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Governor Abercrombie and the Hawaii Public Utilities Commission held a joint press conference to announce the PUC's issuance of four major decisions and orders.
The PUC's decisions and orders relate to:
• Integrated Resource Planning (IRP)
• Reliability Standards Working Group (RSWG)
• Policy Statement and Order Regarding Demand Response (DR) Programs Maui Electric Company (MECO) Rate Case Follow Up
Just wanted to relate to you all how important it is in life to cherish every moment God lets you live with your loved ones. For two weeks my father had asked me to take him to a special place he wanted to eat lunch and taste the shrimp in that area. At 81, and in a fairly good health after his last stroke, my father wanted to eat shrimp by the bay. I was busy, doing my every day things and took me two weeks to take him. Once there my father told me the story why he wanted to go to that special place. When he was very young, my grandfather had a factory in the city and shipped his goods all thru the country from that special shipping port. They lived close by and he remembered dearly those moments when his father used to take him there (fishers market down town) and he ate those same shrimps over 70 years ago. He was so happy there, he enjoyed every moment, ate slowly and remembered grandma and grandpa who have longed passed away. He felt close to them and just lived the moment second by second every bite he took was just like being there again 70 years before.
I write this with the deepest pain in my heart, so bad it hearts deeply, as I felt God was telling me he is getting ready to reunite my Dad with my grand parents, let him live again but now forever, those unforgettable moments he carries in his heart for all his life, let him have a well deserved peace and tranquility he has more than earned thru his 80 years of being the best Dad anyone can have, the most amazing example of a brave man, who never gave up to give us all the best any one can give and get.
As I sit here praying to God he lets me reimburse my Dad for all he has given us, I wanted to make it public, and ask any of you out there to take one minute and ask God to keep him with us for as much as he wishes so we can all enjoy him for the last days, months o years of his life he has left. We certainly can’t change the past but can absolutely change the future. God I made my deepest desire to you public in my most sincere hope you hear us all and have mercy upon us. God Bless you all.
Postcard
The Fay Thomas Collection includes family archives relating to the Thomas family. Moses Thomas (1825-1878) was a significant figure in the history of the area now known as the City of Whittlesea, Victoria, Australia. Thomas and Ann and their family lived at "Mayfield", Mernda, Victoria.
Miss Lily Thomas (1871-1946), Thomas and Ann’s fourth daughter lived there all her life. She collected postcards which her family and friends sent her on a very regular basis. It was an easy and enjoyable way to keep in touch. Production of postcards blossomed in the late 19th and early 20th centuries. Lily’s collection encompasses the so-called Golden Age (1890-1915) with many postmarked 1906-1907. Some were sent to other members of the family.
The collection document the natural landscape as well as the built environment—buildings, gardens, parks, and tourist sites. Topographical Postcards showing street scenes and general views from Australian and international locations, some of which are artistic views. Popular postcard manufacturers such as Tuck’s Postcards are included in the collection.
Decorative cards, many embellished with floral motives (as a nod to the receiver Lily?) and embossing. Greeting cards are common for Christmas, New Year, Easter and of course birthdays.
Regular senders can be identified from Kyneton and the Great Ocean Road area, Victoria and there is a siginifant collection from Scotland (but not sent from there).
YPRL hold digital copies of the Papers of the Moses Thomas Family held at State Library Victoria
Copyright for these images is Public domain but a credit to the Fay Thomas Collection and YPRL would be appreciated.
Enquiries: Yarra Plenty Regional Library
Many of us relate axes to the essential chopping tools used to cut wood, however, the fact is that axes are available for multi purposes. In ancient times, a wide variety of axes were used as the first choice weapons of warriors. For instance, if we talk about the Vikings, they used to carry axes into battles. Since then, there has been significant change in the making of these axes. The custom carbon steel Ragnar Viking axe is the replica of historical Ragnar Viking axe. Its fully functional custom hand forged carbon steel head has been weathered to perform in any situation. The hand forged Damascus Viking throwing axe is an implement used to split, shape, and cut wood. The hand forged Damascus Viking axe resembles a bearded Viking axe are universally as simple as they are effective.
All the above knives are deadly tools that are well balanced, light and fast in operation. In addition to cutting woods, they are used for chopping, chipping, splitting, and piercing meat. The handle of the axe acts as a lever and tenders the users to increase force at the cutting edge.
Visit Our Website For Further Information: handcraftdamascusart.com/collections/axes
All these pictures relate to my blog for Gardeners World Magazine
while you are at it, try my other blog
When the seasons change,
Leaves will still be blowing through my brain
Can you feel your heart ache?
Do you relate to me?
- the voyces
texture by: www.flickr.com/photos/65667607@N00/
HB632 (Relating to Open Data) requires state departments to make electronic data sets available to the public. The bill also requires the chief information officer (CIO) to develop policies and procedures to implement the Open Data Initiative, and appropriates $100,000 each fiscal year of the biennium to Office of Information Practices (OIP).
HB635 (Relating to Broadband) requires the state and counties to take action in advancing the Hawaii Broadband Initiative within 60 days (for conservation districts, the state must take action within 145 days). The initiative's goal is to provide ultra high-speed Internet access by 2018, and this clear and decisive timeline will reduce uncertainty for broadband companies and serve as an incentive to invest in increased bandwidth.
SB1003 (Relating to Information Technology), another of the administration's bills, authorizes the CIO to conduct security audits and direct remedial actions, as necessary, in the management of the state's cyber security.
Middle and high school students from the District of Columbia present their research findings on topics relating to the theme Conflict and Compromise in History through exhibits, websites, papers, documentaries, and performances. The students vie for prizes and the chance to compete in the National History Day contest. Archivist of the United States David S. Ferriero presents medals to the top three finishers in each category at the event held at the National Archives in Washington, DC, on April 11 and 12, 2018. NARA photo by Jeff Reed.
Urban (ɜːʳbən) adjective [usually ADJECTIVE noun]
Urban means belonging to, or relating to, a town or city.
Arborist (ˈɑːrbərɪst)
noun
A specialist in the cultivation and care of trees and shrubs, including tree surgery, the diagnosis, treatment, and prevention of tree diseases, and the control of pests
collinsdictionary.com
How do you manage trees that were planted in the 1960s as part of post-war housing development in the third decade of the 21st Millennium? With great care, dinosaur smoke and mankind’s great pursuit in conquest over nature.
The process being undertaken in these photos is what's called pollarding, where a trees limbs are removed entirely to encourage later dense growth within 1 to 2 years. Only certain species of trees can handle this brutal operation, like these London Plane trees here. Once a tree is pollarded, it has to be regularly maintained in 5-10 year operations.
Historically, wood harvested from this method would be used to feed livestock or for light timber, but these days, thanks to the infernal combustion engine, two operatives can pollard five trees in as many hours, with the tree limbs being quite violently mechanically separated and carted off to be used either as mulch or biofuel.
I find arboriculture rather fascinating; living amongst the trees in an urban environment, arborists have been a regular sight over the years, performing everything from whole tree clearings to dead wood pruning, I’ve seen them do a lot.
It’s a highly skilled profession with some of the most dangerous and violent tools possible in the workplace – Darwin Award nominees are quickly weeded out.
There is a strange beauty to the brutality of efficiency, especially towards articles of nature.
The Problems Relating to the Management & Excavations of the Archaeological Ruins of Herculaneum / Pompeii as Reported in Foreign Press (1904-2002). [Protection] "Undercover scheme for Pompeii," The Times, Oct 27, 1981. p. 6.
For this project I began to research and develop ideas relating to biomorphic forms such as lichens and bacteria. After expanding my ideas on Pinterest and visiting Ursula Von Rydingsvard’s work at Yorkshire Sculpture Park and the Joana Vasconcelos exhibition at Manchester Art Gallery, I became fascinated with the use of crochet and knitting as an art form and decided to learn how to knit for myself. I experimented with crochet and different thicknesses of wool. I made two samples and reviewed my ideas in my reflective journal, thinking that I would create jewellery from them- by making them into cuffs worn on the wrist or upper arm. After pinning them to the wall I decided that they would look effective in my portfolio as sheets of work rather than just photos of them being worn, so decided to attempt embossing them through the printing rollers. I felt that this style of drawing reflected the subtle textures of the knitting itself and I achieved this by using Fabriano water colour paper and high pressure on the rollers.
The Warrior and the Bear
This monumental sculpture relates to the ancient Greek Maturation ritual of arkteia which involved groups of Athenian girls imitating the bears, dancing and performing sacrifices. This act of orchestrated wildness served to appease Artemis - goddess of the hunt - following the Athenians' slaying of a bear. While the practice of Arkteia was intended to expel the animalistic tenancies of a woman's nature in preparation for a life of domesticity, this figure subverts the tradition by celebrating the ferocity that inhered within the goddess.
