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Published by:
"Realistic Travels~ Publishers
London-Cape Town- Bombay-Melbourne-Toronto.
By Royal Command to their Imperial Majesties King George V and Queen Mary".
Description reads:
"Sandy desert blown into ripples by the wind in the Libyan desert west of Lake Moeris, Fayum"
The Postcard
A postally unused postcard published on behalf of California-in-England Ltd. by the Photochrom Co. Ltd.
The Photochrom Co. Ltd.
The Photochrom Co. Ltd. of London and Royal Tunbridge Wells originally produced Christmas cards before becoming a major publisher and printer of tourist albums, guide books, and postcards.
These mainly captured worldwide views as real photos, or were printed in black & white, monochrome, and color.
They also published many advertising, comic, silhouette, novelty, panoramic, and notable artist-signed cards in named series as well. The huge number of titles that Photochrom produced may well exceed 40,000.
In 1896 they took over Fussli’s London office established three years earlier, and began publishing similar photo-chromolithographic postcards after securing the exclusive English licence for the Swiss photochrom process.
This technique was used to produce a great number of view-cards of both England and Europe. While they captured the same fine details as the Swiss prints, their colours were much softer and reduced.
Apart from their better known photochroms, they produced their Celesque series of view-cards printed in tricolor.
One of the largest unnamed series that Photochrom produced was of view-cards printed in brown rotogravure. Many of these cards were simply hand coloured with a dominant red and blue, which gives these cards a distinct appearance. They are similar to cards produced in their Photogravure and Velvet Finish Series.
Photochrom postcard series include:
-- Night Series - Line block halftone over a blue tint depicting London.
-- Carbofoto Series - Black & white real photo cards.
-- Sepiatone Series - Sepia real photo cards.
-- Grano Series - View-cards printed in black & white.
-- Exclusive Photo-Color Series - View-cards printed in colour.
-- Duotype Process Series - View-cards printed in two tones.
California Country Park
California Country Park is a 100-acre (40 ha) country park covering Long Moor in the north of the parish of Finchampstead in Berkshire. It consists of lowland heath and bogland, including Longmoor Bog, a Site of Special Scientific Interest (SSSI) and Local Nature Reserve.
History of the Park
In 1931, the area was established as an amusement park and zoo by Alfred Cartilage, and was called 'California in England'. Alfred built the park so that he could use his Charabanc company, based in Teddington, London, to take parties of people from London to the countryside.
A miniature railway was initially laid out to 10.25", but was soon changed to 18". This lasted until the outbreak of the second world war, when the park closed and all the buildings were used for the manufacture of munitions, mostly for the aircraft industry.
Alfred reopened the park after the war and set about developing the rides, many of which were designed and built onsite, including the famous Snake Train.
The railway was reestablished using a petrol-powered locomotive.
Alfred's son Norman took over in the early 1950's and continued the development of the site.
The track was extended across the bog, and had a point installed with the intention of constructing a loop. Track-work was never completed beyond the apex of the loop, and it is here that after the park closed the last loco on the line was run off into the swamp. It is probably still there.
The cleared area between the railway and the original rides was developed with extra rides. There was a small galloping horses roundabout, a full size 'chairoplane', climbing frame, swing boats and a concrete oval track.
The latter was initially intended for petrol driven go-karts, but these were a maintenance nightmare and were soon replaced by children's pedal cars of the Austin J40 and Pathfinder type.
The removal of the original station opened up access to a further area of scrub which was cleared to provide a site for a circus which operated each summer for several years.
The art deco main building, built around 1937, included a famous sprung glass floored ballroom over the restaurant and featured a full calendar of dances, often with 'star turns'. This structure was destroyed by fire in 1976.
In the 1930's, and lasting to the 1950's the Park was home to a speedway track, where local speedway team the 'The California Poppies' competed on the dirt track laid out in a remote corner of the estate.
