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I have permission to publish this photo which was taken by Tess Zagorski in Melbourne, Australia at Rod Laver Arena on 29 Oct 2009
Move cursor into the photo,now RIGHT click; now select ORIGINAL; you will need to use the horizontal & vertical scroll bars to see the entire HIGH RESOLUTION photo
You will be able to count Cord's nose hairs, if you are into that sort of thing
I am told that Cord is a voracious reader & can intelligently discuss most any subject you bring up.
MUSICOGRAPHY Here is a list of all the DVD's Cord appears in, with the most recent on top....
Maastricht V aka Under the Stars
Home For Christmas
And The Waltz Goes On
Fiesta Mexicana aka The World of André Rieu
Roses From The South
Maastricht 4 aka A Midsummer night's Dream
My African Dream
Live in Australia
I lost my heart in Heidelberg
#19 Blue Danube - Violin, Cord & Agnes both stand, turn to look at each other, & flirt while playing.
Live in Sydney 2009
#18 Blue Danube - 01:32:15 Agnes & Cord stand up & play their violins while looking at & flirting with each other
Live in Maastricht 3
Live in Australia
Live in Maastricht 2
Live in Dresden aka Semperoper aka Dancing Through the Skies aka Ich tanze mit dir in den Himmel hinein aka Wedding at the Opera
#6 Cord gets his ear cut off by Figaro (He is the perfect stooge & is long overdue to have the spotlight shined on him. Everyone will always know & remember Cord, as the guy that got his ear cut off.)
#19 Adieu mein kleinner Gardeoffizier - several close ups show Cord to be a happy, happy guy.
André Rieu Live in Maastricht II DVD
Wonderland aka Eftling
Live in Vienna
André Rieu on his way to New York DVD
Romance DVD
New York Memories aka Live in New York aka Live At Radio City Music Hall
Live inVienna
Schönbrunn
Songs From My Heart aka Live in Maastricht
Christmas Around the World DVD
New Years Eve in Vienna aka Silvester in Wien
#14 Chianti Lied - Karlien & Cord look at each other & flirt while playing
New Years Eve Punsch aka Silvester Punsch
Flying Dutchman DVD
Christmas with André DVD
=============================================
Romantic Paradise aka Tuscany
Same sound track, different Album covers/photos
===============================================
Live in Dublin DVD
#19 Chianti Song - Blows a cross eyed kiss to everyone. Never seen before, or since.
100 Years of Strauss
Dreaming DVD
Gala Concert
Walzertraum(PAL only) DVD
Royal Albert Hall
La vie est belle DVD
Here is a link to a Review of Live in Dresden DVD, which includes photos & details on Cord.
andrerieufan.com/2009/11/13/do-not-publish.aspx
If you have any uncompressed, high resolution photos of Andre or any JSO member & would like to share them with us, please add them as an attachment to email:
southpawbc-photosATyahoo.com...substitute the @ sign for the letters AT
Three of my photos are in the Alaska Pocket Wildlife Guide available at ultimaterivers.com. Nice guide with viewing tips and locations for Alaska's birds and mammals.
No need for comments...
My stocklist
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Il 6 aprile 2016 gli Scott Bradlee’s Postmodern Jukebox, la rivelazione swing americana già fenomeno di Youtube grazie alla cover di Miley Cyrus “We can’t stop”, saranno in concerto in Italia all’Alcatraz di Milano, per l’unica tappa italiana del tour.
Un fenomeno ormai mondiale, con 200 Milioni di visualizzazioni su Youtube e 1 Milione di iscritti al canale.
Un tour che parte nel 2015 dagli Stati Uniti passando per l’Asia ed approdando in Europa nel 2016 con oltre 80 date confermate. Immaginate canzoni di Beyoncé, Britney Spears or Taylor Swift riportate indietro di 70-80 anni…
Gli Scott Bradlee’s Postmodern Jukebox (o PMJ, come ormai vengono chiamati in tutto il mondo) sono una mini-big band swing a tutti gli effetti, ma con qualcosa in più: uniscono il perfetto stile “d’epoca” ai brani moderni di Beyoncé, Britney Spears, White Stripes o Taylor Swift rielaborandoli come se fossero arrangiati per Louis Armstrong, Ella Fitzgerald, Judy Garland o Nina Simone. I PMJ colmano il divario tra le generazioni, suonando melodie a tutti familiari con arrangiamenti che intrigano tutte le età.
Published by La Selva, Brazil 1950
A friends of mine collection, but I wanted you to have a chance to view these important editions.
Nazi, Neo-Pagan 'Christmas', Picture reproduced in: 'The Persecution of the Catholic Church in the Third Reich' published in 1940 by Burns Oates
The Swastika replaces the star on top of the Christmas tree.
en.wikipedia.org/wiki/Nazi_persecution_of_the_Catholic_Ch...
Lying, atheist propaganda about Christians being in league with the Nazis - and that the Pope and Catholic Church were complicit in the persecution and of Jews has been propagated and spread by militant, atheist fanatics and other anti-Christian bigots since the end of the 2nd world war.
The truth ...
Hitler and the Nazis were pagan, naturalist, occultists with racial superiority and eugenics policies based on the writings of the German Darwinist, Ernst Haeckel.
They were haters of Christianity and, just like the atheists in all the brutal, communist regimes, their ultimate aim was to eliminate Christianity.
"We live in an era of the ultimate conflict with Christianity. It is part of the mission of the SS to give the German people in the next half century the non-Christian ideological foundations on which to lead and shape their lives. This task does not consist solely in overcoming an ideological opponent but must be accompanied at every step by a positive impetus: in this case that means the reconstruction of the German heritage in the widest and most comprehensive sense."
— Heinrich Himmler, 1937
Here is the real history in "Facts and Documents Translated from the German" and published at the time.
Frontispiece from 'The Persecution of the Catholic Church in the Third Reich' published in 1940 by Burns Oates
www.flickr.com/photos/truth-in-science/14425597587
"The Persecution of the Catholic Church in the Third Reich" Published in 1940 is full (565 pages) of translated copies of original Nazi documents and cartoons lambasting the Church from the 1930's - 1940.
What about quotes from Hitler's writing and speeches, frequently presented by atheists, which allegedly show that Hitler supported Christianity?
It is well known that what Hitler said and what Hitler actually did were two entirely different things. Hitler didn't want to risk antagonising Christians in Germany. So he attempted to give the impression that he was on their side, however, the actions of the Hitler's National Socialist Party proved the exact opposite, as shown in this book.
And - even if Hitler claimed to be Christian, he couldn't have been, because he directly opposed the teaching of Jesus and the Church. This means he was an heretic and therefore would be automatically excommunicated.
Anyone who knows anything about Christianity knows that simply calling oneself Christian doesn't make one Christian. An heretic cannot be a Christian.
So Hitler and the Nazis were not Christian, they totally disregarded Christian, moral teaching and the Ten Commandments.
They believed in situational ethics and moral relativism (which is the essence of the atheist, Humanist Manifesto) just as Stalin, Mao and all the atheist tyrants of the 20th century did.
So Hitler's moral and ethical values were akin to atheist morals and ethics, inasmuch as they had no definitive yardstick. The Nazis abandoned the moral and ethical values of Christianity and were left with ephemeral ethics - which are reliant only on the situation, opinion or fashion. Just like the Humanist Manifesto, with no definitive, moral yardstick or inalienable, God-given rights, there can be no moral or ethical absolutes - right can be deemed to be wrong, and wrong can be deemed to be right. It varies according to the situation or what is judged to be 'necessary'. it is a recipe for tyranny.
Hitler was not strictly an atheist in belief, but he was similar in his ethical and moral relativism.
His ideology is best described as Darwinian inspired paganism. There are documents in this book which prove the Nazis were pagans, not Christians.
There are also documents reproduced in the book which prove that the Church hierarchy did not support the Nazis, that is why so many priests etc. were arrested, imprisoned and tortured on trumped-up charges.
So we know that, as Hitler rejected the teaching of Jesus on morals, he could not possibly be a Christian, regardless of what anyone claims.
The moral values of Christianity are the Ten Commandments and the values espoused in the teaching of Jesus and His Apostles.
Anyone who rejects those values, cannot claim to either be a Christian or to be acting as a Christian. They are based on two principles of loving God and loving one's neighbour (and even enemies) as oneself.
Every Christian has to aspire to those principles. If they fail through weakness they are guilty of sin, for which they can be forgiven with sincere repentance. If they deliberately reject those moral principles they forfeit the right to call themselves Christian. So, it is not possible for a true Christian to knowingly support a tyrannical regime such as the Nazis or the Communists, which murders, tortures or persecutes innocent people. If they do, they cease to be Christians, no matter what they may claim to the contrary.
www.flickr.com/photos/truth-in-science/14425393220
It is obvious from the Nazi cartoon in the image above that the Nazis themselves certainly didn't think the Church or Pope were complicit in supporting Nazism. On the contrary, they obviously thought the Church was complicit in supporting the Jews. Which was in fact, the real truth as presented in the book below - written by a Jewish Rabbi.
'The Myth of Hitler's Pope' - How Pope Pius XII rescued Jews from the Nazis. by Jewish Rabbi David G Dalin.
www.amazon.com/gp/product/0895260344/ref=cm_cr_dpvoterdr?...
What about books, such as; 'Hitler's Pope' by the journalist John Cornwell, which claim that Pope Pius XII was complicit in the persecution and murder of Jews by keeping quiet about the crimes of the Nazis?
Cornwell's book has been completely discredited.
Catholics who attended church in Nazi Germany were left in no doubt that the Church opposed the Nazi regime well before 1940.
'The Persecution of the Catholic Church in the Third Reich' 1940 - has page after page of contemporary source material, such as translated copies of Pastoral letters, Encyclicals and Sermons issued by Bishops, Archbishops and Cardinals read in German churches at the time, including one from a combined Pastoral of Bishops, which criticise the National Socialists and point out the Nazis opposition to Catholicism and Christian civilisation.
Furthermore, Cardinal Pacelli, who became Pius XII, was one of them. And he was singled out for vilification by the Nazis in the Nazi publications of the Schwarze Corps.
So the idea that Catholics didn't know that the Church opposed Hitler and the Nazis is complete balderdash.
Catholic newspapers and publications were systematically banned or censored at the time. So Encyclicals and sermons were the only voice the Church had within Germany.
All German radio and newspapers were controlled by the Nazis. They wouldn't have publicised any public pronouncement by the Pope or any other opposition from the Catholic Church.
So the Church certainly wasn't silent - or complicit with the Nazis. And thousands of Catholics and priests were imprisoned, tortured and executed for being in league with Jews and also falsely accused of being in league with Freemasons and Communists.
The Nazis considered the Catholic Church (and other Christians) an enemy within.
And overwhelming evidence shows that the Pope was actively organising the escape of thousands of Jews from the Nazis. Vatican Radio had to keep the Pope's involvement out of the news in order not to undermine or damage the rescue effort.
The Pope was well aware that antagonising the Nazis with worldwide, public pronouncements from Vatican Radio would lead to an increased crackdown on priests and other Catholics who were working undercover to help Jews escape. It would have been completely counterproductive.
It is very significant that the Jewish Historian, Martin Gilbert, the biographer of Winston Churchill, who knew much more than Cornwell, or any other historical 'revisionists' wanted Pope Pius to be given the title Righteous among Nations.
“As one of the world’s leading experts on the Holocaust and WWII, Sir Martin was well aware of the lifesaving efforts of Pope Pius XII, most especially to save the Jews from the barbarism of the Nazi regime,” Krupp told the Register. “It was Sir Martin who encouraged me to nominate Eugenio Pacelli (Pope Pius XII) to Yad Vashem to be named ‘Righteous Among Nations.’”
"In an interview in 2007, Gilbert explained how the wartime pope’s interventions and protestations directly helped to save 4,700 Jewish lives in Rome and that 477 Jews were given refuge in the Vatican. He also documented other ways in which Pius XII rescued Jews persecuted by the Nazis."
"In an earlier interview in 2003, he hoped his research would “restore, in a way, on the foundation of historical fact, the true and wonderful achievements of Catholics in helping Jews during the war.
Pave the Way Foundation also filmed an interview with Gilbert, during which he discussed his personal research on the actions of Pope Pius XII during World War II.
He was eager to see the Holocaust museum Yad Vashem open a file on Pius to study his worthiness to be included in the institution’s “Department of the Righteous.” He also wanted to see the wartime archives opened to the public so that historians could better understand Pius’ role."
Sir Martin Gilbert estimates the Catholic Church saved up to half a million Jewish lives.
books.google.co.uk/books?id=KQvGxx1qG90C&pg=PA191&...
Of course, this is all available in the public domain, but still atheists and other anti-Christian bigots persist in ignoring the truth and continue to propagate distortions and lies. Their motivation is not historical accuracy, but militant, ideological fanaticism.
www.flickr.com/photos/truth-in-science/21486403228
Just keeping this here for as a backup and proof that at least one of >my pictures has been published.
photo published on www.dumblittleman.com/2007/10/10-smartest-ways-to-live-be...
Save your money and one day it'll return the favor.
Ah money... to spend it or to save it, that is the question.
I found this philosophical add on a phone booth a few months ago. And thought it was the perfect time to post it: before black Friday, before the craziness of the holidays, before we start working on all those wish lists, ...