( note from the catalogue )
Colleen playing the seemingly innocent, yet manipulative, mistress of Caesar, and Gavin, a brother from the 13th battalion, both threaten my mortality. The former with a fork aimed at my jugular and the latter to run me through and post my head with the desserts. Perhaps we’ve all been watching a wee bit too much Rome, the HBO series we picked to replace Deadwood from last seal cruise.
March 19, 2014. Boston, MA.
Kick Butts Day 2014. Representatives from the Department of Public Health (DPH) today joined more than 250 young people from across the Commonwealth at the State House for the national observance of Kick Butts Day, recognizing the contributions of teenagers in smoking cessation and prevention efforts.
The young people participating in today’s event are part of DPH’s youth movement, The 84, which represents the 84 percent of young people in Massachusetts who don’t smoke.
High school students involved in The 84 have been educating their communities and their local lawmakers about issues relating to tobacco and, working with local health boards and other programs; have promoted effective tobacco prevention strategies in their communities. Members of The 84 Movement have been vital in fighting the way tobacco industry markets its products to youth.
© 2014 Marilyn Humphries
March 19, 2014. Boston, MA.
Kick Butts Day 2014. Representatives from the Department of Public Health (DPH) today joined more than 250 young people from across the Commonwealth at the State House for the national observance of Kick Butts Day, recognizing the contributions of teenagers in smoking cessation and prevention efforts.
The young people participating in today’s event are part of DPH’s youth movement, The 84, which represents the 84 percent of young people in Massachusetts who don’t smoke.
High school students involved in The 84 have been educating their communities and their local lawmakers about issues relating to tobacco and, working with local health boards and other programs; have promoted effective tobacco prevention strategies in their communities. Members of The 84 Movement have been vital in fighting the way tobacco industry markets its products to youth.
© 2014 Marilyn Humphries
View this map on the BL Georeferencer service.
Image taken from:
Title: "Memoirs relating to European and Asiatic Turkey; edited from manuscript journals, by R. Walpole. (Travels in various countries of the East; being a continuation of Memoirs relating to European and Asiatic Turkey, &c.)"
Author: WALPOLE, Robert - Rev
Shelfmark: "British Library HMNTS 1786.d.13.", "British Library HMNTS 982.i.7."
Page: 620
Place of Publishing: London
Date of Publishing: 1817
Publisher: Longman & Co.
Issuance: monographic
Identifier: 003842704
Explore:
Find this item in the British Library catalogue, 'Explore'.
Open the page in the British Library's itemViewer (page image 620)
Download the PDF for this book Image found on book scan 620 (NB not a pagenumber)Download the OCR-derived text for this volume: (plain text) or (json)
Click here to see all the illustrations in this book and click here to browse other illustrations published in books in the same year.
The story relates to the local swimming pool but could also refer to the state of the pavements in Largs.
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Postal Museum (Liechtenstein)
The postal museum in the English building in Vaduz
The Postal Museum of the Principality of Liechtenstein exhibits documents relating to philately and postal history in the Principality of Liechtenstein . The museum is affiliated with the Liechtenstein State Museum . It is located in the center of Vaduz in the so-called English building - the first steel-framed building in the country.
History
The museum was founded in 1930 to collect stamp issues and other important documents from the country's philately and postal history and make them accessible to the public. The museum opened in 1936. Hermann E. Sieger carried out significant curatorial work .
After the museum was housed in various rooms, it has been in the English building since 2002 .
Exhibition
The focus of the exhibition is on the stamps issued by the Principality of Liechtenstein since 1912. The museum also presents the most important designs, proofs and engraving plates as well as other important documents of postal history and historical postal equipment. In addition to the permanent exhibitions, changing exhibitions are also held periodically.
Postage stamps in the pedestrian zone
Since May 2011, a selection of oversized Liechtenstein stamps has been on display in the Städtle – Vaduz's pedestrian zone. The 25 stamp reproductions function here as pavement slabs.
Vaduz is the capital of the Principality of Liechtenstein . The municipality in the Oberland is the residence of the prince as well as the seat of the state government , the state parliament and all courts . It is also the seat of the Roman Catholic archdiocese of the same name .
Vaduz is particularly well-known for its role as an international financial center . The municipality has six exclaves and is therefore an administrative unit divided into seven. The inhabitants are called Vaduzer , the adjective is Vaduzisch .
The municipality has an area of 17,284 km² and includes the village of Vaduz and its immediate surroundings as well as six exclaves. The area with the village of Vaduz borders Schaan to the north , Triesenberg to the east, Triesen to the south and the Swiss communities of Sevelen and Buchs SG , located on the other side of the Rhine , to the west . The highest point in the municipality is 2150 m above sea level. M. the silver horn .
Four exclaves are located in the Rhine Valley. These are the agriculturally used Vaduzer Riet between the Schaaner industrial area and Eschen / Nendeln , the forests of Forst at the foot of the Three Sisters massif and Rüttistein and Dachsegg above Planken . The forest plots are owned by the Vaduz citizens' cooperative , whose members are entitled to the annual loose wood. At around 900 m above sea level. Traces of a prehistoric settlement were found in Dachsegg.
Two exclaves are located in the mountain area: on the one hand, the cooperative Alps Pradamee and Hahnenspiel and on the other hand, the Alp Hinter Valorsch . The Pradamee and Hahnenspiel Alps in the Malbun high valley were formerly known as Vaduz Malbun .
The Alp Hintervalorsch was separated from Vorder- and Mittlervalorsch in 1643 because of a dispute between Vaduz and Schaan and has belonged to Vaduz ever since. [8th]
In 1781, the use of the alpine pastures was divided between the Vaduz upper and lower villages and separate alpine buildings were built on the Under Pradamee (1500 m above sea level) and the Upper Pradamee (1700 m above sea level). Since 1930, the municipality of Vaduz has received around one million cubic meters of drinking water from Pradamee every year. The separate dairy operation ended around the middle of the 20th century. Since then, part of the milk has been made into cheese on the Ober Pradamee.
In 1962, the first ski lift in Malbun was built in the Alp Pradamee area, which was replaced by new chairlifts in 2006 along with other old lifts.
The Alp Hahnenspiel is used as Galtalp . One at approx. 2000 m above sea level. The small cave located M. served as a burial place for a dead person during the early Bronze Age .
Alp Gaflei, which was purchased by the municipality of Vaduz in 1952, is located in the Triesenberg municipality. Although the alpine buildings have been demolished since 2006, the alpine pastures continue to be used.
Vaduz was first mentioned in 1175/1200 as de Faduzes , two mentions from 1021 are later forgeries. The name, like many others in the Rhine Valley, is of Romanesque origin and goes back to Old Romansh auadutg “moat; Canal for mills and sawmills; Mill flume”, which in turn comes from the Latin aquaeductus .
On May 3, 1342, the then dominion of the Counts of Bregenz was divided, creating the County of Vaduz . In 1392, under Counts Henry V. (I.) and Hartmann IV. (II.) of Werdenberg-Sargans-Vaduz, it gained imperial immediacy through a privilege from King Wenceslas . In the following decades and centuries, the county repeatedly became the scene of wars and looting, e.g. B. in the Old Zurich War (1444–1446) or in the Swabian War (1499–1500).
Over time, the rulers of Hohenems became increasingly indebted, so that they were ultimately forced to sell the county of Vaduz and the neighboring lordship of Schellenberg . In 1699, Prince Hans Adam of Liechtenstein acquired the rule of Schellenberg and in 1712 the county of Vaduz. On January 23, 1719, a diploma from Emperor Charles VI united. the county of Vaduz with the rule of Schellenberg and raised it to an imperial principality with the name Liechtenstein. As a result, Vaduz became increasingly important.
In 1806, Napoleon Bonaparte founded the Confederation of the Rhine , which also included Liechtenstein and thereby effectively became independent. This independence was confirmed at the Congress of Vienna and Liechtenstein was accepted into the German Confederation .
However, Liechtenstein – and thus also Vaduz – remained very backward for a long time. It was only the customs treaty concluded with Austria in 1852 that enabled economic conditions to improve, and a constitutional constitution of 1862 brought political change so that the prince could no longer rule without restrictions.
The First World War impoverished the population, and at the end of the war the customs agreement with the war loser Austria-Hungary was dissolved.
After the customs treaty with Austria was dissolved in 1919, Liechtenstein became increasingly closer to Switzerland , and in 1923 the customs treaty with Switzerland, which still exists today, was signed. After Austria was annexed to the German Reich in March 1938, the newly ruling Prince Franz Josef II, the first prince of Liechtenstein, decided - because of his rejection of National Socialism - to move his residence to Liechtenstein to Vaduz Castle . Liechtenstein remained neutral during the Second World War and was never involved in direct hostilities. Instead, the principality was able to use its locational advantages (no loss of army personnel, central location, customs union with Switzerland, tax advantages, political stability), so that many new industrial companies were founded in Vaduz, but also in the wider principality, and progress in the country began to make rapid progress .
