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Stations of the Cross (or Way of the Cross; in Latin, Via Crucis; also called the Via Dolorosa or Way of Sorrows, or simply, The Way) is a series of artistic representations, very often sculptural, depicting Christ Carrying the Cross to his crucifixion in the final hours (or Passion) of Jesus before he died, and the devotions using that series to commemorate the Passion, often moving physically around a set of stations. The vast majority of Roman Catholic churches now contain such a series, typically placed at intervals along the side walls of the nave; in most churches these are small plaques with reliefs or paintings, simpler than most of the examples shown here. The tradition as chapel devotion began with St. Francis of Assisi and extended throughout the Roman Catholic Church in the medieval period. It is commonly observed in Lutheranism, and amongst the Anglo-Catholic wing of Anglicanism. It may be done at any time, but is most commonly done during the Season of Lent, especially on Good Friday and on Friday evenings during Lent.
These Stations of the Cross were created by Andrzej Pitynski in 2009.
National Shrine of Our Lady of Czestochowa - 654 Ferry Road in Doylestown, Pennsylvania 18901 - Google Map
The Presidential Palace was originally white (03/05/2011, 12:50)
In 1992 have been divided the Czech and Slovak Federal Republic and Bratislava again became the capital of a sovereign state. There was a need to place many institutions, particularly domestic, but also representations of other states and international organizations. In Bratislava they were not sufficiently prepared.
This became especially at a time evident when the newly elected President of the Republic where did officiate. Residence, fortunately, did not need to, because there had their own house, but there could not officiate again and place all the staff of his office. The first area has received office of the President at the Castle. It was a temporary "accommodation" in poor areas, sometimes life-threatening. Especially when someone care so close to the president dropped a heavy chandelier.
The situation is partly solved by the then mayor, who under the pressure of the Slovak public with the president partially restored in just the town hall - at the Primate's Palace. Although it was clear that the town hall of the capital anywhere in the world is based head of state. Mr. President, the mayor is uskromnili, and despite the problems that have coexistence implies (guard, jointly used facilities, movement and site visitors in the city center, a demonstration in the square before the palace), this situation lasted for several years.
Despite the resistance of some groups of people are able to carry out the idea that the seat of the President and the office of President shall be the historical Presidential previously Grassalkovichov and Friedrich palace. But it was in a dilapidated condition. From the 50ties to 80ties years it housed the Communist youth organization, the palace was known as a pioneer, Pioneer House official Klement Gottwald. Before the revolution the palace was empty and for years afterwards. Consideration was given to even the demolition of its western part, containing the chapel, because it should enhance the defenders of peace Street (Štefánikova). After the revolution began with the restoration of the palace to the appropriate kind of unnecessary Gallery of Modern Art. Only be created small attic apartment accommodation for President of Czechoslovakia (!) during his visit to Bratislava.
Restoration of the palace for old-new features presidential residence took place between 1992 and 1995 with the greatest possible respect for the principles of historic preservation. The aim was to return to the palace and the accompanying park as close to its form after 1770. Meant to eliminate interference and remodeling, especially from the period after 1938 and a period of pioneers. In the forties overlaid the entire ground floor of the palace romantic rectangles of travertine that although there were visually quite spectacular, but causing excessive wetting of the ground floor rooms of the palace basement. The chapel was barred light rail, it was in storage. Some rooms have been divided into more areas. The vaulted rooms on the ground floor adjacent to the central garden rooms (towards Banskobystricka street ) was the central heating boiler. The huge depressions in the floor concrete tank used to supply coke imported through the park near the city gasworks (per square Kollar). Parquet and stone floors were destroyed maximum, wood paneling walls of 18 century damaged. From the original mobile device palace there were before reconstruction only chandeliers. For the entire building was only preserved box of 18th century!
Part of the reconstruction of the palace was the device state rooms or historicist historical furniture. According to the model interior presidential office in Vienna, Prague, Paris has sought and bought furniture stylistic corresponding reconstructed interior. Where appropriate furniture and carpets found, they were suitable to produce copies. Installed furniture of 17th to 19th century was harmonically aligned with the decoration of the walls and curtains on the windows. Into the drawing room of President shall be purchased as a quality historic seating forms of classicism in the late 18th century. Because it was similar, but not identical nest (in the past were made earlier "solo pieces"), they were reconstructed deliberately pulled two color mutations of the same (very high quality and very expensive) upholstery, imported from Paris. Today it some workers agents who have no concept of historical interiors criticize.
To state rooms they can produce replicas of historic tiled stoves with built-in devices to their electrical tempering. It was assumed that at the palace along these lines will continue. The main hall has been missing console tables with marble tops under the mirrors between the windows. Console tables amongst the drawing room windows are damaged because of the lack of other tables are sometimes used as a signature tables. The work of the panel, which then zariaďovala palace, often later tampering negated. The library appeared slushy "Globe" bar containing equipment. Wonder where they left off from Thonet chairs, made for Palace, coated with a special non-flammable fabric, designed in the main hall for visitors to concerts.