This campaign is sponsored by The American Institute of Certified Public Accountants (AICPA). The bottom of the add sends you to www.feedthepig.org/, an entertaining website to entice us to save our precious dollars. It is full of interesting facts and tips but also videos, calculators, ... I recommend the click. You'll be greeted by Benjamin Bankes, the only pig I know who wears a white tuxedo so well. And of course, you can befriend Benjamin Bankes on MySpace. Of course.
__________________________
used in:
• www.pluggd.in/entrepreneurship-in-india/money-saving-tips...
• www.whereyouarenow.com/blog/2008/09/16/8-steps-to-more-mo...
• www.marketproteges.com/2008/05/this-weeks-feature-saving-...
• www.dumblittleman.com/2007/10/10-smartest-ways-to-live-be...
Published in Ladies Home Journal in 1911. Pretty house, heavily influenced by the Arts & Crafts movement, but the shutters are kind of strange for this style ... Another fun article about bad paint color is shown on Antique Home & Style.
春の風 雲を散らして 絵となりぬ
(Haru no kaze Kumo wo tirashite E to narinu)
The spring wind was blowing.
The wind blew clouds about.
As a result, it became a good picture.
It was published at Explore of 2013.3.24!
↓
Dropped :(
写真俳句(Photograph-Haiku poem )
Fine Art Ballet Photography: Nikon D810 Elliot McGucken Fine Art Ballerina Dancer Dancing Classical Ballet Seascape Landscape Photography!
Fine Art Ballet Photography: Nikon D810 Elliot McGucken Fine Art Ballerina Dancer Dancing Classical Ballet Seascape Landscape Photography!
White leotard and flowy dress!
Dancing for Dynamic Dimensions Theory dx4/dt=ic: The fourth dimension is expanding relative to the three spatial dimensions at the rate of c!
New ballet & landscape instagrams!
www.instagram.com/elliotmcgucken/
Nikon D810 Epic Fine Art Ballerina Goddess Dancing Ballet! Dr. Elliot McGucken Fine Art Ballet!
Marrying epic landscape, nature, and urban photography to ballet!
Nikon D810 with the Nikon MB-D12 Multi Battery Power Pack / Grip for D800 and D810 Digital Cameras allows one to shoot at a high to catch the action FPS! Ballerina Dance Goddess Photos! Pretty, Tall Ballet Swimsuit Bikini Model Goddess! Captured with the AF-S NIKKOR 70-200mm f/2.8G ED VR II from Nikon, and the Sigma 50mm f/1.4 DG HSM Art Lens for Nikon! Love them both!
www.facebook.com/45surfAchillesOdysseyMythology
A pretty goddess straight out of Homer's Iliad & Odyssey!
New Instagram! instagram.com/45surf
New facebook: www.facebook.com/45surfAchillesOdysseyMythology
Join my new fine art ballet facebook page! www.facebook.com/fineartballet/
The 45EPIC landscapes and goddesses are straight out of Homer's Iliad & Odyssey!
I'm currently updating a translation with the Greek names for the gods and goddesses--will publish soon! :)
"RAGE--Sing, O goddess, the anger of Achilles son of Peleus, that brought countless ills upon the Achaeans. Many a brave soul did it send hurrying down to Hades, and many a hero did it yield a prey to dogs and vultures, for so were the counsels of Zeus fulfilled from the day on which the son of Atreus, king of men, and great Achilles, first fell out with one another. " --Homer's Iliad capturing the rage of the 45EPIC landscapes and seascapes! :)
Ludwig van Beethoven: "Music/poetry/art should strike fire from the heart of man, and bring tears from the eyes of woman."
The Birth of Venus! Beautiful Golden Ratio Swimsuit Bikini Model Goddess! Helen of Troy! She was tall, thin, fit, and quite pretty!
Read all about how classical art such as The Birth of Venus inspires all my photography!
www.facebook.com/Photographing-Women-Models-Portrait-Swim...
"Photographing Women Models: Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype"
The Postcard
A postally unused postcard that was published by the B. S. Reynolds Co. of 1202, D. Street Northwest, Washington, D.C. The card was produced by C. T. American Art Colored of Chicago.
The card has a divided back. In the space for the stamp it states:
'Place One Cent
Stamp Here.'
Also printed on the back of the card is the following:
'The Printing Press.
By John W. Alexander.
Mural Painting in the
Library of Congress
in Washington, D.C.
Gutenberg, the inventor of
printing, is reading a proof
which has just come from
the press.'
The man on the right seems to have adopted a very peculiar stance - unless he is bracing his feet against a wall on the right, he is about to fall over.
The Evolution of the Book
The Evolution of the Book is a series of six murals painted circa 1896 by John W. Alexander in the Library of Congress Thomas Jefferson Building.
John White Alexander
John White Alexander was born in Allegheny, Pennsylvania on the 7th. October 1856. He was an American portrait, figure, and decorative painter and illustrator.
John White Alexander - The Early Years
John was orphaned in infancy, and was reared by his grandparents. At the age of 12, he became a telegraph boy in Pittsburgh.
Edward J. Allen became an early supporter and patron of John, adopting him while he worked at the Pacific and Atlantic Telegraph Co. as a young man.
Allen brought Alexander to the Allen home at "Edgehill" where Alexander painted various members of the Allen family, including Colonel Allen.
John moved to New York City at the age of 18 and worked in an office at Harper's Weekly, where he was an illustrator and political cartoonist at the same time that Abbey, Pennell, Pyle, and other celebrated illustrators worked there.
After an apprenticeship of three years, he traveled to Munich for his first formal training. Owing to a lack of funds, he moved to the village of Polling, Bavaria, and worked with Frank Duveneck. They traveled to Venice, where he profited by the advice of Whistler, and then he continued his studies in Florence, Italy; the Netherlands; and Paris.
John White Alexander's Career
In 1881, John returned to New York City and speedily achieved great success in portraiture, numbering among his sitters Oliver Wendell Holmes, John Burroughs, Henry G. Marquand, R.A.L. Stevenson, and president McCosh of Princeton University.
John's first exhibition in the Paris Salon of 1893 was a brilliant success, and was followed by his immediate election to the Société Nationale des Beaux Arts.
Many additional honors were bestowed on him. In 1889 he painted for Mrs. Jeremiah Milbank a well-received portrait of Walt Whitman and one of her husband.
In 1901, he was named Chevalier of the Legion of Honor, and in 1902, he became a member of the National Academy of Design, where he served as president from 1909 to 1915. He was a member of the American Academy of Arts and Letters.
Among the gold medals received by him were those of the Paris Exposition (1900) and the World's Fair in St. Louis, Missouri (1904). He served as President of the National Society of Mural Painters from 1914 to 1915.
John White Alexander's Personal Life and Death
Alexander was married to Elizabeth Alexander, to whom he was introduced in part because of their shared last name. Elizabeth was the daughter of James Waddell Alexander, President of the Equitable Life Assurance Society at the time of the Hyde Ball scandal. The Alexanders had one child, the mathematician James Waddell Alexander II.
Alexander died at the age of 58 in New York on the 31st. May 1915.
John White Alexander's Works
Many of John's paintings are in museums and public places in the United States and in Europe, including the Metropolitan Museum of Art, the Brooklyn Art Museum, the Los Angeles County Museum of Art, the Museum of Fine Arts, Boston, the Butler Institute, and the Library of Congress in Washington D.C.
In addition, in the entrance hall to the Art Museum of the Carnegie Institute in Pittsburgh, Pennsylvania, a series of Alexander's murals titled "Apotheosis of Pittsburgh" (1905–1907) covers the walls of the three-story atrium area.
Alexander's artist's proof of his portrait of Whitman, signed by the artist in April 1911, is in the Walt Whitman Collection at the University of Pennsylvania.
The Hyde Ball Scandal
James Hazen Hyde (June 6, 1876 — July 26, 1959) was the son of Henry Baldwin Hyde, the founder of The Equitable Life Assurance Society of the United States.
James Hazen Hyde was twenty-three in 1899 when he inherited the majority shares in the billion-dollar Society. Five years later, at the pinnacle of social and financial success, efforts to remove him from The Equitable set in motion the first great Wall Street scandal of the 20th. century, which resulted in his resignation from The Equitable and relocation to France.
James Hazen Hyde's Career
James was appointed a vice president of The Equitable after graduating from college. In addition, he served on the boards of directors of more than 40 other companies, including the Wabash Railroad and Western Union.
His homes included a large estate on Long Island, where he maintained horses, stables, roads, and trails to engage in coach racing. He also took part in horse shows and horse racing. Hyde accumulated a collection of coaches and carriages, which he later donated to the Shelburne Museum.
Removal from The Equitable
Following his father's death, Hyde was the majority shareholder and in effective control of The Equitable. By the terms of his father's will, he was scheduled to assume the presidency of the company in 1906.
Members of the board of directors, including E. H. Harriman, Henry Clay Frick, J.P. Morgan, and company President James Waddell Alexander attempted to wrest control from Hyde through a variety of means, including an unsuccessful attempt to have him appointed as Ambassador to France.
On the last night of January 1905, Hyde hosted a highly publicized Versailles-themed costume ball. Falsely accused through a coordinated smear campaign initiated by his opponents at The Equitable of charging the $200,000 party ($6,032,000 today) to the company, Hyde soon found himself drawn into a maelstrom of allegations of corporate malfeasance.
The allegations almost caused a Wall Street panic, and eventually led to a state investigation of New York's entire insurance industry which resulted in laws to regulate activities between insurance companies, banks and other corporations.
Hyde's personal net worth in 1905 was about $20 million ($603,200,000 today). After the negative press generated by the efforts to remove him from The Equitable, Hyde resigned from the company later that same year, gave up most of his other business activities, and moved to France.
The history of the Austrian Museum of Applied Arts/Contemporary Art
1863 / After many years of efforts by Rudolf Eitelberger decides Emperor Franz Joseph I on 7 March on the initiative of his uncle Archduke Rainer, following the model of the in 1852 founded South Kensington Museum (now the Victoria and Albert Museum, London), the establishment of the "k. k. Austrian Museum for Art and Industry" and apponted Rudolf von Eitelberger, the first professor of art history at the University of Vienna, to director. The museum should be serving as a specimen collection for artists, industrialists, and public and as a training and education center for designers and craftsmen.
1864/ on 12th of May, opened the museum - provisionally in premises of the ball house next to the Vienna Hofburg, the architect Heinrich von Ferstel for museum purposes had adapted. First exhibited objects are loans and donations from the imperial collections, monasteries, private property and from the kk polytechnic in Vienna. Reproductions, masters and plaster casts are standing value-neutral next originals.
1865-1897 / The Museum of Art and Industry publishes the journal Communications of Imperial (k. k.) Austrian Museum for Art and Industry .
1866 / Due to the lack of space in the ballroom setting up of an own museum building is accelerated. A first project of Rudolf von Eitelberger and Heinrich von Ferstel provides the integration of the museum in the project of imperial museums in front of the Hofburg Imperial Forum. Only after the failure of this project, the site of the former Exerzierfelds (parade ground) of the defense barracks before Stubentor the museum here is assigned, next to the newly created city park on the still being under development Rind Road.
1867 / Theoretical and practical training are combined with the establishment of the School of Applied Arts. This will initially be housed in the old gun factory, Währinger Straße 11-13/Schwarzspanierstrasse 17, Vienna 9.
1868 / With the construction of the building at Stubenring is started as soon as it is approved by Emperor Franz Joseph I. the second draft of Heinrich Ferstel.
1871 / The opening of the building at Stubering takes place after three years of construction, 15 November. Designed according to plans by Heinrich von Ferstel in the Renaissance style, it is the first built museum building on the ring. Objects from now on could be placed permanently and arranged according to main materials. / / The Arts School moves into the house on Stubenring. / / Opening of Austrian art and crafts exhibition.
1873 / Vienna World Exhibition. / / The Museum of Art and Industry and the Vienna School of Arts and Crafts are exhibiting together at Stubenring. / / Rudolf von Eitelberger organizes in the framework of the World Exhibition the worldwide first international art scientific congress in Vienna, thus emphasizing the orientation of the Museum on teaching and research. / / During the World Exhibition major purchases for the museum of funds of the Ministry are made, eg 60 pages of Indo-Persian Journal Mughal manuscript Hamzanama.
1877 / decision on the establishment of taxes for the award of Hoftiteln (court titels). With the collected amounts the local art industry can be promoted. / / The new building of the School of Applied Arts, adjoining the museum, Stubenring 3 , also designed by Heinrich von Ferstel, is opened.
1878 / participation of the Museum of Art and Industry and the School of Art at the Paris World Exhibition.
1884 / founding of the Vienna Arts and Crafts Association with seat in the museum. Many well-known companies and workshops (led by J. & L. Lobmeyr), personalities and professors of the arts and crafts school join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and crafts since the 1860s has obtained. For this reason are organized various times changing, open to the public exhibitions at the Imperial Austrian Museum for Art and Industry. The exhibits can also be purchased. These new, generously carried out exhibitions give the club the necessary national and international resonance.
1885 / After the death of Rudolf von Eitelberger is Jacob von Falke, his longtime deputy, appointed manager. Falke plans all collection areas als well as publications to develop newly and systematically. With his popular publications he influences significantly the interior design style of the historicism in Vienna.
1888 / The Empress Maria Theresa exhibition revives the contemporary discussion with the high baroque in the history of art and in applied arts in particular.
1895 / end of the Directorate of Jacob von Falke. Bruno Bucher, longtime curator of the Museum of metal, ceramic and glass, and since 1885 deputy director, is appointed director.