As of December 31, 2018, Vaduz had 5,625 inhabitants and was the second largest municipality in Liechtenstein after Schaan (with 6,016 inhabitants). At around 42 percent, the proportion of foreigners in Vaduz was higher than in all other Liechtenstein communities.
According to the 2015 census, 66.5 percent of the total population is Roman Catholic , with the proportion of Catholics among the population with Liechtenstein citizenship (80.8 percent) being significantly higher than among the population with foreign citizenship (47.1 percent Catholics). 10.1 percent of Vaduz's residents are Protestants , and 2.6 percent belong to another Christian church (majority Christian Orthodox churches ). 7.7 percent are Muslim , and other religions make up 0.75 percent of the population. Non-religious people make up 9.2 percent of the population - the highest proportion in Liechtenstein.
In the historical lexicon of the Principality of Liechtenstein, Vaduz is defined as the main town. Despite these official declarations, the term main location appears to be controversial among the general public. The principality's tourism website often refers to Vaduz as the capital, as do several Vaduz hotels, several media outlets (such as the Frankfurter Allgemeine Zeitung , Die Welt , the Geo , the Kronen Zeitung or the Deutschlandfunk), the Association of the Consular Corps in the Principality of Liechtenstein and the Foreign Office of the Federal Republic of Germany.
Hubert Büchel said during his lecture in the Feldkirch Palais Liechtenstein in 1988 : “Vaduz with 5,000 inhabitants is of a size where we do not yet dare to speak of a ‘capital’, but at best of a ‘capital town’.”
In a travel magazine, the moderator Hape Kerkeling asked the FBP politician and former mayor of Vaduz, Manfred Bischof, whether one could “seriously speak of a capital” for a place with 6,000 inhabitants. Bishop replied that Vaduz could seriously be called a capital, since Liechtenstein is its own country and a country also has a capital.
The former Vaduz local councilor and former president of the Johann Schädler Agra Foundation , Stefanie Hasler, said on “ Vaterland TV ” at the end of 2022 that Vaduz is actually a capital and that “every now and then” he doesn’t dare to say so .
In March 2023, the Munich Merkur described Vaduz as the “de facto capital” of Liechtenstein.
Liechtenstein Art Museum : Opened in 2000, the state museum for modern and contemporary art houses the state art collection of the Principality of Liechtenstein. The facade, a colored and seamlessly cast concrete made of predominantly black basalt rock and colored river gravel, is treated in such a way that “a lively play is created on the reflective surface”.
Liechtenstein State Museum : The cultural and natural history of Liechtenstein is presented here . The museum includes two old buildings and a new building in Vaduz. In addition, the postal museum in Vaduz and a rural living museum in Schellenberg are assigned to the state museum.
“ Engländerbau ” with postal museum : The “Engländerbau” was built in 1933/1934 on behalf of an English company as a commercial building. Today it is an exhibition building that shows changing exhibitions of contemporary art. Since 2002, it has also been home to the Postal Museum, which is part of the State Museum and collects, preserves and makes available to the public important documents and artifacts from Liechtenstein philately and postal history.
Kurt Beck Watch Museum : Opened in March 2018 at Lettstrasse 39, the privately run museum shows around 250 antique watches by the collector Kurt Beck.
Vaduz Castle : The landmark of Vaduz was built in the 12th century and finally expanded in the 16th and 17th centuries. The castle has been owned by the Princes of Liechtenstein since 1712, but was not inhabited for a long time and fell increasingly into disrepair. It was only at the beginning of the 20th century that it was extensively renovated, and in 1938 Prince Franz Josef II became the first prince of Liechtenstein to move his permanent residence to the castle. Since then it has no longer been open to the public.
Schalun ruins : The medieval Schalun castle ruins (also called the “Wildschloss”) were built in the 12th century and were supplemented by other parts of the building over time. The ruins are located above Vaduz Castle at an altitude of approx. 850 m above sea level. M. Large parts of the foundation walls are still preserved today, especially the core of the castle with building remains up to ten meters high. The castle has been owned by the municipality of Vaduz since 1933.
“ Red House ”: It is a listed medieval stepped-gable house in the middle village of Vaduz. It belonged to the Vaistli between 1400 and 1500 : The house was acquired by an heir of the Vaistlis in 1525 from the monastery of St. Johann im Thurtal, and the associated vineyard ( Wingert ) has retained its resulting name, Abtswingert, to this day.
St. Florin Chapel: The St. Florin Chapel was a sacred building in the municipality of Vaduz that was probably built in the early modern period. In 1872 the tower and sacristy and in 1874 the remaining parts of the building were demolished, so that the chapel is no longer preserved today. A paving on the floor plan in the center of Vaduz refers to the former location of the chapel. In addition, a large part of the equipment has been preserved or found a new use: the bells of the chapel, for example, were used in the casting of the four bells of the new parish church of St. Florin.
St. Florin Cathedral : The neo-Gothic church was built between 1868 and 1873 and inaugurated on October 5, 1873. With the inauguration of the parish church, Vaduz became a parish, as the community had until then been attached to the original parish of Schaan . Until 1997, Liechtenstein belonged to the diocese of Chur . On December 2, 1997, the Archdiocese of Vaduz was established by Pope John Paul II and separated from the Diocese of Chur. At the same time as the founding of the Archdiocese of Vaduz, the parish church of St. Florin was elevated to the status of a cathedral.
St. Josef Chapel: It was built in 1930 and 1931. It is located in the Ebenholz district and is a branch church of the municipality of Vaduz. The chapel can be seen as an example of a clearly structured church type, as was often built in the 1930s.
The Ebenholz Evangelical Church is located in the Ebenholz district and was built in 1962 and 1963. The modern church building has a clear structure with a choir and a tower in the north and an organ gallery above the main entrance. The three bells come from the Schellenberg monastery church and were cast in 1880.
The Johanneskirche is the sacred building of the Evangelical Lutheran Church of the Principality of Liechtenstein. The church building was built in 1947 as an emergency church in Stuttgart and finally transferred to Liechtenstein as a gift in 1956. The organ, which dates from the early 18th century, is particularly significant.
Princely crypt : Until the Second World War, the princely crypt in Wranau served as a burial place for the princely family of Liechtenstein. When Franz Josef II became the first prince to move his residence to Vaduz, a new grave was built between 1958 and 1960 in the park south of the cathedral. Prince Franz Josef II was the first sovereign to be buried here in 1989. Since 1992 there has been a relief on the wings of the entrance door showing the resurrection of Lazarus .
Liechtenstein State Parliament Building : The state parliament building was opened in 2008 after 7 years of construction. Since then, it has served as a plenary hall for the state parliament of the Principality of Liechtenstein , where all members of the state parliament can sit at a single round table. Over a million clinker bricks, 600 tons of steel and 5,800 cubic meters of concrete were used in the construction, which cost 42.2 million Swiss francs.
Government building of Liechtenstein : The government building was built from 1903 to 1905 in the neo-baroque style. It contained major technical innovations for Liechtenstein, which was poor at the time: the first central heating system in Liechtenstein was installed in the government building. The building, popularly known as the “Big House”, has been a listed building since 1992.
Vaduz town hall : The town hall was built in 1932 and 1933. Of particular importance is a balcony fresco on the south facade depicting Saint Urban , the patron saint of winegrowers. The coat of arms of the municipality of Vaduz is carved on the entrance front .
“ Rheinbergerhaus ”: The building was built around 1550 and was first mentioned in documents in 1613. It is significant because the composer Josef Gabriel Rheinberger (1839–1901) was born in this house. At the age of twelve he left his hometown to receive musical training in Munich . He worked in Munich his entire life and died there. After the Second World War, he and his wife were transferred to Vaduz in 1945. A bronze portrait of Josef Gabriel Rheinberger was erected in front of his birthplace in 1939/1940.
Old Rhine Bridge : Since 1901, the old Rhine Bridge has connected Vaduz with the Swiss community of Sevelen . The 135 meter long bridge is the only remaining wooden Rhine bridge in Liechtenstein. The bridges of the other Liechtenstein communities were abandoned due to dilapidation or fires and replaced by concrete bridges. Since the opening of the new Rhine bridge, the bridge, which consists of five pillars, has only been accessible to non-motorized private transport. It was extensively renovated in 2009/2010.
The most important sports club is FC Vaduz . As of 2022, he has won the Liechtenstein Cup 48 times and plays in the second highest Swiss league, the Challenge League . FC Vaduz's venue is the Rheinpark Stadium , where the Liechtenstein national football team also plays its home games.