In the early 1960's the amusement business was failing and the site was obtained new owners who turned it into a holiday camp. Caravan and camping facilities are still available on site at the California Chalet and Touring Park, but the main part of the original amusement area is within the country park and now largely overgrown.
My photo of a Davidson's plum tree in the latest issue (No. 131) of Wild magazine.
Thanks to Ang for inspiring me to use a 50mm lens.
Once again... VISION Magazine - the leading Art Fashion magazine in China- gave me a part including an interview in their project - me representing Moscow among some other world metropols which are Tokyo, Paris, Berlin, London and New York. The theme of the project was the characters of metropols and how the photograhers capture it. Why they chose me? I also asked this question. According to the Editor's words; my images show the real essence of the city not only by itself but through the moments and emotions of the inhabitants, all together defining a character to the city in an honest way. I'm highly honored and happy that I'm doing something right good. :) P.S : I definitely would select different pictures however they've asked 60-70 shots and finally these were chosen for the final layout.
My first published picture using the Nikon 50/1.2 on my Rebel XS.
I like the outcome so much that aside from the border and watermark, this picture is essentially untouched
First Minister Nicola Sturgeon and Finance Secretary Derek Mackay visited business start-up Aquila Biomedical, based at Edinburgh BioQuarter.
Where they released latest Government Expenditure and Revenue Scotland (GERS) figures show Scotland’s fiscal position improved in 2016-17.
I have another eight photos which have been published. They appear in a brochure by the Tennessee Trails and Byways program entitled "Screaming Eagle Trail" and have been rearranged into the montage here. The brochure can be found at most any rest area in the state or can be downloaded as a PDF here:
tntrailsandbyways.com/trail/10/screaming-eagle/
The photos which are mine are:
1) Loretta Lynn's Kitchen - www.flickr.com/photos/brent_nashville/3671591488/
2) Cumberland Furnace Depot - www.flickr.com/photos/brent_nashville/2706188416/
3) Hickerson Hotel - www.flickr.com/photos/brent_nashville/5444884236/
4) Dickson War Memorial Building - www.flickr.com/photos/brent_nashville/3635504322/
5) Ragan's Furniture - www.flickr.com/photos/brent_nashville/3193282129/
6) Dickson County Courthouse - www.flickr.com/photos/brent_nashville/5563129735/
7) Patsy Cline Memorial - www.flickr.com/photos/brent_nashville/6256626597/
8) Birthplace Shrine Chapel - www.flickr.com/photos/brent_nashville/3783786973/
Happy day - my work (eight photos!) has just been published in a pinhole collection called Dark Chamber Vol II by Urban Fox Press .
Featuring work by Billy Childish, Wolf Howard, Dave Wise, Nhung Dang, Antonio Goncalves, Matthias Hagemann, Terry Towery, Lena Kallberg, Mark Tweedie, Boris Malyi, Arunas Kulikauskas, Christian Nze, Suzanne Rochette, Peter Wiklund, Robin Cruz, Leslie Bastress, David Gates, Gabriel Biderman, Hugh Jones, Steve Irvine, Ian Bodfish, Willem Labeji, Melissa Joi Slepekis, Ohte Kumi, Simon Peevers, Karl Farrer, Patrick Schaudy and Aurelie Hubert.
Woodcut cover artwork by Billy Childish.
Nhung Dang is in this book too, great images -
Published by Usborne books in 1979, The Detectives Handbook (also published as 3 separate books) was quite simply my favourite childhood book.
Usborne are always known for the wealth of their illustrations, and these were no different. Pages of Colin King's artwork that made me want to go out and copy it, and above all, I wanted that detectives office!
The Postcard
A postcard that was published by Penrose & Palmer of Oxford, and printed by The Vandyck Printers Ltd. of Bristol.
The card was posted on Monday the 29th. June 1931 to:
Mrs. L. Willey,
Holcombe Hall,
Dawlish,
S. Devon.
The very brief message on the divided back was as follows:
"D. K.
Bill".