1896 / The Vienna Congress exhibition launches the confrontation with the Empire and Biedermeier style, the sources of inspiration of Viennese Modernism .
1897 / end of the Directorate of Bruno Bucher. Arthur von Scala, Director of the Imperial Oriental Museum in Vienna since its founding in 1875 (renamed Imperial Austrian Trade Museum 1887), takes over the management of the Museum of Art and Industry. / / Scala wins Otto Wagner, Felician of Myrbach, Koloman Moser, Josef Hoffmann and Alfred Roller to work at the museum and school of applied arts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagated the example of the Arts and Crafts Movement and makes appropriate acquisitions for the museum's collection.
1898 / Due to differences between Scala and the Arts and Crafts Association, which sees its influence on the Museum wane, Archduke Rainer puts down his function as protector. / / New statutes are written.
1898-1921 / The Museum magazine art and crafts replaces the Mittheilungen (Communications) and soon gaines international reputation.
1900 / The administration of Museum and Arts and Crafts School is disconnected.
1904 / The Exhibition of Old Vienna porcelain, the to this day most comprehensive presentation on this topic, brings with the by the Museum in 1867 definitely taken over estate of the " k. k. Aerarial Porcelain Manufactory" (Vienna Porcelain Manufactory) important pieces of collectors from all parts of the Habsburg monarchy together.
1907 / The Museum of Art and Industry takes over the majority of the inventories of the Imperial Austrian Trade Museum, including the by Arthur von Scala founded Asia collection and the extensive East Asian collection of Heinrich von Siebold .
1908 / Integration of the Museum of Art and Industry in the Imperial and Royal Ministry of Public Works.
1909 / separation of Museum and Arts and Crafts School, the latter remains subordinated to the Ministry of Culture and Education. / / After three years of construction, the according to plans of Ludwig Baumann extension building of the museum (now Weiskirchnerstraße 3, Wien 1) is opened. The museum receives thereby rooms for special and permanent exhibitions. / / Arthur von Scala retires, Eduard Leisching follows him as director. / / Revision of the statutes.
1909 / Archduke Carl exhibition. For the centenary of the Battle of Aspern. / / The Biedermeier style is discussed in exhibitions and art and crafts.
1914 / Exhibition of works by the Austrian art industry from 1850 to 1914, a competitive exhibition that highlights, among other things, the role model of the museum of arts and crafts in the fifty years of its existence.
1919 / After the founding of the First Republic it comes to assignments of former imperial possession to the museum, for example, of oriental carpets that are shown in an exhibition in 1920. The Museum now has one of the finest collections of oriental carpets worldwide .
1920 / As part of the reform of museums of the First Republic, the collection areas are delineated. The Antiquities Collection of the Museum of Art and Industry is given away to the Museum of Art History.
1922 / The exhibition of glasses of classicism, the Empire and Biedermeier time offers with precious objects from the museum and private collections an overview of the art of glassmaking from the former Austro-Hungarian Empire. / / Biedermeier glass serves as a model for contemporary glass production and designs, such as Josef Hoffmann.
1922 / affiliation of the museal inventory of the royal table and silver collection to the museum. Until the institutional separation the former imperial household and table decoration is co-managed by the Museum of Art and Industry and is inventoried for the first time by Richard Ernst.
1925 / After the end of the Directorate of Eduard Leisching Hermann Trenkwald is appointed director.
1926 / The exhibition Gothic in Austria gives a first comprehensive overview of the Austrian panel painting and of arts and crafts of the 12th to 16th Century.
1927 / August Schestag succeeds Hermann Trenkwald as director .
1930 / The Werkbund (artists' organization) Exhibition Vienna, A first comprehensive presentation of the Austrian Werkbund, takes place on the occasion of the meeting of the Deutscher Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.
1931 / August Schestag finishes his Directorate .
1932 / Richard Ernst is the new director .
1936 and 1940 / In exchange with the Kunsthistorisches Museum (Museum of Art History), the museum at Stubenring gives away part of the sculptures and takes over craft inventories of the collection Albert Figdor and the Kunsthistorisches Museum.
1937 / The Collection of the Museum of Art and Industry is re-established by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.
1938 / After the "Anschluss" of Austria by Nazi Germany, the museum was renamed "National Museum of Decorative Arts in Vienna".
1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Applied Arts in Vienna" is also enlarged in this way.
1945 / Partial destruction of the museum building by impact of war. / / War losses on collection objects, even in the places of rescue of objects.
1946 / The return of the outsourced objects of art begins. A portion of the during the Nazi time expropriated objects is returned in the following years.
1947 / The "State Museum of Applied Arts in Vienna" is renamed "Austrian Museum of Applied Arts".
1948 / The "Cathedral and Metropolitan Church of St. Stephen" organizes the exhibition The St. Stephen's Cathedral in the Museum of Applied Arts. History, monuments, reconstruction.
1949 / The Museum is reopened after repair of the war damages.
1950 / As last exhibition under director Richard Ernst takes place Great art from Austria's monasteries (Middle Ages).
1951 / Ignaz Schlosser is appointed manager.
1952 / The exhibition Social home decor, designed by Franz Schuster, makes the development of social housing in Vienna again the topic of the Museum of Applied Arts.
1955 / The comprehensive archive of the Wiener Werkstätte (workshop) is acquired.
1955-1985 / The Museum publishes the periodical ancient and modern art .
1956 / Exhibition New Form from Denmark, modern design from Scandinavia becomes topic of the museum and model.
1957 / On the occasion of the exhibition Venini Murano glass, the first presentation of Venini glass in Austria, there are significant purchases and donations for the collection of glass.
1958 / End of the Directorate Ignaz Schlosser
1959 / Viktor Griesmaier is appointed as the new director.
1960 / Exhibition Artistic creation and mass production of Gustavsberg, Sweden. Role model of Swedish design for the Austrian art and crafts.
1963 / For the first time in Europe, in the context of a comprehensive exhibition art treasures from Iran are shown.
1964 / The exhibition Vienna 1900 presents Crafts of Art Nouveau for the first time after the Second World War. / / It is started with the systematic processing of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary grantes the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.
1965 / The Geymüllerschlössel is as a branch of the Museum angegliedert (annexed). Gleichzeitig (at the same time) with the building came the important collection of Franz Sobek - old Viennese clocks, emerged between 1760 and the second half of the 19th Century - and furniture from the years 1800 to 1840 in the possession of the MAK.
1966 / In the exhibition Selection 66 selected items of modern Austrian interior designers (male and female ones) are merged.
1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues to today of Austria's most important design project in the 20th Century.
1968 / On Viktor Griesmaier follows Wilhelm Mrazek as director.
1969 / The exhibition Sitting 69 shows on the international modernism oriented positions of Austrian designers, inter alia by Hans Hollein.
1974 / For the first time outside of China Archaeological Finds of the People's Republic of China are shown in a traveling exhibition in the so-called Western world.
1979 / Gerhart Egger is appointed director .
1980 / The exhibition New Living. Viennese interior design 1918-1938 provides the first comprehensive presentation of the art space in Vienna during the interwar period.
1981 / Herbert Fux follows Gerhart Egger as Director.
1984 / Ludwig Neustift is appointed interim director. / / Exhibition Achille Castiglioni: Designer. First exhibition of the Italian designer in Austria
1986 / Peter NOEVER is appointed as Director and started building up the collection of contemporary art.
1987 / Josef Hoffmann. Ornament between hope and crime is the first comprehensive exhibition on the work of the architect and designer.
1989-1993 / General renovation of thee old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for collection and additional exhibit spaces arise.
1989 / Exhibition Carlo Scarpa. The other city, the first comprehensive exhibition on the work of the architect outside Italy.
1990 / exhibition Hidden impressions. Japonisme in Vienna 1870-1930, first exhibition on the theme of the Japanese influence on the Viennese Modernism.
1991 / exhibition Donald Judd Architecture, first major presentation of the artist in Austria.
1992 / Magdalena Jetelová domestication of a pyramid (installation in the MAK portico).
1993 / The permanent collection is re-established, interventions of internationally recognized artists (Barbara Bloom, Eichinger oder Knechtl, Günther Förg, GANGART, Franz Graf, Jenny Holzer, Donald Judd, Peter Noever, Manfred Wakolbinger and Heimo Zobernig) update the prospects, in the sense of "Tradition and Experiment". The halls on Stubenring accommodate furthermore the study collection and the temporary exhibitions of contemporary artists reserved gallery. The building in the Weiskirchnerstraße is dedicated to changing exhibitions. / / The opening exhibition Vito Acconci. The City Inside Us shows a room installation by New York artist.
1994 / The Gefechtsturm (defence tower) Arenbergpark becomes branch of the MAK. / / Start of the cooperation MAK/MUAR - Schusev State Museum of Architecture Moscow. / / Ilya Kabakov: The Red Wagon (installation on the MAK terrace plateau).
1995 / The MAK founds the branch of MAK Center for Art and Architecture in Los Angeles, in the Schindler House and at the Mackey Apartments, MAK Artists and Architects-in-Residence Program starts in October 1995. / / Exhibition Sergei Bugaev Africa : Krimania.
1996 / For the exhibition Philip Johnson: Turning Point designs the American doyen of architectural designing the sculpture "Viennese Trio", which is located since 1998 at the Franz-Josefs-Kai/Schottenring.
1998 / The for the exhibition James Turrell. The other Horizon designed Skyspace today stands in the garden of MAK Expositur Geymüllerschlössel. / / Overcoming the utility. Dagobert Peche and the Wiener Werkstätte, the first comprehensive Personale of the work of the designer of Wiener Werkstätte after the Second World War.
1999 / Due to the Restitution Act and the Provenance Research from now on numerous during the Nazi time confiscated objects are returned .
2000 / Outsourcing the federal museums, transforming the museum into a "scientific institution under public law". / / The exhibition of art and industry. The beginnings of the Austrian Museum of Applied Arts in Vienna are dealing with the founding history of the house and the collection.
2001 / As part of the exhibition Franz West: No Mercy, for which the sculptor and installation artist developed his hitherto most extensive work the "Four lemurs heads " are placed at the Stubenbrücke located next to the MAK. / / Dennis Hopper: A System of Moments.
2001-2002 / The CAT Project - Contemporary Art Tower after New York, Los Angeles, Moscow and Berlin in Vienna is presented.
2002 / Exhibition Nodes. symmetrical-asymmetrical. The historic Oriental Carpets of the MAK presents the extensive rug collection.
2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, the exhibition The Price of Beauty. 100 years Wiener Werkstätte takes place. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.
2004 / James Turrell MAKlite is since November 2004 permanently on the facade of the building installed. / / Exhibition Peter Eisenmann. Barefoot on White-Hot Walls, large-scaled architectural installation on the work of the influential American architect and theorist.
2005 / Atelier Van Lieshout: The Disziplinatornbsp / / The exhibition Ukiyo-e Reloaded for the first time presents the collection of Japanese woodblock prints of the MAK in large scale.
2006 / Since the beginning of the year the birthplace of Josef Hoffmann in Brtnice of the Moravian Gallery in Brno and the MAK Vienna as a joint branch is run and presents special exhibitions annually. / / The exhibition The Price of Beauty. The Wiener Werkstätte and the Stoclet House brings the objects of the Wiener Werkstätte to Brussels. / / Exhibition Jenny Holzer: XX.
2007/2008 / Exhibition Coop Himmelb(l)au. Beyond the Blue, is the hitherto largest and most comprehensive museal presentation of the global team of architects .
2008 / The 1936 according to plans of Rudolph M. Schindler built Fitzpatrick-Leland House, a generous gift from Russ Leland to the MAK Center LA, becomes using a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, the center of the MAK UFI project - MAK Urban Future Initiative. / / Julian Opie: Recent Works / / The exhibition Recollecting. Looting and Restitution examines the status of efforts to restitute expropriated objects from Jewish property of museums in Vienna.
2009 / The permanent exhibition Josef Hoffmann: Inspiration is in the Josef Hoffmann Museum, Brtnice opened. / / Exhibition Anish Kapoor. Shooting into the Corner / / The museum sees itself as a promoter of Cultural Interchange and discusses in the exhibition Global:lab Art as a message. Asia and Europe 1500-1700 the intercultural as well as the intercontinental cultural exchange based on objects from the MAK and from international collections.
2011 / After Peter Noevers resignation Martina Kandeler-Fritsch takes over temporarily the management. / / Since 1 September Christoph Thun-Hohenstein is director of the MAK.
COPYRIGHT CLAIRE BRISTON
COPYRIGHT SUNDAY SUN NEWSPAPER
August 2006 - August 2007
11 weeks worth of fashion double page spreads with my own ideas, which gave me the best insight into the industry yet.
- Negotiated themes for the weekly fashion pages.
- Put the outfits together with key discussion from local and online stores.
- Styled the models on the shoots.
- Assisted with technical aspects such as lighting and location.
- Choose the best shots for the newspaper.
- Wrote all copy.
All of my work was printed and published online; and highly praised by the Editorial team.
Issue #147 June 2011
Its was pretty cool to see the photo I took of Dustin's Mazdaspeed3 under the Longshots section of the June 2011 issue of Import Tuner. Congrats to the others as well that were featured.
Original Photo: www.flickr.com/photos/ronaldo86/5278271971/
The Postcard
A postally unused postcard published by C.T. They state on the divided back of the card that it is a genuine Curteich-Chicago 'C.T. Art-Colortone' postcard. (Reg. U.S. Patent Office).