The Panel numbers (or Pier and Face) 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 Panel (or Pier and Face). Please refer to the on-site Memorial Register Introduction to determine the alternative panel numbers (or Pier and Face) if you do not find the name within the quoted Panels (or Pier and Face).
On 1 July 1916, supported by a French attack to the south, thirteen divisions of Commonwealth forces launched an offensive on a line from north of Gommecourt to Maricourt. Despite a preliminary bombardment lasting seven days, the German defences were barely touched and the attack met unexpectedly fierce resistance. Losses were catastrophic and with only minimal advances on the southern flank, the initial attack was a failure. In the following weeks, huge resources of manpower and equipment were deployed in an attempt to exploit the modest successes of the first day. However, the German Army resisted tenaciously and repeated attacks and counter attacks meant a major battle for every village, copse and farmhouse gained. At the end of September, Thiepval was finally captured. The village had been an original objective of 1 July. Attacks north and east continued throughout October and into November in increasingly difficult weather conditions. The Battle of the Somme finally ended on 18 November with the onset of winter.
In the spring of 1917, the German forces fell back to their newly prepared defences, the Hindenburg Line, and there were no further significant engagements in the Somme sector until the Germans mounted their major offensive in March 1918.
The Thiepval Memorial, the Memorial to the Missing of the Somme, bears the names of more than 72,000 officers and men of the United Kingdom and South African forces who died in the Somme sector before 20 March 1918 and have no known grave. Over 90% of those commemorated died between July and November 1916. The memorial also serves as an Anglo-French Battle Memorial in recognition of the joint nature of the 1916 offensive and a small cemetery containing equal numbers of Commonwealth and French graves lies at the foot of the memorial.
The memorial, designed by Sir Edwin Lutyens, was built between 1928 and 1932 and unveiled by the Prince of Wales, in the presence of the President of France, on 1 August 1932 (originally scheduled for 16 May but due to the death of French President Doumer the ceremony was postponed until August).
The dead of other Commonwealth countries, who died on the Somme and have no known graves, are commemorated on national memorials elsewhere.
Image from 'A Lytell Geste of Robin Hode, with other ancient & modern ballads and songs relating to this celebrated yeoman. To which is prefixed his history and character, grounded upon other documents than those made use of by ... “Mister Ritson.” Edited by J. M. Gutch', 001726444
Author: HOOD, Robin.
Volume: 02
Page: 196
Year: 1847
Place: London
Publisher: Longman, Brown, Green & Longmans
Following the link above will take you to the British Library's integrated catalogue. You will be able to download a PDF of the book this image is taken from, as well as view the pages up close with the 'itemViewer'. Click on the 'related items' to search for the electronic version of this work.
Postal Museum (Liechtenstein)
The postal museum in the English building in Vaduz
The Postal Museum of the Principality of Liechtenstein exhibits documents relating to philately and postal history in the Principality of Liechtenstein . The museum is affiliated with the Liechtenstein State Museum . It is located in the center of Vaduz in the so-called English building - the first steel-framed building in the country.
History
The museum was founded in 1930 to collect stamp issues and other important documents from the country's philately and postal history and make them accessible to the public. The museum opened in 1936. Hermann E. Sieger carried out significant curatorial work .
After the museum was housed in various rooms, it has been in the English building since 2002 .
Exhibition
The focus of the exhibition is on the stamps issued by the Principality of Liechtenstein since 1912. The museum also presents the most important designs, proofs and engraving plates as well as other important documents of postal history and historical postal equipment. In addition to the permanent exhibitions, changing exhibitions are also held periodically.
Postage stamps in the pedestrian zone
Since May 2011, a selection of oversized Liechtenstein stamps has been on display in the Städtle – Vaduz's pedestrian zone. The 25 stamp reproductions function here as pavement slabs.
Vaduz is the capital of the Principality of Liechtenstein . The municipality in the Oberland is the residence of the prince as well as the seat of the state government , the state parliament and all courts . It is also the seat of the Roman Catholic archdiocese of the same name .
Vaduz is particularly well-known for its role as an international financial center . The municipality has six exclaves and is therefore an administrative unit divided into seven. The inhabitants are called Vaduzer , the adjective is Vaduzisch .
The municipality has an area of 17,284 km² and includes the village of Vaduz and its immediate surroundings as well as six exclaves. The area with the village of Vaduz borders Schaan to the north , Triesenberg to the east, Triesen to the south and the Swiss communities of Sevelen and Buchs SG , located on the other side of the Rhine , to the west . The highest point in the municipality is 2150 m above sea level. M. the silver horn .
Four exclaves are located in the Rhine Valley. These are the agriculturally used Vaduzer Riet between the Schaaner industrial area and Eschen / Nendeln , the forests of Forst at the foot of the Three Sisters massif and Rüttistein and Dachsegg above Planken . The forest plots are owned by the Vaduz citizens' cooperative , whose members are entitled to the annual loose wood. At around 900 m above sea level. Traces of a prehistoric settlement were found in Dachsegg.
Two exclaves are located in the mountain area: on the one hand, the cooperative Alps Pradamee and Hahnenspiel and on the other hand, the Alp Hinter Valorsch . The Pradamee and Hahnenspiel Alps in the Malbun high valley were formerly known as Vaduz Malbun .
The Alp Hintervalorsch was separated from Vorder- and Mittlervalorsch in 1643 because of a dispute between Vaduz and Schaan and has belonged to Vaduz ever since. [8th]
In 1781, the use of the alpine pastures was divided between the Vaduz upper and lower villages and separate alpine buildings were built on the Under Pradamee (1500 m above sea level) and the Upper Pradamee (1700 m above sea level). Since 1930, the municipality of Vaduz has received around one million cubic meters of drinking water from Pradamee every year. The separate dairy operation ended around the middle of the 20th century. Since then, part of the milk has been made into cheese on the Ober Pradamee.
In 1962, the first ski lift in Malbun was built in the Alp Pradamee area, which was replaced by new chairlifts in 2006 along with other old lifts.
The Alp Hahnenspiel is used as Galtalp . One at approx. 2000 m above sea level. The small cave located M. served as a burial place for a dead person during the early Bronze Age .
Alp Gaflei, which was purchased by the municipality of Vaduz in 1952, is located in the Triesenberg municipality. Although the alpine buildings have been demolished since 2006, the alpine pastures continue to be used.
Vaduz was first mentioned in 1175/1200 as de Faduzes , two mentions from 1021 are later forgeries. The name, like many others in the Rhine Valley, is of Romanesque origin and goes back to Old Romansh auadutg “moat; Canal for mills and sawmills; Mill flume”, which in turn comes from the Latin aquaeductus .
On May 3, 1342, the then dominion of the Counts of Bregenz was divided, creating the County of Vaduz . In 1392, under Counts Henry V. (I.) and Hartmann IV. (II.) of Werdenberg-Sargans-Vaduz, it gained imperial immediacy through a privilege from King Wenceslas . In the following decades and centuries, the county repeatedly became the scene of wars and looting, e.g. B. in the Old Zurich War (1444–1446) or in the Swabian War (1499–1500).
Over time, the rulers of Hohenems became increasingly indebted, so that they were ultimately forced to sell the county of Vaduz and the neighboring lordship of Schellenberg . In 1699, Prince Hans Adam of Liechtenstein acquired the rule of Schellenberg and in 1712 the county of Vaduz. On January 23, 1719, a diploma from Emperor Charles VI united. the county of Vaduz with the rule of Schellenberg and raised it to an imperial principality with the name Liechtenstein. As a result, Vaduz became increasingly important.
In 1806, Napoleon Bonaparte founded the Confederation of the Rhine , which also included Liechtenstein and thereby effectively became independent. This independence was confirmed at the Congress of Vienna and Liechtenstein was accepted into the German Confederation .
However, Liechtenstein – and thus also Vaduz – remained very backward for a long time. It was only the customs treaty concluded with Austria in 1852 that enabled economic conditions to improve, and a constitutional constitution of 1862 brought political change so that the prince could no longer rule without restrictions.
The First World War impoverished the population, and at the end of the war the customs agreement with the war loser Austria-Hungary was dissolved.
After the customs treaty with Austria was dissolved in 1919, Liechtenstein became increasingly closer to Switzerland , and in 1923 the customs treaty with Switzerland, which still exists today, was signed. After Austria was annexed to the German Reich in March 1938, the newly ruling Prince Franz Josef II, the first prince of Liechtenstein, decided - because of his rejection of National Socialism - to move his residence to Liechtenstein to Vaduz Castle . Liechtenstein remained neutral during the Second World War and was never involved in direct hostilities. Instead, the principality was able to use its locational advantages (no loss of army personnel, central location, customs union with Switzerland, tax advantages, political stability), so that many new industrial companies were founded in Vaduz, but also in the wider principality, and progress in the country began to make rapid progress .
