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'... is there any way you could filter applications before reading them? ...' [0]
'... You may have someone with a very high IQ but has low interpersonal skill .. cannot relate to other people very well. Cannot understand other people. This can be a real liability for organisations who are looking for leadership .. looking to promote people with high intelligence ...' [1]
Interesting. I posted a similar post this week on the characteristics found in entrepreneurs ~ http://news.ycombinator.com/comments?id=7459
'... all we'll care about is one measure: how close one comes
to the best founders. We don't care what atoms are in that
molecule ...' [2]
But testing for characteristics of 'high achievers' then correlating test scores against potential applicants is fraught with problems. Is the correlation against the best enough? [3]
I'm sure you might get some correlation but it's pretty unimaginative [4]. So what could be a better tool? What about direct testing of skill? Wouldn't a better technique be simulation? Why not build a 'startup simulator' where applicants are given tools to simulate tasks they actually will have to do? Then you have a controllable scenario where you really can measure results against successful founders.
You could test
* the conception of an idea
* the building of a (simple) prototype
* quickly find an audience
* find a way to make money off it
Wrapped up in a framework [5] where you test the execution of these tasks you could get a better grasp of the
* skills
* determination
* entrepreneurial audacity
* passion
* humour
* leadership skills needed to succeed.
* risk taking, emotional intelligence
There is a long history of simulators in testing & refining of skills, competency and execution are required. Even Captain Kirk at Starfleet Academy trained, passed (and cheated) on simulators.
Who knows it might even be fun.
Reference
[0] YCombinator News, bootload, "Response to question on filtering of YC startup applications"
news.ycombinator.com/comments?id=7076
[1] Professor Con Stough, Brain Sciences Institute, "Director, Centre for Neuropsychology, Swinburne Institute of Technology"
http://www.swin.edu.au/bioscieleceng/neuropsych/stough.htm
[2] YCombinator News, "PG on the nuts and bolts of what YC measurement objectives"
news.ycombinator.com/comments?id=7138
[3] But I do like the simplicity of just looking at a simple set of parameters to make a Gladwellian decision.
[4] In a competitive environment the difference between getting the attention of the right candidates could be the tools used to measure how they stack up against the best .. but actually doing something, learning and getting some feedback.
[5] The framework could be a game, or simply a panel of dials. The key thing is you can have a back room with founders, past entrepreneurs twiddling the dials checking to see in RT how candidates handle things like a person leaving, stressing system etc (like the LEM tester in the Apollo missions). It also allows for candidates to learn from failure with less risk & pass on the best decision making skills to candidates that have passed.
<<< start
It takes one to know one. Rosalie talks to an artist at ARTPRIZE 2010, Grand Rapids, Michigan, artprize.org
Someone once said that if you can relate to Edgar Allen Poe then you must be mentally ill. That person was also a simpleton and devoid of any real awareness of the dark corners of the human character. There is no doubt Poe was tortured man, an eccentric man and just maybe towards the end of his life mentally ill due to disease. No one knows for sure. His works are an expedition into love and loss, grief and insanity. They smite our emotions so hard because the human spirit is largely enveloped in feelings of sadness, rage, longing and feeling out of place. We may not perceive these things every second of everyday but they are there occasionally and they are very real for us. You cannot gaze upon the line “And all I loved, I loved alone” and not feel your heart fracture just a little, not because of the simple cluster of words but because we know all too well what he means! We feel it so deeply! That’s a truly great poet! A great poet deserves great homage, a series bridging many artistic journeys through some of the most adored compositions in Poe’s collection, a chance to create our own visions and build so much more on what he gave us.
"The Masque of the Red Death “is a short story by Edgar Allan Poe. The story follows Prince Prospero's attempts to avoid a dangerous plague, known as the Red Death. He, along with many other wealthy nobles, host a masquerade ball within seven rooms, each decorated with a different color. Prospero and 1,000 other nobles have taken refuge in this walled abbey to escape the Red Death, a terrible plague with gruesome symptoms that has swept over the land. Victims are overcome by "sharp pains", "sudden dizziness", and die within half an hour. Prospero and his court are indifferent to the sufferings of the population at large; they intend to await the end of the plague in luxury and safety behind the walls of their secure refuge, having welded the doors shut. At the chiming of midnight, the revelers and Prospero notice a figure in a dark, blood-splattered robe resembling a funeral shroud. The figure's mask resembles the rigid face of a corpse and exhibits the traits of the Red Death. When the figure turns to face him, the Prince lets out a sharp cry and falls dead... Only then do we realize the figure is the Red Death itself, and all of the guests contract and succumb to the disease. The final line of the story sums it up, "And Darkness and Decay and the Red Death held illimitable dominion over all".
Gov. Jay Inslee signs Substitute House Bill No. 2363, April 2, 2014. Relating to home and community-based services programs for dependents of military service members.
Description: Heriot Watt College, Edinburgh, Class Certificates relating to George Kay. On reverse of certificate there is information about what attendees will learn during the course. Linotype Course 1926 - 27.
Accession Number: SH.2009.289.1
Further Notes:
History: George Kay taught typography at Heriot Watt College, Chambers Street, Edinburgh.
Prior to industrialisation print apprentices served their time in-house learning from their trade from trained journeymen. However, the introduction of new machinery led to a demand for more than on the job training. This was first discussed in Edinburgh at a meeting of technical education in 1873 when William Chambers advocated the inclusion of a printing school.
In 1887 the first trades courses were held at Heriot Watt College in Chambers Street, Edinburgh. In 1908 extra rooms at Chambers Street were given over to print rooms and the centre of the print school emerged. 1918 -1919 saw the beginning of a once a week day release classes at Heriot Watt under the Education (Scotland) Act. This was not supported and their establishment only lasted two years.
It was not until the establishment of the apprentice training committee in 1928 that Heriot Watt College was formally set up as a printing school. The apprentice training committee brought forward a method to assist employers in the selection of potential emplyees ensuring that the apprentice entered into the industry with the necessary educational achievements. This scheme was operated by the Scottish Print Employers Federation.
The Industry Training Act of 1964 took the formalisation of industrial training away from the employer and transfered it to an industry wide training board. When Napier College opened in 1964 the responsibility for print education in Scotland was transfered across from Heriot Watt. Heriot Watt was moving away from technical college provision and was soon to gain University status. Napier became the leading technical college for the trades and offered print education to Honours degree level.
The establishment of the Printing and Publishing Industry Training Board (PPITB) in 1968 led to a general policy on print education provision. The PPITB introduced day release / block release classes to all apprentices allowing them to attain a nationally validated certificate. These certificates were awarded by the City & Guilds Institute until the 1980s and the introduction of SCOTVEC.
Edinburgh City of Print is a joint project between City of Edinburgh Museums and the Scottish Archive of Print and Publishing History Records (SAPPHIRE). The project aims to catalogue and make accessible the wealth of printing collections held by City of Edinburgh Museums. For more information about the project please visit www.edinburghcityofprint.org
Collection:
San Luis Obispo County Regional Photograph Collection, MS 168
lib.calpoly.edu/specialcollections/findingaids/ms168/
Image Description:
Part of a Commercial subseries relating to San Luis Obispo, City, circa 1870-1980, including street and building views, views of downtown, and of businesses and people. From the San Luis Obispo County Regional Photograph Collection.
The San Luis Obispo County Regional Photographs Collection contains photographs, artwork, and postcards of San Luis Obispo city and county. The collection, comprised of both amateur and professional work, captures daily life and popular scenes and locations in the county. The bulk of the collection focuses on early twentieth-century San Luis Obispo. The collection encompasses several donations and purchases.
The collection consists of photographs, negatives, artwork, prints, and postcards in various formats circa 1850 to 1980. Compiled from the gifts of several donors and purchases, the collection covers a wide breadth of subject matter. The images provide comprehensive information about many activities and events important to San Luis Obispo County and neighboring regional areas in the late 19th and early 20th century.
Comments and tags are welcomed!
File Number:
168-1-A-01-15-01
Format:
Photograph
Rights Info:
To use this image, we kindly ask that you submit a written request and obtain formal permission from Special Collections, Cal Poly, as the owner of the physical collection. Contact Special Collections at archives@calpoly.edu
Repository:
Special Collections & University Archives, Cal Poly San Luis Obispo
lib.calpoly.edu/specialcollections/
Explore Cal Poly Special Collections’ other digital collections:
Dundalk overwhelm Bangor in All Ireland Final
by Roger Corbett
Bangor’s amazing run in the All Ireland Junior Cup came to an abrupt end when they were comprehensively beaten by Dundalk, eventually losing by 55-5.
Where do you start when trying to relate and absorb the events of Saturday’s final at Chambers Park? Firstly, congratulations to worthy winners Dundalk who nullified the Bangor attack, then went on to produce some stunning plays which racked up no less than 8 tries, each by a different player. For Bangor’s part, they were unable to respond to the intensity of Dundalk’s game, and lacked the cutting edge which their opponents used to great effect.
The day started full of promise, as the strong support from North Down made their way to Chambers Park in Portadown, knowing Bangor would be fielding their best team. Once again, the pundits had Bangor as the underdogs – just as they had done so in the previous three rounds! In confounding the experts earlier, Bangor produced some awesome performances against top quality opposition to get to the final. Dundalk had produced some convincing wins in the early rounds of the competition, but had struggled to get past CIYMS in the semi-final, just managing to squeeze ahead at the second time of asking. However, with a number of key players returning to the side in time for this game, they were now back at full strength and would be a formidable force to contend with.
Having won the toss, captain Jamie Clegg elected to play into the stiff wind in the first half. For the first 5 minutes, Bangor doggedly retained possession and tried to play their way into Dundalk’s half through a series of determined forward moves. However, little ground was made and, when possession was finally lost, the Dundalk back line produced a burst that simply cut through the Bangor defence resulting in an easy touch down under Bangor’s posts for a 7-0 lead.
Bangor stuck to their plan and slowly, but patiently, got their attack moving forward, eventually winning a penalty to the left of Dundalk’s posts, but Mark Widdowson’s kick into the wind drifted just wide of the mark.
The contrast in play between the two teams was becoming clear, with Bangor trying to keep the ball close while Dundalk were throwing it wide. The latter strategy was proving to be the more effective as, with 20 minutes gone, a quick back line move with players looping around resulted in an overlap on the right wing which gave a clear run in to again, score under the posts. A further 9 minutes later, they did it again and, although the Bangor defence had sensed the danger and moved across to cover it, their tackling let them down allowing Dundalk to get over in the right hand corner, taking their lead to 19-0.
By now, Bangor were trying to hang on until half time when they could regroup and come out with the wind at their backs. Dundalk, on the other hand were anxious to press home their advantage and give them a more comfortable lead. To Bangor’s credit, although camped on their own line for lengthy spells, they dug in and managed to hold on until the referee’s half time whistle.
As the teams reappeared from the dressing rooms, it was obvious Bangor were ringing the changes, particularly in the backs. With the wind advantage having lessened considerably, Bangor got the second half underway. It was now Dundalk’s turn to adopt the slow, steady approach, just as Bangor had done earlier. However, their more confident off-loading and support play was, once again, taking play deep into Bangor’s territory. Frustration at not being able to gain possession and take play out of their danger area eventually resulted in a yellow card for Clegg after a succession of penalties. Dundalk kicked the penalty to touch, won their lineout and drove for the line. Although initially held up by the Bangor defence, Dundalk’s repeated drives were eventually rewarded with another converted score, extending their lead to 26-0.
From the touchline, the Bangor faithful had felt that if their players had managed to score first in the second half, they may have been able to mount a fight-back and close the gap to their opponents. As it was, this Dundalk score simply bolstered their confidence and pushed Bangor deeper into trouble. With Bangor still a man down, Dundalk added to the score with a penalty and then another score in the corner. Everything was now working for the Leinster men, as even the difficult touchline conversion into the biting wind successfully split the posts, bringing the score to 36-0.
As the game entered the final quarter, and with Dundalk all but holding the cup, Bangor were now on the ropes. By contrast, the Dundalk players were in almost total control, and were not going to slow down now. In a 10 minute spell, they ran in a further 3 tries, making the scoreline 55-0. By now, any sense of dejection the Bangor supporters may have been feeling was now moved to feelings of sympathy for their players. However, pride was at stake and once again Bangor rallied as the game entered its final minutes. At last, the forwards got within striking distance of the Dundalk line and, although their repeated attacks were repelled, they finally managed to do what their opponents had done so effectively, and quickly passed the ball wide to Davy Charles. Even though they were 55 points ahead, the Dundalk defence made Charles work hard to drive through the tackles and score Bangor’s consolation try, bringing the final score to 55-5.
From Bangor’s point of view, the final score doesn’t tell the whole story of this competition. While the final may have resulted in a sad anti-climax for Bangor, the remarkable journey to get there will be remembered for some time. On the day, Dundalk were by far the better side, and Bangor would have to concede that their game was not up to the usual standard. However, there is no doubt the experience of competing at this level is something to relish and the goal now will be to secure a top four place in the league and try again next year.
Everybody at the club has nothing but the highest respect and praise for what has been achieved this year by not just the 1sts, but all the senior teams, and one poor result isn’t going to change that – the welcome at Upritchard Park for the returning players is testament to that. With that in mind, the players now need to put this disappointment behind them and provide the best possible response against a struggling Portadown side at home in the league next Saturday.
Bangor side: J Leary, A Jackson, P Whyte, F Black, G Irvine, R Latimer, J Clegg, C Stewart, R Armstrong, K Rosson, D Charles, M Aspley, M Weir, M Widdowson, C Morgan
Subs: S Irvine, O McIlmurray, D Kelly, M Rodgers, C Harper, D Fusco, M Thompson
Bangor scores: D Charles (1T)
Dundalk Storm To Title Dundalk 55 v Bangor 5 from KnockOn.ie
Dundalk Scorers: Christopher Scully, Owen McNally, Jonathan Williams, John Smyth, Ultan Murphy, Tiernan Gonnelly, James McConnon and Stephen Murphy 1 try each. Ultan Murphy 6 cons, 1 pen.