Queen's College Oxford
Queen's College Oxford was founded in 1341 by Robert de Eglesfield in honour of Queen Philippa of Hainaut (wife of King Edward III of England). The college is distinguished by its predominantly neoclassical architecture, which includes buildings designed by Sir Christopher Wren and Nicholas Hawksmoor.
In 2015, the college had an endowment of £265 million, making it the fifth wealthiest college (after St. John's, Christ Church, All Souls and Merton).
In April 2012, as part of the celebrations of the Diamond Jubilee of Elizabeth II, a series of commemorative stamps were released featuring A-Z pictures of famous British landmarks. Queen's College's front quad was used on the Q stamp, alongside other landmarks such as the Angel of the North on A and the Old Bailey on O.
The most famous feast of the College is the Boar's Head Gaudy, which originally was the Christmas Dinner for members of the College who were unable to return home over the Christmas break between terms, but is now a feast for old members of the College on the Saturday before Christmas.
Queen's College Alumni
Alumni of Queen's include:
- Tony Abbott, 28th Prime Minister of Australia
- Rowan Atkinson, actor and comedian, known for Blackadder and Mr. Bean
- Jeremy Bentham, English philosopher, and legal and social reformer
- Tim Berners-Lee, inventor of the World Wide Web
- Cory Booker, United States Senator from New Jersey
- Eric Garcetti, Mayor of Los Angeles
- Leonard Hoffmann, Baron Hoffmann, English jurist and judge
- Edmund Halley, English astronomer
- King Henry V of England
- Edwin Powell Hubble, American astronomer
- Sir John Peel, gynaecologist to H.M. Queen Elizabeth II
- Leopold Stokowski, conductor.
John Bailey
So what else happened on the day that Bill posted the card?
Well, the 29th. June 1931 was not a good day for John Bailey, because he died on that day.
John Cann Bailey, who was born on the 10th. January 1864, was an English literary critic, lecturer, and chairman of the National Trust.
Bailey qualified as a barrister, but did not practise law. He attempted unsuccessfully to enter politics, and later became a leading figure in the National Trust.
As a literary critic he wrote twelve books and many reviews in literary journals. He was assistant editor of The Quarterly Review, and chairman (later president) of the English Association.
-- John Bailey's Life and Career
Bailey was born in Wymondham, Norfolk, the third son of Elijah Crosier Bailey, a solicitor, and his wife, Jane Sarah née Cann.
He was educated at Haileybury College and, from 1882 to 1886, at New College, Oxford, where he obtained a second class degree in classics. He made many friends in the literary and artistic circles of Oxford, and developed his love of fine arts and Greek and Latin classics.
He was called to the bar by the Inner Temple in 1892, but never practised law; he had a private income adequate to sustain him.
John made an unsuccessful attempt to enter politics as a Conservative candidate, losing at parliamentary elections in 1895 and 1900. Among those elected to parliament at the first of these elections was Alfred Lyttelton, to whom Bailey was for a time assistant private secretary.
In April 1900 he married Lyttelton's half-sister, Sarah Kathleen (1879–1941), the eldest daughter of the second marriage of George Lyttelton, 4th Baron Lyttelton. They had three daughters, the youngest of whom predeceased Bailey.
Bailey was a prominent member of the Literary Society, of which he eventually became president. He was also active in the affairs of the Johnson Society. His principal activity in public affairs was with the National Trust, of which he was chairman from 1923 until his death. The Times commented in 1931:
"The strong position which the National
Trust now occupies is largely due to him,
and it will perhaps never be known how
many generous gifts of rural beauty and
historic interest the nation owes, directly
or indirectly, to his persuasive enthusiasm."
Of Bailey's output as a literary critic, his biographer Algernon Cecil wrote:
"Bailey's intense pleasure in good talk may
possibly have restricted his literary output,
but his literary ambition was always
circumscribed.
He related that when people asked him to
write a magnum opus he used to counter by
enquiring: "If I write it, will you buy it, and will
you read it?"
