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Mother of God Church (Mutter Gottes Kirche)
The German Catholics of Covington attended St. Mary Parish on 5th Street from the time of its founding. However, as their numbers increased, the need for a separate parish began apparent. In 1841, the Reverend Ferdinand Kuhr, a native of Eslohe, Prussia, was appointed to organize the Covington Germans into a new congregation. A temporary chapel was set up in a building on Scott Street in 1841.
Mother of God was the second Catholic parish to be established in Northern Kentucky. In the spring of 1842, the congregation purchased a lot at the southwest corner of 6th and Washington. On this lot, a new church was constructed. Bishop Guy Chabrat of Louisville laid the cornerstone on April 14, 1842. The sacristy of the new church also served as a classroom for the parish school.
The German population rapidly increased throughout the pre-Civil War era in Covington. A number of new daughter parishes were formed from the territory of Mother of God to meet these needs of these newcomers. These new parishes included: St. John in the Lewisburg Neighborhood (1854), St. Joseph in the Helentown Neighborhood (1855), St. Aloysius in the Westside Neighborhood (1865), and St. Augustine in Central Covington (1870).
Despite the development of new German parishes in the city, Mother of God congregation continued to flourish. In 1870, Father Kuhr and the parishioners began planning for the construction of a new Mother of God Church. The old church building was demolished and ground was broken for the new Italian Renaissance Revival structure. The cornerstone of the new church was set in place on July 3, 1870 and the building was dedicated on September 10, 1871. The new Mother of God Church sported a large portico supported by four Corinthian columns, two large towers and a cupola. In 1875 a magnificent Koehnken Organ was installed in the church balcony.
In 1891, the congregation celebrated the Silver Jubilee of the establishment of the parish. In preparation for this event, the interior of the church was completely remodeled. Additions included five large murals depicting the Joyful Mysteries of the Rosary by Johann Schmitt, new hand-carved wood altars by the Schroder Brothers of Cincinnati and two imported stained glass windows from Mayer & Company of Munich depicting the Assumption and the Immaculate Conception.
Mother of God Church (Mutter Gottes Kirche)
The German Catholics of Covington attended St. Mary Parish on 5th Street from the time of its founding. However, as their numbers increased, the need for a separate parish began apparent. In 1841, the Reverend Ferdinand Kuhr, a native of Eslohe, Prussia, was appointed to organize the Covington Germans into a new congregation. A temporary chapel was set up in a building on Scott Street in 1841.
Mother of God was the second Catholic parish to be established in Northern Kentucky. In the spring of 1842, the congregation purchased a lot at the southwest corner of 6th and Washington. On this lot, a new church was constructed. Bishop Guy Chabrat of Louisville laid the cornerstone on April 14, 1842. The sacristy of the new church also served as a classroom for the parish school.
The German population rapidly increased throughout the pre-Civil War era in Covington. A number of new daughter parishes were formed from the territory of Mother of God to meet these needs of these newcomers. These new parishes included: St. John in the Lewisburg Neighborhood (1854), St. Joseph in the Helentown Neighborhood (1855), St. Aloysius in the Westside Neighborhood (1865), and St. Augustine in Central Covington (1870).
Despite the development of new German parishes in the city, Mother of God congregation continued to flourish. In 1870, Father Kuhr and the parishioners began planning for the construction of a new Mother of God Church. The old church building was demolished and ground was broken for the new Italian Renaissance Revival structure. The cornerstone of the new church was set in place on July 3, 1870 and the building was dedicated on September 10, 1871. The new Mother of God Church sported a large portico supported by four Corinthian columns, two large towers and a cupola. In 1875 a magnificent Koehnken Organ was installed in the church balcony.
In 1891, the congregation celebrated the Silver Jubilee of the establishment of the parish. In preparation for this event, the interior of the church was completely remodeled. Additions included five large murals depicting the Joyful Mysteries of the Rosary by Johann Schmitt, new hand-carved wood altars by the Schroder Brothers of Cincinnati and two imported stained glass windows from Mayer & Company of Munich depicting the Assumption and the Immaculate Conception.
Medley of Cottage Cheese and Frozen Green Peas cooked in Indian spice and pastes....Recipe @ Yummy Food
A specimen from The Mutter Museum Collection. Born in 1851, the skeleton remains of cephalothoracopagus (conjoined twins fused at the skull and thorax). This photograph was featured on the cover of the 1995 Mutter Museum Calendar.
All rights reserved © 2009 Scott Lindgren / Empire Of The Image: www.empireoftheimage.com
www.kenton.lib.ky.us/genealogy/history/covington/article....
