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The Metropolitan Cathedral of Saints Vitus, Wenceslaus and Adalbert (Czech: metropolitní katedrála svatého Víta, Václava a Vojtěcha) is a Roman Catholic metropolitan cathedral in Prague, the seat of the Archbishop of Prague. Until 1997, the cathedral was dedicated only to Saint Vitus, and is still commonly named only as St. Vitus Cathedral.
This cathedral is a prominent example of Gothic architecture and is the largest and most important church in the country. Located within Prague Castle and containing the tombs of many Bohemian kings and Holy Roman Emperors, the cathedral is under the ownership of the Czech government as part of the Prague Castle complex.[1] Cathedral dimensions are 124 by 60 metres (407 ft × 197 ft), the main tower is 96.5 metres (317 ft) high, front towers 82 metres (269 ft), arch height 33.2 metres (109 ft).[2]
Origins
The current cathedral is the third of a series of religious buildings at the site, all dedicated to St. Vitus. The first church was an early Romanesque rotunda founded by Wenceslaus I, Duke of Bohemia in 930. This patron saint was chosen because Wenceslaus had acquired a holy relic – the arm of St. Vitus – from Emperor Henry I. It is also possible that Wenceslaus, wanting to convert his subjects to Christianity more easily, chose a saint whose name (Svatý Vít in Czech) sounds very much like the name of Slavic solar deity Svantevit. Two religious populations, the increasing Christian and decreasing pagan community, lived simultaneously in Prague castle at least until the 11th century.
In the year 1060, as the bishopric of Prague was founded, prince Spytihněv II embarked on building a more spacious church, as it became clear the existing rotunda was too small to accommodate the faithful. A much larger and more representative Romanesque basilica was built in its spot. Though still not completely reconstructed, most experts agree it was a triple-aisled basilica with two choirs and a pair of towers connected to the western transept. The design of the cathedral nods to Romanesque architecture of the Holy Roman Empire, most notably to the abbey church in Hildesheim and the Speyer Cathedral. The southern apse of the rotunda was incorporated into the eastern transept of the new church because it housed the tomb of St. Wenceslaus, who had by now become the patron saint of the Czech princes. A bishop's mansion was also built south of the new church, and was considerably enlarged and extended in the mid 12th-century.
The Gothic Cathedral
Construction of the present-day Gothic Cathedral began on 21 November 1344, when the see of Prague was elevated to an archbishopric. King John of Bohemia laid the foundation stone for the new building.[3] The patrons were the chapter of cathedral (led by a Dean), the Archbishop Arnost of Pardubice, and, above all, Charles IV, King of Bohemia and a soon-to-be Holy Roman Emperor, who intended the new cathedral to be a coronation church, family crypt, treasury for the most precious relics of the kingdom, and the last resting place cum pilgrimage site of patron saint Wenceslaus. The first master builder was a Frenchman Matthias of Arras, summoned from the Papal Palace in Avignon. Matthias designed the overall layout of the building as, basically, an import of French Gothic: a triple-naved basilica with flying buttresses, short transept, five-bayed choir and decagon apse with ambulatory and radiating chapels. However, he lived to build only the easternmost parts of the choir: the arcades and the ambulatory. The slender verticality of Late French Gothic and clear, almost rigid respect of proportions distinguish his work today.
After Matthias' death in 1352, 23-year-old Peter Parler assumed control of the cathedral workshop as master builder. He was son of the architect of the Heilig-Kreuz-Münster in Schwäbisch Gmünd. Initially, Parler only worked on plans left by his predecessor, building the sacristy on the north side of the choir and the chapel on the south. Once he finished all that Matthias left unfinished, he continued according to his own ideas. Parler's bold and innovative design brought in a unique new synthesis of Gothic elements in architecture. This is best exemplified in the vaults he designed for the choir. The so-called Parler's vaults or net-vaults have double (not single, as in classic High Gothic groin vaults) diagonal ribs that span the width of the choir-bay. The crossing pairs of ribs create a net-like construction (hence the name), which considerably strengthens the vault. They also give a lively ornamentation to the ceiling, as the interlocking vaulted bays create a dynamic zigzag pattern the length of the cathedral.
While Matthias of Arras was schooled as a geometer, thus putting an emphasis on rigid systems of proportions and clear, mathematical compositions in his design, Parler was trained as a sculptor and woodcarver. He treated architecture as a sculpture, almost as if playing with structural forms in stone. Aside from his bold vaults, the peculiarities of his work can also be seen in the design of pillars (with classic, bell-shaped columns which were almost forgotten by High Gothic), the ingenious dome vault of new St Wenceslaus chapel, the undulating clerestory walls, the original window tracery (no two of his windows are the same, the ornamentation is always different) and the blind tracery panels of the buttresses. Architectural sculpture was given a considerable role while Parler was in charge of construction, as can be seen in the corbels, the passageway lintels, and, particularly, in the busts on the triforium, which depict faces of the royal family, saints, Prague bishops, and the two master builders, including Parler himself.
Work on the cathedral, however, proceeded slowly, because the Emperor commissioned Parler with many other projects, such as the construction of the new Charles Bridge in Prague and many churches throughout the Czech realm. By 1397, when Peter Parler died, only the choir and parts of the transept were finished.
After Peter Parler's death in 1399 his sons, Wenzel Parler and particularly Johannes Parler, continued his work; they in turn were succeeded by a certain Master Petrilk, who by all accounts was also a member of Parler's workshop. Under these three masters, the transept and the great tower on its south side were finished. So was the gable which connects the tower with the south transept. Nicknamed 'Golden Gate' (likely because of the golden mosaic of Last Judgment depicted on it), it is through this portal that the kings entered the cathedral for coronation ceremonies.
The entire building process came to a halt with the beginning of Hussite War in the first half of 15th century. The war brought an end to the workshop that operated steadily over for almost a century, and the furnishings of cathedral, dozens of pictures and sculptures, suffered heavily from the ravages of Hussite iconoclasm. As if this was not enough, a great fire in 1541 heavily damaged the cathedral.
St. Wenceslas Chapel
Perhaps the most outstanding place in the cathedral is the Chapel of St. Wenceslas, which houses relics of the saint. Peter Parler constructed the room between 1344 and 1364 with a ribbed vault. The lower portions of the walls are decorated with over 1300 semi-precious stones and paintings depicting the Passion of Jesus dating from the original decoration of the chapel in 1372–1373. The upper area of the walls have paintings depicting the life of St. Wenceslas, by the Master of the Litoměřice Altarpiece between 1506 and 1509. Above the altar, is a Gothic statue of St. Wenceslas created by Jindrich Parler (Peter's nephew) in 1373. The Chapel is not open to the public, but it can be viewed from the doorways.
A small door with seven locks, in the southwest corner of the chapel, leads to the Crown Chamber containing the Czech Crown Jewels, which are displayed to the public only once every (circa) eight years.
Renaissance and Baroque
Through most of the following centuries, the cathedral stood only half-finished. It was built to the great tower and a transept, which was closed by a provisional wall. In the place of a three-aisled nave-to-be-built, a timber-roofed construction stood, and services were held separately there from the interior of the choir. Several attempts to continue the work on cathedral were mostly unsuccessful. In the latter half of 15th century, king Vladislav Jagiellon commissioned the great Renaissance-Gothic architect Benedict Ried to continue the work on the cathedral, but almost as soon as the work began, it was cut short because of lack of funds. Later attempts to finish the cathedral only brought some Renaissance and Baroque elements into the Gothic building, most notably the obviously different Baroque spire of the south tower and the great organ in the northern wing of transept.
Completion in 19th and 20th century
In 1844, Václav Pešina, an energetic St. Vitus canon, together with Neo-Gothic architect Josef Kranner presented a program for renovation and completion of the great cathedral at the gathering of German architects in Prague. The same year a society under the full name "Union for Completion of the Cathedral of St. Vitus in Prague" was formed, whose aim was to repair, complete and rid the structure of everything mutilated and stylistically inimical. Josef Kranner headed the work from 1861 to 1866 which consisted mostly of repairs, removing Baroque decorations deemed unnecessary and restoring the interior. In 1870 workers finally laid the foundations of the new nave, and in 1873, after Kramer's death, architect Josef Mocker assumed control of the reconstruction. He designed the west façade in a typical classic Gothic manner with two towers, and the same design was adopted, after his death, by the third and final architect of restoration, Kamil Hilbert.
In the 1920s the sculptor Vojtěch Sucharda worked on the façade, and the famous Czech Art Nouveau painter Alfons Mucha decorated the new windows in the north part of nave. Frantisek Kysela designed the Rose Window 1925-7 which depicts scenes from the Biblical story of creation. By the time of St. Wenceslas jubilee in 1929, the St. Vitus cathedral was finally finished, nearly 600 years after it was begun. Despite the fact that entire western half of Cathedral is a Neo-Gothic addition, much of the design and elements developed by Peter Parler were used in the restoration, giving the Cathedral as a whole a harmonious, unified look.
Influence
The Cathedral of St. Vitus had a tremendous influence on the development of Late Gothic style characteristic for Central Europe. Members of Parler workshop, and indeed, the Parler family (both of which were established at the building site of St. Vitus) designed numerous churches and buildings across Central Europe. More notable examples include Stephansdom cathedral in Vienna, Strasbourg Cathedral, Church of St. Marko in Zagreb and the Church of St. Barbara in Kutna Hora, also in Czech Republic. Regional Gothic styles of Slovenia, northern Croatia, Austria, Czech Republic, and southern Germany were all heavily influenced by Parler design.
Of particular interest are Parler's net vaults. The Late Gothic of Central Europe is characterised by ornate and extraordinary vaulting, a practice which was started by Parler's development of his own vaulting system for the choir of St. Vitus cathedral. Another regional Gothic style also displays amazing ingenuity and ornamentation in the design of vaults, the Perpendicular Style of English Gothic. A question remains of what was influenced by what. Some British art and architecture historians suspected that Peter Parler might have travelled to England at some point in his life, studying the great English Gothic cathedrals, which then inspired his work on St Vitus. However, taking into account that the Perpendicular style and the use of truly extravagant vaults in English Gothic began at the very end of 14th century, it is also quite possible that it was St Vitus Cathedral of Prague that influenced the development of English Gothic.[4]
Recent history
In 1997, on 1000th anniversary of the death of Saint Voitechus, the patrocinium (dedication) of the church was re-dedicated to Saint Wenceslaus and Saint Adalbert. The previous Romanesque basilica had this triple patrocinium to the main Bohemian patrons since 1038 when relics of Saint Adalbert were placed here.
In 1954, a government decree entrusted the whole Prague Castle into ownership of "all Czechoslovak people" and into administration of the President's Office. Beginning in 1992, after the Velvet Revolution the church filed several petitions requesting a determination on the true owner of the structure. After 14 years, in June 2006, the City Court in Prague decided that the 1954 decree did not change the ownership of the cathedral and the owner is the Metropolitan Chapter at Saint Vitus. In September 2006, the President's Office ceded the administration to the Metropolitan Chapter. However, in February 2007, the Supreme Court of the Czech Republic reversed the decision of the City Court and returned the case to the common court. In September 2007, the District Court of Praha 7 decided that the cathedral is owned by the Czech Republic, this decision was confirmed by the City Court in Prague and the Constitutional Court rejected the appeal of the Metropolitan Chapter, however noted that the chapter unquestionably owns the interior furnishings of the cathedral. The Metropolitan Chapter considered continuing the case in the European Court for Human Rights however in May 2010, the new Prague Archbishop Dominik Duka and the state president Václav Klaus together declared that they did not wish to continue with court conflicts. They constituted that the seven persons who are traditionally holders of the keys of the Saint Wenceslaus Chamber with the Bohemian Crown Jewels become also a board to coordinate and organize administration and use of the cathedral. However, controversy about ownership of some related canonry houses continues.
In July 2012, the Chamber of Deputies passed a bill to compensate the churches for property seized by the Communist government.[5] The Senate approved the bill in November 2012 and the government implemented it the following June after clearing legal challenges.[6]
Services
Regular religious services in the Cathedral are:
•Sunday 08:30 Mass, 10:00 Mass (celebrated in Latin every last Sunday of the month) and 17:00 Vespers (not during July to September)
•Monday 07:00 Mass
•Tuesday 07:00 Mass
•Wednesday 07:00 Mass
•Thursday 07:00 Mass
•Friday 07:00 Mass, 18:00 Mass
•Saturday 07:00 Mass
Confessions: (Czech and English)
•Sunday 09:30 – 10:00
•Friday 17:30 – 17:50
Further reading
•Fučíková, Eliška, Martin Halata, Klára Halmanová, Pvel Scheufler. "Prague Castle in Photographs /1956-1900". Prague: Správa Pražského hradu a Nakladatelství KANT, 2005. ISBN 80-86217-94-9
•K. Benešovská, P. Chotebor, T. Durdík, M. Placek, D. Prix, V. Razim. "Architecture of the Gothic", vol. 2 of "Ten centuries of architecture" series, Prague Castle Administration & DaDa, a.s., Prague 2001, ISBN 80-86161-41-2 (English version)
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The Metropolitan Cathedral of Saints Vitus, Wenceslaus and Adalbert (Czech: metropolitní katedrála svatého Víta, Václava a Vojtěcha) is a Roman Catholic metropolitan cathedral in Prague, the seat of the Archbishop of Prague. Until 1997, the cathedral was dedicated only to Saint Vitus, and is still commonly named only as St. Vitus Cathedral.
This cathedral is a prominent example of Gothic architecture and is the largest and most important church in the country. Located within Prague Castle and containing the tombs of many Bohemian kings and Holy Roman Emperors, the cathedral is under the ownership of the Czech government as part of the Prague Castle complex.[1] Cathedral dimensions are 124 by 60 metres (407 ft × 197 ft), the main tower is 96.5 metres (317 ft) high, front towers 82 metres (269 ft), arch height 33.2 metres (109 ft).[2]
Origins
The current cathedral is the third of a series of religious buildings at the site, all dedicated to St. Vitus. The first church was an early Romanesque rotunda founded by Wenceslaus I, Duke of Bohemia in 930. This patron saint was chosen because Wenceslaus had acquired a holy relic – the arm of St. Vitus – from Emperor Henry I. It is also possible that Wenceslaus, wanting to convert his subjects to Christianity more easily, chose a saint whose name (Svatý Vít in Czech) sounds very much like the name of Slavic solar deity Svantevit. Two religious populations, the increasing Christian and decreasing pagan community, lived simultaneously in Prague castle at least until the 11th century.
In the year 1060, as the bishopric of Prague was founded, prince Spytihněv II embarked on building a more spacious church, as it became clear the existing rotunda was too small to accommodate the faithful. A much larger and more representative Romanesque basilica was built in its spot. Though still not completely reconstructed, most experts agree it was a triple-aisled basilica with two choirs and a pair of towers connected to the western transept. The design of the cathedral nods to Romanesque architecture of the Holy Roman Empire, most notably to the abbey church in Hildesheim and the Speyer Cathedral. The southern apse of the rotunda was incorporated into the eastern transept of the new church because it housed the tomb of St. Wenceslaus, who had by now become the patron saint of the Czech princes. A bishop's mansion was also built south of the new church, and was considerably enlarged and extended in the mid 12th-century.
The Gothic Cathedral
Construction of the present-day Gothic Cathedral began on 21 November 1344, when the see of Prague was elevated to an archbishopric. King John of Bohemia laid the foundation stone for the new building.[3] The patrons were the chapter of cathedral (led by a Dean), the Archbishop Arnost of Pardubice, and, above all, Charles IV, King of Bohemia and a soon-to-be Holy Roman Emperor, who intended the new cathedral to be a coronation church, family crypt, treasury for the most precious relics of the kingdom, and the last resting place cum pilgrimage site of patron saint Wenceslaus. The first master builder was a Frenchman Matthias of Arras, summoned from the Papal Palace in Avignon. Matthias designed the overall layout of the building as, basically, an import of French Gothic: a triple-naved basilica with flying buttresses, short transept, five-bayed choir and decagon apse with ambulatory and radiating chapels. However, he lived to build only the easternmost parts of the choir: the arcades and the ambulatory. The slender verticality of Late French Gothic and clear, almost rigid respect of proportions distinguish his work today.
After Matthias' death in 1352, 23-year-old Peter Parler assumed control of the cathedral workshop as master builder. He was son of the architect of the Heilig-Kreuz-Münster in Schwäbisch Gmünd. Initially, Parler only worked on plans left by his predecessor, building the sacristy on the north side of the choir and the chapel on the south. Once he finished all that Matthias left unfinished, he continued according to his own ideas. Parler's bold and innovative design brought in a unique new synthesis of Gothic elements in architecture. This is best exemplified in the vaults he designed for the choir. The so-called Parler's vaults or net-vaults have double (not single, as in classic High Gothic groin vaults) diagonal ribs that span the width of the choir-bay. The crossing pairs of ribs create a net-like construction (hence the name), which considerably strengthens the vault. They also give a lively ornamentation to the ceiling, as the interlocking vaulted bays create a dynamic zigzag pattern the length of the cathedral.
While Matthias of Arras was schooled as a geometer, thus putting an emphasis on rigid systems of proportions and clear, mathematical compositions in his design, Parler was trained as a sculptor and woodcarver. He treated architecture as a sculpture, almost as if playing with structural forms in stone. Aside from his bold vaults, the peculiarities of his work can also be seen in the design of pillars (with classic, bell-shaped columns which were almost forgotten by High Gothic), the ingenious dome vault of new St Wenceslaus chapel, the undulating clerestory walls, the original window tracery (no two of his windows are the same, the ornamentation is always different) and the blind tracery panels of the buttresses. Architectural sculpture was given a considerable role while Parler was in charge of construction, as can be seen in the corbels, the passageway lintels, and, particularly, in the busts on the triforium, which depict faces of the royal family, saints, Prague bishops, and the two master builders, including Parler himself.
Work on the cathedral, however, proceeded slowly, because the Emperor commissioned Parler with many other projects, such as the construction of the new Charles Bridge in Prague and many churches throughout the Czech realm. By 1397, when Peter Parler died, only the choir and parts of the transept were finished.
After Peter Parler's death in 1399 his sons, Wenzel Parler and particularly Johannes Parler, continued his work; they in turn were succeeded by a certain Master Petrilk, who by all accounts was also a member of Parler's workshop. Under these three masters, the transept and the great tower on its south side were finished. So was the gable which connects the tower with the south transept. Nicknamed 'Golden Gate' (likely because of the golden mosaic of Last Judgment depicted on it), it is through this portal that the kings entered the cathedral for coronation ceremonies.
The entire building process came to a halt with the beginning of Hussite War in the first half of 15th century. The war brought an end to the workshop that operated steadily over for almost a century, and the furnishings of cathedral, dozens of pictures and sculptures, suffered heavily from the ravages of Hussite iconoclasm. As if this was not enough, a great fire in 1541 heavily damaged the cathedral.
St. Wenceslas Chapel
Perhaps the most outstanding place in the cathedral is the Chapel of St. Wenceslas, which houses relics of the saint. Peter Parler constructed the room between 1344 and 1364 with a ribbed vault. The lower portions of the walls are decorated with over 1300 semi-precious stones and paintings depicting the Passion of Jesus dating from the original decoration of the chapel in 1372–1373. The upper area of the walls have paintings depicting the life of St. Wenceslas, by the Master of the Litoměřice Altarpiece between 1506 and 1509. Above the altar, is a Gothic statue of St. Wenceslas created by Jindrich Parler (Peter's nephew) in 1373. The Chapel is not open to the public, but it can be viewed from the doorways.
A small door with seven locks, in the southwest corner of the chapel, leads to the Crown Chamber containing the Czech Crown Jewels, which are displayed to the public only once every (circa) eight years.
Renaissance and Baroque
Through most of the following centuries, the cathedral stood only half-finished. It was built to the great tower and a transept, which was closed by a provisional wall. In the place of a three-aisled nave-to-be-built, a timber-roofed construction stood, and services were held separately there from the interior of the choir. Several attempts to continue the work on cathedral were mostly unsuccessful. In the latter half of 15th century, king Vladislav Jagiellon commissioned the great Renaissance-Gothic architect Benedict Ried to continue the work on the cathedral, but almost as soon as the work began, it was cut short because of lack of funds. Later attempts to finish the cathedral only brought some Renaissance and Baroque elements into the Gothic building, most notably the obviously different Baroque spire of the south tower and the great organ in the northern wing of transept.
Completion in 19th and 20th century
In 1844, Václav Pešina, an energetic St. Vitus canon, together with Neo-Gothic architect Josef Kranner presented a program for renovation and completion of the great cathedral at the gathering of German architects in Prague. The same year a society under the full name "Union for Completion of the Cathedral of St. Vitus in Prague" was formed, whose aim was to repair, complete and rid the structure of everything mutilated and stylistically inimical. Josef Kranner headed the work from 1861 to 1866 which consisted mostly of repairs, removing Baroque decorations deemed unnecessary and restoring the interior. In 1870 workers finally laid the foundations of the new nave, and in 1873, after Kramer's death, architect Josef Mocker assumed control of the reconstruction. He designed the west façade in a typical classic Gothic manner with two towers, and the same design was adopted, after his death, by the third and final architect of restoration, Kamil Hilbert.
In the 1920s the sculptor Vojtěch Sucharda worked on the façade, and the famous Czech Art Nouveau painter Alfons Mucha decorated the new windows in the north part of nave. Frantisek Kysela designed the Rose Window 1925-7 which depicts scenes from the Biblical story of creation. By the time of St. Wenceslas jubilee in 1929, the St. Vitus cathedral was finally finished, nearly 600 years after it was begun. Despite the fact that entire western half of Cathedral is a Neo-Gothic addition, much of the design and elements developed by Peter Parler were used in the restoration, giving the Cathedral as a whole a harmonious, unified look.
Influence
The Cathedral of St. Vitus had a tremendous influence on the development of Late Gothic style characteristic for Central Europe. Members of Parler workshop, and indeed, the Parler family (both of which were established at the building site of St. Vitus) designed numerous churches and buildings across Central Europe. More notable examples include Stephansdom cathedral in Vienna, Strasbourg Cathedral, Church of St. Marko in Zagreb and the Church of St. Barbara in Kutna Hora, also in Czech Republic. Regional Gothic styles of Slovenia, northern Croatia, Austria, Czech Republic, and southern Germany were all heavily influenced by Parler design.
Of particular interest are Parler's net vaults. The Late Gothic of Central Europe is characterised by ornate and extraordinary vaulting, a practice which was started by Parler's development of his own vaulting system for the choir of St. Vitus cathedral. Another regional Gothic style also displays amazing ingenuity and ornamentation in the design of vaults, the Perpendicular Style of English Gothic. A question remains of what was influenced by what. Some British art and architecture historians suspected that Peter Parler might have travelled to England at some point in his life, studying the great English Gothic cathedrals, which then inspired his work on St Vitus. However, taking into account that the Perpendicular style and the use of truly extravagant vaults in English Gothic began at the very end of 14th century, it is also quite possible that it was St Vitus Cathedral of Prague that influenced the development of English Gothic.[4]
Recent history
In 1997, on 1000th anniversary of the death of Saint Voitechus, the patrocinium (dedication) of the church was re-dedicated to Saint Wenceslaus and Saint Adalbert. The previous Romanesque basilica had this triple patrocinium to the main Bohemian patrons since 1038 when relics of Saint Adalbert were placed here.
In 1954, a government decree entrusted the whole Prague Castle into ownership of "all Czechoslovak people" and into administration of the President's Office. Beginning in 1992, after the Velvet Revolution the church filed several petitions requesting a determination on the true owner of the structure. After 14 years, in June 2006, the City Court in Prague decided that the 1954 decree did not change the ownership of the cathedral and the owner is the Metropolitan Chapter at Saint Vitus. In September 2006, the President's Office ceded the administration to the Metropolitan Chapter. However, in February 2007, the Supreme Court of the Czech Republic reversed the decision of the City Court and returned the case to the common court. In September 2007, the District Court of Praha 7 decided that the cathedral is owned by the Czech Republic, this decision was confirmed by the City Court in Prague and the Constitutional Court rejected the appeal of the Metropolitan Chapter, however noted that the chapter unquestionably owns the interior furnishings of the cathedral. The Metropolitan Chapter considered continuing the case in the European Court for Human Rights however in May 2010, the new Prague Archbishop Dominik Duka and the state president Václav Klaus together declared that they did not wish to continue with court conflicts. They constituted that the seven persons who are traditionally holders of the keys of the Saint Wenceslaus Chamber with the Bohemian Crown Jewels become also a board to coordinate and organize administration and use of the cathedral. However, controversy about ownership of some related canonry houses continues.
In July 2012, the Chamber of Deputies passed a bill to compensate the churches for property seized by the Communist government.[5] The Senate approved the bill in November 2012 and the government implemented it the following June after clearing legal challenges.[6]
Services
Regular religious services in the Cathedral are:
•Sunday 08:30 Mass, 10:00 Mass (celebrated in Latin every last Sunday of the month) and 17:00 Vespers (not during July to September)
•Monday 07:00 Mass
•Tuesday 07:00 Mass
•Wednesday 07:00 Mass
•Thursday 07:00 Mass
•Friday 07:00 Mass, 18:00 Mass
•Saturday 07:00 Mass
Confessions: (Czech and English)
•Sunday 09:30 – 10:00
•Friday 17:30 – 17:50
Further reading
•Fučíková, Eliška, Martin Halata, Klára Halmanová, Pvel Scheufler. "Prague Castle in Photographs /1956-1900". Prague: Správa Pražského hradu a Nakladatelství KANT, 2005. ISBN 80-86217-94-9
•K. Benešovská, P. Chotebor, T. Durdík, M. Placek, D. Prix, V. Razim. "Architecture of the Gothic", vol. 2 of "Ten centuries of architecture" series, Prague Castle Administration & DaDa, a.s., Prague 2001, ISBN 80-86161-41-2 (English version)
LEGAL NOTICE | protected work • All Rights reserved © B. Egger photographer retains ownership and all copyrights in this work.
photographer | Bernard Egger • collections • sets..
FC Volga Nizhny Novgorod ФК Волга vs Sheffield Wednesday F.C.
📷 | IFCS Int. football camps Styria - ФК Волга - SWFC 0:0
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FC «Volga» - www.fcvolgann.ru/ - was created in 1963 by a merger of two clubs: «Torpedo» and «Raketa». After the first season «Volga» was able to get to the top division. «Volga» spent a season in the top football society under the sign of embarrassing mistakes and fatal bad luck. Our team’s fate has been settled in an additional match for the 13th place. «Torpedo Kutaisi» was our opponent. Georgians won with a 4:2 score, and «Volga» lost its place in the first group of Class «A». Then «Volga» took the 4 th place in the 1968 season in the second group «A» class (similar to the current First division) and thrice (1971, 1972 and 1974) our team became the bronze medalist of zonal tournament in the second league. «Volga» participated in the championships of the USSR until the season of 1984.
In 2008 FC «Volga» won a first place in the area of the «Ural-Volga» region of second division. It also won the PFL Cup, a tournament of winners of five zones of the second division. «Volga» played with teams from Premier League in the Cup of Russia. Our club defeated «Saturn», but «Tom» was stronger in the penalty shoot-out. «Volga’s»debut in the first division was successful. In 2009, the team demonstrated a nice game and good results. The club made record series of 16 consecutive matches without loss. In addition, our guys took first place in the second round and became the fourth team of the First Division in season of 2009. In May 2010 Omari Tetradze became a head coach of the club. Under his leadership the club resulted in a second place. ‘Volga» got the largest number of victories (10), scored the most goals (62) and lost the fewest games (5). Otar Martsvaladze became the best scorer of the First Division.
2011 the club has started in the Premier League.
FC Volga Nizhny Novgorod (Russian: Футбольный Клуб "Волга" Нижний Новгород) is a Russian football club from Nizhny Novgorod, founded in 1963. In 2008, FC Volga won the Ural-Povolzhye (Volga Region in Russian) zone of the Russian Second Division and advanced to the Russian First Division. It finished First Division as 4th in 2009 and finished one as 2nd in 2010 and promoted to Russian Premier League for 2011 season. Promotion to the top league was secured after 2-2 draw with Nizhny Novgorod at Nizhny Novgorod derby on November 3, 2010. info: [ en.wikipedia.org/wiki/FC_Volga_Nizhny_Novgorod ]
www.rfpl.org/clubs-volga/igrok
PLAYERS
No./Position /Player Игроки ФК «Волга»:
24 MF Ruslan Pashtov , 28 MF Aleksandr Semyachkin
30 GK Aleksandr Sholokhman , 35 MF Roman Boldyrev
44 DF Vladislav Rikovskiy , 47 MF Dmitri Vershinin
51 MF Roman Dzhigkayev , 52 FW Mikhail Sorochkin
53 DF Pavel Averin , 55 DF Pavel Pashin
62 DF Vasili Samokhvalov, 66 FW Alan Kadzhayev
71 GK Mikhail Malyshev, 73 FW Vladislav Chernikov
79 DF Shamil Kurbanov, 88 DF David Kokhia
91 DF Artyom Abramov, 92 MF Ilya Syomin
93 MF Ivan Strelov
No./Position/Player SWFC (as of 05 July 2011):
1 GK Nicky Weaver, 3 DF Lewis Buxton, 6 DF Michael Morrison,
7 DF Mark Reynolds, 10 DF Daniel Jones, 13 GK Richard O'Donnell
15 DF Mark Beevers, 17 MF James O'Connor, 22 DF Reda Johnson
23 MF Jermaine Johnson, 24 MF Chris Sedgwick, 25 GK Arron Jameson
28 FW Nathan Modest, 29 MF Liam Palmer, 30 FW Clinton Morrison
32 FW Gary Madine, 34 GK Sean Cuff, 35 MF Cecil Nyoni
36 DF Jon Otsemobor, -- DF Julian Bennett, -- DF Rob Jones
-- MF David Prutton
I admit I disliked fuji when it started. From the X100 to the XPro1, the camera system, despite its completely seducing color science output, was completely out of sync with my practice in terms of autofocus speed and file. Now the X system has matured into something that I find very hard to match for mirrorless camera photography.