The problem seemed to use white paint on the facade of the palace. Before reconstruction was used for each run of the mill yellow to brown color that if the facades of houses in the historic center of the city prevailed. Knew that in 18 century such color there, could not be produced. Historical images and analogies from other cities (Vienna, Ljubljana, Prague, Gödöllő) pointed out that the palace was originally white. This is confirmed by historical plaster pieces that survive from the 18th century in small pieces under modern stone cladding of ground floor (all other plaster around otĺkli in 1958 and replaced with a new cement). Today we know quite well that the palace was in the 18th century really white. This is confirmed by studies at the Royal Palace in the Castle, and the building of the Hungarian royal courtly chamber on Michalska Street (University Library), and research on other facades of 18 century in Bratislava, Trnava and other places.
Stephen Holčík
PHOTO - Archive
www.bratislavskenoviny.sk/najnovsie-spravy-z-bratislavy/p...
Granodiorite.
Saqqara, Teti Pyramid Cemetery, Tomb of Hetep.
Middle Kingdom, 12th Dynasty, Reign of Amenemhat I (1991 - 1962 BCE).
Hetep served in the court of the Middle Kingdom pharaoh Amenemhat I, and built his tomb near the pyramid of the Old Kingdom ruler Teti, in whose funerary cult he also functioned. The two statues in Hetep's chapel introduced a new form of statuary, perhaps based on representations of members of the elite, sitting in chairs, carried by their servants.
Steel representations of the vapour trails left by jet engines commemorate their inventor (Sir) Frank Whittle born here in Coventry in 1907.
The GLAAD Media Awards at the Waldorf Astoria Hotel in New York City
The GLAAD Media Awards recognize and honor media for their fair, accurate and inclusive representations of the lesbian, gay, bisexual and transgender community and the issues that affect their lives.
GLAAD, the world's lesbian, gay, bisexual, and transgender (LGBT) media advocacy organization, honored Robert De Niro, Mariah Carey, and the best in film, television, and journalism at the 27th Annual GLAAD Media Awards at the Waldorf Astoria New York on Saturday May 14th 2016. Jennifer Lawrence, Aziz Ansari, Connie Britton, Diane Sawyer, Caitlyn Jenner, Tamron Hall, Noah Galvin, Andrew Rannells, Andreja Pejić, and Jason Biggs were among the special guests. Recording artists Alex Newell and Bebe Rexha, as well as the Tony Award-winning Broadway musical Fun Home performed at the event hosted by Emmy Award-winning actress Laverne Cox. The 27th Annual GLAAD Media Awards were presented by Delta Air Lines, Hilton, Ketel One Vodka, and Wells Fargo.
GLAAD Media Award recipients announced Saturday in New York. Additional awards were presented in Los Angeles at the Beverly Hilton on April 2.
Excellence in Media Award: Robert De Niro (presented by Jennifer Lawrence)
Ally Award: Mariah Carey (presented by Lee Daniels)
· Outstanding TV Journalism – Newsmagazine: “Bruce Jenner: The Interview" 20/20 (ABC) [accepted by: Diane Sawyer, Caitlyn Jenner, and David Sloan, senior executive producer]
· Outstanding TV Journalism Segment: "Interview with Jim Obergefell" Anderson Cooper 360 (CNN) [accepted by: U.S. Supreme Court plaintiff Jim Obergefell]
· Outstanding Magazine Overall Coverage: Cosmopolitan [accepted by: Laura Brounstein, special projects director]
· Outstanding Film – Limited Release: Tangerine (Magnolia Pictures)
· Outstanding Individual Episode: "The Prince of Nucleotides" Royal Pains (USA Network)
· Outstanding Digital Journalism – Multimedia: "Stopping HIV? The Truvada Revolution" Vice Reports (Vice.com)
· Outstanding Newspaper Article: "Cold Case: The Murders of Cosby and Jackson" by Dianna Wray (Houston Press)
· Outstanding Magazine Article: "Behind Brazil's Gay Pride Parades, a Struggle with Homophobic Violence" by Oscar Lopez (Newsweek)
· Outstanding Digital Journalism Article: "This Is What It’s Like To Be An LGBT Syrian Fleeing For Your Life" by J. Lester Feder (Buzzfeed.com)
SPANISH-LANGUAGE NOMINEES
· Outstanding Daytime Program Episode: "¿El marido de mi padre o yo?" Caso Cerrado (Telemundo)
· Outstanding TV Journalism – Newsmagazine: TIE: "Amor que rompe barreras" Un Nuevo Día (Telemundo) and "En cuerpo ajeno" Aquí y Ahora (Univision)
· Outstanding TV Journalism Segment: "Víctimas de abusos" Noticiero Univision (Univision)
· Outstanding Digital Journalism – Multimedia: "Campeones de la igualdad" (Univision.com)
GLAAD (formerly the Gay & Lesbian Alliance Against Defamation) is a U.S. non-governmental media monitoring organization founded by LGBT people in the media.
Motto - to promote understanding, increase acceptance, and advance equality.