Bangor Scorers: David Charles 1 try.
In front of a big crowd at Chambers Park on Saturday afternoon Dundalk delivered a stunning and ruthless display to see off the challenge of Bangor and capture the All Ireland Junior Cup title for the very first time.
Three first half tries had them firmly in control at 19-0 ahead having played with the elements at the Portadown venue during the first half and while the wind dropped somewhat after half time the Dundalk intensity most certainly didn’t as they cut loose scoring five more tries.
Dundalk returned to a heroes welcome at their Mill Road clubhouse on Saturday night after a display of pure brilliance throughout the afternoon.
Precision, pace and skill from the Louth men from start to finish left Bangor playing second fiddle for long periods.
Here is a revised inside... simplified the background and made it interact with the other elements a little. Thoughts? Gone to press for this week, but I still have chances to edit for the next week of the series (in about 3 weeks).
The original and front of the bulletin is here.
The City of Wolf Point website relates the story of James Cusker and Rolla Cusker, who broke though the ice in February, 1926, while returning home from a basketball game. With the ferry service suspended for the winter, many folks drove across the frozen ice of the Missouri River. The problem is that the river is fast flowing and has unpredictable currents. The ice was strong enough for the two men to drive across earlier in the evening, but on their way home, they hit an open spot despite retracing their earlier tracks. Their bodies were not found for several days.
The Cusker family tragedy spurred the local officials into asking that a highway and bridge be considered as part of the new US highway system that was being formed. Several counties and local cities supported this plan, and the state agreed in October of 1926. The bridge was started shortly afterward, funded half by the State of Montana, and half by matching funds from the federal government. The bridge was completed and a huge dedication ceremony was held on July 9, 1930.
The bridge was situated high above the river since the US Army Corps of Engineers considered the Missouri River to be navigable at that time. Two large concrete piers were built on each side of the river channel, and a 400 foot main through truss span was erected across the river. The main span is flaked by a slightly shorter though truss span on each side. Short segments of steel girders connect the outer truss spans to the bridge abutments, which are built built on fill some 20 feet above ground level. When completed, this was a very imposing structure that sat up tall, occupying is place across the river with pride. The bridge lived up to its billing as the most massive bridge in the state of Montana.
All things do come to an end. Wider and heavier traffic and increased maintenance costs lead to the Lewis & Clark Bridge becoming obsolete. The state built a new river bridge just west of the old bridge in 1997 and 1998. The old bridge now has a second life as a state historical site. The bridge was deeded to the Montana Historical Society, who plans to maintain the bridge as a monument. They also operate a small park and interpretive display at the south end of the bridge. The bridge was also added to the National Register of Historic Places. While the bridge remains closed as of 2007, the historical society is working to develop a plan to make the bridge safe for pedestrian users. That would be a site to see
Both of these posters relate to different items regarding Council Tax, aka Rates.
The one on the left refers to Brighton City Council's, led by the leader the Green Partiesuniquely names Jason Kitcat, imposed an well above inflation increase for 2014/15 - they are just not earning enough from the highly inflated parking charges.
The one on the right refers to when a resident started to film a meeting of Seaford Town Council during which he understood the local rate precept would be discussed. They said it was against the rules to film and when he argued the point that he thought is was his right they called in the police, who share the building, and eventually the meeting was abandoned. They had saId they will be 'reviewing standing orders'. What is interesting whilst the charges for East Sussex County Council and Lewes District Council have been frozen for the last few years the charge Seaford has increased year by year without any visible changes to the services they provide. In addition there are reports of bullying and harassment, etc. which has resulted in the local Member of Parliament suggesting an audit of the situation
(for further information please click on the link at the end of page!)
Palais Daun-Kinsky
If the Freyung once has been one of the most prestigious residential addresses in town, so for it was next to the Palais Harrach especially the Grand Palais Kinsky responsible. In its place in the middle ages were two parcels, each with a small building. The front part of the Freyung was since the 16th Century always in aristocratic in hands (Bernhard Menesis Freiherr von Schwarzeneck, Countess Furstenberg, Counts Lamberg). 1686 acquired Karl Ferdinand Count Waldstein the house of Count Lamberg. His son bought also the adjacent house in Rose Street (Rosengasse) and united both plots to one parcel. He had three granddaughters, who sold the site in 1709 to Wirich Philipp Laurenz Graf Daun. This came from an old Rhenish nobility. His ancestors were mostly working for the Elector of Trier as officers. In the battle of the Habsburgs against the Turks, Spanish and Frenchmen, he acquired great military merit. He brought it to the General Feldzeugmeister (quartermaster) and Viceroy of Naples. In 1713 he had the house at the Freyung demolished and by Johann Lukas von Hildebrandt built in its place until 1716 a palace, him serving as Vienna's city residence. Down may have been Antonio Beduzzi requested the creation of reconstruction plans, but was eventually Hildebrandt entrusted with the work. In 1719, the palace was largely completed. Daun lived there but rarely because he stayed a lot in Italy and in Austria preferred his country castles Ladendorf, Kirchstetten and Pellendorf. In 1746 acquired Johann Joseph Count von Khevenhüller the Palais from Leopold Joseph von Daun, the son of the owner, who happened to be in financial difficulty. The Reichsgraf (count of empire) was appointed in 1763 by the Empress Maria Theresa for his services to the Lord Steward and Lord Chamberlain, and raised to the hereditary imperial princes (princes of the Holy Roman Empire).
Door knocker
He sold the palace in 1764 to the Imperial Councilor President Ferdinand Bonaventura Harrach Count II. This worked as a diplomat, especially in Holland and Italy. At times of Maria Theresa, the building was inhabited by her Swiss Guards until they 1784 moved to their new quarters in Hofstallgebäude (court stable building). Ferdinand Bonaventura's daughter Rosa brought the palace in 1790 into her marriage to Josef Graf Kinsky. Whose family belonged to the Bohemian nobility. Its members appear at the beginning of the 13th Century documented. Wilhelm Freiherr von Kinsky was a colonel and friend of Wallenstein. He was murdered with this 1634 in Eger. His confiscated estates were divided among the assassins. Only two masteries (Chlumez and Bohemian Kamnitz ) remained through the timely change of front of his nephew, Johann Octavian with the family. The Kinsky but succeeded soon to rise again. They occupied again high positions in the administration and the military. 1798 the had modernized their Viennese palace by the architect Ernst Koch inside. Thus, the original Baroque interior was lost. As in 1809 the Frenchmen had occupied Vienna, a french Marshal and General were billeted in the palace. Prince Ferdinand Kinsky was a great patron of Beethoven, which he paid an annual salary of 4,000 florins for life along with two other nobles. In 1856, the Palace was refurbished in the interior by the architect Friedrich Stache. In the 19th Century lived the Princes Kinsky mostly on their Bohemian goods or in Prague. The building was therefore temporarily rented to some posh tenants. So lived here temporarily Field Marshal Radetzky and Archduke Albrecht. 1904 redecorated the French interior designer Armand Decour the piano nobile.
Staircase - second floor
With the end of World War II began a tough time for the Kinsky family. Almost all goods and industrial holdings, with the exception of the hunting lodge Rosenhof at Freistadt lay in Bohemia. By 1929, 50 % of the extensive Bohemian possessions were expropriated. There were still about 12,000 acres, a sugar factory and breweries. 1919 had to be a part of Vienna's Palais force-let. During World War II it was requisitioned by the German army. For fear of air raids the in the palace remaining objects of art were transferred to some Bohemian castles. The Palais Kinsky was not destroyed, its art treasures but remained in Bohemia. After the Second World War, the remaining Czech possessions were lost by nationalization for the family. In the Viennese palace were temporarily housed the embassies of China and Argentina. In 1986 it was sold by Franz Ulrich Prince Kinsky. After several short-term owners, the palace was acquired by the Karl Wlaschek private foundation in 1997. It was generously restored from 1998 to 2000 and adapted for offices and shops. The Grand Ballroom is often used because of its excellent acoustics as a concert hall. Since 1992, acclaimed art auctions are held at the Palais.
The Palais Kinsky is probably next to the Belvedere the most prominent secular work of the great Baroque architect and one of the best preserved baroque palaces in Vienna. Despite multiple changes of ownership and of numerous rearrangements inside the main components such as Baroque facade, vestibule, staircase, hall and gallery remained largely unchanged. The building extends between Freyung and Rosengasse. The property is only 30 meters wide, but three times longer. It was therefore not an easy task to build on it a representative palace with a grand staircase. Hildebrandt but has brilliantly overcome by putting up four floors at 24 m height, and yet preserving the proportions. He grouped the construction with two long side wings and a cross section around two consecutive large courtyards. The pomp and living rooms of the palace are mounted around the first courtyard, while the second contained carriage houses and stables. Here have yet been preserved the marble wall panels with the animal waterings made of cast iron and enamel from the late 19th century. Hildebrandt integrated various parts of the previous building into the new building. The seven-axle face side at the Freyung is divided several times. Stability is procured by the rusticated ground floor with its inserted diamond blocks. On it sit the two residential floors. They are embraced by Corinthian Riesenpilaster (giant pilasters). The mezzanine floor above it features in comparison with the underlying main floor tiny windows.
Hercules
The large windows on the main floor are particularly detailed designed. While the outer pairs of windows possess pagoda-like over roofings, those of the three windows of the central projection are round-arched. The trophies and weapons depicted in the lintel fields refer to the military profession of the owner. Vertically is the extensive looking facade accented by the slightly protruding, tri-part central risalite, the pilasters are decorated much richer than that of the side projections. In the Fantasiekapitelle (fantasy capital) of the pilasters are diamond lattices incorporated, an important component of the coat of arms of the Counts Down. The with figures and trophies decorated attica is over the central part formed as balustrade. The sculptures are believed to originate from Joseph Kracker, representing the gods Minerva, Juno, Hercules, Neptune, Diana and Constantia. Very elegant looks the plastically protruding portal. Its composition goes back to Johann Lukas von Hildebrandt. It is considered one of the most beautiful Baroque portals of Vienna. The draft was submitted in 1713 and carried out until 1715. The richly decorated wooden gate dates from the period around 1856, when it was renewed. It is outside flanked by two, obliquely placed Doric columns that match the rusticated ground floor. Sloped to the inside carry two, on pillar stumps standing atlases (also from Kracker) the entablature with the overlying structured segment gable. On it sit the stone figures of Prudence and Justice. The middle window in between is much richer decorated than the rest of the window openings on the first floor. Instead of the usual trapezoidal over roofings here it is crowned by a cartouche held by two putti. The originally thereon located coat of arms of the owner was replaced after the change of ownership by that of the Kinsky family with three boar's teeth. Above the shield hangs an chain with the Order of the Golden Fleece. Both the gusset of the archway as well as the overlying triglyph frieze are decorated with trophies.
Banquet Hall
If someone passes the portal, so one gets into one, by strong pillars divided three-aisled gatehouse. The massive spatial impression is something mitigated by the large sculptures in the niches. They were created by Joseph Kracker. Among the somewhat restrained stucco decorations you can see the coat of arms of the owner, with its characteristic diamond motif. At this gate hall adjoins the widely embedded and more than twice as high vestibule with its domed ceiling. This transverse oval space is divided by pilasters and Doric columns. The rich stucco decoration of the ceiling provided with lunettes could come from Alberto Camesina or from his workshop. The here used motifs are again relating to the career of the client as a commander. For instance, in the lunette caps are reliefs of Roman soldiers. On the left side of the vestibule leads an anteroom to the grand staircase. It is dominated by a vault carrying Hercules, a work by Lorenzo Mattielli. As the monogram of Charles VI proves, with it the Emperor was meant to be worshiped. In two oval niches stand above the two double doors of the Treppenvorhauses (stairway hall way) busts of Caesar and Emperor Titus Flavius Vespasian. The elongated stairway occupies almost the entire length of the left wing of the first courtyard. In the stairwell are eleven statues of Roman deities in stucco niches. The relatively narrow, crossed grand stairway is considered one of the most beautiful of Vienna. It overall design might go back to Antonio Beduzzi. On the second floor stand on the from winded perforated volute forms constructed stone balustrade four groups of playing or scrapping putti. They serve in part as a lantern holders, partly just as a decoration. The statue cycle in the staircase is a work of Lorenzo Mattielli, but the cherubs are believed to stem from Joseph Kracker. This type of decoration already points to the coming Rococo. A fresco by Carlo Innocenzo Carlone adorns the ceiling. The simulated architecture painted Antonio Beduzzi. The large wall mirror of the staircase were added after 1907 .
Staircase/ceiling fresco
The somewhat playful balustrade leads to the reception rooms on the second floor. The large oval ballroom above the entrance hall is oriented towards the courtyard. Its allegorical ceiling painting stems from Carlo Innocenzo Carlone. The other frescoes are of him and Marcantonio Chiarini. The walls are covered with marble. The room was several times, most recently in 1904 changed structurally. In front of the banquet hall is the former dining room. It is now called Yellow Salon. In 1879/80 was installed in it a choir stalls from the Pressburg Cathedral by Georg Raphael Donner ( 1736) and partly completed. The also acquired confessionals were converted into boxes that are in the antechamber of the second floor today. In the chapel, designed by Hildebrandt, was until 1741 as altarpiece Francesco Solimena's "Holy Family with the Infant John the Baptist". 1778 the sacred space, however, was already desecrated. The altarpiece is already since the 18th Century in Wiener Neustadt Neuklosterkirche (church in Lower Austria). In the cross-section between the first and the second courtyard lay the paneled gallery whose spatial effect in 1856 by an attached conservatory was changed something. Its vaulted ceiling is decorated with frescoes by Carlo Innocenzo Carlone. Marcantonio Chiarini created 1716/18 the quadrature paintings. At it followed a larger hall in which Francesco Solimena's oil painting "Phaeton and Apollo" was located. It can be admired today in the National Gallery in Prague. The hall was later used as a library. Part of the state rooms 1714 was equipped with ceiling paintings by Peter Strudel. In the course of a radical redesign of the building's interior Ernest Koch has cut off all stucco ceilings of the staterooms 1798-1800 and also redesigned the walls. Since 1879 Carl Gangolf Kayser tried to restore the original spatial impression by the of Rudolf von Weyr created new Neo-Baroque stucco ceilings. Only in a few areas (vestibule, staircase, ballroom), the original substance remained. In the palace there are numerous Mamorkamine (marble fireplaces) and stoves from the 18th and 19th Century. The star parquet floors and many original door fittings date from the third quarter of the 19th Century. The facades of the first courtyard are structured by Tuscan pilasters. The arcades on the ground floor have already been closed in 1753. The with a mascaron decorated wall fountain is a work of Rudolf von Weyr. The second courtyard is kept simple. Remarkable at it rear end is the cenotaph for the current owner Karl Wlaschek.