The XT1 comes to solve pretty much all the problems I had with the system: AF and Camera Operations (once u get used to the nobs, hard to go back to menus) are reliable and quick, Lightroom 5.7 renders the file beautifully (with Classic Chrome) and the viewfinder is bigger than that of a full frame dSLR. Not only the camera is now a great camera, the lens system is superb in its consistency: the 14, 23 and 56 are great highly recommended lenses and perform equally marvellously in sharpness, colors and BOKEH while also looking darn good with the Fuji design language. Image quality wise, you get clean files at most of the modern ISOs 200-6400 (you can push the 6400 raw up to 12800 if u want without much penalty or color shifts).
The running cost of ownership is also even more interesting. The body goes for around 1K$ and the rest of the "super prime lenses" (you'd want to shoot prime with this one) go for 1k$ or less each. You can get yourself up and running for less than a full frame camera with equivalent quality lenses.The XT1 ain't still sunshine and rainbow though: It requires the extra grip to enjoy shooting with it, it is not light, the battery lasts as much as a film roll, you can't use exposure compensation on "manual" mode to shift the auto-ISO values, the RAW files are HUGE 30-40mb a piece, low-light AF works fast as long as you have a contrast zone to hunt for but then you also have a magnificent manual focus experience. Classic Chrome (also available in LR 5.7) redefines the fuji photography experience by offering a raw file free of color distorsions and true of natural colors as well as a butt load of great micro-contrast off the file.
All in all, I have to say that I fell in love with it. It is truly the best enthusiast mirrorless system I've come across and it's now well matured.
If you use a full frame dSLR: switching to fuji will depend if you want the premium lenses or the full frame IQ but can't afford the steep 2K$ per lens or 2-4K$ per body, also if you want to sacrifice the extensive "flash system" that dSLRs have.
If you are using a crop sensor dSLR: switching to fuji will depend if you want to keep investing in photography lenses and equipment and don't have to shoot unpredictable fast moving subjects, like birdies.
If you use a Sony: switching to fuji will depend if you are fed up with the teenage identity crisis unpredictability of the system's evolution (new tech = new "test" camera = no "conclusion" camera = less lenses for existing cameras = change the name). The A7 system will flourish to lead the mirrorless trend one day but before that day comes, you have at least until 2016.
If you use a m43 camera: switching to fuji will depend if are willing to drop a bunch of practical technical features: super fast AF (fuji is DARN FAST but m43 cameras are INSTANT FAST), video (I don't shoot video) or image stabilisation or clinical sharpness (fuji images are sharp! but not as pixel sharp as m43... I mean no camera is as pixel sharp as the m43 an) or the touchscreen af point selection... all this for an upgrade in image aesthetics that's a compromise of m43 compactness (somewhat) and passionated lens designs (m43's got good lenses but no "omg wow what the heck" lenses, sorry)
If you shoot film: This is IT. Film nobs, Film look, Film grain, Film output… on digital. This is fujifilm making a camera with the color science they apply on their negatives, all of it.
Ownership inscriptions in two hands, the first written across the device, the second written in two columns on either side of the device.
Unidentified armorial stamp with 3 stars in central row and crescent moons one above and one below.
The first inscription is written by Brother Paolo Antonio at the Augustinian house at Monticiano, Italy (founded ca. 1288):
Ad vsu[m] fr[atr]is Pauli antonij quo[n]da[m?] natalis
[...] mariani de mo[n]ticiano or[dinis]: E[remita][rum]: s[anc]ti:
Augustini
The (partially illegible) inscription on the lower left side of the device is a purchase inscription written by Michalangelus Millotsius[?] [i.e Michelange Millot?]:
nunc est Michaelis
Angeli de[?]
Millot[...]
emptus ab
ipso [...]issj[?] d[...]
libris cu[m] dimidio.
The right column is an ownership inscription (also by Michelange Millot):
Michalangelus Millot
sius[?] Clustinensis
hunc possidet
libru[m]
Penn Libraries call number: LatC T2725.1 1565
Trailer Ownership - Paintjobs Upgrade
We are all happy with the latest features of the SCS software.
They launch the mod trailer ownership in game version 1.32 beta so perfectly and so fantastically.
but by looking at the quality of paintjobs that I think is not good to see, I upgraded some existing trailer skins, to remove many white dots around the design.
Many thanks for software scs that have worked so far and added new features that always make us happy.
Mods only work for version game 1.32 above
List Paintjobs has been upgrade
1. Canopy
2. Duellist
3. Sade
4. Sunrise
5. Gearing up
6. Wheels of Progress
link skin download = idsly.bid/6mefe
Credits
Scs Software
Cyberrior
The Metropolitan Cathedral of Saints Vitus, Wenceslaus and Adalbert (Czech: metropolitní katedrála svatého Víta, Václava a Vojtěcha) is a Roman Catholic metropolitan cathedral in Prague, the seat of the Archbishop of Prague. Until 1997, the cathedral was dedicated only to Saint Vitus, and is still commonly named only as St. Vitus Cathedral.
This cathedral is a prominent example of Gothic architecture and is the largest and most important church in the country. Located within Prague Castle and containing the tombs of many Bohemian kings and Holy Roman Emperors, the cathedral is under the ownership of the Czech government as part of the Prague Castle complex.[1] Cathedral dimensions are 124 by 60 metres (407 ft × 197 ft), the main tower is 96.5 metres (317 ft) high, front towers 82 metres (269 ft), arch height 33.2 metres (109 ft).[2]
Origins
The current cathedral is the third of a series of religious buildings at the site, all dedicated to St. Vitus. The first church was an early Romanesque rotunda founded by Wenceslaus I, Duke of Bohemia in 930. This patron saint was chosen because Wenceslaus had acquired a holy relic – the arm of St. Vitus – from Emperor Henry I. It is also possible that Wenceslaus, wanting to convert his subjects to Christianity more easily, chose a saint whose name (Svatý Vít in Czech) sounds very much like the name of Slavic solar deity Svantevit. Two religious populations, the increasing Christian and decreasing pagan community, lived simultaneously in Prague castle at least until the 11th century.
In the year 1060, as the bishopric of Prague was founded, prince Spytihněv II embarked on building a more spacious church, as it became clear the existing rotunda was too small to accommodate the faithful. A much larger and more representative Romanesque basilica was built in its spot. Though still not completely reconstructed, most experts agree it was a triple-aisled basilica with two choirs and a pair of towers connected to the western transept. The design of the cathedral nods to Romanesque architecture of the Holy Roman Empire, most notably to the abbey church in Hildesheim and the Speyer Cathedral. The southern apse of the rotunda was incorporated into the eastern transept of the new church because it housed the tomb of St. Wenceslaus, who had by now become the patron saint of the Czech princes. A bishop's mansion was also built south of the new church, and was considerably enlarged and extended in the mid 12th-century.
The Gothic Cathedral
Construction of the present-day Gothic Cathedral began on 21 November 1344, when the see of Prague was elevated to an archbishopric. King John of Bohemia laid the foundation stone for the new building.[3] The patrons were the chapter of cathedral (led by a Dean), the Archbishop Arnost of Pardubice, and, above all, Charles IV, King of Bohemia and a soon-to-be Holy Roman Emperor, who intended the new cathedral to be a coronation church, family crypt, treasury for the most precious relics of the kingdom, and the last resting place cum pilgrimage site of patron saint Wenceslaus. The first master builder was a Frenchman Matthias of Arras, summoned from the Papal Palace in Avignon. Matthias designed the overall layout of the building as, basically, an import of French Gothic: a triple-naved basilica with flying buttresses, short transept, five-bayed choir and decagon apse with ambulatory and radiating chapels. However, he lived to build only the easternmost parts of the choir: the arcades and the ambulatory. The slender verticality of Late French Gothic and clear, almost rigid respect of proportions distinguish his work today.
After Matthias' death in 1352, 23-year-old Peter Parler assumed control of the cathedral workshop as master builder. He was son of the architect of the Heilig-Kreuz-Münster in Schwäbisch Gmünd. Initially, Parler only worked on plans left by his predecessor, building the sacristy on the north side of the choir and the chapel on the south. Once he finished all that Matthias left unfinished, he continued according to his own ideas. Parler's bold and innovative design brought in a unique new synthesis of Gothic elements in architecture. This is best exemplified in the vaults he designed for the choir. The so-called Parler's vaults or net-vaults have double (not single, as in classic High Gothic groin vaults) diagonal ribs that span the width of the choir-bay. The crossing pairs of ribs create a net-like construction (hence the name), which considerably strengthens the vault. They also give a lively ornamentation to the ceiling, as the interlocking vaulted bays create a dynamic zigzag pattern the length of the cathedral.
While Matthias of Arras was schooled as a geometer, thus putting an emphasis on rigid systems of proportions and clear, mathematical compositions in his design, Parler was trained as a sculptor and woodcarver. He treated architecture as a sculpture, almost as if playing with structural forms in stone. Aside from his bold vaults, the peculiarities of his work can also be seen in the design of pillars (with classic, bell-shaped columns which were almost forgotten by High Gothic), the ingenious dome vault of new St Wenceslaus chapel, the undulating clerestory walls, the original window tracery (no two of his windows are the same, the ornamentation is always different) and the blind tracery panels of the buttresses. Architectural sculpture was given a considerable role while Parler was in charge of construction, as can be seen in the corbels, the passageway lintels, and, particularly, in the busts on the triforium, which depict faces of the royal family, saints, Prague bishops, and the two master builders, including Parler himself.
Work on the cathedral, however, proceeded slowly, because the Emperor commissioned Parler with many other projects, such as the construction of the new Charles Bridge in Prague and many churches throughout the Czech realm. By 1397, when Peter Parler died, only the choir and parts of the transept were finished.
After Peter Parler's death in 1399 his sons, Wenzel Parler and particularly Johannes Parler, continued his work; they in turn were succeeded by a certain Master Petrilk, who by all accounts was also a member of Parler's workshop. Under these three masters, the transept and the great tower on its south side were finished. So was the gable which connects the tower with the south transept. Nicknamed 'Golden Gate' (likely because of the golden mosaic of Last Judgment depicted on it), it is through this portal that the kings entered the cathedral for coronation ceremonies.
The entire building process came to a halt with the beginning of Hussite War in the first half of 15th century. The war brought an end to the workshop that operated steadily over for almost a century, and the furnishings of cathedral, dozens of pictures and sculptures, suffered heavily from the ravages of Hussite iconoclasm. As if this was not enough, a great fire in 1541 heavily damaged the cathedral.
St. Wenceslas Chapel
Perhaps the most outstanding place in the cathedral is the Chapel of St. Wenceslas, which houses relics of the saint. Peter Parler constructed the room between 1344 and 1364 with a ribbed vault. The lower portions of the walls are decorated with over 1300 semi-precious stones and paintings depicting the Passion of Jesus dating from the original decoration of the chapel in 1372–1373. The upper area of the walls have paintings depicting the life of St. Wenceslas, by the Master of the Litoměřice Altarpiece between 1506 and 1509. Above the altar, is a Gothic statue of St. Wenceslas created by Jindrich Parler (Peter's nephew) in 1373. The Chapel is not open to the public, but it can be viewed from the doorways.
A small door with seven locks, in the southwest corner of the chapel, leads to the Crown Chamber containing the Czech Crown Jewels, which are displayed to the public only once every (circa) eight years.
Renaissance and Baroque
Through most of the following centuries, the cathedral stood only half-finished. It was built to the great tower and a transept, which was closed by a provisional wall. In the place of a three-aisled nave-to-be-built, a timber-roofed construction stood, and services were held separately there from the interior of the choir. Several attempts to continue the work on cathedral were mostly unsuccessful. In the latter half of 15th century, king Vladislav Jagiellon commissioned the great Renaissance-Gothic architect Benedict Ried to continue the work on the cathedral, but almost as soon as the work began, it was cut short because of lack of funds. Later attempts to finish the cathedral only brought some Renaissance and Baroque elements into the Gothic building, most notably the obviously different Baroque spire of the south tower and the great organ in the northern wing of transept.
Completion in 19th and 20th century
In 1844, Václav Pešina, an energetic St. Vitus canon, together with Neo-Gothic architect Josef Kranner presented a program for renovation and completion of the great cathedral at the gathering of German architects in Prague. The same year a society under the full name "Union for Completion of the Cathedral of St. Vitus in Prague" was formed, whose aim was to repair, complete and rid the structure of everything mutilated and stylistically inimical. Josef Kranner headed the work from 1861 to 1866 which consisted mostly of repairs, removing Baroque decorations deemed unnecessary and restoring the interior. In 1870 workers finally laid the foundations of the new nave, and in 1873, after Kramer's death, architect Josef Mocker assumed control of the reconstruction. He designed the west façade in a typical classic Gothic manner with two towers, and the same design was adopted, after his death, by the third and final architect of restoration, Kamil Hilbert.
In the 1920s the sculptor Vojtěch Sucharda worked on the façade, and the famous Czech Art Nouveau painter Alfons Mucha decorated the new windows in the north part of nave. Frantisek Kysela designed the Rose Window 1925-7 which depicts scenes from the Biblical story of creation. By the time of St. Wenceslas jubilee in 1929, the St. Vitus cathedral was finally finished, nearly 600 years after it was begun. Despite the fact that entire western half of Cathedral is a Neo-Gothic addition, much of the design and elements developed by Peter Parler were used in the restoration, giving the Cathedral as a whole a harmonious, unified look.
Influence
The Cathedral of St. Vitus had a tremendous influence on the development of Late Gothic style characteristic for Central Europe. Members of Parler workshop, and indeed, the Parler family (both of which were established at the building site of St. Vitus) designed numerous churches and buildings across Central Europe. More notable examples include Stephansdom cathedral in Vienna, Strasbourg Cathedral, Church of St. Marko in Zagreb and the Church of St. Barbara in Kutna Hora, also in Czech Republic. Regional Gothic styles of Slovenia, northern Croatia, Austria, Czech Republic, and southern Germany were all heavily influenced by Parler design.
Of particular interest are Parler's net vaults. The Late Gothic of Central Europe is characterised by ornate and extraordinary vaulting, a practice which was started by Parler's development of his own vaulting system for the choir of St. Vitus cathedral. Another regional Gothic style also displays amazing ingenuity and ornamentation in the design of vaults, the Perpendicular Style of English Gothic. A question remains of what was influenced by what. Some British art and architecture historians suspected that Peter Parler might have travelled to England at some point in his life, studying the great English Gothic cathedrals, which then inspired his work on St Vitus. However, taking into account that the Perpendicular style and the use of truly extravagant vaults in English Gothic began at the very end of 14th century, it is also quite possible that it was St Vitus Cathedral of Prague that influenced the development of English Gothic.[4]
Recent history
In 1997, on 1000th anniversary of the death of Saint Voitechus, the patrocinium (dedication) of the church was re-dedicated to Saint Wenceslaus and Saint Adalbert. The previous Romanesque basilica had this triple patrocinium to the main Bohemian patrons since 1038 when relics of Saint Adalbert were placed here.
In 1954, a government decree entrusted the whole Prague Castle into ownership of "all Czechoslovak people" and into administration of the President's Office. Beginning in 1992, after the Velvet Revolution the church filed several petitions requesting a determination on the true owner of the structure. After 14 years, in June 2006, the City Court in Prague decided that the 1954 decree did not change the ownership of the cathedral and the owner is the Metropolitan Chapter at Saint Vitus. In September 2006, the President's Office ceded the administration to the Metropolitan Chapter. However, in February 2007, the Supreme Court of the Czech Republic reversed the decision of the City Court and returned the case to the common court. In September 2007, the District Court of Praha 7 decided that the cathedral is owned by the Czech Republic, this decision was confirmed by the City Court in Prague and the Constitutional Court rejected the appeal of the Metropolitan Chapter, however noted that the chapter unquestionably owns the interior furnishings of the cathedral. The Metropolitan Chapter considered continuing the case in the European Court for Human Rights however in May 2010, the new Prague Archbishop Dominik Duka and the state president Václav Klaus together declared that they did not wish to continue with court conflicts. They constituted that the seven persons who are traditionally holders of the keys of the Saint Wenceslaus Chamber with the Bohemian Crown Jewels become also a board to coordinate and organize administration and use of the cathedral. However, controversy about ownership of some related canonry houses continues.
In July 2012, the Chamber of Deputies passed a bill to compensate the churches for property seized by the Communist government.[5] The Senate approved the bill in November 2012 and the government implemented it the following June after clearing legal challenges.[6]
Services
Regular religious services in the Cathedral are:
•Sunday 08:30 Mass, 10:00 Mass (celebrated in Latin every last Sunday of the month) and 17:00 Vespers (not during July to September)
•Monday 07:00 Mass
•Tuesday 07:00 Mass
•Wednesday 07:00 Mass
•Thursday 07:00 Mass
•Friday 07:00 Mass, 18:00 Mass
•Saturday 07:00 Mass
Confessions: (Czech and English)
•Sunday 09:30 – 10:00
•Friday 17:30 – 17:50
Further reading
•Fučíková, Eliška, Martin Halata, Klára Halmanová, Pvel Scheufler. "Prague Castle in Photographs /1956-1900". Prague: Správa Pražského hradu a Nakladatelství KANT, 2005. ISBN 80-86217-94-9
•K. Benešovská, P. Chotebor, T. Durdík, M. Placek, D. Prix, V. Razim. "Architecture of the Gothic", vol. 2 of "Ten centuries of architecture" series, Prague Castle Administration & DaDa, a.s., Prague 2001, ISBN 80-86161-41-2 (English version)
LEGAL NOTICE | protected work • All Rights reserved! © B. Egger photographer retains ownership and all copyrights in this work.
photographer | ▻ Bernard Egger.. • collections... • sets..
FC DNIPRO DNIPROPETROVSK www.fcdnipro.ua -
IFCS International football camps Styria, Austria
goal: 27 Lastuvka Jan (CZ) - 32 Kaniboloskiy Anton - 89 Schelichows Denys -- defender: 2 Inkoom Samule (Ghana) - 3 Lobzhandize Ucha (Georgia) - 5 Mandzyuk Vitaliy - 14 Cheberyachko Yevgen - 16 Rusol Andriy - 17 Strinic Ivan (HRO) - 19 Denisov Vitaliy (Usbekistan) - 24 Paschajew Pavlo -- midfield: 4 Krachenko Serhiy - 8 Guiliano (BRA) - 10 Konoplyanka Yevgen - 18 Ferreyra Osmar (ARG) - 25 Holek Mario (CZ) - 29 Rotan Ruslan - 30 Shakhov Yevgen - 36 Babenko Ruslan - 88 Lyopa Dmytro -- forward strikers: 9 Gomenyuk Volodymyr - 22 Gladkyy Oleksandr - 77 Bokhashvili Yevgen - 99 Matheus (BRA).
--
FC DNIPRO DNIPROPETROVSK Дніпропетровськ Днепропетровск Dnjepropetrowsk
Der 1911 gegründete Fußballverein FC Dnipro Dnipropetrovsk spielt national in der höchsten Spielklasse und mehrmals auch im UEFA-Cup. Er war in der Zeit der Zugehörigkeit zur Sowjetunion 1983 und 1988 zweimal Sowjetischer Fußballmeister. Der FK ist im 2008 eröffneten Multifunktionalen Dniprostadion beheimatet.
Dnipropetrovsk steht als Austragungsort für drei Vorrundenspiele der Fußball-Europameisterschaft 2012 zur Wahl. 1983, 1984, 2003 und 2010 wurde ein Spieler von Dnipro Dnipropetrovsk Ukrainischer Fußballer des Jahres.
The railway connection between Djibouti port and Addis Ababa was built by the Imperial Railway Company of Ethiopia, founded in 1894, and was opened in 1917. France owned the Djibouti part of the line, but transferred this ownership to the Djiboutian government after independence in 1977. Later, ownership of the entire railway went to the Ethio-Djibouti Railways company. Since the 1970s, the railway's quality has been deteriorating and its importance cut down as more and more of transported goods and passengers took the new improved roads. Djibouti's harbor also had to face the competition of the port of Massawa. With the independence of Eritrea in 1993, Ethiopia became landlocked, and because of deteriorating relations between the two countries, the eritrean port of Massawa was no longer accessible for Ethiopia and the access to Djibouti's one became strategic and vital again for Ethiopia .
In 2003 the European Commission prepared a grant of 40 millions of euros for the rehabilitation of the railway and raised it to 50 millions in 2006. On the 29th of november 2006 an agreement was signed with the Italian consortium Costra, and work began in 2007 on sections of the line that had been deteriorated during the war between Ethiopia and Somalia and also because of floods.
These renovations are expected to increase the capacity of transported goods on the railroad from 240,000 tons to 1,5 million tons a year, and thus relieve the traffic congestion caused by trucks and cars transporting goods on the road connecting Addis Ababa to Djibouti.
The journey from Addis Abeba to Djibouti lasts two days, and a connection is necessary in Dire Dawa, an ethiopian village 472 km far from Addis Abeba. The entire crossing is 780 km long, and the average speed of the train is 30 km/h.
The ethiopian people who work in the stations speak french, and it is a pleasure to talk with them. They just wait, wait , and wait for a rebirth of the legendary train...
© Eric Lafforgue
Anselm Feuerbach (1829 - 1880; active in Karlsruhe, Venice, Castel Toblino, Rome, Vienna, Nuremberg
Flower Girl, 1854)
Taken over 1907 from grand-ducal private ownership, inventory in 1031
Anselm Feuerbach (1829 - 1880; tätig in Karlsruhe, Venedig, Castel Toblino, Rom, Wien, Nürnberg
Blumenmädchen, 1854)
Übernommen 1907 aus großherzoglichem Besitz, Inventar 1031
Collection
The foundation of the collection consists of 205 mostly French and Dutch paintings from the 17th and 18th centuries which Margravine Karoline Luise acquired 1759-1776. From this collection originate significant works, such as The portrait of a young man by Frans van Mieris the Elder, The winter landscape with lime kiln of Nicolaes Pieterszoon Berchem, The Lacemaker by Gerard Dou, the Still Life with hunting equipment and dead partridge of Willem van Aelst, The Peace in the Chicken yard by Melchior de Hondecoeter as well as a self-portrait by Rembrandt van Rijn. In addition, four still lifes of Jean Siméon Chardin and two pastoral scenes by François Boucher, having been commissioned directly by the Marchioness from artists.
A first significant expansion the museum received in 1858 by the collection of canon Johann Baptist von Hirscher (1788-1865) with works of religious art of the 15th and 16th centuries. This group includes works such as two tablets of the Sterzinger altar and the wing fragment The sacramental blessing of Bartholomew Zeitblom. From 1899 to 1920, the native of Baden painter Hans Thoma held the position of Director of the Kunsthalle. He acquired old masterly paintings as the tauberbischofsheim altarpiece by Matthias Grünewald and drove the expansion of the collection with art of the 19th century forward. Only his successors expanded the holdings of the Art Gallery with works of Impressionism and the following generations of artists.
The permanent exhibition in the main building includes approximately 800 paintings and sculptures. Among the outstanding works of art of the Department German painters of the late Gothic and Renaissance are the Christ as Man of Sorrows by Albrecht Dürer, the Carrying of the Cross and the Crucifixion by Matthias Grünewald, Maria with the Child by Lucas Cranach the Elder, the portrait of Sebastian Brant by Hans Burgkmair the elder and The Nativity of Hans Baldung. Whose Margrave panel due to property disputes in 2006 made it in the headlines and also led to political conflicts. One of the biggest buying successes which a German museum in the postwar period was able to land concerns the successive acquisition of six of the seven known pieces of a Passion altar in 1450 - the notname of the artist after this work "Master of the Karlsruhe Passion" - a seventh piece is located in German public ownership (Wallraf-Richartz Museum, Cologne).
In the department of Dutch and Flemish paintings of the 16th century can be found, in addition to the aforementioned works, the portrait of the Marchesa Veronica Spinola Doria by Peter Paul Rubens, Moses strikes the rock and water flows for the thirsty people of Israel of Jacob Jordaens, the still life with kitchen tools and foods of Frans Snyders, the village festival of David Teniers the younger, the still life with lemon, oranges and filled clay pot by Willem Kalf, a Young couple having breakfast by Gabriel Metsu, in the bedroom of Pieter de Hooch, the great group of trees at the waterfront of Jacob Izaaksoon van Ruisdael, a river landscape with a milkmaid of Aelbert Jacobsz. Cuyp as well as a trompe-l'œil still life of Samuel van Hoogstraten.
Further examples of French paintings of the 17th and 18th centuries are, the adoration of the golden calf of Claude Lorrain, preparations for dance class of the Le Nain brothers, the portrait of Marshal Charles-Auguste de Matignon by Hyacinthe Rigaud, the portrait of a young nobleman in hunting costume of Nicolas de Largillière, The storm of Claude Joseph Vernet and The minuet of Nicolas Lancret. From the 19th century can be found with Rocky wooded valley at Civita Castellana by Gustave Courbet, The Lamentation of Eugène Delacroix, the children portrait Le petit Lange of Édouard Manet, the portrait of Madame Jeantaud by Edgar Degas, the landscape June morning near Pontoise by Camille Pissarro, homes in Le Pouldu Paul Gauguin and views to the sea at L'Estaque by Paul Cézanne further works of French artists at Kunsthalle.
One focus of the collection is the German painting and sculpture of the 19th century. From Joseph Anton Koch, the Kunsthalle possesses a Heroic landscape with rainbow, from Georg Friedrich Kersting the painting The painter Gerhard Kügelgen in his studio, from Caspar David Friedrich the landscape rocky reef on the sea beach and from Karl Blechen view to the Monastery of Santa Scolastica. Other important works of this department are the disruption of Adolph Menzel as well as the young self-portrait, the portrait Nanna Risi and The Banquet of Plato of Anselm Feuerbach.
For the presentation of the complex of oeuvres by Hans Thoma, a whole wing in 1909 at the Kunsthalle was installed. Main oeuvres of the arts are, for example, the genre picture The siblings as well as, created on behalf of the grand-ducal family, Thoma Chapel with its religious themes.
Of the German contemporaries of Hans Thoma, Max Liebermann on the beach of Noordwijk and Lovis Corinth with a portrait of his wife in the museum are represented. Furthermore the Kunsthalle owns works by Ferdinand Georg Waldmüller, Carl Spitzweg, Arnold Böcklin, Hans von Marées, Wilhelm Leibl, Fritz von Uhde, Wilhelm Trübner and Max Klinger.
In the building of the adjacent Orangerie works of the collection and new acquisitions from the years after 1952 can be seen. In two integrated graphics cabinets the Kupferstichkabinett (gallery of prints) gives insight into its inventory of contemporary art on paper. From the period after 1945, the works Arabs with footprints by Jean Dubuffet, Sponge Relief RE 48; Sol. 1960 by Yves Klein, Honoring the square: Yellow center of Josef Albers, the cityscape F by Gerhard Richter and the Fixe idea by Georg Baselitz in the Kunsthalle. The collection of classical modernism wandered into the main building. Examples of paintings from the period to 1945 are The Eiffel Tower by Robert Delaunay, the Improvisation 13 by Wassily Kandinsky, Deers in the Forest II by Franz Marc, People at the Blue lake of August Macke, the self-portrait The painter of Ernst Ludwig Kirchner, the Merzpicture 21b by Kurt Schwitters, the forest of Max Ernst, Tower gate II by Lyonel Feininger, the Seven Deadly Sins of Otto Dix and the removal of the Sphinxes by Max Beckmann. In addition, the museum regularly shows special exhibitions.
Sammlung
Den Grundstock der Sammlung bilden 205 meist französische und niederländische Gemälde des 17. und 18. Jahrhunderts, welche Markgräfin Karoline Luise zwischen 1759 und 1776 erwarb. Aus dieser Sammlung stammen bedeutende Arbeiten, wie das Bildnis eines jungen Mannes von Frans van Mieris der Ältere, die Winterlandschaft mit Kalkofen von Nicolaes Pieterszoon Berchem, Die Spitzenklöpplerin von Gerard Dou, das Stillleben mit Jagdgeräten und totem Rebhuhn von Willem van Aelst, Der Friede im Hühnerhof von Melchior de Hondecoeter sowie ein Selbstbildnis von Rembrandt van Rijn. Hinzu kommen vier Stillleben von Jean Siméon Chardin und zwei Schäferszenen von François Boucher, die die Markgräfin bei Künstlern direkt in Auftrag gegeben hatte.
Eine erste wesentliche Erweiterung erhielt das Museum 1858 durch die Sammlung des Domkapitulars Johann Baptist von Hirscher (1788–1865) mit Werken religiöser Kunst des 15. und 16. Jahrhunderts. Zu dieser Gruppe gehören Werke wie zwei Tafeln des Sterzinger Altars und das Flügelfragment Der sakramentale Segen von Bartholomäus Zeitblom. Von 1899 bis 1920 bekleidete der aus Baden stammende Maler Hans Thoma die Position des Direktors der Kunsthalle. Er erwarb altmeisterliche Gemälde wie den Tauberbischofsheimer Altar von Matthias Grünewald und trieb den Ausbau der Sammlung mit Kunst des 19. Jahrhunderts voran. Erst seine Nachfolger erweiterten die Bestände der Kunsthalle um Werke des Impressionismus und der folgenden Künstlergenerationen.
Die Dauerausstellung im Hauptgebäude umfasst rund 800 Gemälde und Skulpturen. Zu den herausragenden Kunstwerken der Abteilung deutsche Maler der Spätgotik und Renaissance gehören der Christus als Schmerzensmann von Albrecht Dürer, die Kreuztragung und Kreuzigung von Matthias Grünewald, Maria mit dem Kinde von Lucas Cranach der Ältere, das Bildnis Sebastian Brants von Hans Burgkmair der Ältere und die Die Geburt Christi von Hans Baldung. Dessen Markgrafentafel geriet durch Eigentumsstreitigkeiten 2006 in die Schlagzeilen und führte auch zu politischen Auseinandersetzungen. Einer der größten Ankaufserfolge, welche ein deutsches Museum in der Nachkriegszeit verbuchen konnte, betrifft den sukzessiven Erwerb von sechs der sieben bekannten Tafeln eines Passionsaltars um 1450 – der Notname des Malers nach diesem Werk „Meister der Karlsruher Passion“ – eine siebte Tafel befindet sich in deutschem öffentlichen Besitz (Wallraf-Richartz Museum, Köln).