Founded - 1985
Founder
Vito Russo
Jewelle Gomez
Lauren Hinds
GLAAD 2016 President and CEO Sarah Kate Ellis
GLAAD
104 W 29th St #4,
New York, NY 10001
USA
(212) 629-3322
Waldorf Astoria Hotel
301 Park Ave,
New York, NY 10022
USA
(212) 355-3000
Hashtag metadata tag
#GMA @glaad #glaadawards #GLAAD #GLAADMediaAwards #GLAADMedia #GLAADAwards #LGBT #GLBT #LGBTQ #GLBTQ #Lesbian #gay #gays #gaymen #gaywomen #bi #Bisexual #Trans #Transman #TransWoman #Transidentity #Transgender #Gender #GenderFluid #GenderIdentity #Queer #Media #TV #Television #Press #WaldorfAstoria #WaldorfAstoriaHotel #NY #NYC #NYS #NewYork #NewYorkCity #NewYorkState #USA #Equality #Pride #celebrity #fashion #famous #style #RedCarpet #RedCarpetEvent
Photo
New York City, Manhattan Island, New York State, USA The United States of America country, North America continent
May 14th 2016
Francesco Furini (1603-1646), Florence
Marie-Madeleine pénitente, vers 1634
Furini, formé dans sa ville natale de Florence chez Cristofano Allori avait, depuis sa jeunesse, des bons contacts avec la Cour des Médicis, lesquels il a également gardé après qu'il fut consacré prêtre et devint pasteur dans le Mugello (1633). Avec ses représentations de héroïnes et de saintes dans une attitude mélancolique il créa un motif populaire de l'art florentin du 17ème siècle. À ce succès devrait également avoir contribué l'imbrication habile de sfumato (un dérivé de Leonardo, sorte d'une touche douce obscurcissant les contours) et dévouement émotionnelle.
Francesco Furini (1603-1646), Florenz
Büßende Maria Magdalena, um 1634
Furini, in seiner Geburtsstadt Florenz bei Cristofano Allori ausgebildet, hatte seit seiner Jugend gute Kontakte zum Hof der Medici, die er auch aufrechterhielt, nachdem er sich zum Priester hatte weihen lassen und Pfarrer im Mugello geworden war (1633). Mit seinen Darstellungen weiblicher Heroinen und Heiligen in melancholischer Haltung schuf er ein beliebtes Motiv der Florentiner Kunst des 17. Jahrhunderts. Zu diesem Erfolg dürfte auch die geschickte Verflechtung von sfumato (einer von Leonardo abgeleiteten Art von weicher, die Konturen verunklärender Pinselführung) und emotionaler Hingabe beigetragen haben.
Austria Kunsthistorisches Museum
Federal Museum
Logo KHM
Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture
Founded 17 October 1891
Headquartered Castle Ring (Burgring), Vienna 1, Austria
Management Sabine Haag
www.khm.at website
Main building of the Kunsthistorisches Museum at Maria-Theresa-Square
The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.
The museum
The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.
History
Archduke Leopold Wilhelm in his Gallery
The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building .
Architectural History
The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währingerstraße/ Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the opera ring, and Ludwig Zettl the southeast side of the grain market (Getreidemarkt).
From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience with of Joseph Semper at the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.
Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.
Construction of the two museums began without ceremony on 27 November 1871 instead. Semper moved to Vienna in the sequence. From the beginning, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, built in 1878, the first windows installed in 1879, the Attica and the balustrade from 1880 to 1881 and built the dome and the Tabernacle. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.
The lighting and air conditioning concept with double glazing of the ceilings made the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times .
Kuppelhalle
Entrance (by clicking the link at the end of the side you can see all the pictures here indicated!)
Grand staircase
Hall
Empire
The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891 , the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol will need another two years.
189, the farm museum was organized in seven collections with three directorates:
Directorate of coins, medals and antiquities collection
The Egyptian Collection
The Antique Collection
The coins and medals collection
Management of the collection of weapons, art and industrial objects
Weapons collection
Collection of industrial art objects
Directorate of Art Gallery and Restaurieranstalt (Restoration Office)
Collection of watercolors, drawings, sketches, etc.
Restoration Office
Library
Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.
1914, after the assassination of Franz Ferdinand, heir to the throne, his " Estonian Forensic Collection " passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d' Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.
The First World War went by, apart from the oppressive economic situation without loss. The farm museum remained during the five years of war regularly open to the public.
Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.
First Republic
The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.
It was not until the Treaty of Saint-Germain of 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.
On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House" , by the Republic. Of 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.
Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.
With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the
Egyptian and Near Eastern Collection (with the Oriental coins)
Collection of Classical Antiquities
Collection of ancient coins
Collection of modern coins and medals
Weapons collection
Collection of sculptures and crafts with the Collection of Ancient Musical Instruments
Picture Gallery
The Museum 1938-1945
Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.
With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the empire.
After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to perform certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.
The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. This was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.
The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.
The museum today
Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).
The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.
In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.
Management
1919-1923: Gustav Glück as the first chairman of the College of science officials
1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director
1933: Arpad Weixlgärtner first director
1934-1938: Alfred Stix first director
1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief in 1941 as first director
1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections in 1949 as general director of the historical collections of the Federation
1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections in 1949 as general director of art historical collections of the Federation
1949-1950: Hans Demel as administrative director
1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation
1951-1952: Fritz Eichler as administrative director
1953-1954: Ernst H. Buschbeck as administrative director
1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director
1967: Edward Holzmair as managing director
1968-1972: Erwin Auer first director
1973-1981: Friderike Klauner first director
1982-1990: Hermann Fillitz first director
1990: George Kugler as interim first director
1990-2008: Wilfried Seipel as general director
Since 2009: Sabine Haag as general director
Collections
To the Kunsthistorisches Museum are also belonging the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.