Location/Address: 1010 Vienna, Freyung 4
Activities: The courtyards are freely accessible, the staircase usually also. A look at the state rooms is only possible if these are not just rented.
This tote bag is available in my current favorite Toronto coffee shop -Balzac's.
Known for his prodigious consumption of coffee, it seems appropriate that this coffee shop bears his name.
Background: www.openculture.com/2013/09/honore-de-balzac-on-the-pleas...
The Palatine Hill, (/'pæl?ta?n/; Latin: Collis Palatium or Mons Palatinus; Italian: Palatino [pala'ti?no]) which is the centremost of the Seven Hills of Rome, is one of the most ancient parts of the city and has been called "the first nucleus of the Roman Empire." It stands 40 metres above the Roman Forum, looking down upon it on one side, and upon the Circus Maximus on the other. From the time of Augustus Imperial palaces were built here. Prior to extensions to the Palace of Tiberius and the construction of the Domus Augustana by Domitian, 81-96 AD, the hill was mostly occupied by the houses of the rich. The perimeter measures 2,182 meters and the area is 255,801 square meters or 63 acres, with a circumference of 1,740 meters while the Regionary Catalogues of the fourth century give a perimeter of 11,510 feet or 3,402 meters (equals 131 acres.
The Roman Forum, also known by its Latin name Forum Romanum (Italian: Foro Romano), is a rectangular forum (plaza) surrounded by the ruins of several important ancient government buildings at the center of the city of Rome. Citizens of the ancient city referred to this space, originally a marketplace, as the Forum Magnum, or simply the Forum.
For centuries the Forum was the center of day-to-day life in Rome: the site of triumphal processions and elections; the venue for public speeches, criminal trials, and gladiatorial matches; and the nucleus of commercial affairs. Here statues and monuments commemorated the city's great men. The teeming heart of ancient Rome, it has been called the most celebrated meeting place in the world, and in all history. Located in the small valley between the Palatine and Capitoline Hills, the Forum today is a sprawling ruin of architectural fragments and intermittent archaeological excavations attracting 4.5 million or more sightseers yearly.
The Roman Forum, also known by its Latin name Forum Romanum, is a rectangular forum surrounded by the ruins of several important ancient government buildings at the center of the city of Rome. Citizens of the ancient city referred to this space, originally a marketplace, as the Forum Magnum, or simply the Forum.
How to visit the Roman Forum, Colosseum and Palatine Hill How to visit the Roman Forum, Colosseum and Palatine HillVia Sacra – This was the main thoroughfare connecting the Piazza del Campidoglio with the Colosseum in ancient Rome. It’s along this “street” that you’ll find some of the most interesting and valuable ruins
Curia – A place where important decisions were made. It was the original seat of the Roman Senate
There is a big piece of black marble, called the Lapis Niger, in front of the Curia. Legend has it that this is where Romulus was buried
Basilica Giulia – Augustus completed this church after the death of Julius Caesar. Watch out for the three remaining columns of the Tempio di Castore e Polluce (5th century BC) at the end of the Basilica
Temple di Giulio Cesare – Another one of the interesting Roman forum facts relating to Julius Caesar. This is where he was cremated. Built by Augustus in 29 BC, it’s also called the Tempio del Divo Giulio
The Basilica di Massenzio is the largest building in the Forum, originally measuring 100 m by 65 m. Constantine finished it in 315 after it was started by Maxentius
Arch of Titus – Built after Emperor Titus’ death, this is a triumphal arch commemorating Rome’s victory over Jerusalem
The small valley between the Palatine and Capitoline Hills where the Forum was built was originally a marshy area. This lead to the development of what became known as one of the world’s first sewer systems. Called the Cloaca Maxima, it was used to drain the area
SRSA GRG35/48/1/74-9 Records relating to official assisted immigration - Crown Lands and Immigration Office; Official assisted passage passenger lists
Dundalk overwhelm Bangor in All Ireland Final
by Roger Corbett
Bangor’s amazing run in the All Ireland Junior Cup came to an abrupt end when they were comprehensively beaten by Dundalk, eventually losing by 55-5.
Where do you start when trying to relate and absorb the events of Saturday’s final at Chambers Park? Firstly, congratulations to worthy winners Dundalk who nullified the Bangor attack, then went on to produce some stunning plays which racked up no less than 8 tries, each by a different player. For Bangor’s part, they were unable to respond to the intensity of Dundalk’s game, and lacked the cutting edge which their opponents used to great effect.
The day started full of promise, as the strong support from North Down made their way to Chambers Park in Portadown, knowing Bangor would be fielding their best team. Once again, the pundits had Bangor as the underdogs – just as they had done so in the previous three rounds! In confounding the experts earlier, Bangor produced some awesome performances against top quality opposition to get to the final. Dundalk had produced some convincing wins in the early rounds of the competition, but had struggled to get past CIYMS in the semi-final, just managing to squeeze ahead at the second time of asking. However, with a number of key players returning to the side in time for this game, they were now back at full strength and would be a formidable force to contend with.
Having won the toss, captain Jamie Clegg elected to play into the stiff wind in the first half. For the first 5 minutes, Bangor doggedly retained possession and tried to play their way into Dundalk’s half through a series of determined forward moves. However, little ground was made and, when possession was finally lost, the Dundalk back line produced a burst that simply cut through the Bangor defence resulting in an easy touch down under Bangor’s posts for a 7-0 lead.
Bangor stuck to their plan and slowly, but patiently, got their attack moving forward, eventually winning a penalty to the left of Dundalk’s posts, but Mark Widdowson’s kick into the wind drifted just wide of the mark.
The contrast in play between the two teams was becoming clear, with Bangor trying to keep the ball close while Dundalk were throwing it wide. The latter strategy was proving to be the more effective as, with 20 minutes gone, a quick back line move with players looping around resulted in an overlap on the right wing which gave a clear run in to again, score under the posts. A further 9 minutes later, they did it again and, although the Bangor defence had sensed the danger and moved across to cover it, their tackling let them down allowing Dundalk to get over in the right hand corner, taking their lead to 19-0.
By now, Bangor were trying to hang on until half time when they could regroup and come out with the wind at their backs. Dundalk, on the other hand were anxious to press home their advantage and give them a more comfortable lead. To Bangor’s credit, although camped on their own line for lengthy spells, they dug in and managed to hold on until the referee’s half time whistle.
As the teams reappeared from the dressing rooms, it was obvious Bangor were ringing the changes, particularly in the backs. With the wind advantage having lessened considerably, Bangor got the second half underway. It was now Dundalk’s turn to adopt the slow, steady approach, just as Bangor had done earlier. However, their more confident off-loading and support play was, once again, taking play deep into Bangor’s territory. Frustration at not being able to gain possession and take play out of their danger area eventually resulted in a yellow card for Clegg after a succession of penalties. Dundalk kicked the penalty to touch, won their lineout and drove for the line. Although initially held up by the Bangor defence, Dundalk’s repeated drives were eventually rewarded with another converted score, extending their lead to 26-0.
From the touchline, the Bangor faithful had felt that if their players had managed to score first in the second half, they may have been able to mount a fight-back and close the gap to their opponents. As it was, this Dundalk score simply bolstered their confidence and pushed Bangor deeper into trouble. With Bangor still a man down, Dundalk added to the score with a penalty and then another score in the corner. Everything was now working for the Leinster men, as even the difficult touchline conversion into the biting wind successfully split the posts, bringing the score to 36-0.
As the game entered the final quarter, and with Dundalk all but holding the cup, Bangor were now on the ropes. By contrast, the Dundalk players were in almost total control, and were not going to slow down now. In a 10 minute spell, they ran in a further 3 tries, making the scoreline 55-0. By now, any sense of dejection the Bangor supporters may have been feeling was now moved to feelings of sympathy for their players. However, pride was at stake and once again Bangor rallied as the game entered its final minutes. At last, the forwards got within striking distance of the Dundalk line and, although their repeated attacks were repelled, they finally managed to do what their opponents had done so effectively, and quickly passed the ball wide to Davy Charles. Even though they were 55 points ahead, the Dundalk defence made Charles work hard to drive through the tackles and score Bangor’s consolation try, bringing the final score to 55-5.
From Bangor’s point of view, the final score doesn’t tell the whole story of this competition. While the final may have resulted in a sad anti-climax for Bangor, the remarkable journey to get there will be remembered for some time. On the day, Dundalk were by far the better side, and Bangor would have to concede that their game was not up to the usual standard. However, there is no doubt the experience of competing at this level is something to relish and the goal now will be to secure a top four place in the league and try again next year.
Everybody at the club has nothing but the highest respect and praise for what has been achieved this year by not just the 1sts, but all the senior teams, and one poor result isn’t going to change that – the welcome at Upritchard Park for the returning players is testament to that. With that in mind, the players now need to put this disappointment behind them and provide the best possible response against a struggling Portadown side at home in the league next Saturday.
Bangor side: J Leary, A Jackson, P Whyte, F Black, G Irvine, R Latimer, J Clegg, C Stewart, R Armstrong, K Rosson, D Charles, M Aspley, M Weir, M Widdowson, C Morgan
Subs: S Irvine, O McIlmurray, D Kelly, M Rodgers, C Harper, D Fusco, M Thompson
Bangor scores: D Charles (1T)
Dundalk Storm To Title Dundalk 55 v Bangor 5 from KnockOn.ie
Dundalk Scorers: Christopher Scully, Owen McNally, Jonathan Williams, John Smyth, Ultan Murphy, Tiernan Gonnelly, James McConnon and Stephen Murphy 1 try each. Ultan Murphy 6 cons, 1 pen.
Bangor Scorers: David Charles 1 try.
In front of a big crowd at Chambers Park on Saturday afternoon Dundalk delivered a stunning and ruthless display to see off the challenge of Bangor and capture the All Ireland Junior Cup title for the very first time.
Three first half tries had them firmly in control at 19-0 ahead having played with the elements at the Portadown venue during the first half and while the wind dropped somewhat after half time the Dundalk intensity most certainly didn’t as they cut loose scoring five more tries.
Dundalk returned to a heroes welcome at their Mill Road clubhouse on Saturday night after a display of pure brilliance throughout the afternoon.
Precision, pace and skill from the Louth men from start to finish left Bangor playing second fiddle for long periods.
A landing card relating to Albert Einstein's escape from Nazi Germany has been discovered and put on display for the first time at the UK Border Agency's national museum in Liverpool.
The Jewish physicist fled from his homeland when Adolf Hitler came to power. A bounty was put on his head by the Nazis, who named him an enemy of the regime.
Landing cards were completed by all passengers arriving in Britain. Einstein's card is proof of his journey from Ostende, Belgium to Dover on 26 May 1933. On the reverse, he wrote that he was bound for Oxford.
After nearly 80 years stored at Heathrow Airport, it was discovered by curators from the museum, which is called 'Seized! The Border and Customs Uncovered'.
Assistant curator Lucy Gardner said:
'We didn't know this landing card ever existed until we visited UK Border Agency officers at Heathrow. We were keen on acquiring any documents relating to immigration, but were stunned to find paperwork relating to such a prominent historical figure as Albert Einstein.
'What's remarkable is that the landing card bears his signature, has his profession as "professor" and lists his nationality at Swiss. This shows how Einstein had renounced his German citizenship only weeks earlier in angry reaction to Nazi policies.
'This tiny piece of paper brings to life Einstein's escape from the Nazis to England. This country became a safe haven for him until he eventually settled in the US.'
Seized! The Border and Customs Uncovered is located in Liverpool's Merseyside Maritime Museum.
Venedig - Markusplatz
seen from Canal Grande
gesehen vom Canal Grande
Piazza San Marco (Italian pronunciation: [ˈpjattsa san ˈmarko]; Venetian: Piasa San Marco), often known in English as St Mark's Square, is the principal public square of Venice, Italy, where it is generally known just as la Piazza ("the Square"). Almost all the other urban spaces in the city (except the Piazzetta and the Piazzale Roma) are called campi ("fields"). The Piazzetta ("little Piazza/Square") is an extension of the Piazza towards San Marco basin in its southeast corner (see plan). The two spaces together form the social, religious and political centre of Venice and are referred to together. This article relates to both of them.
A remark usually attributed (though without proof) to Napoleon calls the Piazza San Marco "the drawing room of Europe".
Description
The square is dominated at its eastern end by St Mark's Basilica. It is described here by a perambulation starting from the west front of the church (facing the length of the piazza) and proceeding to the right.
St Mark's Basilica has a western façade with great arches and marble decoration, Romanesque carvings around the central doorway, and four horses which preside over the whole piazza. The four horses are potent symbols of pride and power in Venice. In 1379, the Genoese said there could be no peace between the two cities until these horses had been bridled.[3] Four hundred years later, Napoleon, after he had conquered Venice, had them taken down and shipped to Paris.
The Piazzetta dei Leoncini is an open space on the north side of the church named after the two marble lions (presented by Doge Alvise Mocenigo in 1722), but now officially called the Piazzetta San Giovanni XXIII. The neo-classic building on the east side adjoining the Basilica is the Palazzo Patriarcale, the seat of the Patriarch of Venice.
