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Ferrari Ownership Requirements 12/7/2020
To own a Ferrari would fulfill the fantasy of many car enthusiasts. The famous Italian automaker excels in delivering luxury sports cars that bear a signature and unique exterior without sacrificing performance. This is only half of what makes the cars special though.
Ferrari's culture separates the company from other automakers in huge ways, affecting both its owners and the workers behind these miraculous machines. Although the company is one of the most valuable, it cares about something more than just earning money: it’s about making special cars that offer a driving experience unlike any other. When examining the company and its owners, it’s clear they’ve achieved this milestone, even after all these years.
Owners have to go to great lengths if they want the latest and greatest cars Ferrari churns out. Employees have to follow rules and regulations if they want to uphold the most important thing to Ferrari—which is not about making cars, but the brand itself. Whether one is a Ferrari owner or an employee that works at their factory plant, everyone has to follow the "Ferrari code."
It’s because of these rules that the brand is exclusive and widely coveted among car gurus today. If someone wants to own a Ferrari, they’re going to have to play by the company’s rules. The same goes for employees if they want to work at, what Autoblog notes, a company that won the award for Best Place to Work in Europe for 2007. We’re going to take a look at known rules both owners and employees have to follow if they want to remain in the good graces of Ferrari.
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20 - Owner Rule: Forced To Sign Contract Agreeing Not To Sell Car
People today become bombarded with agreements written in fine print. Most people don’t have the time or patience to read all that agreements detail though and decide to sign on the line regardless. According to Autoweek, Ferrari in the US makes their customers sign a contract upon purchasing a new vehicle.
In that agreement is a clause that prevents owners from reselling their car in the first year. The automaker makes buyers sign this in an attempt to discourage owners from flipping their cars. This is both a reminder to read the fine print and further demonstrates the automaker’s stringent protocol placed upon new owners.
19 - Employee Rule: Forbidden From Buying New Cars
Last September, Ferrari unveiled a pair of Roadsters long-time employees can appreciate. Even if the employees want the cars though and can afford them—tough luck. The Drive reports that the company makes their vehicles first and foremost available to the public.
One of Ferrari’s executives, Enrico Galliera, had this to say about employees getting second dibs on new cars: “The philosophy is that with such limited production and clients waiting so long to get their car, it's not nice if the car is delivered to employees.” The only exception to this rule are Scuderia Ferrari F1 drivers who can buy one from the company.
18 - Owner Rule: Leave The Logos Alone
Ferrari believes that as soon as their car rolls off the production line, it's perfect as is. There’s no shortage of Ferrari owners who feel differently though; here’s photographic proof of owners who took their Ferrari rides for granted. If Ferrari had it their way, they’d opt for owners to leave their iconic logos untouched.
According to Tech Dirt, the electronic DJ and artist Deadmau5 got in trouble for covering up his Ferrari logos with custom ones. His 458 Italia “Purrari” sports a blue vinyl wrap that has a Nyan cat painted on the side. It’s a move Ferrari supposedly issued a cease and desist order over.
17 - Employee Rule: Communicate On Their Terms
Ferrari has gone to extremes to sell cars before by tampering with some odometers on used cars, so it’s only natural they’d apply radical policies in the workplace as well. It appears that too many employees were reaching for the keyboard on too many occasions instead of opting for old fashioned face-to-face communication.
According to The Guardian, the executives at Ferrari advised their employees to “talk to each other more and write less.” Since it should be pretty easy for supervisors to monitor their employees’ computer activity, it's safe to assume workers adhere to this directive in order to stick around.
16 - Owner Rule: No Pink Ferraris
Ferrari isn’t fond of pink Ferraris. That’s what Executive Lifestyle reports, despite the company tolerating some customer paint jobs. The disapproval of pink came directly from Herbert Appleroth, the President and CEO of Ferrari Australia. “We do reject the exterior color pink,” Appleroth said, as per the same source.
He went on to say that Ferrari would never produce a pink car. Without a doubt, red is the most iconic color they wrap their cars in. At the same time, the company promotes the idea that no two Ferrari rides should be identical, they just wouldn't go so far as to stand out with a pink paint job.
15 - Employee Rule: No Discounts On Cars
Working for certain companies has its perks. For one, it allows employees to buy products made and sold by that company at a discounted rate. This luxury, however, is too generous to bestow upon Ferrari employees.
According to The Drive, should Scuderia Ferrari F1 drivers choose to purchase a personal Ferrari, they're required to pay full price for it. That puts them in an awkward position, considering it’d be hard to spot team members driving in anything else but a Ferrari; in a way, it forces their employees to invest back into the company without a price concession if they want to properly represent the brand.
14 - Owner Rule: Accept Ferrari’s Right To Buy Back Car
In an earlier entry, we noted that Ferrari in the US has made buyers sign a special contract. While that contract discouraged owners from selling their new Ferrari, it also adds another stipulation: the automaker can buy the vehicle back.
According to the site Car Keys, if someone wanted to get rid of their LaFerrari Aperta, it’s pursuant for Ferrari to purchase the vehicle back from the owner. It would appear that on the surface, Ferrari would rather the car go to someone who wants it instead of someone who doesn't. This is all part of that special contract owners may sign at the time of their purchase.
13 - Employee Rule: Sworn To Prevent Security Leaks
Whether someone is an actor in an upcoming Avengers movie or an employee at Apple, the bigwigs in charge want to keep details under lock and key—that includes any plot spoilers and future product releases. Ferrari is a similar company that’s always making new vehicles while wishing to work in secrecy.
To maintain a level of mystery, the whole operation depends on trustworthy employees. According to Kaspersky Lab Daily, something as simple as copying data to a USB drive has to go through an approval process. This in turn discourages employees from going routes that may lead to a security breach and exercises a higher level of caution.
12 - Owner Rule: Must Love The Ferrari Brand
The world is full of sides, clubs and camps. Those who are outside of them get picked on unless they join a team, while those inside a base pledge undying loyalty. Ferrari is no different. It’s more than just an automaker—it’s a special culture with its own philosophy, style and following.
As the site Car Guy points out, the company sifts through applicants and chooses who gets to buy certain models because they want to make sure their cars are properly taken care of. It’s a sure bet they’re going to pick someone who’s not just a Ferrari fan, but also lives and bleeds the brand.
11 - Employee Rule: Prohibited From Sending Certain Group Emails
Expanding further on an earlier point, Ferrari went to great lengths to crack down on employees emailing more instead of talking to each other. As a means to curb digital communication so that employees would talk to each other directly, they added terms to sending emails.
As per The Guardian, a spokesman for Ferrari said, “From now on, each Ferrari employee will only be able to send the same email to three people in-house.” This must have been a wake up call for employees at the time and discouraged them from falling into old habits of CCing everyone in the whole company on a single thread.
10 - Owner Rule: Buy Not One, Not Two, But Multiple Ferraris
Owning a Ferrari isn’t exactly enough to be a part of the club. As the site Car Guypoints out, it’s more suitable to own several Ferrari cars before one feels part of the bunch. That narrows down the list of potential owners to only a handful around the world with how much they cost.
Even older models are going up in value, as the 1964 Ferrari Prototype demonstrates. The same source points out that the most committed owners, at minimum, are the ones who upgrade their old Ferrari to a newer model. It’s not enough to purchase a one-off Ferrari and call it a day if someone wants to be a true fan.
9 - Employee Rule: Required To Wear Red And White Uniforms
An amusement park can make its employees wear costumes that match the park’s theme; a restaurant may have its employees wear a vest and bow tie; an office requires business casual attire. Ferrari is like most jobs, requiring its employees adhere to a dress code.
According to Freep, those on the manufacturing campus must wear red and white uniforms. They have the company’s iconic yellow logo stitched on, which unites all the employees under the same banner and purpose. There are plenty of people around the world who would love to wear these uniforms, but only a select number ever get to suit up in one.
8 - Owner Rule: Be Older Than 40
Despite Ferrari being one of the most famous car brands today, many people aren’t aware of its history or the automaker's philosophy. There are so many facts about the legendary automaker, we dedicated a whole piece to things most people don't know about Ferrari.
It’s not unusual for potential owners to go through a rigorous process that feels commensurate to a background check. According to the site Car Keys, automaker won’t hesitate to request a customer’s history of ownership for review. Even more, the same source suggests that Ferrari dealers are more likely to sell a car to a new owner who’s over the age of 40.
7 - Employee Rule: Formula 1 Team Must Win
When Scuderia Ferrari struggles, it affects the whole company. The site News.com.au reports that despite being the "most iconic team” in Formula 1 racing, Ferrari was unable to secure a Grand Prix win in 2016. The team only has one remedy when this happens: winning.
As F1-Fansite points out, they were able to bounce back in early 2017, with Vettel winning the first race and securing 5 race wins. The Formula 1 team not only represents the automaker but carries the pride of the entire brand. It’s important that they do well in order for the brand to continue thriving.
6 - Owner Rule: Treat Fellow Ferrari Owners Like Family
Buying a car from certain automakers, such as Tesla, Porsche or Ferrari, feels like joining a family. When someone purchases a Ferrari, they enter into a brotherhood and sisterhood alongside fellow owners. As the site the Car Guy notes, entering into the Ferrari fraternity means that owners help each other when the need arises.
This is one of those unspoken rules the automaker hopes and expects its customers will follow. Even outsiders who don’t own one may find it easy to support someone who does as an expression of their admiration towards the brand. Ferrari owners got to stick together.
5 - Employee Rule: Must Adopt The “Formula Uomo” Philosophy
The company not only cares about its customers, but its employees too. They recognize that these are the people that make it all possible. Autoblog reports that Ferrari launched a project called “Formula Uomo” in the 1990s which lays down many of the tenants employees live and breathe by.
The same source notes that this philosophy deals with the working conditions, one’s professional growth and personal benefits. Each individual is important and must embody these principles in order for the whole enterprise to work properly. As a Ferrari employee, “Formula Uomo” lays the groundwork for one’s success while working there.
4 - Owner Rule: Must Have Fame, Fortune And More
To own some of the world’s best supercars, all it takes is a lot of dough. If that wasn’t enough though, Ferrari raises the bar on what they expect from their owners. Part of what makes their cars so exclusive are the limited number they make. Take the LaFerrari for example, which Wired reports only 499 exist.
In order for their cars to get attention, they have to give them to owners who can not only afford them but put them in the spotlight. The same source notes that even high-profile buyers who applied for the vehicle weren't able to land one.
3 - Employee Rule: “Clients First”
Ferrari cares about its customers. The company doesn’t treat its clientele as a dollar sign—although they do get a lot of money for the cars they deliver—but instead seeks to make a bond with its owners. The company is like a father who’s entrusted his child with the keys to the treasured car.
They want to know their cars are in good hands, which is possible through respect. That’s why they make clients a priority. The Drive reports that Enrico Galliera, a Ferrari executive said, “It is clients first.” Behind those words is a whole company of employees who live by this aim.
2 - Owner Rule: Respect Ferrari’s Way Of Doing Things
No one likes obeying rules. If there’s a realm with enough rules as it is, it’s driving on the road. The last thing people want is more rules they have to follow as a car owner. Under the Ferrari umbrella though, there are lots of expectations one has to follow as an owner.
That means going with their unique way of doing things. The site Car Keys reports that the automaker’s politics, including their selection process for who they deem is eligible to purchase limited edition cars, is one such rule owners have to follow. It may not be easy to accept, but it’s part of playing the game.
1 - Employee Rule: Protect The Brand At All Times
Ferrari has managed to be an independent automaker over the years while still making loads of money. Part of what makes them so successful is the brand’s reputation, which is about making flawless cars that perform well.
One of the executives, Stefano Lai, as per Freep said, “My job ... is to protect the brand as much as possible.” This is a principal that trickles down to employees, affecting their conduct and the image they project in and out of the workplace. Many employees likely have the Ferrari logo on them throughout the day, making them an extension of the company wherever they go. That means they have to watch what they say and do since they represent the company’s image.
Sources: Autoblog , Tech Dirt , Wired , Executive Lifestyle , Car Guy , Car Keys , Autoweek , The Drive , Freep , The Guardian , Kaspersky Lab Daily , News.com.au , F1-Fansite.
www.hotcars.com/rules-ferrari-owners-must-follow-and-the-...
Matthäus Loder (Wien 1781-1828 Vordernberg),
View of Vordernberg, ca. 1822
Blick auf Vordernberg
Aquarell, Deckfarben
Watercolour, body colour
Privatbesitz/Private ownership, Sammlung Erzherzog Johann/Collection Archduke Johann
The Art of the Viennese Watercolor
Till 13. May 2018
Transparent lightness, brilliant colours, and a generally atmospheric impression are the special qualities of 19th-century Viennese watercolor painting. Virtuosic city views and landscapes, detail-rich portraits, genre paintings, and floral works comprise the rich motivic repertoire featured in this glorious blossoming of Austrian art.
The Viennese watercolor’s heyday was the Biedermeier era: Jakob Alt, Matthäus Loder, Thomas Ender, and Peter Fendi number among its most important artistic figures.
Likewise outstanding are the exquisite works by Rudolf von Alt from his over 70-year career. His masterful watercolours run from the Biedermeier era all the way to the rise of the Secession movement around 1900.
This exhibition presents a veritable parade of exceptionally beautiful pictures, including the ALBERTINA’s own treasures as well as important loan works, all of which pay impressive tribute to the high standing of the Viennese watercolor in the context of 19th century art.
www.albertina.at/en/exhibitions/viennese_watercolour/
On view from 16 February until 13 May 2018.