In der Abteilung niederländischer und flämischer Malerei des 16. Jahrhunderts finden sich, neben den erwähnten Werken, das Bildnis der Marchesa Veronica Spinola Doria von Peter Paul Rubens, Moses schlägt Wasser aus dem Felsen von Jacob Jordaens, das Stillleben mit Küchengeräten und Lebensmitteln von Frans Snyders, das Dorffest von David Teniers dem Jüngeren, das Stillleben mit Zitrone, Orangen und gefülltem Römer von Willem Kalf, ein Junges Paar beim Frühstück von Gabriel Metsu, Im Schlafzimmer von Pieter de Hooch, die Große Baumgruppe am Wasser von Jacob Izaaksoon van Ruisdael, eine Flusslandschaft mit Melkerin von Aelbert Jacobsz. Cuyp sowie ein Augenbetrüger-Stillleben von Samuel van Hoogstraten.
Weitere Beispiele französischer Malerei des 17. bzw. 18. Jahrhunderts sind Die Anbetung des Goldeen Kalbes von Claude Lorrain, die Vorbereitung zur Tanzstunde der Brüder Le Nain, das Bildnis des Marschalls Charles-Auguste de Matignon von Hyacinthe Rigaud, das Bildnis eines jungen Edelmannes im Jagdkostüm von Nicolas de Largillière, Der Sturm von Claude Joseph Vernet und Das Menuett von Nicolas Lancret. Aus dem 19. Jahrhundert finden sich mit Felsiges Waldtal bei Cività Castellana von Gustave Courbet, Die Beweinung Christi von Eugène Delacroix, dem Kinderbildnis Le petit Lange von Édouard Manet, dem Bildnis der Madame Jeantaud von Edgar Degas, dem Landschaftsbild Junimorgen bei Pontoise von Camille Pissarro, Häuser in Le Pouldu von Paul Gauguin und Blick auf das Meer bei L’Estaque von Paul Cézanne weitere Arbeiten französischer Künstler in der Kunsthalle.
Einen Schwerpunkt der Sammlung bildet die deutsche Malerei und Skulptur des 19. Jahrhunderts. Von Joseph Anton Koch besitzt die Kunsthalle eine Heroische Landschaft mit Regenbogen, von Georg Friedrich Kersting das Gemälde Der Maler Gerhard Kügelgen in seinem Atelier, von Caspar David Friedrich das Landschaftsbild Felsenriff am Meeresstrand und von Karl Blechen den Blick auf das Kloster Santa Scolastica. Weitere bedeutende Werke dieser Abteilung sind Die Störung von Adolph Menzel sowie das Jugendliche Selbstbildnis, das Bildnis Nanna Risi und Das Gastmahl des Plato von Anselm Feuerbach.
Für die Präsentation des Werkkomplexes von Hans Thoma wurde 1909 in der Kunsthalle ein ganzer Gebäudetrakt errichtet. Hauptwerke des Künstlers sind etwa das Genrebild Die Geschwister sowie die, im Auftrag der großherzöglichen Familie geschaffene, Thoma-Kapelle mit ihren religiösen Themen.
Von den deutschen Zeitgenossen Hans Thomas sind Max Liebermann mit Am Strand von Noordwijk und Lovis Corinth mit einem Bildnis seiner Frau im Museum vertreten. Darüber hinaus besitzt die Kunsthalle Werke von Ferdinand Georg Waldmüller, Carl Spitzweg, Arnold Böcklin, Hans von Marées, Wilhelm Leibl, Fritz von Uhde, Wilhelm Trübner und Max Klinger.
Im Gebäude der benachbarten Orangerie sind Werke der Sammlung und Neuankäufe aus den Jahren nach 1952 zu sehen. In zwei integrierten Grafikkabinetten gibt das Kupferstichkabinett Einblick in seinen Bestand zeitgenössischer Kunst auf Papier. Aus der Zeit nach 1945 finden sich die Arbeiten Araber mit Fußspuren von Jean Dubuffet, Schwammrelief >RE 48:Sol.1960< von Yves Klein, Ehrung des Quadrates: Gelbes Zentrum von Josef Albers, das Stadtbild F von Gerhard Richter und die Fixe Idee von Georg Baselitz in der Kunsthalle. Die Sammlung der Klassischen Moderne wanderte in das Hauptgebäude. Beispiele für Gemälde aus der Zeit bis 1945 sind Der Eiffelturm von Robert Delaunay, die Improvisation 13 von Wassily Kandinsky, Rehe im Wald II von Franz Marc, Leute am blauen See von August Macke, das Selbstbildnis Der Maler von Ernst Ludwig Kirchner, das Merzbild 21b von Kurt Schwitters, Der Wald von Max Ernst, Torturm II von Lyonel Feininger, Die Sieben Todsünden von Otto Dix und der Abtransport der Sphinxe von Max Beckmann. Darüber hinaus zeigt das Museum regelmäßig Sonderausstellungen.
de.wikipedia.org/wiki/Staatliche_Kunsthalle_Karlsruhe
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BMW R 1200 CL - Woodcliff Lake, New Jersey, August 2002 ... Some people consider a six-day cruise as the perfect vacation. Other's might agree, as long as the days are marked by blurred fence posts and dotted lines instead of palm trees and ocean waves. For them, BMW introduces the perfect alternative to a deck chair - the R 1200 CL.
Motorcyclists were taken aback when BMW introduced its first cruiser in 1997, but the R 1200 C quickly rose to become that year's best-selling BMW. The original has since spawned several derivatives including the Phoenix, Euro, Montana and Stiletto. This year, BMW's cruiser forms the basis for the most radical departure yet, the R 1200 CL. With its standard integral hard saddlebags, top box and distinctive handlebar-mounted fairing, the CL represents twin-cylinder luxury-touring at its finest, a completely modern luxury touring-cruiser with a touch of classic BMW.
Although based on the R 1200 C, the new CL includes numerous key changes in chassis, drivetrain, equipment and appearance, specifically designed to enhance the R 1200's abilities as a long-distance mount. While it uses the same torquey, 1170cc 61-hp version of BMW's highly successful R259 twin, the CL backs it with a six-speed overdrive transmission. A reworked Telelever increases the bike's rake for more-relaxed high-speed steering, while the fork's wider spacing provides room for the sculpted double-spoke, 16-inch wheel and 150/80 front tire. Similarly, a reinforced Monolever rear suspension controls a matching 15-inch alloy wheel and 170/80 rear tire. As you'd expect, triple disc brakes featuring BMW's latest EVO front brake system and fully integrated ABS bring the bike to a halt at day's end-and set the CL apart from any other luxury cruiser on the market.
Yet despite all the chassis changes, it's the new CL's visual statement that represents the bike's biggest break with its cruiser-mates. With its grip-to-grip sweep, the handlebar-mounted fairing evokes classic touring bikes, while the CL's distinctive quad-headlamps give the bike a decidedly avant-garde look - in addition to providing standard-setting illumination. A pair of frame-mounted lowers extends the fairing's wind coverage and provides space for some of the CL's electrics and the optional stereo. The instrument panel is exceptionally clean, surrounded by a matte gray background that matches the kneepads inset in the fairing extensions. The speedometer and tachometer flank a panel of warning lights, capped by the standard analog clock. Integrated mirror/turnsignal pods extend from the fairing to provide further wind protection. Finally, fully integrated, color-matched saddlebags combine with a standard top box to provide a steamer trunk's luggage capacity.
The CL's riding position blends elements of both tourer and cruiser, beginning with a reassuringly low, 29.3-inch seat height. The seat itself comprises two parts, a rider portion with an integral lower-back rest, and a taller passenger perch that includes a standard backrest built into the top box. Heated seats, first seen on the K 1200 LT, are also available for the CL to complement the standard heated grips. A broad, flat handlebar places those grips a comfortable reach away, and the CL's floorboards allow the rider to shift position easily without compromising control. Standard cruise control helps melt the miles on long highway stints. A convenient heel/toe shifter makes for effortless gearchanges while adding exactly the right classic touch.
The R 1200 CL backs up its cruiser origins with the same superb attention to cosmetics as is shown in the functional details. In addition to the beautifully finished bodywork, the luxury cruiser boasts an assortment of chrome highlights, including valve covers, exhaust system, saddlebag latches and frame panels, with an optional kit to add even more brightwork. Available colors include Pearl Silver Metallic, Capri Blue Metallic and Mojave Brown Metallic, this last with a choice of black or brown saddle (other colors feature black).
The R 1200 CL Engine: Gearing For The Long Haul
BMW's newest tourer begins with a solid foundation-the 61-hp R 1200 C engine. The original, 1170cc cruiser powerplant blends a broad powerband and instantaneous response with a healthy, 72 lb.-ft. of torque. Like its forebear, the new CL provides its peak torque at 3000 rpm-exactly the kind of power delivery for a touring twin. Motronic MA 2.4 engine management ensures that this Boxer blends this accessible power with long-term reliability and minimal emissions, while at the same time eliminating the choke lever for complete push-button simplicity. Of course, the MoDiTec diagnostic feature makes maintaining the CL every bit as simple as the other members of BMW's stable.
While tourers and cruisers place similar demands on their engines, a touring bike typically operates through a wider speed range. Consequently, the R 1200 CL mates this familiar engine to a new, six-speed transmission. The first five gear ratios are similar to the original R 1200's, but the sixth gear provides a significant overdrive, which drops engine speed well under 3000 rpm at 60 mph. This range of gearing means the CL can manage either responsive in-town running or relaxed freeway cruising with equal finesse, and places the luxury cruiser right in the heart of its powerband at touring speeds for simple roll-on passes.
In addition, the new transmission has been thoroughly massaged internally, with re-angled gear teeth that provide additional overlap for quieter running. Shifting is likewise improved via a revised internal shift mechanism that produces smoother, more precise gearchanges. Finally, the new transmission design is lighter (approximately 1 kg.), which helps keep the CL's weight down to a respectable 679 lbs. (wet). The improved design of this transmission will be adopted by other Boxer-twins throughout the coming year.
The CL Chassis: Wheeled Luggage Never Worked This Well
Every bit as unique as the CL's Boxer-twin drivetrain is the bike's chassis, leading off-literally and figuratively-with BMW's standard-setting Telelever front suspension. The CL's setup is identical in concept and function to the R 1200 C's fork, but shares virtually no parts with the previous cruiser's. The tourer's wider, 16-inch front wheel called for wider-set fork tubes, so the top triple clamp, fork bridge, fork tubes and axle have all been revised, and the axle has switched to a full-floating design. The aluminum Telelever itself has been further reworked to provide a slightly more raked appearance, which also creates a more relaxed steering response for improved straight-line stability. The front shock has been re-angled and its spring and damping rates changed to accommodate the new bike's suspension geometry, but is otherwise similar to the original R 1200 C's damper.
Similarly, the R 1200 CL's Monolever rear suspension differs in detail, rather than concept, from previous BMW cruisers. Increased reinforcing provides additional strength at the shock mount, while a revised final-drive housing provides mounts for the new rear brake. But the primary rear suspension change is a switch to a shock with travel-related damping, similar to that introduced on the R 1150 GS Adventure. This new shock not only provides for a smoother, more controlled ride but also produces an additional 20mm travel compared to the other cruisers, bringing the rear suspension travel to 4.72 inches.
The Telelever and Monolever bolt to a standard R 1200 C front frame that differs only in detail from the original. The rear subframe, however, is completely new, designed to accommodate the extensive luggage system and passenger seating on the R 1200 CL. In addition to the permanently affixed saddlebags, the larger seats, floor boards, top box and new side stand all require new mounting points.
All this new hardware rolls on completely restyled double-spoke wheels (16 x 3.5 front/15 x 4.0 rear) that carry wider, higher-profile (80-series) touring tires for an extremely smooth ride. Bolted to these wheels are larger disc brakes (12.0-inch front, 11.2-inch rear), with the latest edition of BMW's standard-setting EVO brakes. A pair of four-piston calipers stop the front wheel, paired with a two-piston unit-adapted from the K 1200 LT-at the rear. In keeping with the bike's touring orientation, the new CL includes BMW's latest, fully integrated ABS, which actuates both front and rear brakes through either the front hand lever or the rear brake pedal.
The CL Bodywork: Dressed To The Nines
Although all these mechanical changes ensure that the new R 1200 CL works like no other luxury cruiser, it's the bike's styling and bodywork that really set it apart. Beginning with the bike's handlebar-mounted fairing, the CL looks like nothing else on the road, but it's the functional attributes that prove its worth. The broad sweep of the fairing emphasizes its aerodynamic shape, which provides maximum wind protection with a minimum of buffeting. Four headlamps, with their horizontal/vertical orientation, give the CL its unique face and also create the best illumination outside of a baseball stadium (the high-beams are borrowed from the GS).
The M-shaped windshield, with its dipped center section, produces exceptional wind protection yet still allows the rider to look over the clear-plastic shield when rain or road dirt obscure the view. Similarly, clear extensions at the fairing's lower edges improve wind protection even further but still allow an unobstructed view forward for maneuvering in extremely close quarters. The turnsignal pods provide further wind coverage, and at the same time the integral mirrors give a clear view to the rear.
Complementing the fairing, both visually and functionally, the frame-mounted lowers divert the wind blast around the rider to provide further weather protection. Openings vent warm air from the frame-mounted twin oil-coolers and direct the heat away from the rider. As noted earlier, the lowers also house the electronics for the bike's optional alarm system and cruise control. A pair of 12-volt accessory outlets are standard.
Like the K 1200 LT, the new R 1200 CL includes a capacious luggage system as standard, all of it color-matched and designed to accommodate rider and passenger for the long haul. The permanently attached saddlebags include clamshell lids that allow for easy loading and unloading. Chrome bumper strips protect the saddlebags from minor tipover damage. The top box provides additional secure luggage space, or it can be simply unbolted to uncover an attractive aluminum luggage rack. An optional backrest can be bolted on in place of the top box. Of course, saddlebags and top box are lockable and keyed to the ignition switch.
Options & Accessories: More Personal Than A Monogram
Given BMW's traditional emphasis on touring options and the cruiser owner's typical demands for customization, it's only logical to expect a range of accessories and options for the company's first luxury cruiser. The CL fulfills those expectations with a myriad of options and accessories, beginning with heated or velour-like Soft Touch seats and a low windshield. Electronic and communications options such as an AM/FM/CD stereo, cruise control and onboard communication can make time on the road much more pleasant, whether you're out for an afternoon ride or a cross-country trek - because after all, nobody says you have to be back in six days. Other available electronic features include an anti-theft alarm, which also disables the engine.
Accessories designed to personalize the CL even further range from cosmetic to practical, but all adhere to BMW's traditional standards for quality and fit. Chrome accessories include engine-protection and saddlebag - protection hoops. On a practical level, saddlebag and top box liners simplify packing and unpacking. In addition to the backrest, a pair of rear floorboards enhance passenger comfort even more.
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Der Luxus-Cruiser zum genussvollen Touren.
Die Motorradwelt war überrascht, als BMW Motorrad 1997 die R 1200 C, den ersten Cruiser in der Geschichte des Hauses, vorstellte. Mit dem einzigartigen Zweizylinder-Boxermotor und einem unverwechselbar eigenständigen Design gelang es auf Anhieb, sich in diesem bis dato von BMW nicht besetzten Marktsegment erfolgreich zu positionieren. Bisher wurden neben dem Basismodell R 1200 C Classic die technisch nahezu identischen Modellvarianten Avantgarde und Independent angeboten, die sich in Farbgebung, Designelementen und Ausstattungsdetails unterscheiden.
Zur Angebotserweiterung und zur Erschließung zusätzlicher Potenziale, präsentiert BMW Motorrad für das Modelljahr 2003 ein neues Mitglied der Cruiserfamilie, den Luxus-Cruiser R 1200 CL.
Er wird seine Weltpremiere im September in München auf der INTERMOT haben und voraussichtlich im Herbst 2002 auf den Markt kommen. Der Grundgedanke war, Elemente von Tourenmotorrädern auf einen Cruiser zu übertragen und ein Motorrad zu entwickeln, das Eigenschaften aus beiden Fahrzeuggattungen aufweist.
So entstand ein eigenständiges Modell, ein Cruiser zum genussvollen Touren, bei dem in Komfort und Ausstattung keine Wünsche offen bleiben.
Als technische Basis diente die R 1200 C, von der aber im wesentlichen nur der Motor, der Hinterradantrieb, der Vorderrahmen, der Tank und einige Ausstattungsumfänge übernommen wurden. Ansonsten ist das Motorrad ein völlig eigenständiger Entwurf und in weiten Teilen eine Neuentwicklung.
Fahrgestell und Design:
Einzigartiges Gesicht, optische Präsenz und Koffer integriert.
Präsenz, kraftvoller Auftritt und luxuriöser Charakter, mit diesen Worten lässt sich die Wirkung der BMW R 1200 CL kurz und treffend beschreiben. Geprägt wird dieses Motorrad von der lenkerfesten Tourenverkleidung, deren Linienführung sich in den separaten seitlichen Verkleidungsteilen am Tank fortsetzt, so dass in der Seitenansicht fast der Eindruck einer integrierten Verkleidung entsteht. Sie bietet dem Fahrer ein hohes Maß an Komfort durch guten Wind- und Wetterschutz.
Insgesamt vier in die Verkleidung integrierte Scheinwerfer, zwei für das Abblendlicht und zwei für das Fernlicht, geben dem Motorrad ein unverwechselbares, einzigartiges Gesicht und eine beeindruckende optische Wirkung, die es so bisher noch bei keinem Motorrad gab. Natürlich sorgen die vier Scheinwerfer auch für eine hervorragende Fahrbahnausleuchtung.
Besonders einfallsreich ist die aerodynamische Gestaltung der Verkleidungsscheibe mit ihrem wellenartig ausgeschnittenen oberen Rand. Sie leitet die Strömung so, dass der Fahrer wirkungsvoll geschützt wird. Gleichzeitig kann man aber wegen des Einzugs in der Mitte ungehindert über die Scheibe hinwegschauen und hat somit unabhängig von Nässe und Verschmutzung der Scheibe ein ungestörtes Sichtfeld auf die Straße.
Zur kraftvollen Erscheinung des Motorrades passt der Vorderradkotflügel, der seitlich bis tief zur Felge heruntergezogen ist. Er bietet guten Spritzschutz und unterstreicht zusammen mit dem voluminösen Vorderreifen die Dominanz der Frontpartie, die aber dennoch Gelassenheit und Eleganz ausstrahlt.
Der gegenüber den anderen Modellen flacher gestellte Telelever hebt den Cruisercharakter noch mehr hervor. Der Heckbereich wird bestimmt durch die integrierten, fest mit dem Fahrzeug verbundenen Hartschalenkoffer und das abnehmbare Topcase auf der geschwungenen Gepäckbrücke, die zugleich als Soziushaltegriff dient. Koffer und Topcase sind jeweils in Fahrzeugfarbe lackiert und bilden somit ein harmonisches Ganzes mit dem Fahrzeug.
Akzente setzen auch die stufenförmig angeordneten breiten Komfortsitze für Fahrer und Beifahrer mit der charakteristischen hinteren Abstützung. Luxus durch exklusive Farben, edle Oberflächen und Materialien.
Die R 1200 CL wurde zunächst in drei exklusiven Farben angeboten: perlsilber-metallic und capriblau-metallic mit jeweils schwarzen Sitzen und mojavebraun-metallic mit braunem Sitzbezug (wahlweise auch in schwarz).
Die Eleganz der Farben wird unterstützt durch sorgfältige Materialauswahl und perfektes Finish von Oberflächen und Fugen. So ist zum Beispiel die Gepäckbrücke aus Aluminium-Druckguß gefertigt und in weissaluminium lackiert, der Lenker verchromt und die obere Instrumentenabdeckung ebenfalls weissaluminiumfarben lackiert. Die Frontverkleidung ist vollständig mit einer Innenabdeckung versehen, und die Kniepads der seitlichen Verkleidungsteile sind mit dem gleichen Material wie die Sitze überzogen.
All dies unterstreicht den Anspruch auf Luxus und Perfektion.
Antrieb jetzt mit neuem, leiserem Sechsganggetriebe - Boxermotor unverändert.
Während der Boxermotor mit 1170 cm³ unverändert von der bisherigen R 1200 C übernommen wurde - auch die Leistungsdaten sind mit 45 kW (61 PS) und 98 Nm Drehmoment bei 3000 min-1 gleich geblieben -, ist das Getriebe der R 1200 CL neu. Abgeleitet von dem bekannten Getriebe der anderen Boxermodelle hat es jetzt auch sechs Gänge und wurde grundlegend überarbeitet. Als wesentliche Neuerung kommt eine sogenannte Hochverzahnung zum Einsatz. Diese sorgt für einen "weicheren" Zahneingriff und reduziert erheblich die Laufgeräusche der Verzahnung.
Der lang übersetzte, als "overdrive" ausgelegte, sechste Gang erlaubt drehzahlschonendes Fahren auf langen Etappen in der Ebene und senkt dort Verbrauch und Geräusch. Statt eines Schalthebels gibt es eine Schaltwippe für Gangwechsel mit einem lässigen Kick. Schaltkomfort, Geräuscharmut, niedrige Drehzahlen und dennoch genügend Kraft - Eigenschaften, die zum Genusscharakter des Fahrzeugs hervorragend passen.
Dass auch die R 1200 CL, wie jedes seit 1997 neu eingeführte BMW Motorrad weltweit, serienmäßig über die jeweils modernste Abgasreinigungstechnologie mit geregeltem Drei-Wege-Katalysator verfügt, muss fast nicht mehr erwähnt werden. Es ist bei BMW zur Selbstverständlichkeit geworden.
Fahrwerkselemente für noch mehr Komfort - Telelever neu und hinteres Federbein mit wegabhängiger Dämpfung.
Ein cruisertypisches Merkmal ist die nach vorn gestreckte Vorderradführung mit flachem Winkel zur Fahrbahn und großem Nachlauf. Dazu wurde für die R 1200 CL der nach wie vor einzigartige BMW Telelever neu ausgelegt.
Die Gabelholme stehen weiter auseinander, um dem bulligen, 150 mm breiten Vorderradreifen Platz zu bieten.
Für die Hinterradfederung kommt ein Federbein mit wegabhängiger Dämpfung zum Einsatz, das sich durch hervorragende Komforteigenschaften auszeichnet. Der Gesamtfederweg wuchs um 20 mm gegenüber den anderen Cruisermodellen auf jetzt 120 mm. Die Federbasisverstellung zur Anpassung an den Beladungszustand erfolgt hydraulisch über ein bequem zugängliches Handrad.
Hinterradschwinge optimiert und Heckrahmen neu.
Die Hinterradschwinge mit Hinterachsgehäuse, der BMW Monolever, wurde verstärkt und zur Aufnahme einer größeren Hinterradbremse angepasst.
Der verstärkte Heckrahmen ist vollständig neu, um Trittbretter, Kofferhalter, Gepäckbrücke und die neuen Sitze sowie die modifizierte Seitenstütze aufnehmen zu können. Der Vorderrahmen aus Aluminiumguss wurde mit geringfügigen Modifikationen von der bisherigen R 1200 C übernommen.
Räder aus Aluminiumguss, Sitze, Trittbretter und Lenker - alles neu.
Der optische Eindruck eines Motorrades wird ganz wesentlich auch von den Rädern bestimmt. Die R 1200 CL hat avantgardistisch gestaltete neue Gussräder aus Aluminium mit 16 Zoll (vorne) beziehungsweise 15 Zoll (hinten) Felgendurchmesser, die voluminöse Reifen im Format 150/80 vorne und 170/80 hinten aufnehmen.
Die Sitze sind für Fahrer und Beifahrer getrennt ausgeführt, um den unterschiedlichen Bedürfnissen gerecht zu werden. So ist der breite Komfortsattel für den Fahrer mit einer integrierten Beckenabstützung versehen und bietet einen hervorragenden Halt. Die Sitzhöhe beträgt 745 mm. Der Sitz für den Passagier ist ebenfalls ganz auf Bequemlichkeit ausgelegt und etwas höher als der Fahrersitz angeordnet. Dadurch hat der Beifahrer einen besseren Blick am Fahrer vorbei und kann beim Cruisen die Landschaft ungestört genießen.
Großzügige cruisertypische Trittbretter für den Fahrer tragen zum entspannten Sitzen bei. Die Soziusfußrasten, die von der K 1200 LT abgeleitet sind, bieten ebenfalls sehr guten Halt und ermöglichen zusammen mit dem günstigen Kniebeugewinkel auch dem Beifahrer ein ermüdungsfreies Touren.
Der breite, verchromte Lenker vermittelt nicht nur Cruiser-Feeling; Höhe und Kröpfungswinkel sind so ausgelegt, dass auch auf langen Fahrten keine Verspannungen auftreten. Handhebel und Schalter mit der bewährten und eigenständigen BMW Bedienlogik wurden unverändert von den anderen Modellen übernommen.
HighTech bei den Bremsen - BMW EVO-Bremse und als Sonderausstattung Integral ABS.
Sicherheit hat bei BMW traditionell höchste Priorität. Deshalb kommt bei der
R 1200 CL die schon in anderen BMW Motorrädern bewährte EVO-Bremse am Vorderrad zum Einsatz, die sich durch eine verbesserte Bremsleistung auszeichnet. Auf Wunsch gibt es das einzigartige BMW Integral ABS, dem Charakter des Motorrades entsprechend in der Vollintegralversion. Das heißt, unabhängig ob der Hand- oder Fußbremshebel betätigt wird, immer wirkt die Bremskraft optimal auf beide Räder. Im Vorderrad verzögert eine Doppel-Scheibenbremse mit 305 mm Scheibendurchmesser und im Hinterrad die von der K 1200 LT übernommene Einscheiben-Bremsanlage mit einem Scheibendurchmesser von 285 mm.
Fortschrittliche Elektrik: Vierfach-Scheinwerfer, wartungsarme Batterie und elektronischer Tachometer.
Vier Scheinwerfer, je zwei für das Abblend- und Fernlicht, geben dem Motorrad von vorne ein einzigartiges prägnantes Gesicht. Durch die kreuzweise Anordnung - die Abblendscheinwerfer sitzen nebeneinander und die Fernscheinwerfer dazwischen und übereinander - wird eine hohe Signalwirkung bei Tag und eine hervorragende Fahrbahnausleuchtung bei Dunkelheit erzielt.
Neu ist die wartungsarme, komplett gekapselte Gel-Batterie, bei der kein Wasser mehr nachgefüllt werden muss. Eine zweite Steckdose ist serienmäßig. Die Instrumente sind ebenfalls neu. Drehzahlmesser und Tachometer sind elektronisch und die Zifferblätter neu gestaltetet, ebenso die Analoguhr.
Umfangreiche Sonderausstattung für Sicherheit, Komfort und individuellen Luxus.
Die Sonderausstattung der R 1200 CL ist sehr umfangreich und reicht vom BMW Integral ABS für sicheres Bremsen über Komfortausstattungen wie Temporegelung, heizbare Lenkergriffe und Sitzheizung bis hin zu luxuriöser Individualisierung mit Softtouchsitzen, Chrompaket und fernbedientem Radio mit CD-Laufwerk.
Above:
Sr. Giacomo Brateolo [...]
[Autograph.]
Below:
Ex Bibliotheca Jo: Bapt[ista]e Bianchi
1736.
[Dated 18th-century ms. ownership inscription, possibly that of Giovanni Battista Bianchi, aka Giano or Jano Planco, Italian physician and author. Bianchi was born in Rimini and graduated from the University of Bologna in 1719. According to Paula Findlen, "There was virtually no subject -- medical, scientific, antiquarian, and literary -- that did not interest Bianchi and virtually no academic controversy on which he did not voice his opinion" ("Medicine, Pornography and Culture in Eighteenth-Century Italy" in Italy's Eighteenth Century, ed. P. Findlen et al. (Stanford: Stanford UP, 2009), p. 219). Appointed professor of anatomy at the University of Siena in 1741, Bianchi so antagonized his colleagues and students that in 1743, after a public mocking during Carnival, he fled the city. "The university superintendent Pompeo Neri was ultimately forced to publish an Ordinance that the Insults against Bianchi Absolutely Cease in March 1743 in order to entice the difficult anatomist back to his job" -- which he abandoned for good in 1744, fed up with the failure of the Sienese to recognize his talents (Findlen, p. 220). Rimini was more simpatico, granting him the title "noble citizen" upon his return, and Bianchi spent the remainder of his days there, working as a medical practitioner and scientific researcher (in 1755 he famously used electricity to resuscitate a dog), as well as the director of a secondary school.
Established heading: Bianchi, Giovanni, 1693-1775]
Woodcut printer's device of Vincenzo Valgrisi of Venice, with his motto.
Established heading: Valgrisi, Vincenzo, fl. 1540-1572
Penn Libraries call number: GC55 P5895 568o
A well kept older home and traditional root cellar in Lower Island Cove, Newfoundland. It's nice to see some of these spots kept up and still in use. No doubt it looks even better with everthing in bloom.
H. T. Whately
Ch. Ch.
[Henry Thomas Whately (1822?-1879), Christ Church, Oxford. Earned his B.A. in 1845 and M.A. in 1847; vicar of Kington Co., Hereford from 1860 until his death in 1879. His full entry in the Alumni Oxonienses (1715-1886) is here.]
A. Lamont
Probably Austin Lamont (1905-1969), son of Thomas W. Lamont, banker at JP Morgan after whom Harvard's Lamont Library is named. According to this article in Anesthesiology, Austin Lamont was "originally planning to study classic Latin and Greek at the New College, Oxford University, England, [but] he changed his mind while still on the steamship headed for Europe." He instead studied science and became a doctor and professor of anesthesiology at the University of Pennsylvania School of Medicine (1947-mid1960s).