I don't know why they bothered to patent it - the print quality is awful.
C.T. state on the back of the card that a One Cent stamp is required for postage. They also state:
'The Bridal Altar is one of the oldest
and most historic features in Mammoth
Cave.
Many couples have been married at
this spot'.
Mammoth Cave National Park
Mammoth Cave National Park is an American national park in west-central Kentucky, encompassing portions of Mammoth Cave, the longest-known cave system in the world.
Since the 1972 unification of Mammoth Cave with the even-longer system under Flint Ridge to the north, the official name of the system has been the Mammoth–Flint Ridge Cave System.
The park was established as a national park on the 1st. July 1941, and a World Heritage Site on the 27th. October 1981.
The Green River runs through the park. Mammoth Cave is the world's longest known cave system with more than 400 miles (640 km) of surveyed passageways. It is nearly twice as long as the second-longest cave system, Mexico's Sac Actun underwater cave.
The Geology of Mammoth Cave
Mammoth Cave developed in thick Mississippian-aged limestone strata capped by a layer of sandstone, which has made the system remarkably stable. New discoveries and connections add several miles to the cave's known length each year.
At one valley bottom in the southern region of the park, a massive sinkhole has developed. Known as Cedar Sink, the sinkhole features a small river entering one side and disappearing back underground at the other side.
Visiting Mammoth Cave
The National Park Service offers several cave tours to visitors. Some notable features of the cave, such as Grand Avenue, Frozen Niagara, and Fat Man's Misery, can be seen on lighted tours ranging from one to six hours in length.
Two tours, lit only by visitor-carried paraffin lamps, are popular alternatives to the electric-lit routes. Several "wild" tours venture away from the developed parts of the cave into muddy crawls and dusty tunnels.
The Echo River Tour, one of the cave's most famous attractions, took visitors on a boat ride along an underground river. The tour was discontinued for logistic and environmental reasons in the early 1990's.
Mammoth Cave in Prehistory
The story of human beings in relation to Mammoth Cave spans five thousand years. Several sets of Native American remains have been recovered from Mammoth Cave, or other nearby caves in the region, in both the 19th. and 20th. centuries. Most mummies found represent examples of intentional burial, with ample evidence of pre-Columbian funerary practice.
An exception to purposeful burial was discovered when in 1935 the remains of an adult male were discovered under a large boulder. The boulder had shifted and settled onto the victim, a pre-Columbian miner, who had disturbed the rubble supporting it.
The remains of the ancient victim were named "Lost John" and exhibited to the public into the 1970's, when they were interred in a secret location in Mammoth Cave for reasons of preservation as well as emerging political sensitivities with respect to the public display of Native American remains.
Research beginning in the late 1950's led by Patty Jo Watson, of Washington University in St. Louis, Missouri, has done much to illuminate the lives of the late Archaic and early Woodland peoples who explored and exploited caves in the region.
Preserved by the constant cave environment, dietary evidence yielded carbon dates enabling Watson to determine the age of the specimens. An analysis of their content allows determination of the relative content of plant and meat in the diet of either culture over a period spanning several thousand years. This analysis indicates a timed transition from a hunter-gatherer culture to plant domestication and agriculture.
Another technique employed in archaeological research at Mammoth Cave, was experimental archaeology, in which modern explorers were sent into the cave using the technology that was employed by the ancient cultures whose leftover implements lie discarded in many parts of the cave. The goal was to gain insight into the problems faced by the ancient people who explored the cave.
Ancient human remains and artifacts within the caves are protected by various federal and state laws. One of the most basic facts to be determined about a newly discovered artifact is its precise location and situation. Even slightly moving a prehistoric artifact contaminates it from a research perspective. Explorers are properly trained not to disturb archaeological evidence, and some areas of the cave remain out-of-bounds for even seasoned explorers, unless the subject of the trip is archaeological research on that area.
Besides the remains that have been discovered in the portion of the cave accessible through the Historic Entrance of Mammoth Cave, the remains of cane torches used by Native Americans, as well as other artifacts such as drawings, gourd fragments, and woven grass moccasin slippers are found in the Salts Cave section of the system in Flint Ridge.
Though there is undeniable proof of their existence and use of the cave, there is no evidence of further use past the archaic period. Experts and scientists have no answer as to why this is, making it one of the greatest mysteries of Mammoth Cave to this day.
Earliest Written History
The 31,000-acre (13,000 ha) tract known as the "Pollard Survey" was sold by indenture on the 10th. September 1791 in Philadelphia by William Pollard. 19,897 acres (8,052 ha) of the Pollard Survey between the North bank of Bacon Creek and the Green River were purchased by Thomas Lang, Jr..
Lang was a British American merchant from Yorkshire, England. He bought the land on the 3rd. June 1796 for £4,116, but the land was lost to a local county tax claim during the War of 1812.
Legend has it that the first European to visit Mammoth Cave was either John Houchin or his brother Francis Houchin, in 1797. While hunting, Houchin pursued a wounded bear to the cave's large entrance opening near the Green River.
Some Houchin Family tales have John Decatur "Johnny Dick" Houchin as the discoverer of the cave, but this is highly unlikely because Johnny Dick was only 10 years old in 1797, and was unlikely to be out hunting bears at such a tender age.
His father John is the more likely candidate from that branch of the family tree, but the most probable candidate for discoverer of Mammoth Cave is Francis "Frank" Houchin, whose land was much closer to the cave entrance than his brother John's.
There is also the argument that their brother Charles Houchin, who was known as a great hunter and trapper, was the man who shot the bear and chased it into the cave. The shadow over Charles's claim is the fact that he was residing in Illinois until 1801.
Contrary to this story is Brucker and Watson's 'The Longest Cave', which asserts that the cave was certainly known before that time. Caves in the area were certainly known before the discovery of the entrance to Mammoth Cave. Even Francis Houchin had a cave entrance on his land very near the bend in the Green River known as the Turnhole, which is less than a mile from the main entrance to Mammoth Cave.
The land containing this historic entrance was first surveyed and registered in 1798 under the name of Valentine Simons. Simons began exploiting Mammoth Cave for its saltpeter reserves.
Mammoth Cave in the 19th. Century
In partnership with Valentine Simon, various other individuals owned the land through the War of 1812, when Mammoth Cave's saltpeter reserves became significant due to the Jefferson Embargo Act of 1807 which prohibited all foreign trade.
The blockade starved the American military of saltpeter and therefore gunpowder. As a result, the domestic price of saltpeter rose and production based on nitrates extracted from caves such as Mammoth Cave became more lucrative.
In July 1812, the cave was purchased from Simon and other owners by Charles Wilkins and an investor from Philadelphia named Hyman Gratz. Soon the cave was being mined for calcium nitrate on an industrial scale, utilizing a labor force of 70 slaves to build and operate the soil leaching apparatus, as well as to haul the raw soil from deep in the cave to the central processing site.
A half-interest in the cave changed hands for ten thousand dollars (equivalent to over $150,000 in 2020). After the war when prices fell, the workings were abandoned and it became a minor tourist attraction centering on a Native American mummy discovered nearby.
When Wilkins died his estate's executors sold his interest in the cave to Gratz. In the spring of 1838, the cave was sold by the Gratz brothers to Franklin Gorin, who intended to operate Mammoth Cave purely as a tourist attraction, the bottom long having since fallen out of the saltpeter market.
Gorin was a slave owner, and used his slaves as tour guides. One of these slaves would make a number of important contributions to human knowledge of the cave, and become one of Mammoth Cave's most celebrated historical figures.
Stephen Bishop, an African-American slave and a guide to the cave during the 1840's and 1850's, was one of the first people to make extensive maps of the cave, and named many of the cave's features.
Stephen Bishop was introduced to Mammoth Cave in 1838 by Franklin Gorin. Gorin wrote, after Bishop's death:
"I placed a guide in the cave – the celebrated and
great Stephen, and he aided in making the discoveries.
He was the first person who ever crossed the Bottomless
Pit, and he, myself and another person whose name I have forgotten were the only persons ever at the bottom of
Gorin's Dome to my knowledge.
After Stephen crossed the Bottomless Pit, we discovered
all that part of the cave now known beyond that point. Previous to those discoveries, all interest centered in
what is known as the 'Old Cave' ... but now many of the
points are but little known, although as Stephen was wont
to say, they were 'grand, gloomy and peculiar'."
In 1839, Dr. John Croghan of Louisville bought the Mammoth Cave Estate, including Bishop and its other slaves from their previous owner, Franklin Gorin. Croghan briefly ran an ill-fated tuberculosis hospital in the cave in 1842-43, the vapors of which he believed would cure his patients. A widespread epidemic of tuberculosis ultimately claimed the life of Dr. Croghan in 1849.
Throughout the 19th. century, the fame of Mammoth Cave grew so much that the cave became an international sensation. As a result of the growing renown of the cave, the cave boasted famous visitors such as actor Edwin Booth (his brother, John Wilkes Booth, assassinated Abraham Lincoln in 1865), singer Jenny Lind (who visited the cave on the 5th. April 1851), and violinist Ole Bull who together gave a concert in one of the caves. Two chambers in the caves have since been known as "Booth's Amphitheatre" and "Ole Bull's Concert Hall".
By 1859, when the Louisville and Nashville Railroad opened its main line between these cities, Colonel Larkin J. Procter owned the Mammoth Cave Estate. He also owned the stagecoach line that ran between Glasgow Junction (Park City) and the Mammoth Cave Estate. This line transported tourists to Mammoth Caves until 1886, when he established the Mammoth Cave Railroad.
Early 20th. century: The Kentucky Cave Wars
The difficulties of farming life in the hardscrabble, poor soil of the cave-country influenced local owners of smaller nearby caves to see opportunities for commercial exploitation, particularly given the success of Mammoth Cave as a tourist attraction.
The "Kentucky Cave Wars" was a period of bitter competition between local cave owners for tourist money. Broad tactics of deception were used to lure visitors away from their intended destination to other private show caves. Misleading signs were placed along the roads leading to the Mammoth Cave. A typical strategy during the early days of automobile travel involved representatives (known as "cappers") of other private show caves hopping aboard a tourist's car's running board, and leading the passengers to believe that Mammoth Cave was closed, quarantined, caved in or otherwise inaccessible.
In 1906, Mammoth Cave became accessible by steamboat with the construction of a lock and dam at Brownsville, Kentucky.
In 1908, Max Kämper, a young German mining engineer, arrived at the cave by way of New York. Kämper had just graduated from technical college and his family had sent him on a trip abroad as a graduation present. Originally intending to spend two weeks at Mammoth Cave, Kämper spent several months.
With the assistance of Stephen Bishop, Kämper produced a remarkably accurate instrumental survey of many kilometers of Mammoth Cave, including many new discoveries. Reportedly, Kämper also produced a corresponding survey of the land surface overlying the cave: this information was to be useful in the opening of other entrances to the cave, as soon happened with the Violet City entrance.
The Croghan family suppressed the topographic element of Kämper's map, and it is not known to survive today, although the cave map portion of Kämper's work stands as a triumph of accurate cave cartography: not until the early 1960's and the advent of the modern exploration period would these passages be surveyed and mapped with greater accuracy.
Kämper returned to Berlin, and from the point of view of the Mammoth Cave country, disappeared entirely. It was not until the turn of the 21st. century that a group of German tourists, after visiting the cave, researched Kämper's family and determined his fate: the young Kämper was killed in trench warfare in the Great War on the 10th. December 1916 at the Battle of the Somme.
Famed French cave explorer Édouard-Alfred Martel visited the cave for three days in October 1912. Without access to the closely held survey data, Martel was permitted to make barometric observations in the cave for the purpose of determining the relative elevation of different locations. He identified different levels of the cave, and correctly noted that the level of the Echo River within the cave was controlled by that of the Green River on the surface.
Martel lamented the 1906 construction of the dam at Brownsville, pointing out that this made a full hydrogeologic study of the cave impossible. Among his precise descriptions of Mammoth Cave, Martel suggested that Mammoth Cave was connected to Salts and Colossal Caves: this would not be proven correct until 60 years after Martel's visit.
In the early 1920's, George Morrison created, via blasting, a number of entrances to Mammoth Cave on land not owned by the Croghan Estate. Absent the data from the Croghan's secretive surveys, performed by Kämper, Bishop, and others, which had not been published in a form suitable for determining the geographic extent of the cave, it was now conclusively shown that the Croghans had been for years exhibiting portions of Mammoth Cave which were not under land they owned. Lawsuits were filed and, for a time, different entrances to the cave were operated in direct competition with each other.
In the early 20th. century, Floyd Collins spent ten years exploring the Flint Ridge Cave System (the most important legacy of these explorations was the discovery of Floyd Collins' Crystal Cave and exploration in Salts Cave) before dying at Sand Cave, Kentucky, in 1925.
While exploring Sand Cave, Floyd dislodged a rock onto his leg while in a tight crawl-way and was unable to be rescued before dying of starvation. Attempts to rescue Collins created a mass media sensation; the resulting publicity would draw prominent Kentuckians to initiate a movement which would soon result in the formation of Mammoth Cave National Park.
The National Park Movement (1926–1941)
As the last of the Croghan heirs died, momentum grew among wealthy citizens of Kentucky for the establishment of Mammoth Cave National Park. Private citizens formed the Mammoth Cave National Park Association in 1924. The park was authorized on the 25th. May 1926.