The Albertina
The architectural history of the Palais
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
If the building is cool, the sign's even cooler! Here's a somewhat similar sign.
Speaking of the building, it sat vacant for many years before being rescued by Easy Way, most likely taking over in 1982 as witnessed by an ownership transfer record in that year. Per flickr, looks like there's still at least one other Hi-Boy still in operation. Alas, no relation to this former Hi-Boy, per 2012 email correspondence. Someone here did a little creative "borrowing" back then me thinks!
The Norfolk Tank Museum is very proud to take ownership of what is believed to be the only surviving example of a 3 Ton Crossley Halftrack, built in 1926. The Crossley was originally restored by an enthusiast, Ian Simpson, who had rescued it from a scrap dealer. Sadly, Ian passed away in 1994 before completing the restoration and left the Crossley to the Museum Service, eventually the Crossley ended up at the Royal Logistic Corps Museum who carried on the renovation but, unfortunately due to moving from its current location at Deep Cut will no longer be able to display it.
The Norfolk Tank Museum intends to carry on the excellent restoration work that Ian and the volunteers at the Royal Logistics Corps Museum have already started, with the completion of various items including the Bonnet, Mudguards, Engine Covers, and hopefully the purchase of a set of Tracks. Originally the Crossley would have had a ‘Bikini Roof’ over the Driver’s Cabin and possibly a full Canvas over the rear section, this is something the Museum will also be particularly investigating when researching the Vehicle.
The Crossley Brothers came into being in Manchester in 1867, they manufactured pumps, presses, and small steam engines. In 1906 Crossley Brothers became Crossley Motors and began building cars, by World War One they were producing Cars and Trucks for the British Army. In 1948 Crossley Motors was bought-out by Associated Equipment Company (AEC) who then carried on production of the Vehicle for many years.
In 1925 following World War One, the British Army ran a competition for manufacturers to produce a 'Halftrack' Vehicle with good Off-Road Capabilities as well as On-Road Performance. Crossley signed a licence agreement with Citroen-Kégresse to produce a 15/20 CWT Halftrack using the Kégresse Track System. The new Crossley Halftrack performed very favourably in the competition and the order was given for 115 vehicles to be built and to be shared between the Army and the Royal Air Force. In 1926 Crossley produced the 20/30 CWT unfortunately, the production numbers are not known.
The Crossley is powered by a 4.5 litre four-cylinder, water-cooled petrol engine producing 65hp, with a 4-speed gearbox and a 2-speed transfer box and the weight is approximately 5 tons. There were possibly three versions produced, a General Service Vehicle, a Staff Car, and an Artillery Tractor.
The Crossley’s Track System is credited to Adolphe Kégresse a French Military Engineer who had managed the Russian Tsar’s cars before the revolution of 1917. Adolphe had converted the Tsar’s cars to Halftracks to improve their off-road ability. The system utilised a rubber or canvas track stretched between a drive wheel at the back and an adjuster wheel at the front, with a series of four sprung bogies in the middle. The rubber track was driven by friction, unlike other Tacked Vehicles which have a sprocket and teeth that engage with the track to produce drive.
The original concept for a Halftrack Vehicle was conceived by Alvin Orlando Lombard, an American blacksmith, he devised the 'Lombard Steam Log Hauler' which used tracks to disperse the weight of the vehicle and its load over a greater area. He built 83 between 1901 and 1917 in order to pull logs through the snow and ice of the New England mountains. During World War One the most famous Halftrack was the 'Holt Tractor' a further development of the Lombard Steam Log Hauler with a gasoline engine. Holt had purchased Lombard’s patent in 1907. In the late 1920's the US Army purchased several Citroen-Kégresse Vehicles along with a licence to develop their own M3 and M4 Halftrack versions which were then used during World War Two. The Germans also developed their own range of Halftracks using the Citroen-Kégresse design.
If you have any information about this vehicle, or parts to complete the build, please contact the Norfolk Tank Museum on 07703337714 or email info@norfolktankmuseum.co.uk
The Norfolk Tank Museum is very proud to take ownership of what is believed to be the only surviving example of a 3 Ton Crossley Halftrack, built in 1926. The Crossley was originally restored by an enthusiast, Ian Simpson, who had rescued it from a scrap dealer. Sadly, Ian passed away in 1994 before completing the restoration and left the Crossley to the Museum Service, eventually the Crossley ended up at the Royal Logistic Corps Museum who carried on the renovation but, unfortunately due to moving from its current location at Deep Cut will no longer be able to display it.
The Norfolk Tank Museum intends to carry on the excellent restoration work that Ian and the volunteers at the Royal Logistics Corps Museum have already started, with the completion of various items including the Bonnet, Mudguards, Engine Covers, and hopefully the purchase of a set of Tracks. Originally the Crossley would have had a ‘Bikini Roof’ over the Driver’s Cabin and possibly a full Canvas over the rear section, this is something the Museum will also be particularly investigating when researching the Vehicle.
The Crossley Brothers came into being in Manchester in 1867, they manufactured pumps, presses, and small steam engines. In 1906 Crossley Brothers became Crossley Motors and began building cars, by World War One they were producing Cars and Trucks for the British Army. In 1948 Crossley Motors was bought-out by Associated Equipment Company (AEC) who then carried on production of the Vehicle for many years.
In 1925 following World War One, the British Army ran a competition for manufacturers to produce a 'Halftrack' Vehicle with good Off-Road Capabilities as well as On-Road Performance. Crossley signed a licence agreement with Citroen-Kégresse to produce a 15/20 CWT Halftrack using the Kégresse Track System. The new Crossley Halftrack performed very favourably in the competition and the order was given for 115 vehicles to be built and to be shared between the Army and the Royal Air Force. In 1926 Crossley produced the 20/30 CWT unfortunately, the production numbers are not known.
The Crossley is powered by a 4.5 litre four-cylinder, water-cooled petrol engine producing 65hp, with a 4-speed gearbox and a 2-speed transfer box and the weight is approximately 5 tons. There were possibly three versions produced, a General Service Vehicle, a Staff Car, and an Artillery Tractor.
The Crossley’s Track System is credited to Adolphe Kégresse a French Military Engineer who had managed the Russian Tsar’s cars before the revolution of 1917. Adolphe had converted the Tsar’s cars to Halftracks to improve their off-road ability. The system utilised a rubber or canvas track stretched between a drive wheel at the back and an adjuster wheel at the front, with a series of four sprung bogies in the middle. The rubber track was driven by friction, unlike other Tacked Vehicles which have a sprocket and teeth that engage with the track to produce drive.
The original concept for a Halftrack Vehicle was conceived by Alvin Orlando Lombard, an American blacksmith, he devised the 'Lombard Steam Log Hauler' which used tracks to disperse the weight of the vehicle and its load over a greater area. He built 83 between 1901 and 1917 in order to pull logs through the snow and ice of the New England mountains. During World War One the most famous Halftrack was the 'Holt Tractor' a further development of the Lombard Steam Log Hauler with a gasoline engine. Holt had purchased Lombard’s patent in 1907. In the late 1920's the US Army purchased several Citroen-Kégresse Vehicles along with a licence to develop their own M3 and M4 Halftrack versions which were then used during World War Two. The Germans also developed their own range of Halftracks using the Citroen-Kégresse design.
If you have any information about this vehicle, or parts to complete the build, please contact the Norfolk Tank Museum on 07703337714 or email info@norfolktankmuseum.co.uk
Integrum Q[?] Rec=
tum[?]
[Early ms. inscription.]
Sum Werneri Kipij Syndici Bodenwerdensis p[?] emptus ir grossis A[nn]o. 1604. 3 Ianuarij.
[Ms. ownership inscription of Wernerus Kipius of Bodenwerder, Germany (including date of purchase), preceded by evidence of another ms. inscription excised from leaf.]
Woodcut title ornament. Used by Johann Stange of Wolfenbüttel (not established; has CERL entry).
Penn Libraries call number: GC55 B8385L 571h
Rodericus Zamorensis: Speculum vitae humanae. Paris: Petrus Caesaris and Johannes Stol, [1473]. Final page of main text ([117r]) with 15th/16th-century ownership inscription of Paris, Celestines, S Maria (suppressed 1779): “Iste liber signat[us] per 408 est celestinor[um] beate marie de parisius”; and, below, an early 18th-century note in Latin dating the book to ca. 1475 on the evidence of the Paris bookseller, Jean de la Caille, and the Sorbonne librarian and historian of printing, André Chevillier, below which is a later 18th-century note in French referring to the printers’ colophon on leaf [124v]. Sp Coll Hunterian Bg.3.7.
Lower inscription:
Ownership inscription reads: Ex libris Theodori Opitii [....], possibly belonging to "Theodor Opitz, 1820-1896", author and philologist.
Established heading: Opitz, Theodor, 1820-1896
The Wikipedia entry for him states that he was a "German writer from Silesia who for political reasons fled to Switzerland, where he worked as a journalist and translator"
This book bears another ownership inscription from Silesia dated 1639.
Penn Libraries call number: GrC Ar466.11 1596
A visit to Powis Castle, another National Trust property. You are not allowed to take photo inside of the castle (items in private ownership), but it's fine around the exteriors and gardens. Anyone caught trying to take a photo inside gets told off by one of the guides inside the castle, so it wasn't worth the bother (bit frustrating when going around the castle). At least the outside areas makes up for what I couldn't take.
Powis Castle (Welsh: Castell Powys) is a medieval castle, fortress and grand country mansion near Welshpool, in Powys, Wales.
It is known for housing the treasures that were brought home by Robert Clive and his son, Edward Clive from India. The Clives obtained them during their service with the British East India Company.
The castle has also been known as Castell Coch, Castell Pool, Castell Pola, Castell Pole, Castell Trallwng, Red Castle, Redde Castle and Castel Cough.
The seat of the Earl of Powis, the castle is known for its extensive, attractive formal gardens, terraces, parkland, deerpark and landscaped estate. The property is under the care of the National Trust.
Princess Victoria (later Queen Victoria) visited the castle as a child when her mother took her to tour England and Wales in 1832.
Grade I listed building
History
Introduction: The castle was a Welsh stronghold, probably of Owain Cyfeiliog and his heirs, from c1170, and parts of the surviving structure are thought to date from the late C12- early C13. The castle was sacked c1275, and in 1286, Owain ap Gruffydd ap Gwenwynwyn, Prince of Powys, paid homage to Edward I as Baron de la Pole. A substantial programme of rebuilding followed - the layout, and much of the structure of the present buildings were determined in this work of c1300.
Sir Edward Herbert acquired the castle in 1587, and initiated the creation of a country house from a castle. The first phase of a substantial Baroque remodelling was begun immediately following the restoration of Charles II (Powis had fallen in a siege of 1644 and was not returned to the Herbert family until the Restoration). William, Third Lord Powis who inherited the title in 1867 (and was created Earl in 1674
Marquis in 1685), was exiled with James II in 1688 - and although the Herbert's were not formally re-instated at Powis until 1722, a major programme of work on the castle and gardens was initiated by the family during this period, extending the scope of the Baroque remodelling.
Minor works were carried out during the C18, but the castle was suffering from neglect by the latter years of the century: in 1771, Thomas Farnolls Prichard, architect, of Shrewsbury, was commissioned to report on improvements, and he was responsible for the remodelling of the SW range as a ball-room wing in 1775-7 (for George Herbert, second Earl of Powis). In 1801, the castle was inherited by Edward, second Lord Clive, and the Powis Earldom was re-created for him (for the third time) in 1804. As heir to the Clive fortune, he was able to commission Robert Smirke to carry out improvements to the castle, between 1820 and 1830. Thereafter, the final major alterations to the castle were carried out by G.F. Bodley, c1904, for the Fourth Earl. On his death in 1952, the property was given to the National Trust.
The Medieval Castle: By c1300, the castle comprised an outer bailey to the W, with curtain walls to the N and W at least, and an inner ward built around a courtyard, with twin gate towers to its W. It had previously been assumed that the SE angle tower constituted the earliest surviving part of the medieval castle, but recent research has shown that the curved section of the S wall of the inner ward pre-dates it and may represent the remains of a late C12 shell keep, which was subsequently substantially rebuilt when the buildings were extended northward in c1300; the gate towers are probably contemporary with this c1300 phase, together with the N curtain wall of the outer bailey, with the lower storey of the accommodation on its inner face (the present ball-room range). The N range of the inner ward has not yet been investigated in detail, but it is thought to represent the hall range of the C13 castle: the walls appear to be substantially of medieval masonry. The E gate tower may have been added in the C15, when the castle was owned by the Grey Family.
The C16-C17: Major remodelling of the castle followed its acquisition by Edward Herbert in 1587, though largely within the confines of the medieval structure: he added the long gallery on the N and W sides of the inner courtyard, and perhaps the portal on its E side; there are fragments of C16 decoration in other rooms, and documentary evidence for much more, suggesting that the establishment of the interior layout of rooms en filade may date from this time. Most of the present pattern of fenestration was established in the C16-C17 period, although the window details have been several times renewed. While the internal layout of rooms as it survives on the first floor may be late C16, most of their detail and decoration is no earlier than the later C17, with much work of c1660. It now seems likely that a major Baroque remodelling was initiated after the Restoration, and as part of this, new entrances were designed: new pavilions flanking the W entrance were added in 1668, and the main portal at the E (with a corresponding portal at the W, subsequently re-sited), also appears to be late C17. The Baroque programme used local craftsmen at first, but under the direction of William Winde from the 1670's, it attained a greater sophistication of design and planning. The insertion of the grand staircase between 1674 and 1685 (attributed to Winde) entailed further alteration to the internal layout and it may be that the inner walls of the NW drum tower were cut-down at this time to accommodate it.
