980, Clint Eastwood’s nonstop success was broken by Bronco Billy, which he directed and in which he played the lead role. Critics liked the film, but it was a rare commercial disappointment in Eastwood's career. Later that year, he starred in Any Which Way You Can (Buddy Van Horn, 1980), which ranked among the top five highest-grossing films of the year. In 1982, Eastwood directed and starred in Honkytonk Man, as a struggling Western singer who, accompanied by his young nephew (played by real-life son Kyle) goes to Nashville, Tennessee. In the same year, Eastwood directed, produced, and starred in the Cold War-themed Firefox alongside Freddie Jones. Then, Eastwood directed and starred in the fourth Dirty Harry film, Sudden Impact (1983), the darkest and most violent of the series. ‘Go ahead, make my day’, uttered by Eastwood in the film, became one of cinema's immortal lines. Sudden Impact was the last film in which he starred with Locke. The film was the most commercially successful of the Dirty Harry films, earning $70 million and receiving very positive reviews. In the provocative thriller Tightrope (Richard Tuggle, 1984), Eastwood starred opposite Geneviève Bujold. His real-life daughter Alison, then eleven, also appeared in the film. It was another critical and commercial hit. Eastwood next starred in the period comedy City Heat (Richard Benjamin, 1984) alongside Burt Reynolds. Eastwood revisited the Western genre when he directed and starred in Pale Rider (Clint Eastwood, 1985), based on the classic Western Shane (George Stevens, 1953). It became one of Eastwood's most successful films to date and was hailed as one of the best films of 1985 and the best Western to appear for a considerable period. He co-starred with Marsha Mason in the military drama Heartbreak Ridge (Clint Eastwood, 1986), about the 1983 United States invasion of Grenada. Then followed the fifth and final film in the Dirty Harry series The Dead Pool (Buddy Van Horn, 1988), with Patricia Clarkson, Liam Neeson, and a young Jim Carrey. It is generally viewed as the weakest film of the series. Eastwood began working on smaller, more personal projects and experienced a lull in his career between 1988 and 1992. Always interested in jazz, he directed Bird (Clint Eastwood, 1988), a biopic starring Forest Whitaker as jazz musician Charlie ‘Bird’ Parker. Eastman himself is a prolific jazz pianist who occasionally shows up to play the piano at his Carmel, CA restaurant, The Hog's Breath Inn. He received two Golden Globes for Bird, but the film was a commercial failure. Jim Carrey would again appear with Eastwood in the poorly received comedy Pink Cadillac (Buddy Van Horn, 1989) alongside Bernadette Peters. In 1989, while his partner Sondra Locke was away directing the film Impulse (1990), Eastwood had the locks changed on their Bel-Air home and ordered her possessions to be boxed and put in storage. During the last three years of his cohabitation with Locke, Eastwood fathered two children in secrecy with flight attendant Jacelyn Reeves, Scott Reeves (1986), and Kathryn Reeves (1988). Eastwood finally presented both children to the public in 2002.
In 1990, Clint Eastwood began living with actress Frances Fisher, whom he had met on the set of Pink Cadillac in 1988. They had a daughter, Francesca Fisher-Eastwood (1993). Eastwood and Fisher ended their relationship in early 1995. Eastwood directed and starred in White Hunter Black Heart (1990), an adaptation of Peter Viertel's Roman à Clef, about John Huston and the making of the classic film The African Queen (1951). Later he directed and co-starred with Charlie Sheen in The Rookie (1990), a buddy cop action film. Eastwood revisited the Western genre in the self-directed film Unforgiven (1992), in which he played an ageing ex-gunfighter long past his prime. Unforgiven was a major commercial and critical success. The film was nominated for nine Academy Awards, and won four, including Best Picture and Best Director for Eastwood. Eastwood played Frank Horrigan in the Secret Service thriller In the Line of Fire (Wolfgang Petersen, 1993) co-starring John Malkovich. The film was among the top 10 box office performers that year, earning a reported $200 million. Later in 1993, Eastwood directed and co-starred with Kevin Costner in A Perfect World. At the 1994 Cannes Film Festival Eastwood received France's Ordre des Arts et des Lettres medal, and in 1995, he was awarded the Irving G. Thalberg Memorial Award at the 67th Academy Awards. Opposite Meryl Streep, he starred in the romantic picture The Bridges of Madison County (Clint Eastwood, 1995), another commercial and critical success. The film was nominated for a Golden Globe for Best Picture and won a César Award in France for Best Foreign Film. In early 1995, Eastwood began dating Dina Ruiz, a television news anchor 35 years his junior, whom he had first met when she interviewed him in 1993. They married in 1996. The couple has one daughter, Morgan Eastwood (1996). In 1997, Eastwood directed and starred in the political thriller Absolute Power, alongside Gene Hackman. Later in 1997, Eastwood directed Midnight in the Garden of Good and Evil, starring John Cusack, Kevin Spacey, and Jude Law. He directed and starred in True Crime (1999), as a journalist and recovering alcoholic, who has to cover the execution of murderer Frank Beechum (Isaiah Washington). In 2000, he directed and starred in Space Cowboys alongside Tommy Lee Jones as veteran ex-test pilots sent into space to repair an old Soviet satellite.