Donated funds were used to purchase some farmsteads in the region, while other tracts within the proposed national park boundary were acquired by right of eminent domain. In contrast to the formation of other national parks in the sparsely populated American West, thousands of people were forcibly relocated in the process of forming Mammoth Cave National Park. Often eminent domain proceedings were bitter, with landowners paid what were considered to be inadequate sums. The resulting acrimony still resonates within the region to this day.
The New Entrance, closed to visitors since 1941, was reopened on the 26th. December 1951, becoming the entrance used for the beginning of the Frozen Niagara tour.
The longest cave (1954–1972)
By 1954, Mammoth Cave National Park's land holdings encompassed all lands within its outer boundary with the exception of two privately held tracts. One of these, the old Lee Collins farm, had been sold to Harry Thomas of Horse Cave, Kentucky, whose grandson, William "Bill" Austin, operated Collins Crystal Cave as a show cave in direct competition with the national park, which was forced to maintain roads leading to the property. Condemnation and purchase of the Crystal Cave property seemed only a matter of time.
In February 1954, a two-week expedition under the auspices of the National Speleological Society was organized at the invitation of Austin: this expedition became known as C-3, or the Collins Crystal Cave Expedition.
The C-3 expedition drew public interest, first from a photo essay published by Robert Halmi in the July 1954 issue of True Magazine, and later from the publication of a double first-person account of the expedition, 'The Caves Beyond: The Story of the Collins Crystal Cave Expedition' by Joe Lawrence, Jr. (then president of the National Speleological Society) and Roger Brucker.
The expedition proved conclusively that passages in Crystal Cave extended toward Mammoth Cave proper, at least exceeding the Crystal Cave property boundaries. However, this information was closely held by the explorers: it was feared that the National Park Service might forbid exploration were this known.
In 1955 Crystal Cave was connected by survey with Unknown Cave, the first connection in the Flint Ridge system.
Some of the participants in the C-3 expedition wished to continue their explorations past the conclusion of the C-3 Expedition, and organized as the Flint Ridge Reconnaissance. This organization was incorporated in 1957 as the Cave Research Foundation. The organization sought to legitimize the cave explorers' activity through the support of original academic and scientific research. Notable scientists who studied Mammoth Cave during this period include Patty Jo Watson.
In March 1961, the Crystal Cave property was sold to the National Park Service for $285,000. At the same time, the Great Onyx Cave property, the only other remaining private inholding, was purchased for $365,000. The Cave Research Foundation was permitted to continue their exploration through a Memorandum of Understanding with the National Park Service.
Colossal Cave was connected by survey to Salts Cave in 1960, and in 1961 Colossal-Salts cave was similarly connected to Crystal-Unknown cave, creating a single cave system under much of Flint Ridge. By 1972, the Flint Ridge Cave System had been surveyed to a length of 86.5 miles (139.2 km), making it the longest cave in the world.
During the 1960's, the Cave Research Foundation (CRF) exploration and mapping teams found passageways in the Flint Ridge Cave System that penetrated under Houchins Valley and came within 800 feet (240 m) of known passages in Mammoth Cave.
In 1972, CRF Chief Cartographer John Wilcox pursued an aggressive program to finally connect the caves, fielding several expeditions from the Flint Ridge side as well as exploring leads in Mammoth Cave.
On a July 1972 trip, deep in the Flint Ridge Cave System, Patricia Crowther—with her slight frame of 115 pounds (52 kg)—crawled through a narrow canyon later dubbed the "Tight Spot", which acted as a filter for larger cavers.
A subsequent trip past the Tight Spot on the 30th. August 1972, by Wilcox, Crowther, Richard Zopf, and Tom Brucker discovered the name "Pete H" inscribed on the wall of a river passage with an arrow pointing in the direction of Mammoth Cave. The name is believed to have been carved by Warner P. "Pete" Hanson, who was active in exploring the cave in the 1930's. Hanson had been killed in World War II. The passage was named Hanson's Lost River by the explorers.
Finally, on the 9th. September 1972, a six-person CRF team of Wilcox, Crowther, Zopf, Gary Eller, Stephen Wells, and Cleveland Pinnix (a National Park Service ranger) followed Hanson's Lost River downstream to discover its connection with Echo River in Cascade Hall of Mammoth Cave.
With this linking of the Flint Ridge and Mammoth Cave systems, the "Everest of Speleology" had been climbed. The integrated cave system contained 144.4 miles (232.4 km) of surveyed passages and had fourteen entrances.
Recent Discoveries
Further connections between Mammoth Cave and smaller caves or cave systems have followed, notably to Proctor/Morrison Cave beneath nearby Joppa Ridge in 1979.
Proctor Cave was discovered by Jonathan Doyle, a Union Army deserter during the Civil War, and was later owned by the Mammoth Cave Railroad, before being explored by the CRF. Morrison cave was discovered by George Morrison in the 1920's. This connection pushed the frontier of Mammoth exploration southeastward.
At the same time, discoveries made outside the park by an independent group called the Central Kentucky Karst Coalition or CKKC resulted in the survey of tens of miles in Roppel Cave east of the park.
Discovered in 1976, Roppel Cave was briefly on the list of the nation's longest caves before it was connected to the Proctor/Morrison's section of the Mammoth Cave System on the 10th. September 1983. The connection was made by two mixed parties of CRF and CKKC explorers. Each party entered through a separate entrance and met in the middle before continuing in the same direction to exit at the opposite entrance. The resulting total surveyed length was near 300 miles (480 km).
On the 19th. March 2005, a connection into the Roppel Cave portion of the system was surveyed from a small cave under Eudora Ridge, adding approximately three miles to the known length of the Mammoth Cave System.
The newly found entrance to the cave, now termed the "Hoover Entrance", had been discovered in September 2003, by Alan Canon and James Wells. Incremental discoveries since then have pushed the total to more than 400 miles (640 km).
It is certain that many more miles of cave passages await discovery in the region. Discovery of new natural entrances is a rare event: the primary mode of discovery involves the pursuit of side passages identified during routine systematic exploration of cave passages entered from known entrances.
Related and Nearby Caves
At least two other massive cave systems lie short distances from Mammoth Cave: the Fisher Ridge Cave System and the Martin Ridge Cave System.
The Fisher Ridge Cave System was discovered in January 1981 by a group of Michigan cavers associated with the Detroit Urban Grotto of the National Speleological Society. So far, the Fisher Ridge Cave System has been mapped to 125 miles (201 km).
In 1976, Rick Schwartz discovered a large cave south of the Mammoth Cave park boundary. This cave became known as the Martin Ridge Cave System in 1996, as new exploration connected the 3 nearby caves of Whigpistle Cave (Schwartz's original entrance), Martin Ridge Cave, and Jackpot Cave.
As of 2018, the Martin Ridge Cave System had been mapped to a length of 34 miles (55 km), and exploration continues.
Biology and Ecosystem
The following species of bats inhabit the caverns: Indiana bat, gray bat, little brown bat, big brown bat, and the eastern pipistrelle bat.
All together, these and more rare bat species such as the eastern small-footed bat had estimated populations of 9–12 million just in the Historic Section.
While these species still exist in Mammoth Cave, their numbers are now no more than a few thousand at best. Ecological restoration of this portion of Mammoth Cave, and facilitating the return of bats, is an ongoing effort. Not all bat species here inhabit the cave; the red bat is a forest-dweller, and is found underground only rarely.
Other animals which inhabit the caves include: two genera of crickets, a cave salamander two genera of eyeless cave fish, a cave crayfish, and a cave shrimp.
Common fossils of the cave include crinoids, blastoids, and gastropods. The Mississippian limestone has yielded fossils of more than a dozen species of shark. In 2020, scientists reported the discovery of part of a Saivodus Striatus, a species comparable in size to a modern great white shark.
The Mammoth Cave Name
The cave's name refers to the large width and length of the passages connecting to the Rotunda just inside the entrance. The name was used long before the extensive cave system was more fully explored and mapped, to reveal a mammoth length of passageways.
No fossils of the woolly mammoth have ever been found in Mammoth Cave, and the name of the cave has nothing to do with this extinct mammal.
Currently Available Tours
Currently (2022) available tours operating in Mammoth Cave are:
-- Accessible Tour
-- Cleaveland Avenue Tour
-- Discovery Self-Guided
-- Domes and Dripstones Tour
-- Extended Historic Tour
-- Frozen Niagara Tour
-- Gothic Avenue Tour
-- Grand Avenue Tour
-- Grand Historic Tour
-- Great Onyx Lantern Tour
-- Historic Tour
-- Mammoth Passage Tour
-- River Styx Tour
-- Star Chamber Tour
-- Violet City Lantern Tour
-- Wondering Woods Tours
This photo of rice growing in Southern Brazil has been published online in a Rice Today article, by the International Rice Research Institute (IRRI), called Country Snapshots: Brazil, in Rice Today
Postcard published circa 1960's.
When launched in 1907 at Mare Island, in the burgeoning era of stream and the predecessors to the warships we know today, the construction of a steel barque for the US Navy must have seemed odd. The role, however, for the USS Intrepid was not as a vessel of war, but instead for training, which she did until 1912 when she became a receiving ship. She would fill that role, along with time as a barracks vessel, until being sold in 1921.
AT that point she was converted to the role of a barge, a capacity in which she would again enter the Navy as YSR-42, a sludge removal barge. Once that job was done, she would be sold again, and continued her barge service until 1954 when she went ashore on the Long Beach Peninsula, a grave she would never depart.
The reverse reads:
"Hull of former navy ship INTREPID wrecked on the Long Beach Peninsula in February 1954. It has since nearly disappeared in the sand.
Photo by Dick Powers.
Published by PHOTO'NEIL. Long Beach, Wash. 98631"
Great stuff! My 365 project was published on to an amazing magazine called ERRR and a great friend of mine, Elen Tinoco took great pics of the mag! Please check out her stuff, the magazine's stuff, and get super inspired :D
It sucks I still haven't gotten my hands on the mag tho :/
Market Makers of Philippine Equities todate
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To the Clueless.. What on earth is BANCOM?
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By Flor G. Tarriela
Published: July 11, 2013
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Recently, I attended the book launch of BANCOM MEMOIRS, a story of the rise and fall of BANCOM by Sixto K. Roxas III, “SKR.” From his perspective, “BANCOM’s story is not the banal story of a financial corporation that was modestly established, rose to great size and prominence and then faded in oblivion. It is an account of the ambitious attempt to build on the platform of a modern business corporation an institution committed to serving the needs of communities at every stage of development or underdevelopment. As it sought this wild vision, it brought together and motivated a corps of some of the most brilliant, creative and aggressive young men and women the country has seen, to shape an organization with an esprit that is still remembered as a Camelot – and it almost succeeded. “
Bancom’s Beginnings
What is the animal or puzzle that is BANCOM? What is its “tragic mystique”? How did it rise so fast from its beginning in 1964 (not just known in the Philippines but outside as well) and yet fall dramatically in 1981, after 17 years of existence? What was right in BANCOM and what went wrong? What lessons can we learn from this?
BANCOM started as a joint venture, an investment bank between BANkers Trust (an American bank) and COMmercial Bank and Trust Co. (CBTC, a local bank) with P7-million capital in 1964 with Sixto Roxas as President/CEO. Wash Sycip, well known to both parties, introduced them. CBTC was then ran by bankers Manuel Marquez and Augusto Barcelon who both established their banking careers in PNB. Mr. Wash is currently a director in PNB.
Sixto K.Roxas (SKR)
One can’t talk or remember BANCOM without SKR. Francis Estrada, in his introduction at the book launch, said “it is not easy to describe an individual as complex, brilliant and yes HUMAN as SKR. SKR has traveled far and wide in the journey of human experience, and has an incredibly high highs and yes a number of low lows.” Ray Orosa said that SKR is the “pioneering spirit behind the institution and if he had a problem, it was “he was way ahead of his time.” Art Aguilar who wrote “The Tragic Mystique of BANCOM said “SKR’s personal genius and charisma was intertwined with BANCOM” and Vic Macalingcad calls SKR the “father of the money and capital market of the Philippines.”
Bancom’s People
SKR’s original team were: Rolly Gapud who handled financial consultancy, Louie Villafuerte legal engineering, Ray Ilusorio money and capital markets desk. All three were 1973 TOYM awardees. Another TOYM awardee, former Secretary of Finance Ramon del Rosario, Jr. said “Bancom was every young man’s dream of a launching pad for a career in finance. It had the reputation of innovation and daring. It had unquestioned integrity. And it had as head one with a unique combination of genius and charisma. It was eminently successful, and even foreign governments sought its advice and assistance.”
BANCOM was the training ground for leadership in Philippine finance. In so short a history, it had the most number of TOYM awardees in a single business organization: SKR, former Finance Secretary Jose Pardo, Manny Pangilinan, Fernando Balatbat, and add to these, BANCOM alumni occupying key positions in financial and corporate world.
In SKR’s memoirs, he said that “Bancom attracted a corps of intelligent, creative, aggressive and ambitious young men and women fresh out of college or graduate school, with little experience because it was in its way a learning organization, a center for post graduate education where one midget learn innovative finance doing real transactions with real money. In Bancom, these men and women believed there was nothing they could not do… the slogan was: THE DIFFICULT WE DO RIGHT AWAY, THE IMPOSSIBLE TAKES A WHILE LONGER.” We learn what we don’t know or have not done before and nothing was really impossible.