Mother of God Church (Mutter Gottes Kirche)
The German Catholics of Covington attended St. Mary Parish on 5th Street from the time of its founding. However, as their numbers increased, the need for a separate parish began apparent. In 1841, the Reverend Ferdinand Kuhr, a native of Eslohe, Prussia, was appointed to organize the Covington Germans into a new congregation. A temporary chapel was set up in a building on Scott Street in 1841. Mother of God was the second Catholic parish to be established in Northern Kentucky. In the spring of 1842, the congregation purchased a lot at the southwest corner of 6th and Washington. On this lot, a new church was constructed. The German population rapidly increased throughout the pre-Civil War era in Covington. A number of new daughter parishes were formed from the territory of Mother of God to meet these needs of these newcomers. Despite the development of new German parishes in the city, Mother of God congregation continued to flourish.
In 1870, Father Kuhr and the parishioners began planning for the construction of a new Mother of God Church. The old church building was demolished and ground was broken for the new Italian Renaissance Revival structure. The new Mother of God Church sported a large portico supported by four Corinthian columns, two large towers and a cupola.
Shot in the #St. Petersburg Fl. #Museum of fine art outside garden statue. At the right angle and light it's a touching moment between an mother and child.
Andrew Strauss's decision to open the attack at Lord's with a spinner raised more than a few eyebrows and a fair amount of muttering from the mass of former captains in the Sky commentary box. It's a tactic by no means unknown, but in the modern era it's rare.
Thirty years ago Australia's Graham Yallop took the decision to open up with two spinners, leading to a heated exchange with Mike Brearley, England's captain. The problem was that Yallop opted not to take a new ball but to bowl with the old one Australia had used in the first innings.
In 1978-79, the Australian board, at the time engaged in a bitter battle with World Series Cricket, had pinned its hopes on crushing Kerry Packer's rebel tournament with a traditional gripping six-match Ashes series. However, with almost two dozen of Australia's leading players throwing their lot in with Packer, what amount to Australia's 3rd XI were comprehensively outplayed from the off, and the public soon tired of the one-sided offering.
Australia were not only beaten on the field, they were deeply divided off it. Yallop was not everyone's preference as captain, and although Rodney Hogg almost single-handedly carried the attack with 41 wickets, he was barely on speaking terms with his skipper. Asked why he seemed to get on well with Brearley, Hogg replied: "I wasn't getting on too well with my captain, so I thought I'd get on well with theirs."
By the time the teams reached Sydney for the final Test, Australia were 3-1 down and all but disowned by the public. Yallop won the toss, batted, and made a battling 121 as Australia were bowled out for 198. England replied with 308, and on a pitch increasingly taking turn, dismissed Australia second time round for 143; Geoff Miller took 5 for 44 and John Emburey 4 for 52. England needed 34 to win and had almost five sessions to do so.
As Brearley and Geoff Boycott prepared to go out to open, the umpires - Tony Crafter and Donald Weser, both standing in their first Test - informed them that Yallop had requested, and been given, an old ball. Brearley was unimpressed, telling them: "I'm sorry, I'm having none of that."
Crafter and Weser went back to speak to Yallop. He insisted that he wanted to open up with Bruce Yardley and Jim Higgs, his two spinners, and wanted to do so with an old ball. The umpires agreed and told Brearley that there was nothing in the Laws to prevent it.
"You can do no more than protest," Brearley wrote in The Ashes Retained, his account of the series. "[But] we said that if that were allowed then any captain could bowl with an old ball with the string hanging down. I was fuming inwardly ... but this argument made equally little impact on the umpires. I didn't want to get too worked up immediately before batting, so I shrugged and carried on padding up.
"The advantage of an old ball was that the spinners could grip the ball from the start," he continued. "There is no chance for the openers to score a few runs and get their feet moving against the new ball."
Doug Insole, England's manager, was sure Brearley was right, and as the innings got underway after a six-minute delay, he skimmed through the Laws, eventually finding Law 5, which stated that "subject to agreement to the contrary, either captain may demand a new ball at the start of the innings".
Out in the middle, Brearley had made a good start, cutting Higgs for four as England reached 12 for 0. On the Hill, a lone trumpeter sounded the Last Post.
Insole was in a quandary. Should he go out and inform the umpires they were wrong or let the game continue? He decided that the risk of restarting the innings and then having Brearley or Boycott dismissed for 0 was not worth the hassle. Had England been chasing a higher target, he might have gambled.