As of December 31, 2018, Vaduz had 5,625 inhabitants and was the second largest municipality in Liechtenstein after Schaan (with 6,016 inhabitants). At around 42 percent, the proportion of foreigners in Vaduz was higher than in all other Liechtenstein communities.
According to the 2015 census, 66.5 percent of the total population is Roman Catholic , with the proportion of Catholics among the population with Liechtenstein citizenship (80.8 percent) being significantly higher than among the population with foreign citizenship (47.1 percent Catholics). 10.1 percent of Vaduz's residents are Protestants , and 2.6 percent belong to another Christian church (majority Christian Orthodox churches ). 7.7 percent are Muslim , and other religions make up 0.75 percent of the population. Non-religious people make up 9.2 percent of the population - the highest proportion in Liechtenstein.
In the historical lexicon of the Principality of Liechtenstein, Vaduz is defined as the main town. Despite these official declarations, the term main location appears to be controversial among the general public. The principality's tourism website often refers to Vaduz as the capital, as do several Vaduz hotels, several media outlets (such as the Frankfurter Allgemeine Zeitung , Die Welt , the Geo , the Kronen Zeitung or the Deutschlandfunk), the Association of the Consular Corps in the Principality of Liechtenstein and the Foreign Office of the Federal Republic of Germany.
Hubert Büchel said during his lecture in the Feldkirch Palais Liechtenstein in 1988 : “Vaduz with 5,000 inhabitants is of a size where we do not yet dare to speak of a ‘capital’, but at best of a ‘capital town’.”
In a travel magazine, the moderator Hape Kerkeling asked the FBP politician and former mayor of Vaduz, Manfred Bischof, whether one could “seriously speak of a capital” for a place with 6,000 inhabitants. Bishop replied that Vaduz could seriously be called a capital, since Liechtenstein is its own country and a country also has a capital.
The former Vaduz local councilor and former president of the Johann Schädler Agra Foundation , Stefanie Hasler, said on “ Vaterland TV ” at the end of 2022 that Vaduz is actually a capital and that “every now and then” he doesn’t dare to say so .
In March 2023, the Munich Merkur described Vaduz as the “de facto capital” of Liechtenstein.
Liechtenstein Art Museum : Opened in 2000, the state museum for modern and contemporary art houses the state art collection of the Principality of Liechtenstein. The facade, a colored and seamlessly cast concrete made of predominantly black basalt rock and colored river gravel, is treated in such a way that “a lively play is created on the reflective surface”.
Liechtenstein State Museum : The cultural and natural history of Liechtenstein is presented here . The museum includes two old buildings and a new building in Vaduz. In addition, the postal museum in Vaduz and a rural living museum in Schellenberg are assigned to the state museum.
“ Engländerbau ” with postal museum : The “Engländerbau” was built in 1933/1934 on behalf of an English company as a commercial building. Today it is an exhibition building that shows changing exhibitions of contemporary art. Since 2002, it has also been home to the Postal Museum, which is part of the State Museum and collects, preserves and makes available to the public important documents and artifacts from Liechtenstein philately and postal history.
Kurt Beck Watch Museum : Opened in March 2018 at Lettstrasse 39, the privately run museum shows around 250 antique watches by the collector Kurt Beck.
Vaduz Castle : The landmark of Vaduz was built in the 12th century and finally expanded in the 16th and 17th centuries. The castle has been owned by the Princes of Liechtenstein since 1712, but was not inhabited for a long time and fell increasingly into disrepair. It was only at the beginning of the 20th century that it was extensively renovated, and in 1938 Prince Franz Josef II became the first prince of Liechtenstein to move his permanent residence to the castle. Since then it has no longer been open to the public.
Schalun ruins : The medieval Schalun castle ruins (also called the “Wildschloss”) were built in the 12th century and were supplemented by other parts of the building over time. The ruins are located above Vaduz Castle at an altitude of approx. 850 m above sea level. M. Large parts of the foundation walls are still preserved today, especially the core of the castle with building remains up to ten meters high. The castle has been owned by the municipality of Vaduz since 1933.
“ Red House ”: It is a listed medieval stepped-gable house in the middle village of Vaduz. It belonged to the Vaistli between 1400 and 1500 : The house was acquired by an heir of the Vaistlis in 1525 from the monastery of St. Johann im Thurtal, and the associated vineyard ( Wingert ) has retained its resulting name, Abtswingert, to this day.
St. Florin Chapel: The St. Florin Chapel was a sacred building in the municipality of Vaduz that was probably built in the early modern period. In 1872 the tower and sacristy and in 1874 the remaining parts of the building were demolished, so that the chapel is no longer preserved today. A paving on the floor plan in the center of Vaduz refers to the former location of the chapel. In addition, a large part of the equipment has been preserved or found a new use: the bells of the chapel, for example, were used in the casting of the four bells of the new parish church of St. Florin.
St. Florin Cathedral : The neo-Gothic church was built between 1868 and 1873 and inaugurated on October 5, 1873. With the inauguration of the parish church, Vaduz became a parish, as the community had until then been attached to the original parish of Schaan . Until 1997, Liechtenstein belonged to the diocese of Chur . On December 2, 1997, the Archdiocese of Vaduz was established by Pope John Paul II and separated from the Diocese of Chur. At the same time as the founding of the Archdiocese of Vaduz, the parish church of St. Florin was elevated to the status of a cathedral.
St. Josef Chapel: It was built in 1930 and 1931. It is located in the Ebenholz district and is a branch church of the municipality of Vaduz. The chapel can be seen as an example of a clearly structured church type, as was often built in the 1930s.
The Ebenholz Evangelical Church is located in the Ebenholz district and was built in 1962 and 1963. The modern church building has a clear structure with a choir and a tower in the north and an organ gallery above the main entrance. The three bells come from the Schellenberg monastery church and were cast in 1880.
The Johanneskirche is the sacred building of the Evangelical Lutheran Church of the Principality of Liechtenstein. The church building was built in 1947 as an emergency church in Stuttgart and finally transferred to Liechtenstein as a gift in 1956. The organ, which dates from the early 18th century, is particularly significant.
Princely crypt : Until the Second World War, the princely crypt in Wranau served as a burial place for the princely family of Liechtenstein. When Franz Josef II became the first prince to move his residence to Vaduz, a new grave was built between 1958 and 1960 in the park south of the cathedral. Prince Franz Josef II was the first sovereign to be buried here in 1989. Since 1992 there has been a relief on the wings of the entrance door showing the resurrection of Lazarus .
Liechtenstein State Parliament Building : The state parliament building was opened in 2008 after 7 years of construction. Since then, it has served as a plenary hall for the state parliament of the Principality of Liechtenstein , where all members of the state parliament can sit at a single round table. Over a million clinker bricks, 600 tons of steel and 5,800 cubic meters of concrete were used in the construction, which cost 42.2 million Swiss francs.
Government building of Liechtenstein : The government building was built from 1903 to 1905 in the neo-baroque style. It contained major technical innovations for Liechtenstein, which was poor at the time: the first central heating system in Liechtenstein was installed in the government building. The building, popularly known as the “Big House”, has been a listed building since 1992.
Vaduz town hall : The town hall was built in 1932 and 1933. Of particular importance is a balcony fresco on the south facade depicting Saint Urban , the patron saint of winegrowers. The coat of arms of the municipality of Vaduz is carved on the entrance front .
“ Rheinbergerhaus ”: The building was built around 1550 and was first mentioned in documents in 1613. It is significant because the composer Josef Gabriel Rheinberger (1839–1901) was born in this house. At the age of twelve he left his hometown to receive musical training in Munich . He worked in Munich his entire life and died there. After the Second World War, he and his wife were transferred to Vaduz in 1945. A bronze portrait of Josef Gabriel Rheinberger was erected in front of his birthplace in 1939/1940.
Old Rhine Bridge : Since 1901, the old Rhine Bridge has connected Vaduz with the Swiss community of Sevelen . The 135 meter long bridge is the only remaining wooden Rhine bridge in Liechtenstein. The bridges of the other Liechtenstein communities were abandoned due to dilapidation or fires and replaced by concrete bridges. Since the opening of the new Rhine bridge, the bridge, which consists of five pillars, has only been accessible to non-motorized private transport. It was extensively renovated in 2009/2010.
The most important sports club is FC Vaduz . As of 2022, he has won the Liechtenstein Cup 48 times and plays in the second highest Swiss league, the Challenge League . FC Vaduz's venue is the Rheinpark Stadium , where the Liechtenstein national football team also plays its home games.
Definition: Technical:
1. Of, relating to, or derived from technique.
2.
a. Having special skill or practical knowledge especially in a mechanical or scientific field: a technical adviser.
b. Used in or peculiar to a specific field or profession; specialized: technical terminology.
3.
a. Belonging or relating to a particular subject: technical expertise.
b. Of, relating to, or involving the practical, mechanical, or industrial arts or the applied sciences: a technical school.