The C18: Documentary sources record work carried out at Powis between 1748 and 1754, by William Burke, but it is not known what this entailed. However, it is known that further refenestration took place during the C18 (largely probably using existing openings); illustrations of the castle record some sash windows, and in 1856, the Third Earl remembered the draughty 'French sashes' which were replaced by Smirke. Thomas Farnolls Pritchard was responsible for the remodelling of the ball-room range, which had been detached from the castle following a fire in 1725.
Smirke's Restoration: Some sources suggest that Smirke was working at Powis between 1815 and 1818: but others suggest 1820-1830, and Paul Sandby Munn's water-colours of the castle in 1816 clearly pre-date Smirke's involvement. He refenestrated the castle, re-instating stone mullioned and transomed windows, and also raised the E gate tower by an additional storey to enhance its picturesque status. He also added new embattling, and made some alterations to the internal layout, including enclosing the loggia underneath the long gallery.
Bodley's Restoration: G.F.Bodley made minor alterations to the external appearance of the castle (for example removing the curved angle turret to the N of the E gate tower and replacing it with a canted oriel, and renewing windows, largely in earlier openings), and considerable alterations to the interior, including changes to the layout of rooms (notably the creation of the dining room from two smaller rooms), and an extensive programme of redecoration.
Exterior
Red sandstone rubble throughout, with freestone dressings. Main entrance between the two spurred drum towers of c1300, approached up steps with balustraded parapet which were added c1670 (the twisted urns on the parapet appear to be later additions). The original arched entrance with its tiers of stepped-out mouldings was re-exposed when Bodley re-sited a C17 portal which had previously obscured it. In the S elevation, the central section curves slightly in plan (the possible vestigial C12 shell keep), with a rectilinear tower at the SE angle.This retains some (partially recut) C13 flat- headed lancet windows (one with relieving arch); the rest of the fenestration was established in the C16-C17, including the oriel window of the long gallery immediately right of the W drum tower, but the detail is largely C19-C20 renewal of the earlier mullioned and transomed windows. N elevation has corbelled angle turret (medieval?) to NW; fenestration largely on the C16-C17 pattern, as renewed by Bodley. The stair tower towards the left of this elevation may have been added by Smirke when he moved the kitchens into the outbuildings on the N side of the castle.
E elevation is dominated by the projecting gate tower, probably added in the C15. Rectangular in plan, with curved angle turrets. Fine lierne vaulted ceiling to gate-house passage. Its E portal is late C17: ashlar, with engaged Doric columns flanked by niches with restored statues of Kings Offa and Edgar and surmounted by a balustraded parapet (the portal at the W entrance to the castle, removed by Bodley to the orangery, was originally similarly detailed).The tower was given an additional storey and stair turret by Smirke, and re- fenestrated, presumably at the same time. Some blocked earlier windows are visible, and illustrations suggest that there had previously been sash windows over the entrance. The S portal onto the garden may be by Bodley, reworking an existing feature. Fenestration in the flanking walls also largely renews a pattern of openings set in the C16-C17, but the canted oriel in the right hand angle of the gate tower was added by Bodley, replacing an earlier curved turret.
Inner courtyard is well coursed and squared rubble and balustraded parapet to S and W - associated with the construction of the long gallery, which is lit by a series of wide sash windows. Loggia below the gallery - 4 bays with Doric columns carrying semi-circular arches - was filled-in and glazed by Smirke. The N and E walls of the courtyard appear to be largely late C19-early C20 work: the N wall at least associated with Bodley's work to create the dining room; E portal however is probably late C16 or early C17 (perhaps contemporary with the long gallery?): lozenge rusticated arch carried on Doric columns on high bases; entablature surmounted by twisted urns.The W portal into the courtyard post-dates the long gallery and may be an early C18 interpretation of the classical.
Old kitchen and servants quarters: These buildings form a continuation of the building line of the N curtain wall, immediately N of the main body of the castle. The 2 sections to the E are rubble-faced with brick dressings, and seem to be substantially of C17 date; the rubble embattled wall to the W conceals an earlier layout of buildings - this refronting was probably carried out by Smirke, who moved the domestic offices into these buildings during his restoration of 1820-30. Heavily detailed with bold roll mouldings, and corbelled crenellations.
Interior
Gate passage is canted in plan, with stone vaulted ceiling and two portcullis slots. The two flanking towers retain their internal layout and structure substantially intact, but elsewhere (with the exception of the E gate tower), the internal arrangement owes more to the C16-C17 than to the medieval period. The long gallery is the principle surviving feature of the late C16 period: its wainscoting is painted with trompe l'oeil panels, and the plasterwork of the deep frieze, overmantles and ceiling, all belong to this period. There are other surviving traces of this period in the plaster relief ceilings in window embrasures in the dining room and oak drawing room. Similar plasterwork in SW tower bedroom, with its wall panelling, may also be late C16-early C17.
The late C17 baroque remodelling was probably begun immediately after the Restoration, but its richer later character probably reflects the involvement of William Winde. The state bedroom for instance is largely c1660, although the balustrade which separates the bed alcove from the rest of the room may be slightly later - contemporary with the great staircase, and the panelled lower room in the N tower may also be c1660. The great staircase is attributed to William Winde, and was probably installed between 1673 and 1685, by the First Earl, William Herbert, whose coronet appears in the painted ceiling. The staircase is richly worked, and the symmetrically grouped doorcases at first floor, with enriched pulvinated friezes and scrolled volutes to pediments form part of a single composition with it. The ceiling over the staircase was painted by Antonio Verrio, and has been dated to 1673- 1685, while the wall paintings are by Lanscroon, and are dated 1705. Other late C17-early C18 interiors include the library with its ante-room, both with painted ceilings by Lanscroon (although the rest of the room was re-ordered by Smirke), and the panelled blue drawing room which opens off the head of the great staircase.
Smirke re-ordered the S range of the castle, moving the kitchens, and creating bedrooms in what are now the private apartments. The dining room and oak drawing room were re- modelled by Bodley in 1902-1904, in a Neo-Elizabethan idiom that drew on surviving earlier features in the house (the frieze of the long gallery forms the source for the oak drawing room frieze, for example), as well as sources from elsewhere.
Reasons for Listing
Powis Castle is an outstanding monument which charts a progression from medieval fortress to country house: the extensive survival of the medieval external structure forms the framework for a remarkable series of later interiors, amongst which those of the late C16, and the late C17 Baroque are of exceptional importance.
chimney
getting ready to rip up the original badly damaged hardwood (burned, termites, and water near the windows!) to put down a new subfloor.
In downtown Athens, Ohio, on July 3rd, 2021, the "City of Athens Parking Facility," a/k/a the Athens Parking Garage, built circa 1970, at the southwest corner of East Washington Street and South College Street.
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Getty Thesaurus of Geographic Names terms:
• Athens (7013330)
• Athens (county) (2001610)
Art & Architecture Thesaurus terms:
• concrete (300010737)
• oblique views (300015503)
• paint (coating) (300015029)
• parking garages (300007807)
• power lines (300008603)
• railings (balustrades) (300002018)
• traffic signals (300003915)
• utility poles (300006446)
• white (color) (300129784)
Wikidata items:
• 3 July 2021 (Q69306101)
• 1970 in architecture (Q2812531)
• 1970s in architecture (Q17173162)
• Appalachian Ohio (Q14234625)
• College Lands (Q5146463)
• July 3 (Q2699)
• July 2021 (Q61312805)
• Ohio Company of Associates (Q7080783)
• Southeast Ohio (Q14234625)
• Treaty of Greenville (Q767317)
Transportation Research Thesaurus terms:
• Brick pavements (Pmrcppbmj)
Library of Congress Subject Headings:
• Municipal ownership (sh85088487)
On loan at Northampton, Yorkshires 19012 MX06 XAM displays both YTC and on loan to UC legals in this shot at the Bus Station, with the demise of first additional vehicles are neede to cover until the arrival of the Gold Scanias for the X46 rota.
Inscription:
Collegij Soctis. Jesu
Viennae 1664
Crossed out ownership inscription dated 1664 from the Jesuit college in Vienna, Austria.
[Or, possibly, the Jesuit college in Vienne, France.]
Stamp:
19th cent. stamp from the library of the Croatian family of Rajacsich:
" Bibl. Familiae Rajacsich".
There is an entry in VIAF for a baron Konstantin Rajačić, who wrote a book about the Slavs living in southern Austria. The stamp might belong to him and his family.
Established heading: Rajačić, Konstantin, baron
Penn Libraries call number: IC6 Al145 649g
It is unlikely the glistening possibility of a golden slam (ownership of all four majors and an Olympic gold medal) blinded Roger Federer in sight of the prize. He is too cool for that. Juan Martín del Potro had no such distractions but, after an heroic effort, he could not survive the examination of a record-breaking semi-final and the Swiss, betraying occasional nerves between breathtaking ground strokes and 24 aces, won 3-6, 7-6, 19-17 in four hours and 26 minutes.
The final set took two hours and 43 minutes. Legs held up, spirits soared and dipped, and records tumbled.
The match was half an hour longer than the previous longest Olympic singles, between Jo-Wilfried Tsonga and Milos Raonic in the third round here. It was also the longest three-set singles match in the Open era, beating the four hours and three minutes of the 2009 Madrid semi-final between Novak Djokovic and Rafael Nadal.
Federer has not been detained this long in a single set since he finished off Andy Roddick 16-14 to win Wimbledon three years ago. That whole match, over five sets, took four hours and 16 minutes, ten minutes shorter than Friday's struggle over three. It also exhausted the ink in a colleague's pen; that's long.
Del Potro's brutal shotmaking kept Federer deep in the first set, and he grabbed it 6-3.
Federer had lost the first set 12 times in 52 matches this year, and recovered to win eight of those. Del Potro had lost to Federer five times in 2012, with only the memory of his win en route to his sole slam victory three years ago in New York to sustain his belief that, on his day, he has the measure of the Swiss. Friday was not quite one of those days and he broke down in tears after his final shot, a weary backhand, hit the net.
"To lose this way hurts a lot," he said. "It's very hard to talk about it right now. Everyone has their time. The US Open was my time, not today."
Federer was generous in victory: "Juan Martín did so well to hang in there. I don't think I have ever played as long a set in a best of three-set match. It was very physical at the end and so mental. I feel horrible for Juan Martín, but he can be very proud."
Del Potro had three break points in the second set, Federer two, and Federer's serve, clicking beautifully in the tie-break, levelled it at a set apiece.
Then they got down to business in their contrasting ways.
Moving at times like Mrs Romney's horse – sideways with long legs pumping furiously – Del Potro used his extraordinary levers to retrieve some of Federer's teasing cross-court strokes. While Federer's conservatism governed his daring, Del Potro had to fight hard to retain the shape and distance in his ground strokes.
Federer could not take advantage of break points in the seventh and ninth games, and snatched another break point in the 15th game when del Potro chose the right shot – down the line with his man stranded – but the wrong execution, and it went long. However, Federer wasted the chance, netting a dolly backhand.
Del Potro's second double fault of the match gave Federer another glimpse at 30-all and this time he went on to secure the break when Del Potro mucked up a forehand.
Federer was one game away from the final but, unbelievably, when he belted a backhand on to the net and out of bounds, he had lost his serve to love and they were level again.
Federer had three break points in the 29th game when Del Potro's backhand strayed long, but the Argentinian scrambled back to deuce with shots that burned the chalk on either side of the oblong, and held with another glorious forehand that clipped the baseline.
In the 35th game, Federer had three more break points. This time, he did not blow it. Del Potro did.
Serving for the match for a second time, Federer surrendered to the joy of the moment when Del Potro gave him match point – then squandered it with netted backhand. A forehand winner down the line delivered him another shot at victory, Del Potro's concentration snapped for the last time and it was done.
Matthäus Loder (Wien 1781 - 1828 Vordernberg)
Wildbad Gastein, 1826
Aquarell, Deckfarben, auf graublauem Papier
Watercolour, body colour, on greyish-blue paper
Privatbesitz, Sammlung Erzherzog Johann
Private ownership, Collection Archduke Johann
The Art of the Viennese Watercolor
Till 13. May 2018
Transparent lightness, brilliant colours, and a generally atmospheric impression are the special qualities of 19th-century Viennese watercolor painting. Virtuosic city views and landscapes, detail-rich portraits, genre paintings, and floral works comprise the rich motivic repertoire featured in this glorious blossoming of Austrian art.
The Viennese watercolor’s heyday was the Biedermeier era: Jakob Alt, Matthäus Loder, Thomas Ender, and Peter Fendi number among its most important artistic figures.
Likewise outstanding are the exquisite works by Rudolf von Alt from his over 70-year career. His masterful watercolours run from the Biedermeier era all the way to the rise of the Secession movement around 1900.
This exhibition presents a veritable parade of exceptionally beautiful pictures, including the ALBERTINA’s own treasures as well as important loan works, all of which pay impressive tribute to the high standing of the Viennese watercolor in the context of 19th century art.
www.albertina.at/en/exhibitions/viennese_watercolour/
On view from 16 February until 13 May 2018.
The Albertina
The architectural history of the Palais
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
pet ownership has not been banned yet although...
what with your moggie's eco-footprint being equal to a volkwagen golf according to new scientist magazine and animal rights activist's claims that pet ownership is exploitative and that animals are ''forced'' to fit in with human ways of living, the future of pet ownership is far from clear.