With three needed, Boycott tried to hit Higgs over the off-side ring but only succeeded in spooning the ball to Kim Hughes at extra cover. Derek Randall scurried to the middle only to recoil in horror as he reached the crease: someone had placed a plastic snake there. Minutes later Brearley skipped down the pitch to drive Yardley over midwicket to seal the win.
Questioned in the post-match interviews about the dispute with the umpires, Brearley said there was little he could do other than refer to the matter in his report, but he emphasised it was "a storm in a teacup" in the last half-hour of a very long series. As for Yallop, he was gracious in defeat, and only commented that "the umpires gave me an old ball and we went through the motions".
Martin Williamson
Mother of God Church (Mutter Gottes Kirche)
The German Catholics of Covington attended St. Mary Parish on 5th Street from the time of its founding. However, as their numbers increased, the need for a separate parish began apparent. In 1841, the Reverend Ferdinand Kuhr, a native of Eslohe, Prussia, was appointed to organize the Covington Germans into a new congregation. A temporary chapel was set up in a building on Scott Street in 1841.
Mother of God was the second Catholic parish to be established in Northern Kentucky. In the spring of 1842, the congregation purchased a lot at the southwest corner of 6th and Washington. On this lot, a new church was constructed. Bishop Guy Chabrat of Louisville laid the cornerstone on April 14, 1842. The sacristy of the new church also served as a classroom for the parish school.
The German population rapidly increased throughout the pre-Civil War era in Covington. A number of new daughter parishes were formed from the territory of Mother of God to meet these needs of these newcomers. These new parishes included: St. John in the Lewisburg Neighborhood (1854), St. Joseph in the Helentown Neighborhood (1855), St. Aloysius in the Westside Neighborhood (1865), and St. Augustine in Central Covington (1870).
Despite the development of new German parishes in the city, Mother of God congregation continued to flourish. In 1870, Father Kuhr and the parishioners began planning for the construction of a new Mother of God Church. The old church building was demolished and ground was broken for the new Italian Renaissance Revival structure. The cornerstone of the new church was set in place on July 3, 1870 and the building was dedicated on September 10, 1871. The new Mother of God Church sported a large portico supported by four Corinthian columns, two large towers and a cupola. In 1875 a magnificent Koehnken Organ was installed in the church balcony.
In 1891, the congregation celebrated the Silver Jubilee of the establishment of the parish. In preparation for this event, the interior of the church was completely remodeled. Additions included five large murals depicting the Joyful Mysteries of the Rosary by Johann Schmitt, new hand-carved wood altars by the Schroder Brothers of Cincinnati and two imported stained glass windows from Mayer & Company of Munich depicting the Assumption and the Immaculate Conception.
"Lichtfee Peri", Skulptur von Francis Fuller in der Hermesvilla, dem ehemaligen Schloss von Kaiserin Elisabeth von Oesterreich, im Lainzer Tiergarten, dem damaligen kaiserlichen Jagdrevier.
Mary Cassatt, Pittsburgh, Pennsylvania, USA - 1926 Schloss Beaufresne, Le Mesnil-Théribus, Département Oise, Frankreich
Mutter und Kind auf grünem Hintergrund - Mother and Child on a Green Background aka Maternity
Musée d'Orsay, Paris
Mary Cassatt gelang es meisterhaft, die Atmosphäre des bürgerlichen Milieus des ausgehenden 19. Jahrhunderts wiederzugeben. Kennzeichnend für ihre Gemälde ist die nervöse und zugleich elegante Linienführung. Die 1844 geborene Amerikanerin entdeckte schon sehr früh die französische Kultur und konnte trotz der Vorbehalte ihrer Familie mit zweiundzwanzig Jahren die von ihr so bewunderten großen Meister in den europäischen Museen studieren. Degas begeisterte sich für das Werk der Malerin, die schon 1879 auf dem Salon des Indépendants ausstellte.
Die Künstlerin stellte wie Berthe Morisot mit Vorliebe Szenen aus dem Alltagsleben von Frauen dar. Der Großteil ihres Werks wird vom Mutter-Kind-Motiv beherrscht, das sie in zahlreichen Varianten ausführte.Ihre Arbeiten lassen deutlich die Ansprüche der Impressionisten erkennen, deren schöpferisches Leitmotiv freie und ursprüngliche Gestaltung war.
Quelle: www.musee-orsay.fr/
Experimente mit Sigma 19/2.8, Vorstzlinsen und einer Olympus OMD M10, einem Note 3 und einem Berlebach Mini und geilen Motiven.
Skulptur aus Zimbabwe, Künstler Dominic Benhura
www.schloss-schwetzingen.de/.../ausstellung Stories in Stone