4.
a. Abstract or theoretical: a technical analysis.
b. Of, relating to, or employing the methodology of science; scientific.
5. According to principle; formal rather than practical: a technical advantage.
6. Industrial and mechanical; technological.
7. Relating to or based on analysis of market indicators, such as trading volume and fluctuations in securities prices, rather than underlying economic conditions such as corporate earnings, inflation, and unemployment: a technical correction in the stock market.
Idea: I based the design of this tree on the design of an eclipse viewer or an old brown box camera, but instead of using a small hole, I used a tree shape.
Process: I made this tree by cutting the shape of a palm tree into the bottom of the box Optus sent me my new modem in and then painting the whole thing green. This is the view from the inside.
Urban (ɜːʳbən) adjective [usually ADJECTIVE noun]
Urban means belonging to, or relating to, a town or city.
Arborist (ˈɑːrbərɪst)
noun
A specialist in the cultivation and care of trees and shrubs, including tree surgery, the diagnosis, treatment, and prevention of tree diseases, and the control of pests
collinsdictionary.com
How do you manage trees that were planted in the 1960s as part of post-war housing development in the third decade of the 21st Millennium? With great care, dinosaur smoke and mankind’s great pursuit in conquest over nature.
The process being undertaken in these photos is what's called pollarding, where a trees limbs are removed entirely to encourage later dense growth within 1 to 2 years. Only certain species of trees can handle this brutal operation, like these London Plane trees here. Once a tree is pollarded, it has to be regularly maintained in 5-10 year operations.
Historically, wood harvested from this method would be used to feed livestock or for light timber, but these days, thanks to the infernal combustion engine, two operatives can pollard five trees in as many hours, with the tree limbs being quite violently mechanically separated and carted off to be used either as mulch or biofuel.
I find arboriculture rather fascinating; living amongst the trees in an urban environment, arborists have been a regular sight over the years, performing everything from whole tree clearings to dead wood pruning, I’ve seen them do a lot.
It’s a highly skilled profession with some of the most dangerous and violent tools possible in the workplace – Darwin Award nominees are quickly weeded out.
There is a strange beauty to the brutality of efficiency, especially towards articles of nature.
Image from '[Historical Collections of the State of New Jersey ... relating to its history and antiquities, with geographical descriptions of every township in the State. [With illustrations.]]', 000194808
Author: BARBER, John Warner and HOWE (Henry)
Page: 333
Year: 1852
Place: Newark, N.J
Publisher: J. H. Bradley
Following the link above will take you to the British Library's integrated catalogue. You will be able to download a PDF of the book this image is taken from, as well as view the pages up close with the 'itemViewer'. Click on the 'related items' to search for the electronic version of this work.
Postcard FTP01314_71
The Fay Thomas Collection includes family archives relating to the Thomas family. Moses Thomas (1825-1878) was a significant figure in the history of the area now known as the City of Whittlesea, Victoria, Australia. Thomas and Ann and their family lived at "Mayfield", Mernda, Victoria.
Miss Lily Thomas (1871-1946), Thomas and Ann’s fourth daughter lived there all her life. She collected postcards which her family and friends sent her on a very regular basis. It was an easy and enjoyable way to keep in touch. Production of postcards blossomed in the late 19th and early 20th centuries. Lily’s collection encompasses the so-called Golden Age (1890-1915) with many postmarked 1906-1907. Some were sent to other members of the family.
The collection document the natural landscape as well as the built environment—buildings, gardens, parks, and tourist sites. Topographical Postcards showing street scenes and general views from Australian and international locations, some of which are artistic views. Popular postcard manufacturers such as Tuck’s Postcards are included in the collection.
Decorative cards, many embellished with floral motives (as a nod to the receiver Lily?) and embossing. Greeting cards are common for Christmas, New Year, Easter and of course birthdays.
Regular senders can be identified from Kyneton and the Great Ocean Road area, Victoria and there is a siginifant collection from Scotland (but not sent from there).
YPRL hold digital copies of the Papers of the Moses Thomas Family held at State Library Victoria
Copyright for these images is Public domain but a credit to the Fay Thomas Collection and YPRL would be appreciated.
Enquiries: Yarra Plenty Regional Library
The invention relates to a joint system of rescue and provision supply capsules for aircraft. The present invention relates to the field of the art aimed at substantially reducing the consequences of an aviation disaster by dividing the passenger, crew and cargo compartments inside the fuselage of an aircraft into independent capsules. In the event of an imminent impact, said capsules can be ejected from the rest of the aircraft fuselage through a hatch located in the tail of the aircraft, with the help of a conveyor belt arranged longitudinally on the floor of the fuselage and on which the capsules rest, and longitudinal rails for guiding the capsules . The invention can also be used for the aerial supply of provisions to communities or ground troops.
Now there are available licenses of this patent "Joint system of rescue and provision supply capsules for aircraft"
video:http://www.youtube.com/watch?v=g2eztYtLwIM
This new concept in aviation safety,and perhaps also applicable in space shuttles,consists of a system of independent capsules, situated inside the fuselage of the airplane. The capsules are pulled outside by means of a conveyor belt and leave the airplane through a hatch in the aft fuselage; next, parachutes are deployed and guide each capsule to safe landing on land or water.
This invention also can be used for humanitarian supply to populations in an emergency situation or in remote areas, e.g. during a natural disaster, or to military ground forces. A capsule can also be equipped as a mini-hospital and function as a shelter, until it is recuperated by helicopter, while the treated persons are still inside the capsule.Joining the capsules by hellicopters,a hospital can be a reality everywhere.
Furthermore, the capsules are reusable and can be reinstalled in an aircraft for use in future operations / flights.
Website:http://www.agustinaguinaldo.neosites.com
rescuecapsules@gmail.com
Le Musée des beaux-arts du Canada (en anglais : National Gallery of Canada), situé à Ottawa, capitale du pays, est l'un des premiers musées du Canada.
Situé sur la promenade Sussex, le bâtiment de verre et de granite jouit d'une superbe vue sur le Parlement canadien et la colline du Parlement. Il a été dessiné par Moshe Safdie et a ouvert ses portes en 1988. Jean Sutherland Boggs, directrice du musée de 1966 à 1976, fut choisie par le Premier ministre Pierre Elliott Trudeau pour superviser la construction du bâtiment.
Histoire
Le musée est fondé en 1880, par le gouverneur général du Canada, le marquis de Lorne, dont la femme, la princesse Louise est artiste. En 1882, le musée est installé dans sa première demeure sur la colline du Parlement dans le même bâtiment que la Cour suprême. En 1911 on le déplace au Victoria Memorial Museum, qui est aujourd'hui le musée canadien de la nature. En 1962, un nouveau déménagement le déplace dans un bâtiment de Elgin Street à proximité de la haute commission britannique. Son dernier déménagement, dans ses locaux actuels sur Sussex Drive date de 1988. En 1985, le nouveau musée canadien de la photographie contemporaine, anciennement le Service de la photographie de l'Office national du film du Canada, est alors affilié au Musée des beaux-arts.
Collections
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Le musée abrite une collection large et variée de peintures, dessins, sculptures et photographies. Bien qu'il se concentre sur l'art canadien, il détient également des œuvres remarquables d'artistes européens. Il possède également une importante collection d'œuvres d'art contemporain comme certaines pièces d'Andy Warhol. En 1990, le musée fait l'acquisition de la Voix de feu (1967) de Barnett Newman pour 1,8 million de CAD$, causant une tempête de protestations, avec cette peinture composée de seulement trois bandes de couleur verticales bleu, rouge, bleu. En 2005, il acquiert une peinture de la Renaissance italienne de Francesco Salviati pour 4,5 millions de CAD$.
La collection canadienne est composée d’œuvres de Tom Thomson et du Groupe des Sept ainsi que d'Emily Carr, Alex Colville, Henry Speck, etc. Il détient également des œuvres d'artistes inuits comme Pudlo Pudlat.
Le musée organise ses propres expositions qui se déplacent à travers le Canada et au-delà, souvent coorganisées par d'autres musées dans le monde.
Extrait de Wikipédia
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The National Gallery of Canada (French: Musée des beaux-arts du Canada), located in the capital city of Ottawa, Ontario, is Canada's national art museum.[8] The museum's building takes up 46,621 square metres (501,820 sq ft), with 12,400 square metres (133,000 sq ft) of space used for exhibiting art. It is one of the largest art museums in North America by exhibition space.
The institution was established in 1880 at the Second Supreme Court of Canada building, and moved to the Victoria Memorial Museum building in 1911. In 1913, the Government of Canada passed the National Gallery Act, formally outlining the institution's mandate as a national art museum. The museum was moved to the Lorne building in 1960.