It is arguable that his best work was, in fact,
slight in compass. He himself may have rated
highest his Milton (1915), a little book, but many
of his contemporaries felt that Dr Johnson and
his Circle (1913) gave his particular powers their
fullest scope".
Bailey was deputy editor of The Quarterly Review, 1907–08 and 1909–10. He also wrote articles on literary subjects for The Edinburgh Review, The Fortnightly Review and other Reviews.
A leading member of the English Association, he was its chairman from 1912 to 1915, and president from 1925 to 1926. John was a frequent lecturer on literature; among his appointments were those of Warton Lecturer to the British Academy, 1919; Clark Lecturer, Trinity College, Cambridge, 1921; Taylorian Lecturer in the University of Oxford, 1926; and Fry Lecturer to the University of Bristol, 1927.
During the First World War Bailey worked for British intelligence, where he was responsible for propaganda in France, Spain, and Italy. In 1918, transferred to the Foreign Office he was involved in the planning for the Paris peace conference. After the war he was a candidate for the chair of poetry at Oxford, but the election was won by H. W. Garrod.
-- The Death of John Bailey
Bailey died at his house in South Kensington, London, aged 67. He was laid to rest at Wramplingham, Norfolk, near his birthplace.
Assassin's Creed Origins is an action-adventure video game developed by Ubisoft Montreal and published by Ubisoft. It is the tenth major installment in the Assassin's Creed series and the successor to 2015's Assassin's Creed Syndicate. It was released worldwide for Microsoft Windows, PlayStation 4, and Xbox One on October 27, 2017. The game is set in Ancient Egypt during the Ptolemaic period and recounts the secret fictional history of real-world events. The story explores the origins of the centuries-long conflict between the Brotherhood of Assassins, who fight for peace by promoting liberty and The Order of the Ancients—forerunners to the Templar Order—who desire peace through the forceful imposition of order. Origins received positive reviews from critics, who praised the story, voice acting, immersive world of Egypt and visuals, while criticizing some of the pacing and technical issues. Despite this, some critics called it the best installment of the series since 2013's Assassin's Creed IV: Black Flag.
Burhan C. Doğançay (11 September 1929 – 16 January 2013) was a Turkish-American artist. Doğançay is best known for tracking walls in various cities across the world for half a century, integrating them in his artistic work.
Plane Wing I/Flugzeugflügel I, 1963 (Gouache, Tinte/Gouache, ink), Albertina - Schenkung/Donation, 2015
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
This photograph was published in the Illustrated Chronicle on the 10th of November 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.
Published as shot i.e. no post-processing.
View even larger: farm3.static.flickr.com/2129/2264736732_887b96131a_o.jpg
St Philip’s, Belvidere, was also carried on towards completion: but through hindrances common in the bush, it was not formally opened for divine service until after the commencement of the present year. Ref: South Australian Register (Adelaide SA) Tuesday 13 May 1862.
Belvidere May 1
The vestry meeting of the Church of St Philip, Belvidere, near Marrabel, was held on the 25th ult particulars of which have already been published.
The Church of St Philip, Belvidere is pleasantly situated on an eminence about two miles and a half from Marrabel, in the vicinity of a number of Episcopalian residents. In its establishment there was much praiseworthy zeal shown. Mr Levi Broadbent not only gave a handsome donation of £100, but an acre of ground on which the church stands. The church, though still requiring to be plastered, and sundry other little matters, is comfortable and of adequate size. Its floor is of brick, and it is furnished with neat cedar sittings. There is an elevated deal platform for administering the service, enclosed with neat cedar railing.
The church is also used for a school which is much needed in this quarter: the distance either to Marrabel or Hamilton being too far for the children to walk. The number of children now in attendance is not so large as it was a short time since owing to ploughing and sowing. The parents regret keeping them away, being extremely satisfied with their progress under the present teacher. The intention of the Rev J B Titherington was to conduct the Church service every alternate Sunday, but as that gentleman has to attend Auburn, Chingford, Riverton (in the latter service morning and evening) and here it is more than he could do to attend personally each time, so he was obliged to appoint lay readers to assist him. Ref: South Australian Register (Adelaide SA) Monday 6 May 1867.