Kunsthistorisches Museum (main building)
Picture Gallery
Egyptian and Near Eastern Collection
Collection of Classical Antiquities
Vienna Chamber of Art
Numismatic Collection
Library
New Castle
Ephesus Museum
Collection of Ancient Musical Instruments
Arms and Armour
Archive
Hofburg
The imperial crown in the Treasury
Imperial Treasury of Vienna
Insignia of the Austrian Hereditary Homage
Insignia of imperial Austria
Insignia of the Holy Roman Empire
Burgundian Inheritance and the Order of the Golden Fleece
Habsburg-Lorraine Household Treasure
Ecclesiastical Treasury
Schönbrunn Palace
Imperial Carriage Museum Vienna
Armory in Ambras Castle
Ambras Castle
Collections of Ambras Castle
Major exhibits
Among the most important exhibits of the Art Gallery rank inter alia:
Jan van Eyck: Cardinal Niccolò Albergati, 1438
Martin Schongauer: Holy Family, 1475-80
Albrecht Dürer : Trinity Altar, 1509-16
Portrait Johann Kleeberger, 1526
Parmigianino: Self Portrait in Convex Mirror, 1523/24
Giuseppe Arcimboldo: Summer 1563
Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07
Caravaggio: Madonna of the Rosary (1606-1607)
Titian: Nymph and Shepherd to 1570-75
Portrait of Jacopo de Strada, 1567/68
Raffaello Santi: Madonna of the Meadow, 1505 /06
Lorenzo Lotto: Portrait of a young man against white curtain, 1508
Peter Paul Rubens: The altar of St. Ildefonso, 1630-32
The Little Fur, about 1638
Jan Vermeer: The Art of Painting, 1665/66
Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559
Kids, 1560
Tower of Babel, 1563
Christ Carrying the Cross, 1564
Gloomy Day (Early Spring), 1565
Return of the Herd (Autumn), 1565
Hunters in the Snow (Winter) 1565
Bauer and bird thief, 1568
Peasant Wedding, 1568/69
Peasant Dance, 1568/69
Paul's conversion (Conversion of St Paul), 1567
Cabinet of Curiosities:
Saliera from Benvenuto Cellini 1539-1543
Egyptian-Oriental Collection:
Mastaba of Ka Ni Nisut
Collection of Classical Antiquities:
Gemma Augustea
Treasure of Nagyszentmiklós
Gallery: Major exhibits
The Presidential Palace was originally white (03/05/2011, 12:50)
In 1992 have been divided the Czech and Slovak Federal Republic and Bratislava again became the capital of a sovereign state. There was a need to place many institutions, particularly domestic, but also representations of other states and international organizations. In Bratislava they were not sufficiently prepared.
This became especially at a time evident when the newly elected President of the Republic where did officiate. Residence, fortunately, did not need to, because there had their own house, but there could not officiate again and place all the staff of his office. The first area has received office of the President at the Castle. It was a temporary "accommodation" in poor areas, sometimes life-threatening. Especially when someone care so close to the president dropped a heavy chandelier.
The situation is partly solved by the then mayor, who under the pressure of the Slovak public with the president partially restored in just the town hall - at the Primate's Palace. Although it was clear that the town hall of the capital anywhere in the world is based head of state. Mr. President, the mayor is uskromnili, and despite the problems that have coexistence implies (guard, jointly used facilities, movement and site visitors in the city center, a demonstration in the square before the palace), this situation lasted for several years.
Despite the resistance of some groups of people are able to carry out the idea that the seat of the President and the office of President shall be the historical Presidential previously Grassalkovichov and Friedrich palace. But it was in a dilapidated condition. From the 50ties to 80ties years it housed the Communist youth organization, the palace was known as a pioneer, Pioneer House official Klement Gottwald. Before the revolution the palace was empty and for years afterwards. Consideration was given to even the demolition of its western part, containing the chapel, because it should enhance the defenders of peace Street (Štefánikova). After the revolution began with the restoration of the palace to the appropriate kind of unnecessary Gallery of Modern Art. Only be created small attic apartment accommodation for President of Czechoslovakia (!) during his visit to Bratislava.
Restoration of the palace for old-new features presidential residence took place between 1992 and 1995 with the greatest possible respect for the principles of historic preservation. The aim was to return to the palace and the accompanying park as close to its form after 1770. Meant to eliminate interference and remodeling, especially from the period after 1938 and a period of pioneers. In the forties overlaid the entire ground floor of the palace romantic rectangles of travertine that although there were visually quite spectacular, but causing excessive wetting of the ground floor rooms of the palace basement. The chapel was barred light rail, it was in storage. Some rooms have been divided into more areas. The vaulted rooms on the ground floor adjacent to the central garden rooms (towards Banskobystricka street ) was the central heating boiler. The huge depressions in the floor concrete tank used to supply coke imported through the park near the city gasworks (per square Kollar). Parquet and stone floors were destroyed maximum, wood paneling walls of 18 century damaged. From the original mobile device palace there were before reconstruction only chandeliers. For the entire building was only preserved box of 18th century!