Clint Eastwood played an ex-FBI agent chasing a sadistic killer (Jeff Daniels) in the thriller Blood Work (2002). He directed and scored the crime drama Mystic River (2003), dealing with themes of murder, vigilantism, and sexual abuse. The film starred Sean Penn, Kevin Bacon, and Tim Robbins and won two Academy Awards – Best Actor for Penn and Best Supporting Actor for Robbins – with Eastwood garnering Best Director and Best Picture nominations. In the following year Eastwood found further critical and commercial success when he directed, produced, scored, and starred in the boxing drama Million Dollar Baby, (2004). He played a cantankerous trainer who forms a bond with a female boxer (Hilary Swank). The film won four Academy Awards for Best Picture, Best Director, Best Actress (Swank), and Best Supporting Actor (Morgan Freeman). At age 74 Eastwood became the oldest of eighteen directors to have directed two or more Best Picture winners. In 2006, he directed two films about World War II's Battle of Iwo Jima. The first, Flags of Our Fathers, focused on the men who raised the American flag on top of Mount Suribachi and featured the film debut of Eastwood's son Scott. This was followed by Letters from Iwo Jima, which dealt with the tactics of the Japanese soldiers on the island and the letters they wrote home to family members. Eastwood next directed Changeling (2008), based on a true story set in the late 1920s. Angelina Jolie stars as a woman reunited with her missing son only to realize he is an impostor. Eastwood ended a four-year self-imposed acting hiatus by appearing in Gran Torino (2008), which he also directed, produced, and partly scored with his son Kyle and Jamie Cullum. Gran Torino eventually grossed over $268 million in theatres worldwide, becoming the highest-grossing film of Eastwood's career so far. Eastwood's 30th directorial outing came with Invictus, a film based on the story of the South African team at the 1995 Rugby World Cup, with Morgan Freeman as Nelson Mandela. In 2010, Eastwood directed the drama Hereafter, with Matt Damon as a psychic, and in 2011, J. Edgar, a biopic of FBI director J. Edgar Hoover, with Leonardo DiCaprio in the title role. Eastwood starred in the baseball drama Trouble with the Curve (Robert Lorenz, 2012), as a veteran baseball scout who travels with his daughter for a final scouting trip. Director Lorenz worked with Eastwood as an assistant director on several films. Clint Eastwood is also politically active and served as the nonpartisan mayor of Carmel-by-the-Sea, California from 1986 to 1988. Shawn Dwyer at TCM: “Although a registered Republican since the early 1950s, Eastwood's politics, like the man himself, were that of a true iconoclast. Over the years he had voted for candidates from both parties and publicly denounced the wars in Vietnam and Iraq. And while he had initially wished President Barack Obama well during his first term in office, Eastwood, became a vocal booster for Republican candidate Mitt Romney in the 2012 election, dissatisfied with what he viewed as Obama's inability to govern.” But cinema is Eastwood’s major career. He has contributed to over 50 films as an actor, director, producer, and composer. According to the box office revenue tracking website, Box Office Mojo, films featuring Eastwood have grossed more than US $1.68 billion domestically, with an average of $37 million per film.
Sources: Shawn Dwyer (TCM), Yuri German (AllMovie), Bruce Eder (AllMovie), Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
Venedig - Gondeln
Castello
Castello is the largest of the six sestieri of Venice, Italy.