Beyond that is St Mark's Clocktower (Torre dell'Orologio), completed in 1499, above a high archway where the street known as the Merceria (a main thoroughfare of the city) leads through shopping streets to the Rialto, the commercial and financial centre. To the right of the clock-tower is the closed church of San Basso, designed by Baldassarre Longhena (1675), sometimes open for exhibitions.
To the left is the long arcade along the north side of the piazza, the buildings on this side are known as the Procuratie Vecchie, the old procuracies, formerly the homes and offices of the Procurators of St Mark, high officers of state in the days of the republic of Venice. They were built in the early 16th century. The arcade is lined with shops and restaurants at ground level, with offices above. The restaurants include the famous Caffè Quadri, which was patronized by the Austrians when Venice was ruled by Austria in the 19th century, while the Venetians preferred Florian's on the other side of the piazza.
Turning left at the end, the arcade continues along the west end of the piazza, which was rebuilt by Napoleon about 1810 and is known as the Ala Napoleonica (Napoleonic Wing). It holds, behind the shops, a ceremonial staircase which was to have led to a royal palace but now forms the entrance to the Museo Correr (Correr Museum).
Turning left again, the arcade continues down the south side of the Piazza. The buildings on this side are known as the Procuratie Nuove (new procuracies), which were designed by Jacopo Sansovino in the mid-16th century but partly built (1582–86) after his death by Vincenzo Scamozzi apparently with alterations required by the procurators and finally completed by Baldassarre Longhena about 1640.[6] Again, the ground floor has shops and also the Caffè Florian, a famous cafe opened in 1720 by Floriano Francesconi, which was patronised by the Venetians when the hated Austrians were at Quadri's. The upper floors were intended by Napoleon to be a palace for his stepson Eugène de Beauharnais, his viceroy in Venice, and now houses the Museo Correr. At the far end the Procuratie meet the north end of Sansovino's Libreria (mid-16th century), whose main front faces the piazzetta and is described there. The arcade continues round the corner into the Piazzetta.
Opposite to this, standing free in the piazza, is St Mark's Campanile (1156–73 last restored in 1514), rebuilt in 1912 com'era, dov'era ("as it was, where it was") after the collapse of the former campanile on 14 July 1902. Adjacent to the campanile, facing towards the church, is the small building known as the Loggetta del Sansovino, built by Sansovino in 1537–46 and used as a lobby by patricians waiting to go into a meeting of the Great Council in the Doge's Palace and by guards when the council was sitting.
Across the piazza in front of the church are three large mast-like flagpoles with bronze bases decorated in high relief by Alessandro Leopardi in 1505. The Venetian flag of St Mark used to fly from them in the time of the republic of Venice and now shares them with the Italian flag.
Description of the Piazzetta
The Piazzetta di San Marco is, strictly speaking, not part of the Piazza but an adjoining open space connecting the south side of the Piazza to the waterway of the lagoon. The Piazzetta lies between the Doge's Palace on the east and Jacopo Sansovino's Biblioteca (Library) which holds the Biblioteca Marciana on the west.
At the corner near the campanile, this (west) side is occupied entirely by the Biblioteca (Library) designed by Jacopo Sansovino to hold the Biblioteca Marciana (library of St Mark). Building started in 1537 and it was extended, after the death of Sansovino, by Vincenzo Scamozzi in 1588–91. The building was said by Palladio to be "the most magnificent and ornate structure built since ancient times". The arcade continues to the end of the building with cafés and shops and also the entrances to the Archaeological Museum, the Biblioteca Marciana and the National Library, which occupy the floors above.
At the end of this building is the Molo (the quay fronting the lagoon) and the adjoining building to the right is the Zecca (mint) also by Sansovino (completed 1547) and now part of the Biblioteca Marciana. Turning to the left at the end of the Biblioteca one crosses the open end of the Piazzetta marked by two large granite columns carrying symbols of the two patron saints of Venice. The first is Saint Theodore, who was the patron of the city before St Mark, holding a spear and with a crocodile to represent the dragon which he was said to have slain. This is made up of parts of antique statues and is a copy (the original is kept in the Doge's Palace). The second (eastern) column has a creature representing a winged lion — the Lion of Venice — which is the symbol of St Mark. This has a long history, probably starting as a winged lion-griffin on a monument to the god Sandon at Tarsus in Cilicia (Southern Turkey) about 300 BC. The columns are now thought to have been erected about 1268, when the water was closer and they would have been on the edge of the lagoon, framing the entry to the city from the sea. Gambling was permitted in the space between the columns and this right was said to have been granted as a reward to the man who first raised the columns. Public executions also took place between the columns.
On the far side of the Piazzetta is the side wall of the Doge's Palace with Gothic arcades at ground level and a loggia on the floor above. Up to the seventh pillar from the front this is the building as rebuilt in 1340, while the extension towards the Basilica was added in 1424. The capitals of the columns of the extended part are mostly copies of those in the front of the Palace. The seventh pillar is marked by a tondo (circular sculpture) of Venice as Justice above the first floor loggia. To the left of this, there are two red pillars in front of the first-floor loggia, contrasting with the other pillars which are of white Istrian stone. The red pillars are made of red Verona marble. They may have framed the Doge's chair on ceremonial occasions, but it seems that important malefactors found guilty of crimes against the state would sometimes be executed there.
On the rear corner of the Doge's Palace is a sculpture of the Judgment of Solomon with the archangel Gabriel above. The sculptors are not known. Set back from this corner is the Porta della Carta, the ceremonial entrance to the palace, built in fine Gothic style in 1438–43, probably by Giovanni and Bartolomeo Bon. Again, there is at the top a figure of Venice as Justice, the theme of fair judgment and justice being much emphasised on this side of the palace. Below this, the head of Doge Francisco Foscari and the lion before which he is kneeling were replaced in 1885, the originals having been destroyed on French orders in 1797. The statues on either side of the gateway represent the cardinal virtues of Temperance, Fortitude, Prudence and Charity.
Next to this, on an outside corner of the basilica of St Mark, are four antique figures carved in porphyry, a very hard red granite. They are usually known as the Tetrarchs and said to represent the four joint rulers of the Roman Empire appointed by Diocletian and were formerly thought to be Egyptian. It is now thought probable (or, at least very possible) that they represent the sons of the Emperor Constantine, praised for their loving co-operation on his death in 337, especially as the work originally stood in the Philadelphion (Place of Brotherly Love) in Constantinople, where the missing foot of one of the figures has been found.
Beyond this, in front of the South wall of the Basilica are two rectangular pillars always known as the Pillars of Acre. They were thought to be booty taken by the Venetians from Acre after their great victory over the Genoese there in 1258, but this traditional story has also had to be revised. The pillars actually came from the church of St Polyeuktos in Constantinople (524-7), and were probably taken by the Venetians soon after the fourth crusade in 1204. The ruins of this church were discovered in 1960 and it was excavated in the 1990s, when capitals were found, which matched the pillars.
Beyond these pillars, opposite the corner of the Basilica, is a great circular stone of red porphyry known as the Pietra del Bando (Proclamation Stone) from which official proclamations used to be read. It has been suggested that this may have formed part of a column on which the so-called Tetrarchs stood.
Across the water (the Bacino di San Marco) at the end of the Piazzetta can be seen the island of San Giorgio Maggiore and the brilliant white façade of Palladio's church there.
History
The history of the Piazza San Marco can be conveniently covered in four periods, but the only pre-renaissance buildings and monuments still standing there are St Mark's, the Doge's Palace and the two great columns in the Piazzetta.
Beginnings (800–1100)
The first patron saint of Venice was St Theodore, a Greek warrior saint, and the first chapel of the Doge was dedicated to him. It was probably built about 819 and stood near the site of the present church of St Mark. In 828–829 relics of St Mark were stolen from Alexandria and brought to Venice, and in time the Venetians and the Doge adopted the apostle as their new patron. He was the missionary-apostle who was said to have converted their district; the relics of an apostle would increase the importance of the city and their acquisition was a further step in the gradual process of freeing Venice from the domination of Byzantium. The relics were temporarily placed in the palace (or castle) of the Doge, Justinian Partecipacius, who provided in his will for a new church to be built. This first church of St Mark was begun on the south side of the existing chapel; by 836 construction was sufficiently advanced for the relics to be moved there. The design of the church was based on the Church of the Twelve Apostles in Constantinople and it seems to have covered the same area as the central part of the present church. A campanile was first built in the time of Doge Pietro Tribuno (888–91).
At that time there was probably an empty space covered with grass in front of the new church, but it cannot have extended more than about 60 metres to the west, where there was a stream (the Rio Baratario) bisecting the area now occupied by the Piazza. On the other side of this stream was a small church dedicated to San Geminiano. The Doge's palace, in the same area as its modern successor, was at that time surrounded by water. The lagoon was to the south, the Rio di Palazzo (the canal beneath the Bridge of Sighs) to the east, and another stream to the north between the palace and the church. There was an inlet from the lagoon occupying much of the space now covered by the Piazzetta and this seems to have been used as a dock for the city.
In 976 there was a rebellion against the Doge and the church was set on fire. The wooden parts, including the roof and wooden dome, were probably lost, but the church was not completely destroyed and it seems to have been rebuilt much as before. In 1063 a complete rebuilding commenced. The new church was finished in the time of Doge Vitale Falier (1084–96), and in its main structure this is the present church, though the west front facing the Piazza was then in the Romanesque style with undecorated brickwork (like the exterior of the apse today). It had five domes, but their exterior profile was low, unlike the present high, onion-shaped structures.
Medieval piazza (1100–1490)
Great changes to the area came when Sebastiano Ziani was Doge (1172–78). Venice was growing in importance and the Doge was a very wealthy man. He initiated the changes which created the piazza as we know it. The Rio Baratario was filled in and the church of San Geminiano on the far side was demolished and rebuilt much farther back at the western end of what became the Piazza. An orchard which occupied part of the area was acquired from the convent of San Zaccharia and the Doge bought up a number of buildings which obstructed the site. By his will he left these buildings to the state and in due course they were demolished to clear the area. The rebuilding of the 9th-century Doge's palace also commenced in his time as Doge. The precise date of the various new buildings is not known and much must have been done in the time of his son, Pietro Ziani, who was Doge from 1205 to 1229.
The area of the piazza was now defined by the erection of buildings on the north and south sides. On the north side were the procuratie, residences and offices for the procurators of St Mark. The original procuratie were a range of two-storey buildings with a continuous arcade of stilted (i.e. tall and narrow) Byzantine arches below and a single storey above, with two windows above each arch. The ground floor rooms were let out for shops to provide an income. These buildings remained in place for about 300 years and we can see exactly how they looked in 1496 in Gentile Bellini's painting of a procession in the piazza. This painting also shows the buildings on the opposite (south) side of the Piazza, of which the most important was the Ospizio Orseolo, an inn or hostel for pilgrims going to the Holy Land. It can be seen that the piazza was then considerably narrower than it is today, because these buildings abutted directly against the west wall of the campanile.
In 1204, Constantinople was captured in the course of the 4th Crusade and, both at that time and later during the 13th century, much valuable material was taken from the city and shipped back for the adornment of Venice. This included marbles and pillars for the façade of St Mark's, the two square pillars in the piazzetta known (wrongly) as the Pillars of Acre and probably also the Pietra del Bando (near the south west corner of St Mark's) and the four porphyry figures known as the Tetrarchs, which were eventually installed near the entrance to the Doge's Palace from the piazzetta.
The two great granite columns in the Piazzetta are usually said to have been erected about 1170, but it is now thought more probable that this was done in the time of Doge Ranieri Zeno (1253–68) about 1268; the bases and capitals are 13th-century. Their origin is unknown, but Chios is suggested as possible. The lion is first mentioned in a decree of the Great Council in 1293, and the wording makes it clear that it was already on the pillar at that date. A statue of St Theodore (but not the present statue) was in place by 1329.
It was also at this time, in the later 13th century, that St Mark's was being given its new west façade embellished with marble and mosaics and trophies from Constantinople, including the four horses.
The original 9th-century Doge's palace was soon found too small for the number of patricians sitting on the Great Council after the right to do so was made hereditary in 1297, and rebuilding started in 1340. Work was held up by the Black Death in 1348 but the first stage was completed by 1365. This comprised the front part of the palace facing the lagoon, but in the Piazzetta the new building only extended to the seventh pillar back from the front corner, now marked by a circular relief of Venice as Justice on the outside of the first-floor arcade. Further back, part of the old palace, known as the Palace of Justice, remained, much as it had stood for about 200 years.
Because of the great expense involved, nothing more was done for many years, but in 1422 the Doge Tomaso Mocenigo insisted that for the honour of the city the remaining part of the old palace should be demolished and the new part extended. It was resolved that the existing façade should be continued in the same style, and work started in 1424 under the new Doge Francesco Foscari. The extended façade had reached the corner by 1438 and the point where the 15th-century part joins the 14th-century part can only be recognised by the circular relief of Justice above the seventh pillar from the front corner and the fact that that pillar is larger than the others, having held up the corner of the building for 80 years. The capitals on this façade are, for the most part, copies of the existing capitals on the front façade. The last pillar, at the north-western corner of the building, is a very large column and, continuing the theme of Justice, bears a large relief carving of the Judgment of Solomon, with the archangel Gabriel above it. The sculptor is not known, although various suggestions have been made including Bartolomeo Buon from Venice and Jacopo della Quercia from Siena and several art historians think that the sculpture of the Judgment of Solomon (which must have been made in the period 1424/38) shows influence from Tuscany. Eduardo Arslan, after reviewing all the theories in 1971, concluded that this sculpture "remains for us a great mystery".