Austin and his 2nd wife Bodine were Philadelphia elites and associated with other prominent Philadelphians Carl and Laura Zigrosser. Carl Zigrosser was a prints curator at the Philadelphia Museum of Art and member of the Print Club (Philadelphia). A finding aid to Zigrosser's papers is available here.
Other examples of Austin Lamont's autograph.
Stamp of the Department of Classical Studies Department, University of Pennsylvania
Penn Libraries call number: GrC An135 1813
I admit I disliked fuji when it started. From the X100 to the XPro1, the camera system, despite its completely seducing color science output, was completely out of sync with my practice in terms of autofocus speed and file. Now the X system has matured into something that I find very hard to match for mirrorless camera photography.
The XT1 comes to solve pretty much all the problems I had with the system: AF and Camera Operations (once u get used to the nobs, hard to go back to menus) are reliable and quick, Lightroom 5.7 renders the file beautifully (with Classic Chrome) and the viewfinder is bigger than that of a full frame dSLR. Not only the camera is now a great camera, the lens system is superb in its consistency: the 14, 23 and 56 are great highly recommended lenses and perform equally marvellously in sharpness, colors and BOKEH while also looking darn good with the Fuji design language. Image quality wise, you get clean files at most of the modern ISOs 200-6400 (you can push the 6400 raw up to 12800 if u want without much penalty or color shifts).
The running cost of ownership is also even more interesting. The body goes for around 1K$ and the rest of the "super prime lenses" (you'd want to shoot prime with this one) go for 1k$ or less each. You can get yourself up and running for less than a full frame camera with equivalent quality lenses.The XT1 ain't still sunshine and rainbow though: It requires the extra grip to enjoy shooting with it, it is not light, the battery lasts as much as a film roll, you can't use exposure compensation on "manual" mode to shift the auto-ISO values, the RAW files are HUGE 30-40mb a piece, low-light AF works fast as long as you have a contrast zone to hunt for but then you also have a magnificent manual focus experience. Classic Chrome (also available in LR 5.7) redefines the fuji photography experience by offering a raw file free of color distorsions and true of natural colors as well as a butt load of great micro-contrast off the file.
All in all, I have to say that I fell in love with it. It is truly the best enthusiast mirrorless system I've come across and it's now well matured.
If you use a full frame dSLR: switching to fuji will depend if you want the premium lenses or the full frame IQ but can't afford the steep 2K$ per lens or 2-4K$ per body, also if you want to sacrifice the extensive "flash system" that dSLRs have.
If you are using a crop sensor dSLR: switching to fuji will depend if you want to keep investing in photography lenses and equipment and don't have to shoot unpredictable fast moving subjects, like birdies.
If you use a Sony: switching to fuji will depend if you are fed up with the teenage identity crisis unpredictability of the system's evolution (new tech = new "test" camera = no "conclusion" camera = less lenses for existing cameras = change the name). The A7 system will flourish to lead the mirrorless trend one day but before that day comes, you have at least until 2016.
If you use a m43 camera: switching to fuji will depend if are willing to drop a bunch of practical technical features: super fast AF (fuji is DARN FAST but m43 cameras are INSTANT FAST), video (I don't shoot video) or image stabilisation or clinical sharpness (fuji images are sharp! but not as pixel sharp as m43... I mean no camera is as pixel sharp as the m43 an) or the touchscreen af point selection... all this for an upgrade in image aesthetics that's a compromise of m43 compactness (somewhat) and passionated lens designs (m43's got good lenses but no "omg wow what the heck" lenses, sorry)
If you shoot film: This is IT. Film nobs, Film look, Film grain, Film output… on digital. This is fujifilm making a camera with the color science they apply on their negatives, all of it.
The History of Fernhill & Blaenrhondda Colliery
Fernhill and Blaenrhondda Collieries were situated in the northern end of the Rhondda Fawr Valley and approximately 300m north of the village of Blaenrhondda.
The collieries were erected on the land of Blaenrhondda and Ystradffernol farms, both part of the Dunraven Estate (Tithe map and schedule of Ystradyfodwg, 1844). Blaenrhondda Colliery, (Shafts 3 & 4) also known as the North Dunraven Pit, was sunk in 1859 by George Lockett, James Marychurch, Herbert Kirkhouse and Rees Jones and traded as the Cardiff and Merthyr Steam Coal Company until bought as a going concern by the London and South Wales Coal Company in 1875.
In the meantime, development of the adjacent Fernhill Colliery started with the sinking of Nos. 1 and 2 pits by J. Marychurch and Partners in 1871. Shafts Nos. 3 and 4, (Blaenrhondda Colliery which were situated approximately 300m north of shafts 1 & 2) Fernhill, were sunk under the ownership of Messrs Crowley, John and Oldroyd of Dewsbury further in 1872. Blaenrhondda and Fernhill collieries were amalgamated in 1893 under the ownership of George Watkinson and Sons to form Fernhill Collieries Limited.
It is reported that in 1874 two men were killed in a shaft accident when the stage on which they were working collapsed, they fell in to the sump and drowned.
In 1877 the colliery was owned by George Watkinson & Sons.
17th May 1879, South Wales Daily News “FATAL ACGIDENT All FERNHILL COLLIERY. A man named Samuel Williams while working at Fernhill Colliery on Wednesday night, at the bottom of the pit got under a descending carriage, and was knocked into the sump." He sustained such severe injury that he died shortly afterwards.”
27th May 1882, Weekly Mail “FATAL COLLIERY ACCIDENT AT TREHERBERT. Mr. T. Williams, deputy coroner, last week held an inquest into the circumstances attending the death of Richard Jones, aged 29, an assistant- hitcher at Fernhill Colliery, Treherbert. It was stated that on the 2nd of May the deceased was at work assisting the hitcher at the bottom of the pit. the hitcher being on one side pushing on the full trams, and the deceased on the other side pulling off the empties, when a large lump of "brass" (a heavy stone) fell down the pit, striking the top of the carriage that was coming down, and glancing off it struck the deceased on the arm and legs, breaking them. He was taken home. On the 3rd inst. one leg' and one arm were amputated, but he died on the 4th. It was stated that there was a large beam on each side of the pit within four or five inches of the carriage, and in reply to the question whether he thought that was as near as it ought to be, the manager said he considered it was, as if closer there were other dangers, such as of men being caught when going up in the carriage if they did not keep "close in. "The jury returned a verdict of Accidental death."
1st July 1882, The Pontypridd Chronicle and Workman’s News “Ever Since Saturday last some timber above the arch over the underground boilers at Fernhill Colliery above Treherbert, has been on fire. It was thought when the fire was first discovered that it would soon be put out. But it is still smouldering, and is beginning to cause considerable anxiety in the minds of the authorities at the colliery.”
24th July 1882, South Wales Daily News “THE FERNHILL COLLIERY. The difference between the proprietors of the above colliery and their workmen has for the past four weeks been the subject of some interest in the district, and the news that the matter has been amicably settled without resorting to any legal proceedings, which is the means of so much bitterness between employers and employed, will be welcomed by all parties. Mr Watkinson, the proprietor Mr Rosser, the manager Mr W. Simons, Merthyr and Mr W. Abraham, miners' agent, met at Merthyr on Saturday. After a somewhat lengthy consultation, it was arranged that the men should resume work at once, and be paid, as heretofore, on the old standard rates. Mr Abraham will meet the men this (Monday) morning to inform them of the arrangement.”
26th October 1888, The Pontypridd Chronicle and Workmen’s News – “COLLIERY ACCIDENT AT TRE- HERBERT. George Evans. Mountain-row, Tynewydd, was very seriously injured in Fernhill Colliery on Fri- day night. It appears he was trying to pa(?) under the pit while the cage was descending, which came upon him, breaking his back and some of his ribs. There is little or no hope of his recovery.”
19th August 1890 South Wales Daily News “FERNIILL COLLIERY MANAGEMENT. — Mr D. R. Jones, who has been under manager at the Crump Meadow Collieries for rather more than two years, having left last month to take the management of Fernhill Collieries, Treherbert, is to be presented by his late employer with a nice silver tea and coffee service, and a lady's gold guard for Mrs Jones.”
22nd June 1892, South Wales Daily News “SHOCKING COLLIERY ACCIDENT. TWO MEN FALL DOWN A PIT IN THE RHONDDA. MARVELLOUS ESCAPE OF EIGHT OTHERS. EXCITING SCENES. A dreadful colliery winding accident occurred on Tuesday morning in the upcast shaft of the Fernhill Colliery, the property of the Fernhill Merthyr Colliery Company, situate at Blaenrhondda, the extremity of the Rhondda Valley, whereby two men were instantaneously killed and several slightly injured. It appears that about five minutes to seven o'clock about 80 men had been lowered to the six feet seam or the bottom of the upcast shaft, which is about 360 yards deep, and while the succeeding cage containing 10 men, which is the specified number of workmen allowed to descend at a time, was being let down, it is conjectured that the ascending and the descending cages collided about the middle of the shaft. The ascending cage was empty. The engineman, who is a most experienced hand, immediately concluded that a disaster had occurred in the pit, and stopped the engine. One of the iron ropes guiding the cages as they worked up and down the pit snapped, and a portion of the framework above the mouth of the shaft was torn away. Fears were, therefore, entertained that all the men in the cage had been killed. It was impossible to obtain access to the poor fellows, except through the downcast shaft, situate about 20 yards away. About the middle of the upcast pit, wherein the disaster happened, the two pits were connected by an opening or a small level, and it was a few yards below this spot that the two cages collided. A number of men at the bottom of the adjacent shaft, hearing the terrific crash, hastened through the short level to the pitside, and perceiving the wreckage and hearing the cries of the poor fellows entangled and suspended therein in the darkness a few yards below, immediately devised means to get at them. Two or three of the rescuers procured iron bars, and having coiled themselves about the nearest iron rope or guides running down the pit, slid down upon the wrecked iron cages. Clutching to the iron rope and standing upon the cages about 180 yards below the mouth of the shaft, they succeeded in shifting the cage containing the poor fellows caged in among the wreckage, and grasping the signal wire running down the pit-side, signalled to the engineman to pull up a little gently. The cage containing the men was quite fast to the other wrecked one, but it was lifted up a little. It stuck fast again, and the iron bars were again applied to release it. During all this terrible suspense the poor affrighted fellows were cooped up in the damaged cage. Their lights had gone out, and they were in pitch darkness for some time. After the lapse of an hour the rescuers succeeded in detaching the two crushed and twisted cages, and the men were raised a little bit again. But within a couple of yards of the mouth of the opening leading to the other pit the cage caught the side and stuck fast once more. Fortunately, there was a trap door on the top of the cage, used generally for the purpose of admitting timbers into it to be lowered into the mine, and the poor fellows were lifted up through this aperture, and thence pulled up by the arms into the opening or the mouth of the level, 180 yards below the surface. It was now found that eight of the occupants had escaped almost unhurt, two or three of them having sustained slight injuries. Among the eight were two aged men, one 73 years of age and the other about 53. It was pitiable to hear them describing their feelings during the long time they were suspended in that dreadful position. "I have prayed thousands of times," said one of them, "but I never prayed before so imploringly. Some of us were full stretched upon the floor of the cage, having dropped down when the accident occurred, and we all prayed. We coiled arms around one another and clutched to the side of the cage. Every second we entertained fears that we would all fall to the bottom of the shaft. Our prayers and our cries and our groans were heartrending. We thanked the Almighty when we got out safe." Some of the men were conducted home, each between two fellow workmen. The fearful shock had greatly affected them. Hundreds of persons from the adjacent neighbourhood gathered around the month of the pit in a short space of time after the occurrence, and when it became known that eight of the hapless fellows had escaped there were manifestations of great joy. For hours it was impossible to ascertain correctly how many had been killed. Although eight of the men had escaped, and only ten persons were allowed by the special rules of the colliery to descend at the time, still, it was stated, that on that occasion, one or two more miners might have entered the cage, because there were a number of workmen waiting their turn to be lowered into the mine. It appears that sometimes, in many collieries, one or two workmen over the usual or specified number rush into the cages when there is a crowd at the pit's mouth within a few minutes of seven o'clock, the time time for prohibiting more to be let down, and to commence raising coal. It was rumoured for several hours after the accident that four had been killed, or that twelve were in the cage at the time of the disaster. The 80 men, who had just been let down before the sad occurrence took place, were at the bottom of the shaft. Some of them shouted at the top of their voices to those at the mouth of the opening, half-way up the pit, that they had searched the bottom of the shaft carefully, but could find no more than two bodies. The names of the poor fellows wore Obediah Phillips, about 23 years of age, married, with two children, residing at Brynwyndham terrace, Tynewydd, and Richard Williams, about 23 years old, married, with two children, residing at Halifax row, Tynewydd, near Treherbert. The body of one was discovered at the bottom of the sump, which generally contains a large quantity of water, issuing out of the sides of the pit. The body of the other poor fellow was found fearfully mutilated upon the stout wooden planks partially covering the sump, supporting the heavy iron cages when they are loaded at the bottom of the pit. The body in the sump was found after all the water had been pumped out. The only way to get out from the bottom of this shaft, where the eighty men and the two bodies were, was by means of a level running through some old workings, a distance of about a mile and a half. and thence by climbing a series of ladders, almost perpendicular, attached to the side of a small pit leading to another seam above, and from the mouth of this pit through another level to the bottom of the downcast shaft. In conveying the two bodies over that long distance in the interior of the mine, the men had to crawl over a large fall, and the height of the almost perpendicular ladders was about 40 yards. The two bodies wero brought out of the pit at half-past twelve, or five hours ana a half after the accident. They were wrapped up in oiled canvas and conveyed to their homes upon ambulances, followed by a procession of thousands of persons. Three stretchers had been taken down the pit because it was not certain how many men had been killed. One of the wrecked cages was lifted out of the pit about two hours after the calamity. It was crushed and doubled up, and the heavy iron plates were twisted and torn. The cage in which the hapless fellows had been let down was raised three hours later, but it was not damaged nearly so badly as the other. Four or five of the safety lamps of the poor fellows lay scattered about the floor. The number of guides to the pit is four, two for each cage. It is stated that at most other collieries the number is three or four to each cage. The pit will probably be idle for several days.
1st July 1892, The Pontypridd Chronicle and Workman’s News “THE COLLIERY ACCIDENT AT FERNHILL. On Thursday afternoon an inquest was held at Tynewydd Inn (before Mr Rhys, coroner for the district), touching the death of Urbane Phillips and Richard Williams, who wore killed on Tuesday by the ascending and descending carriages colliding in the No. 2 Pit of the Fernhill Colliery, and throwing them down the shaft.—The father of Phillips and the father-in-law of Williams were the identifying witnesses, from whose evidence it appears that Philips, who leaves a widow and two children, was only 21 years of age, and Williams, also married, only 22.- After hearing the evidence the Coroner summed up, and the jury returned a verdict of "Accidental death."— It was given in evidence that the bottom of the same guide unravelled, and the part was cut off on Sunday.”
6th October 1893, The Pontypridd Chronicle and Workman’s News “Stealing Coal at Fernhill. Lizzie Morgan, Evan Morgan, Mary Jane Jones and Rachel Martha Thomas, were summoned before the Ystrad magistrates on Monday charged with stealing 150 lbs of coal value 1 shilling from the tips; of the Blaenrhondda Colliery Company. — P.C. Demayne said that they carried away the coal in sacks and buckets and he had cautioned them several times. The defendants, four little children said they had gone for the coal because they had no fire in the house and could not get coal. They were all cautioned and fined 1/6 each.”
15th October 1904, Welsh Newspapers “COLLIERY FATALITIE. Mr Llewellyn Reece also held an inquest into the death of David Morcan (28). haulier, who Jived at 4. Blaencwm-terrace, Tynewydd, and who died on the 11th inst. at Cardiff Infirmary. At Fernhill Colliery on the night of July 5th some stone fell on him. John Lord, the overman at the colliery, said that the night before the accident he examined the place where the accident occurred and found it all tight. Double timbers were not needed, and be could not account for the stone falling. Dr. Brownlee said deceased sustained fracture of the spine, the jury returned a verdict of Accidental death." Mr Yorath appeared for the owner" of the Fernhill Colliery, and Mr F. A. Gray, H.M. Inspector of Mines, represented the Home Office at both inquiries.”
20th August 1910, Welsh Newspaper “STRUCK BY A STONE AT FERN- HILL COLLIERY. Mr R. J. Rhys, coroner, held an inquiry at Treherbert on Monday regarding the death of John Evans, an underground workman, who was killed by a heavy stone falling from the roof at the Fernhill Colliery Level on Thursday. It appeared from the evidence that the fatality was purely accidental, and a verdict was returned accordingly.”
August 1921 sinking commenced on the No5 shaft to access the bottom measures, as of 1950 the shaft was 271 yards deep, on closure the shaft was 412.8 yards deep.
A further underground exploratory staple shaft was sunk from the 4’-0” Seam, the depth of which was 157.3m with a further boring of another 42.4m, the date of this sinking is not recorded on the abandonment plans.
In the 1950’s under reconstruction proposals the No5 shaft was to be deepened from 271 yards to 445 yards, the shaft was 20ft in diameter and was fitted out with skip winding. The No4 Shaft was deepened from 297 yards to 410 yards and enlarged from 12ft to 20ft diameter and used for manriding and materials.
1966 – the No1, 2 and 4 shafts were closed, leaving shafts 3 and 5, which were linked to Tower Colliery, after which all coal was raised at Tower Colliery.
The Colliery was closed in 1966, with the reserves in the 7ft&5ft Seam being later worked by Tower colliery, where the workings in the V35 face came with 427m of the No 5 shaft.
GTM Rossa (1987-90) Engine 1275 S4 OHV
Registration Number GOJ 313 N
GTM SET
www.flickr.com/photos/45676495@N05/sets/72157629578975917...
The GTM Coupe is a Mini based kit car dating back to 1967. The car was first shown at the 1967 Racing Car Show and soon afterwards went into production by the Cox brothers from their garage in Hazel Grove, Stockport as the Cox GTM. In 1970 the rights to the design and manufacturing were bought by Howard Heerey and the Cox part of the name dropped. In 1978 ownership changed again to GTM Engineering. The Coupe was manufactured by GTM Cars from 1983 to 1994.
The Coupe is a mid-engined two seater, the design is composed of two Mini front subframes, with traditional Mini rubber cone suspension, linked by a sheet steel semi-monocoque chassis.
A Mark 2 version was built from 1990 onwards
The body is moulded in high quality glass reinforced plastic. It is extremely tough, non rusting and , being unstressed, is not subject to gel-coat star crazing as found on many cars using GRP body shells. The windscreen is laminated glass and the rear screen perspex.
The car was available in several groups of "part packs" that were designed to allow each stage of the build to be purchased separately as they were undertaken, spreading the costs over a period. In 1985 a complete kit cost £2380.
Shot at Tatton Park, Manchester, Classic Car Show 18:08:2012 REF 88-145. .
I took these photos while I was in between pilot runs on Amtrak #5 and #6 on November 5-6, 2010. #5 and #6 were detouring over the former C&NW and UP between Chicago and Omaha because of bridge work on the BNSF.
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photographer | Bernard Egger фотография • collections • sets
classic sports cars ☆ vintage motorcycles | Oldtimer Grand Prix
Mille Miglia | Ennstal-Classic ☆ motor sport | legends & passion
event | 2010 Oldtimer Grand Prix Schwanenstadt AT
📷 | side car :: rumoto images # 4816
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Oldtimer Grand Prix, Schwanenstadt, Aich, Pitzenberg, MSV Schwanenstadt, road racing, road races, Straßenrennen, Hausruckring, Grand Prix, LCR, sidecar race, Seitenwagen, Beiwagen, Kneeler,
sidecar legends, Klaus Enders, Werner Schwärzel, Siegfried Schauzu, Wolfgang Kalauch, Heinz Luthringshauser, Rolf Steinhausen, Rolf Biland, Kurt Waltisperg, Klaus Klaffenböck, Klaffi, Christian Parzer, George O'Dell, Jock Taylor, Alain Michel, Egbert Streuer, Steve Webster, Darren Dixon, Paul Güdel, Steve Abbott, Tim Reeves, Tristan Reeves, Pekka Päivärinta, Adolf Hänni, Ben Birchall, Tom Birchall, Josef Moser, Michael Grabmüller, Gerhard Hauzenberger, Wolfgang Stropek, Helmut Wechselberger, rumoto images, Bernard Egger, Моторспорт, фотография,
Cemetery: Restlawn
Comments:
Restlawn is a flat-stone cemetery run under the auspices of Dignity Memorial, the “largest network of honored funeral, cremation and cemetery providers” in the country, with some 1600 affiliates. From their literature it’s not clear how ownership is distributed. Cemetery displays perhaps ten or more treeless acres up the side of a hill bordering Highway 22. If you’re going to be buried there, I’d recommend as far away from the highway as possible. It’s gone under a number of variations on the Restlawn theme, including such things as Restlawn Memory Gardens and Restlawn Memorial Garden, but the new operators appear to have shortened it to the current short form.
While not advertising itself as such, Restlawn should probably be classified as fundamental Christian, as that’s the predominating theme, with religious tableaus and the cemetery divided into religious “gardens,” though ones devoid of plants or flowers. It has one exception to the “no uprights” rule, that of a “freeform” monument to Donald Walters (1969-2003). Donald’s marker is testimony to much more than a young man cut down in his prime, it’s a prime example of a recent phenomenon in the cemetery trade: carrying ones cause to the tomb. For the most part, people in their departure take the opportunity to get right with their god or be remembered by their friends for the good they brought into the world, but now, on the fringes, some people are taking their anger with them to the grave. One expects to see a clenched fist pushing out of the ground.
Or maybe not. Maybe it’s more the living taking advantage of the dead by using their name to further their own agenda. Like historical markers, memorials such as that for Donald say more about those who erect them than the events themselves. I’d bet your bottom dollar that Donald, whose stone lists: “Operation Desert Storm/ Operation Iraqi Freedom - KIA - POW/ 507th Maintenance Co.,” didn’t provide his own epitaph. It wasn’t his idea to make him into a cause celèbre. The back of his headstone contains the long epitaph:
“I would lay down my life for my family and nation if it was worth it, and this one is to let them appreciate the taste of their freedoms. Freedom isn’t free and someone must do what they must do to preserve it. The Bible states, “Blessed is he who lays down his life for the sake of his friends.” I fear not and am motivated by the fear of the unknown and being a part of the bigger picture. Whatever doesn’t kill you will make you stronger.”
Was that passage taken from a letter from Donald? Part of it? Was it a compilation? Who chose? There are many other veterans from many other wars in Restlawn; none of them lists their operations name rather than their war. And none of them gets an upright; only Donald. Donald gets a picture under glass too: hunched down on one knee, dressed in camouflage, but not combat gear. When he returned from his first tour of duty in Kuwait, he was “a changed man,” his father said. “He was super nervous, which is understandable. He saw horrible things.”
Nonetheless, he reenlisted in the Army Reserves and returned to the Middle East for the next war. In Iraq he was a cook, but his parents didn’t know what he did in Kuwait. He was, by all accounts, an accidental soldier. He wasn’t seeking combat, it sought him. He was satisfied with being a cook, but an ambush made him a soldier.
Donald’s tombstone says, somewhat ambiguously, that he was both “killed in action” and was a “prisoner of war.” Reading through the various accounts of what happened, all we really know is that a convoy in which he was riding was attacked and all but a handful of the American soldiers were killed, the rest taken prisoners and subsequently executed. Donald was among those taken prisoner. One can only imagine it would have been best to be killed in the first round.
Would Donald have so freely tossed out the tired clichés: “freedom isn’t free,” and “whatever doesn’t kill you will make you stronger”? How is it that he “fear[s] not,” yet is “motivated by the fear of the unknown and being a part of a bigger picture”? What does it mean to fear “being a part of a bigger picture”?
The modern politicization of death is further emphasized at Restlawn by a handsome plaque “In Memory of all Vietnam Veterans,” a recent addition these many years after the fact. It has an embossed compilation scene of action in Vietnam:
“This memorial was erected in memory of the young individuals who went to war as kids and lost their youthful dreams, and some their lives, for a cause - freedom and honor - and came back as men with the horrors of war instilled in every fiber of their being and were never given the respect and honor they so deeply deserved from the public or the United States government.
“God will one day judge our actions. Until then, He will shine on the lives of each veteran now and forever more because He was with each of them in Vietnam. He is the only One that truly knows what they went through and are living with every day.”
As with Donald’s stone, sad and unfortunate confusion clouds reason and judgment. Surely, God was with the Vietnamese soldiers as much as with the Americans. After all, they won. And whether or not a soldier deserves “respect and honor” depends, I presume, on which end of the barrel you’re visiting.
All of which begs the question of whether or not Vietnam was about “freedom and honor” any more than the Gulf Wars were. Not to mention the question of “where does the love of God go, when the minutes they turn into hours”? One might want to be cautious about welcoming God’s judgment.
Viaje a EEUU - Día 2
30 Rockefeller Plaza is an American Art Deco skyscraper that forms the centerpiece of Rockefeller Center in Midtown Manhattan, New York City. Formerly called the RCA Building from 1933 to 1988, and later the GE Building from 1988 to 2015, it was renamed the Comcast Building on July 1, 2015, following the transfer of ownership to new corporate owner Comcast. Its name is often shortened to 30 Rock. The building is most famous for housing the NBC television network headquarters. At 850 feet (260 m) high, the 70-story building is the 14th tallest in New York City and the 39th tallest in the United States. It stands 400 feet (122 m) shorter than the Empire State Building.
The building underwent a $170 million floor-by-floor interior renovation in 2014. The renovation included new Comcast signage atop the building; new ground-level signage that reads Comcast Building; and, for the first time, the display of the iconic NBC Peacock logo on the building's exterior.
The building was completed in 1933 as part of the Rockefeller Center complex. The noted Art Deco architect Raymond Hood led a team of Rockefeller architects. It was named the RCA Building for its main tenant, the Radio Corporation of America, formed in 1919 by General Electric. The famous photograph Lunch atop a Skyscraper was taken during the construction of the 69th floor. The National Broadcasting Company, had both the Red Network and the Blue Network housed in the new building, which was also nicknamed "Radio City". NBC was the first national radio network in the country and was started by R.C.A. in 1926.
The office of the Rockefeller family occupied Room 5600 on the 56th floor. This space is now occupied by Rockefeller Family and Associates, whose offices span the 54th to 56th floors. John D. Rockefeller had a private vault in the basement of the building, accessible via a private elevator from his office.[4]
In 1985, the building acquired official landmark status. The RCA Building was renamed as the GE Building in 1988, two years after General Electric re-acquired the RCA Corporation. Some still refer to the building using its old names, out of habit or fondness.
The building's address became the title of the NBC sitcom 30 Rock (2006–2013), which follows the cast and crew of a fictional television show filmed inside the building. Aside from two live episodes, which were produced at NBC's facilities inside the building, the series used the building mostly for exterior and occasional lobby shots, while interior scenes were filmed at Silvercup Studios in Long Island City, Queens.
From the end of 1960 through October 1993, the building's mezzanine level housed the New York City weather forecast office of the National Weather Service; it was relocated to eastern Long Island, on the grounds of Brookhaven National Laboratory at Upton, New York. KWO35, the NOAA Weather Radio station serving the majority of the Tri-State area, originally transmitted from atop the building and remained there until 2014. Due to interference with a U.S. Coast Guard radio channel, the transmitter was eventually relocated atop the MetLife Building. A weather radar station was also located atop the building (it was previously used as Doppler 4000 during WNBC-TV's local newscasts).
In June 2014, Comcast was granted permission from the Landmarks Preservation Commission to make modifications to the building to reflect its ownership of NBCUniversal. The GE Building would be officially known as the Comcast Building. Comcast planned to replace the neon GE lettering from the top of the building with a 10-foot (3.0 m) tall, LED-lit Comcast wordmark and NBC logo, and add a 17-foot (5.2 m) NBC logo on the building western's facade. Additionally, a new marquee was added to the Avenue of the Americas entrance, advertising it as the home of The Tonight Show Starring Jimmy Fallon. On July 1, 2015, the name change and new signage were made official.
The building is one of the most famous and recognized skyscrapers in New York. The frieze located above the main entrance was produced by Lee Lawrie and depicts "Wisdom", along with a slogan that reads "Wisdom and Knowledge shall be the stability of thy times", from Isaiah 33:6 (KJV). The vertical detailing of the building's austere Art Deco facade is integrated with a slim, functionally expressive form. The present exterior is recognized for the Comcast logo with the NBC peacock at the building's top. The famous marquees above the building's 49th and 50th Street entrances have been seen on numerous television shows, such as 30 Rock and Seinfeld. Unlike most other tall Art Deco buildings constructed in the 1930s, 30 Rockefeller Plaza has no spire on its roof.
Below the building is a shopping concourse, connected to the lobby via an escalator. The open lobby's rich materials and reduced black and beige ornamental scheme is enhanced by dramatic lighting. Granite covers the building base to a height of 4 ft (1.2 m) and the shaft has a refined facade of Indiana Limestone with aluminum spandrel panels.
The 65th floor of the building is an event room and restaurant named the Rainbow Room. It was revamped and reopened to the public with new operators until it closed in 2009 due to the economic downturn. The interior of the Rainbow Room holds landmark status, awarded by the New York City Landmarks Preservation Commission in 2012. Following extensive refurbishment, the Rainbow Room reopened in fall 2014.
The observation deck atop the skyscraper, dubbed "Top of the Rock", reopened to the public on November 1, 2005, after undergoing a $75 million renovation. It had been closed since 1986 to accommodate the renovation of the Rainbow Room. The deck, which is built to resemble the deck of an ocean liner, offers sightseers a bird's eye view of the city, competing with the 86th floor observatory of the Empire State Building 200 feet (61 m) higher. It is often considered the best panoramic city view, if only because it offers a view of the aforementioned Empire State Building, which cannot be seen from its own observation deck. The timed entry system and larger observation deck also results in shorter waiting times compared to the Empire State.
(further information and pictures you can get by clicking on the link at the end of page!)