In 1988, the museum was relocated to a new building designed for this purpose. The National Gallery of Canada is situated in a glass and granite building on Sussex Drive, with a notable view of the Canadian Parliament buildings on Parliament Hill. The building was designed by Israeli architect Moshe Safdie and opened in 1988.
The museum's permanent collection includes over 93,000 works from European, American, and Asian, Canadian, and Indigenous artists. In addition to exhibiting works from its permanent collection, the museum also organizes and hosts a number of travelling exhibitions.
History
The Gallery was first formed in 1880 by Canada's Governor General, John Campbell, 9th Duke of Argyll in conjunction with the establishment of the Royal Canadian Academy of Arts. In 1882, moved into its first home on Parliament Hill, housed in the Second Supreme Court of Canada building.
Eric Brown was named the first director in 1910.[10] In 1911, the Gallery moved to the Victoria Memorial Museum building, sharing it with the National Museum of Natural Sciences. In 1913, the first National Gallery Act was passed, outlining the Gallery's mandate and resources.[9] During the 1920s, the building was expanded. The art gallery was given four floors, and a separate entrance was created for the art museum. In addition, a firewall was built between the natural sciences museum and the National Gallery.[11] But, the Gallery was still in temporary space in the Victoria Memorial Museum building. Longterm plans were to move it to a new permanent location, with spaces dedicated to the viewing of art.
By the 1950s, the space in the Victoria Memorial Museum building had grown inadequate for the museum's collections. In 1952, the museum launched a design contest for architects to design a permanent home for the gallery.[11] But the museum failed to garner support from the government of Louis St. Laurent, resulting in the museum having to abandon the winning bid.
To provide a workable compromise for the National Gallery, St. Laurent's government offered the National Gallery the eight-storey Lorne office building for use.[11] The National Gallery moved into the nondescript office building on Elgin Street.[12] The building has since been demolished and replaced by a 17-storey office building to house the Federal Finance Department.
In 1962, Charles Comfort, the museum's director, was criticised after half of the works on display at an exhibition for Walter Chrysler's European works were exposed as forgeries by American journalists. Comfort had allowed the Gallery to host the exhibition although he had been warned about the works by the director of the Montreal Museum of Fine Arts.
The National Museums of Canada Corporation (NMC) absorbed the National Gallery of Canada in 1968.[14] During the 1970s, the NMC diverted funds from the National Gallery to form regional galleries.[14] The museum completed renovations to the Lorne building in 1976.[11] By 1980, it had become apparent that the National Gallery would need to relocate, given the poor condition of the building, historic use of asbestos there, and inadequate exhibition areas that provided only enough space for two per cent of the collection to be exhibited at any given time.
After the Canadian constitution was patriated in 1982, Prime Minister Pierre Trudeau announced a shift in policy focus towards the "creation of a nation," with priority given towards the arts in an effort to enrich Canadian identity.[11] In same year, Minister of Communications Francis Fox declared the government's commitment to erect a new permanent buildings for its national museums, including the National Gallery, and the Museum of Man within five years.[14] The director of the National Gallery, Jean Sutherland Boggs, was chosen by Trudeau to oversee construction of the national gallery and museums.[15] The museum began construction for its permanent museum building on Sussex Drive in 1985, and was opened in May 1988.[16]
The diversion of funds by the NMC to help fund regional museums was ended in 1982,[17] and the National Museums of Canada formally dissolved in 1987.[16] As a result of the dissolution, the National Gallery reacquired its institutional independence, and its mandate and powers outlined by its formative legislative act prior to 1968.
The Canadian Museum of Contemporary Photography (CMCP), formerly the Stills Photography Division of the National Film Board of Canada, was an affiliated institution of the National Gallery established in 1985. In 1988, the CMCP's administration was amalgamated to that of the National Gallery's. The CMCP later moved to its new location at 1 Rideau Canal, and continued to operate there until its closure in 2006. Its collection was later absorbed into the National Gallery's in 2009.
In December 2000, the National Gallery announced it suspected approximately 100 works from its collection was plunder stolen by the Nazis during the Second World War.[18] The gallery posted images of works suspected of being stolen art online, permitting its last legal owners to examine and possibly lay claim to the works.[18][19] In 2006, the museum restituted a painting by Édouard Vuillard that had been looted by the Nazis from Alfred Lindon in 1942, The Salon of Madame Aron, to Lindon's heirs.
In December 2009, the National Gallery of Canada and the Art Gallery of Alberta issued a joint press release announcing a three-year partnership, which saw the use of the Art Gallery of Alberta's galleries to exhibit works from the National Gallery's collection.[21] The program was the first "satellite program" between the National Gallery of Canada, and another institution, with similar initiatives launched in other Canadian art galleries in the following years.
Marc Mayer was named the museum's director, succeeding Pierre Théberge, on 19 January 2009.[22] On 19 April 2019, he was succeeded by Alexandra Suda, who was appointed the 11th Director and chief executive officer of the National Gallery of Canada. Under Sasha Suda, the Gallery underwent a major re-branding, dubbed Ankosé, to be more inclusive and work towards reconciliation. After only three years, Suda resigned. Angela Cassie was then appointed interim Director and CEO in July 2022.
Building[
The museum's present building was designed by Moshe Safdie & Associates, with construction beginning in 1985, and the building opening in 1988. The building has a total floor area of 46,621 square metres (501,820 sq ft). In 2000, the Royal Architectural Institute of Canada chose the National Gallery as one of the top 500 buildings produced in Canada during the last millennium.[23] The National Gallery of Canada is housed in a building on Sussex Drive, adjacent to the ByWard Market district. The building is the fourth edifice to house the art museum.
An independent crown corporation, the Canadian Museums Construction Corporation was established to build the museum with a budget of C$185 million.[17] Following the 1984 Canadian federal election, Prime Minister Brian Mulroney dissolved the corporation.[16] However, because the groundwork for the building was already completed, Mulroney chose to continue funding construction for the museum, albeit at a reduced total budget of C$162 million.
Exterior[
The building's northern, eastern, and western exterior facade is made up of pink-granite walls, or glass-windows. The southern exterior facade features an elongated glass wall, supported by concrete pylons grouped in fours.[24] The profile of the southern facade was designed to mimic a cathedral, with the concrete pylons being used similarly to the flying buttresses found on Gothic cathedrals.[24] The eastern portion of the building's southern facade transitions into a low-levelled crystalline glass cupola, which holds the museum's main entrance; and its western portion, which features a three-tiered glass cupola.
The three-tiered glass cupola is formed out of rectangular glass and narrow steel supports.[25] The second tier of the cupola is formed out of rectangles and equilateral triangles that are further subdivided into eight or twelve smaller equilateral triangles.[26] All these glass pieces are joined by steel struts. The third tier of the cupola is formed with similar designs, although the triangular glass panes are isosceles triangles.[26] The isosceles triangles converge upwards, with its apexes towards the centre.[26] The building's three-tiered cupola is positioned in a manner in which the cupola would be flanked by the Peace Tower and the Library of Parliament to the west when approaching the museum from the east.
Interior
The interior entrance lobby is floored with pink-granite, and includes a straight four metres (13 ft) wide ramp which slopes upward towards the west.[28] Safdie noted the importance of the ramp in his design, stating that one should "go through some kind of procession to make your way into something as important as the National Gallery," and that it gave the visitor the feeling of making an ascent to a ritual, a ceremony.[29] The walls of the entrance lobby are lined with rectangular cut pink granite, excluding the southern wall, which is part of the glass-walled exterior facade.[30] A glass and steel ceiling reminiscent of Gothic cathedral architecture, extends the entire way of the ramp.[30] However, as opposed to most Gothic cathedrals, the ceiling has several concrete columns spaced out to support the roof.[30] The summit of the ramp leads towards the Great Hall of the building, situated in the three-storey glass cupola.
The interior courtyard of the building includes the Taiga Garden. The garden was designed by Cornelia Oberlander, who modelled the painting Terre Sauvage by A. Y. Jackson;[31] a painting in the National Gallery's permanent collection. The garden attempts to mimic the landscape depicted in the painting, the Canadian shield; although limestone is substituted in place of the granite typically found at the Canadian shield.
Collection
As of October 2018, the National Gallery of Canada's permanent collection holds over 93,625 works,[1] representing several artistic movements and eras in art history. The Gallery has a large and varied collection of paintings, works on paper, sculptures and photographs. The earliest works acquired by the museum were from Canadian artists, with Canadian art remaining the focus of the institution. However, its collection also includes several works from artists around the world. The museum's collection has been built up through purchases and donations. The museum organizes its own travelling exhibitions to exhibit its collection, travelling across Canada and abroad.[32][33] The National Gallery is the largest lender of artwork in Canada, sending out approximately 800 pieces a year.[34]
courtyard in 2005
The museum's prints and drawings collection includes 27,000 works on paper dating from the 15th century to the present. The prints and drawing collection includes 10,000 works on paper by Canadian artists; more than 800 of these prints and drawings being crafted by Inuit artists.[35] The prints and drawing collection also includes 2,500 drawings and 10,000 prints by American, Asian, and European artists.