Early Latin ms. inscriptions. Those on the lower third of the leaf contain provenance information, as follows:
Inscription:
estos son los libros de maestre migel figera alias Reaton
aragonensis magister sentenciarum / magorius filicrun[ensis?]
duos gravieles / lopi[...] de la mjrandula / duas eticas /
calqulaciones[?] / lor[?] cot[?] /
he[n]tisberi antonjus nebrysensis
At left:
magistery artibus parisi,del>eses\
ensis
[Ms. list of books belonging to Miguel Figera (elswhere spelled Fig[u]eras), alias Reaton. "Magister sentenciarum" probably refers to Peter Lombard's Sentences; "He[n]tisberi" is possibly to be associated with "calqulaciones" and, if so, refers to William Heytesbury's Liber calculationum. "Antonjus Nebrysensis" probably refers to one of the works of Spanish humanist Antonio de Nebrija.]
Inscription:
q[uae]ris cui[us] sim[?] tibi desunt l[...]a s[unt?]
he[...] posesoris e tibi nome[n] ade[...]
michael archange[us] hispann[us][?] de [...]
[...]legio d[...]e barbare phisic[us] an[n]o |1|5|0|5|
[Partially illegible dated early 16th century ms. ownership(?) inscription of Michael Archangelus Hispanus.]
Inscription:
iste liber es de mjcael figeras alias reaton
[Early ms. ownership inscription of Michael Figeras (elsewhere spelled Figueras or Figera), alias Reaton.]
Penn Libraries call number: Inc H-57 Folio
Penn Libraries catalog record
Ms. ownership inscription on recto of front flyleaf in brown ink of the bibliographer Gilbert Richard Redgrave: "Ex libris Gilbert R. Redgrave Thriftwood, Silverdale, Sydenham, London. Sept. 15th 1906." followed by an ms. list of the contents of the volume and bibliographic notes, signed G.R.R. He is established as Redgrave, G. R. (Gilbert Richard) 1844-1941. Redgrave edited STC, or A short-title catalogue of books printed in England, Scotland, & Ireland and of English books printed abroad, 1475–1640 with Alfred Pollard. Redgrave was the son of the painter Richard Redgrave.
Established heading: Redgrave, G. R. (Gilbert Richard), 1844-1941
Penn Libraries call number: Boyle 540.4 B699.15 1685
... this is the Official Susie and Bill's First Full Day Together photo. Can you see the "pride of ownership" on my face? That's exactly the same look I had on my face the day I took delivery (remember when you didn't BUY a car, you TOOK DELIVERY on a car) on my 1951 Buick Dynaflo, gray over black hardtop convertible....well maybe no EXACTLY the same look. I don't remember having that senile dementia look, but the smile is the same, yes, yes, dammit, there were more teeth then, too. Never mind.
Leaf a2r of an incunable edition of St. Thomas Aquinas's In duodecim libros Metaphysicorum Aristotelis expositio (Venice: Simon Bevilaqua for Alessandro Calcedonius, 20 Dec. 1493; ISTC it00246000) with ms. ownership inscription ("S[anc]ti Petri de Leonissa") of the Chiesa di S. Pietro in Leonessa, Italy.
Established heading: Bevilaqua, Simon, active 1485-1518
Established heading: Calcedonius, Alessandro, active 1492-1514
DNB heading: San Pietro
Penn Libraries call number: Inc T-246 Folio
Penn Libraries catalog record
Class War election candidate Adam Clifford canvases in Soho London 11.04.2015
Cross-dressing Class War election candidate for the City of London & Westminster Adam Clifford held a colourful political canvassing parade through the streets of Soho, loudly and humourously condemning the gentrification of Soho which, he claims, is rapidly erasing the proud counter-cultural history of the area with pop-up boutiques, endless hipster cake shops and ownership by faceless foreign corporations. Working class residents, sex workers and many independent traders in Soho are being forced out of the area by evictions and rising rents as landlords and property developers clamour to increase their wealth at the expense of the poor who are being dislocated and purged from London's most vibrant district.
All photos © 2015 Pete Riches
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A oil palm plantation in Sabah, Malaysia.
Photo by Mokhamad Edliadi/CIFOR
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location | FC Olympia Gwardejsk, Gvardeysk, Kaliningrad
📷 | Publik UEFA CUP presentation - Artem junior player
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Кубок УЕФА, ФК Зенит, Зенит, Zenit St. Petersburg, Зенит, Футбольный клуб, Чемпион России, UEFA Cup, Champions League, Premier League, Russland Premier Liga, rumoto images, 写真家, カメラマン, 摄影师, Bernard Egger, Бернард Эггер, photography, Fußballteam, Fußballmannschaft, soccer, Futebol, Sport, Sportfoto, UEFA Cup Gvardeysk, Gvardeysk, Olympia Gwardejsk, Gwardejsk, Kaliningrad,
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Der UEFA-Pokal (UEFA Cup) ist neben der UEFA Champions League der zweite durch die UEFA durchgeführte Europapokalwettbewerb für Fußballmannschaften. Er wurde 1971 als noch dritter Europapokalwettbewerb (EC3) begründet und ursprünglich in allen Runden im K.-o.-System mit Hin- und Rückspielen ausgetragen.
Seit dem Spieljahr 2003/04 findet nach den Qualifikationsrunden eine Gruppenphase statt. Bis auf diese Gruppenphase wird der Wettbewerb weiter im K.o.-System durchgeführt. Seit 1998 wird der Gewinner nicht mehr in zwei, sondern in einem Finalspiel an einem neutralen Ort ermittelt. Teilnahmeberechtigt sind die Vereine, die in ihrer Liga auf die Qualifizierten für die Champions League folgen, sowie die Sieger der nationalen Pokalwettbewerbe. Damit ist jeder der 53 Mitgliedsverbände der UEFA berechtigt, Mannschaften in den UEFA-Pokal zu entsenden.
Die Rekordsieger des UEFA-Pokals sind mit jeweils drei Titeln Inter Mailand, Juventus Turin und der FC Liverpool. Der Gewinner des UEFA-Pokals spielt seit 2000 gegen den Sieger der UEFA Champions League um den Europäischen Supercup.
I just came into ownership of this, my first ever Rolleiflex- A Black Baby rolleiflex 4X4 and would appreciate any info on it. I have scoured the internet but was left in confusion between two models (after checking serial numbers at www.rolleiclub.com ).
125.000* - 145.000*
Rolleiflex 4x4 3,5 model 1 - Prochnow
Baby 4x4 1931 Rolleiflex - Parker
3.5 Original Baby - Evans
127.000- 523.000
Rolleiflex 4x4 3,5 model 2 - Prochnow
Baby 4x4 1934 Rolleiflex - Parker
Black Baby (type 1 - Evans
The serial number is 1456**
- and the last two digits are missing but at closer inspection they look like 17 (possibly)..
so maybe serial is No. 145617.
Viewing lens reads - Heidoskop-Anastigmat 1: 2,8 f- 6 cm
Viewing lens Number - 132752
Focus lens reads - Tessar 1: 3,5 f= 6 cm
Focus lens number - Carl Zeiss Jena Nr. 1327345
Number under shutter release - 2392959
It was sold to me as an-
"Original Baby Rolleiflex 4 x 4 Model 4RF 411"
Early 1930s. Complete with original case-
Camera fully functioning but could do with an overhaul. Paintwork a bit battered & view finder magnifier (small magnifying glass) missing.
Has red window on the back.
But then I saw this one -http://www.Pacificrimcamera.com/pp/rollei/pr ebaby.htm which is different to my own so I'm just more confused than ever
Did I buy the right camera as advertised or did I buy a dud?
I would really appreciate any info in identifying the correct model and year and of-course if it has any real monetary value. I bought it to use it but if it is a rare model then I think I'll just baby it (excuse the pun) and only take out for exercise on occasion. :)
Thanks in advance to anyone who took the time to read all that and bother posting back. :)
P.S- I will take some photos soon and post them back up here in case the information I gave isn't enough. :)
Richelieu ex Pola
Pola was ordered by the Laeisz Flying P Line in 1916 but was not completed until 1921. She was built to the same high specifications they had adopted for their earlier vessels. However, she never sailed under the Laeisz ownership. She was given to France as reparations at the end of the First World War, and her name became Richelieu. She was painted in the traditional ‘French Grey’ favoured by French shipowners and was operated as a cargo carrying training ship by the Societé des Navires écoles, a consortium of French shipowners.
Pola and Priwall :
The sister ships Pola and Priwall, also made by Blohm & Voss, did not fare well: while the Pola was delivered to France as reparations after being launched in 1916 and completed in 1919, and scrapped there in 1933, the Priwall, delivered in 1920, sailed the world’s oceans for two decades – off 1941 under the Chilean flag. But after a fire, the ship, renamed Lautaro, exploded off the coast of Peru in 1945.
Pola und Priwall
Die ebenfalls von Blohm & Voss gefertigen Schwesternschiffe Pola und Priwall ereilte kein gutes Schicksal:
Während die Pola nach ihrem Stapellauf 1916 und Fertigstellung 1919 gleich als Reparationsleistung an Frankreich ausgeliefert und dort 1933 abgewrackt wurde, fuhr die 1920 ausgelieferte Priwall zwei Jahrzehnte über die Weltmeere – ab 1941 unter chilenischer Flagge. Doch nach einem Brand explodierte das in Lautaro umbenannte Schiff 1945 vor der Küste Perus.
Segelschiff-Archiv : RÞS
Abraham & Straus began as Wechsler & Abraham in 1865. In 1893, the Straus brothers bought Wechsler's share of the department store and it was renamed Abraham & Straus (this was the same year that the Straus brothers purchased Macy's; however, the two stores were never integrated). In 1915, the Straus' divided up ownership of these two stores so that Isidor Straus' family owned Macy's and Nathan Straus' family owned Abraham & Straus. In 1929, Abraham & Straus (along with Lazarus, Filene's, and Bloomingdales) founded Federated Department Stores. In 1994, Federated acquired Macy's and the Abraham & Straus chain was rebranded as Macy's.
The original store (which I should have gotten a photo of but didn't) on Fulton Street was constructed in 1885 and designed by George L. Morse. That store was greatly expanded with this large Art Deco addition designed by Starrett & van Vleck in 1928.
Ms. ownership inscription of the Monastery of San Giorgio Maggiore: "Est S[anc]ti Georgij Maioris Ven[etiarum]"
The Monastery of San Giorgio was established in 982, when the Benedictine monk, Giovanni Morosini asked the doge Tribuno Memmo to donate the whole island of San Giorgio Maggiore (in Venice) for a Monastery. Morosini drained the island's marshes next to the church to get the ground for building, and founded the Monastery of San Giorgio Maggiore, and became its first abbot. In the early 19th century, after the Republic fell, the monastery was almost suppressed and the island became a free port with a new harbour built in 1812. It became the home of Venice's artillery. It is now the headquarters of the Cini Foundation arts centre, known for its library and is also home to the Teatro Verde open-air theatre.
Established heading: San Giorgio maggiore (Monastery : Venice, Italy)
Penn Libraries call number: IC55 M2693 564s 1581
Penn Libraries catalog record
Sir Walter Raleigh: The Discoverie of Guiana. [London: Robert Robinson, 1596.] Sp Coll Hunterian Cp.3.29.
... I got the pink slip, daddy.
Finally. I've had lots of cars, but I have ever only officially owned one of them. Now it's two!
Things didn't work out so great for the last one. Let's hope for a better future for the Cobalt.
Year three have been writing all sorts of poems the last couple of weeks. They seem to have really enjoyed it.
The work was never intended to all be on one display board so it has a variety of coloured paper mountings. The harvest baskets, some of the shape poems and the Autumn poems were originally going to be part of another display in the main hall.
I think I might have got away with it by using a fairly neutral backing paper but I'm still not sure.
At least it's good to see so much good work up on the wall. I think it's better to find examples of really good work than to put everyone's up. What do other people think?
Herolt, Johannes: Sermones Discipuli de tempore et de sanctis cum promptuario exemplorum et miraculis Beatae Mariae Virginis. Cologne: [Ulrich Zel], 7 Mar. 1474. Opening page of main text of ‘Sermones de sanctis’ (Part 2: [2r]) with title incipit; with ownership inscription of the Augustinian Canonesses of Faconshof in lower margin: “Facons”; four-line initial “L” supplied in red, blue and reserved white with purple pen-work decoration extending into the inner margin; smaller initial supplied in red; paragraph marks, underlining and initial strokes in red. Sp Coll Hunterian Bf.3.9.
Woodcut device of Alexander Weissenhorn (I) of Augsburg.
Inscription:
Conuentus Augustani Carmelitarum Discalceatorum
[Ownership inscription of the Discalced Carmelites of Augsburg. Their house was known as Kloster der unbeschuhten Karmeliten Allerheiligstes Sakrament (per CERL) or Karmelitenkloster zum Allerheiligsten Sakrament (per the Klöster in Bayern website). founded 1637 After a rocky start for the Discalced Carmelites at Kloster St. Joseph in 1630 (it was burned by Swedish troops two years later), Kloster zum Allerheiligsten Sakrament was founded in 1637 and secularized in 1802.]
Penn Libraries call number: GC5 Ec510 542a
Benwell and Scotswood is an electoral ward of Newcastle upon Tyne in North East England. The ward encompasses the Benwell and Scotswood housing areas, as well as the Newcastle Business Park, which is located on the banks of the River Tyne and houses offices of companies such as British Airways and the Automobile Association. The population of the ward is 13,759, which is 5.3% of the total population of Newcastle upon Tyne. Car ownership in the area is 45.1%, lower than the city average of 54.7%. The 2011 Census gave a population of 12,694.