Part of the reconstruction of the palace was the device state rooms or historicist historical furniture. According to the model interior presidential office in Vienna, Prague, Paris has sought and bought furniture stylistic corresponding reconstructed interior. Where appropriate furniture and carpets found, they were suitable to produce copies. Installed furniture of 17th to 19th century was harmonically aligned with the decoration of the walls and curtains on the windows. Into the drawing room of President shall be purchased as a quality historic seating forms of classicism in the late 18th century. Because it was similar, but not identical nest (in the past were made earlier "solo pieces"), they were reconstructed deliberately pulled two color mutations of the same (very high quality and very expensive) upholstery, imported from Paris. Today it some workers agents who have no concept of historical interiors criticize.
To state rooms they can produce replicas of historic tiled stoves with built-in devices to their electrical tempering. It was assumed that at the palace along these lines will continue. The main hall has been missing console tables with marble tops under the mirrors between the windows. Console tables amongst the drawing room windows are damaged because of the lack of other tables are sometimes used as a signature tables. The work of the panel, which then zariaďovala palace, often later tampering negated. The library appeared slushy "Globe" bar containing equipment. Wonder where they left off from Thonet chairs, made for Palace, coated with a special non-flammable fabric, designed in the main hall for visitors to concerts.
The problem seemed to use white paint on the facade of the palace. Before reconstruction was used for each run of the mill yellow to brown color that if the facades of houses in the historic center of the city prevailed. Knew that in 18 century such color there, could not be produced. Historical images and analogies from other cities (Vienna, Ljubljana, Prague, Gödöllő) pointed out that the palace was originally white. This is confirmed by historical plaster pieces that survive from the 18th century in small pieces under modern stone cladding of ground floor (all other plaster around otĺkli in 1958 and replaced with a new cement). Today we know quite well that the palace was in the 18th century really white. This is confirmed by studies at the Royal Palace in the Castle, and the building of the Hungarian royal courtly chamber on Michalska Street (University Library), and research on other facades of 18 century in Bratislava, Trnava and other places.
Stephen Holčík
PHOTO - Archive
www.bratislavskenoviny.sk/najnovsie-spravy-z-bratislavy/p...
Haut-Empire romain.
Inv. Ra 334.
Cette sculpture fragmentaire est une copie d’époque romaine de l’une des plus célèbres statues de l’histoire de l’art grec : le Discobole, c’est-à-dire le lanceur de disque.
Le bronze grec original a été conçu au Ve siècle avant notre ère par l’un des plus grands sculpteurs de tous les temps : Myron.
La copie romaine en marbre la plus complète provient de la colline de l’Esquilin à Rome et appartenait à la famille Lancelotti.
Le marbre du musée Saint-Raymond fut découvert avant le Discobole Lancelotti, près de Carcassonne, dans le lit de l’Aude. L’œuvre avait alors été mal interprétée et était même exposée assise.
Il s’agit encore aujourd’hui de la seule copie du Discobole mise au jour en Europe occidentale - en dehors de l’Italie.
Les représentations des lanceurs de disque dans la sculpture, sur des vases et des monnaies, permettent de comprendre la technique de cette discipline sportive à l’époque grecque. Le moment choisi par Myron montre le dernier des balancements : le bras relevé très haut en arrière alors que la jambe gauche s’apprête à revenir devant pour contrebalancer le déséquilibre du corps que le lancement va engendrer. La tension musculaire de l’abdomen et des cuisses est remarquable et témoigne bien des recherches grecques pour traduire le mouvement.
saintraymond.toulouse.fr/Le-discobole_a109.html
English:
Marble Roman replica of Myron’s Discobolus, discovered in the eighteenth century in Carcassonne (Aude). Early Roman Empire.
Inv. Ra 334.
This fragmentary sculpture is a copy from the Roman period of one of the most well-known statues in the history of Greek art: the Discobolus, meaning the disk thrower.
The original Greek bronze sculpture was designed in the fifth century BCE by one of the greatest sculptures of all times: Myron.
The most complete Roman marble replica comes from Esquiline Hill in Rome and belonged to the Lacelotti family.
The Musée Saint-Raymond’s marble was discovered before the Lancelotti’s Discobolus, near Caracassone, in the Aude’s riverbed. The work was misinterpreted and was even exhibited seated. Today, it is the only copy of the Discobolus excavated in Western Europe outside of Italy.
The representations of disk throwers on sculptures, vases, and coins provide an understanding of this sport from the Greek epic. The moment chosen by Myron shows the final stage of the swing: the arm lifted high in the back while the left leg prepares to return in front to counterbalance the body’s disequilibrium caused by the throwing. The muscular tension in the abdomen and thighs is remarkable and shows that the Greeks researched the translation of movement well.
Collage, pigment ink, glue, on paper.
8" x 10"
2009
Measured in inches
Scale 1/8" = 1/8"
Angle Degrees Equation:
(360˚- X˚= Y˚)
Enrique Castrejon
LACE in Print Commission.