In 1438 a contract was made with Giovanni and Bartolomeo Buon for the construction of a great ceremonial doorway into the palace. This was the Porta della Carta and connected the newly constructed wing of the palace with the south wall of St Mark's. Giovanni was nearing the end of his life and the gateway is mainly the work of Bartolomeo. It was completed by 1442 and included a sculpture of the Doge Francesco Foscari kneeling before the lion of St Mark. The statues of the cardinal virtues on either side were by another hand. Originally the whole gateway was painted and gilded.[35] This is just visible in the right background of Gentile Bellini's painting of 1496, which shows the piazza in its state at this time, still narrow and with the old 13th-century buildings on either side.[citation needed]
From the Renaissance to the fall of the Republic (1490–1797)
In 1493 an astronomical clock was commissioned by Venice and it was decided to install it in a new clocktower in the Piazza with a high archway beneath it leading into the street known as the Merceria, which leads to the Rialto. The building, which was probably designed by Codussi, was started in 1496, a section of the original Procuratie being demolished for the purpose. The building was completed with the clock installed by February 1499. It can be seen, flanked by the original Procuratie building, in de Barbari's woodcut of Venice in 1500. The Procuratie then were only two storeys high and the tower stood higher above them than it does today.
Buildings on either side to support the tower were added by 1506 and in 1512, when there was a fire in the old Procuratie, it became obvious that the whole range would have to be rebuilt.
Despite the fact that Venice was then at war with much of Europe (War of the League of Cambrai) the whole of the south side of the Piazza was rebuilt, starting in 1517. The new buildings, known today as the Procuratie Vecchie, were three storeys high instead of two. Like the previous Procuratie they had an arcade on the ground level with two windows above each arch, but without the high Byzantine arches and with classical details.
In 1527 Jacopo Sansovino came to Venice, fleeing from the sack of Rome, and by 1529 he had been appointed as Proto (consultant architect and buildings manager) to the Procurators of St. Mark. The Procurators wished to rebuild the old buildings on the south side of the Piazza, but Sansovino persuaded them that the opportunity should be taken to enlarge the Piazza and that these buildings should be demolished and the building line moved back clear of the campanile. He also convinced them that the old hostelries and shops on the west side of the Piazzetta opposite the Doge's Palace should be replaced by a new building worthy of the site. It was decided that the library of books and manuscripts, which had been bequeathed to the city by Cardinal Bessarion but had still not found a permanent home, should be housed there and Sansovino originally intended that the façade of this building (the Libreria) should eventually be continued along the south side of the Piazza and round the south-west corner as far as the church of San Geminiano in the middle of the west side. These changes also made it necessary to rebuild the Loggetta and at the same time the government of Venice had commissioned Sansovino to rebuild the mint (the Zecca) on the west side of the Libreria. All these works were proceeding together for many years after 1537. The new Loggetta was complete by 1545 and the Zecca by 1547 (though a third storey was added by 1566), but work on the Libreria was held up by the difficulty of finding new premises for the businesses which were displaced as well as by shortage of funds and only sixteen bays (out of twenty-one) had been finished before the death of Sansovino in 1570. By that date it had not yet been possible to start on the rebuilding of the south side of the Piazza beyond the Libreria.
Sansovino also completed the rebuilding of the old church of San Geminiano at the west end of the Piazza, facing St Mark's. Much of the work had been done before he took it over in 1557, but he was responsible for the façade in white Istrian stone. He also continued the range of Procuratie Vecchie on the north side of the Piazza round the corner as far as this church.
After the death of Sansovino funds were at last made available to start the rebuilding of the south side of the Piazza in its new position well clear of the campanile. His idea of a two-storey building continuing the façade of the Libreria had to be abandoned, as the Procurators required three storeys. However Vincenzo Scamozzi based the design on the façade of the Libreria and completed ten bays between 1582 and 1586, The Procuratie Nuove (New Procuracies), as they are called, were not completed until 1640, when the remaining bays on the south side were completed and continued round the corner to the church of San Geminiano by Baldassarre Longhena.
Napoleon and later (1797 onwards)
Venice surrendered to Napoleon on 12 May 1797. By 4 June a "Tree of Liberty" had been placed in the Piazza. Soon afterwards stonemasons were sent out on the orders of the Municipality to destroy images of the winged lion, which was seen as a symbol of Venetian independence and aristocratic rule. On the Porta della Carta in the Piazzetta the head of Doge Francesco Foscari was removed as well as that of the lion before which he was kneeling. (They were replaced by copies later in the century). The French ordered the four horses of San Marco to be taken down and sent to Paris together with the bronze lion on the column in the Piazzetta. They were removed in December 1797.
In January 1798 under the Treaty of Campoformio the Austrians moved into Venice in place of the French. This first Austrian ascendancy lasted from 1798 to 19 January 1806, when the French moved back after Napoleon's victories at Austerlitz and Jena and his establishment of the kingdom of Italy in 1804. Napoleon appointed his stepson Eugène de Beauharnais as his viceroy and in 1807 it was ordered that the Procuratie Nuove were to become the royal palace for his occupation. Napoleon himself paid a ceremonial visit to Venice later in 1807, landing at the Piazzetta on his way to the new palace.
It was decided that the new palace should extend across the whole of the west end of the Piazza and this made it necessary to demolish the church of San Geminiano, rebuilt by Sansovino, and also the buildings on either side, Sansovino's extension of the Procuratie Vecchie to the north and part of the Procuratie Nuove to the south. The original architect was Gianni Antolini from Milan, but the new building caused much controversy and in 1810 he was replaced by Giovanni Soli from Modena. The present building, known as the Ala Napoleonica (the Napoleonic Wing) was built between 1810 and 1813. The façade of the two lower storeys is in the manner of the Procuratie Nuove, but the upper storey, containing the ceremonial entrance and the ballroom, has no windows or arches and is decorated with statues and sculpture in low relief. In the centre there was originally to have been a statue of Napoleon as Jupiter with the imperial arms above, but this was abandoned after the fall of Napoleon in 1814 and there is now no focal point on the west side of the Piazza.
After the abdication of Napoleon the Austrians re-occupied Venice (under the Treaty of Fontainebleau) in April 1814. The Austrian chancellor, Prince Metternich, was instrumental in arranging the return to Venice of the four horses of St Mark and the lion from the Piazzetta. The horses were re-installed in front of the Basilica on 13 December 1815, but the bronze lion had been badly broken and had to be repaired. It was placed back on its pillar in April 1816.
Pavement
The Piazza was paved in the late 12th century with bricks laid in a herringbone pattern. Bands of light-colored stone ran parallel to the long axis of the main piazza. These lines were probably used in setting up market stalls and in organizing frequent ceremonial processions. This original pavement design can be seen in paintings of the late Middle Ages and through the Renaissance, such as Gentile Bellini's Procession in Piazza San Marco of 1496.
In 1723 the bricks were replaced with a more complex geometrical pavement design laid out by Venetian architect Andrea Tirali. Little is known about Tirali's reasoning for the particulars of the design. Some have speculated that the pattern was used to regulate market stalls, or to recall their former presence in the square. Others believe the pattern was drawn from oriental rugs, a popular luxury item in this trading centre.
A field of dark-colored igneous trachyte with geometrical designs executed in white Istrian stone, similar to travertine composed the design. Squares of diagonally laid blocks alternated with rectangular and oval designs along broad parallel bands. The squares were pitched to the centre, like a bowl, where a drain conducted surface water into a below-grade drainage system. The pattern connected the central portal of the Basilica with the centre of the western opening into the piazza. This line more closely parallels the façade of the Procuratie Vecchie, leaving a nearly triangular space adjacent to the Procuratie Nuove with its wider end closed off by the Campanile. The pattern continued past the campanile, stopping at a line connecting the three large flagpoles and leaving the space immediately in front of the Basilica undecorated. A smaller version of the same pattern in the Piazzetta paralleled Sansovino's Library, leaving a narrow trapezoid adjacent to the Doge's palace with the wide end closed off by the southwest corner of the Basilica. This smaller pattern had the internal squares inclined to form non-orthogonal quadrilaterals.
The overall alignment of the pavement pattern serves to visually lengthen the long axis and reinforce the position of the Basilica at its head. This arrangement mirrors the interior relationship of nave to altar within the cathedral.
As part of the design, the level of the piazza was raised by approximately one meter to mitigate flooding and allow more room for the internal drains to carry water to the Grand Canal.
In 1890, the pavement was renewed "due to wear and tear". The new work closely follows Tirali's design, but eliminated the oval shapes and cut off the west edge of the pattern to accommodate the Napoleonic wing at that end of the Piazza.
Flooding
The Piazza San Marco is not far above sea level and during the Acqua Alta, the "high water" from storm surges from the Adriatic or heavy rain, it is quick to flood. Water pouring into the drains in the piazza runs directly into the Grand Canal. This normally works well but, when the sea is high, it has the reverse effect, with water from the lagoon surging up into the square. A historically important flood was the 1966 Venice flood, when an abnormal occurrence of high tides, rain-swollen rivers and a severe sirocco wind caused the canals to rise to a height of 194 cm or 6 ft 4 in.
(Wikipedia)
Der Markusplatz (italienisch Piazza San Marco, venetisch Piasa San Marco) ist der bedeutendste und bekannteste Platz in Venedig.
Der Markusplatz ist 175 m lang und bis zu 82 m breit und ist der einzige Platz der Stadt, der die Bezeichnung piazza trägt. Die anderen Plätze Venedigs werden campi genannt (von ital. campo ‚das Feld‘), da sie ursprünglich nicht gepflastert waren. Alfred de Musset nannte den Markusplatz den „Salon Europas“. Der Platz, der sich im Stadtsechstel San Marco befindet, ist geprägt von der Fassade des Markusdoms (Basilica di San Marco) und seinem Campanile und wird umschlossen von den alten und neuen Prokuratien. In der Verlängerung durch die sogenannte Piazzetta reicht er bis vor den Dogenpalast und öffnet sich dort zum Wasser, dem Bacino di San Marco, mit dem Beginn des Canal Grande. Vor der Markuskirche befinden sich seit 1480 drei Schiffsmasten, an denen an Sonn- und Feiertagen das Markus-Banner weht.
Da sich der Platz nur wenig über den Meeresspiegel erhebt, wird er bei Hochwasser immer wieder überflutet. Der Platz ist, wie nahezu die gesamte Innenstadt, eine einzige große Fußgängerzone. Der „schönste Festsaal Europas“, wie Napoleon ihn nannte, wird von Touristen, Fotografen und Tauben bevölkert.
Geschichte
Die Topographie des Platzes, wie sich im frühen Mittelalter darstellte, ließ sich ansatzweise rekonstruieren. Die Küste verlief demnach weiter nördlich, also näher am Dogenpalast, wobei das Gebiet des Molo mindestens bis ins 13. Jahrhundert einen flach abfallenden Küstensaum darstellte. Darüber hinaus erwies sich ein bei der Biblioteca Marciana 1888/89 entdeckter Kanal, der Rio Batario, als ein bis zu seiner Zuschüttung im 12. Jahrhundert quer über den Platz verlaufender Wasserweg. Untersuchungen unter der Bibliothek und unter dem Platz förderten Siedlungsspuren ab der 2. Hälfte des 7. Jahrhunderts zutage.
Der Platz stammt aus dem 9. Jahrhundert, als vor einer bescheidenen Markus-Kirche eine kleine Freifläche entstand. Seit dieser Zeit war er der Ort für die Ankündigungen und Staatsakte der Stadtverwaltung (siehe: Doge) wie auch für die zahlreichen Feste der Bevölkerung, beispielsweise des Karnevals von Venedig.
Der Marktplatz in seiner heutigen Form ist das Ergebnis zeitlich weit auseinander liegender städtebaulicher Maßnahmen zwischen 1200 und 1600.
Begonnen wurde 829 mit der Errichtung einer kleinen Grabeskirche für die Gebeine des Heiligen Markus unter dem 11. und 12. Dogen. Nach der Legende waren die Gebeine des Evangelisten aus Alexandria (Ägypten) nach Venedig entführt worden. Für sie wurde in unmittelbarer Nachbarschaft zu einem vorhandenen Dogenkastell an der Stelle des heutigen Dogenpalastes eine Kirche errichtet. 976 brannten Kastell, Kirche und rund 300 Häuser vollständig ab. Der dadurch entstandene Freiraum wurde von dem Dogen Pietro I. Orseolo für eine Neuordnung des Areals genutzt.
Seine jetzige Größe erhielt er nach 1156 durch Zuschüttung des Flusslaufes des Rio Batario im Westen und einer Schiffsanlegestelle, die sich zwischen Platz und Dogenpalast befand. Zwischen 1172 und 1178 wurde er unter dem Dogen Sebastiano Ziani nach Westen erweitert und er zeigte sich schon 1177, als Kaiser Friedrich I. die Stadt besuchte, als repräsentatives Zentrum der Stadtrepublik. Ab 1267 war der Platz gepflastert. 1340 wurde der Neubau des Dogenpalastes beschlossen, der nach dem verheerenden Brand von 1577 in seiner alten Form wiederaufgebaut wurde. Der heutige Umriss von Piazza und Piazzetta wurde erst durch die Bauten des 16. Jahrhunderts endgültig festgelegt.
Seit 1722 ist der Platz von einem Pflaster aus Trachyt nach einem Entwurf von Andrea Tirali bedeckt,[2] wobei dem dunkleren Untergrund ein helleres geometrisches Muster beigegeben ist, das den Platz länger erscheinen lässt. Davor war er, ähnlich der Piazza del Campo in Siena, mit einem fischgrätartig verlegten Ziegelpflaster bedeckt, das man noch auf den Gemälden von Canaletto und Bellini sehen kann.
Gebäude
Beginnend am Canal Grande befinden sich, gegen den Uhrzeigersinn, folgende Gebäude am Platz: der Dogenpalast, die Porta della Carta (das Verbindungsglied zum anschließenden Markusdom), der Uhrenturm, die Procuratie Vecchie, der napoleonische Flügel der Prokuratien, die Procuratie Nuove, der Campanile mit der Loggetta und die Biblioteca Marciana.
Porta della Carta
Das Torhaus zum Dogenpalast (ital. Palazzo Ducale), die Porta della Carta, wegen seiner einst üppigen Vergoldung auch porta aurea genannt, wurde zwischen 1438 und 1442 unter der Leitung von Giovanni und Bartolomeo Buon erbaut. Sie öffnet den Zugang zur Scala dei Giganti, wo das prunkvolle Schauspiel der Dogenkrönung inszeniert wurde. Die Skulptur des Auftraggebers Francesco Foscari befindet sich über dem Portal. Der Doge kniet vor Venedig, dargestellt durch den geflügelten Markuslöwen.