History
There had been, since at least the 8th-century, small settlements of the islands of San Pietro di Castello (for which the sestiere is named). This island was also called Isola d'Olivo
From the thirteenth century onward, the district grew around a naval dockyard on what was originally the Isole Gemini. The land in the district was dominated by the Arsenale of the Republic of Venice, then the largest naval complex in Europe. A Greek mercantile community numbering around 5,000 in the Renaissance and late Middle Ages was based in this district, with the Flanginian School and the Greek Orthodox Church of San Giorgio dei Greci being located here, of which the former comprises the Hellenic Institute of Byzantine and Post-Byzantine Studies in Venice and the latter is now the seat of the Greek Orthodox Archdiocese of Italy.
Other significant structures were by the monasteries in the north of the quarter.
Napoleon closed the Arsenal and planned what are now the Bienniale Gardens. More recently the island of Sant'Elena has been created, and more land drained at other extremities of Castello.
(Wikipedia)
The gondola (English: /ˈɡɒndələ/, Italian: [ˈɡondola]; Venetian: góndoła [ˈɡoŋdoɰa]) is a traditional, flat-bottomed Venetian rowing boat, well suited to the conditions of the Venetian lagoon. It is typically propelled by a gondolier, who uses a rowing oar, which is not fastened to the hull, in a sculling manner and also acts as the rudder. The uniqueness of the gondola includes its being asymmetrical along the length making the single-oar propulsion more efficient.
For centuries, the gondola was a major means of transportation and the most common watercraft within Venice. In modern times, the boats still do have a role in public transport in the city, serving as traghetti (small ferries) over the Grand Canal operated by two oarsmen.
Various types of gondola boats are also used in special regattas (rowing races) held amongst gondoliers. Their primary role today, however, is to carry tourists on rides at fixed rates. There are approximately 400 licensed gondoliers in Venice and a similar number of boats, down from the thousands that travelled the canals centuries ago. However, they are now elegantly crafted, instead of the various types of shabby homemade boats of the distant past.
History and usage
The gondola is propelled by a person (the gondolier) who stands on the stern facing the bow and rows with a forward stroke, followed by a compensating backward stroke. The oar rests in an elaborately carved wooden rest (forcola) shaped to project from the side of the craft so as to allow the slight drag of each return stroke to pull the bow back to its forward course. Because of the vessel's flat bottom it may also be "drifted" sideways when required. Contrary to popular belief, the gondola is never poled like a punt as the waters of Venice are too deep. Until the early 20th century, as many photographs attest, gondolas were often fitted with a "felze", a small cabin, to protect the passengers from the weather or from onlookers. Its windows could be closed with louvered shutters—the original "Venetian blinds".
After the elimination of the traditional felze—possibly in response to tourists' complaining that it blocked the view—there survived for some decades a kind of vestigial summer awning, known as the "tendalin" (these can be seen on gondolas as late as the mid-1950s, in the film Summertime (1955)). While in previous centuries gondolas could be many different colors, a sumptuary law of Venice required that gondolas should be painted black, and they are customarily so painted now.
The gondola has existed in Venice since the 11th century, being first mentioned by name in 1094. It is estimated that there were eight to ten thousand gondolas during the 17th and 18th century, but there are only around four hundred in active service today, with virtually all of them used for hire by tourists. Those few that are in private ownership are either hired out to Venetians for weddings or used for racing. Even though the gondola, by now, has become a widely publicized icon of Venice, in the times of the Republic of Venice it was by far not the only means of transportation; on the map of Venice created by Jacopo de' Barbari in 1500, only a fraction of the boats are gondolas, the majority of boats are batellas, caorlinas, galleys, and other boats. Now, only a handful of batellas survive, and caorlinas are used for racing only.
The historical gondola was quite different from its modern evolution; the paintings of Canaletto and others show a much lower prow, a higher "ferro", and usually two rowers. The banana-shaped modern gondola was developed only in the 19th century by the boat-builder Tramontin, whose heirs still run the Tramontin boatyard. The construction of the gondola continued to evolve until the mid-20th century, when the city government prohibited any further modifications.
In the 1500s an estimated 10,000 gondolas of all types were in Venice; in 1878 an estimated 4000 and now approximately 400.
The origin of the word "gondola" has never been satisfactorily established, despite many theories.
Current design
Today's gondola is up to 11 m long and 1.6 m wide, with a mass of 350 kg. They are made of 280 hand-made pieces using eight types of wood (lime, oak, mahogany, walnut, cherry, fir, larch and elm). The process takes about two months; in 2013, the cost of a gondola was about 38,000 euros. The oar or rèmo is held in an oarlock known as a fórcola. The forcola is of a complicated shape, allowing several positions of the oar for slow forward rowing, powerful forward rowing, turning, slowing down, rowing backwards, and stopping. The ornament on the front of the boat is called the fèrro (meaning iron) and can be made from brass, stainless steel, or aluminium. It serves as decoration and as counterweight for the gondolier standing near the stern.