Mariahilferstraße
Mariahilferstraße, 6th, 7th, 14th and 15th, since 1897 (in the 6th and 7th district originally Kremser Sraße, then Bavarian highway, Laimgrubner main road, Mariahilfer main street, Fünfhauserstraße, Schönbrunnerstraße and Penzinger Poststraße, then Schönbrunner Straße), in memory of the old suburb name; Mariahilf was an independent municipality from 1660 to 1850, since then with Gumpendorf, Magdalenengrund, Windmühle and Laimgrube 6th District.
From
aeiou - the cultural information system of the bm: bwk
14,000 key words and 2000 pictures from history, geography, politics and business in Austria
Mariahilferstraße, 1908 - Wien Museum
Mariahilferstraße, 1908
Picture taken from "August Stauda - A documentarian of old Vienna"
published by Christian Brandstätter - to Book Description
History
Pottery and wine
The first ones who demonstrably populated the area of today's Mariahilferstraße (after the mammoth) were the Illyrians. They took advantage of the rich clay deposits for making simple vessels. The Celts planted on the sunny hills the first grape vines and understood the wine-making process very well. When the Romans occupied at the beginning of our Era Vienna for several centuries, they left behind many traces. The wine culture of the Celts they refined. On the hill of today's Mariahilferstraße run a Roman ridge trail, whose origins lay in the camp of Vindobona. After the rule of the Romans, the migration of peoples temporarily led many cultures here until after the expulsion of the Avars Bavarian colonists came from the West.
The peasant Middle Ages - From the vineyard to the village
Thanks to the loamy soil formed the winery, which has been pushed back only until the development of the suburbs, until the mid-17th Century the livelihood of the rural population. "Im Schöff" but also "Schöpf - scoop" and "Schiff - ship" (from "draw of") the area at the time was called. The erroneous use of a ship in the seal of the district is reminiscent of the old name, which was then replaced by the picture of grace "Mariahilf". The Weinberg (vineyard) law imposed at that time that the ground rent in the form of mash on the spot had to be paid. This was referred to as a "draw".
1495 the Mariahilfer wine was added to the wine disciplinary regulations for Herrenweine (racy, hearty, fruity, pithy wine with pleasant acidity) because of its special quality and achieved high prices.
1529 The first Turkish siege
Mariahilferstraße, already than an important route to the West, was repeatedly the scene of historical encounters. When the Turks besieged Vienna for the first time, was at the lower end of today Mariahilferstrasse, just outside the city walls of Vienna, a small settlement of houses and cottages, gardens and fields. Even the St. Theobald Monastery was there. This so-called "gap" was burned at the approach of the Turks, for them not to offer hiding places at the siege. Despite a prohibition, the area was rebuilt after departure of the Turks.
1558, a provision was adopted so that the glacis, a broad, unobstructed strip between the city wall and the outer settlements, should be left free. The Glacis existed until the demolition of the city walls in 1858. Here the ring road was later built.
1663 The new Post Road
With the new purpose of the Mariahilferstrasse as post road the first three roadside inn houses were built. At the same time the travel increased, since the carriages were finally more comfortable and the roads safer. Two well-known expressions date from this period. The "tip" and "kickbacks". In the old travel handbooks of that time we encounter them as guards beside the route, the travel and baggage tariff. The tip should the driver at the rest stop pay for the drink, while the bribe was calculated in proportion to the axle grease. Who was in a hurry, just paid a higher lubricant (Schmiergeld) or tip to motivate the coachman.
1683 The second Turkish siege
The second Turkish siege brought Mariahilferstraße the same fate. Meanwhile, a considerable settlement was formed, a real suburb, which, however, still had a lot of fields and brick pits. Again, the suburb along the Mariahilferstraße was razed to the ground, the population sought refuge behind the walls or in the Vienna Woods. The reconstruction progressed slowly since there was a lack of funds and manpower. Only at the beginning of the 18th Century took place a targeted reconstruction.
1686 Palais Esterhazy
On several "Brandstetten", by the second Turkish siege destroyed houses, the Hungarian aristocratic family Esterhazy had built herself a simple palace, which also had a passage on the Mariahilferstrasse. 1764 bought the innkeeper Paul Winkelmayr from Spittelberg the building, demolished it and built two new buildings that have been named in accordance with the Esterhazy "to the Hungarian crown."
17th Century to 19th Century. Fom the village to suburb
With the development of the settlements on the Mariahilferstraße from village to suburbs, changed not only the appearance but also the population. More and more agricultural land fell victim to the development, craftsmen and tradesmen settled there. There was an incredible variety of professions and trades, most of which were organized into guilds or crafts. Those cared for vocational training, quality and price of the goods, and in cases of unemployment, sickness and death.
The farms were replaced by churches and palaces, houses and shops. Mariahilf changed into a major industrial district, Mariahilferstrasse was an important trading center. Countless street traders sold the goods, which they carried either with them, or put in a street stall on display. The dealers made themselves noticeable by a significant Kaufruf (purchase call). So there was the ink man who went about with his bottles, the Wasserbauer (hydraulic engineering) who sold Danube water on his horse-drawn vehicle as industrial water, or the lavender woman. This lovely Viennese figures disappeared with the emergence of fixed premises and the improvement of urban transport.
Private carriages, horse-drawn carriages and buggies populated the streets, who used this route also for trips. At Mariahilferplatz Linientor (gate) was the main stand of the cheapest and most popular means of transport, the Zeiselwagen, which the Wiener used for their excursions into nature, which gradually became fashionable. In the 19th Century then yet arrived the Stellwagen (carriage) and bus traffic which had to accomplish the connection between Vienna and the suburbs. As a Viennese joke has it, suggests the Stellwagen that it has been so called because it did not come from the spot.
1719 - 1723 Royal and Imperial Court Stables
Emperor Charles VI. gave the order for the construction of the stables to Johann Bernhard Fischer von Erlach. 1772 the building was extended by two houses on the Mariahilferstrasse. The size of the stables still shows, as it serves as the Museum Quarter - its former importance. The Mariahilferstraße since the building of Schönbrunn Palace by the Imperial court very strongly was frequented. Today in the historic buildings the Museum Quarter is housed.
The church and monastery of Maria Hülff
Coloured engraving by J. Ziegler, 1783
1730 Mariahilferkirche
1711 began the renovation works at the Mariahilferkirche, giving the church building today's appearance and importance as a baroque monument. The plans stem from Franziskus Jänkl, the foreman of Lukas von Hildebrandt. Originally stood on the site of the Mariahilferkirche in the medieval vineyard "In Schoeff" a cemetery with wooden chapel built by the Barnabites. Already in those days, the miraculous image Mariahilf was located therein. During the Ottoman siege the chapel was destroyed, the miraculous image could be saved behind the protective walls. After the provisional reconstruction the miraculous image in a triumphal procession was returned, accompanied by 30,000 Viennese.
1790 - 1836 Ferdinand Raimund
Although in the district Mariahilf many artists and historical figures of Vienna lived , it is noticeable that as a residence they rather shunned the Mariahilferstraße, because as early as in the 18th Century there was a very lively and loud bustle on the street. The most famous person who was born on the Mariahilferstrasse is the folk actor and dramatist Ferdinand Raimund. He came in the house No. 45, "To the Golden deer (Zum Goldenen Hirschen)", which still exists today, as son of a turner into the world. As confectioners apprentice, he also had to visit the theaters, where he was a so-called "Numero", who sold his wares to the visitors. This encounter with the theater was fateful. He took flight from his training masters and joined a traveling troupe as an actor. After his return to Vienna, he soon became the most popular comedian. In his plays all those figures appeared then bustling the streets of Vienna. His most famous role was that of the "ash man" in "Farmer as Millionaire", a genuine Viennese guy who brings the wood ash in Butte from the houses, and from the proceeds leading a modest existence.
1805 - 1809 French occupation
The two-time occupation of Vienna by the French hit the suburbs hard. But the buildings were not destroyed fortunately.
19th century Industrialization
Here, where a higher concentration of artisans had developed as in other districts, you could feel the competition of the factories particularly hard. A craftsman after another became factory worker, women and child labor was part of the day-to-day business. With the sharp rise of the population grew apartment misery and flourished bed lodgers and roomers business.
1826
The Mariahilferstraße is paved up to the present belt (Gürtel).
1848 years of the revolution
The Mariahilferstraße this year was in turmoil. At the outbreak of the revolution, the hatred of the people was directed against the Verzehrungssteuerämter (some kind of tax authority) at the lines that have been blamed for the rise of food prices, and against the machines in the factories that had made the small craftsmen out of work or dependent workers. In October, students, workers and citizens tore up paving stones and barricaded themselves in the Mariahilfer Linientor (the so-called Linienwall was the tax frontier) in the area of today's belt.
1858 The Ring Road
The city walls fell and on the glacis arose the ring-road, the now 6th District more closely linking to the city center.
1862 Official naming
The Mariahilferstraße received its to the present day valid name, after it previously was bearing the following unofficial names: "Bavarian country road", "Mariahilfer Grund Straße", "Penzinger Street", "Laimgrube main street" and "Schönbrunner Linienstraße".
The turn of the century: development to commercial street
After the revolution of 1848, the industry displaced the dominant small business rapidly. At the same time the Mariahilferstraße developed into the first major shopping street of Vienna. The rising supply had to be passed on to the customer, and so more and more new shops sprang up. Around the turn of the century broke out a real building boom. The low suburban houses with Baroque and Biedermeier facade gave way to multi-storey houses with flashy and ostentatious facades in that historic style mixture, which was so characteristic of the late Ringstrasse period. From the former historic buildings almost nothing remained. The business portals were bigger and more pompous, the first department stores in the modern style were Gerngross and Herzmansky. Especially the clothing industry took root here.
1863 Herzmansky opened
On 3 March opened August Herzmansky a small general store in the Church Lane (Kirchengasse) 4. 1897 the great establishment in the pin alley (Stiftgasse) was opened, the largest textile company of the monarchy. August Herzmansky died a year before the opening, two nephews take over the business. In 1928, Mariahilferstraße 28 is additionally acquired. 1938, the then owner Max Delfiner had to flee, the company Rhonberg and Hämmerle took over the house. The building in Mariahilferstrasse 30 additionally was purchased. In the last days of the war in 1945 it fell victim to the flames, however. 1948, the company was returned to Max Delfiner, whose son sold in 1957 to the German Hertie group, a new building in Mariahilferstrasse 26 - 30 constructing. Other ownership changes followed.
1869 The Pferdetramway
The Pferdetramway made it first trip through the Mariahilferstraße to Neubaugasse.
Opened in 1879 Gerngroß
Mariahilferstraße about 1905
Alfred Gerngross, a merchant from Bavaria and co-worker August
Herzmanskys, founded on Mariahilferstrasse 48/corner Church alley (Kirchengasse) an own fabric store. He became the fiercest competitor of his former boss.
1901 The k.k. Imperial Furniture Collection
The k.k. Hofmobilien and material depot is established in Mariahilferstrasse 88. The collection quickly grew because each new ruler got new furniture. Today, it serves as a museum. Among other things, there is the office of Emperor Franz Joseph, the equipment of Emperor Maximilian of Mexico from Miramare Castle, the splendid table of Charles VI. and the furniture from the Oriental Cabinet of Crown Prince Rudolf.
1911 The House Stafa
On 18 August 1911, on the birthday of Emperor Franz Joseph, corner Mariahilferstraße/imperial road (Kaiserstraße) the "central palace" was opened. The construction by its architecture created a sensation. Nine large double figure-relief panels of Anton Hanak decorated it. In this building the "1st Vienna Commercial sample collective department store (Warenmuster-Kollektivkaufhaus)", a eight-storey circular building was located, which was to serve primarily the craft. The greatest adversity in the construction were underground springs. Two dug wells had to be built to pump out the water. 970 liters per minute, however, must be pumped out until today.
1945 bombing of Vienna
On 21 February 1945 bombs fell on the Mariahilferstrasse, many buildings were badly damaged. On 10th April Wiener looted the store Herzmansky. Ella Fasser, the owner of the café "Goethe" in Mariahilferstrasse, preserved the Monastery barracks (Stiftskaserne) from destruction, with the help other resistance fighters cutting the fire-conducting cords that had laid the retreating German troops. Meanwhile, she invited the officers to the cafe, and befuddled them with plenty of alcohol.
Just under CFCLA ownership, EL60 pauses at Tailem Bend to check on its test wagon CQAY1 during a test to Coomandook and return on 9-12-1999
CAOLAS MOR was built by Essex Yacht Builders in 1972 and has been in the same ownership since. Over the years she has been professionally maintained, thoughtfully upgraded and regularly surveyed, her last survey was in 2017. Lightly used in the last 10 years the boat is well presented with comfortable accommodation below decks for 6 people, including an en-suite heads in the aft cabin. The owners advancing years have brought about the hard decision to sell this much loved member of the family, she comes with a full inventory with the majority of equipment a new owner would require to sail away. Currently lying ashore under her winter cover here at Ardfern.
CONSTRUCTION
HULL Traditional heavy weight hand consolidated GRP moulded hull. Full length traditional type keel. Lead ballast keel mounted externally. Full depth rudder secured on pintle. Topsides painted with International Paints two-pack paint system 2003
DECK Traditional heavy weight hand consolidated single piece moulded GRP deck and coachroof. Non-slip textured panels moulded into decks. GRP moulded doghouse. Timber and perspex fixed enclosure at aft end of doghouse to create full protected wheelhouse. Decks and coachroof painted with International Paints systems 2011
SPARS AND RIGGING
Masthead, single spreader sloop rig. Spars of gold anodised alloy, manufactured by Sparlight. Standing rigging of 1x19 stainless steel wire with roll swage terminals and chromed bronze rigging screws. All new in 2004 On mast Bamar roller reefing system for mainsail. Hood Seafurl roller reefing system on forestay for genoa. Twin spinnaker pole tracks on mast. Removable inner forestay with Wichard tensioner. 2009. All running rigging completely replaced 2004/05. Z-Spars whisker pole.
SAILS
Mainsail - On mast roller reefing sail, white Dacron. Genoa - Roller reefing, white Dacron. Staysail - Heavy weight white Dacron, hank on to set on removable inner forestay. Owen Sails 2009
WINCHES
Primary Winches - Gibb 9CR chromed bronze, two speed. Mainsail Outhaul - Lewmar 30st, chromed bronze, two speed. Mainsheet - Single speed
MOORING AND GROUND TACKLE
Main Anchor - Delta plough type anchor on 80m 3/8ths chain rode Kedge Anchor - Admiralty Pattern type on short 3/8th chain rode. Spare Anchors - 1x Bruce anchor 1x Fisherman type folding anchor. Windlass - FML 400 Electric windlass. Mounted on deck with chain gypsy and warping drum.
ON DECK
Two pack painted coachroof and deck. Moulded non-slip panels painted in contrasting colour. Coachroof and doghouse tops painted in non-slip deck paint. Twin bow roller stem head fitting Panama style fairlead forward, port and starboard. Deck mounted horizontal windlass. Moulded bulwark running full length of deck edge with solid teak capping rail. Solid teak grabrails running the length of the coachroof and dog house roof. Stainless steel stanchion supporting stainless steel guardwires outboard. Guardwires completely replaced 2012. Fold down seat over liferaft on aft deck.
The original doghouse has been modified at the aft end to close in the cockpit with a timber framework and perspex panels. Washboards are fitted at the entrances on the port and starboard sides with perspex panels in way of the primary winches being fully removable. The modification creates a full enclosed cockpit and provides a second all weather living space. The cockpit itself is spacious with the large timber helm located centrally forward. Engine controls and instrumentation are all easily to hand and the three windows forward provide and excellent view. A chart table is provided forward of the helm on a varnished timber surface, some chart storage is provided below the working surface. Bench style seating is provides aft of the helm port and starboard with cavernous lockers beneath.
NAVIGATION INSTRUMENTATION
Depth Sounder - Seafarer 700 Wind Instrument - Autohelm ST50 Log - Analogue Plotter - Garmin GPSMAP 450 (2008) VHF - Icom-M421 DSCVHF (2006) Handheld VHF - Silva S12 Autopilot - Autohelm ST6000+ (1998) with SL100 remote control (2006) Hand Bearing Compass – Aalborg
DOMESTIC EQUIPMENT
Freshwater System - Full pressurised hot and cold water system with faucets in galley, forward heads and aft heads.Hot water heated via calorifier with 240V heating element and engine feed. Water tank capacity - 380ltr Heating - Eberspacher diesel fired, blown air system with outlets in aft cabin, saloon and forepeak. Cooker - Plastimo Neptune 3000 gas stove. 3 burner, grill and oven. Fridge - Coolbox with SuperCool electric chiller unit. Forward Heads - Jabsco manual toilet, never used, installed 2016 Aft Heads - ITT Jabsco manual toilet.
BELOW DECKS
With one caring owner since she was built in 1972 CAOLAS MOR benefits from not having been 'modified' by a succession of different owners and the appearance of the finish below benefits from this. Internal joinery work is constructed from solid and veneer faced teak, finished with a gloss varnish. Throughout the interior soles are finished with carpets. As was customary at the time with designs of this type the aft cabin is accessible via a separate companionway, ideal for a couple cruising with younger children.
Forepeak - A clever design here allows the door for the hanging locker to double as a door into the forepeak when required. The space provides two well sized single berths in a V configuration. Access to the chain locker is provided forward via a large removable panel. Storage is provided with a small shelve running the length of the berths outboard while a good selection of locker space and drawers are provided beneath.
Forward Heads - The heads area is appointed with a brand new Jabsco manual toilet, vanity unit and stainless steel sink. An extendable sink faucet doubles as a shower head when required. The compartment is finished with easy clean formica facings and a teak sole grating. Opposite the heads is a full height wet hanging locker.
Galley - Running along the starboard side of the saloon space the galley is in a linear layout and open to the main saloon. The Plastimo Neptune 3 burner gas locker is located at the forward end with the stainless steel galley sink and drying rack set into the worktop running aft to the companionway. Top loading coolbox has been fitted with additional insulation and an electronic chiller unit to become a fridge. Good selection of storage provided beneath the worktop and in lockers outboard with dedicate storage racks for crockery.
Saloon - Opposite the galley to port the saloon table lies athwart ships with seating forward and aft. Gimballed oil lamps are fitted on the bulkheads to provide a cosy night light. A good volume of storage is again provided outboard of the seating and below each of the seating units.
Aft Cabin - Accessed via a separate companionway at the aft end of the cockpit the cabin provides two good sized single berths on the port and starboard sides. A central dresser type unit aft provides some personal storage space with additional large drawers beneath each bunk and a hanging locker to starboard forward.
Aft Heads - Located at the forward end of the cabin to port this is effectively an en-suite. A small compartment fitted out with manual toilet, sink and vanity unit.
SAFETY EQUIPMENT
Liferaft - Ocean Safety 6 person cannister raft. Last serviced 2016, next service due 2019. EPIRB - resuceME EPIRB1, dual frequency, mounted inside saloon. Expires 2026 Lifejackets - 4x Sowester Osprey - auto inflation type. Fire Blanket Pilot Gas Alarm
GENERAL EQUIPMENT
Shore Power System - Hard wired RCD Protected system with ring main, immersion heater and battery charger. Battery Charger - 240V hardwired charger (2003) Wind Generator - LVM Aerogen 25 Manual Bilge Pump Electric Bilge Pump Swimming Ladder - Custom made stainless steel folding swimming ladder mounted on transom with 3 rungs below water level (2003) Davits - Simpson type davits on transom. Tender - Zodiac C260 Aero (2008) Outboard - Honda 2.3hp, 4-stroke. Winter Cover - Heavy duty full cover with timber frame. Spares - With the owners giving up boating a large volume of spares and general tools are aboard the vessel and included with the inventory.
ENGINE
The engine is located within the cavernous space beneath the cockpit sole and is accessible by lifting the folding cockpit sole. Access around the engine for maintenance is excellent with the sole lifted. The space contains ample room to install a generator or any other gear that maybe required for longer distance cruising.
Perkins 4.236 4 cylinder naturally aspirated marine diesel engine. 72hp Borg Warner Velvet Drive hydraulic marine gearbox. Conventional shaft type sterngear, completely overhauled 2004. Hydraulic, manually operated shaft brake. Fixed 3 blade bronze propeller. Adverc alternator smart charge controller. Exhaust system completely replaced 2010. Cathodic bonding system re-wired 2012 Twin diesel tanks, total capacity 570ltr
SHIPS BATTERIES
All batteries replaced with new items in 2007.
GBP 34,500
January 2018
Jacob van Ruisdael (1628/29 Haarlem - 1682 Amsterdam)
Winter Landscape with Bridge, signed, datable by 1655. Loan from a private ownership
Jacob van Ruisdael (1628/29 Haarlem - 1682 Amsterdam)
Winterlandschaft mit Brücke, signiert, um 1655 datierbar. Leihgabe aus Privatbesitz
On the history of women's studies at the Academy of Fine Arts Vienna
1897
Conservative journalist A.F. Seligmann founded the art school for women and girls and taught there as a single teacher 16 students in the "Curs for head and act". 1898 expands the school: Tina Blau, a former teacher of the Munich artists association conducts 1.1.1898 a "Curs for landscape and still-life", which she held until 1915. Richard Kauffungen was nominated for sculpture, Ludwig Michalek led the "Curs for head and act" as well as an Radierkurs (etching course), Adolf Böhm the course for decorative and applied arts, Fabiani teaches ornamentation and style of teaching as well as "Modern home furnishings", Georg Klimt taught metalwork, Friedrich King wood cutting art and Hans Tichy from 1900 the drawing and painting from the living model. In all these teachers are moderate modern artists from the area of the Secession. The theoretical lectures are held in the company founded by Emil Zuckerkandl and Julius Tandler 1900 "Association of Austrian university lecturers Athenaeum", which had the task to be "an educational institution for members of the female sex". The first school year was completed with 64 students, the school is rapidly expanding, so that it forms 200-300 students annually within a few years. The steady growth is due to the restrictive attitude of the public schools of art (especially the academy) towards women, but also from the indiscriminate admission of which have been blamed all the private schools also on the part of women harshly, and just by women.
1904
The Academy of Fine Arts Vienna is one of the many requests for opening the Academy for students once again putting the old arguments against that women are rarely equipped with creative spirit in the field of great art and the other a "proliferation of dilettantism and a pushing back of male members" is to be feared. Just the idea of a joint education had "abhorred" the College. The Academy therefore advocates for the financial support of the art school for women and girls, and rejects the application for opening the academy for women unanimously. The main argument for the impossibility of the joint Aktzeichnens (nude drawing) and the need for a second Aktsaales (nude hall) is increasingly mentioned, which cannot be realized because lack of space and lack of money. Henni Lehmann (Artistic studies of women, Darmstadt 1913) countered the same argument in Germany: "The common nude studies of women and men can not be described as impossible as it is done in many places, without having shown any grievances". The objection of the Quorum of the Berlin University professors that no teacher could be forced to teach women at all in such delicate subjects is countered that the problem was easily solved by entrusting a lady the Aktunterricht (nude drawing) in ladies. Suitable artists were plentiful present. That the life drawing for a long time (until 1937) remained problematic, shows the application of the renowned sculptor Teresa F. Ries of 1931, in which she was offering the Academy her services for the purpose of the management of a yet to be affiliated department, where young girls separated from the young men could work under the direction of a woman. The application was not even put to a vote.
1912
The rector of the Munich Academy also does not believe in the inclusion of students (female ones): "... it is impossible, even with regard to the space conditions, apart from that that the aspirations of the artists who devote themselves to the arts especially are usually others than that of women..."
1913
No significant change in attitude can be found between the opinions of the Academies from 1904 and those of 1913.
1919
In the report from the College's meeting of the Academy of Fine Arts Vienna to the State Office of Internal Affairs and Teaching is communicated that against the requested admission there were no fundamental objections, but that the Academy is so limited in spatial relationship, that after the experiences of the last entrance exams not even the majority of gifted young artists, capable of studying, could be included, and therefore, in case of the admission of women to the study initially had to be made a considerable expansion. The State Office counters that a further delay in the admission of women to the academic study could not be justified and that approval is to allow at least temporarily in a narrow frame.
1920
The State Office for the Interior and Education officially approved the admission of women to study at the Academy of Fine Arts Vienna (since 1919 women were admitted to all faculties of the University of Vienna, with the exception of the Catholic and Protestant Theological Faculty).
A committee consisting of the professors Bacher, Delug, Schmutzer, and Jettmar Muellner claims that the Academy has never pronounced in principle against women's studies but have always only expressed reservations because of the cramped space and financial situation. As a complete novelty proves that no more concerns are raised with regard to coeducation. Men and women should compete in the entrance examination. In the winter semester 1920/21 will be included 14 women, of course, representing only a small minority in relation to the 250 male students.
1926/1927
In the new study regulations are for the first time mentioned Schüler (M) and Schülerinnen (F).
March 1927
Report of the Academy of Fine and Applied Arts about the experiences regarding the access of women to universities: ..."in past years it was thought for the education of women and girls by the Academy of Women for Liberal and Applied Art, which is also equipped with academic classes and by the State subsidized, sufficiently having taken precautions: during a period of almost seven years of study, it was probably possible to get a clear picture about the access applications of women, and about the degree course ... Of course, the number of female candidates in the painting is strongest, weaker in sculpture, and very low in the architecture. As much already now can be said, that in no way in terms of education in the new admissions the women are left behind the male candidates. During the study period, the female students are not in diligence and seriousness of studying behind their male colleagues. Particularly gratifying can be emphasized that because of the co-education of both sexes in common rooms in the individual schools a win-win situation for everybody was. In the master schools the College was repeatedly able also honouring women with academic prices. Subsuming, it should be emphasized that our experiences with the study of women in the Academy of Fine Arts were quite favorable."
The number of students (Studentinnen) increased from 5 % in the winter semester 1920/1921 till 1939/1940 to about 25 %. After the annexation of Austria to Nazi Germany, the number of students (Studentinnen) decreased. The proportion of female students rose after 1940 naturally, reached during the war years up to 70 % and amounted 1945/1946 to 65%. From 1946/1947 the number of students (Studentinnen) fell sharply again, so 1952/1953 only 20% of the students at the Academy were women. 1963/1964 there were, however, already 41% (278).
2002
Students (Studentinnen): 570 of 936 students
University professors (Universitätsprofessorinnen): 9 out of 29
Ao Univ. (extraordinary female professors) 2 of 12
Univ.Ass. (female university assistant) 18 of 41
Contract teachers (Vertragslehrerinnen): 3 of 7
Lecturer (Lehrbeautragte): 32 of 46
Almut Krapf
www.akbild.ac.at/Portal/akademie/uber-uns/Organisation/ar...
Rubens Peale with a Geranium
West Building, Main Floor—Gallery 60A
•Date: 1801
•Medium: Oil on Canvas
•Dimensions:
oOverall: 71.4 × 61 cm (28⅛ × 24 in.)
oFramed: 89.5 × 79.7 × 5.6 cm (35¼ × 31⅜ × 2 3/16 in.)
•Credit Line: Patrons’ Permanent Fund
•Accession Number: 1985.59.1
•Artists/Makers:
oArtist: Rembrandt Peale, American, 1778-1860
Overview
Charles Willson Peale christened most of his seventeen children after famous artists and scientists; however, there is little consistency between the sons’ and daughters’ namesakes and their adult careers. While Rembrandt Peale did become a painter and the portraitist of this work, Rubens Peale, who sat for this likeness at the age of seventeen, was a botanist.
Painted in Philadelphia, the work could be described as a double portrait because the geranium, reputed to be the first specimen of this exotic plant ever grown in the New World, is as lovingly portrayed as the painter’s brother is. The Peale family often collaborated in their endeavors, and here Rembrandt commemorated his brother’s horticultural triumph. Rembrandt’s own skill is evident in the clearly defined pools of light on Rubens’ cheeks. In a phenomenon familiar to all, his glasses focus the beams passing through them, thereby forming the brighter disks of light under his eyes.
Rubens Peale with a Geranium is a supreme example of the unaffected naturalism which typified the artist’s early maturity. Combining firm, clear drawing, carefully modulated color, and an intense devotion to detail, twenty-three-year-old Rembrandt Peale produced an eloquent expression of his family’s philosophical orientation.
Inscription
•Lower Right: Rem Peale / 1801
Provenance
The artist; James Claypoole Copper, Philadelphia;[1] Mary Jane Peale [1827-1902], Pottsville, Pennsylvania, the daughter of the sitter, Rubens Peale;[2] her nephew, Albert Charles Peale [1849-1914], Washington, D.C.;[3] his cousin, Jessie Sellers Colton [Mrs. Sabin Woolworth Colton, Jr., 1855-1932], Bryn Mawr, Pennsylvania;[4] her daughter, Mildred Colton [Mrs. Robert P.] Esty [1883-1977], Ardmore, Pennsylvania;[5] sold to Lawrence A. Fleischman, Detroit, Michigan;[6] (Kennedy Galleries, New York); purchased by Pauline E. [Mrs. Norman B.] Woolworth;[7] (sale, Sotheby’s, New York, 5 December 1985, lot 42); purchased through (Kennedy Galleries, New York) by NGA.
[1]Rebecca Irwin Graff, Genealogy of the Claypoole Family of Philadelphia, 1893: 79, which does not record Copper’s life dates.
[2]Copper’s gift of the portrait to Rubens’ Peale’s daughter Mary Jane Peale in 1854 is discussed in the NGA systematic catalogue. For Mary Jane Peale’s dates, see the genealogy of the Peale Family in Charles H. Elam, ed., The Peale Family: Three Generations of American Artists, Exh. cat., Detroit Institute of Arts; Munson-Williams-Proctor Institute, Utica, New York, 1967: 10, and Lillian B. Miller, In Pursuit of Fame: Rembrandt Peale, 1778-1860, Exh. cat., National Portrait Gallery, Washington, D.C., 1992: 231. For information that she lived in Pottsville, see Carol Eaton Hevner, “Rembrandt Peale’s portraits of his brother Rubens”, Antiques 130 (November): 1012.