Uhrturm
Der Uhrturm (Torre dell’Orologio) selbst wurde zwischen 1496 und 1499 von Mauro Codussi errichtet, die angrenzenden Flügelbauten (1502–1506) stammen von Pietro Lombardo und wurden 1755 von dem Architekten Giorgio Massari mit einem dritten Geschoss aufgestockt. Die astronomische Uhr mit ihrem Zifferblatt aus Lapislazuli zeigt die Mond- und Sonnenphasen und die Tierkreiszeichen an. Zwei riesige Figuren aus Bronze schlagen auf einer Bronzeglocke die Stunden an.
Städtebaulich wird durch den Turm die Einmündung zur Merceria betont, andererseits ist er Endpunkt einer von der Seeseite des Platzes geführten Blickachse, die Piazza und Piazzetta optisch verbindet.
Im Prince-Alfred-Courtyard des Großmeisterpalastes in Valletta befindet sich an einem Turm mit der Pinto-de-Fonseca-Uhr eine dem venezianischen Original nachempfundene Uhr mit Glockenspiel. Das Glockenspiel diente später dem des Leipziger Krochhochhauses (1927/28) als Vorbild.
Prokuratien
Nord-, Süd- und Westseite des Platzes werden eingefasst von den Prokuratien, ehemaligen Verwaltungsgebäuden der Republik. Die alten Prokuratien im Norden wurden nach dem Brand eines Vorgängerbaus ab 1514 unter der Leitung von Bartolomeo Buon errichtet. Die neuen Prokuratien wurden ab 1583 unter der Leitung von Vincenzo Scamozzi und von 1616 bis 1640 unter Baldassare Longhena erbaut. Der früher rechteckige Platz erhielt jetzt seine trapezartige Form. Der Verbindungsriegel an der Westseite – ala napoleonica – ist ein Bau des 19. Jahrhunderts. Auf Veranlassung der französischen Besatzungsmacht war die zuvor dort den Platz abschließende Kirche San Geminiano mit der Fassade von Sansovino abgebrochen worden, um Raum für einen an die Architektur der Prokuratien angepassten Neubau zu schaffen. Dieser enthält einen großen Ballsaal, heute Teil des Museo Correr. Die Prokuratien beherbergen daneben das Archäologische Museum Venedigs.
Im Erdgeschoss der Gebäude findet man kleine Läden und Cafés, darunter die beiden berühmtesten Cafés Venedigs, das Gran Caffè Quadri, Lavena und das Caffè Florian, eröffnet im Jahr 1683 und damit das älteste Caféhaus Europas.
Campanile
Der freistehende Markusturm ist der Campanile, der Glockenturm der Kirche San Marco. Der Ziegelbau mit den für Venedig charakteristischen Bauteilen aus hellem istrischem Stein wurde auf einem älteren Fundament errichtet und im 12. Jahrhundert vollendet. Er diente den Seefahrern als festes Landzeichen und konnte bei Bedarf in der Nacht durch ein Feuer als Leuchtturm dienen. Der Turm wurde durch Erdbeben oder den Ausbruch von Feuer mehrmals beschädigt. Nach 1500 wurde das Obergeschoss des Turms nach der Zerstörung durch einen Blitzschlag mit einem pyramidenartigen Helm bekrönt, auf dem eine Figur aus vergoldetem Kupfer des Erzengels Gabriel errichtet wurde. Daraufhin nahm die Anzahl der Blitze, die den Turm trafen, zu, bis schließlich 1776 ein Blitzableiter installiert wurde. Am 14. Juli 1902 fiel der Turm in sich zusammen, ohne einen Menschen zu verletzen; anschließend wurde er in seiner alten Form, also als Rekonstruktion wieder vollständig aufgebaut: dov’era e com’era‚ wo und wie er war‘.
Loggetta
Die Loggetta am Fuß des Campanile wurde zwischen 1537 und 1540 von Sansovino errichtet. Sie diente den Patriziern der Stadt als Versammlungsort. In den Reliefs und den Skulpturen wird die Republik Venedig mit all ihren Tugenden – Geschicklichkeit im Krieg und beim Handel, politische Eintracht, Redegewandtheit ihrer Protagonisten – verherrlicht und ihre Friedensliebe und die besondere Protektion durch den Evangelisten Markus dargestellt. Beim Einsturz des Campanile wurden Teile ihres Figurenschmucks zerstört.
Biblioteca Marciana
Das Gebäude der Biblioteca Marciana wurde von Sansovino an die neuen Prokuratien angebaut, es verbindet architektonisch die Piazzetta mit dem Markusplatz.
Olivetti-Ausstellungsraum
Olivetti ließ von 1957 bis 1958 von dem Venezianer Carlo Scarpa einen Ausstellungsraum am Markusplatz Nr. 101 errichten. 2006 wurde dieser Shop durch das Unternehmen restauriert und mitsamt den ausgestellten Produkten als Museum in die 1950er Jahre zurückversetzt.
Piazzetta
Der vom übrigen Platz etwas abgesetzte Teil zwischen Dogenpalast, Biblioteca Marciana und der Lagune wird Piazzetta San Marco genannt. Die Piazzetta (kleiner Platz, von italienisch piazza, „Platz“[4]) wird von den beiden Säulen dominiert, die Venedigs Stadtheiligen Markus (Marco) und Theodorus (Todaro) gewidmet sind; auf den Säulen befinden sich daher der Markuslöwe bzw. die San-Todaro-Statue (mit Todaro auf einem Krokodil posierend). Hier wurden Staatsgäste empfangen und Hinrichtungen durchgeführt, aber auch Glücksspieler gingen hier ihrem Geschäft nach.
Jenseits der durch den Canal Grande gebildeten Wasserfläche (hier als Bacino di San Marco) befindet sich die Punta della Dogana neben der von Baldassare Longhena errichteten Santa Maria della Salute. Außerdem steht hier das alte, 1678–1682 von Giuseppe Benoni errichtete Zollhaus Venedigs (Dogana da Mar), dessen Turm einen von Atlanten getragenen Erdball trägt.
(Wikipedia)
On Wednesday, January 7, 2015, Bronx Borough President Ruben Diaz Jr. and Council Member Rafael Espinal, chair of the City Council’s Committee on Consumer Affairs, officially unveiled a legislative package relating to the creation of a letter grading system for cosmetology businesses, including nail salons, spas, barber shops, beauty parlors and other similar establishments throughout the five boroughs.
Joining Borough President Diaz and Council Member Espinal at the press conference were (l to r) Rommy Pennella, executive director of the New York Hispanic Cosmetology and Beauty Chamber of Commerce; Council Member Rory Lancman; Charito Cisneros, founder of the New York Hispanic Cosmetology and Beauty Chamber of Commerce; Council Member David Greenfield, Council Member Mark Levine and Council Member Andrew Cohen (not pictured).
Video of the press conference can be viewed here: youtu.be/8FsTHdpWv5U.
The complete press release can be found here: on.nyc.gov/17jqxjX.
A JPEG of the draft “Customer’s Bill of Rights” can be found here: bit.ly/1zUGZOb.
Kagura, a shamanic ritual of ancient Japan was performed here recently. Team Viva attended
Shinto, the ancient Japanese religion has many rites and rituals relating to sacred worship. Among them is the Kagura, a theatrical dance, performed wearing heavy, colourful costumes of animals, with demon masks and featuring graceful body movements.
It was delivered by the Iwami Kagura troupe. The whole extravaganza was divided in three parts.
The last was particularly riveting. It involved a huge bamboo and paper serpent, about 40cm in diameter and 16mts long.
Tomoharu Katsuta, director of The Japan-India Association explained, “This is a sacred dance offered to Gods and Goddess at local shrines during the autumn harvest festival. It is based on old scriptures and was begun during 1100AD, by Shinto priests. Ordinary folk began performing it from the start of the Meiji Era, from 1869-1912, using Taiko drums, hand claps and flutes.”
It originally lasted for 12 hours, beginning from 7pm. It ended by 7am. The Delhi show was organised by ICCR and supported by the Embassy of Japan.
The evening began with a section called the Jin-rin, named after a demon, represented with a big mask. It was followed by Ebisu, the of fishing and Orochi, the name of a giant serpent. “According to myth, Jin-rinwas a winged demon king who flew all over Japan and killed people.” Later, King Chuai, second son of Emperor Yamato Takeru decided to kill the Jin-rin. The second piece featured Ebisu and Daikoku, God of wealth and prosperity. This is usually performed at weddings and auspicious ceremonies.
Orochi’s story involves an old couple and their daughter. The serpent would take the girls away and kill them. The couple was saved by the hero, Susano no Mikoto, who was exiled from the Heaven called Takamagahara. He asked the couples to make eight barrels of strong sake (rice wine), because the Orochi serpent had eight heads and eight tails. And its length swept over eight mountains and eight valleys.
“Mikoto succeeded in killing the monster while it was drunk and sleeping. Since then, sake is used to be drink in the weddings,” explained Tomoharu Katsuta.
He added, “This traditional dance form is used as a tool for Japans’ cultural exchange activities. It includes the Orochi (giant evil Serpent) episode, which received acclaim for its scale and dynamic movement. And the Iwami Kagura is a source of pride for locals. However, the big masks used, with their small eyes, create problem for performers vision. And the heavy costumes weigh over 20kgs, with gold and silver threads, plus glass beads.” Carrying the heavy serpent is also a tough job.
[Credit to Pioneer article]
Lifetime Dream # 136 of my list of 155: I will compose and record a concept album, telling an emotional story relating to my own life and themes of love and fear- how they exist with and without one another, and how they can save and destroy people. I will develop the emotions in the story with the hopes of reaching out and healing people as I have been healed through my many journeys.
Music has been such a huge part of my life since I was a young child. I have been influenced by many different albums in my life, several of which were concept albums. Two of the primary concept albums that really influenced my life were The Crimson Idol and Operation Mindcrime.
The level of effort that it takes to tell a really deep and emotional story- tell it well, and then have good music to go with it is quite the task to be done. I have several songs written in my head, all relating to one of these two elemental themes “Fear” and “Love”. Understanding the truth between these two themes and how they interact was a shifting point for me. Really understanding it was a truth that took me forever to understand. Many had tried to explain it, but I wasn’t getting it till one day it literally just clicked.
I love helping and healing people- I love touching people through the emotional channels of music… and I hope I can get this project done someday soon! This is one of many notebooks I keep on music where I write down ideas that come to me… I often pull many of them together, and I always try to write them down the instant I get them or else I might very well forget them!
Understanding how materials behave, degrade and relate to each other is a fundamental part of the research that takes place at TWI, and factors into much of the work we conduct for our Members.
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I was surprised at how calm the dog was. I remember having to hold her down and they would put a muzzle on her because she would become aggressive toward the vet. The heartworm test takes a few minutes and I am glad to know that Ash does not have any. I guess those monthly pills really do work! She is a10-year old outdoor dog by the way, and she is heartworm free!
“The observer, when he seems to himself to be observing a stone, is really, if physics is to be believed, observing the effects of the stone upon himself.”
- Bertrand Russell
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it was extrememly hard for me to get this shot.. i am so glad i could capture it. the way i shot it was extremely funny.. Crea-tive photographed me while i struggled to take this shot. I might post it.. so look out for that one.
(for best viewing, have monitor brightness on highest)
This relates to my blog post
www.heatheronhertravels.com/a-cool-gelateria-in-nuoro-in-...
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Memory of Colors brings together into one big masterpiece the last authentic tribes, people and ethnic groups of the world and symbolically relates each one of them to a their colors.
In 1999 artist Jaime Ocampo Rangel began this intimate and engaging project after coming into contact with the Kogui people in his native Colombia he had a spiritual and artistic realisation, to create this masterpiece.
The artist has decided to document these ethnic groups threatened by globalisation through the creation of a rainbow that trully represents the human existence. Each group's unique beauty is revealed through the different colours as they pose on a background that can be the same colour as their skin, their clothing or their spiritual beliefs.
White from the Kogui's clothing in Colombia, ochre from the Himba's skin in Namibia, Wayana's red and so on.
In many civilisations around the world the rainbow symbolically represents a bridge connecting the modern world to the world of the ancient Gods. This people have struggled very hard to keep their traditions and ways of living alive and this is a heritage and a treasure that we all should share with love and respect.
The way Jaime has choosen to complete the masterpiece is by sailing around the world. The trip, that will take around two years to complete, will consist on an itinerant exposition on the boat's sails. Is a way of bringing awareness to the world and to this same people of the importance of preserving their cultural richness and traditions.
Forty ethnic groups have already been documented and another hundred identified, and those hundred will be visited on this trip, filmed and photographed to fulfill the ultimate goal of the masterpiece: To represent the real landscape of our multi-cultural earth
THE POWER OF THE COLOURS
The force of the gaze and the combined colours causes reactions which influence the plastic search.
It is these reactions that the photographer seeks to transmit in his portraits : they act like the waves used by television or cellular phones.
The colours also are waves. We do not react in the same way in front of red or purple, blue or yellow.
The colour also produces a complementary effect, destabilizing for those who look at the images. From where the importance of the large size: it fills the visual field, the colour hence takes on all its force.
In addition to the beauty of the faces, their emphasis through the colours with which they are associated makes it possible to transmit a strong message on the programmed disappearance of these fascinating cultures.. It is a fact which cannot leave us indifferent
Watch this video on Vimeo. Video created by Memory of Colors.
The Panel (or Bay) numbers quoted at the end of each entry relate to the panels dedicated to the Regiment served with. In some instances where a casualty is recorded as attached to another Regiment, his name may alternatively appear within their Regimental Panels (or Bays). Please refer to the on-site Memorial Register Introduction to determine the alternative Panel (or Bay) numbers if you do not find the name within the quoted Panel (or Bay). Wheelchair access to the memorial is possible via an alternative entrance at the rear of Faubourg-d'Amiens Cemetery. Location Information: The Arras Memorial is in the Faubourg-d'Amiens Cemetery, which is in the Boulevard du General de Gaulle in the western part of the town of Arras. The cemetery is near the Citadel, approximately 2 kms due west of the railway station.