Evelyn Singson, Chairman of BANCOM Alumni Inc. (BALI) said: “BANCOM was a company of contradictions. With so many things going on and so many people doing different things, it was almost impossible to know everything. We were so independent yet so inter-dependent. We knew so much, yet we knew so little. We were competitors yet collaborators. We were responsible yet irresponsible. It was an organization that kept challenging us to be better than ourselves. It was a workplace where everyone was driven and serious, yet it provided a workplace of fun, friendship and family.”
Thank you dear SKR for my first job right after Masters from UCLA. Investment research with Mandy Eduque as my first boss and later in investment service with Lito Manahan/Francis Moran. This was when Bancom was on its upward trajectory. I value the experience that has opened doors for me that when I joined Citibank later, having come from the premier investment bank, I was given the title of “Financial Engineering Coordinator.”
Bancom’s Beginning of the End
So what went wrong? What lessons can we learn from BANCOM? If Citi is the University of Banking, Josue Camba, a BALI trustee, says he is from UE, the University of Experience. (SKR upon hearing this, sent him off to Harvard to round up his training). Josh and Cynthia Picazo were the able emcees for the book launch, a very well attended affair of BANCOM alumni and friends that SKR said, “it is as if I can see my life passing me by.”
Manny Tordesillas, BALI President said “as the saying goes, failure is the better teacher than success.” He said: “Common to the failure of these financial institutions were fundamental management issues such as poor asset quality, asset-liability mismatches, high gearing, and in most cases, excessive risk-taking. But the straw that usually breaks the camel’s back is oftentimes the hubris that comes along when we, as money managers or investment bankers, having created innovative financial products or having command of substantial financial resources or having the ability to raise billions of pesos or dollars for our customers, ourselves begin to believe that we are the new masters of the universe. It is this feeling of invincibility that we all need to check in ourselves from time to time. Otherwise, history simply will repeat itself.” Hopefully, the BANCOM memoirs of SKR will shed light on what went wrong and learn from these lessons.
SKR opened the book with “Oh Lord , help me… to speak out spontaneously and say what I sincerely want readers of these memoirs to derive from it. I am writing to leave as a legacy the lessons from my over four score years of life so far. Every life is meant to offer a unique contribution to the forming of the Mystical Body of Christ. Each person has qualities that make him unique and that uniqueness impose on each individual the responsibility to do everything possible to realize the full glory of his potential”.
SKR closed the memoirs saying he feels inadequate. And he concluded his speech about the final lesson to all. It is about the vine and the branches where the Lord said ... “I am the vine you are the branches; he who abides in Me and I in him bears much fruit, for without Me you can do nothing”. This is the TRUTH and a good lesson to all of us.
Advance happy birthday greetings to dear SKR who will be turning 86 on August 6. Thank you for everything and may the Lord bless you even more abundantly! More power to you!
The BANCOM book project was made possible by the generous support of Manny V. Pangilinan and edited by Danding Yotoko. For more on the BANCOM Memoirs, do contact BALI’s dependable secretary, Nenette Lee at 0917-8126533.
Right: Original vintage Lyrica
Left: English Adaptation
A few months ago Digital Manga started a Kickstater Project to publish UNICO in English, they finally started shipping the final product recently. Mine arrived today!
I have a couple of original UNICO Lyrica issues, so I thought it might be useful to take some comparison shots. My lighting options tonight were poor, so I apologize if these look slightly off. But the general points I wanted to show are still clearly visible.
The most striking differences are the lower saturation of color in the English version, thought this may just be a byproduct of the paper choice, as you can see it's not very obvious, actually it is more obvious in person that in these photos.
One oddity I noticed is that all of the women/people have red hair, when in actuality, in the original, there is a variety of brunette, blonde, and red hair. In the English version all the hair colors are given the same red color. I'm not sure why this is. (please note that the brown hair in my original version looks slightly reddish due to overall aged yellowing/foxing of the pages).
I didn't include a photo of the next one, but I also noticed a flaw in one of the artwork panels of the original (it doesn't seem to be a flaw with my issue, but in the actual artwork in general). If this flaw is indeed part of the original, it has been edited out of the English version. This is not a very big deal but I though it might be worth noting that they seem to have been very thorough in cleaning up all of the artwork for the English version. :)
Overall I'm happy with the quality of the English version (I haven't read it yet, I'm only referring to the artwork, not the text or translation). Some scenes which appear very vibrant and rich in the original are more obviously washed out in the English which was a little dissappointing, but I would still have backed the project and I am still very happy with this book. It's a very high quality book :) The cover is especially nice, as are the stickers that came with mine.
For some reason I thought that it would be a hardcover and as large as the original Lyrica format (some margins have been trimmed/cropped btw, they are included, but not as "full bleed" as the Lyrica pages). Though now that I think of that, the lack of the original full bleed may be why they had to crop those margins a bit, so I don't rate that as a flaw. I think they said they were working from the original Lyrica artwork? I'm not 100% sure but for some reason that's the impression I got as the project was going along.
So, overall I'm happy with this, and super excited. I can't wait to sit down and read it! I plan to also read it to my daughter when she is old enough to understand. :)
I'd almost forgotten that shortly before I left Nottingham back in early October to move up North I did an interview with Nottinghams local Leftlion arts and culture magazine. It's great to see my work published for the first time!
The opening paragraph reads:
Andy Wells is a man with a nocturnal secret: when not running Spanky Van Dykes, he can often be found creeping around the Notts countryside in the middle of the night, with a big bag of, er, 'special equipment'. Actually, he's one of the UK's leading light painting photographers, with his amazing work having already been showcased in Times Square...
Chuffed to bits!
strobist… 580exii high camera right lastolite STU 1/8 24mm.
And again
Boomerang aka A Secret Kept, a 2010 novel by Tatiana De Rosnay.
This is the Swedish cover. :)
Hey look! I got another article published over at DPS! It's not my image (I forgot to submit one lol). It's over here:
www.digital-photography-school.com/5-key-skills-for-the-m...
oh and of course the blog, as usual, where you can get more of the same...or better...is over at www.shotslot.net
Woohoo!!
This photograph was published in the Illustrated Chronicle on the 13th of October 1915.
During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.
The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognise anyone in the images please comment below.
Copies of this photograph may be ordered from us, for more information see: www.newcastle.gov.uk/tlt Please make a note of the image reference number above to help speed up your order.
The Postcard
A postally unused carte postale published by L. B. of Dijon and distributed by Ch. Macé of Versailles. The card has a divided back.
The Gardens of Versailles
The Gardens of Versailles are situated to the west of the palace. They cover some 800 hectares (1,977 acres) of land, much of which is landscaped in the classic French formal garden style perfected here by André Le Nôtre.
Beyond the surrounding belt of woodland, the gardens are bordered by the urban areas of Versailles to the east and Le Chesnay to the north-east, by the National Arboretum de Chèvreloup to the north, the Versailles plain (a protected wildlife preserve) to the west, and by the Satory Forest to the south.
In 1979, the gardens along with the château were inscribed on the UNESCO World Heritage List due to its cultural importance during the 17th. and 18th. centuries.
The gardens are now one of the most visited public sites in France, receiving more than six million visitors a year.
The gardens contain 200,000 trees, 210,000 flowers planted annually, and feature meticulously manicured lawns and parterres, as well as many sculptures.
50 fountains containing 620 water jets, fed by 35 km. of piping, are located throughout the gardens. Dating from the time of Louis XIV and still using much of the same network of hydraulics as was used during the Ancien Régime, the fountains contribute to making the gardens of Versailles unique.
On weekends from late spring to early autumn, there are the Grandes Eaux - spectacles during which all the fountains in the gardens are in full play. Designed by André Le Nôtre, the Grand Canal is the masterpiece of the Gardens of Versailles.
In the Gardens too, the Grand Trianon was built to provide the Sun King with the retreat that he wanted. The Petit Trianon is associated with Marie-Antoinette, who spent time there with her closest relatives and friends.
The Du Bus Plan for the Gardens of Versailles
With Louis XIII's purchase of lands from Jean-François de Gondi in 1632 and his assumption of the seigneurial role of Versailles in the 1630's, formal gardens were laid out west of the château.
Claude Mollet and Hilaire Masson designed the gardens, which remained relatively unchanged until the expansion ordered under Louis XIV in the 1660's. This early layout, which has survived in the so-called Du Bus plan of c.1662, shows an established topography along which lines of the gardens evolved. This is evidenced in the clear definition of the main east–west and north–south axis that anchors the gardens' layout.
Louis XIV
In 1661, after the disgrace of the finance minister Nicolas Fouquet, who was accused by rivals of embezzling crown funds in order to build his luxurious château at Vaux-le-Vicomte, Louis XIV turned his attention to Versailles.
With the aid of Fouquet's architect Louis Le Vau, painter Charles Le Brun, and landscape architect André Le Nôtre, Louis began an embellishment and expansion program at Versailles that would occupy his time and worries for the remainder of his reign.
From this point forward, the expansion of the gardens of Versailles followed the expansions of the château.
(a) The First Building Campaign
In 1662, minor modifications to the château were undertaken; however, greater attention was given to developing the gardens. Existing bosquets (clumps of trees) and parterres were expanded, and new ones created.
Most significant among the creations at this time were the Versailles Orangerie and the "Grotte de Thétys". The Orangery, which was designed by Louis Le Vau, was located south of the château, a situation that took advantage of the natural slope of the hill. It provided a protected area in which orange trees were kept during the winter months.
The "Grotte de Thétys", which was located to the north of the château, formed part of the iconography of the château and of the gardens that aligned Louis XIV with solar imagery. The grotto was completed during the second building campaign.
By 1664, the gardens had evolved to the point that Louis XIV inaugurated the gardens with the fête galante called Les Plaisirs de L'Île Enchantée. The event, was ostensibly to celebrate his mother, Anne d'Autriche, and his consort Marie-Thérèse but in reality celebrated Louise de La Vallière, Louis' mistress.
Guests were regaled with entertainments in the gardens over a period of one week. As a result of this fête - particularly the lack of housing for guests (most of them had to sleep in their carriages), Louis realised the shortcomings of Versailles, and began to expand the château and the gardens once again.
(b) The Second Building Campaign
Between 1664 and 1668, there was a flurry of activity in the gardens - especially with regard to fountains and new bosquets; it was during this time that the imagery of the gardens exploited Apollo and solar imagery as metaphors for Louis XIV.
Le Va's enveloppe of the Louis XIII's château provided a means by which, though the decoration of the garden façade, imagery in the decors of the grands appartements of the king and queen formed a symbiosis with the imagery of the gardens.
With this new phase of construction, the gardens assumed the design vocabulary that remained in force until the 18th. century. Solar and Apollonian themes predominated with projects constructed at this time.
Three additions formed the topological and symbolic nexus of the gardens during this phase of construction: the completion of the "Grotte de Thétys", the "Bassin de Latone", and the "Bassin d'Apollon".
The Grotte de Thétys
Started in 1664 and finished in 1670 with the installation of the statuary, the grotto formed an important symbolic and technical component to the gardens. Symbolically, the "Grotte de Thétys" related to the myth of Apollo - and by association to Louis XIV.
It represented the cave of the sea nymph Thetis, where Apollo rested after driving his chariot to light the sky. The grotto was a freestanding structure located just north of the château.
The interior, which was decorated with shell-work to represent a sea cave, contained the statue group by the Marsy brothers depicting the sun god attended by nereids.
Technically, the "'Grotte de Thétys" played a critical role in the hydraulic system that supplied water to the garden. The roof of the grotto supported a reservoir that stored water pumped from the Clagny pond and which fed the fountains lower in the garden via gravity.
The Bassin de Latone
Located on the east–west axis is the Bassin de Latone. Designed by André Le Nôtre, sculpted by Gaspard and Balthazar Marsy, and constructed between 1668 and 1670, the fountain depicts an episode from Ovid's Metamorphoses.
Altona and her children, Apollo and Diana, being tormented with mud slung by Lycian peasants, who refused to let her and her children drink from their pond, appealed to Jupiter who responded by turning the Lycians into frogs.
This episode from mythology has been seen as a reference to the revolts of the Fronde, which occurred during the minority of Louis XIV. The link between Ovid's story and this episode from French history is emphasised by the reference to "mud slinging" in a political context.
The revolts of the Fronde - the word fronde also means slingshot - have been regarded as the origin of the use of the term "mud slinging" in a political context.
The Bassin d'Apollon
Further along the east–west axis is the Bassin d'Apollon. The Apollo Fountain, which was constructed between 1668 and 1671, depicts the sun god driving his chariot to light the sky. The fountain forms a focal point in the garden, and serves as a transitional element between the gardens of the Petit Parc and the Grand Canal.
The Grand Canal
With a length of 1,500 metres and a width of 62 metres, the Grand Canal, which was built between 1668 and 1671, prolongs the east–west axis to the walls of the Grand Parc. During the Ancien Régime, the Grand Canal served as a venue for boating parties.
In 1674 the king ordered the construction of Petite Venise (Little Venice). Located at the junction of the Grand Canal and the northern transversal branch, Little Venice housed the caravels and yachts that were received from The Netherlands and the gondolas and gondoliers received as gifts from the Doge of Venice.
The Grand Canal also served a practical role. Situated at a low point in the gardens, it collected water that drained from the fountains in the garden above. Water from the Grand Canal was pumped back to the reservoir on the roof of the Grotte de Thétys via a network of windmill- and horse-powered pumps.
The Parterre d'Eau
Situated above the Latona Fountain is the terrace of the château, known as the Parterre d'Eau. Forming a transitional element from the château to the gardens below, the Parterre d'Eau provided a setting in which the symbolism of the grands appartements synthesized with the iconography of the gardens.