Stained-glass window in St Philip's Church, Belvidere, South Australia, was installed as a memorial to the district's pioneers who built the church nearly 100 years ago.
Granddaughter of pioneer Levi Broadbent, 84-year-old Mrs John Rowett was prevented by illness from attending the dedication ceremony at the church, so a special call was made by the rector, the Rev Phillip Smith, at her home in Marrabel township. Mrs Rowett enjoyed telling her callers the story of the building of the church which she had heard from her mother. She described how the pioneers erected it themselves without help of an architect or trained builders.
Names of many members of the congregation who attended the dedication of a new stained-glass window and stone altar at little St Philip's Church of England, Belvidere, SA, on a recent Sunday morning matched those on the tombstones in the spick and span cemetery in the church grounds.
It was as though those named on the tombstones - Levi Broadbent, Hannah Sheppard, Mally Gill, James Hyde, John Dart, Samuel Dorrington. the Bradshaws, the Penneys, and others who founded, built, and supported the little church in the middle of last century - still directed its affairs.
But in place of Samuel Dorrington, the first warden and donor of the first 2000 bricks to build the church, there is his great-great-grandson, Colin Dorrington, as warden today. And the great-great grandson of Levi Broadbent, who gave the two acres of land and many building materials m 1856, is the other young warden, Stan Rowett.
In records dated 1861 Samuel Dorrington's gift of bricks is valued at £5. Today it would be worth about £35.
Octogenarian Robert Gill, who gave £100 to the fund for the window and another £100 for church renovations, is a son of Mally Gill and grandson of Levi.
Mrs P M Murray, who with her husband gave the altar as a memorial to Mrs Murray's parents, Mary and James Hyde, is a granddaughter of William and Elizabeth Bradshaw.
Most of the congregation of more than 200 are related-and are descendants of those pioneers.
The descendants of the pioneers love their church. They revere their antecedents. So when it was suggested five years ago that the white-anted, isolated little church, set on a hilltop among undulating farmlands, about 65 miles north of Adelaide, should be moved to the nearest township of Marrabel, the plan was resisted strenuously.
Set in Scrub Oaks on a hilltop, St Philip's Church of England was renovated and freshly painted for the special service to dedicate its new stained-glass memorial window and stone altar. The window was made in Brisbane.
A committee discussed the cost of renovations, and before long the required sum was raised. Then it was decided to install a stained-glass window as a memorial to the district's pioneers. Within a few days the £400 needed was in hand.
In many ways the church is now not quite as Levi Broadbent and his co-workers built it. White ants, weather, and time have made replacements necessary through the years. It is still an architect's nightmare with its queer angles and crooked lines.
But new paint, plaster, and loving hands have made it fresh, clean, and whole.
It has been transformed with a gay red roof, cream exterior and interior walls, a colourful carpet runner, and freshly varnished pews. The new window and altar have given it added dignity.
The window, a beautiful piece of Australian craftsmanship, from Brisbane, is full of rich colour and has as its main design the figure of St Philip, patron saint of the little church. Eleven feet high and five feet wide, it surmounts the altar, which is made of handsomely marked stone from the Mount Lofty ranges.
An informal luncheon was to have been served under the scrub oaks surrounding the church after the dedication service, but because of a heatwave and high bushfire hazard this plan was abandoned and dozens of cars drove off to Marrabel for a buffet luncheon in the decorated local hall.
Well-known identity Mrs John Rowett (mentioned earlier) who is aged 84 and is a granddaughter of Levi Broadbent, could not attend because she was ill, so many callers stopped at her home on their way to the hall.
Mrs Rowett, who has a long memory and a clear voice, enjoyed telling them the story of the building of the church which she had heard from her mother.