Black-and-white photo on a gray day. In the foreground, four long, narrow boats float side-by-side, left to right, each loosely moored to one of the four tall poles standing in the water (two to each side). Some 30 meters away, in the background, a further row of 15 or 16 gondolas can be seen similarly moored near a railed walkway on the far side.
Every detail of the gondola has its own symbolism. The iron prow-head of the gondola, called "fero da prorà" or "dolfin", is needed to balance the weight of the gondolier at the stern and has an "Ƨ" shape symbolic of the twists in the Canal Grande. Under the main blade there is a kind of comb with six teeth or prongs ("rebbi") pointing forward standing for the six districts or "sestieri" of Venice. A kind of tooth juts out backwards toward the centre of the gondola symbolises the island of Giudecca. The curved top signifies the Doge's cap. The semi-circular break between the curved top and the six teeth is said to represent the Rialto Bridge. Sometimes three friezes can be seen in-between the six prongs, indicating the three main islands of the city: Murano, Burano and Torcello. This symbolism is likely influenced by the need to explain the shape to tourists, rather than the shape being influenced by those symbols, as they are not mentioned in any writings about the gondola prior to the current evolution of the shape of the Fero.
The gondola is also one of the vessels typically used in both ceremonial and competitive regattas, rowing races held amongst gondoliers using the technique of Voga alla Veneta.
Gondolieri
During their heyday as a means of public transports, teams of four men would share ownership of a gondola – three oarsmen (gondoliers) and a fourth person, primarily shore-based and responsible for the booking and administration of the gondola (Il Rosso Riserva).
However, as the gondolas became more of a tourist attraction than a mode of public transport all but one of these cooperatives and their offices have closed. The category is now protected by the Institution for the Protection and Conservation of Gondolas and Gondoliers, headquartered in the historical center of Venice.
The profession of gondolier is controlled by a guild, which issues a limited number of licenses (approximately 400), granted after periods of training (400 hours over six months) and apprenticeship, and a major comprehensive exam which tests knowledge of Venetian history and landmarks, foreign language skills, and practical skills in handling the gondola. Such skills are necessary in the tight spaces of Venetian canals. Gondoliers dress in a blue or red striped top, red neckerchief, wide-brimmed straw hat and dark pants. A gondolier can earn the equivalent of up to US$150,000 per year.
In August 2010, Giorgia Boscolo became Venice's first fully licensed female gondolier.
Alex Hai had begun work in gondolas earlier than Boscolo, in 2007, as Alexandra, but not with a full license because of failures to pass various tests. In June 2017, Hai came out as transgender and said that he had been working "in the body of a woman". Hai is the first openly transgender person to be a gondola operator in Venice. He continues to work as a private gondola operator for hotels and individual clients in a self-run business, Alex Hai Gondola Tours.
Outside of Venice
There are about a half dozen cities in the United States where gondolas are operated as tourist attractions, including New Orleans, the Charles River in Boston, Stillwater (Minnesota), New York's Central Park, and the Providence River in Rhode Island, as well as several in California. The annual U.S. Gondola Nationals competitions have been held since 2011, and feature American Gondoliers competing in sprints and slalom races,
References in literature and history
Gondola Races on the Grand Canal of Venice, by Grigory Gagarin (1830s) "Gondolinos, a slimmer and light-weight version of the gondola, were built for racing and elegant outings.
Mark Twain visited Venice in the summer of 1867. He dedicated much of The Innocents Abroad, chapter 23, to describing the curiosity of urban life with gondolas and gondoliers.
The first act of Gilbert and Sullivan's two-act comic operetta The Gondoliers is set in Venice, and its two protagonists (as well as its men's chorus) are of the eponymous profession, even though the political irony that makes up the core of the piece has much more to do with British society than with Venice.