Los Angeles Contemporary Exhibitions
Enrique Castrejon: Artist Statement 2013
Images of beauty, queer bodies, HIV, war, death, destruction and tragic current events are elements that inspire my work. I linearly dissect and cut appropriated images found in variety of eclectic media sources such as newspapers, magazines, advertisements and photographs, art books, Sotheby’s auction catalogs, porn, personal photos and online sources into smaller identifiable geometric shapes. I investigate and describe what I see through measurements. I transform this selected graphic imagery into quantified drawings mapped by measuring distances between points (x inches), at times calculating the varied angle degrees created within the shapes (360˚-A˚= B˚), and/or written data related to the image of each shape. The distances around the shapes are measured in inches and their corresponding degree angles are calculated with a protractor and calculator. These precise measurements abstract the image interfering and altering its fixed meaning, creating other possible interpretations through this linear dissection. The final results are written around the shapes creating an intricate explosive web of verifiable units. This repetitive and meditative process allows me to map out the drawing and reveal the invisible mathematical language found in everything. Also, in creating these fragmented and measured drawings from the cut up parts of the whole and reconfigured, I challenge our perceptions of what is real, forcing us to think critically about information that is constantly bombarding our everyday lives through images selected in directed advertisements, pop-culture sources, editorials and news stories found in printed and online media.
Enrique Castrejon lives and works in Los Angeles, CA. Currently, a solo exhibition of his work, Axiom of Solitude: Investigations & Meditations, is on view at Bermudez Projects Downtown from September 28th to November 26th, 2013. Castrejon’s work is also traveling nationally in a group exhibition called Out of Rubble, organized and curated by Susanne Slavick, that looks at how artists have “reacted to the wake of war – its realities and representations.” Castrejon was also a featured artist and panelist on a KPCC 89.3 radio program, Air Talk with Larry Mantel on the topic of Chicano Art & Pacific Standard Time exhibit with participating artists and panelists Gronk, Patissi Valdez and Sonia Romero.
Norooz
(Persian New Year)
March 21st
In harmony with the rebirth of nature, the Iranian New Year Celebration, or NorooZ, always begins on the first day of spring. Norooz ceremonies are symbolic representations of two ancient concepts - the End and the Rebirth; or Good and Evil. A few weeks before the New Year, Iranians clean and rearrange their homes. They make new clothes, bake pastries and germinate seeds as sign of renewal. The ceremonial cloth is set up in each household. Troubadours, referred to as Haji Firuz, disguise themselves with makeup and wear brightly colored outfits of satin. These Haji Firuz, singing and dancing, parade as a carnival through the streets with tambourines, kettle drums, and trumpets to spread good cheer and the news of the coming new year.
Last Wednesday of the year(Chahar Shanbeh Suri) : On the eve of last Wednesday of the year, literally the eve of Red Wednesday or the eve of celebration, bonfires are lit in public places and people leap over the flames, shouting:
Give me your beautiful red color
And take back my sickly pallor!
With the help of fire and light symbols of good, we hope to see our way through this unlucky night - the end of the year- to the arrival of springs longer days. Traditionally, it is believed that the living were visited by the spirits of their ancestors on the last day of the year. Many people specially children, wrap themselves in shrouds symbolically reenacting the visits. By the light of the bonfire, they run through the streets banging on pots and pans with spoons called Gashog-Zani to beat out the last unlucky Wednesday of the year, while they knock on doors to ask for treats. Indeed, Halloween is a Celtic variation of this night.
In order to make wishes come true, it is customary to prepare special foods and distribute them on this night. Noodle Soup a filled Persian delight, and mixture of seven dried nuts and fruits, pistachios, roasted chic peas, almond, hazelnuts, figs, apricots, and raisins.
Fal-Gush
This is another ritual in which someone makes a wish and stands at the corner of an intersection , or on a terrace or behind a wall. That person will know his fortune when he overhears conversation of a passerby.
Haft-Seen
A few days prior to the New Year, a special cover is spread on to the Persian carpet or on a table in every Persian household. This ceremonial table is called cloth of seven dishes, (each one beginning with the Persian letter Sinn). The number seven has been sacred in Iran since the ancient times, and the seven dishes stand for the seven angelic heralds of life-rebirth, health, happiness, prosperity, joy, patience, and beauty.
The symbolic dishes consist of:
1. Sabzeh or sprouts, usually wheat or lentil representing rebirth.
2. Samanu is a pudding in which common wheat sprouts are transformed and given new life as a sweet, creamy pudding and represents the ultimate sophistication of Persian cooking.
3. Seeb means apple and represents health and beauty.
4. Senjed the sweet, dry fruit of the Lotus tree, represents love. It has been said that when lotus tree is in full bloom, its fragrance and its fruit make people fall in love and become oblivious to all else.
5. Seer which is garlic in Persian, represents medicine.
6. Somaq sumac berries, represent the color of sunrise; with the appearance of the sun Good conquers Evil.
7. Serkeh or vinegar, represents age and patience.
To reconfirm all hopes and wishes expressed by the traditional foods, other elements and symbols are also on the sofreh):
* a few coins placed on the sofreh represent prosperity and wealth;
* a basket of painted eggs represents fertility.
* a Seville orange floating in a bowl of water represents the earth floating in space.
* a goldfish in a bowl represents life and the end of astral year-picas.
* a flask of rose water known for its magical cleansing power, is also included on the tablecloth.
* Nearby is a brazier for burning wild rue ,a sacred herb whose smoldering fumes ward off evil spirits.
* A pot of flowering hyacinth or narcissus is also set on the sofreh.
* A mirror which represents the images and reflections of Creation as we celebrate anew the ancient Persian traditions and beliefs that creation took place on the first day of spring.