Scotswood grew during the industrial revolution and provided labour for the huge Vickers Armstrong military engineering group formerly Armstrong Whitworth. Scotswood Road, which Vickers Armstrong used to dominate, is a main route along the Tyne and is mentioned in the song "Blaydon Races".
The Scotswood Bridge, which was known as the Chain Bridge, was the first bridge to be built over the Tyne in the industrial era. It opened in 1831 and was in use until 1967 when it had been superseded by a more modern structure, and was hence demolished.
Benwell and Scotswood were both sites of a number of coalmines. On 30 March 1925 the Montague Main Colliery Disaster occurred, caused by an inrush of water from the nearby disused Paradise Pit and resulting in the loss of 38 lives.
Scotswood railway station was served by the Newcastle and Carlisle Railway between 1839 and 1967.
The Fenham and Benwell district formed an independent urban district, which was incorporated into the City of Newcastle upon Tyne in 1904.
The site came to attention in the summer of 1968 for being the scene where two male toddlers Martin Brown, aged 4, and Brian Howe, aged 3, were found dead, after being strangled to death by Mary Bell.
The boundary of the Benwell and Scotswood ward starts at the West Road/A1 roundabout southbound along the A1 to the River Tyne, then east to the Scotswood Road and William Armstrong Drive junction. Northbound, the boundary joins Buddle Road and continues along St Johns Road to Elswick Road. The boundary then heads west onto Adelaide Terrace to the Hodgkin Park Road junction and continues north to the rear of the allotment gardens and Lismore Place. The boundary moves to the west behind Denhill Park properties to Pendower Hall School and follows the school's eastern perimeter north to the West Road to the A1.
The ward has two nursery schools, six primary schools, one comprehensive secondary school and a school for children with specific needs.
The ward has both the West End Library and Denton Burn Library, which have computers with free internet access. The West End library holds the West Newcastle Picture History Collection of around 17,000 images of the West End, some taken by Jimmy Forsyth. Benwell Nature Park and Denton Dene South are located within the ward. Scotswood Leisure Centre hosts various sports clubs and fitness classes. The ward contains three pieces of Play Provision, provided by Newcastle Play Service.
These are the Lillia Play Sessions, held at the Lillia Youth Centre and two playcentres: Scotswood Playcentre and Benwell Playcentre. These provide free open access sessions five days a week to children 5–12 (older children with disabilities and additional needs are also welcome).
Scotswood Natural Community garden was awarded a Green Flag Community Award. In 2012 a Sculpture Trail was created which involved the creation of four sculptures by artists working with local community groups.
West End RFC is a local amateur rugby club which plays its home matches at All Saints Sports Centre.
Newcastle upon Tyne, or simply Newcastle is a cathedral city and metropolitan borough in Tyne and Wear, England. It is located on the River Tyne's northern bank, opposite Gateshead to the south. It is the most populous settlement in the Tyneside conurbation and North East England.
Newcastle developed around a Roman settlement called Pons Aelius, the settlement became known as Monkchester before taking on the name of a castle built in 1080 by William the Conqueror's eldest son, Robert Curthose. It was one of the world's largest ship building and repair centres during the industrial revolution. Newcastle was part of the county of Northumberland until 1400, when it separated and formed a county of itself. In 1974, Newcastle became part of Tyne and Wear. Since 2018, the city council has been part of the North of Tyne Combined Authority.
The history of Newcastle upon Tyne dates back almost 2,000 years, during which it has been controlled by the Romans, the Angles and the Norsemen amongst others. Newcastle upon Tyne was originally known by its Roman name Pons Aelius. The name "Newcastle" has been used since the Norman conquest of England. Due to its prime location on the River Tyne, the town developed greatly during the Middle Ages and it was to play a major role in the Industrial Revolution, being granted city status in 1882. Today, the city is a major retail, commercial and cultural centre.
Roman settlement
The history of Newcastle dates from AD 122, when the Romans built the first bridge to cross the River Tyne at that point. The bridge was called Pons Aelius or 'Bridge of Aelius', Aelius being the family name of Roman Emperor Hadrian, who was responsible for the Roman wall built across northern England along the Tyne–Solway gap. Hadrian's Wall ran through present-day Newcastle, with stretches of wall and turrets visible along the West Road, and at a temple in Benwell. Traces of a milecastle were found on Westgate Road, midway between Clayton Street and Grainger Street, and it is likely that the course of the wall corresponded to present-day Westgate Road. The course of the wall can be traced eastwards to the Segedunum Roman fort at Wallsend, with the fort of Arbeia down-river at the mouth of the Tyne, on the south bank in what is now South Shields. The Tyne was then a wider, shallower river at this point and it is thought that the bridge was probably about 700 feet (210 m) long, made of wood and supported on stone piers. It is probable that it was sited near the current Swing Bridge, due to the fact that Roman artefacts were found there during the building of the latter bridge. Hadrian himself probably visited the site in 122. A shrine was set up on the completed bridge in 123 by the 6th Legion, with two altars to Neptune and Oceanus respectively. The two altars were subsequently found in the river and are on display in the Great North Museum in Newcastle.
The Romans built a stone-walled fort in 150 to protect the river crossing which was at the foot of the Tyne Gorge, and this took the name of the bridge so that the whole settlement was known as Pons Aelius. The fort was situated on a rocky outcrop overlooking the new bridge, on the site of the present Castle Keep. Pons Aelius is last mentioned in 400, in a Roman document listing all of the Roman military outposts. It is likely that nestling in the shadow of the fort would have been a small vicus, or village. Unfortunately, no buildings have been detected; only a few pieces of flagging. It is clear that there was a Roman cemetery near Clavering Place, behind the Central station, as a number of Roman coffins and sarcophagi have been unearthed there.
Despite the presence of the bridge, the settlement of Pons Aelius was not particularly important among the northern Roman settlements. The most important stations were those on the highway of Dere Street running from Eboracum (York) through Corstopitum (Corbridge) and to the lands north of the Wall. Corstopitum, being a major arsenal and supply centre, was much larger and more populous than Pons Aelius.
Anglo-Saxon development
The Angles arrived in the North-East of England in about 500 and may have landed on the Tyne. There is no evidence of an Anglo-Saxon settlement on or near the site of Pons Aelius during the Anglo-Saxon age. The bridge probably survived and there may well have been a small village at the northern end, but no evidence survives. At that time the region was dominated by two kingdoms, Bernicia, north of the Tees and ruled from Bamburgh, and Deira, south of the Tees and ruled from York. Bernicia and Deira combined to form the kingdom of Northanhymbra (Northumbria) early in the 7th century. There were three local kings who held the title of Bretwalda – 'Lord of Britain', Edwin of Deira (627–632), Oswald of Bernicia (633–641) and Oswy of Northumbria (641–658). The 7th century became known as the 'Golden Age of Northumbria', when the area was a beacon of culture and learning in Europe. The greatness of this period was based on its generally Christian culture and resulted in the Lindisfarne Gospels amongst other treasures. The Tyne valley was dotted with monasteries, with those at Monkwearmouth, Hexham and Jarrow being the most famous. Bede, who was based at Jarrow, wrote of a royal estate, known as Ad Murum, 'at the Wall', 12 miles (19 km) from the sea. It is thought that this estate may have been in what is now Newcastle. At some unknown time, the site of Newcastle came to be known as Monkchester. The reason for this title is unknown, as we are unaware of any specific monasteries at the site, and Bede made no reference to it. In 875 Halfdan Ragnarsson, the Danish Viking conqueror of York, led an army that attacked and pillaged various monasteries in the area, and it is thought that Monkchester was also pillaged at this time. Little more was heard of it until the coming of the Normans.
Norman period
After the arrival of William the Conqueror in England in 1066, the whole of England was quickly subjected to Norman rule. However, in Northumbria there was great resistance to the Normans, and in 1069 the newly appointed Norman Earl of Northumbria, Robert de Comines and 700 of his men were killed by the local population at Durham. The Northumbrians then marched on York, but William was able to suppress the uprising. That same year, a second uprising occurred when a Danish fleet landed in the Humber. The Northumbrians again attacked York and destroyed the garrison there. William was again able to suppress the uprising, but this time he took revenge. He laid waste to the whole of the Midlands and the land from York to the Tees. In 1080, William Walcher, the Norman bishop of Durham and his followers were brutally murdered at Gateshead. This time Odo, bishop of Bayeux, William's half brother, devastated the land between the Tees and the Tweed. This was known as the 'Harrying of the North'. This devastation is reflected in the Domesday Book. The destruction had such an effect that the North remained poor and backward at least until Tudor times and perhaps until the Industrial Revolution. Newcastle suffered in this respect with the rest of the North.
In 1080 William sent his eldest son, Robert Curthose, north to defend the kingdom against the Scots. After his campaign, he moved to Monkchester and began the building of a 'New Castle'. This was of the "motte-and-bailey" type of construction, a wooden tower on top of an earthen mound (motte), surrounded by a moat and wooden stockade (bailey). It was this castle that gave Newcastle its name. In 1095 the Earl of Northumbria, Robert de Mowbray, rose up against the king, William Rufus, and Rufus sent an army north to recapture the castle. From then on the castle became crown property and was an important base from which the king could control the northern barons. The Northumbrian earldom was abolished and a Sheriff of Northumberland was appointed to administer the region. In 1091 the parish church of St Nicholas was consecrated on the site of the present Anglican cathedral, close by the bailey of the new castle. The church is believed to have been a wooden building on stone footings.
Not a trace of the tower or mound of the motte and bailey castle remains now. Henry II replaced it with a rectangular stone keep, which was built between 1172 and 1177 at a cost of £1,444. A stone bailey, in the form of a triangle, replaced the previous wooden one. The great outer gateway to the castle, called 'the Black Gate', was built later, between 1247 and 1250, in the reign of Henry III. There were at that time no town walls and when attacked by the Scots, the townspeople had to crowd into the bailey for safety. It is probable that the new castle acted as a magnet for local merchants because of the safety it provided. This in turn would help to expand trade in the town. At this time wool, skins and lead were being exported, whilst alum, pepper and ginger were being imported from France and Flanders.
Middle Ages
Throughout the Middle Ages, Newcastle was England's northern fortress, the centre for assembled armies. The Border war against Scotland lasted intermittently for several centuries – possibly the longest border war ever waged. During the civil war between Stephen and Matilda, David 1st of Scotland and his son were granted Cumbria and Northumberland respectively, so that for a period from 1139 to 1157, Newcastle was effectively in Scottish hands. It is believed that during this period, King David may have built the church of St Andrew and the Benedictine nunnery in Newcastle. However, King Stephen's successor, Henry II was strong enough to take back the Earldom of Northumbria from Malcolm IV.
The Scots king William the Lion was imprisoned in Newcastle, in 1174, after being captured at the Battle of Alnwick. Edward I brought the Stone of Scone and William Wallace south through the town and Newcastle was successfully defended against the Scots three times during the 14th century.
Around 1200, stone-faced, clay-filled jetties were starting to project into the river, an indication that trade was increasing in Newcastle. As the Roman roads continued to deteriorate, sea travel was gaining in importance. By 1275 Newcastle was the sixth largest wool exporting port in England. The principal exports at this time were wool, timber, coal, millstones, dairy produce, fish, salt and hides. Much of the developing trade was with the Baltic countries and Germany. Most of the Newcastle merchants were situated near the river, below the Castle. The earliest known charter was dated 1175 in the reign of Henry II, giving the townspeople some control over their town. In 1216 King John granted Newcastle a mayor[8] and also allowed the formation of guilds (known as Mysteries). These were cartels formed within different trades, which restricted trade to guild members. There were initially twelve guilds. Coal was being exported from Newcastle by 1250, and by 1350 the burgesses received a royal licence to export coal. This licence to export coal was jealously guarded by the Newcastle burgesses, and they tried to prevent any one else on the Tyne from exporting coal except through Newcastle. The burgesses similarly tried to prevent fish from being sold anywhere else on the Tyne except Newcastle. This led to conflicts with Gateshead and South Shields.
In 1265, the town was granted permission to impose a 'Wall Tax' or Murage, to pay for the construction of a fortified wall to enclose the town and protect it from Scottish invaders. The town walls were not completed until early in the 14th century. They were two miles (3 km) long, 9 feet (2.7 m) thick and 25 feet (7.6 m) high. They had six main gates, as well as some smaller gates, and had 17 towers. The land within the walls was divided almost equally by the Lort Burn, which flowed southwards and joined the Tyne to the east of the Castle. The town began to expand north of the Castle and west of the Lort Burn with various markets being set up within the walls.
In 1400 Henry IV granted a new charter, creating a County corporate which separated the town, but not the Castle, from the county of Northumberland and recognised it as a "county of itself" with a right to have a sheriff of its own. The burgesses were now allowed to choose six aldermen who, with the mayor would be justices of the peace. The mayor and sheriff were allowed to hold borough courts in the Guildhall.
Religious houses
During the Middle Ages a number of religious houses were established within the walls: the first of these was the Benedictine nunnery of St Bartholomew founded in 1086 near the present-day Nun Street. Both David I of Scotland and Henry I of England were benefactors of the religious house. Nothing of the nunnery remains now.
The friary of Blackfriars, Newcastle (Dominican) was established in 1239. These were also known as the Preaching Friars or Shod Friars, because they wore sandals, as opposed to other orders. The friary was situated in the present-day Friars Street. In 1280 the order was granted royal permission to make a postern in the town walls to communicate with their gardens outside the walls. On 19 June 1334, Edward Balliol, claimant to be King of Scotland, did homage to King Edward III, on behalf of the kingdom of Scotland, in the church of the friary. Much of the original buildings of the friary still exist, mainly because, after the Dissolution of the Monasteries the friary of Blackfriars was rented out by the corporation to nine of the local trade guilds.