(Wikipedia)
Castello ist der größte der sechs Stadtteile (Sestiere) der italienischen Lagunenstadt Venedig. Er liegt im nordöstlichen Teil der Stadt und reicht fast bis zum Markusplatz. Auch die Friedhofsinsel San Michele knapp 420 Meter nördlich sowie die auch mit Brücken verbundenen Inseln San Pietro di Castello und Sant’Elena unmittelbar (40 bzw. 12 Meter) östlich gehören zum Stadtteil. Der Name Castello leitet sich ab von der antiken, befestigten Residenz des Bischofs von Olivolo, die sich auf der gleichnamigen Insel befand. Heute erinnert auf der Insel, die jetzt San Pietro di Castello heißt, nur mehr das Fondamenta di Castel Olivolo an den alten Sitz der venezianischen Bischöfe.
Geprägt wird der Stadtteil durch das 32 Hektar große Arsenal (Werft und Waffenlager) und die ehemaligen Wohnanlagen für die Arsenalarbeiter.
Das Sestiere hat eine Fläche von 186 Hektar und hatte 2006 ungefähr 18.000 Einwohner, die sich auf die Pfarreien San Zaccaria (mit der Kirche Basilica di San Giorgio Maggiore), Santa Maria Formosa (mit den Kirchen San Lio und La Fava), San Zanipolo (mit San Lazzaro dei mendicanti im Ospedale civile), Santa Elena (auf der gleichnamigen Insel), San Piero Apostolo, San Giuseppe di Castello, San Francesco di Paola, San Martino Vescovo (mit Ca’ di Dio und San Biagio, Ordinariato militare), San Francesco della Vigna (mit Suore Francescane di Cristo Re und San Giovanni Battista di Malta), San Giovanni in Bragora (mit Pietà und Casa di riposo San Lorenzo), verteilen.
In Castello befand sich seit 1091 der Sitz des römisch-katholischen Patriarchen von Venedig. Bischofskirche war San Pietro di Castello. Erst nach dem Ende der Republik wurde die Basilika San Marco, die ehemalige Palastkapelle der Dogen, Sitz des Bischofs von Venedig. Aus dem alten Patriarchenpalast in Castello wurde eine Kaserne, heute ist er wie auch andere Paläste Venedigs, in einem pflegebedürftigen Zustand. Das Sestiere hatte im Jahr 1171 zwölf Contraden (Kirchengemeinden). 1586 war die Zahl auf 13 gestiegen.
Die im Osten von Castello liegenden Parkanlagen wurden 1810 während der französischen Herrschaft über Venedig angelegt, nachdem mehrere Kirchen und profane Bauten abgerissen worden waren. In der Parkanlage befinden sich Pavillons verschiedener Nationen, in denen während der Biennale Ausstellungen ausgerichtet werden. Entworfen wurden die Pavillons von Architekten, wie Scarpa, Stirling, Aalto. Sie bilden daher selbst ein kleines Museum zeitgenössischer Architektur.
Zu den bedeutenden Sehenswürdigkeiten Castellos zählen neben dem Arsenal, die Kirchen San Piero, San Francesco della Vigna, San Giovanni in Bragora, San Zaccaria, ehemals eines der reichsten und bedeutendsten Nonnenklöster der Stadt, sowie die bevorzugte Grablege der Dogen, die Dominikanerkirche Santi Giovanni e Paolo mit der benachbarten Scuola Grande di San Marco und dem Reiterdenkmal des Condottiere Bartolomeo Colleoni. Eine weitere, wegen ihrer Bilder berühmte Scuola in Castello ist die Scuola di San Giorgio degli Schiavoni mit den Fresken Vittore Carpaccios.
(Wikipedia)
Eine Gondel (ital. Gondola) ist ein venezianischer Bootstyp, der wahrscheinlich erstmals im 11. Jahrhundert aufkam. Es handelt sich um ein schmales Boot von bis zu 11 m Länge und 1,5 m Breite mit weit aufgebogenen Enden. Unter der traditionellen, heute aber aus der Mode geratenen, mittschiffs angeordneten Überdachung (felze) befinden sich Sitzplätze für zwei bis sechs Personen.
Geschichte
Das Wort gondola bezeichnete vor tausend Jahren alle flachen, kiellosen Boote, wie sie schon von den Römern für Fahrten auf seichten Flüssen gebaut worden waren. Aus dem späten 11. Jahrhundert ist ein Dokument erhalten, nämlich das von dem Dogen Vitale Falier ausgestellte Privilegium Laureti vom 4. Oktober 1094, das die Bewohner von Loreo vom Zwang, an den Dogen von Venedig ein gondulam zu liefern, befreit. Es ist unbekannt, ob diese Worte einen speziellen Bootstyp oder nur allgemein ein Boot bezeichnen und wie diese Boote aussahen. In jedem Falle war damit eine wiederkehrende Abgabe gemeint, die eine Reihe von Gemeinden zu leisten hatte. Die Boote wurden als gondole ornate bezeichnet, worin der „Schmuck“ bestand, ist unklar. Es handelt sich um die erste Erwähnung dieses Schiffstyps.