The French handed over Arras to Commonwealth forces in the spring of 1916 and the system of tunnels upon which the town is built were used and developed in preparation for the major offensive planned for April 1917. The Commonwealth section of the FAUBOURG D'AMIENS CEMETERY was begun in March 1916, behind the French military cemetery established earlier. It continued to be used by field ambulances and fighting units until November 1918. The cemetery was enlarged after the Armistice when graves were brought in from the battlefields and from two smaller cemeteries in the vicinity. The cemetery contains 2,651 Commonwealth burials of the First World War. In addition, there are 30 war graves of other nationalities, most of them German. During the Second World War, Arras was occupied by United Kingdom forces headquarters until the town was evacuated on 23 May 1940. Arras then remained in German hands until retaken by Commonwealth and Free French forces on 1 September 1944. The cemetery contains seven Commonwealth burials of the Second World War. The graves in the French military cemetery were removed after the First World War to other burial grounds and the land they had occupied was used for the construction of the Arras Memorial and Arras Flying Services Memorial. The ARRAS MEMORIAL commemorates almost 35,000 servicemen from the United Kingdom, South Africa and New Zealand who died in the Arras sector between the spring of 1916 and 7 August 1918, the eve of the Advance to Victory, and have no known grave. The most conspicuous events of this period were the Arras offensive of April-May 1917, and the German attack in the spring of 1918. Canadian and Australian servicemen killed in these operations are commemorated by memorials at Vimy and Villers-Bretonneux. A separate memorial remembers those killed in the Battle of Cambrai in 1917. The ARRAS FLYING SERVICES MEMORIAL commemorates nearly 1,000 airmen of the Royal Naval Air Service, the Royal Flying Corps, and the Royal Air Force, either by attachment from other arms of the forces of the Commonwealth or by original enlistment, who were killed on the whole Western Front and who have no known grave. Both cemetery and memorial were designed by Sir Edwin Lutyens, with sculpture by Sir William Reid Dick. The memorial was unveiled by Lord Trenchard, Marshal of the Royal Air Force on the 31 July 1932 (originally it had been scheduled for 15 May, but due to the sudden death of French President Doumer, as a mark of respect, the ceremony was postponed until July).
立法會發展智慧城市事宜小組委員會參觀香港國際機場
立法会发展智慧城市事宜小组委员会参观香港国际机场
LegCo Subcommittee on Matters Relating to the Development of Smart City visits the Hong Kong International Airport (8.8.2022)
GENERAL DESCRIPTION
PLEASE NOTE: -
“MUDA” is a singular word relating to one of the mercantile convoys sailing out of Venice each year.
“MUDE” is a plural word relating to several, or all, of the mercantile convoys sailing out of Venice each year.
27 leaves, leaf size 249mm x172mm (9 3/4ins. X 6 8/10ins.) with a text block of 172mm x 98mm (6 8/10ins. x 3 17/20ins.).
Single column, 29 lines in a superb, elegant, humanistic cursive minuscule script in black, probably all written by the same scribe. Many ascenders on the top line, and descenders on the bottom line, have been embellished.
This manuscript include two texts, the first being the Regulations of the Muda of Venice to Alexandria, and the second being the Journal of the Muda to Alexandria that set sail from Venice on 21st. May, 1504. The manuscript was probably written in that city in that year.
A FULL DESCRIPTION IS ATTACHED TO THE OVERVIEW.
Folio 5 recto (Original Folio 6 recto)
TRANSCRIPTION
(38)
lignum vel navigium armatu Vel disarmatum, vel merces ali -
quas de extra Culphum ad aliquas partes de intra Culphum alioquin
venetiis. Sub pena de L. pro .c . totius eius quod portaretur, vel mit -
teretur, aut discarricaretur contra hoc. Et si maiores pene inveni -
rentur apposite p alios ordines nostros, ille maiores pene exigatur
a contrafacientibus: et pro omni bono respectu est etiam ordinatum,
q de cetero nullis fidelis, vel districtualis Venetiarum possit levare
vel levari facere sup aliquibus navigiis armatis vel disarmatis ali -
quod havere Venetiarum subtile vel grossum quod foret conductum de
extra Culphum sub pena de. L .pro .Co . In quam penam etiam incur -
rant nostri Patroni navigiorum armatorum et disarmatorum super
quibus levaretur de Dicto havere : Et si levaretur de havere fo -
rensium cadant tam nostri patroni predicti, super quorum navigiis
levaretur, q nostri mercatores contrafacientes De . Co . Pro . Co . Valoris
eius in quo fuerit contrafactum. Et si maiores pene forent positae
sup hoc exigantur a contrafacientibus, Et predicta omnia inquiren -
da comissimus omnibus officialibus quibus comissa sunt qui banna
qui inquirant de contrafacientibus, et penas exigant habentes partem ut
de aliis sui officii. Et si fuerit Accusator habeat tertium, & sit
de credentia, officium, tertium, et Commune reliquum. Et perpea
Committimus tibi q predicta facias obsuari, & ingras de contra -
facientibus cum illa libertate, et conditione quibus est comissum
in Venetiis officialibus ante dictis, habendo partem sicut haberet
officiales. Et de dictis penis non potest ferie gratia sub pena du -
catorum mille pro quolibet ponentem vel contrafaciente partem in con -
trarium : & predicta revocari non possint nisi p sex Consiliari -
os, tria Capita de xLra. & tres partes consilii rogarum congregarum
ab octnaginta supra.
(39)NUllus ciuis noster vel habitator Venetiis vel alia persona
Folio 5 recto (Original Folio 6 recto)
POSSIBLE ENGLISH TRANSLATION
38. …............. stock or ship armed or unarmed or reward from any outside Culphum to any parts of the Culphum other than Venice under the penalty of 100 pounds instead of the whole of that which he was born with, or be sent to, or discharged against this. And if our ancestors found it appropriate through other means, they opposed a greater punishment being required, and with respect to all the other goods is ordered otherwise in the future it will not be believed that a distracted Venice can raise or levy on some boats or disarmed can have any Venetian fine or anything which would be hired from outside Culphum under penalty of 50 in which also incurs the penalty of our patron' boats upon which the amusement has taken place : And if the amusement of our patrons takes place in public then let them fall as aforesaid, upon whose boats there was amusements that have opposed the merchants 100 for 100 value of that in which it has been against the facts. And if the punishment that should be placed needs to be opposed and said everything looked affable to all officials who have imposed the banns are to enquire concerning who opposed and the pain brought with it as they possess a much apart as others in the same office. And it shall the plaintiff that may have a third, the entrusted officer a third and the commune the other third. And the aforesaid do entrust it, to suffer, and to enter into the battle with her, opposed to the liberty that had been made by officials in Venice, and as said before, the conditions as set out, as they would have been on the part of the officials. And concerning the said grace in the penalties nor can he make the pain of 1,000 ducats for any part of the holiday for any claims that can not be part of or opposed to the contrary, but that they cannot be recalled and to the aforesaid six councillors, three parts of the 40 and three parts to the council asked to store the 80 above.
39. None of our citizens or inhabitants of Venice or any other person …...........
Lichfield Guildhall - glass from the former great north transept window of Lichfield Cathedral by Betton & Evans of Shrewsbury 1813.
Figure of King Richard I (the 'Lionheart'), one of a sequence of nine figures relating to the foundation and history of the Cathedral.
Between 1813 & c1880 the 9-light north transept window at Lichfield was glazed with a fine sequence of late Georgian (partially) enamel painted historical figures of kings & bishops (one row of nine). No photographs have so far been found to show how this appeared, however the window can be glimpsed in it's original form in a late Georgian watercolour now preserved in Lichfield's St Mary's Heritage Centre.
Betton & Evans of Shrewsbury were prolific in the first half of the nineteenth century in the the western midlands and parts of Wales and were signifcicant in crossing the transition from enamel painting back to more traditional pot-metal leaded windows (this example combines both approaches) Most of their compositions were either derived from old master paintings (Rubens etc) or geometric/heraldic work. Where they created new figurative images the drawing was often primitive and naive.
An exception to those rules is this magnificent series from Lichfield where another designer was employed for the 9 standing figure of this window (plus a later 18 for the corresponding south window). Martin Harrison (our greatest authority on 19th century glass) has identified the designer as John James Halls, a pupil of Henry Fuseli at the Royal Academy.
The painting is bold and vigorous, showing a remarkable freedom of brushwork combined with superb individual characterisation of the figures, making these panels some of the finest late Georgian glass to have survived. .
The glass was removed from the cathedral c1880 during Giles Gilbert Scott's restoration, when the late fifteenth century tracery was replaced with the current five lancets, in order to reinstate the original 13th century design of the north facade.. This dramatic alteration of the window's apertures rendered retention of the 1813 glazing virtually impossible, so it was replaced with the Clayton & Bell Tree of Jesse we see there today.
The dismantled window soon found a new home in the large north facing window of the main hall of Lichfield's Guildhall where it remains to this day. Of course it had to be extensively reconfigured to fit it's new setting, a five light window as opposed to nine; this entailed the nine figures being arranged as two rows of five (a new figure of Queen Victoria by a different workshop was added to fill the vacant space in the centre of the top row). Much of the architectural canopywork that formerly towered above each figure was lost in this process, though elements remain rather patchily worked into the three tracery lights above.
I hope eventually to attempt a digital reconstruction of the window in it's original setting using these images superimposed over the present south window of the cathedral (which is built to the same design as the former north window, prior to it's alteration by Scott)..
An impression of the original setting can be gained here www.flickr.com/photos/amthomson/2949125778/in/set-7215760...
Site of the shrine of Saint Richard of Chichester.(Bishop 1245-53, canonised 1262).
The shrine was popular with pilgrims until its destruction in 1538 by Henry VIII. In recent years the shrine has become a centre of pilgrimage.
The Anglo-German tapestry behind the altar is by Ursula Benker-Schirmer (1985) and contains symbols, biblical in origin, relating to the life of St Richard. Bishop Bell's ashes are interred here.
Chichester Cathedral.
立法會發展智慧城市事宜小組委員會參觀香港國際機場
立法会发展智慧城市事宜小组委员会参观香港国际机场
LegCo Subcommittee on Matters Relating to the Development of Smart City visits the Hong Kong International Airport (8.8.2022)
The description and specifications relate to the Pitts Special as this is an identical aircraft to the S1 and S2S.
The Pitts Special is a light aerobatic biplane designed by Curtis Pitts. It has accumulated many competition wins since its first flight in 1944. The Pitts Special dominated world aerobatic competition in the 1960s and 1970s and, even today, remains a potent competition aircraft and is a favourite for many an aerobatic pilot.
General characteristics
•Crew: Two
•Length: 18 ft 9 in (5.71 m)
•Wingspan: 20 ft 0 in (6.10 m)
•Height: 6 ft 7⅓ in (2.02 m)
•Wing area: 125 ft² (11.6 m²)
•Empty weight: 1,150 lb (521 kg)
•Max takeoff weight: 1,625 lb (737 kg)
•Powerplant: 1× Textron Lycoming AEIO-540-D4A5 flat-six air cooled piston engine, 260 hp (194 kW)
Performance
•Never exceed speed: 182 knots (210 mph, 338 km/h)
•Cruise speed: 152 knots (175 mph, 282 km/h) (max cruise)
•Stall speed: 52 knots (60 mph, 97 km/h)
•Range: 277 NM (319 mi, 513 km)
•Service ceiling: 21,000 ft (6,400 m)
•Rate of climb: 2,700 ft/min (13.7 m/s)
•Wing loading: 13.0 lb/ft² (63.6 kg/m²)
•Power/mass: 0.16 hp/lb (0.26 kW/kg)
Text and specifications based on Wikipedia article under the Creative Commons License for non-profit use.
Activity relating to the carrying of the more than 100 portable shrines (mikoshi) around the Asakusa neighbourhood to bless the businesses and residents with prosperity in the coming year.
Sanja Matsuri (Festival) at the Sensoji Temple, Asakusa,
Tokyo, Japan, 2016
Only the street shots - thestreetzine.blogspot.com/
立法會鐵路事宜小組委員會前往港鐵何東樓車廠視察東鐵線新列車
立法会铁路事宜小组委员会前往港铁何东楼车厂视察东铁线新列车
LegCo Subcommittee on Matters Relating to Railways visits the new East Rail Line train at MTR Ho Tung Lau Depot (2016.05.23)
The performance relates the shorter version of the epic Ramayana Saga with dancers playing as Rama, Shinta (Sita), Lakshmana, Rahwana (Ravana), Hanoman (Hanuman), Sugriwa (Sugriva), and other characters. The storyline starts when Prince Rama wanders into the woods with his wife Shinta and brother Lakshmana. There, the giant Rahwana kidnaps Shinta and holds her in his palace. Rama then seeks help and sends Lakhsmana to find his friend Sugriwa, the King of the Monkey Kingdom. Sugriwa sends his commander the white monkey, by the name of Hanoman, to check on Shinta in Rahwana’s Palace.
A dramatic scene is portrayed when Hanoman is captured by Rahwana’s troops and put inside a circle of fire to burn him alive. Instead of burning to crisp, the white monkey warrior remains unharmed and breaks out only to burn Rahwana’s palace instead. Thus, began the battle between the two forces.
At first, Rahwana and his troops manage to overrun Rama. However, Sugriwa and Hanoman then come to Rama’s aid along with the rest of the monkey troops, defeat the evil king once and for all
Taken @Bali, Indonesia
Gerberoy was one of the most surprising discoveries of our recent trip to France. We had only researched places in Normandy, but Jean-Francois, the host of our excellent B&B (Le Clos du Quesnay near Forges les Eaux) told us about this perfectly preserved medieval village just a few miles across the boundary in Picardy. In addition to the many cobbled streets filled with amazing historic buildings, we found two superb small walled gardens - see separate albums:
www.flickr.com/photos/ugardener/albums/72157661505295598
www.flickr.com/photos/ugardener/albums/72157661519079118
www.leclosduquesnay.fr/fr/gb/index.htm
There are also several marked walking trails leading to nearby forests and villages. I can't think of a better way to spend a day in France.