* On either side of the mirror are two candlesticks holding a flickering candle for each child in the family. The candles represent enlightenment and happiness.
The Presidential Palace was originally white (03/05/2011, 12:50)
In 1992 have been divided the Czech and Slovak Federal Republic and Bratislava again became the capital of a sovereign state. There was a need to place many institutions, particularly domestic, but also representations of other states and international organizations. In Bratislava they were not sufficiently prepared.
This became especially at a time evident when the newly elected President of the Republic where did officiate. Residence, fortunately, did not need to, because there had their own house, but there could not officiate again and place all the staff of his office. The first area has received office of the President at the Castle. It was a temporary "accommodation" in poor areas, sometimes life-threatening. Especially when someone care so close to the president dropped a heavy chandelier.
The situation is partly solved by the then mayor, who under the pressure of the Slovak public with the president partially restored in just the town hall - at the Primate's Palace. Although it was clear that the town hall of the capital anywhere in the world is based head of state. Mr. President, the mayor is uskromnili, and despite the problems that have coexistence implies (guard, jointly used facilities, movement and site visitors in the city center, a demonstration in the square before the palace), this situation lasted for several years.
Despite the resistance of some groups of people are able to carry out the idea that the seat of the President and the office of President shall be the historical Presidential previously Grassalkovichov and Friedrich palace. But it was in a dilapidated condition. From the 50ties to 80ties years it housed the Communist youth organization, the palace was known as a pioneer, Pioneer House official Klement Gottwald. Before the revolution the palace was empty and for years afterwards. Consideration was given to even the demolition of its western part, containing the chapel, because it should enhance the defenders of peace Street (Štefánikova). After the revolution began with the restoration of the palace to the appropriate kind of unnecessary Gallery of Modern Art. Only be created small attic apartment accommodation for President of Czechoslovakia (!) during his visit to Bratislava.
Restoration of the palace for old-new features presidential residence took place between 1992 and 1995 with the greatest possible respect for the principles of historic preservation. The aim was to return to the palace and the accompanying park as close to its form after 1770. Meant to eliminate interference and remodeling, especially from the period after 1938 and a period of pioneers. In the forties overlaid the entire ground floor of the palace romantic rectangles of travertine that although there were visually quite spectacular, but causing excessive wetting of the ground floor rooms of the palace basement. The chapel was barred light rail, it was in storage. Some rooms have been divided into more areas. The vaulted rooms on the ground floor adjacent to the central garden rooms (towards Banskobystricka street ) was the central heating boiler. The huge depressions in the floor concrete tank used to supply coke imported through the park near the city gasworks (per square Kollar). Parquet and stone floors were destroyed maximum, wood paneling walls of 18 century damaged. From the original mobile device palace there were before reconstruction only chandeliers. For the entire building was only preserved box of 18th century!
Part of the reconstruction of the palace was the device state rooms or historicist historical furniture. According to the model interior presidential office in Vienna, Prague, Paris has sought and bought furniture stylistic corresponding reconstructed interior. Where appropriate furniture and carpets found, they were suitable to produce copies. Installed furniture of 17th to 19th century was harmonically aligned with the decoration of the walls and curtains on the windows. Into the drawing room of President shall be purchased as a quality historic seating forms of classicism in the late 18th century. Because it was similar, but not identical nest (in the past were made earlier "solo pieces"), they were reconstructed deliberately pulled two color mutations of the same (very high quality and very expensive) upholstery, imported from Paris. Today it some workers agents who have no concept of historical interiors criticize.
To state rooms they can produce replicas of historic tiled stoves with built-in devices to their electrical tempering. It was assumed that at the palace along these lines will continue. The main hall has been missing console tables with marble tops under the mirrors between the windows. Console tables amongst the drawing room windows are damaged because of the lack of other tables are sometimes used as a signature tables. The work of the panel, which then zariaďovala palace, often later tampering negated. The library appeared slushy "Globe" bar containing equipment. Wonder where they left off from Thonet chairs, made for Palace, coated with a special non-flammable fabric, designed in the main hall for visitors to concerts.
The problem seemed to use white paint on the facade of the palace. Before reconstruction was used for each run of the mill yellow to brown color that if the facades of houses in the historic center of the city prevailed. Knew that in 18 century such color there, could not be produced. Historical images and analogies from other cities (Vienna, Ljubljana, Prague, Gödöllő) pointed out that the palace was originally white. This is confirmed by historical plaster pieces that survive from the 18th century in small pieces under modern stone cladding of ground floor (all other plaster around otĺkli in 1958 and replaced with a new cement). Today we know quite well that the palace was in the 18th century really white. This is confirmed by studies at the Royal Palace in the Castle, and the building of the Hungarian royal courtly chamber on Michalska Street (University Library), and research on other facades of 18 century in Bratislava, Trnava and other places.
Stephen Holčík
PHOTO - Archive
www.bratislavskenoviny.sk/najnovsie-spravy-z-bratislavy/p...
The last of the 2016-series, an exploration in colour, communication and the restrictions of the material from a quadralectic point of view. The individual representations were made in a time span of approximately half an hour.
The burst of creativity started 26 - 29 January 2016 (AF1 - 24) and ended on the 23 October 2016 (AF129), with a production on a daily basis (with interruptions).