The friary of Whitefriars (Carmelite) was established in 1262. The order was originally housed on the Wall Knoll in Pandon, but in 1307 it took over the buildings of another order, which went out of existence, the Friars of the Sac. The land, which had originally been given by Robert the Bruce, was situated in the present-day Hanover Square, behind the Central station. Nothing of the friary remains now.
The friary of Austinfriars (Augustinian) was established in 1290. The friary was on the site where the Holy Jesus Hospital was built in 1682. The friary was traditionally the lodging place of English kings whenever they visited or passed through Newcastle. In 1503 Princess Margaret, eldest daughter of Henry VII of England, stayed two days at the friary on her way to join her new husband James IV of Scotland.
The friary of Greyfriars (Franciscans) was established in 1274. The friary was in the present-day area between Pilgrim Street, Grey Street, Market Street and High Chare. Nothing of the original buildings remains.
The friary of the Order of the Holy Trinity, also known as the Trinitarians, was established in 1360. The order devoted a third of its income to buying back captives of the Saracens, during the Crusades. Their house was on the Wall Knoll, in Pandon, to the east of the city, but within the walls. Wall Knoll had previously been occupied by the White Friars until they moved to new premises in 1307.
All of the above religious houses were closed in about 1540, when Henry VIII dissolved the monasteries.
An important street running through Newcastle at the time was Pilgrim Street, running northwards inside the walls and leading to the Pilgrim Gate on the north wall. The street still exists today as arguably Newcastle's main shopping street.
Tudor period
The Scottish border wars continued for much of the 16th century, so that during that time, Newcastle was often threatened with invasion by the Scots, but also remained important as a border stronghold against them.
During the Reformation begun by Henry VIII in 1536, the five Newcastle friaries and the single nunnery were dissolved and the land was sold to the Corporation and to rich merchants. At this time there were fewer than 60 inmates of the religious houses in Newcastle. The convent of Blackfriars was leased to nine craft guilds to be used as their headquarters. This probably explains why it is the only one of the religious houses whose building survives to the present day. The priories at Tynemouth and Durham were also dissolved, thus ending the long-running rivalry between Newcastle and the church for control of trade on the Tyne. A little later, the property of the nunnery of St Bartholomew and of Grey Friars were bought by Robert Anderson, who had the buildings demolished to build his grand Newe House (also known as Anderson Place).
With the gradual decline of the Scottish border wars the town walls were allowed to decline as well as the castle. By 1547, about 10,000 people were living in Newcastle. At the beginning of the 16th century exports of wool from Newcastle were more than twice the value of exports of coal, but during the century coal exports continued to increase.
Under Edward VI, John Dudley, Duke of Northumberland, sponsored an act allowing Newcastle to annexe Gateshead as its suburb. The main reason for this was to allow the Newcastle Hostmen, who controlled the export of Tyne coal, to get their hands on the Gateshead coal mines, previously controlled by the Bishop of Durham. However, when Mary I came to power, Dudley met his downfall and the decision was reversed. The Reformation allowed private access to coal mines previously owned by Tynemouth and Durham priories and as a result coal exports increase dramatically, from 15,000 tons in 1500 to 35,000 tons in 1565, and to 400,000 tons in 1625.
The plague visited Newcastle four times during the 16th century, in 1579 when 2,000 people died, in 1589 when 1700 died, in 1595 and finally in 1597.
In 1600 Elizabeth I granted Newcastle a charter for an exclusive body of electors, the right to elect the mayor and burgesses. The charter also gave the Hostmen exclusive rights to load coal at any point on the Tyne. The Hostmen developed as an exclusive group within the Merchant Adventurers who had been incorporated by a charter in 1547.
Stuart period
In 1636 there was a serious outbreak of bubonic plague in Newcastle. There had been several previous outbreaks of the disease over the years, but this was the most serious. It is thought to have arrived from the Netherlands via ships that were trading between the Tyne and that country. It first appeared in the lower part of the town near the docks but gradually spread to all parts of the town. As the disease gained hold the authorities took measures to control it by boarding up any properties that contained infected persons, meaning that whole families were locked up together with the infected family members. Other infected persons were put in huts outside the town walls and left to die. Plague pits were dug next to the town's four churches and outside the town walls to receive the bodies in mass burials. Over the course of the outbreak 5,631 deaths were recorded out of an estimated population of 12,000, a death rate of 47%.
In 1637 Charles I tried to raise money by doubling the 'voluntary' tax on coal in return for allowing the Newcastle Hostmen to regulate production and fix prices. This caused outrage amongst the London importers and the East Anglian shippers. Both groups decided to boycott Tyne coal and as a result forced Charles to reverse his decision in 1638.
In 1640 during the Second Bishops' War, the Scots successfully invaded Newcastle. The occupying army demanded £850 per day from the Corporation to billet the Scottish troops. Trade from the Tyne ground to a halt during the occupation. The Scots left in 1641 after receiving a Parliamentary pardon and a £4,000,000 loan from the town.
In 1642 the English Civil War began. King Charles realised the value of the Tyne coal trade and therefore garrisoned Newcastle. A Royalist was appointed as governor. At that time, Newcastle and King's Lynn were the only important seaports to support the crown. In 1644 Parliament blockaded the Tyne to prevent the king from receiving revenue from the Tyne coal trade. Coal exports fell from 450,000 to 3,000 tons and London suffered a hard winter without fuel. Parliament encouraged the coal trade from the Wear to try to replace that lost from Newcastle but that was not enough to make up for the lost Tyneside tonnage.
In 1644 the Scots crossed the border. Newcastle strengthened its defences in preparation. The Scottish army, with 40,000 troops, besieged Newcastle for three months until the garrison of 1,500 surrendered. During the siege, the Scots bombarded the walls with their artillery, situated in Gateshead and Castle Leazes. The Scottish commander threatened to destroy the steeple of St Nicholas's Church by gunfire if the mayor, Sir John Marley, did not surrender the town. The mayor responded by placing Scottish prisoners that they had captured in the steeple, so saving it from destruction. The town walls were finally breached by a combination of artillery and sapping. In gratitude for this defence, Charles gave Newcastle the motto 'Fortiter Defendit Triumphans' to be added to its coat of arms. The Scottish army occupied Northumberland and Durham for two years. The coal taxes had to pay for the Scottish occupation. In 1645 Charles surrendered to the Scots and was imprisoned in Newcastle for nine months. After the Civil War the coal trade on the Tyne soon picked up and exceeded its pre-war levels.
A new Guildhall was completed on the Sandhill next to the river in 1655, replacing an earlier facility damaged by fire in 1639, and became the meeting place of Newcastle Town Council. In 1681 the Hospital of the Holy Jesus was built partly on the site of the Austin Friars. The Guildhall and Holy Jesus Hospital still exist.
Charles II tried to impose a charter on Newcastle to give the king the right to appoint the mayor, sheriff, recorder and town clerk. Charles died before the charter came into effect. In 1685, James II tried to replace Corporation members with named Catholics. However, James' mandate was suspended in 1689 after the Glorious Revolution welcoming William of Orange. In 1689, after the fall of James II, the people of Newcastle tore down his bronze equestrian statue in Sandhill and tossed it into the Tyne. The bronze was later used to make bells for All Saints Church.
In 1689 the Lort Burn was covered over. At this time it was an open sewer. The channel followed by the Lort Burn became the present day Dean Street. At that time, the centre of Newcastle was still the Sandhill area, with many merchants living along the Close or on the Side. The path of the main road through Newcastle ran from the single Tyne bridge, through Sandhill to the Side, a narrow street which climbed steeply on the north-east side of the castle hill until it reached the higher ground alongside St Nicholas' Church. As Newcastle developed, the Side became lined with buildings with projecting upper stories, so that the main street through Newcastle was a narrow, congested, steep thoroughfare.
In 1701 the Keelmen's Hospital was built in the Sandgate area of the city, using funds provided by the keelmen. The building still stands today.
Eighteenth century
In the 18th century, Newcastle was the country's largest print centre after London, Oxford and Cambridge, and the Literary and Philosophical Society of 1793, with its erudite debates and large stock of books in several languages predated the London Library by half a century.
In 1715, during the Jacobite rising in favour of the Old Pretender, an army of Jacobite supporters marched on Newcastle. Many of the Northumbrian gentry joined the rebels. The citizens prepared for its arrival by arresting Jacobite supporters and accepting 700 extra recruits into the local militia. The gates of the city were closed against the rebels. This proved enough to delay an attack until reinforcements arrived forcing the rebel army to move across to the west coast. The rebels finally surrendered at Preston.
In 1745, during a second Jacobite rising in favour of the Young Pretender, a Scottish army crossed the border led by Bonnie Prince Charlie. Once again Newcastle prepared by arresting Jacobite supporters and inducting 800 volunteers into the local militia. The town walls were strengthened, most of the gates were blocked up and some 200 cannon were deployed. 20,000 regulars were billeted on the Town Moor. These preparations were enough to force the rebel army to travel south via the west coast. They were eventually defeated at Culloden in 1746.
Newcastle's actions during the 1715 rising in resisting the rebels and declaring for George I, in contrast to the rest of the region, is the most likely source of the nickname 'Geordie', applied to people from Tyneside, or more accurately Newcastle. Another theory, however, is that the name 'Geordie' came from the inventor of the Geordie lamp, George Stephenson. It was a type of safety lamp used in mining, but was not invented until 1815. Apparently the term 'German Geordie' was in common use during the 18th century.
The city's first hospital, Newcastle Infirmary opened in 1753; it was funded by public subscription. A lying-in hospital was established in Newcastle in 1760. The city's first public hospital for mentally ill patients, Wardens Close Lunatic Hospital was opened in October 1767.
In 1771 a flood swept away much of the bridge at Newcastle. The bridge had been built in 1250 and repaired after a flood in 1339. The bridge supported various houses and three towers and an old chapel. A blue stone was placed in the middle of the bridge to mark the boundary between Newcastle and the Palatinate of Durham. A temporary wooden bridge had to be built, and this remained in use until 1781, when a new stone bridge was completed. The new bridge consisted of nine arches. In 1801, because of the pressure of traffic, the bridge had to be widened.
A permanent military presence was established in the city with the completion of Fenham Barracks in 1806. The facilities at the Castle for holding assizes, which had been condemned for their inconvenience and unhealthiness, were replaced when the Moot Hall opened in August 1812.
Victorian period
Present-day Newcastle owes much of its architecture to the work of the builder Richard Grainger, aided by architects John Dobson, Thomas Oliver, John and Benjamin Green and others. In 1834 Grainger won a competition to produce a new plan for central Newcastle. He put this plan into effect using the above architects as well as architects employed in his own office. Grainger and Oliver had already built Leazes Terrace, Leazes Crescent and Leazes Place between 1829 and 1834. Grainger and Dobson had also built the Royal Arcade at the foot of Pilgrim Street between 1830 and 1832. The most ambitious project covered 12 acres 12 acres (49,000 m2) in central Newcastle, on the site of Newe House (also called Anderson Place). Grainger built three new thoroughfares, Grey Street, Grainger Street and Clayton Street with many connecting streets, as well as the Central Exchange and the Grainger Market. John Wardle and George Walker, working in Grainger's office, designed Clayton Street, Grainger Street and most of Grey Street. Dobson designed the Grainger Market and much of the east side of Grey Street. John and Benjamin Green designed the Theatre Royal at the top of Grey Street, where Grainger placed the column of Grey's Monument as a focus for the whole scheme. Grey Street is considered to be one of the finest streets in the country, with its elegant curve. Unfortunately most of old Eldon Square was demolished in the 1960s in the name of progress. The Royal Arcade met a similar fate.
In 1849 a new bridge was built across the river at Newcastle. This was the High Level Bridge, designed by Robert Stephenson, and slightly up river from the existing bridge. The bridge was designed to carry road and rail traffic across the Tyne Gorge on two decks with rail traffic on the upper deck and road traffic on the lower. The new bridge meant that traffic could pass through Newcastle without having to negotiate the steep, narrow Side, as had been necessary for centuries. The bridge was opened by Queen Victoria, who one year later opened the new Central Station, designed by John Dobson. Trains were now able to cross the river, directly into the centre of Newcastle and carry on up to Scotland. The Army Riding School was also completed in 1849.
In 1854 a large fire started on the Gateshead quayside and an explosion caused it to spread across the river to the Newcastle quayside. A huge conflagration amongst the narrow alleys, or 'chares', destroyed the homes of 800 families as well as many business premises. The narrow alleys that had been destroyed were replaced by streets containing blocks of modern offices.
In 1863 the Town Hall in St Nicholas Square replaced the Guildhall as the meeting place of Newcastle Town Council.
In 1876 the low level bridge was replaced by a new bridge known as the Swing Bridge, so called because the bridge was able to swing horizontally on a central axis and allow ships to pass on either side. This meant that for the first time sizeable ships could pass up-river beyond Newcastle. The bridge was built and paid for by William Armstrong, a local arms manufacturer, who needed to have warships access his Elswick arms factory to fit armaments to them. The Swing Bridge's rotating mechanism is adapted from the cannon mounts developed in Armstrong's arms works. In 1882 the Elswick works began to build ships as well as to arm them. The Barrack Road drill hall was completed in 1890.
Industrialisation
In the 19th century, shipbuilding and heavy engineering were central to the city's prosperity; and the city was a powerhouse of the Industrial Revolution. Newcastle's development as a major city owed most to its central role in the production and export of coal. The phrase "taking coals to Newcastle" was first recorded in 1538; it proverbially denotes bringing a particular commodity to a place that has more than enough of it already.