[3]Mary Jane Peale bequeathed the portrait to her nephew Albert Charles Peale, the son of her brother Charles Willson Peale (1821-1871) and Harriet Friel Peale; for his dates see Charles Coleman Sellers, “Peale Genealogy,” manuscript, Peale Papers Office, National Portrait Gallery, Washington, D.C., and The National Cyclopaedia of American Biography, vol. 21: 255-56. Albert Peale was one of the executors of Mary Jane Peale’s estate.
[4]The painting belonged to Jessie Sellers Colton by 1923, when she lent it to the exhibition at the Pennsylvania Academy of the Fine Arts. A label formerly on the painting (in NGA curatorial files) gives her name and address, and states that she was the great-niece of Rubens Peale. For her dates see Charles Coleman Sellers, “Peale Genealogy,” manuscript, Peale Papers Office, National Portrait Gallery, Washington, D.C.
[5]Mrs. Esty owned the portrait when it was reproduced in Charles Coleman Sellers, Charles Willson Peale, Later Life (1790-1827), Philadelphia, 1947: 2:opp. 147, fig. 12, and lent it in 1955 to the exhibition at Pennsylvania State University. For her birth date see Charles Coleman Sellers, “Peale Genealogy,” manuscript, Peale Papers Office, National Portrait Gallery, Washington, D.C.; her date of death is recorded in Social Register Association, Social Register, Summer 1978, New York, 1978: 92:98.
[6]Fleischman confirmed his ownership of the portrait in his letter of 19 December 1985 to NGA (in NGA curatorial files).
[7]Mrs. Woolworth was the owner by 1963, when she lent the painting to the exhibition American Art from American Collections at the Metropolitan Museum of Art.
Associated Names
•Colton, Jessie Sellers
•Copper, James Claypoole
•Esty, Mildred Colton
•Fleischman, Lawrence A.
•Kennedy Galleries
•Kennedy Galleries
•Peale, Albert Charles
•Peale, Mary Jane
•Sotheby’s
•Woolworth, Pauline E.
Exhibition History
•1923—Exhibition of Portraits by Charles Willson Peale and James Peale and Rembrandt Peale, The Pennsylvania Academy of the Fine Arts, Philadelphia, 1923, no. 73.
•1955—Pennsylvania Painters, Pennsylvania State University, University Park; The Toledo Museum of Art, 1955-1956, no. 11.
•1960—The Fabulous Peale Family, Kennedy Galleries, New York, 1960, no. 74.
•1963—American Art from American Collections, The Metropolitan Museum of Art, New York, 1963, no. 185.
•1965—The Peale Family and Peale’s Baltimore Museum, 1814-1830, The Peale Museum, Baltimore, 1965, no. 16.
•1967—The Peale Family: Three Generations of American Artists, The Detroit Institute of Arts; Munson-Williams-Proctor Institute, Utica, 1967, no. 139.
•1970—19th Century America: Paintings and Sculpture, The Metropolitan Museum of Art, New York, 1970, no. 2, repro.
•1970—The American Painting Collection of Mrs. Norman B. Woolworth, Coe Kerr Gallery, New York, 1970, no. 87, repro.
•1976—The Eye of Thomas Jefferson, National Gallery of Art, Washington, D.C., 1976, no. 600, repro.
•1980—The Woolworth Collection: American Paintings, Birmingham Museum of Art, Alabama, 1980, checklist no. 2.
•1981—Painters of the Humble Truth: Masterpieces of American Still Life, 1801-1939, Philbrook Art Center, Tulsa; The Oakland Museum; Baltimore Museum of Art; National Academy of Design, New York, 1981-1982, checklist no. 112 (repro. in cat. by W. Gerdts).
•1983—A New World: Masterpieces of American Painting 1760-1910, Museum of Fine Arts, Boston; Corcoran Gallery of Art, Washington, D.C.; Grand Palais, Paris, 1983-1984, no. 11, repro.
•1989—Raphaelle Peale Still Lifes, National Gallery of Art, Washington, D.C.,; The Pennsylvania Academy of the Fine Arts, Philadelphia, 1988-1989, fig. 56.
•1992—In Pursuit of Fame: Rembrandt Peale, 1778-1860, National Portrait Gallery, Washington, D.C., 1992-1993, fig. 22, pl. 4.
•1996—The Peale Family: Creation of a Legacy 1770-1870, Philadelphia Museum of Art; M. H. De Young Memorial Museum; Corcoran Gallery of Art, Washington, D.C., 1996-1997, no. 162, pl. 16 and frontispiece.
•1999—America: The New World in 19th-Century Painting, Österreichische Galerie Belvedere, Vienna, 1999, no. 18, repro.
•2003—Jefferson’s America & Napoleon’s France: An Exhibition for the Louisiana Purchase Bicentennial, New Orleans Museum of Art, 2003, no. 136, repro.
•2011—The Great American Hall of Wonders: Art, Science, and Invention in the Nineteenth Century, Smithsonian American Art Museum, Washington, D.C., 2011-2012, fig. 102.
•2015—Audubon to Warhol: The Art of the American Still Life, Philadelphia Museum of Art; Phoenix Art Museum, 2015-2016, (shown only in Philadelphia).
Bibliography
•1947—Sellers, Charles Coleman. Charles Willson Peale. Vol. 2: Later Life (1790-1827). Philadelphia, 1947: fig. 12, opp. 147.
•1956—Rendezvous for Taste: Peale’s Baltimore Museum, 1814-1830. Exh. cat. Peale Museum, Baltimore, 1956: repro. 2, 28, no. 82 (not exhibited).
•1965—Feld, Stuart P. “‘Loan Collection,’ 1965.” Metropolitan Museum of Art Bulletin 23, no. 8 (April 1965): 283, repro.
•1971—Gerdts, William H., and Russell Burke. American Still-Life Painting. New York, 1971: 36, repro. 34, fig. 2-12.
•1976—Adams, William Howard, ed. The Eye of Thomas Jefferson. Exh. cat. National Gallery of Art, Washington, D.C., 1976: 346, no. 600, repro.
•1976—From Seed to Flower: Philadelphia, 1681-1876; A Horticultural Point of View. Exh. cat. Pennsylvania Horticultural Society, Philadelphia, 1976: 24, repro. 27.
•1977—Levene, John R. Clinical Refraction and Visual Science. London, 1977: 171-172.
•1981—Gerdts, William H. Painters of the Humble Truth: Masterpieces of American Still Life 1801-1939. Columbia, Missouri, 1981: 3, color pl. 3, 62-63.
•1983—Miller, Lillian B., Sidney Hart, and David C. Ward, eds. The Selected Papers of Charles Willson Peale and His Family. Vol. 2: Charles Willson Peale: The Artist as Museum Keeper, 1791-1810. New Haven, 1988: 1047 n.4, 1096, 1098 n.15, 1241 n.2, pl. 6.
•1984—Foshay, Ella. Reflections of Nature: Flowers in American Art. Exh. cat. Whitney Museum of American Art, New York, 1984: 32-34, repro.
•1985—Hevner, Carol Eaton. Rembrandt Peale, 1778-1860: A Life in the Arts. With a biographical essay by Lillian B. Miller. Exh. cat. Historical Society of Pennsylvania, Philadelphia, 1985: 20, 21 fig. 5, 103 n. 8.
•1986—Hevner, Carol Eaton. “Rembrandt Peale’s Portraits of His Brother Rubens.” Antiques 130 (November 1986): 1010-1013.
•1986—Hevner, Carol Eaton. “Rubens Peale with a Geranium by Rembrandt Peale.” In Art at Auction: The Year at Sotheby’s 1985-86. New York, 1986: 114-116, fig. 1 (color).
•1987—Hevner, Carol Eaton. “The Cover.” Journal of the American Medical Association 257, no. 15 (17 April 1987): 1996 and color repro., cover.
•1988—Wilmerding, John. American Masterpieces from the National Gallery of Art. Rev. ed. National Gallery of Art, Washington, D.C., 1988: 66, no. 10, color repro.
•1988—Wilmerding, John. “America’s Young Masters: Raphaelle, Rembrandt, and Rubens.” In Nicolai Cikovsky, Jr. Raphaelle Peale Still Lifes. Exh. cat. National Gallery of Art, Washington, D.C.; Pennsylvania Academy of the Fine Arts, Philadelphia. Washington, D.C., 1988: 72-93.
•1991—Gingold, Diane J., and Elizabeth A.C. Weil. The Corporate Patron. New York, 1991: 136-137, color repro.
•1991—Kopper, Philip. America’s National Gallery of Art: A Gift to the Nation. New York, 1991: 292, color repro.
•1992—American Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1992: 256, repro.
•1992—Hevner, Carol Eaton. “The Paintings of Rembrandt Peale: Character and Conventions.” In Miller, Lillian B. In Pursuit of Fame: Rembrandt Peale, 1778-1860. Exh. cat. National Portrait Gallery, Washington, D.C., 1992: 255, 57-60, fig. 22, 160, color pl. 4, 243.
•1992—National Gallery of Art, Washington. National Gallery of Art, Washington, 1992: 222, repro.
•1994—Craven, Wayne. American Art: History and Culture. New York, 1994: 155, color fig. 11.3.
•1996—Kornhauser, Elizabeth Mankin. American Paintings Before 1945 in the Wadsworth Atheneum. London, 1996: no. 597, repro.
•1996—Miller, Lillian B., ed. The Peale Family: Creation of a Legacy, 1770-1870. Exh. cat. Trust for Museum Exhibitions and National Portrait Gallery, Washington, D.C., 1996: repro. 35, 51-52, 309.
•1996—Miller, Lillian B. “The Peale Legacy: The Art of an American Family, 1770-1870.” American Art Review 8, no. 6 (1996): repro. 141.
•1997—Follensbee, Billie J.A. “Rubens Peale’s Spectacles: An Optical Illusion?” Survey of Ophthalmology 41, no. 5 (March-April 1997): 417-424, repro.
•1997—Hughes, Robert. American Visions: The Epic History of Art in America. New York, 1997: 106-107, fig. 69.
•1998—Torchia, Robert Wilson, with Deborah Chotner and Ellen G. Miles. American Paintings of the Nineteenth Century, Part II. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 1998: 48-57, color repro.
•2002—Solti, Carol. “Rembrandt Peale’s Rubens Peale with a Geranium: A Possible Source in David Teniers the Younger.” American Art Journal 33, nos. 1 and 2 (2002): 4-19, fig. 1.
•2004—Hand, John Oliver. National Gallery of Art: Master Paintings from the Collection. Washington and New York, 2004: 332-333, no. 267, color repro.
•2013—Harris, Neil. Capital Culture: J. Carter Brown, the National Gallery of Art, and the Reinvention of the Museum Experience. Chicago and London, 2013: 407.
•2015—“Art for the Nation: The Story of the Patrons’ Permanent Fund.” National Gallery of Art Bulletin, no. 53 (Fall 2015): 2, repro.
•2019—Wallach, Alan. “‘A Distasteful, Indelicate Subject’.” American Art 33, no. 3 (Fall 2019): 29, 30, color fig. 2.
From American Paintings of the Nineteenth Century, Part II:
1985.59.1
Rubens Peale with a Geranium
•1801
•Oil on Canvas, 71.4 × 61 (28 Vs × 24)
•Patrons’ Permanent Fund
•Inscriptions:
oAt Lower Right: Rem Peale / 1801
Technical Notes:
The tacking margins of the mediumweight plain-weave fabric support have been trimmed. The painting has been lined with a heavier weight plain-weave fabric that appears to be a prepared artist’s canvas; its white ground layer is visible on the reverse of the lining.1 The ground layer is creamy white and of medium thickness. Infrared reflectography revealed limited underdrawing in the right hand and the flowerpot. The paint was applied as a smooth, thin, fluid-to-dry paste, generally wet-into-wet, with some low impasto in the highlights. X-radiography reveals slight changes in the sitter’s neckwear. A small ruffle that was painted below the fabric around the sitter’s neck has been covered with addition to that fabric, and by the black waistcoat. Infrared reflectography reveals changes in the geranium leaves and shows that the entire rim of the flowerpot was painted before it was covered by the lower leaf.
There is moderate abrasion, which reveals the ground in some areas. There are also scattered pinpoint old flake losses, and occasional other repaired losses, including one measuring approximately i cm by 0.5 cm in the right side of the lens that is on the viewer’s right, and a slightly smaller loss outside and to the right of the frame around the same lens. The varnish is slightly discolored.
Provenance:
The artist; James Claypoole Copper, Philadelphia;2 Mary Jane Peale [1827-1902], Pottsville, Pennsylvania, the daughter of the sitter, Rubens Peale;3 her nephew, Albert Charles Peale [1849-1914], Washington, D.C.;4 his cousin, Jessie Sellers Colton [Mrs. Sabin Woolworth Colton, Jr., 1855-1932], Bryn Mawr, Pennsylvania;5 her daughter, Mildred Colton [Mrs. Robert P.] Esty [1883-1977], Ardmore, Pennsylvania;6 sold to Lawrence A. Fleischman, Detroit, Michigan;7 (Kennedy Galleries, New York); purchased by Pauline E. [Mrs. Norman B.] Woolworth;8 (sale, Sotheby’s, New York, 5 December 1985, no. 42).
Exhibited:
Exhibition of Portraits by Charles Willson Peale and James Peale and Rembrandt Peale, PAFA, 1923, no. 73. Pennsylvania Painters, Pennsylvania State University, University Park; Toledo Museum of Art, Ohio, 1955-1956, no. 11. The Fabulous Peale Family, Kennedy Galleries, New York, 1960, no. 74.9 American Art from American Collections, MM A, 1963, no. 185. The Peale Family and Peale’s Baltimore Museum, 1814-1830, PM, 1965, no. 16. The Peale Family: Three Generations of American Artists, DÍA; MWPI, 1967, no. 139. 19th Century America: Paintings and Sculpture, MM A, 1970, no. 2. The American Painting Collection of Mrs. Norman B. Woolworth, Coe Kerr Gallery, New York, 1970, no. 87. The Eye of Thomas Jefferson, NGA, 1976, no. 600. Painters of the Humble Truth: Masterpieces of American Still Life, Philbrook Art Center, Tulsa; Oakland Museum; BMA; NAD, 1981-1982, checklist no. 112. A New World: Masterpieces of American Painting 1760-1910, MFA; CGA; Grand Palais, Paris, 1983-1984, no. 11. Raphaelle Peale Still Lifes, NGA; PAFA, 1988-1989, no cat. no. In Pursuit of Fame: Rembrandt Peale, ijj8-i86o, NPG, 1992-1993, no cat. no. The Peale Family: Creation of a Legacy, 1770-1870, PMA; FAMSF; CGA, 1996-1997, no. 162.10
This portrait of seventeen-year-old Rubens Peale by his older brother Rembrandt Peale is among the finest portraits in the history of American art. Rembrandt Peale painted the portrait with exceptional care and precision, observing his brother so closely that the viewer feels emotionally as well as physically close to him. Rubens, seated at a table, leans slightly to his right and looks downward. He seems to be preoccupied and not looking through his silver-framed glasses. Next to him on the table is a tall, somewhat leggy geranium with green leaves and small red flowers, in a terra-cotta pot. Rubens’ left hand, resting on the table, holds a second pair of glasses, while his right hand, crossing his left, rests on the rim of the flowerpot, two fingers touching the soil. Rembrandt’s sensitivity toward his sibling seems to be mirrored in Rubens’ care for the plant, characterized by this gentle, nurturing gesture. Rembrandt also emphasizes the sense of touch over sight, since Rubens is not looking at the plant. Rembrandt has also carefully represented the direction of light, which falls from the upper left onto Rubens and the plant, perhaps signaling the depiction of a specific time and place.
Rubens Peale (1784-1865) was the ninth of eleven children of artist and naturalist Charles Willson Peale and his first wife Rachel. Six of their eleven children did not survive to adulthood, and Rachel herself died in 1790, when Rubens was a child. He was the younger brother of Raphaelle, Rembrandt, and Angelica Kauffmann Peale, and the older brother of Sophonisba Angusciola Peale. Rubens was small for his age, with poor eyesight, as he later described himself:
I was very delicate in health and our family phycian [sic] Dr. Hutchins required that I should be kept out of the sun as much as possible…. I was not permitted to playin the streets with the other boys…. I remember perfectly well of chasing my sister Sophonisba (now Mrs. Coleman Sellers) about the room with a paper mask on, and was so small that I ran under the tea table without touching it, or stooping in the least degree…. I made but little progress at school for my sight was so imperfect that I had to have a spelling book of clean print and white paper (at that date a very rare article) and seated as near the window as possible to see to read.11
Rubens’ restricted life soon changed for the better:
“One day when I returned from school I was informed that our family Phycian [sic] was dead, at this inteligence I was so much pleased that I danced about the room with joy. … I then went into the garden and took the watering pot and watered my flowers which I was forbid to do, and after that time I gradually increased in strength & health.”12
From an early age, Rubens had remarkable success at raising both plants and animals. Once, when his favorite bird, a painted bunting, was missing, he learned that his father’s friend, Timothy Matlack, had found the lost pet. Matlack refused to return it to Rubens until Rubens could convince him that it was his. “I told him that if the bird was mine, it would come to me to be corressed [sic], we entered the room together, at once the bird flew to me and lit on my sholder and wanted to feed out of my mouth and remained with me as long as we were in the room, he then acknoledged the bird belonged to me and give it up with much reluctance.”13
Rembrandt Peale probably painted his brother’s portrait sometime during the first six or seven months of 1801. At that time Rembrandt was eagerly seeking portrait commissions and also was attempting to get a patronage job in the administration of President Thomas Jefferson. Later, from midsummer until the end of that year, Rembrandt was preoccupied with his father’s extraordinary project to exhume and restore two almost complete mastodon skeletons found in upstate New York. One of the skeletons was ready for viewing at the museum on Christmas eve, 1801.14 Sometime within the next few years, Rembrandt gave the portrait to James Claypoole Copper, a member of the extended Peale family. Copper was the son of Norris Copper and Elizabeth Claypoole Copper; Elizabeth’s sister Mary was the wife of Rembrandt’s uncle, James Peale. In 1797 Copper’s widowed mother married Timothy Matlack (see the entry for 1947.17.10, p. 72, for the Gallery’s portrait of Matlack, which is attributed to Rembrandt Peale).15 Rembrandt Peale painted Copper’s portrait in about 1806 (private collection).10 Charles Willson Peale described him in 1809 to Rembrandt as “your friend Copper.”17 Copper managed Charles Willson Peale’s estate after Peale’s death in 1827.
Important information about the portrait comes from Rubens’ daughter Mary Jane Peale, to whom Copper gave the painting in 1854, when she was twenty-seven years old. When she recorded the gift in her diary on 20 April, she gave the history of the painting as she knew it, explaining why the geranium was significant and also why Peale was shown with two pairs of glasses. Since Rubens and Rembrandt Peale, Mary Jane’s father and uncle, were both living when Copper gave her the portrait, her comments carry considerable weight:
I called at Mr Coppers—he presented me with a very beautiful portrait of Father when about [age left blank] he is represented with a flower-pot in his hand containing a Waterloo geranium—when it was first introduced & considered very wonderful—a very fine specimen. It was first painted without spectacles & then to make it more perfect it was painted with spectacles on the eyes as he always wore them & then the others were left in order not to mar the picture. When it was painted Uncle Rembrant who painted the picture lived at the head of Mulberry Court. After the picture was finished it was placed in the window filling up the space of the lower sash—presently Father’s pet Dog a large mastiff—came running in to hunt Father & seeing him (as he thought) rushed towards it & would have bounded on him had not the family prevented it. This pleased them all very much. Mr. Copper was a very dear friend of Uncle Rembrants & always admired this picture very much so when Uncle went to Europe he presented this picture to Mr. Copper as something very good—so now before Mr. Copper died he wished to present it to Father’s daughter.18
Copper wrote Mary Jane on 28 April about the gift:
Dear Miss Peale It gives me much pleasure to acknowlege the receipt of a very pleasing note from the daughter of one of my old friends. I have necessarily delayed sending the portrait of your father until to day—I have looked at it many and many a time, with recollections of old times, of a mixed character, both of pleasure and regret, the natural result of the discontinuance of old habits and old associations. May your course through life, my dear young lady, leave you few causes of regret, and a great many thoughts of times well and happily spent. I request to be remembered most kindly to your good father & mother.19
At an unknown date Mary Jane Peale annotated the letter, repeating much of the information that she had written in her diary, but adding some important comments:
This letter was received by me from Mr. James G Copper. The Picture when painted was presented to him … He kept it during his life and when an old man sent for me, because he wanted to see if he liked me, and if he did he was going to give me the picture, so I suppose he liked me because he sent it. uncle Rembrant put on it a new back & cleaned it for me. It was painted on account of the Geranium which was the first one in this country. It was first painted without the glasses on but in the hand—they thought it would look better with them on, and they were painted—but uncle Rembrandt who painted it thought it would spoil the painting of the hand to take the others out, so they did not…. The geranium is a little withered in the painting room.20
Mary Jane Peale repeated and refined these stories in the 1880s. When she included the information in her “List of Pictures I Own, 1884,” she referred to the plant as “the Scarlet Geranium which was the first brought to this country.” She said that the painting “always belonged to Mr Copper.”21 The following year she repeated much of the information in her “List of Pictures I Own; 1885.”22 And in 1901 she again described the painting, this time in a codicil to her will, in which she stated that Peale had painted the portrait for Copper.23
In the portrait, Rubens and the geranium command equal attention. The plant becomes a significant means of characterizing the young man. Despite being named after the seventeenth-century painter Peter Paul Rubens, Rubens Peale by 1801 had demonstrated his skills as a naturalist rather than as an artist. Singled out by his father as a future museum proprietor, Rubens Peale later managed the Peale museums in Philadelphia, Baltimore, and New York. In retrospect, he remembered how in 1793, not yet ten years old, he was entrusted with the care of unusual plants: “My Father received from France a number of subjects of Natural History in exchange for those he had sent, consisting of Birds, Reptáis, Insects & Seeds, amongst the latter was a paper of the Red Tomato & Okra. I planted them in potts, and had them growing, supposing them to be flowers, a french gentleman from St. Domingo recognized the Tomato as a favourite fruit of his. I gave the balance of these seeds to Mr. McMahon & Landreth, they soon introduced them in to the Phila, market.”24 His concern for his plants is reflected in letters he wrote to his family after he and Rembrandt left Philadelphia for New York in March 1802. Writing to his father on 2 April, he commented, “I hope my Plants are not negleckted.”25 On 19 April, he wrote his sister Sophonisba: “I think it is about time to take out the plants but I cannot judge for we left Summer in Philadelphia and brought winter along with us.”20
Mary Jane Peale’s comments about the geranium, when combined with information about the history of these plants in America, suggests that the painting may depict a new variety. In 1854 she described the plant as “a Waterloo geranium—when it was first introduced & considered very wonderful—a very fine specimen” and in 1884 as “the Scarlet Geranium which was the first brought to this country.” She also wrote that the portrait was “painted on account of the Geranium which was the first one in this country.” Is this a documented horticultural “first”?
Geraniums were first imported from South Africa to Europe in the early eighteenth century. The plants were introduced to North American horticulture in the mid-1700s. As tropical plants they required greenhouse, or hothouse, care in colder climates. In 1760 English horticulturist Peter Collinson wrote to his friend John Bartram in Philadelphia: “I am pleased thou will build a green-house. I will send thee seeds of Geraniums to furnish it. They have a charming variety, and make a pretty show in a green-house; but contrive and make a stove in it, to give heat in severe weather.”27 To distinguish this type of geranium from the other plants of the Geraniaceae family that were native to Europe or North America, French botanist Charles Louis L’Héritier de Brutelle established the genus Pelargonium in 1787.28 Geraniums became increasingly popular in America in the early nineteenth century. Philadelphia horticulturalist Bernard McMahon listed Pelargonium geraniums in his American Gardener’s Calendar; adapted to the Climates and Seasons of the United States (1806), explaining that “the Genus of Geranium, as constituted by Linnaeus, having become unwieldy by modern discoveries, has been divided into three genera.” He described details of their hothouse care and included instructions for growing seeds and cuttings.29 By 1808, Thomas Jefferson was growing Pelargonium geraniums in the White House.30
The plant in the portrait appears specifically to be a variety of Pelargonium inquinans, whose botanical features include velvety branches, softly textured leaves of five to seven lobes, scarlet flowers with five petals, and a long column of stamens. Its name inquinans (Latin for “staining”) is said to derive from the fact that its leaves turn a rusty or light brown color after they have been touched.31 The plant in the painting appears to have the characteristic brownish red tint on the edges of the lowest leaf.32 This scarlet-flowered geranium was first grown in England in the early lyoos.33 An engraving of the plant published in Hortus Elthamensis (London, 1732), an account by J. J. Dillenius of the gardens of Dr. James Sherard at Eltham, near London, is very similar to the plant in Peale’s painting.34
Philadelphian William Logan apparently ordered seeds of the plant among the vegetable and flower seeds that he acquired in 1768 from James Gordon’s nursery in London.35 In 1806 Bernard McMahon listed Pelargonium inquinans in his American Gardener’s Calendar, giving the plant’s English name as “scarlet-flowered geranium.”36 By this time, however, P. inquinans was already becoming rare, probably because it was the stock plant from which new varieties were produced. A London writer commented that P. inquinansy or “Stainingleaved Crane’s bill,” a “very old Geranium, once very common, is now a scarce plant. There are several fine scarlets under the title of the Nosegay Geraniums, that resemble this species, and are sometimes confounded with it, but upon comparison will be found to differ materially.”37 Years later, American horticulturalist Joseph Breck confirmed this, identifying P. inquinans as “probably the original of the Scarlet varieties.”38
Mary Jane Peale’s claim for the plant as “the first brought to this country” thus seems to refer not to the geranium in general but rather to a particular variety, perhaps of P. inquinans, that became known as the “Waterloo” geranium. In 1834 the “Waterloo geranium” was listed by horticulturalist Robert Buist among forty-nine varieties of the plant.39 Presumably the naming of the plant postdates the Battle of Waterloo (1815) and somehow relates to it.
While the geranium in the painting serves to define Rubens’ interests, and perhaps was intended as the subject of the painting, the two pairs of eyeglasses are critical in characterizing Rubens’ physical state. His poor eyesight was already apparent in early childhood, when it was identified as nearsightedness. Rembrandt later described Rubens’ difficulties:
A younger brother was so near-sighted, that I have seen him drawing, with pencils of his own manufacture—small sticks burnt in the candle and dipped in its grease—looking sometimes with his left eye, and then turning to look with his right eye, the end of his nose was blackened with his greasy charcoal. He was slow in his progress at school…. At ten years of age, he only knew two letters, o and i, never having distinctly seen any others, because his master, holding the book at a distance to suit his own eye, his pupil could see nothing but a blurred line—and only learned by rote.40
One day, a chance use of lenses made for an elderly person showed that Rubens was farsighted, a rare condition for a child but one that normally occurs in the elderly.41 Rubens described the correction to his eyesight in his “Memorandum’s”: “My sight has always been very bad and it was not untill I was about 10 or 12 years of age, that I could procure any glasses that aided my sight. I had to put the book or paper so close to my face that my nose would frequently touch the book. It was always thought that I required concave glasses and every degree of concavity was tried in vain, at last I happened to take a large burning-glass and placed it to my eye and to my great astonishment I saw at a distance every thing distinctly.”42 He wrote that after this discovery, “My father then went with me to Mr. Chs. [John] M’Alister’s store in Chesnut near 2d. st. He had no spectacles of so high a power, & he then set in a frame glasses of 4 ½ inch focus, with these spectacles I could see to read and even to read the signs across the street. This surprised him very much, he had never met with such a case before, (strange to say I still continue to use the glasses of the same focus ever since.) It was not until this discovery was made, that I could read a newspaper or other small print.”43
This story was later confirmed by Rembrandt Peale:
No concave glasses afforded him the least relief; but at Mr. M’Allister’s, the optician, my father being in consultation on his case, there lay on the counter several pairs of spectacles, which had just been tried by a lady ninety years old. Taking up one of these and putting it on, he exclaimed in wild ecstasy, that he could see across the street—”There’s a man!—there’s a woman!—there’s a dog!” These glasses were double convex of four and a half inch focus, and enabled him rapidly to advance in his studies. He has continued to use them, of the same strength, to the present time, being seventy years old—putting them on the first thing in the morning, and taking them off the last thing at night. In London in 1802, he was present at a lecture on optics, by Professor Walker, who declared he had never known another instance of a shortsighted person requiring strong magnifying glasses.44
Rubens’ need for magnification, rather than for concave glasses, was also noted by John Isaac Hawkins, an Englishman who had come to the United States in the 17905 and settled in Philadelphia by 1799. An engineer and prolific inventor, Hawkins worked closely with Charles Willson Peale, inventing the physiognotrace for his museum and the polygraph that Thomas Jefferson used to make copies of his correspondence.45 Hawkins took an interest in the problem of Rubens’ eyesight. In 1826, after he had returned to England, he described Rubens’ case in a published paper that he illustrated with an engraving of a design for trifocals. “I knew twenty-five years ago a very extraordinary exception to the use of concave glasses for nearsighted eyes, in a young man in Philadelphia; he tried concaves without any benefit, but accidentally taking up a pair of strong magnifiers, he found that he could see well through them, and continued the use of strong magnifiers with great advantage.”46
Evidence in the painting itself suggests that Mary Jane Peale was correct in stating that Rubens was first painted with only one pair of glasses, those in his hand. When Rembrandt added the second pair, she said, he did not remove the spectacles from Rubens’ hand because he did not want to “spoil the painting.” The artist has indicated clearly that the pair of glasses that Rubens holds has the strong magnifying lenses that he needed : The sidebar that is folded behind the glasses can be seen through the lenses, which have enlarged the image. (Because the sidebar is folded at its center joint, the loop at the end of the sidebar can also be seen, between the two lenses.)47 The power of these lenses is also indicated by the curve of their surface. A reflection of the studio window is visible in the lower corner of the lens that is farther from Rubens’ hand. By contrast, the glasses that Rubens is wearing do not enlarge his eyes, which suggests that they are not of high magnification. In fact, they seem to be carefully placed so that they do not interrupt the outline of his eyes. Instead only the flesh of his cheeks is visible through them. Rembrandt’s slightly later portrait of Rubens (NPG), painted in 1807, offers a helpful comparison. There, Rembrandt clearly represented Rubens wearing lenses with strong magnification. They quite noticeably enlarge the inner corner of Rubens’ left eye and the outer area of his right eye.48
Since two early portraits of Rubens by his brother Raphaelle Peale do not show him with glasses,49 only one other early portrait provides helpful evidence on the question of which glasses are original to the painting. The portrait of Rubens that Charles Willson Peale included in his painting Exhumation of the Mastodon (1805-1808, PM) depicts Rubens wearing glasses that appear to be of the same shape as those he is holding in the Gallery’s portrait.50 This type of frame, with large lenses and a wide bridge, was commercially available by 1801.51 In contrast, the glasses that Rubens wears, with a narrow bridge, were apparently less common.52 They are similar in shape to glasses made for the Peales and their acquaintances by John McAllister, the man that Rubens credited with assembling his first successful pair of glasses. The spectacles that McAllister made for Thomas Jefferson in 1806 (Thomas Jefferson Memorial Foundation, Inc., Charlottesville) are similar in their narrow bridge, although the shape of the lenses is different.53 The pair that Charles Willson Peale is wearing on his forehead in his self-portrait of about 1804 (PAFA) is also similar, as is the pair that Rubens wears in Rembrandt’s 1807 portrait of him.