Hannah Broadbent, she said, carted all the water required in the building of the church. Hannah took it in a cask on a one-horse sledge up the hill every day to the masons, who were three brothers, George, Tom, and Charlie Sheppard.
Hannah and Charlie Sheppard fell in love and theirs was the first marriage in the church. Their son Charlie, who died recently aged 89, was the first child christened there.
Although the church and a house or two are all that is left of the old settlement people of the district still refer to them as being "at Belvidere". But Marrabel is the community's township.
Organist for half a century, Mrs P M Murray was at her seat at the harmonium in St Philip's Church at Belvidere, with her husband beside her. Mr and Mrs Murray gave the new stone altar at a memorial to Mrs Murray's parents, James and Mary Hyde. The Murray's home is the nearest to the church and it about a quarter of a mile distant. They have a farm and grazing property, like many other members of the congregation. Ref: Australian Women's Weekly Wednesday 8 April 1953.
Link with a Founder of Church at Belvidere. Mrs Gus Wurst, of Gawler East, attended the dedication of a stained-glass window and stone altar at little St Phillip's Church of England, Belvidere (near Marrabel) recently. She is a great grand-daughter of Levi Broadbent, one of the pioneers responsible for the erection of the church in the middle of the last century. Members of the third, fourth, fifth, sixth and seventh generations of the family were present at the ceremony. The 'Women's Weekly' of 8th April devoted two pages including pictures, to the ceremony at the little church. Ref: Bunyip (Gawler SA) Friday 17 April 1953.
First Minister: “Choice is between economic recovery or economic retreat."
Growth in Scotland’s onshore revenues last year has more than offset the downturn in oil revenues, figures published today in Government Expenditure and Revenue Scotland 2015-16 (GERS) have shown.
Way back in 1908, a weekly - "A Conviccao" - was edited and published by Antonio Xavier Serrao at Cotula vaddo in Saligao village (Goa-India). The picture of the vintage newspaper shows the masthead of its issue dated January 23, 1909. I am anxious to see some of the oldest newspapers.
Says my erudite friend Fr Nascimento Mascarenhas, hailing from Saligao, "A Conviccao, news weekly, Saligao, Cotula. Editor and Publisher Antonio Xavier Serrao (began publishing it in his own printing press, from January 1908 and with some inturuptions, stopped publishing it from 18th May, 1912 no. 188, 4th year... Printed in small folio (no folio pequeno), published from 15th January 1887 to 1895, edited by Gustavo A.de Silva, Leopoldo C.da Gama, Pascoal Joao Gomes and others... May be the copies of this weekly are in the Central Library , Panjim, now shifted to Patto, Panjim. Kindly find out and photograph the first one of January 15, 1887. It will be great." By the way, Fr Nascimento has recently published his fifth Goa book LAND OF THE SAL TREE (pp 290), which contains stories of the history, legends and traditions of Saligao, a typical Goan village and illustrated by Mel D'Souza.
www.flickr.com/photos/52243088@N00/7121920595/in/photostream
Schmap Oxford Tenth Edition
Its great to be published.
www.schmap.com/oxford/sights_historic/p=160601/i=160601_1...
This is one of the best known landmarks and one of the most published images of Bangkok. It consists of a massive elongated prang (Khmer-style tower), and is surrounded by four smaller prangs. The prang is described by the Tourism Authority of Thailand as 104m high, while most other sources quote figures around 80-85m. It is decorated by bits of porcelain which had previously been used as ballast by boats coming to Bangkok from China, a hallmark of the reign of King Rama III. The Wat had a brief period as host of the celebrated Emerald Buddha, which now resides in nearby Wat Phra Kaew. Wat Arun is a little unusual as it's really the only major tourist attraction on the Thonburi side of the river, but I found that it was one of my favourite Wat's to visit while I was in Bangkok.
[Published by] Otto Schmidt, Höchenschwand
Feldpost (military mail that required no postage), postmarked January 28, 1916
This photograph was published in the Illustrated Chronicle on the 6th of May 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 or have any stories or information to add 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.