In 1664, Louis XIV commissioned a series of statues intended to decorate the water feature of the Parterre d'Eau. The Grande Command, as the commission is known, comprised twenty-four statues of the classic quaternities and four additional statues depicting abductions from the classic past.
Evolution of the Bosquets
One of the distinguishing features of the gardens during the second building campaign was the proliferation of bosquets. Expanding the layout established during the first building campaign, Le Nôtre added or expanded on no fewer that ten bosquets between 1670 and 1678:
-- The Bosquet du Marais
-- The Bosquet du Théâtre d'Eau, Île du Roi
-- The Miroir d'Eau
-- The Salle des Festins (Salle du Conseil)
-- The Bosquet des Trois Fontaines
-- The Labyrinthe
-- The Bosquet de l'Arc de Triomphe
-- The Bosquet de la Renommée (Bosquet des Dômes)
-- The Bosquet de l'Encélade
-- The Bosquet des Sources
In addition to the expansion of existing bosquets and the construction of new ones, there were two additional projects that defined this era, the Bassin des Sapins and the Pièce d'Eau des Suisses.
-- The Bassin des Sapins
In 1676, the Bassin des Sapins, which was located north of the château below the Allée des Marmoset's was designed to form a topological pendant along the north–south axis with the Pièce d'Eau des Suisses located at the base of the Satory hill south of the château.
Later modifications in the gardens transformed this fountain into the Bassin de Neptune.
-- Pièce d'Eau des Suisses
Excavated in 1678, the Pièce d'Eau des Suisses - named after the Swiss Guards who constructed the lake - occupied an area of marshes and ponds, some of which had been used to supply water for the fountains in the garden.
This water feature, with a surface area of more than 15 hectares (37 acres), is the second largest - after the Grand Canal - at Versailles.
(c) The Third Building Campaign
Modifications to the gardens during the third building campaign were distinguished by a stylistic change from the natural aesthetic of André Le Nôtre to the architectonic style of Jules Hardouin Mansart.
The first major modification to the gardens during this phase occurred in 1680 when the Tapis Vert - the expanse of lawn that stretches between the Latona Fountain and the Apollo Fountain - achieved its final size and definition under the direction of André Le Nôtre.
Beginning in 1684, the Parterre d'Eau was remodelled under the direction of Jules Hardouin-Mansart. Statues from the Grande Commande of 1674 were relocated to other parts of the garden; two twin octagonal basins were constructed and decorated with bronze statues representing the four main rivers of France.
In the same year, Le Vau's Orangerie, located to south of the Parterrre d'Eau was demolished to accommodate a larger structure designed by Jules Hardouin-Mansart.
In addition to the Orangerie, the Escaliers des Cent Marches, which facilitated access to the gardens from the south, to the Pièce d'Eau des Suisses, and to the Parterre du Midi were constructed at this time, giving the gardens just south of the château their present configuration and decoration.
Additionally, to accommodate the anticipated construction of the Aile des Nobles - the north wing of the château - the Grotte de Thétys was demolished.
With the construction of the Aile des Nobles (1685–1686), the Parterre du Nord was remodelled to respond to the new architecture of this part of the château.
To compensate for the loss of the reservoir on top of the Grotte de Thétys and to meet the increased demand for water, Jules Hardouin-Mansart designed new and larger reservoirs situated north of the Aile des Nobles.
Construction of the ruinously expensive Canal de l'Eure was inaugurated in 1685; designed by Vauban it was intended to bring waters of the Eure over 80 kilometres, including aqueducts of heroic scale, but the works were abandoned in 1690.
Between 1686 and 1687, the Bassin de Latone, under the direction of Jules Hardouin-Mansart, was rebuilt. It is this final version of the fountain that one sees today at Versailles.
During this phase of construction, three of the garden's major bosquets were modified or created. Beginning with the Galerie des Antiques, this bosquet was constructed in 1680 on the site of the earlier and short-lived Galerie d'Eau. This bosquet was conceived as an open-air gallery in which antique statues and copies acquired by the Académie de France in Rome were displayed.
The following year, construction began on the Salle de Bal. Located in a secluded section of the garden west of the Orangerie, this bosquet was designed as an amphitheater that featured a cascade – the only one surviving in the gardens of Versailles. The Salle de Bal was inaugurated in 1685 with a ball hosted by the Grand Dauphin.
Between 1684 and 1685, Jules Hardouin-Mansart built the Colonnade. Located on the site of Le Nôtre's Bosquet des Sources, this bosquet featured a circular peristyle formed from thirty-two arches with twenty-eight fountains, and was Hardouin-Mansart's most architectural of the bosquets built in the gardens of Versailles.
(d) The Fourth Building Campaign
Due to financial constraints arising from the War of the League of Augsburg and the War of the Spanish Succession, no significant work on the gardens was undertaken until 1704.
Between 1704 and 1709, bosquets were modified, some quite radically, with new names suggesting the new austerity that characterised the latter years of Louis XIV's reign.
Louis XV
With the departure of the king and court from Versailles in 1715 following the death of Louis XIV, the palace and gardens entered an era of uncertainty.
In 1722, Louis XV and the court returned to Versailles. Seeming to heed his great-grandfather's admonition not to engage in costly building campaigns, Louis XV did not undertake the costly rebuilding that Louis XIV had.
During the reign of Louis XV, the only significant addition to the gardens was the completion of the Bassin de Neptune (1738–1741).
Rather than expend resources on modifying the gardens at Versailles, Louis XV - an avid botanist - directed his efforts at Trianon. In the area now occupied by the Hameau de la Reine, Louis XV constructed and maintained les Jardins Botaniques.
In 1761, Louis XV commissioned Ange-Jacques Gabriel to build the Petit Trianon as a residence that would allow him to spend more time near the Jardins Botaniques. It was at the Petit Trianon that Louis XV fell fatally ill with smallpox; he died at Versailles on the 10th. May 1774.
Louis XVI
Upon Louis XVI's ascension to the throne, the gardens of Versailles underwent a transformation that recalled the fourth building campaign of Louis XIV. Engendered by a change in outlook as advocated by Jean-Jacques Rousseau and the Philosophes, the winter of 1774–1775 witnessed a complete replanting of the gardens.
Trees and shrubbery dating from the reign of Louis XIV were felled or uprooted with the intent of transforming the French formal garden of Le Nôtre and Hardouin-Mansart into a version of an English landscape garden.
The attempt to convert Le Nôtre's masterpiece into an English-style garden failed to achieve its desired goal. Owing largely to the topology of the land, the English aesthetic was abandoned and the gardens replanted in the French style.
However, with an eye on economy, Louis XVI ordered the Palisades - the labour-intensive clipped hedging that formed walls in the bosquets - to be replaced with rows of lime trees or chestnut trees. Additionally, a number of the bosquets dating from the time of the Sun King were extensively modified or destroyed.
The most significant contribution to the gardens during the reign of Louis XVI was the Grotte des Bains d'Apollon. The rockwork grotto set in an English style bosquet was the masterpiece of Hubert Robert in which the statues from the Grotte de Thétys were placed.
Revolution
In 1792, under order from the National Convention, some of the trees in the gardens were felled, while parts of the Grand Parc were parcelled and dispersed.
Sensing the potential threat to Versailles, Louis Claude Marie Richard (1754–1821) – director of the Jardins Botaniques and grandson of Claude Richard – lobbied the government to save Versailles. He succeeded in preventing further dispersing of the Grand Parc, and threats to destroy the Petit Parc were abolished by suggesting that the parterres could be used to plant vegetable gardens, and that orchards could occupy the open areas of the garden.
These plans were never put into action; however, the gardens were opened to the public - it was not uncommon to see people washing their laundry in the fountains and spreading it on the shrubbery to dry.
Napoléon I
The Napoleonic era largely ignored Versailles. In the château, a suite of rooms was arranged for the use of the empress Marie-Louise, but the gardens were left unchanged, save for the disastrous felling of trees in the Bosquet de l'Arc de Triomphe and the Bosquet des Trois Fontaines. Massive soil erosion necessitated planting of new trees.
Restoration
With the restoration of the Bourbons in 1814, the gardens of Versailles witnessed the first modifications since the Revolution. In 1817, Louis XVIII ordered the conversion of the Île du Roi and the Miroir d'Eau into an English-style garden - the Jardin du Roi.
The July Monarchy; The Second Empire
While much of the château's interior was irreparably altered to accommodate the Museum of the History of France (inaugurated by Louis-Philippe on the 10th. June 1837), the gardens, by contrast, remained untouched.
With the exception of the state visit of Queen Victoria and Prince Albert in 1855, at which time the gardens were a setting for a gala fête that recalled the fêtes of Louis XIV, Napoléon III ignored the château, preferring instead the château of Compiègne.
Pierre de Nolhac
With the arrival of Pierre de Nolhac as director of the museum in 1892, a new era of historical research began at Versailles. Nolhac, an ardent archivist and scholar, began to piece together the history of Versailles, and subsequently established the criteria for restoration of the château and preservation of the gardens, which are ongoing to this day.
Bosquets of the Gardens
Owing to the many modifications made to the gardens between the 17th. and the 19th. centuries, many of the bosquets have undergone multiple modifications, which were often accompanied by name changes.
Deux Bosquets - Bosquet de la Girondole - Bosquet du Dauphin - Quinconce du Nord - Quinconce du Midi
These two bosquets were first laid out in 1663. They were arranged as a series of paths around four salles de verdure and which converged on a central "room" that contained a fountain.
In 1682, the southern bosquet was remodeled as the Bosquet de la Girondole, thus named due to spoke-like arrangement of the central fountain. The northern bosquet was rebuilt in 1696 as the Bosquet du Dauphin with a fountain that featured a dolphin.
During the replantation of 1774–1775, both the bosquets were destroyed. The areas were replanted with lime trees and were rechristened the Quinconce du Nord and the Quinconce du Midi.
Labyrinthe - Bosquet de la Reine
In 1665, André Le Nôtre planned a hedge maze of unadorned paths in an area south of the Latona Fountain near the Orangerie. In 1669, Charles Perrault - author of the Mother Goose Tales - advised Louis XIV to remodel the Labyrinthe in such a way as to serve the Dauphin's education.
Between 1672 and 1677, Le Nôtre redesigned the Labyrinthe to feature thirty-nine fountains that depicted stories from Aesop's Fables. The sculptors Jean-Baptiste Tuby, Étienne Le Hongre, Pierre Le Gros, and the brothers Gaspard and Balthazard Marsy worked on these thirty-nine fountains, each of which was accompanied by a plaque on which the fable was printed, with verse written by Isaac de Benserade; from these plaques, Louis XIV's son learned to read.
Once completed in 1677, the Labyrinthe contained thirty-nine fountains with 333 painted metal animal sculptures. The water for the elaborate waterworks was conveyed from the Seine by the Machine de Marly.
The Labyrinthe contained fourteen water-wheels driving 253 pumps, some of which worked at a distance of three-quarters of a mile.
Citing repair and maintenance costs, Louis XVI ordered the Labyrinthe demolished in 1778. In its place, an arboretum of exotic trees was planted as an English-styled garden.
Rechristened Bosquet de la Reine, it would be in this part of the garden that an episode of the Affair of the Diamond Necklace, which compromised Marie-Antoinette, transpired in 1785.
Bosquet de la Montagne d'Eau - Bosquet de l'Étoile
Originally designed by André Le Nôtre in 1661 as a salle de verdure, this bosquet contained a path encircling a central pentagonal area. In 1671, the bosquet was enlarged with a more elaborate system of paths that served to enhance the new central water feature, a fountain that resembled a mountain, hence the bosquets new name: Bosquet de la Montagne d'Eau.
The bosquet was completely remodeled in 1704 at which time it was rechristened Bosquet de l'Étoile.
Bosquet du Marais - Bosquet du Chêne Vert - Bosquet des Bains d'Apollon - Grotte des Bains d'Apollon
Created in 1670, this bosquet originally contained a central rectangular pool surrounded by a turf border. Edging the pool were metal reeds that concealed numerous jets for water; a swan that had water jetting from its beak occupied each corner.
The centre of the pool featured an iron tree with painted tin leaves that sprouted water from its branches. Because of this tree, the bosquet was also known as the Bosquet du Chêne Vert.
In 1705, this bosquet was destroyed in order to allow for the creation of the Bosquet des Bains d'Apollon, which was created to house the statues had once stood in the Grotte de Thétys.
During the reign of Louis XVI, Hubert Robert remodeled the bosquet, creating a cave-like setting for the Marsy statues. The bosquet was renamed the Grotte des Bains d'Apollon.
Île du Roi - Miroir d'Eau - Jardin du Roi
Originally designed in 1671 as two separate water features, the larger - Île du Roi - contained an island that formed the focal point of a system of elaborate fountains.
The Île du Roi was separated from the Miroir d'Eau by a causeway that featured twenty-four water jets. In 1684, the island was removed and the total number of water jets in the bosquet was significantly reduced.
The year 1704 witnessed a major renovation of the bosquet, at which time the causeway was remodelled and most of the water jets were removed.
A century later, in 1817, Louis XVIII ordered the Île du Roi and the Miroir d'Eau to be completely remodeled as an English-style garden. At this time, the bosquet was rechristened Jardin du Roi.