Innovation in Newcastle and surrounding areas included the following:
George Stephenson developed a miner's safety lamp at the same time that Humphry Davy developed a rival design. The lamp made possible the opening up of ever deeper mines to provide the coal that powered the industrial revolution.
George and his son Robert Stephenson were hugely influential figures in the development of the early railways. George developed Blücher, a locomotive working at Killingworth colliery in 1814, whilst Robert was instrumental in the design of Rocket, a revolutionary design that was the forerunner of modern locomotives. Both men were involved in planning and building railway lines, all over this country and abroad.
Joseph Swan demonstrated a working electric light bulb about a year before Thomas Edison did the same in the USA. This led to a dispute as to who had actually invented the light bulb. Eventually the two rivals agreed to form a mutual company between them, the Edison and Swan Electric Light Company, known as Ediswan.
Charles Algernon Parsons invented the steam turbine, for marine use and for power generation. He used Turbinia, a small, turbine-powered ship, to demonstrate the speed that a steam turbine could generate. Turbinia literally ran rings around the British Fleet at a review at Spithead in 1897.
William Armstrong invented a hydraulic crane that was installed in dockyards up and down the country. He then began to design light, accurate field guns for the British army. These were a vast improvement on the existing guns that were then in use.
The following major industries developed in Newcastle or its surrounding area:
Glassmaking
A small glass industry existed in Newcastle from the mid-15th century. In 1615 restrictions were put on the use of wood for manufacturing glass. It was found that glass could be manufactured using the local coal, and so a glassmaking industry grew up on Tyneside. Huguenot glassmakers came over from France as refugees from persecution and set up glasshouses in the Skinnerburn area of Newcastle. Eventually, glass production moved to the Ouseburn area of Newcastle. In 1684 the Dagnia family, Sephardic Jewish emigrants from Altare, arrived in Newcastle from Stourbridge and established glasshouses along the Close, to manufacture high quality flint glass. The glass manufacturers used sand ballast from the boats arriving in the river as the main raw material. The glassware was then exported in collier brigs. The period from 1730 to 1785 was the highpoint of Newcastle glass manufacture, when the local glassmakers produced the 'Newcastle Light Baluster'. The glassmaking industry still exists in the west end of the city with local Artist and Glassmaker Jane Charles carrying on over four hundred years of hot glass blowing in Newcastle upon Tyne.
Locomotive manufacture
In 1823 George Stephenson and his son Robert established the world's first locomotive factory near Forth Street in Newcastle. Here they built locomotives for the Stockton and Darlington Railway and the Liverpool and Manchester Railway, as well as many others. It was here that the famous locomotive Rocket was designed and manufactured in preparation for the Rainhill Trials. Apart from building locomotives for the British market, the Newcastle works also produced locomotives for Europe and America. The Forth Street works continued to build locomotives until 1960.
Shipbuilding
In 1296 a wooden, 135 ft (41 m) long galley was constructed at the mouth of the Lort Burn in Newcastle, as part of a twenty-ship order from the king. The ship cost £205, and is the earliest record of shipbuilding in Newcastle. However the rise of the Tyne as a shipbuilding area was due to the need for collier brigs for the coal export trade. These wooden sailing ships were usually built locally, establishing local expertise in building ships. As ships changed from wood to steel, and from sail to steam, the local shipbuilding industry changed to build the new ships. Although shipbuilding was carried out up and down both sides of the river, the two main areas for building ships in Newcastle were Elswick, to the west, and Walker, to the east. By 1800 Tyneside was the third largest producer of ships in Britain. Unfortunately, after the Second World War, lack of modernisation and competition from abroad gradually caused the local industry to decline and die.
Armaments
In 1847 William Armstrong established a huge factory in Elswick, west of Newcastle. This was initially used to produce hydraulic cranes but subsequently began also to produce guns for both the army and the navy. After the Swing Bridge was built in 1876 allowing ships to pass up river, warships could have their armaments fitted alongside the Elswick works. Armstrong's company took over its industrial rival, Joseph Whitworth of Manchester in 1897.
Steam turbines
Charles Algernon Parsons invented the steam turbine and, in 1889, founded his own company C. A. Parsons and Company in Heaton, Newcastle to make steam turbines. Shortly after this, he realised that steam turbines could be used to propel ships and, in 1897, he founded a second company, Parsons Marine Steam Turbine Company in Wallsend. It is there that he designed and manufactured Turbinia. Parsons turbines were initially used in warships but soon came to be used in merchant and passenger vessels, including the liner Mauretania which held the blue riband for the Atlantic crossing until 1929. Parsons' company in Heaton began to make turbo-generators for power stations and supplied power stations all over the world. The Heaton works, reduced in size, remains as part of the Siemens AG industrial giant.
Pottery
In 1762 the Maling pottery was founded in Sunderland by French Huguenots, but transferred to Newcastle in 1817. A factory was built in the Ouseburn area of the city. The factory was rebuilt twice, finally occupying a 14-acre (57,000 m2) site that was claimed to be the biggest pottery in the world and which had its own railway station. The pottery pioneered use of machines in making potteries as opposed to hand production. In the 1890s the company went up-market and employed in-house designers. The period up to the Second World War was the most profitable with a constant stream of new designs being introduced. However, after the war, production gradually declined and the company closed in 1963.
Expansion of the city
Newcastle was one of the boroughs reformed by the Municipal Corporations Act 1835: the reformed municipal borough included the parishes of Byker, Elswick, Heaton, Jesmond, Newcastle All Saints, Newcastle St Andrew, Newcastle St John, Newcastle St Nicholas, and Westgate. The urban districts of Benwell and Fenham and Walker were added in 1904. In 1935, Newcastle gained Kenton and parts of the parishes of West Brunton, East Denton, Fawdon, Longbenton. The most recent expansion in Newcastle's boundaries took place under the Local Government Act 1972 on 1 April 1974, when Newcastle became a metropolitan borough, also including the urban districts of Gosforth and Newburn, and the parishes of Brunswick, Dinnington, Hazlerigg, North Gosforth and Woolsington from the Castle Ward Rural District, and the village of Westerhope.
Meanwhile Northumberland County Council was formed under the Local Government Act 1888 and benefited from a dedicated meeting place when County Hall was completed in the Castle Garth area of Newcastle in 1910. Following the Local Government Act 1972 County Hall relocated to Morpeth in April 1981.
Twentieth century
In 1925 work began on a new high-level road bridge to span the Tyne Gorge between Newcastle and Gateshead. The capacity of the existing High-Level Bridge and Swing Bridge were being strained to the limit, and an additional bridge had been discussed for a long time. The contract was awarded to the Dorman Long Company and the bridge was finally opened by King George V in 1928. The road deck was 84 feet (26 m) above the river and was supported by a 531 feet (162 m) steel arch. The new Tyne Bridge quickly became a symbol for Newcastle and Tyneside, and remains so today.
During the Second World War, Newcastle was largely spared the horrors inflicted upon other British cities bombed during the Blitz. Although the armaments factories and shipyards along the River Tyne were targeted by the Luftwaffe, they largely escaped unscathed. Manors goods yard and railway terminal, to the east of the city centre, and the suburbs of Jesmond and Heaton suffered bombing during 1941. There were 141 deaths and 587 injuries, a relatively small figure compared to the casualties in other industrial centres of Britain.
In 1963 the city gained its own university, the University of Newcastle upon Tyne, by act of parliament. A School of Medicine and Surgery had been established in Newcastle in 1834. This eventually developed into a college of medicine attached to Durham University. A college of physical science was also founded and became Armstrong College in 1904. In 1934 the two colleges merged to become King's College, Durham. This remained as part of Durham University until the new university was created in 1963. In 1992 the city gained its second university when Newcastle Polytechnic was granted university status as Northumbria University.
Newcastle City Council moved to the new Newcastle Civic Centre in 1968.
As heavy industries declined in the second half of the 20th century, large sections of the city centre were demolished along with many areas of slum housing. The leading political figure in the city during the 1960s was T. Dan Smith who oversaw a massive building programme of highrise housing estates and authorised the demolition of a quarter of the Georgian Grainger Town to make way for Eldon Square Shopping Centre. Smith's control in Newcastle collapsed when it was exposed that he had used public contracts to advantage himself and his business associates and for a time Newcastle became a byword for civic corruption as depicted in the films Get Carter and Stormy Monday and in the television series Our Friends in the North. However, much of the historic Grainger Town area survived and was, for the most part, fully restored in the late 1990s. Northumberland Street, initially the A1, was gradually closed to traffic from the 1970s and completely pedestrianised by 1998.
In 1978 a new rapid transport system, the Metro, was built, linking the Tyneside area. The system opened in August 1980. A new bridge was built to carry the Metro across the river between Gateshead and Newcastle. This was the Queen Elizabeth II Bridge, commonly known as the Metro Bridge. Eventually the Metro system was extended to reach Newcastle Airport in 1991, and in 2002 the Metro system was extended to the nearby city of Sunderland.
As the 20th century progressed, trade on the Newcastle and Gateshead quaysides gradually declined, until by the 1980s both sides of the river were looking rather derelict. Shipping company offices had closed along with offices of firms related to shipping. There were also derelict warehouses lining the riverbank. Local government produced a master plan to re-develop the Newcastle quayside and this was begun in the 1990s. New offices, restaurants, bars and residential accommodation were built and the area has changed in the space of a few years into a vibrant area, partially returning the focus of Newcastle to the riverside, where it was in medieval times.
The Gateshead Millennium Bridge, a foot and cycle bridge, 26 feet (7.9 m) wide and 413 feet (126 m) long, was completed in 2001. The road deck is in the form of a curve and is supported by a steel arch. To allow ships to pass, the whole structure, both arch and road-deck, rotates on huge bearings at either end so that the road deck is lifted. The bridge can be said to open and shut like a human eye. It is an important addition to the re-developed quayside area, providing a vital link between the Newcastle and Gateshead quaysides.
Recent developments
Today the city is a vibrant centre for office and retail employment, but just a short distance away there are impoverished inner-city housing estates, in areas originally built to provide affordable housing for employees of the shipyards and other heavy industries that lined the River Tyne. In the 2010s Newcastle City Council began implementing plans to regenerate these depressed areas, such as those along the Ouseburn Valley.
Cicero, Marcus Tullius: De officiis. [Mainz]: Johann Fust and Peter Schoeffer, 1465. Close up of opening page of text ([1r]) showing detail of six-line initial “Q” supplied in red and blue within which is the ownership inscription and motto of Johan Radermacher, the Elder (1538-1617), merchant and humanist: “In manibus Dominj sortes meae [monogram] 8 cal. Dec. 1579.”. Sp Coll Hunterian Bg.2.23.
Ferrari Ownership Requirements 12/7/2020
To own a Ferrari would fulfill the fantasy of many car enthusiasts. The famous Italian automaker excels in delivering luxury sports cars that bear a signature and unique exterior without sacrificing performance. This is only half of what makes the cars special though.
Ferrari's culture separates the company from other automakers in huge ways, affecting both its owners and the workers behind these miraculous machines. Although the company is one of the most valuable, it cares about something more than just earning money: it’s about making special cars that offer a driving experience unlike any other. When examining the company and its owners, it’s clear they’ve achieved this milestone, even after all these years.
Owners have to go to great lengths if they want the latest and greatest cars Ferrari churns out. Employees have to follow rules and regulations if they want to uphold the most important thing to Ferrari—which is not about making cars, but the brand itself. Whether one is a Ferrari owner or an employee that works at their factory plant, everyone has to follow the "Ferrari code."
It’s because of these rules that the brand is exclusive and widely coveted among car gurus today. If someone wants to own a Ferrari, they’re going to have to play by the company’s rules. The same goes for employees if they want to work at, what Autoblog notes, a company that won the award for Best Place to Work in Europe for 2007. We’re going to take a look at known rules both owners and employees have to follow if they want to remain in the good graces of Ferrari.
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20 - Owner Rule: Forced To Sign Contract Agreeing Not To Sell Car
People today become bombarded with agreements written in fine print. Most people don’t have the time or patience to read all that agreements detail though and decide to sign on the line regardless. According to Autoweek, Ferrari in the US makes their customers sign a contract upon purchasing a new vehicle.
In that agreement is a clause that prevents owners from reselling their car in the first year. The automaker makes buyers sign this in an attempt to discourage owners from flipping their cars. This is both a reminder to read the fine print and further demonstrates the automaker’s stringent protocol placed upon new owners.
19 - Employee Rule: Forbidden From Buying New Cars
Last September, Ferrari unveiled a pair of Roadsters long-time employees can appreciate. Even if the employees want the cars though and can afford them—tough luck. The Drive reports that the company makes their vehicles first and foremost available to the public.
One of Ferrari’s executives, Enrico Galliera, had this to say about employees getting second dibs on new cars: “The philosophy is that with such limited production and clients waiting so long to get their car, it's not nice if the car is delivered to employees.” The only exception to this rule are Scuderia Ferrari F1 drivers who can buy one from the company.
18 - Owner Rule: Leave The Logos Alone
Ferrari believes that as soon as their car rolls off the production line, it's perfect as is. There’s no shortage of Ferrari owners who feel differently though; here’s photographic proof of owners who took their Ferrari rides for granted. If Ferrari had it their way, they’d opt for owners to leave their iconic logos untouched.
According to Tech Dirt, the electronic DJ and artist Deadmau5 got in trouble for covering up his Ferrari logos with custom ones. His 458 Italia “Purrari” sports a blue vinyl wrap that has a Nyan cat painted on the side. It’s a move Ferrari supposedly issued a cease and desist order over.