Vom 12. bis zum 14. Jahrhundert gab es einen Bootstyp, der scaula oder scola genannt wurde, ein flaches, langgestrecktes Boot, das seinen Namen nach der Seezunge (solea, sogliola) erhalten haben soll. Vielleicht ist daraus im Laufe der Zeit gondola geworden. Ableitungen von griech./lat. cymbae/cimbula „kleines Boot, Nachen“ oder von griech. kondu oder concula „Tasse“, von kondylion „Kasten“, von kontos „kurz“ und helas „Schiff“ oder von kuntò „treiben, rudern, schieben“ sind umstritten. 1292 ist erstmals in einer Urkunde die Bezeichnung für den anderen bedeutenden venezianischen Bootstyp sàndolo überliefert. Die älteste Baubeschreibung einer Gondel ist erst mit dem Buch Über die Kunst, Boote zu bauen, von Teodoro de Nicoló aus dem 14. Jahrhundert überliefert. Die Bauformen waren aber nicht völlig einheitlich und änderten sich im Verlaufe der Jahrhunderte. Ursprünglich gab es Gondeln in allen möglichen Farben und die damaligen venezianischen Adels- und Patrizierhäuser suchten sich gegenseitig in der prachtvollen Ausstattung der Boote zu überbieten. Um der ungezügelten Prunksucht Einhalt zu gebieten, erließ während der Regierungszeit Gerolamo Priulis der Senat von Venedig 1562 das auch von der Kirche unterstützte Aufwandgesetz, welches eine einheitliche schwarze Ausstattung für alle Gondeln – außer die der ausländischen Gesandten und auch zu Festen gab es Ausnahmen – vorschrieb. Im 16. Jahrhundert zählte man mehr als 10.000 Gondeln in der Stadt.
Die moderne Gondel, wie sie heute noch gebräuchlich ist, gibt es erst seit Ende des 19. Jahrhunderts: Ein schmales Boot von 10,83 bis 11,10 Meter Länge, 1,38 bis 1,42 Meter Breite, einem Freibord (altessa) von 50 bis 55 Zentimetern und mit weit aufgebogenen Enden. Diese Konstruktion wurde 1882 bis 1884 vom Bootsbauer Domenico Tramontin entwickelt. Er kürzte das Boot auf der (rechten) Steuerbordseite um etwa 24 cm, gab ihm so eine Krümmung, so dass es leichter von einer hinten links stehenden, rechts rudernden Person gerudert werden kann. Zuvor wurden Gondeln üblicherweise von zwei Gondolieri gerudert. Bildliche Darstellungen beweisen aber, dass geschickte Ruderer auch schon früher allein fuhren. Ob es schon vor der Tramontin-Gondel leicht gebogene Konstruktionen gegeben hat, ist unter Experten umstritten. Eine Gondel von Domenico Tramontin – die älteste noch vollständig erhaltene und wegen ihres Alters nicht mehr schwimmfähige Gondel – aus dem Jahr 1890 steht im Palazzo Barbaro am Canal Grande/Rio della Fornace auf Dorsoduro nahe dem Traghetto S.Maria del Giglio – S.Gregorio.
Fahrtechnik
Die moderne Gondola wird von einem auf dem Heckschnabel (poppa) (links hinten) stehenden Gondoliere mit nur einem Riemen (remo) vorwärts bewegt. Der mehrere Meter lange Riemen liegt in einer besonderen Vorrichtung, der Gabel (forcola), die in eine rechteckige Öffnung im Bootskörper auf der Steuerbordseite (trincarino) gesteckt wird. Zum Ausgleich des einseitigen Vortriebs ist der Bootskörper entlang der Mittelachse asymmetrisch gebaut; die linke Seite (Backbord) ist stärker gewölbt als die rechte Steuerbordseite, sodass seine Kontur auf der Steuerbordseite etwa 0,25 m kürzer ist als an der Backbordseite. Die Technik des Vortriebs der Gondel ähnelt jener des Wriggens mit dem Unterschied, dass beim Wriggen der Riemen achteraus gerichtet ist, wohingegen der Riemen der Gondel seitlich schräg ins Wasser getaucht wird.