McAllister was a Scottish-born Philadelphia merchant and manufacturer who came to Philadelphia from New York in 1781. He opened a business selling canes and walking sticks, and by 1788 was a manufacturer of these and related merchandise. In 1796 he moved into a new shop at 48 Chestnut
Street, near Second Street. He was not an optician and until 1815 did not make spectacles; instead he imported and sold the frames, using lenses made elsewhere. It is believed that he first sold spectacles in 1799; his first advertisement for them appeared in the Philadelphia Gazette and Daily Advertiser in October 1800, at the beginning of his three-year partnership with John Matthews.54 With the exception of this partnership, McAllister’s business was at 48 Chestnut Street until his death in 1830. The earliest written evidence that he supplied spectacles for Charles Willson Peale is from 1806, when he made glasses for Peale and his brother James that were specially designed for miniature painting.55
One modern explanation for the two pairs of glasses was offered by Dr. John R. Levene, an optometrist. Noting that the lenses of the spectacles in Rubens’ hand are larger, and the bridge wider, than those of the pair he is wearing, Levene proposed that Rubens may have worn the pair in his hand lower down on his nose “for reading or close work purposes.” When both were worn at the same time, the combination could have created the effect of bifocals.56 Levene, however, was unaware of Mary Jane Peale’s accounts.57 Having read her statements, art historian John Wilmerding more recently noted a lack of physical evidence in the painting that would support her idea that the second pair of glasses was added. X-radiography revealed no measurable changes in the paint surface or reworking of the area. Wilmerding added that “these spectacles seem so integral and central to the entire effect and meaning of the painting that they must have been part of the intention and composition from the start.”58
Physical evidence is of limited help in solving the question. Close study of the painting did not reveal a reserved space for the glasses or for the reflected light on his cheeks, indicating that Peale did not set aside an area for the glasses when he painted the face. Examination of the surface of the painting revealed instead that the glasses were painted over the brushwork of the lower eyelids. However, this would be the case whether or not the glasses were intended to be there from the beginning, since they could have been painted at the final stage. Billie Follensbee has suggested that there is additional evidence that Mary Jane Peale’s narrative is accurate: the nature of the reflected pools of light on Rubens’ cheeks and the lack of distortion of his eyes as seen through the lenses. These pools of reflected light, which would indicate strong lenses, could easily have been added to a completed portrait. Repainting the eyes to indicate the magnification of the lenses would have been more difficult.59 In showing only the flesh of Rubens’ cheeks through the lenses, Rembrandt would not have had to alter the painting.
When would the glasses have been added? Presumably before Rembrandt Peale gave the painting to James Claypoole Copper. Mary Jane Peale wrote in 1854 that “Mr. Copper … always admired this picture very much so when Uncle went to Europe he presented this picture to Mr. Copper as something very good.”60 In her annotation of his letter, she modified this statement, saying that “The Picture when painted was presented to him.”61 If her comments are accurate, the gift could have been made before Rembrandt Peale’s first voyage abroad in 1802, when he and Rubens took the mastodon skeleton, with other natural history objects and some portraits, to England for exhibition.62 Rembrandt could also have given Copper the portrait before his trip to Europe in 1808, by which time he had painted his second portrait of Rubens, who in that portrait is seen wearing his glasses.63
The initial absence of the pair of spectacles reinforces Mary Jane Peale’s comment that the painting was done primarily to represent the geranium. “The geranium,” as she wrote in her annotation of Copper’s letter, “is a little withered in the painting room.” The sitter’s glance away from the plant places the emphasis on his gesture, touching the rim of the pot, as if to test the moistness of the soil. He is not looking at the plant, and his gesture does not need the sense of sight to confirm the information it receives. One could imagine that Rubens Peale was eager to take the withered geranium out of his brother’s painting room and return it to his own care.
EGM
Notes
1.Mary Jane Peale wrote that after the painting was given to her in 1854, her uncle Rembrandt Peale “put on it a new back & cleaned it for me”; undated annotation on letter from James Glaypoole Copper to Mary Jane Peale, 28 April 1854, AAA.
2.The date of Copper’s acquisition of the painting is unknown. Mary Jane Peale believed that he owned it almost from the time it was painted. In 1854 she wrote that “when Uncle [Rembrandt Peale] went to Europe,” he gave the portrait to Copper. In an undated annotation to Copper’s letter (28 April 1854, AAA), she wrote that “the Picture when Painted was presented to him.” Later, in her will, she said that it was “painted for him by Mr. Rembrandt Peale.” On Copper, see Graff 1893, 79, 101-102, which does not record his life dates. His parents were married in 1774.
3.For Mary Jane Peale’s dates, see the genealogy of the Peale Family in Elam 1967,10, and Miller 1992, 231. For information that she lived in Pottsville, see Hevner, “Rembrandt” 1986,1012.
4.Mary Jane Peale bequeathed the portrait to her nephew Albert Charles Peale, the son of her brother Charles Willson Peale and Harriet Friel Peale; see her will dated 27 June 1901 and the second codicil dated 6 September 1901, Register of Wills, Courthouse, Pottsville, Pennsylvania. (The will is signed and dated 1900, but is referred to in codicils as dated 1901; that date is more likely, given the date of the codicüs.) Albert Peale was one of the executors of Mary Jane Peale’s estate. For his dates, see Charles Coleman Sellers, “Peale Genealogy,” MS, Peale Papers Office, NPG; also, NCAB 1893-, 21:255-256.
5.The painting belonged to Jessie Sellers Colton by 1923, when she lent it to the exhibition at the Pennsylvania Academy of the Fine Arts. A label formerly on the painting (in NGA curatorial files) gives her name and address, and states that she was the great-niece of Rubens Peale. For her dates, see Sellers, “Peale Genealogy.”
6.Mrs. Esty owned the portrait when it was reproduced in Sellers 1947 (opp. 147, fig. 12) and lent it in 1955 to the exhibition at Pennsylvania State University. For her birth date see Sellers, “Peale Genealogy”; her date of death is recorded in Social Register Association 1978, 98.
7.Fleischman confirmed his ownership of the portrait in a letter of 19 December 1985 to the Gallery (in NGA curatorial files).
8.Mrs. Woolworth was the owner by 1963, when she lent the painting to the exhibition American Art from American Collections at the Metropolitan Museum of Art.
9.“Fabulous” 1960, 76-77, fig. 74, “loaned by a private collector.”
10.This work has been identified in the past as having been exhibited at the Pennsylvania Academy of the Fine Arts in 1807 and at the Peale Museum in 1808. Peale included “No. 15 Rubens Peale by Rembrandt” in a sketch of the proposed arrangement for the academy in 1807 (Miller, Hart, and Ward 1988, 1047 and note 4; Hevner, “Rembrandt” 1986, 1011-1012). He wrote to Rembrandt in 1808 that he was exhibiting “Your Portrait of … Rubens” at the museum (Miller, Hart, and Ward 1988, 1096, 1098n.15; Hevner, “Rembrandt” 1986, 1012). More recently, however, Hevner noted that she believes that in both cases the portrait exhibited was probably the portrait of Rubens that Rembrandt painted in 1807 (NPG); note dated 20 December 1989 (in NPG curatorial files).
11.Rubens Peale, “Memorandum’s of Rubens Peale and the events of his life &c,” Peale-Sellers Papers, APS; see Miller 1980, fiche VIIB/1A2-G9, 5-6 (pagination added by the editors). Peale’s “Memorandum’s” are a rough chronology of events, beginning with his childhood. While he occasionally gives specific dates, they appear to be approximate. For example, he wrote that he sailed to England “early in the year 1801,” when in fact this voyage occurred in the summer of 1802. Family physician Dr. James Hutchinson was also professor of chemistry at the University of Pennsylvania and secretary of the American Philosophical Society; Miller, Hart, and Ward 1988, 1911.1.
12.Peale, “Memorandum’s,” 6-7.
13.Peale, “Memorandum’s,” 5.
14.For his activities in this period, see Miller, Hart,
1.and Ward 1988, 350-379; and Miller 1992, 47-54.
15.Graff 1893, 79.
16.Miller, Hart, and Ward 1988, 1241n. 2.
17.Miller, Hart, and Ward 1988, 1235; the letter is dated 28 October 1809.
18.Diary of Mary Jane Peale, 1854, Peale-Sellers Papers, APS; partially quoted in Hevner 1987,1996; and Follensbee 1997, 420.
19.Letter from James Claypoole Copper to Mary Jane Peale, 28 April 1854, AAA. The letter was written from 260 Marshall Street, which was Copper’s Philadelphia residence; see McElroy 1854,102.
20.Undated annotation by Mary Jane Peale on letter to her from James Claypoole Copper, 28 April 1854, AAA.
21.Mary Jane Peale, “List of Pictures I Own, 1884,” n.p., no. 34, Peale-Sellers Papers, APS. She added that “I have left it to Albert, in my will.” The portrait is also included in her “List of Pictures owned by Mary J. Peale & where they are,” 1883, Peale-Sellers Papers, APS, as “lo. Father when nineteen with Geranium by Rem Peale/’ located “at home.”
22.Mary Jane Peale, “List of Pictures I Own; 1885,” no. 24, Peale-Sellers Papers, APS (courtesy of Billie Follensbee, who located the document). The list has an annotation, “Rubens Peale,” in the left margin, which was crossed out. Below it was written “Albert Peale.” These notations seem to reflect Mary Jane Peak’s ideas about the recipient of the future bequest.
23.Will dated 27 June 1901, with second codicil dated 6 September 1901, Register of Wills, Court House, Pottsville, Pennsylvania. In the codicil she wrote: “The portrait of Father with the Geranium, the first brought to this country, and painted on account of the plant which shews [sic] that it was in the studio being a little withered. It was at first painted without the spectacles and afterwards put on. given to me by Mr. Copper, painted for him by Mr. Rembrandt Peale.” An undated draft of her will states: “I give to my niece Fannie Carrier the miniature of my Father by Miss Anna Peale afterwards Mrs. Duncan, unless Rubens would prefer it to the portrait of my Father with the Geranium given me by Mr. Copper for whom it was painted,” and “The picture of my Father painted by Uncle Rembrandt for Mr. Copper & given me by him I give to Albert” (Peale-Sellers Papers, APS). A “Last Will and Testament, 1883” that has occasionally been cited as in NGA curatorial files is in fact a partial photocopy of the 1901 will and codicil.
24.Peale, “Memorandum’s,” n. David Landreth came to Philadelphia in 1781 and established the city’s first nursery and seed business in 1784. He was probably Bernard McMahon’s first employer after McMahon arrived in the United States from Ireland in 1796. McMahon established his own business in Philadelphia in 1802; Pennsylvania Horticultural Society 1976, 22.
25.Miller, Hart, and Ward 1988, 421-422.
26.Miller, Hart, and Ward 1988, 427.
27.Darlington 1849, 224-225, letter of 15 September 1760; Hedrick 1950, 88; Pennsylvania Horticultural Society 1976, 24.
28.For example, Thomas Jefferson asked John Bartram, Jr., to include two American geraniums, Geranium maculatum and Geranium gibbosum, in a group of American plants that were sent to him in Paris in 1786; see Jefferson to John Bartram, Jr., 27 January 1786 (Boyd 1954, 228-230). The first, known as wild geranium or spotted crane’s bill, has rose-purple flowers and deeply divided leaves, while the second is a shrubby plant with deep greenish yellow flowers. See Betts 1944, 109-110; Betts and Perkins 1971, 57; Bailey 1900-1902, 2: 640; Clark 1988, 92. On the history and botanical features of geraniums and pelargoniums, see Bailey 1900-1902, 3:1257-1264; Van der Walt and Vorster 1977-1981; Everett 1981, 5: 1462-1465, 8: 2527; and Clark 1988,15-21, 93.
29.McMahon 1806, 83, 160, 355, 419, 444, 615, 618.
30.Adams 1976, 346, no. 600, written by Charles Coleman Sellers; see also 351 for botanical notes on Pelargonium. In December 1808 Margaret Bayard Smith asked Jefferson if he would give her the geranium that he kept in the White House, when he left Washington; he did this at the end of his second term the following spring; see Betts 1944, 382-383.
31.Van der Walt and Vorster 1977-1981, 1:23 and color repro. opp. 23.
32.Some writers believed that the name came about because the plant produced a red stain. Henry Andrews (1805, 2:n.p.) described the source as “the stems, which are beset with glands containing a red juice, which rubbed on paper stains it; from whence its specific title of Inquinans.”
33.Hobhouse 1992, 115; it was grown by Henry Compton (1632-1713), bishop of London, in his garden at Fulham Palace.
34.Dillenius 1732,151-152, and pi. cxxv, opp. 151, titled Geranium Afric. arborescent, Malvae folio pingui, flor e coccíneo Pein. The plate is reproduced in Bailey 1900-1902, 3: 1257, fig. 1698; see also 3: 1261-1262. See also Clark 1988,15.
35.Hobhouse 1992, 269, states that this order included inquinans but gives no source for this information.
36.McMahon 1806, 618.
37.Andrews 1805, 2:n.p.
38.Breck 1866, 310.
39.Buist 1834, no. The only indication of its color is the fact that the list is arranged by color of the flowers, from lightest to darkest, with this variety as number thirty-two out of forty-nine.
40.Peale, “Painter’s Eyes” 1856,164.
41.The first specialist to discuss Rubens’ eyesight in relation to this portrait was Dr. John R. Levene, a professor of optometry; see Levene 1977, 171-173. Opthalmologist Charles E. Letocha, M.D., of York, Pennsylvania, identified Peale’s condition to the Gallery staff in a letter of 4 February 1986 and subsequent correspondence (in NGA curatorial files). See also Letocha 1987, 476 (reference courtesy of Billie J. A. Follensbee). The most recent study of this portrait in relation to Peale’s eyesight and need for glasses is Follensbee 1997.
42.Peale, “Memorandum’s,” 7. A burning-glass is a converging lens used to focus the sun’s rays on an object so as to produce heat or combustion.
43.Peale, “Memorandum’s,” 7-8.
44.Peale, “Painter’s Eyes,” 1856,164-165.
45.On Hawkins, see Levene 1977, 166-189; and Miller, Hart, and Ward 1988.
46.Hawkins 1827, 39I-392J ne identified the “young man” as Rubens Peale. The reference is quoted in Levene 1977, 171, where Hawkins’ illustration, an engraving of his trifocals, is reproduced on 184, as figure 7.1.
47.The folded sidebar is commented on by Levene 1977, 172; and Wilmerding, “Young Masters” 1988, 86.
48.The portrait bears two inscribed dates, 1807 and 1821; the earlier date was not visible until the painting was cleaned in 1989 after it was acquired by the National Portrait Gallery. The painting was therefore incorrectly dated in Hevner, “Rembrandt” 1986, 1012, and is correctly dated in Hevner 1992, 260, fig. 124.
49.The first shows Rubens dressed as the mascot of McPherson’s Blues (c. 1795, private collection; illustrated in Miller, Hart, and Ward 1988, color pi. 2, opp. 344); the second is a profile watercolor (c. 1805, NMAA;Miles 1994, ii2, repro.). Among later portraits, Anna Claypoole Peale’s miniature of 1822 (Bolton-Smith 1976,255, no. 212, repro.) and Mary Jane Peale’s portrait of 1855 ( Elam 1967, 138, no. 223, repro. 116) show him with glasses, while Rembrandt Peal’s portrait of 1834 ( Wadsworth Athenaeum) does not (Hevner 1985,76-77, no. 23, repro.).
50.On this painting, see Miller 1981, 47-68.
51.Numerous examples can be found in collections that document the history of eyeglasses; see Poulet 1978, 1: 142-144,148-150, 2: 217.
52.They appear less frequently in collections of eyeglasses. W. Poulet (1978, 1 : 155) illustrates as B 1077 a similar pair of frames with extendable sidebars, c. 1800 (they are not exactly the same, since they have rectangular lenses).
53.On these glasses, see the letter of John McAllister to Thomas Jefferson, 14 November 1806, Thomas Jefferson Papers, Library of Congress (transcript in NGA curatorial files, provided by Dr. Charles E. Letocha); Miller, Hart, and Ward 1988, 1006-1008, and note 1. Jefferson’s glasses are illustrated in Stein 1993,430.
54.Information on McAllister is from Danzenbaker 1968,1-4; correspondence of Dr. Charles E. Letocha, 4 February and 24 February 1986 (in NGA curatorial files); Letocha 1987,476; and research notes compiled by Deborah Jean Warner, curator, Physical Sciences Collections, NMAH.
55.John McAllister to Thomas Jefferson, 14 November 1806, Thomas Jefferson Papers, Library of Congress (transcript in NGA curatorial files, provided by Charles Letocha). McAllister’s bank books for 1796-1797, 1800-1801, and 1807-1809 (Hagley Museum and Library, Wilmington, Delaware) were checked for references to members of the Peale family, but none was found.
56.Levene 1977,172.
57.Follensbee 1997,58.
58.Wilmerding, “Young Masters” 1988, 85.
59.Follensbee 1997, 420-421.
60.Diary of Mary Jane Peale, 1854, Peale-Sellers Papers, APS.
61.Undated annotation by Mary Jane Peale on letter to her from James Claypoole Copper, 28 April 1854, AAA.
62.See Miller, Hart, and Ward 1988, 419-474, 485-603 (correspondence between Charles Willson Peale and his sons from January until their return in November 1803, interspersed with other Peale correspondence), 624n.2 (noting their return). See also Miller 1992, 57-71. Lillian Miller (1992, 58-59) suggests that Rembrandt took the painting to London in 1802, intending it as the pendant to his similarly sized self-portrait with the mammoth tooth, exhibited at the Royal Academy in 1803. Carol Hevner (1992, 255, citing Graves 1905-1906, 6:87) indicates that the second portrait that Rembrandt exhibited at the Royal Academy in 1803 was a “Portrait in Chalk,” which does not describe the portrait of Rubens.
63.See note 10 above for discussion of the possible exhibition of the portrait at the PAFA in 1807 and at the PM in 1808.
References
•1947—Sellers: fig. 12, opp. 147.
•1956—Rendezvous: 2 repro., 28, no. 82 (not exhibited).
•1965—Feld 1283, repro.
•1971—Gerdts and Burke: 36, repro. 34, figs. 2-12.
•1976—Adams: 346, no. 600, repro.
•1976—Pennsylvania Horticultural Society: 24, repro. 27.
•1977—Levene: 171-172.
•1981—Gerdts: 3, color pl. 3, 62-63.
•1984—Foshay: 32-34, repro.
•1985—Hevner: 20, 21 fig. 5, 103n. 8.
•1986—Hevner, “Rembrandt”: 1010-1013, color repro.
•1986—Hevner, “Rubens”: 114-116, fig. 1 (color).
•1987—Hevner: 1996 and color repro., cover.
•1988—Miller, Hart, and Ward: 1047n. 4, 1096, 1098n. 15, 1241n. 2, color pl. 6, between 344 and 345.
•1988—Wilmerding, American Masterpieces: 66, no. 10; 67, color repro.
•1988—Wilmerding, “Young Masters”: 72-93.
•1992—Hevner: 255.
•1992—Miller: 57-60, fig. 22, 160, color pi. 4, 243.
•1992—NGA: 256, repro.
•1996—Miller: 35 (repro), 51-52, 309.
•1997—Follensbee: 417-424, repro.
Anselm Feuerbach (1829 - 1880; active in Karlsruhe, Venice, Castel Toblino, Rome, Vienna, Nuremberg)
Dante and the Noble Women of Ravenna, 1857
Acquired in 1859 as Grand Ducal private ownership, inventory 551
Anselm Feuerbach (1829 - 1880; tätig in Karlsruhe, Venedig, Castel Toblino, Rom, Wien, Nürnberg)
Dante und die edlen Frauen von Ravenna, 1857
Erworben 1859 als großherzoglicher Privatbesitz, Inventar 551
Collection
The foundation of the collection consists of 205 mostly French and Dutch paintings from the 17th and 18th centuries which Margravine Karoline Luise acquired 1759-1776. From this collection originate significant works, such as The portrait of a young man by Frans van Mieris the Elder, The winter landscape with lime kiln of Nicolaes Pieterszoon Berchem, The Lacemaker by Gerard Dou, the Still Life with hunting equipment and dead partridge of Willem van Aelst, The Peace in the Chicken yard by Melchior de Hondecoeter as well as a self-portrait by Rembrandt van Rijn. In addition, four still lifes of Jean Siméon Chardin and two pastoral scenes by François Boucher, having been commissioned directly by the Marchioness from artists.
A first significant expansion the museum received in 1858 by the collection of canon Johann Baptist von Hirscher (1788-1865) with works of religious art of the 15th and 16th centuries. This group includes works such as two tablets of the Sterzinger altar and the wing fragment The sacramental blessing of Bartholomew Zeitblom. From 1899 to 1920, the native of Baden painter Hans Thoma held the position of Director of the Kunsthalle. He acquired old masterly paintings as the tauberbischofsheim altarpiece by Matthias Grünewald and drove the expansion of the collection with art of the 19th century forward. Only his successors expanded the holdings of the Art Gallery with works of Impressionism and the following generations of artists.
The permanent exhibition in the main building includes approximately 800 paintings and sculptures. Among the outstanding works of art of the Department German painters of the late Gothic and Renaissance are the Christ as Man of Sorrows by Albrecht Dürer, the Carrying of the Cross and the Crucifixion by Matthias Grünewald, Maria with the Child by Lucas Cranach the Elder, the portrait of Sebastian Brant by Hans Burgkmair the elder and The Nativity of Hans Baldung. Whose Margrave panel due to property disputes in 2006 made it in the headlines and also led to political conflicts. One of the biggest buying successes which a German museum in the postwar period was able to land concerns the successive acquisition of six of the seven known pieces of a Passion altar in 1450 - the notname of the artist after this work "Master of the Karlsruhe Passion" - a seventh piece is located in German public ownership (Wallraf-Richartz Museum, Cologne).
In the department of Dutch and Flemish paintings of the 16th century can be found, in addition to the aforementioned works, the portrait of the Marchesa Veronica Spinola Doria by Peter Paul Rubens, Moses strikes the rock and water flows for the thirsty people of Israel of Jacob Jordaens, the still life with kitchen tools and foods of Frans Snyders, the village festival of David Teniers the younger, the still life with lemon, oranges and filled clay pot by Willem Kalf, a Young couple having breakfast by Gabriel Metsu, in the bedroom of Pieter de Hooch, the great group of trees at the waterfront of Jacob Izaaksoon van Ruisdael, a river landscape with a milkmaid of Aelbert Jacobsz. Cuyp as well as a trompe-l'œil still life of Samuel van Hoogstraten.
Further examples of French paintings of the 17th and 18th centuries are, the adoration of the golden calf of Claude Lorrain, preparations for dance class of the Le Nain brothers, the portrait of Marshal Charles-Auguste de Matignon by Hyacinthe Rigaud, the portrait of a young nobleman in hunting costume of Nicolas de Largillière, The storm of Claude Joseph Vernet and The minuet of Nicolas Lancret. From the 19th century can be found with Rocky wooded valley at Civita Castellana by Gustave Courbet, The Lamentation of Eugène Delacroix, the children portrait Le petit Lange of Édouard Manet, the portrait of Madame Jeantaud by Edgar Degas, the landscape June morning near Pontoise by Camille Pissarro, homes in Le Pouldu Paul Gauguin and views to the sea at L'Estaque by Paul Cézanne further works of French artists at Kunsthalle.
One focus of the collection is the German painting and sculpture of the 19th century. From Joseph Anton Koch, the Kunsthalle possesses a Heroic landscape with rainbow, from Georg Friedrich Kersting the painting The painter Gerhard Kügelgen in his studio, from Caspar David Friedrich the landscape rocky reef on the sea beach and from Karl Blechen view to the Monastery of Santa Scolastica. Other important works of this department are the disruption of Adolph Menzel as well as the young self-portrait, the portrait Nanna Risi and The Banquet of Plato of Anselm Feuerbach.
For the presentation of the complex of oeuvres by Hans Thoma, a whole wing in 1909 at the Kunsthalle was installed. Main oeuvres of the arts are, for example, the genre picture The siblings as well as, created on behalf of the grand-ducal family, Thoma Chapel with its religious themes.
Of the German contemporaries of Hans Thoma, Max Liebermann on the beach of Noordwijk and Lovis Corinth with a portrait of his wife in the museum are represented. Furthermore the Kunsthalle owns works by Ferdinand Georg Waldmüller, Carl Spitzweg, Arnold Böcklin, Hans von Marées, Wilhelm Leibl, Fritz von Uhde, Wilhelm Trübner and Max Klinger.
In the building of the adjacent Orangerie works of the collection and new acquisitions from the years after 1952 can be seen. In two integrated graphics cabinets the Kupferstichkabinett (gallery of prints) gives insight into its inventory of contemporary art on paper. From the period after 1945, the works Arabs with footprints by Jean Dubuffet, Sponge Relief RE 48; Sol. 1960 by Yves Klein, Honoring the square: Yellow center of Josef Albers, the cityscape F by Gerhard Richter and the Fixe idea by Georg Baselitz in the Kunsthalle. The collection of classical modernism wandered into the main building. Examples of paintings from the period to 1945 are The Eiffel Tower by Robert Delaunay, the Improvisation 13 by Wassily Kandinsky, Deers in the Forest II by Franz Marc, People at the Blue lake of August Macke, the self-portrait The painter of Ernst Ludwig Kirchner, the Merzpicture 21b by Kurt Schwitters, the forest of Max Ernst, Tower gate II by Lyonel Feininger, the Seven Deadly Sins of Otto Dix and the removal of the Sphinxes by Max Beckmann. In addition, the museum regularly shows special exhibitions.
Sammlung
Den Grundstock der Sammlung bilden 205 meist französische und niederländische Gemälde des 17. und 18. Jahrhunderts, welche Markgräfin Karoline Luise zwischen 1759 und 1776 erwarb. Aus dieser Sammlung stammen bedeutende Arbeiten, wie das Bildnis eines jungen Mannes von Frans van Mieris der Ältere, die Winterlandschaft mit Kalkofen von Nicolaes Pieterszoon Berchem, Die Spitzenklöpplerin von Gerard Dou, das Stillleben mit Jagdgeräten und totem Rebhuhn von Willem van Aelst, Der Friede im Hühnerhof von Melchior de Hondecoeter sowie ein Selbstbildnis von Rembrandt van Rijn. Hinzu kommen vier Stillleben von Jean Siméon Chardin und zwei Schäferszenen von François Boucher, die die Markgräfin bei Künstlern direkt in Auftrag gegeben hatte.
Eine erste wesentliche Erweiterung erhielt das Museum 1858 durch die Sammlung des Domkapitulars Johann Baptist von Hirscher (1788–1865) mit Werken religiöser Kunst des 15. und 16. Jahrhunderts. Zu dieser Gruppe gehören Werke wie zwei Tafeln des Sterzinger Altars und das Flügelfragment Der sakramentale Segen von Bartholomäus Zeitblom. Von 1899 bis 1920 bekleidete der aus Baden stammende Maler Hans Thoma die Position des Direktors der Kunsthalle. Er erwarb altmeisterliche Gemälde wie den Tauberbischofsheimer Altar von Matthias Grünewald und trieb den Ausbau der Sammlung mit Kunst des 19. Jahrhunderts voran. Erst seine Nachfolger erweiterten die Bestände der Kunsthalle um Werke des Impressionismus und der folgenden Künstlergenerationen.
Die Dauerausstellung im Hauptgebäude umfasst rund 800 Gemälde und Skulpturen. Zu den herausragenden Kunstwerken der Abteilung deutsche Maler der Spätgotik und Renaissance gehören der Christus als Schmerzensmann von Albrecht Dürer, die Kreuztragung und Kreuzigung von Matthias Grünewald, Maria mit dem Kinde von Lucas Cranach der Ältere, das Bildnis Sebastian Brants von Hans Burgkmair der Ältere und die Die Geburt Christi von Hans Baldung. Dessen Markgrafentafel geriet durch Eigentumsstreitigkeiten 2006 in die Schlagzeilen und führte auch zu politischen Auseinandersetzungen. Einer der größten Ankaufserfolge, welche ein deutsches Museum in der Nachkriegszeit verbuchen konnte, betrifft den sukzessiven Erwerb von sechs der sieben bekannten Tafeln eines Passionsaltars um 1450 – der Notname des Malers nach diesem Werk „Meister der Karlsruher Passion“ – eine siebte Tafel befindet sich in deutschem öffentlichen Besitz (Wallraf-Richartz Museum, Köln).