__________________________________________
"The village of Gerberoy is located towards the west of the Oise department of northern France (hence in the Picardy region). It is found in proximity of Rouen (west), Amiens (north-east) and Beauvais (east).
Officially classified as one of the 'most beautiful villages in France', Gerberoy is best known for its picturesque 17th-18th century cottages. Many of these are half-timbered while others are built in traditional brick. The narrow streets and alleys through the village also contain an abundance of flowers and gardens (especially roses and wisterias) that line the streets and clamber up the buildings.
Together these elements combine to make Gerberoy a very attractive village to explore with the period from late spring to the end of July the best time to to visit if possible to see the flowers at their best. Even better, visit on the third sunday in June when the Gerberoy flower festival takes place.
Interestingly, the transformation of the village from quiet backwater to popular tourist attraction took place at the start of the 20th century and was due to one man, an artist called Henri le Sidaner. Sidaner moved here and planted roses both in his own garden, elsewhere in Gerberoy, and around the ruined fort, starting a trend among the villagers and the re-birth and rediscovery of this once important medieval town.
Today you can visit his lovely terraced garden which is laid out in various colour themes. He has also added a kiosk based on the 'temple of love' built for Marie Antoinette in the Trianon gardens. This has been built on the ruins of the ancient fortress that once defended Gerber. Even today you are likely to see artists following in Sidaner's footsteps and quietly painting pictures of the pretty streets.
Apart from the pleasures of simply strolling through Gerberoy, there are also a few historical buildings to see, including the 15th century Collegiale Saint-Pierre. The houses in Rue du Logis du Roy are some of the oldest in the village. The Maison Henri IV sheltered Henri IV when he was hurt in a battle in 1591.
In the centre of the village is the Hotel de Ville. Underneath is the covered market, and above the market is a small museum featuring items relating to the history of Gerberoy. No 7 Rue Henri le Sidaner was once the home and workshop of Henri Le Sidaner.
You can also follow the walk around the ramparts that originally defended Gerberoy, from where you get a good view of the terraces of Le Sidaner's garden.
It is hard to believe now but up until the 15th century Gerberoy was the scene of many battles and onslaughts. It sits on the ancient border between Normandy which was once English and France. The village was surrounded by ramparts and entered only through a fortified stone gateways which still remains. At the top of the village the fortress dominated the village but little now remains. Instead if forms a suitable site for Le Sidaner's lovely Italian style garden."
www.francethisway.com/places/gerberoy.php
...
立法會鐵路事宜小組委員會視察廣深港高速鐵路香港段西九龍總站的建築工地
立法会铁路事宜小组委员会视察广深港高速铁路香港段西九龙总站的建筑工地
LegCo Subcommittee on Matters Relating to Railways visits the construction site of the West Kowloon Terminus of the Hong Kong Section of Guangzhou-Shenzhen-Hong Kong Express Rail Link (2014.04.28)
Location: Jewellery Quarter Station
Sponsor: Jewellery Quarter BID
Artist: Rob Conway
This maternal bear is inspired by the Ancient Egypt Gallery at Birmingham Museum and Art Gallery. The gallery's Egyptian artefacts include human and animal mummies brought to the city by explorers during the height of Victorian Egyptomania! The bandages also relate to Birmingham Children's Hospital, whilst the name 'Mummy Bear' refers to the character from 'Goldilocks and the Three Bears'.
Repeating The Big Hoot’s multi-award-winning formula, Birmingham Children’s Hospital Charity and Wild in Art have teamed up once again to present The Big Sleuth!
To most people, the word ‘sleuth’ means a private detective, but it’s also the collective noun for a group of bears! Bizarre but true. Birmingham has brought both definitions together this summer by bringing the sun bear, the world’s smallest species of bear (now threatened with extinction), to the region for the second free, public-art trail!
The trail, which culminates on Sunday 17th September, is hoping to attract thousands of families, tourists and residents to the region. Hoping they discover places they’ve never visited before, as well as appreciate the beautiful pieces of art!
Each striking sculpture on the trail tells a different story, whether it is raising awareness of the children’s hospital, the plight of the sun bear, celebrating a community, the city’s industrial heritage or a famous film character or artist.
At the end of the trail, the large bears together with the special celebrity bear cubs will be auctioned off in October to raise vital funds for Birmingham Children’s Hospital Charity. The Big Sleuth’s predecessor, The Big Hoot, raised over £500,000 for the charity at auction, and The Big Sleuth aims to do the same.
The Big Sleuth bear has been created specifically for Birmingham.
Created by Guy McKinley and developed by Wild in Art, our bear sculpture has been designed to act as a canvas for artists, schools and communities to showcase the creativity and uniqueness of Birmingham. The world’s smallest species of bear, the Sun Bear is also known as the Honey Bear as it likes to eat vast quantities of it - using its trademark incredibly long tongue to scoop it all up. The Sun Bear originates from South Asia and will bring out the explorer and traveller in all of us to ensure we all get more active to walk, jog, run or cycle the trail.
There are a few tales to tell about the Murray Earls of Dunmore - they were after all good Jacobites, but it's getting late and I want to go to bed! There is one story I will relate though, which I found in an article written in 2020 by Australian journalist Charles Woolley. The Australian connection is because the 12th and current Earl of Dumore, was born and lives in Tasmania - as you will see! Over to Charles Woolley:-
In the 1960s policemen everywhere, would bail up speeding drivers to ask, “Who do you think you are? Stirling Moss?”
Stirling Moss died recently at the age of 90. He always described himself as happy to be regarded as, “The greatest Formula One Driver never to win the world championship.”
In 1955 Moss at 25 made his claim on world pre-eminence by winning the famous Mille Miglia.
For those of you not into motor racing it is a spectacular 1600km road race through some of the most beautiful country in Italy. Moss finished way ahead of the field beating the world-famous Argentinian, Juan Manuel Fangio by a sensational thirty minutes.
You might have heard of Fangio. His was another name invoked by traffic cops everywhere. As in “Pull over Fangio. Do you know how fast you were going?”
I met Moss once in the eighties in London. A short, slight man, balding and charming, he was with a beautiful young woman who gave every impression of being bedazzled by his charisma and devil-may-care attitude. As were many.
“If you are not trying to win at all costs,” he would often say, “Then what on earth are you doing out there.”
Consequently, the playboy racing driver had as many accidents as girlfriends. He broke both his legs, severely damaged his spine and injured his brain. He suffered lasting nerve damage and impaired eyesight.
Sensibly he quit young, giving up motor racing for a successful business career in property development. He once said, “I knew if I didn’t get out, I’d kill myself and maybe someone else.”
And with that thought (having exhausted the sum-total of my knowledge of motor racing) comes the time to shift gear to the year 1992 and a tale about colliding worlds and random chance. For you never know who you might run into on a Sunday drive on a quiet country road in the northwest of Tasmania.
This is the scene as two quite different motor vehicles are closing on one another in peaceful rolling farmland near the tiny town of Moriarty.
One vehicle, a souped-up Ford Falcon is travelling at high speed, past blurred hedge rows and flashes of chocolate brown soil, roaring uphill and down through the green landscape this fine day in early March.
The driver of the Ford is Stirling Moss. He is too intent on memorizing every twist and turn of the narrow bitumen road to notice a familiarity of scenery: how much this pleasant land resembles his own English countryside.
At 150 kilometers an hour on an unfamiliar winding road he’s not here for the scenery. He is here to win an upcoming race and for that he needs to practice. In the coming days he will need to know every twist and turn.
Moss has been in Tasmania only a few hours, having flown from London and is likely tired and jetlagged and in need of rest.
But always he has that rule; “If you are not trying to win at all costs then what are you doing here?”
The other oncoming vehicle, a modest Toyota Corona (again unrelated to the present plague) is travelling at a much more sedate speed. The driver who is only five minutes from home is accompanied by his wife. They have enjoyed a rare weekend away together without the kids and are in no hurry to get back.
The Corona is doing only 80 kilometers an hour, almost half the speed of the Falcon but the closing speed of the two vehicles is 230 kilometers per hour.
The head-on collision destroys both cars. But it is the occupants of the smaller Toyota Corona who are most seriously injured.
Stirling Moss’s premonitions about what might happen if he continued to race have almost come true.
Moss was in Tasmania for the 1992 inaugural Targa Tasmania which he was fully expecting to win, driving the not yet released new Ford Falcon XR8.
It was to be a great coup for Targa Tasmania and even bigger for his sponsor Ford Australia. But the grand plans suddenly ended with a car crash.
This week the driver of the Corona, Malcolm Murray told me, “No one knew Stirling was here, least of all me. It was all supposed to be a big surprise. A secret marketing strategy. Out of nowhere Stirling Moss would win Targa and the XR8 would be launched with a huge fanfare. At least that was the plan.”
Malcolm Murray, to this day has no recollection of the accident from which he and his wife took years to recover.
Malcolm was a local electrical engineer and a pilot- instructor, married to wife Jan and with two kids.
“But,” as they say in the steak-knife commercial, “There is more!”
The bloke Stirling Moss cleaned up that sunny March day on Bonney’s Hill at Moriarty also turned out to be Sir Malcolm Kenneth Murray, Chief of the Scottish Clan Murray and the twelfth Earl of Dunmore.
Tasmanian born Malcolm inherited a British peerage which entitled him to sit in the House of Lords in Westminster. Accordingly, his wife Jan became the Countess of Dunmore.
In political reforms during the Blair era the British Government abolished hereditary seats in the House of Lords.
Malcolm retained his titles but lost his seat after making only two speeches in the House; one when he took his seat, the other when he gave it up.
Jan’s death five years ago was unrelated to the motor accident but according to Malcolm she never fully recovered. “Whenever we were out driving and a car approached, she became alarmed that we were going to have a head on.”
For his part, Malcolm considers himself lucky. “I don’t remember a thing about the accident. I’m a pilot and when I woke up in hospital all strapped up, the first thing I asked was ‘Whose plane did I crash?”
Malcolm was unconscious when the police arrived and had to be cut out of the wreckage. But he does remember and believes to be true, the wonderful story that did the rounds at the time.
The crash scene told the whole truth. It was clear the Ford was on the wrong side of the road and travelling much too fast.
So, the indignant traffic cop approached the driver of the XR8 and asked the classic question.
“Mate, who do you think you are? Stirling Moss?”
The driver sheepishly replied, “Well actually …….”
Later in court Stirling Moss had a conviction recorded for failing to keep to the left.
He never returned to Tasmania.
Malcolm Murray still avoids the backroads during Targa.
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This photo relates to my blog post
www.heatheronhertravels.com/how-to-eat-well-in-sardinia/
This photo is licenced under Creative commons for use including commercial on condition that you link back to or credit http://www.heatheronhertravels.com/.
See my profile for more detail.
Mei-Yin Ng - visiting artist.
Photo by (c), 2008 Sandra Lynn Belanger.
From the Un/Contained Body: Performances and Forum 2008, sponsored by the Humanities Doctoral Program and the Center for Interdisciplinary Studies at Concordia.
The event, a two-day event of performances and discussions, was co-presented with Studio 303 and took place on April 13 and 14, 2008.
A series of performances was the starting point for an afternoon of discussions focusing on artistic and theoretical practices that explore the body and mutations of its physical boundaries. Specifically, the conference covered ideas relating to movement of and beyond the body, impulses before language, and technologies that mediate corporeal
encounters.
Goal: Entice people to join us for a summer sermon series.
Audience: Relating more to the younger crowd as I believe the older will be there like always.
Direction: We wanted to come up with a title that would communicate:
-both the Old World and a Modern feel
-it is an expositional study
-it is for the summer
-it is relevant for today
-it is ancient, old, trustworthy
-simplicity
-wit
We felt that Galatians has so many truths that it would be odd to pick one to come up with a name for the series. So the title says what it is (many of our folks have been wanting an expositional study so by just using the title of the book “Galatians” that idea comes through.) Then the tagline directs the audience a little more referring to Galatians as a very old letter (ancient text) which is still very relevant today (using texting language to communicate that.) So in the way that Paul was using a letter, the relevant communication tool of the day, so we are using texting language, our relevant communication tool today.
The description and specifications relate to the Pitts Special as this is an identical aircraft to the S1 and S2S.
The Pitts Special is a light aerobatic biplane designed by Curtis Pitts. It has accumulated many competition wins since its first flight in 1944. The Pitts Special dominated world aerobatic competition in the 1960s and 1970s and, even today, remains a potent competition aircraft and is a favourite for many an aerobatic pilot.
General characteristics
•Crew: Two
•Length: 18 ft 9 in (5.71 m)
•Wingspan: 20 ft 0 in (6.10 m)
•Height: 6 ft 7⅓ in (2.02 m)
•Wing area: 125 ft² (11.6 m²)
•Empty weight: 1,150 lb (521 kg)
•Max takeoff weight: 1,625 lb (737 kg)
•Powerplant: 1× Textron Lycoming AEIO-540-D4A5 flat-six air cooled piston engine, 260 hp (194 kW)
Performance
•Never exceed speed: 182 knots (210 mph, 338 km/h)
•Cruise speed: 152 knots (175 mph, 282 km/h) (max cruise)
•Stall speed: 52 knots (60 mph, 97 km/h)
•Range: 277 NM (319 mi, 513 km)
•Service ceiling: 21,000 ft (6,400 m)
•Rate of climb: 2,700 ft/min (13.7 m/s)
•Wing loading: 13.0 lb/ft² (63.6 kg/m²)
•Power/mass: 0.16 hp/lb (0.26 kW/kg)
Text and specifications based on Wikipedia article under the Creative Commons License for non-profit use.