Aufbau
Eine Gondel besteht aus neun verschiedenen Hölzern, die nach Gewicht, Alter und Trockenheit ausgelesen sind und bestimmten Aufgaben dienen. Eichenholz verwendet man für die beiden oberen Planken und für die Rippen am Leib der Gondel, Kiefer für den Boden und das Vordeck, Lärche für die Seiten und das Hinterdeck, Nussbaum für den Sitz und die vordere Bank, Kirsche für die hintere Bank und für die schiefe Plattform. Ulme und Tanne werden für die Innenbretter, Linde für die Verzierung des Bugs, Ramin verwendet man für die Riemenstange und die Fläche des Riemens ist aus Buchenholz. Die Riemengabel, Forcola genannt, besteht aus Nussbaumholz. Der Rumpf einer Gondel setzt sich aus 280 Teilen zusammen. Der Bau einer Gondel benötigt etwa fünfhundert Stunden. Eine mittlere Gondel kostet durchschnittlich 25.000 Euro. Im Jahre 2017 kostete eine 30-minütige Gondelfahrt ohne Gesang durchschnittlich tagsüber 80 €, abends ab 19:00 Uhr 35 Minuten 100 €.
2005 befanden sich vier Gondelwerften in Venedig, eine im Sestiere Dorsoduro bei San Trovaso, Tramontin am Rio Ognissanti und Crea im Centro Nautico auf der Giudecca und Roberto dei Rossi, ebenfalls auf der Giudecca, hinter dem Redentore. Die forcole werden in kleinen Spezialwerkstätten gefertigt, eine in der Calle Corta Rotta, bei S. Zaccaria, die andere nahe dem Guggenheim Museum von Saverio Pastor.
Inzwischen gehen immer mehr Werften dazu über, die Gondeln vermehrt aus Sperrholz zu bauen, da es preiswerter, haltbarer und leichter ist.
Bugbeschlag
Ursprünglich nur als Gegengewicht zum Gondoliere, heute auch als Schmuck und Symbol für die Stadt Venedig trägt der Bug des leichten Fahrzeuges am oberen Ende einen etwa 22 kg schweren Metallbeschlag (Metallschweif), den ferro di prua, der oben in einer Art Horn in der Form der Fischermütze endet, welche die Dogen in ihrer Staatstracht als Kopfbedeckung trugen. Darunter springen sechs Zacken hervor. Diese symbolisieren, so eine heute übliche Deutung, wiederum die sechs Sestieri (Stadtteile) von Venedig: San Marco, Dorsoduro, San Polo, Cannaregio, Castello und Santa Croce. Der nach hinten gerichtete Zacken soll für die Giudecca stehen.
Nummerntafel
Nachdem 2013 bei einem Bootszusammenstoß ein deutscher Tourist ums Leben kam, wurde mit 1. Dezember 2014 die Pflicht zu Führung von Tafeln mit einer weißen Nummer auf schwarzem Grund und von Retroreflektoren eingeführt. Die Gondolieri wurden jedoch von der Verpflichtung, einen GPS-Logger zu betreiben, ausgenommen.
Verschiedene Typen von venezianischen Booten
Sanpierota – Ein Mehrzweckboot, geeignet zum Segeln, zum Rudern und meistens sichtbar mit einem Außenborder versehen.
Ballotina – Gondelähnliches Boot mit anderem Bugbeschlag, früheres Polizeiboot.
Desdotona – Von 18 Mann/Frauen gerudertes Boot, mit dem die Umzüge auf dem Wasser eröffnet werden.
Caorlina – Beliebtes Regattaboot für sechs Ruderer, aus dem Caorle stammend.
Gondolino – Eigens für die Regatten entworfene kleine Gondel, sehr schnell, für zwei Ruderer.
Mascerata da regata – Beliebtes Boot der Frauenregatten. Typischer schmaler Rumpf.
Sandolo s'ciopon – Mit acht Metern Länge das kleinste Boot der Lagune, in früheren Zeiten zum Entenjagen gebaut.
Sandolo Buranello – Älter als die Gondel, eine Fahrt wird aber günstiger angeboten, da keine Ente (Berufsvereinigung) existiert.
Sandolo puparin – Mit neun bis zehn Metern Länge das größte Sandolo und wie die Gondel asymmetrisch gebaut.