In der Abteilung niederländischer und flämischer Malerei des 16. Jahrhunderts finden sich, neben den erwähnten Werken, das Bildnis der Marchesa Veronica Spinola Doria von Peter Paul Rubens, Moses schlägt Wasser aus dem Felsen von Jacob Jordaens, das Stillleben mit Küchengeräten und Lebensmitteln von Frans Snyders, das Dorffest von David Teniers dem Jüngeren, das Stillleben mit Zitrone, Orangen und gefülltem Römer von Willem Kalf, ein Junges Paar beim Frühstück von Gabriel Metsu, Im Schlafzimmer von Pieter de Hooch, die Große Baumgruppe am Wasser von Jacob Izaaksoon van Ruisdael, eine Flusslandschaft mit Melkerin von Aelbert Jacobsz. Cuyp sowie ein Augenbetrüger-Stillleben von Samuel van Hoogstraten.
Weitere Beispiele französischer Malerei des 17. bzw. 18. Jahrhunderts sind Die Anbetung des Goldeen Kalbes von Claude Lorrain, die Vorbereitung zur Tanzstunde der Brüder Le Nain, das Bildnis des Marschalls Charles-Auguste de Matignon von Hyacinthe Rigaud, das Bildnis eines jungen Edelmannes im Jagdkostüm von Nicolas de Largillière, Der Sturm von Claude Joseph Vernet und Das Menuett von Nicolas Lancret. Aus dem 19. Jahrhundert finden sich mit Felsiges Waldtal bei Cività Castellana von Gustave Courbet, Die Beweinung Christi von Eugène Delacroix, dem Kinderbildnis Le petit Lange von Édouard Manet, dem Bildnis der Madame Jeantaud von Edgar Degas, dem Landschaftsbild Junimorgen bei Pontoise von Camille Pissarro, Häuser in Le Pouldu von Paul Gauguin und Blick auf das Meer bei L’Estaque von Paul Cézanne weitere Arbeiten französischer Künstler in der Kunsthalle.
Einen Schwerpunkt der Sammlung bildet die deutsche Malerei und Skulptur des 19. Jahrhunderts. Von Joseph Anton Koch besitzt die Kunsthalle eine Heroische Landschaft mit Regenbogen, von Georg Friedrich Kersting das Gemälde Der Maler Gerhard Kügelgen in seinem Atelier, von Caspar David Friedrich das Landschaftsbild Felsenriff am Meeresstrand und von Karl Blechen den Blick auf das Kloster Santa Scolastica. Weitere bedeutende Werke dieser Abteilung sind Die Störung von Adolph Menzel sowie das Jugendliche Selbstbildnis, das Bildnis Nanna Risi und Das Gastmahl des Plato von Anselm Feuerbach.
Für die Präsentation des Werkkomplexes von Hans Thoma wurde 1909 in der Kunsthalle ein ganzer Gebäudetrakt errichtet. Hauptwerke des Künstlers sind etwa das Genrebild Die Geschwister sowie die, im Auftrag der großherzöglichen Familie geschaffene, Thoma-Kapelle mit ihren religiösen Themen.
Von den deutschen Zeitgenossen Hans Thomas sind Max Liebermann mit Am Strand von Noordwijk und Lovis Corinth mit einem Bildnis seiner Frau im Museum vertreten. Darüber hinaus besitzt die Kunsthalle Werke von Ferdinand Georg Waldmüller, Carl Spitzweg, Arnold Böcklin, Hans von Marées, Wilhelm Leibl, Fritz von Uhde, Wilhelm Trübner und Max Klinger.
Im Gebäude der benachbarten Orangerie sind Werke der Sammlung und Neuankäufe aus den Jahren nach 1952 zu sehen. In zwei integrierten Grafikkabinetten gibt das Kupferstichkabinett Einblick in seinen Bestand zeitgenössischer Kunst auf Papier. Aus der Zeit nach 1945 finden sich die Arbeiten Araber mit Fußspuren von Jean Dubuffet, Schwammrelief >RE 48:Sol.1960< von Yves Klein, Ehrung des Quadrates: Gelbes Zentrum von Josef Albers, das Stadtbild F von Gerhard Richter und die Fixe Idee von Georg Baselitz in der Kunsthalle. Die Sammlung der Klassischen Moderne wanderte in das Hauptgebäude. Beispiele für Gemälde aus der Zeit bis 1945 sind Der Eiffelturm von Robert Delaunay, die Improvisation 13 von Wassily Kandinsky, Rehe im Wald II von Franz Marc, Leute am blauen See von August Macke, das Selbstbildnis Der Maler von Ernst Ludwig Kirchner, das Merzbild 21b von Kurt Schwitters, Der Wald von Max Ernst, Torturm II von Lyonel Feininger, Die Sieben Todsünden von Otto Dix und der Abtransport der Sphinxe von Max Beckmann. Darüber hinaus zeigt das Museum regelmäßig Sonderausstellungen.
The Metropolitan Cathedral of Saints Vitus, Wenceslaus and Adalbert (Czech: metropolitní katedrála svatého Víta, Václava a Vojtěcha) is a Roman Catholic metropolitan cathedral in Prague, the seat of the Archbishop of Prague. Until 1997, the cathedral was dedicated only to Saint Vitus, and is still commonly named only as St. Vitus Cathedral.
This cathedral is a prominent example of Gothic architecture and is the largest and most important church in the country. Located within Prague Castle and containing the tombs of many Bohemian kings and Holy Roman Emperors, the cathedral is under the ownership of the Czech government as part of the Prague Castle complex.[1] Cathedral dimensions are 124 by 60 metres (407 ft × 197 ft), the main tower is 96.5 metres (317 ft) high, front towers 82 metres (269 ft), arch height 33.2 metres (109 ft).[2]
Origins
The current cathedral is the third of a series of religious buildings at the site, all dedicated to St. Vitus. The first church was an early Romanesque rotunda founded by Wenceslaus I, Duke of Bohemia in 930. This patron saint was chosen because Wenceslaus had acquired a holy relic – the arm of St. Vitus – from Emperor Henry I. It is also possible that Wenceslaus, wanting to convert his subjects to Christianity more easily, chose a saint whose name (Svatý Vít in Czech) sounds very much like the name of Slavic solar deity Svantevit. Two religious populations, the increasing Christian and decreasing pagan community, lived simultaneously in Prague castle at least until the 11th century.
In the year 1060, as the bishopric of Prague was founded, prince Spytihněv II embarked on building a more spacious church, as it became clear the existing rotunda was too small to accommodate the faithful. A much larger and more representative Romanesque basilica was built in its spot. Though still not completely reconstructed, most experts agree it was a triple-aisled basilica with two choirs and a pair of towers connected to the western transept. The design of the cathedral nods to Romanesque architecture of the Holy Roman Empire, most notably to the abbey church in Hildesheim and the Speyer Cathedral. The southern apse of the rotunda was incorporated into the eastern transept of the new church because it housed the tomb of St. Wenceslaus, who had by now become the patron saint of the Czech princes. A bishop's mansion was also built south of the new church, and was considerably enlarged and extended in the mid 12th-century.
The Gothic Cathedral
Construction of the present-day Gothic Cathedral began on 21 November 1344, when the see of Prague was elevated to an archbishopric. King John of Bohemia laid the foundation stone for the new building.[3] The patrons were the chapter of cathedral (led by a Dean), the Archbishop Arnost of Pardubice, and, above all, Charles IV, King of Bohemia and a soon-to-be Holy Roman Emperor, who intended the new cathedral to be a coronation church, family crypt, treasury for the most precious relics of the kingdom, and the last resting place cum pilgrimage site of patron saint Wenceslaus. The first master builder was a Frenchman Matthias of Arras, summoned from the Papal Palace in Avignon. Matthias designed the overall layout of the building as, basically, an import of French Gothic: a triple-naved basilica with flying buttresses, short transept, five-bayed choir and decagon apse with ambulatory and radiating chapels. However, he lived to build only the easternmost parts of the choir: the arcades and the ambulatory. The slender verticality of Late French Gothic and clear, almost rigid respect of proportions distinguish his work today.
After Matthias' death in 1352, 23-year-old Peter Parler assumed control of the cathedral workshop as master builder. He was son of the architect of the Heilig-Kreuz-Münster in Schwäbisch Gmünd. Initially, Parler only worked on plans left by his predecessor, building the sacristy on the north side of the choir and the chapel on the south. Once he finished all that Matthias left unfinished, he continued according to his own ideas. Parler's bold and innovative design brought in a unique new synthesis of Gothic elements in architecture. This is best exemplified in the vaults he designed for the choir. The so-called Parler's vaults or net-vaults have double (not single, as in classic High Gothic groin vaults) diagonal ribs that span the width of the choir-bay. The crossing pairs of ribs create a net-like construction (hence the name), which considerably strengthens the vault. They also give a lively ornamentation to the ceiling, as the interlocking vaulted bays create a dynamic zigzag pattern the length of the cathedral.
While Matthias of Arras was schooled as a geometer, thus putting an emphasis on rigid systems of proportions and clear, mathematical compositions in his design, Parler was trained as a sculptor and woodcarver. He treated architecture as a sculpture, almost as if playing with structural forms in stone. Aside from his bold vaults, the peculiarities of his work can also be seen in the design of pillars (with classic, bell-shaped columns which were almost forgotten by High Gothic), the ingenious dome vault of new St Wenceslaus chapel, the undulating clerestory walls, the original window tracery (no two of his windows are the same, the ornamentation is always different) and the blind tracery panels of the buttresses. Architectural sculpture was given a considerable role while Parler was in charge of construction, as can be seen in the corbels, the passageway lintels, and, particularly, in the busts on the triforium, which depict faces of the royal family, saints, Prague bishops, and the two master builders, including Parler himself.
Work on the cathedral, however, proceeded slowly, because the Emperor commissioned Parler with many other projects, such as the construction of the new Charles Bridge in Prague and many churches throughout the Czech realm. By 1397, when Peter Parler died, only the choir and parts of the transept were finished.
After Peter Parler's death in 1399 his sons, Wenzel Parler and particularly Johannes Parler, continued his work; they in turn were succeeded by a certain Master Petrilk, who by all accounts was also a member of Parler's workshop. Under these three masters, the transept and the great tower on its south side were finished. So was the gable which connects the tower with the south transept. Nicknamed 'Golden Gate' (likely because of the golden mosaic of Last Judgment depicted on it), it is through this portal that the kings entered the cathedral for coronation ceremonies.
The entire building process came to a halt with the beginning of Hussite War in the first half of 15th century. The war brought an end to the workshop that operated steadily over for almost a century, and the furnishings of cathedral, dozens of pictures and sculptures, suffered heavily from the ravages of Hussite iconoclasm. As if this was not enough, a great fire in 1541 heavily damaged the cathedral.
St. Wenceslas Chapel
Perhaps the most outstanding place in the cathedral is the Chapel of St. Wenceslas, which houses relics of the saint. Peter Parler constructed the room between 1344 and 1364 with a ribbed vault. The lower portions of the walls are decorated with over 1300 semi-precious stones and paintings depicting the Passion of Jesus dating from the original decoration of the chapel in 1372–1373. The upper area of the walls have paintings depicting the life of St. Wenceslas, by the Master of the Litoměřice Altarpiece between 1506 and 1509. Above the altar, is a Gothic statue of St. Wenceslas created by Jindrich Parler (Peter's nephew) in 1373. The Chapel is not open to the public, but it can be viewed from the doorways.
A small door with seven locks, in the southwest corner of the chapel, leads to the Crown Chamber containing the Czech Crown Jewels, which are displayed to the public only once every (circa) eight years.
Renaissance and Baroque
Through most of the following centuries, the cathedral stood only half-finished. It was built to the great tower and a transept, which was closed by a provisional wall. In the place of a three-aisled nave-to-be-built, a timber-roofed construction stood, and services were held separately there from the interior of the choir. Several attempts to continue the work on cathedral were mostly unsuccessful. In the latter half of 15th century, king Vladislav Jagiellon commissioned the great Renaissance-Gothic architect Benedict Ried to continue the work on the cathedral, but almost as soon as the work began, it was cut short because of lack of funds. Later attempts to finish the cathedral only brought some Renaissance and Baroque elements into the Gothic building, most notably the obviously different Baroque spire of the south tower and the great organ in the northern wing of transept.
Completion in 19th and 20th century
In 1844, Václav Pešina, an energetic St. Vitus canon, together with Neo-Gothic architect Josef Kranner presented a program for renovation and completion of the great cathedral at the gathering of German architects in Prague. The same year a society under the full name "Union for Completion of the Cathedral of St. Vitus in Prague" was formed, whose aim was to repair, complete and rid the structure of everything mutilated and stylistically inimical. Josef Kranner headed the work from 1861 to 1866 which consisted mostly of repairs, removing Baroque decorations deemed unnecessary and restoring the interior. In 1870 workers finally laid the foundations of the new nave, and in 1873, after Kramer's death, architect Josef Mocker assumed control of the reconstruction. He designed the west façade in a typical classic Gothic manner with two towers, and the same design was adopted, after his death, by the third and final architect of restoration, Kamil Hilbert.
In the 1920s the sculptor Vojtěch Sucharda worked on the façade, and the famous Czech Art Nouveau painter Alfons Mucha decorated the new windows in the north part of nave. Frantisek Kysela designed the Rose Window 1925-7 which depicts scenes from the Biblical story of creation. By the time of St. Wenceslas jubilee in 1929, the St. Vitus cathedral was finally finished, nearly 600 years after it was begun. Despite the fact that entire western half of Cathedral is a Neo-Gothic addition, much of the design and elements developed by Peter Parler were used in the restoration, giving the Cathedral as a whole a harmonious, unified look.
Influence
The Cathedral of St. Vitus had a tremendous influence on the development of Late Gothic style characteristic for Central Europe. Members of Parler workshop, and indeed, the Parler family (both of which were established at the building site of St. Vitus) designed numerous churches and buildings across Central Europe. More notable examples include Stephansdom cathedral in Vienna, Strasbourg Cathedral, Church of St. Marko in Zagreb and the Church of St. Barbara in Kutna Hora, also in Czech Republic. Regional Gothic styles of Slovenia, northern Croatia, Austria, Czech Republic, and southern Germany were all heavily influenced by Parler design.
Of particular interest are Parler's net vaults. The Late Gothic of Central Europe is characterised by ornate and extraordinary vaulting, a practice which was started by Parler's development of his own vaulting system for the choir of St. Vitus cathedral. Another regional Gothic style also displays amazing ingenuity and ornamentation in the design of vaults, the Perpendicular Style of English Gothic. A question remains of what was influenced by what. Some British art and architecture historians suspected that Peter Parler might have travelled to England at some point in his life, studying the great English Gothic cathedrals, which then inspired his work on St Vitus. However, taking into account that the Perpendicular style and the use of truly extravagant vaults in English Gothic began at the very end of 14th century, it is also quite possible that it was St Vitus Cathedral of Prague that influenced the development of English Gothic.[4]
Recent history
In 1997, on 1000th anniversary of the death of Saint Voitechus, the patrocinium (dedication) of the church was re-dedicated to Saint Wenceslaus and Saint Adalbert. The previous Romanesque basilica had this triple patrocinium to the main Bohemian patrons since 1038 when relics of Saint Adalbert were placed here.
In 1954, a government decree entrusted the whole Prague Castle into ownership of "all Czechoslovak people" and into administration of the President's Office. Beginning in 1992, after the Velvet Revolution the church filed several petitions requesting a determination on the true owner of the structure. After 14 years, in June 2006, the City Court in Prague decided that the 1954 decree did not change the ownership of the cathedral and the owner is the Metropolitan Chapter at Saint Vitus. In September 2006, the President's Office ceded the administration to the Metropolitan Chapter. However, in February 2007, the Supreme Court of the Czech Republic reversed the decision of the City Court and returned the case to the common court. In September 2007, the District Court of Praha 7 decided that the cathedral is owned by the Czech Republic, this decision was confirmed by the City Court in Prague and the Constitutional Court rejected the appeal of the Metropolitan Chapter, however noted that the chapter unquestionably owns the interior furnishings of the cathedral. The Metropolitan Chapter considered continuing the case in the European Court for Human Rights however in May 2010, the new Prague Archbishop Dominik Duka and the state president Václav Klaus together declared that they did not wish to continue with court conflicts. They constituted that the seven persons who are traditionally holders of the keys of the Saint Wenceslaus Chamber with the Bohemian Crown Jewels become also a board to coordinate and organize administration and use of the cathedral. However, controversy about ownership of some related canonry houses continues.
In July 2012, the Chamber of Deputies passed a bill to compensate the churches for property seized by the Communist government.[5] The Senate approved the bill in November 2012 and the government implemented it the following June after clearing legal challenges.[6]
Services
Regular religious services in the Cathedral are:
•Sunday 08:30 Mass, 10:00 Mass (celebrated in Latin every last Sunday of the month) and 17:00 Vespers (not during July to September)
•Monday 07:00 Mass
•Tuesday 07:00 Mass
•Wednesday 07:00 Mass
•Thursday 07:00 Mass
•Friday 07:00 Mass, 18:00 Mass
•Saturday 07:00 Mass
Confessions: (Czech and English)
•Sunday 09:30 – 10:00
•Friday 17:30 – 17:50
Further reading
•Fučíková, Eliška, Martin Halata, Klára Halmanová, Pvel Scheufler. "Prague Castle in Photographs /1956-1900". Prague: Správa Pražského hradu a Nakladatelství KANT, 2005. ISBN 80-86217-94-9
•K. Benešovská, P. Chotebor, T. Durdík, M. Placek, D. Prix, V. Razim. "Architecture of the Gothic", vol. 2 of "Ten centuries of architecture" series, Prague Castle Administration & DaDa, a.s., Prague 2001, ISBN 80-86161-41-2 (English version)
Ownership unknown, but possibly JD Peace (Kirkwall). THS54. Ford Thames Trader- Plaxton. Ex [ ]. {1961}. Kirkwall, 12 August 1974. (In good condition at this point but meets a sorry end to judge by postings elsewhere on flickr).
WP190 was delivered to No 1 Squadron, Tangmere on 13th August 1955. When the Suez crisis erupted in August 1956, she deployed to Cyprus for five months with a Tangmere Wing of 25 Hunters for air defence duties. In mid-July 1958, 1 Squadron’s F5s were replaced by Hunter F6s and WP190 was allocated to RAF Bircham Newton as an instructional airframe. She later became a gate guardian before passing into private ownership. WP190 was restored by Raymond and Meryl Hansed of Gloucester and gifted to the Museum in June 2002 in dedication to the Aircrew Association in honour of aircrew past and present. Only two of the 105 Hunter F5 aircraft built now survive.
LEGAL NOTICE | protected work • All Rights reserved! © B. Egger photographer retains ownership and all copyrights in this work.
photographer | Bernard Egger • collections • sets •
🏁 | July 17, 2010 ENNSTAL-CLASSIC • Styria 💚 Austria
📷 | #rumoto_images, #Bernard_Egger, #oldtimerfotograf,
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Red Bull NASCAR Toyota Camry Ennstal-Classic (c) Бернард Эггер :: rumoto images 3531
in large font, it says "kingdom is for Allah" (kingdom, ownership, etc) - underneath it says who the land belongs to.
Ive just taken ownership of the sought after Sony F717 which was available from around 2003. This 5mp camera has a 'Nightshot' mode which after adding an Infra Red Filter and ND8 can be used for Infra Red photography out of the box. I popped round to the Nature reserve just by my work to test it out and this was the result from using an 850nM IR Filter and Haida ND8. You have to use an ND8 due to the fact the shot will be blown out from the wide aperture f2-f2.4 and nightvision used in the Nightshot Mode which is green in camera.
This shot is a pano stitched in PS CS6 photomerge from 3 shots then i used a Black & White adjustment layer to get the mono result. Other than a crop its sooc.
Im really happy with the result but ive went from a high of receiving the camera to an almighty low!
I dropped the case it comes in this morning but thought nothing of it until i turned it on just before to check the battery power before heading out for some shooting. After power it up i was met with beeping and an error code E:61:10. I took the lens cap off and the focus was totally out. After some reading in the manual it appears 'a malfunction has occurred which cant be reversed'!! Ive rang Sony Repairs and its a fixed £117 charge to repair but i only paid £64 for it :[ Totally gutted!!
LEGAL NOTICE | protected work • All Rights reserved! © B. Egger photographer retains ownership and all copyrights in this work.
photographer | Bernard Egger.. • collections • sets
event | 2010 ENNSTAL-CLASSIC • Styria 💚 Austria
© Copyright Information | Dieses Foto darf keinesfalls publiziert oder an nicht berechtigte Nutzer weitergegeben werden. Für eine Nutzungsvereinbarung kontaktieren Sie bitte Bernard Egger.
Todos los Derechos Reservados • Tous droits réservés • Todos os Direitos Reservados • Все права защищены • Tutti i diritti riservati
licence | for any user agreement please contact Bernard Egger.
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rumoto images, 2010 Ennstal-Classic, 写真家, カメラマン, 摄影师, Bernard Egger, photography, Nikon FX, Моторспорт фотография, Motorsport, Моторспорт, classiche, classica, classic, classical, vintage, storiche, historic, historisch, historique, heritage, sports cars, машина, авто, Automobile, 車, Sportwagen, classic sports cars, Oldtimer, passion, Passione, Mythos, legends, Leggenda,
Coachwork by Brewster
Chassis n° S306PL
Les Grandes Marques du Monde au Grand Palais
Bonhams
Estimated : € 300.000 - 400.000
Parijs - Paris
Frankrijk - France
February 2018
- Springfield-built Silver Ghost
- Left-hand drive
- Known ownership history
- Recent extensive refurbishment (including an engine overhaul) by Frank Dale & Stepsons
By the end of WWI, North America was the largest and most important car market, with more cars sold per annum in the USA than the rest of the world combined. Cars brought into the USA were subject to substantial importation taxes, so the Rolls-Royce management decided that in order to satisfy its customers' demands at a more cost effective price, a manufacturing operation should set up on American soil. In 1919, the old American Wire Wheel Corporation plant on Waltham Avenue in Springfield, Massachusetts was purchased. As well as being an ideal location for supplying the New York and Boston markets, Springfield was also the centre of the United States' coachbuilding industry, with an abundance of skilled labour.
By November 1919, Rolls-Royce of America Inc was formed, but it would be well into 1921 before the first US-built Silver Ghosts were ready to be sold. Unlike in the UK and Europe, where quality chassis were usually bodied by independent coachbuilders to the individual customer's requirements, the United States market for luxury cars demanded they be supplied fully finished from the manufacturer. To compete with the local competition - principally Packard, Pierce-Arrow, and Cadillac - Rolls-Royce of America enlisted several of the local coachbuilding companies to supply 'semi-custom' bodies to standard designs under the 'Rolls-Royce Custom Coach Work' (RRCCW) programme. As one would expect of Rolls-Royce, the quality of the coachwork was first class; bodies were panelled in aluminium and with steel mudguards in most cases, quite different from the British style of construction.
One of the companies supplying bodies to Rolls-Royce of America at this time was Brewster, which would be taken over by Rolls-Royce in December 1925. As well as manufacturing coachwork of the highest quality, Brewster had built its own automobiles from 1915 up to the time of its acquisition by Rolls-Royce, re-emerging as an auto-maker in its own right, using Ford chassis, when US Phantom production finally ceased in 1934 and the company became part of the reconstituted Springfield Manufacturing Corporation.
Brewster's coachwork of this period is rightly considered to be among the most stylish of all time, as exemplified here by this beautiful Playboy Roadster. It should be noted that Brewster's Playboy Roadster coachwork was not officially offered as an option on the Silver Ghost; rather, it was intended as an alternative design to be fitted at a later date: usually once more formal coachwork had been removed and discarded. The Playboy Roadster was produced in strictly limited numbers, with just 15 bodies fitted to Silver Ghost chassis in total.
Chassis number 'S306PL' was completed in August 1926 fitted originally with a Pickwick saloon body to the order of Mr Kerr of New York. By the time this car was made it had become apparent that left-hand drive was essential for the North American market, an alteration to the Ghost chassis that necessitated the adoption of a new three-speed gearbox with central change. Four-wheel brakes likewise had come to be seen as a necessity rather than an indulgence, and would be standardised from 1924 on the British-built Ghost. A mechanical servo, driven from the gearbox, was used on the latter but the American version used the New Phantom front axle together with a Westinghouse vacuum booster.
'S306PL' remained in its original form until 1932 when it was returned to the factory, while still in Mr Kerr's ownership, for the Playboy Roadster coachwork to be fitted (body number 'B7293'). In 1937, the car changed hands for the first time when it was purchased by Mr Elliot Robertson, who owned the Alder Shoe Stores in New York City. The Rolls-Royce was next owned by Mr James Rainey of Milford, Connecticut from 1939 until 1947 when it was purchased by Dr Carl Beam, a professor of biology at Stanford University in California.
'S306PL' changed hands again in 1951 when purchased by Mrs Barbara Backmann of Pacific Grove, California, returning to Connecticut in a partially dismantled state in 1957 when acquired by Mr Walter Florian. In 1972 the Silver Ghost was purchased by Mr Arnold Haber of Nashville, Tennessee, who kept it until 1986. During Mr Haber's ownership, the car was restored and then exhibited at the 1974 R-ROC Concours, winning first place in the Late Ghost Class; it was also judged at the 1977 Concours where it placed second in the same category.
In 1985, 'S306PL' was sold by Mr Haber to Mr Jack McKibbon of Gainesville, and shown again at the National R-ROC Meeting, held on this occasion in Toronto where it placed third in class. The final change of ownership prior to the current vendors' acquisition occurred in 2002 when the Silver Ghost was purchased by a collector in Texas who restored the car in order to use it on long tours in the United States.
Since its arrival in the United Kingdom, the first time the car has ever left the United States, renowned marque specialists, Frank Dale & Stepsons have made the necessary cosmetic enhancements and conducted a thorough mechanical review to ensure reliability, correct performance, and continued enjoyment for the next fortunate owner. These works included, but were not limited to, an engine overhaul and refurbishment of the steering, brakes, and suspension. Related bills are available and the car also comes with a history file and US Certificate of Title.
Chassis number 'S306PL' is fitted with twin side-mounted spare wheels, a dickey seat in the rear deck, and a tail-mounted trunk containing fitted luggage, making the car ideal for touring. The Playboy Roadster by Brewster is a landmark design, highlighting all that was great about the production of Rolls-Royce motor cars in the United States, with this particular example being one of the best of the very few that survive today.
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LEGAL NOTICE | protected work • All Rights reserved! © B. Egger photographer retains ownership and all copyrights in this work.
photographer | Bernard Egger.. • collections • sets
event | 2010 ENNSTAL-CLASSIC • Styria 💚 Austria
© Copyright Information | Dieses Foto darf keinesfalls publiziert oder an nicht berechtigte Nutzer weitergegeben werden. Für eine Nutzungsvereinbarung kontaktieren Sie bitte Bernard Egger.
Todos los Derechos Reservados • Tous droits réservés • Todos os Direitos Reservados • Все права защищены • Tutti i diritti riservati
licence | for any user agreement please contact Bernard Egger.
---
rumoto images, 2010 Ennstal-Classic, 写真家, カメラマン, 摄影师, Bernard Egger, photography, Nikon FX, Моторспорт фотография, Motorsport, Моторспорт, classiche, classica, classic, classical, vintage, storiche, historic, historisch, historique, heritage, sports cars, машина, авто, Automobile, 車, Sportwagen, classic sports cars, Oldtimer, passion, Passione, Mythos, legends, Leggenda,
LEGAL NOTICE • NO use of this image is allowed without photographer’s express prior permission and subject to compensation. All Rights Reserved.
Photographer retains ownership and all copyrights in the work.
• no work-for-hire • no Creative Commons license • no flickr API •
• Todos los Derechos Reservados • Tous droits réservés • Todos os Direitos Reservados • Все права защищены • Tutti i diritti riservati
licence | please contact me to obtain prior a license and to buy the rights to use and publish this photo. A licensing usage agreed upon with Bernard Egger is the only usage granted. |► more...
photographer | Bernard Egger фотография • collections • sets
classic sports cars ☆ vintage motorcycles | Oldtimer Grand Prix
Mille Miglia | Ennstal-Classic ☆ motor sport | legends & passion
event | 2010 Oldtimer Grand Prix Schwanenstadt AT
📷 | side car :: rumoto image #
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Oldtimer Grand Prix, Schwanenstadt, Aich, Pitzenberg, MSV Schwanenstadt, road racing, road races, Straßenrennen, Hausruckring, Grand Prix, LCR, sidecar race, Seitenwagen, Beiwagen, Kneeler,
sidecar legends, Klaus Enders, Werner Schwärzel, Siegfried Schauzu, Wolfgang Kalauch, Heinz Luthringshauser, Rolf Steinhausen, Rolf Biland, Kurt Waltisperg, Klaus Klaffenböck, Klaffi, Christian Parzer, George O'Dell, Jock Taylor, Alain Michel, Egbert Streuer, Steve Webster, Darren Dixon, Paul Güdel, Steve Abbott, Tim Reeves, Tristan Reeves, Pekka Päivärinta, Adolf Hänni, Ben Birchall, Tom Birchall, Josef Moser, Michael Grabmüller, Gerhard Hauzenberger, Wolfgang Stropek, Helmut Wechselberger, KLAFFI, Моторспорт,
LEGAL NOTICE | protected work • All Rights reserved! © B. Egger photographer retains ownership and all copyrights in this work.
photographer | Bernard Egger • collections • sets
📷 | Mercedes-Benz 230 TE :: rumoto images # 1635 wp
© Dieses Foto darf ohne vorherige Lizenzvereinbarung keinesfalls publiziert oder an nicht berechtigte Nutzer weiter gegeben werden.
Todos los Derechos Reservados • Tous droits réservés • Todos os Direitos Reservados • Все права защищены • Tutti i diritti riservati
licence | for any user agreement please contact Bernard Egger.
-
#rumoto_images, #Bernard_Egger, #oldtimerfotograf, Mercedes-Benz 230 TE, Mercedes-Benz, W123, старинных автомобилей, Фотография, машина, авто, german cars, Automobile, 車, Oldtimer, Youngtimer, Klassiker, classiche, classica, classic cars, vintage cars, historic cars, motoring, legends, historique, classic station wagon, Kombi, stunning, awesome, Passione,