Salle des Festins - Salle du Conseil - Bosquet de l'Obélisque
In 1671, André Le Nôtre conceived a bosquet - originally christened Salle des Festins and later called Salle du Conseil - that featured a quatrefoil island surrounded by a channel containing fifty water jets. Access to the island was obtained by two swing bridges.
Beyond the channel and placed at the cardinal points within the bosquet were four additional fountains. Under the direction of Jules Hardouin-Mansart, the bosquet was completely remodeled in 1706. The central island was replaced by a large basin raised on five steps, which was surrounded by a canal. The central fountain contained 230 jets that, when in play, formed an obelisk – hence the new name Bosquet de l'Obélisque.
Bosquet du Théâtre d'Eau - Bosquet du Rond-Vert
The central feature of this bosquet, which was designed by Le Nôtre between 1671 and 1674, was an auditorium/theatre sided by three tiers of turf seating that faced a stage decorated with four fountains alternating with three radiating cascades.
Between 1680 and Louis XIV's death in 1715, there was near-constant rearranging of the statues that decorated the bosquet.
In 1709, the bosquet was rearranged with the addition of the Fontaine de l'Île aux Enfants. As part of the replantation of the gardens ordered by Louis XVI during the winter of 1774–1775, the Bosquet du Théâtre d'Eau was destroyed and replaced with the unadorned Bosquet du Rond-Vert. The Bosquet du Théâtre d'Eau was recreated in 2014, with South Korean businessman and photographer Yoo Byung-eun being the sole patron, donating €1.4 million.
Bosquet des Trois Fontaines - Berceau d'Eau
Situated to the west of the Allée des Marmousets and replacing the short-lived Berceau d'Eau (a long and narrow bosquet created in 1671 that featured a water bower made by numerous jets of water), the enlarged bosquet was transformed by Le Nôtre in 1677 into a series of three linked rooms.
Each room contained a number of fountains that played with special effects. The fountains survived the modifications that Louis XIV ordered for other fountains in the gardens in the early 18th. century and were subsequently spared during the 1774–1775 replantation of the gardens.
In 1830, the bosquet was replanted, at which time the fountains were suppressed. Due to storm damage in the park in 1990 and then again in 1999, the Bosquet des Trois Fontaines was restored and re-inaugurated on the 12th. June 2004.
Bosquet de l'Arc de Triomphe
This bosquet was originally planned in 1672 as a simple pavillon d'eau - a round open expanse with a square fountain in the centre. In 1676, this bosquet was enlarged and redecorated along political lines that alluded to French military victories over Spain and Austria, at which time the triumphal arch was added - hence the name.
As with the Bosquet des Trois Fontaines, this bosquet survived the modifications of the 18th. century, but was replanted in 1830, at which time the fountains were removed.
Bosquet de la Renommée - Bosquet des Dômes
Built in 1675, the Bosquet de la Renommée featured a fountain statue of Fame. With the relocation of the statues from the Grotte de Thétys in 1684, the bosquet was remodelled to accommodate the statues, and the Fame fountain was removed.
At this time the bosquet was rechristened Bosquet des Bains d'Apollon. As part of the reorganisation of the garden that was ordered by Louis XIV in the early part of the 18th. century, the Apollo grouping was moved once again to the site of the Bosquet du Marais - located near the Latona Fountain - which was destroyed and was replaced by the new Bosquet des Bains d'Apollon.
The statues were installed on marble plinths from which water issued; and each statue grouping was protected by an intricately carved and gilded baldachin.
The old Bosquet des Bains d'Apollon was renamed Bosquet des Dômes due to two domed pavilions built in the bosquet.
Bosquet de l'Encélade
Created in 1675 at the same time as the Bosquet de la Renommée, the fountain of this bosquet depicts Enceladus, a fallen Giant who was condemned to live below Mount Etna, being consumed by volcanic lava.
From its conception, this fountain was conceived as an allegory of Louis XIV's victory over the Fronde. In 1678, an octagonal ring of turf and eight rocaille fountains surrounding the central fountain were added. These additions were removed in 1708.
When in play, this fountain has the tallest jet of all the fountains in the gardens of Versailles - 25 metres.
Bosquet des Sources - La Colonnade
Designed as a simple unadorned salle de verdure by Le Nôtre in 1678, the landscape architect enhanced and incorporated an existing stream to create a bosquet that featured rivulets that twisted among nine islets.
In 1684, Jules Hardouin-Mansart completely redesigned the bosquet by constructing a circular arched double peristyle. The Colonnade, as it was renamed, originally featured thirty-two arches and thirty-one fountains – a single jet of water splashed into a basin center under the arch.
In 1704, three additional entrances to the Colonnade were added, which reduced the number of fountains from thirty-one to twenty-eight. The statue that currently occupies the centre of the Colonnade - the Abduction of Persephone - (from the Grande Commande of 1664) was set in place in 1696.
Galerie d'Eau - Galerie des Antiques - Salle des Marronniers
Occupying the site of the Galerie d'Eau (1678), the Galerie des Antiques was designed in 1680 to house the collection of antique statues and copies of antique statues acquired by the Académie de France in Rome.
Surrounding a central area paved with colored stone, a channel was decorated with twenty statues on plinths, each separated by three jets of water.
The Galerie was completely remodeled in 1704 when the statues were transferred to Marly and the bosquet was replanted with horse chestnut trees - hence the current name Salle des Marronniers.
Salle de Bal
This bosquet, which was designed by Le Nôtre and built between 1681 and 1683, features a semi-circular cascade that forms the backdrop for a salle de verdure.
Interspersed with gilt lead torchères, which supported candelabra for illumination, the Salle de Bal was inaugurated in 1683 by Louis XIV's son, the Grand Dauphin, with a dance party.
The Salle de Bal was remodeled in 1707 when the central island was removed and an additional entrance was added.
Replantations of the Gardens
Common to any long-lived garden is replantation, and Versailles is no exception. In their history, the gardens of Versailles have undergone no less than five major replantations, which have been executed for practical and aesthetic reasons.
During the winter of 1774–1775, Louis XVI ordered the replanting of the gardens on the grounds that many of the trees were diseased or overgrown, and needed to be replaced.
Also, as the formality of the 17th.-century garden had fallen out of fashion, this replantation sought to establish a new informality in the gardens - that would also be less expensive to maintain.
This, however, was not achieved, as the topology of the gardens favored the Jardin à la Française over an English-style garden.
Then, in 1860, much of the old growth from Louis XVI's replanting was removed and replaced. In 1870, a violent storm struck the area, damaging and uprooting scores of trees, which necessitated a massive replantation program.
However, owing to the Franco-Prussian War, which toppled Napoléon III, and the Commune de Paris, replantation of the garden did not get underway until 1883.
The most recent replantations of the gardens were precipitated by two storms that battered Versailles in 1990 and then again in 1999. The storm damage at Versailles and Trianon amounted to the loss of thousands of trees - the worst such damage in the history of Versailles.
The replantations have allowed museum and governmental authorities to restore and rebuild some of the bosquets that were abandoned during the reign of Louis XVI, such as the Bosquet des Trois Fontaines, which was restored in 2004.
Catherine Pégard, the head of the public establishment which administers Versailles, has stated that the intention is to return the gardens to their appearance under Louis XIV, specifically as he described them in his 1704 description, Manière de Montrer les Jardins de Versailles.
This involves restoring some of the parterres like the Parterre du Midi to their original formal layout, as they appeared under Le Nôtre. This was achieved in the Parterre de Latone in 2013, when the 19th. century lawns and flower beds were torn up and replaced with boxwood-enclosed turf and gravel paths to create a formal arabesque design.
Pruning is also done to keep trees at between 17 and 23 metres (56 to 75 feet), so as not to spoil the carefully designed perspectives of the gardens.
Owing to the natural cycle of replantations that has occurred at Versailles, it is safe to state that no trees dating from the time of Louis XIV are to be found in the gardens.
Problems With Water
The marvel of the gardens of Versailles - then as now - is the fountains. Yet, the very element that animates the gardens, water, has proven to be the affliction of the gardens since the time of Louis XIV.
The gardens of Louis XIII required water, and local ponds provided an adequate supply. However, once Louis XIV began expanding the gardens with more and more fountains, supplying the gardens with water became a critical challenge.
To meet the needs of the early expansions of the gardens under Louis XIV, water was pumped to the gardens from ponds near the château, with the Clagny pond serving as the principal source.
Water from the pond was pumped to the reservoir on top of the Grotte de Thétys, which fed the fountains in the garden by means of gravitational hydraulics. Other sources included a series of reservoirs located on the Satory Plateau south of the château.
The Grand Canal
By 1664, increased demand for water necessitated additional sources. In that year, Louis Le Vau designed the Pompe, a water tower built north of the château. The Pompe drew water from the Clagny pond using a system of windmills and horsepower to a cistern housed in the Pompe's building. The capacity of the Pompe 600 cubic metres per day - alleviated some of the water shortages in the garden.
With the completion of the Grand Canal in 1671, which served as drainage for the fountains of the garden, water, via a system of windmills, was pumped back to the reservoir on top of the Grotte de Thétys.
While this system solved some of the water supply problems, there was never enough water to keep all of the fountains running in the garden in full-play all of the time.
While it was possible to keep the fountains in view from the château running, those concealed in the bosquets and in the farther reaches of the garden were run on an as-needed basis.
In 1672, Jean-Baptiste Colbert devised a system by which the fountaineers in the gardens would signal each other with whistles upon the approach of the king, indicating that their fountain needed to be turned on. Once the king had passed a fountain in play, it would be turned off and the fountaineer would signal that the next fountain could be turned on.
In 1674, the Pompe was enlarged, and subsequently referred to as the Grande Pompe. Pumping capacity was increased via increased power and the number of pistons used for lifting the water. These improvements increased the water capacity to nearly 3,000 cubic metres of water per day; however, the increased capacity of the Grande Pompe often left the Clagny pond dry.
The increasing demand for water and the stress placed on existing systems of water supply necessitated newer measures to increase the water supplied to Versailles. Between 1668 and 1674, a project was undertaken to divert the water of the Bièvre river to Versailles. By damming the river and with a pumping system of five windmills, water was brought to the reservoirs located on the Satory Plateau. This system brought an additional 72,000 cubic metres water to the gardens on a daily basis.
Despite the water from the Bièvre, the gardens needed still more water, which necessitated more projects. In 1681, one of the most ambitious water projects conceived during the reign of Louis XIV was undertaken.
Owing to the proximity of the Seine to Versailles, a project was proposed to raise the water from the river to be delivered to Versailles. Seizing upon the success of a system devised in 1680 that raised water from the Seine to the gardens of Saint-Germain-en-Laye, construction of the Machine de Marly began the following year.
The Machine de Marly was designed to lift water from the Seine in three stages to the Aqueduc de Louveciennes some 100 metres above the level of the river. A series of huge waterwheels was constructed in the river, which raised the water via a system of 64 pumps to a reservoir 48 metres above the river. From this first reservoir, water was raised an additional 56 metres to a second reservoir by a system of 79 pumps. Finally, 78 additional pumps raised the water to the aqueduct, which carried the water to Versailles and Marly.
In 1685, the Machine de Marly came into full operation. However, owing to leakage in the conduits and breakdowns of the mechanism, the machine was only able to deliver 3,200 cubic metres of water per day - approximately one-half the expected output. The machine was nevertheless a must-see for visitors. Despite the fact that the gardens consumed more water per day than the entire city of Paris, the Machine de Marly remained in operation until 1817.
During Louis XIV's reign, water supply systems represented one-third of the building costs of Versailles. Even with the additional output from the Machine de Marly, fountains in the garden could only be run à l'ordinaire - which is to say at half-pressure.
With this measure of economy, the fountains still consumed 12,800 cubic metres of water per day, far above the capacity of the existing supplies. In the case of the Grandes Eaux - when all the fountains played to their maximum - more than 10,000 cubic metres of water was needed for one afternoon's display.
Accordingly, the Grandes Eaux were reserved for special occasions such as the Siamese Embassy visit of 1685–1686.
The Canal de l'Eure
One final attempt to solve water shortage problems was undertaken in 1685. In this year it was proposed to divert the water of the Eure river, located 160 km. south of Versailles and at a level 26 m above the garden reservoirs.
The project called not only for digging a canal and for the construction of an aqueduct, it also necessitated the construction of shipping channels and locks to supply the workers on the main canal.
Between 9,000 to 10,000 troops were pressed into service in 1685; the next year, more than 20,000 soldiers were engaged in construction. Between 1686 and 1689, when the Nine Years' War began, one-tenth of France's military was at work on the Canal de l'Eure project.
However with the outbreak of the war, the project was abandoned, never to be completed. Had the aqueduct been completed, some 50,000 cubic metres of water would have been sent to Versailles - more than enough to solve the water problem of the gardens.
Today, the museum of Versailles is still faced with water problems. During the Grandes Eaux, water is circulated by means of modern pumps from the Grand Canal to the reservoirs. Replenishment of the water lost due to evaporation comes from rainwater, which is collected in cisterns that are located throughout the gardens and diverted to the reservoirs and the Grand Canal.
Assiduous husbanding of this resource by museum officials prevents the need to tap into the supply of potable water of the city of Versailles.
The Versailles Gardens In Popular Culture
The creation of the gardens of Versailles is the context for the film 'A Little Chaos', directed by Alan Rickman and released in 2015, in which Kate Winslet plays a fictional landscape gardener and Rickman plays King Louis XIV.
The Kaiser Permanente Center for Total Health is sending its Google Glass V1 back as part of the Explorer exchange program.
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