(Wikipedia)
Ein Gondoliere (Plural: Gondolieri) ist der Führer einer venezianischen Gondel.
Fahren der Gondola
Der Gondoliere steht am Heckschnabel der Gondola und bewegt diese mit einem einzigen, steuerbordseitigen Ruder, dem Remo. Dieses ist in einer Holzgabel, der Forcula, gelagert. Darüber hinaus verwendet er zum Manövrieren Hausmauern und andere, entgegenkommende Boote, von denen er sich mit dem Bein abstößt. So ist der Gondoliere nicht nur in der Lage, die Gondola sowohl vorwärts als auch rückwärts zu bewegen – um einige sehr niedrige Brücken über die venezianischen Kanäle zu passieren, nutzt der Gondoliere zusätzlich das Mittel der Gewichtsverlagerung, um die Gondel auf Schlagseite zu legen.
Rahmenbedingungen
Bis ins 19. Jahrhundert hatten Haushalte in Venedig eigene Gondeln mit Gondolieri, die zum Dienstpersonal gehörten. Es gab aber auch immer Gondolieri, die Eigner oder Miteigner der Gondola waren. Mit dem zunehmenden Massentourismus seit Mitte des 19. Jahrhunderts, der wesentlich durch die Erfindung der Eisenbahn bewirkt wurde, kommerzialisierte sich auch der Gondeldienst, der wachsende Einnahmen bringt, die aber auch ausfielen, wenn der Tourismus einbrach (Erster und Zweiter Weltkrieg, Wirtschaftskrisen). Es gibt Gerüchte, dass die Einnahmen einer Gondola in der Saison (von April bis Oktober) bei ca. 500 € am Tag, also 15.000 € im Monat lägen. Wirklich belegt ist das nicht.
Am 12. Juli 1868 war eine Gesellschaft der Gondolieri, die Società di Muto Soccorso, gegründet worden, die 1883 zur Cooperativa Vittorio Fasan wurde und ab 1943 nach Daniele Manin benannt war. 1997 wurde sie zu einer Genossenschaft umgestaltet. Der Betrieb der Gondeln ist inzwischen in Venedig durch genaue Vorgaben und Lizenzierung reglementiert. Die Lizenzen sind in der Anzahl limitiert und sehr begehrt. Eine Lizenz könne man nur erlangen, wenn ein Gondoliere in den Ruhestand geht oder seine Lizenz abgibt. Früher seien die Lizenzen nur vererbt worden, wird behauptet. Tatsache ist, dass eine staatliche Prüfung als Voraussetzung zur Erteilung einer Lizenz als kommerzieller Gondelführer erst im Jahre 2006 eingeführt wurde. Für die Führung einer Privatgondel (z. B. hoteleigene) bedarf es, wie für die Führung aller Boote in Venedig, insofern sie nicht geschäftlich genutzt werden, keiner Lizenz.
Gondoliera
2010 brach erstmals eine Frau in die traditionelle Männerdomäne ein: Giorgia Boscolo, Tochter eines Gondoliere, die sich nach bestandener Prüfung offiziell als Gondoliera in die Männerriege einreihen durfte. Ihre deutsch-amerikanische Kollegin Alexandra Hai, die zuvor schon in einigen Medien fälschlich als erste Gondoliera bezeichnet worden war, bestand die Prüfung trotz mehrerer Anläufe nie, weshalb sie – nicht in offizieller Mission – auch nur die Gäste einer kleinen Hotelkette befördern konnte. 2017 wurde bekannt, dass sie sich einer Geschlechtsangleichung unterzogen hatte: Aus Alexandra wurde Alex, ein Mann.
Die einzige deutsche Gondoliera ist Ina Mierig, die ihre Gondel auf den Kanälen Hamburgs fährt.
(Wikipedia)
Männer GF L-UPL Superfinal 2022/23
15.04.2023, stimo arena Kloten
Stefan Hutzli (#23 Floorball Köniz), Yannis Wyss (#16 SV Wiler-Ersigen)
Bild: André Düsel - www.fotografie-duesel.ch
Instagram: @ad_sportpictures Ι @fotografieduesel.ch
Männer GF L-UPL Superfinal 2022/23
15.04.2023, stimo arena Kloten
Bild: André Düsel - www.fotografie-duesel.ch
Instagram: @ad_sportpictures Ι @fotografieduesel.ch