17 - Employee Rule: Communicate On Their Terms
Ferrari has gone to extremes to sell cars before by tampering with some odometers on used cars, so it’s only natural they’d apply radical policies in the workplace as well. It appears that too many employees were reaching for the keyboard on too many occasions instead of opting for old fashioned face-to-face communication.
According to The Guardian, the executives at Ferrari advised their employees to “talk to each other more and write less.” Since it should be pretty easy for supervisors to monitor their employees’ computer activity, it's safe to assume workers adhere to this directive in order to stick around.
16 - Owner Rule: No Pink Ferraris
Ferrari isn’t fond of pink Ferraris. That’s what Executive Lifestyle reports, despite the company tolerating some customer paint jobs. The disapproval of pink came directly from Herbert Appleroth, the President and CEO of Ferrari Australia. “We do reject the exterior color pink,” Appleroth said, as per the same source.
He went on to say that Ferrari would never produce a pink car. Without a doubt, red is the most iconic color they wrap their cars in. At the same time, the company promotes the idea that no two Ferrari rides should be identical, they just wouldn't go so far as to stand out with a pink paint job.
15 - Employee Rule: No Discounts On Cars
Working for certain companies has its perks. For one, it allows employees to buy products made and sold by that company at a discounted rate. This luxury, however, is too generous to bestow upon Ferrari employees.
According to The Drive, should Scuderia Ferrari F1 drivers choose to purchase a personal Ferrari, they're required to pay full price for it. That puts them in an awkward position, considering it’d be hard to spot team members driving in anything else but a Ferrari; in a way, it forces their employees to invest back into the company without a price concession if they want to properly represent the brand.
14 - Owner Rule: Accept Ferrari’s Right To Buy Back Car
In an earlier entry, we noted that Ferrari in the US has made buyers sign a special contract. While that contract discouraged owners from selling their new Ferrari, it also adds another stipulation: the automaker can buy the vehicle back.
According to the site Car Keys, if someone wanted to get rid of their LaFerrari Aperta, it’s pursuant for Ferrari to purchase the vehicle back from the owner. It would appear that on the surface, Ferrari would rather the car go to someone who wants it instead of someone who doesn't. This is all part of that special contract owners may sign at the time of their purchase.
13 - Employee Rule: Sworn To Prevent Security Leaks
Whether someone is an actor in an upcoming Avengers movie or an employee at Apple, the bigwigs in charge want to keep details under lock and key—that includes any plot spoilers and future product releases. Ferrari is a similar company that’s always making new vehicles while wishing to work in secrecy.
To maintain a level of mystery, the whole operation depends on trustworthy employees. According to Kaspersky Lab Daily, something as simple as copying data to a USB drive has to go through an approval process. This in turn discourages employees from going routes that may lead to a security breach and exercises a higher level of caution.
12 - Owner Rule: Must Love The Ferrari Brand
The world is full of sides, clubs and camps. Those who are outside of them get picked on unless they join a team, while those inside a base pledge undying loyalty. Ferrari is no different. It’s more than just an automaker—it’s a special culture with its own philosophy, style and following.
As the site Car Guy points out, the company sifts through applicants and chooses who gets to buy certain models because they want to make sure their cars are properly taken care of. It’s a sure bet they’re going to pick someone who’s not just a Ferrari fan, but also lives and bleeds the brand.
11 - Employee Rule: Prohibited From Sending Certain Group Emails
Expanding further on an earlier point, Ferrari went to great lengths to crack down on employees emailing more instead of talking to each other. As a means to curb digital communication so that employees would talk to each other directly, they added terms to sending emails.
As per The Guardian, a spokesman for Ferrari said, “From now on, each Ferrari employee will only be able to send the same email to three people in-house.” This must have been a wake up call for employees at the time and discouraged them from falling into old habits of CCing everyone in the whole company on a single thread.
10 - Owner Rule: Buy Not One, Not Two, But Multiple Ferraris
Owning a Ferrari isn’t exactly enough to be a part of the club. As the site Car Guypoints out, it’s more suitable to own several Ferrari cars before one feels part of the bunch. That narrows down the list of potential owners to only a handful around the world with how much they cost.
Even older models are going up in value, as the 1964 Ferrari Prototype demonstrates. The same source points out that the most committed owners, at minimum, are the ones who upgrade their old Ferrari to a newer model. It’s not enough to purchase a one-off Ferrari and call it a day if someone wants to be a true fan.
9 - Employee Rule: Required To Wear Red And White Uniforms
An amusement park can make its employees wear costumes that match the park’s theme; a restaurant may have its employees wear a vest and bow tie; an office requires business casual attire. Ferrari is like most jobs, requiring its employees adhere to a dress code.
According to Freep, those on the manufacturing campus must wear red and white uniforms. They have the company’s iconic yellow logo stitched on, which unites all the employees under the same banner and purpose. There are plenty of people around the world who would love to wear these uniforms, but only a select number ever get to suit up in one.
8 - Owner Rule: Be Older Than 40
Despite Ferrari being one of the most famous car brands today, many people aren’t aware of its history or the automaker's philosophy. There are so many facts about the legendary automaker, we dedicated a whole piece to things most people don't know about Ferrari.
It’s not unusual for potential owners to go through a rigorous process that feels commensurate to a background check. According to the site Car Keys, automaker won’t hesitate to request a customer’s history of ownership for review. Even more, the same source suggests that Ferrari dealers are more likely to sell a car to a new owner who’s over the age of 40.
7 - Employee Rule: Formula 1 Team Must Win
When Scuderia Ferrari struggles, it affects the whole company. The site News.com.au reports that despite being the "most iconic team” in Formula 1 racing, Ferrari was unable to secure a Grand Prix win in 2016. The team only has one remedy when this happens: winning.
As F1-Fansite points out, they were able to bounce back in early 2017, with Vettel winning the first race and securing 5 race wins. The Formula 1 team not only represents the automaker but carries the pride of the entire brand. It’s important that they do well in order for the brand to continue thriving.
6 - Owner Rule: Treat Fellow Ferrari Owners Like Family
Buying a car from certain automakers, such as Tesla, Porsche or Ferrari, feels like joining a family. When someone purchases a Ferrari, they enter into a brotherhood and sisterhood alongside fellow owners. As the site the Car Guy notes, entering into the Ferrari fraternity means that owners help each other when the need arises.
This is one of those unspoken rules the automaker hopes and expects its customers will follow. Even outsiders who don’t own one may find it easy to support someone who does as an expression of their admiration towards the brand. Ferrari owners got to stick together.
5 - Employee Rule: Must Adopt The “Formula Uomo” Philosophy
The company not only cares about its customers, but its employees too. They recognize that these are the people that make it all possible. Autoblog reports that Ferrari launched a project called “Formula Uomo” in the 1990s which lays down many of the tenants employees live and breathe by.
The same source notes that this philosophy deals with the working conditions, one’s professional growth and personal benefits. Each individual is important and must embody these principles in order for the whole enterprise to work properly. As a Ferrari employee, “Formula Uomo” lays the groundwork for one’s success while working there.
4 - Owner Rule: Must Have Fame, Fortune And More
To own some of the world’s best supercars, all it takes is a lot of dough. If that wasn’t enough though, Ferrari raises the bar on what they expect from their owners. Part of what makes their cars so exclusive are the limited number they make. Take the LaFerrari for example, which Wired reports only 499 exist.
In order for their cars to get attention, they have to give them to owners who can not only afford them but put them in the spotlight. The same source notes that even high-profile buyers who applied for the vehicle weren't able to land one.
3 - Employee Rule: “Clients First”
Ferrari cares about its customers. The company doesn’t treat its clientele as a dollar sign—although they do get a lot of money for the cars they deliver—but instead seeks to make a bond with its owners. The company is like a father who’s entrusted his child with the keys to the treasured car.
They want to know their cars are in good hands, which is possible through respect. That’s why they make clients a priority. The Drive reports that Enrico Galliera, a Ferrari executive said, “It is clients first.” Behind those words is a whole company of employees who live by this aim.
2 - Owner Rule: Respect Ferrari’s Way Of Doing Things
No one likes obeying rules. If there’s a realm with enough rules as it is, it’s driving on the road. The last thing people want is more rules they have to follow as a car owner. Under the Ferrari umbrella though, there are lots of expectations one has to follow as an owner.
That means going with their unique way of doing things. The site Car Keys reports that the automaker’s politics, including their selection process for who they deem is eligible to purchase limited edition cars, is one such rule owners have to follow. It may not be easy to accept, but it’s part of playing the game.
1 - Employee Rule: Protect The Brand At All Times
Ferrari has managed to be an independent automaker over the years while still making loads of money. Part of what makes them so successful is the brand’s reputation, which is about making flawless cars that perform well.
One of the executives, Stefano Lai, as per Freep said, “My job ... is to protect the brand as much as possible.” This is a principal that trickles down to employees, affecting their conduct and the image they project in and out of the workplace. Many employees likely have the Ferrari logo on them throughout the day, making them an extension of the company wherever they go. That means they have to watch what they say and do since they represent the company’s image.
Sources: Autoblog , Tech Dirt , Wired , Executive Lifestyle , Car Guy , Car Keys , Autoweek , The Drive , Freep , The Guardian , Kaspersky Lab Daily , News.com.au , F1-Fansite.
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Class War election candidate Adam Clifford canvases in Soho London 11.04.2015
Cross-dressing Class War election candidate for the City of London & Westminster Adam Clifford held a colourful political canvassing parade through the streets of Soho, loudly and humourously condemning the gentrification of Soho which, he claims, is rapidly erasing the proud counter-cultural history of the area with pop-up boutiques, endless hipster cake shops and ownership by faceless foreign corporations. Working class residents, sex workers and many independent traders in Soho are being forced out of the area by evictions and rising rents as landlords and property developers clamour to increase their wealth at the expense of the poor who are being dislocated and purged from London's most vibrant district.
All photos © 2015 Pete Riches
Do not reproduce, alter, re-transmit or blog my images without my written permission. I remain at all times the copyright owner of this image.
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Civilian ownership of the Five SeveN has been controversial, to say the least. One version of the 5.7x28mm ammunition, the SS190, is claimed to have the ability to penetrate soft body armor. This ammo is tightly controlled and is virtually unavailable to the public. The civilian SS192 and 195 are hollow points, the SS196 and 197 are loaded with plastic tipped projectiles. NONE of these are armor piercing. Some people think that the SS192 has been banned because it's armor piercing, but this is totally untrue. The 192 and 195 are identical, except the 195 has a lead-free primer to comply with European RoHS (Restriction on Hazardous Substances) standards. The SS192 was discontinued simply because there was no market for it, though old stock can be found here and there. Scalpers have been selling it online to unsuspecting customers for $100 a box or more. Boxes of SS195 are usually labeled as SS195LF, with the LF standing for "lead free."
Class War election candidate Adam Clifford canvases in Soho London 11.04.2015
Cross-dressing Class War election candidate for the City of London & Westminster Adam Clifford held a colourful political canvassing parade through the streets of Soho, loudly and humourously condemning the gentrification of Soho which, he claims, is rapidly erasing the proud counter-cultural history of the area with pop-up boutiques, endless hipster cake shops and ownership by faceless foreign corporations. Working class residents, sex workers and many independent traders in Soho are being forced out of the area by evictions and rising rents as landlords and property developers clamour to increase their wealth at the expense of the poor who are being dislocated and purged from London's most vibrant district.
All photos © 2015 Pete Riches
Do not reproduce, alter, re-transmit or blog my images without my written permission. I remain at all times the copyright owner of this image.
Hi-Res, un-watermarked versions of these files are available on application solely at my discretion
If you want to license an image, please Email me directly.
Standard industry rates apply.
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I just came into ownership of this, my first ever Rolleiflex- A Black Baby rolleiflex 4X4 and would appreciate any info on it. I have scoured the internet but was left in confusion between two models (after checking serial numbers at www.rolleiclub.com ).
125.000* - 145.000*
Rolleiflex 4x4 3,5 model 1 - Prochnow
Baby 4x4 1931 Rolleiflex - Parker
3.5 Original Baby - Evans
127.000- 523.000
Rolleiflex 4x4 3,5 model 2 - Prochnow
Baby 4x4 1934 Rolleiflex - Parker
Black Baby (type 1 - Evans
The serial number is 1456**
- and the last two digits are missing but at closer inspection they look like 17 (possibly)..
so maybe serial is No. 145617.
Viewing lens reads - Heidoskop-Anastigmat 1: 2,8 f- 6 cm
Viewing lens Number - 132752
Focus lens reads - Tessar 1: 3,5 f= 6 cm
Focus lens number - Carl Zeiss Jena Nr. 1327345
Number under shutter release - 2392959
It was sold to me as an-
"Original Baby Rolleiflex 4 x 4 Model 4RF 411"
Early 1930s. Complete with original case-
Camera fully functioning but could do with an overhaul. Paintwork a bit battered & view finder magnifier (small magnifying glass) missing.
Has red window on the back.
But then I saw this one -http://www.Pacificrimcamera.com/pp/rollei/pr ebaby.htm which is different to my own so I'm just more confused than ever
Did I buy the right camera as advertised or did I buy a dud?
I would really appreciate any info in identifying the correct model and year and of-course if it has any real monetary value. I bought it to use it but if it is a rare model then I think I'll just baby it (excuse the pun) and only take out for exercise on occasion. :)
Thanks in advance to anyone who took the time to read all that and bother posting back. :)
P.S- I will take some photos soon and post them back up here in case the information I gave isn't enough. :)