The museum also has approximately 400 works from Asian artists, dating from the 200 CE to 19th century. The museum's Asian collection began in the early 20th century, with a number of works originating from the collection of Nasli Heeramaneck.[36] The museum's also has a collection of photographs. A number of the photographs in the collection originated from the defunct Canadian Museum of Contemporary Photography.
Until the mid-1980s, the Gallery's mandate did not include collecting art by Indigenous peoples. It was a settler institution. This has been much critiqued and led to important changes in the gallery from the 1980s onwards.[37] Despite a major re-hang in 2003 of the Canadian galleries to include Indigenous art for the first time, the Gallery continues to work towards more equitable representation of Indigenous art, particularly in the historic galleries.
The largest work in the Gallery is the entire interior of the Rideau Street Chapel, which formed part of the Convent of Our Lady Sacred Heart,[12] The interior decorations of the Rideau Street Chapel were designed by Georges Couillon in 1887.[10] The chapel interior was acquired by the museum in 1972, when the convent was slated for demolition. The interior's 1,123 pieces was dismantled, stored and reconstructed within the gallery as a work of art in 1988.
Canadian and Indigenous works]
The museum's Canadian collection includes works dating from 18th century New France, to the 1990s.[39] The collection includes paintings from pre-Confederation; abstract paintings and other postwar art; and the Henry Birks Collection of Canadian Silver.[39] Early pre-Confederation paintings were among the first items in the Canadian collections, with the National Gallery's earliest works originating from Canadian artists at the Royal Canadian Academy of Arts.
The museum's Canadian collection holds a large number of works by the Group of Seven.[39] The museum also holds a large collection of Tom Thomson works,[39] with the museum adding The Jack Pine to its collection in 1918.[40] The museum also holds the largest collection of works by Alex Colville.[41] Other artists featured in the collections includes William Berczy, Jack Bush, Paul-Émile Borduas, Emily Carr, Robert Field, Vera Frenkel, Theophile Hamel, Joseph Légaré, Cornelius Krieghoff, Fernand Leduc, Alexandra Luke, Ken Lum, James Wilson Morrice, John O'Brien, Antoine Plamondon, William Raphael, Jean-Paul Riopelle, William Ronald, Michael Snow, Lisa Steele, Jeff Wall, Joyce Wieland, Paul Wong, and members of the Regina Five.
In commemoration of the 150th anniversary of Canada in 2017, the museum of undertook a C$7.4 million renovation to open the Canadian and Indigenous Art: From Time Immemorial to 1967 gallery.[42] The gallery exhibits the progression of Canadian art and history, exhibiting Canadian and Indigenous works side by side.[42] These works are exhibited in a manner which examines the intertwined relations between the two groups of people.
The Indigenous collection includes works by Indigenous artists around the world, although it has an emphasis on works by the Indigenous peoples of Canada. The museum collection acquired its first works by First Nations and Metis artists in the early 20th century.[43] However, the makers of these works were often not acknowledged as Indigenous, because the Gallery's mandate did not include collection of art by Indigenous peoples until the 1980s. The museum acquired its first Inuit works in 1956, crafted by artists in Nunavik.[35] The Gallery's acquisition of Inuit works, at a time when it was not actively collecting art by other Indigenous peoples, is related to the Government's instrumentalization of Inuit art to create jobs in the North and to assert Canadian sovereignty there.[44] In 1979, Henry Birks bequeathed a large collection to NGC consisting primarily of Quebecois pre-confederation silver; this bequest of more than 12,000 objects included around 16 works by Indigenous artists.[45] In 1989 and 1992, the Department of Indian Affairs and Northern Development bequeathed 570 works by Inuit artists.
A number of Indigenous artists whose works are featured in the collection include Kenojuak Ashevak, Kiawak Ashoona, Qaqaq Ashoona, Carl Beam, Faye HeavyShield, Osuitok Ipeelee, Rita Letendre, Norval Morrisseau, Shelley Niro, David Ruben Piqtoukun, Abraham Anghik Ruben, Lucy Tasseor Tutsweetok, Jeffrey Thomas, John Tiktak, and Lawrence Paul Yuxweluptun.[40][43][35]
Contemporary
The museum's contemporary collection includes 1,500 works from artists since the 1990s.[46] The collection features a number of works from Canadian, and its Indigenous artists. The first Indigenous Canadian contemporary artwork acquired by the National Gallery was in 1987, a piece by Anishinaabe artist Carl Beam. In 2017, Bob Rennie donated a contemporary art collection to the National Gallery in honour of Canada' 150th anniversary.[34] The collection includes 197 paintings, sculptures, and mixed-media pieces with most of it originating from Vancouver-based artists including Geoffrey Farmer, Rodney Graham, Brian Jungen, and Ian Wallace.[34] The Rennie collection also includes some international contemporary works, including from Doris Salcedo.[34]
In 1990 the Gallery bought Barnett Newman's Voice of Fire for $1.8 million, igniting a storm of controversy. However, since that time its value has appreciated to approximately C$40 million as of 2014.[40] In 1999, the museum acquired a sculpture of a giant spider, Maman, by Louise Bourgeois for a cost of C$3.2 million.[40][47] The sculpture was installed in the plaza in front of the Gallery.[40] In 2011 the gallery installed Canadian sculptor Joe Fafard's Running Horses next to the Sussex Drive entrance, and American artist Roxy Paine's stainless steel sculpture One Hundred Foot Line at Kìwekì Point behind the gallery. Other contemporary artists whose works are featured in the National Gallery's collection includes David Altmejd, Lee Bul, Janet Cardiff, Bharti Kher, Christian Marclay, Elizabeth McIntosh, Chris Ofili, Paine, Ugo Rondinone, and Joanne Tod.
European, American, and Asia]
The European, American, and Asian collection area includes most of the museum's works by non-Canadian artists. The museum acquired its first European work in 1907, the painting Ignatius Sancho by Thomas Gainsborough.[48] Conversely, the museum did not begin to develop its collection of American art until the 1970s.[why?][48]
The museum's collection includes American and European works dating from the Renaissance through to the 20th century.[48] In addition to Western art, the collection area also has 400 works from India, Nepal, and Tibet.
The museum's European collection has since expanded either through acquisitions or gifts. Such works include La Tour Eiffel by Marc Chagall, acquired by the museum in 1956 for $C16,000.[50] In 2018, the museum planned to sell the piece to fund other acquisitions, but abandoned those plans after it was found to be unpopular with the public.[50] In 2005, the Gallery acquired a painting by Italian Renaissance painter Francesco Salviati for $4.5 million.[51] In 2018, the museum acquired The Partie Carée by James Tissot from the collection of David R. Graham, putting it on display in December 2018.[52] It is the third work by Tissot to be acquired by the museum since 1921.[52] Other works from the collection include The Death of General Wolfe by Anglo-American artist Benjamin West.[40] Other artists featured in the museum's European collection includes Alejo Fernández, Vilhelm Hammershøi, Gustav Klimt, Élisabeth Vigée Le Brun, Henri Matisse, Charles Meynier, Claude Monet, Rembrandt, and Vincent van Gogh.[40][36]
Library and archives
The library and archives of the National Gallery of Canada holds an extensive collection of art literature on Canadian art.[53] The library and archives was established alongside the museum in 1880, and contains documents on western art from the Late Middle Ages to the present.[53] The collection includes 275,000 books, exhibition catalogues, and periodicals; 76,000 documentation files; and 95,000 microforms.[53] The archives serves as the institutional archive for the museum.
The library and archives' special collections includes over 50,000 auction catalogues, in addition to 182,000 slides and 360,000 research photographs.[54] The Library and Archives' Exceptional Materials and Notable Subject Collections contains a number of rare imprints, books, and bookplates on Canadian artists, as well as items relating to historians of Canadian art.
Management]
The federal government assumed responsibility for the museum in 1913, with the enactment of the National Gallery of Canada Act. The museum became a Crown corporation on 1 July 1990 with the proclamation of the Museums Act. The Museum Act serves as the museum's governing legislation. It empowers a board of trustees to serve as the museum's governing body, with the board, through the chair, being accountable to the Minister of Canadian Heritage, who is ultimately responsible for the Museum.[55] The CEO and director are charged with day-to-day management of the gallery.
The museum is affiliated with several associations, including the Canadian Museums Association, the Ontario Association of Art Galleries, the Canadian Heritage Information Network, and the Virtual Museum of Canada.
From Wikipedia
Warm-up exercise on how do the participants relate to each other in the "Every Compani is a Wiki" workshop