Catalogue of titles:
AF1 - Four fours
AF2 - Impact
AF3 - At the sea shore
AF4 - Petals
AF5 - Sea life
AF6 - Crab
AF7 - Meduse
AF8 - African village
AF9 - On the beach 1
AF10 - On the beach 2
AF11 - Medicine man
AF12 - African memories
AF13 - Dark cloud over the continent
AF14 - Flying colours
AF15 - Birth of a turtle
AF16 - A Colourful World
AF17 - Waiting for the Stars
AF18 - Ushujaa
AF19 - The Color of Life
AF20 - After the Battle
AF21 - African Mask
AF21 - Togetherness
AF22 - Near the anthill
AF23 - Connections with the continent
AF24 - The Angry Man
AF25 - Anger from Africa
AF26 - Desert Dweller
AF27 - Grid Punctuation with ants
AF28 - Man with mask
AF29 - Five figures in a field
AF30 - Tijd (Actuality)
AF31 - Damaged Wildebeest
AF32 - Defender
AF33 - Sevennails
AF34 - Remember the promise
AF35 - Crying Raptor
AF36 - Yellow flowers
AF37 - My Blue Heaven 2
AF38 - Tumbling Down2
AF39 - Start with Red (Blue Caduceus)
AF40 - Anima Mundi
AF41 - The Kiss
AF42 - Encounter
AF43 - Circumscribe
AF44 - A Dark Grin 2
AF45 - Fatal Blow
AF46 - Trapped
AF47 - Riders on the Storm
AF48 - Confused
AF49 - Embrace
AF50 - Carousel (the best is yet to come)
AF51 - The Walls of Jericho
AF52 - Babushka
AF53 - Spiky Spindle
AF54 - Blue Stairs
AF55 - Broken Heart
AF56 - Bracelet
AF57 - Reading
AF58 - Confusion
AF59 - No Love Revisited
AF60 - Bird of Paradise
AF61 - World Egg
AF62 - Predicting a Riot
AF63 - Sun000027-28
AF64 - Woord
AF65 - Amor Verdadero
AF66 - You can have it all
AF67 - What I claim to be
AF68 - Shout from the mount
AF69 - Freedom
AF70 - Descanze en paz
AF71 - Tree of Life
AF72 - Save this moment
AF73 - Escape from it all
AF74 - Going back to find
AF75 - Sonderman = AF76 - Broken perimeter
AF77 - Wild Thing
AF78 - Bleeding inside
AF79 - Stir the memory
AF80 - Learning to fly
AF81 - Rejoice
AF82 - Admitting Defeat
AF83 - The Loser Now
AF84 - Anders
AF85 - Sixty-nine
AF86 - Come what may
AF87 - Memorial
AF88 - Resurrection
AF 89 - Nucleus
AF 90 - Eye Contact
AF 91 - Messalina's Reputation
AF92 - Ambiguous Encounter
AF93 - Everything up to that point
AF94 - Circles of my mind
AF95 - When you flash your fangs
AF96 - Leviathan
AF97 - Memento mori
AF98 - Two Crosses in the Wayward Wind
AF99 - Eagles fly on a mountain high
AF100 - Blue Fish
AF101 - Death & Redemption
AF102 - Shot by a silver bullet
AF103 - Things that I have never told
AF104 - The Lion's Share
AF105 - The dice were loaded from the start
AF106 - Making up for things we said
AF107 - I never promised it was fair of true
AF108 - Return from Austria (1968)
AF109 - The unsolved puzzle of our presence
AF110 - It kills me to know you won't escape loneliness
AF111 - Don't put yourself over the line
AF112 - Fall of an Empire
AF113 - Encounter with Vampires from the Past
AF114 - Tibet Revisited
AF115 - Dark Despair (destroyed)
AF116 - Vintage Dreams
AF117 - Conversation with the Lost Souls
AF118 - The Masquerade is over
AF119 - Born in a cruel world
AF120 - Scars of Diappointment
AF121 - The Sorcerer and the Warrior
AF122 - Fall of an Empire
AF123 - Dance of the Dragonflies
AF124 - Burden of Existence
AF125 - Last Song for Migrating Birds
AF126 - Cell searching, soul searching
AF127 - Fragile Freedom
AF128 -
AF129 - Out with a bang
AF130 - A last goodbye (canvas)
Norooz
(Persian New Year)
In harmony with the rebirth of nature, the Iranian New Year Celebration, or NorooZ, always begins on the first day of spring. Norooz ceremonies are symbolic representations of two ancient concepts - the End and the Rebirth; or Good and Evil. A few weeks before the New Year, Iranians clean and rearrange their homes. They make new clothes, bake pastries and germinate seeds as sign of renewal. The ceremonial cloth is set up in each household. Troubadours, referred to as Haji Firuz, disguise themselves with makeup and wear brightly colored outfits of satin. These Haji Firuz, singing and dancing, parade as a carnival through the streets with tambourines, kettle drums, and trumpets to spread good cheer and the news of the coming new year.
Last Wednesday of the year(Chahar Shanbeh Suri) : On the eve of last Wednesday of the year, literally the eve of Red Wednesday or the eve of celebration, bonfires are lit in public places and people leap over the flames, shouting:
Give me your beautiful red color
And take back my sickly pallor!
With the help of fire and light symbols of good, we hope to see our way through this unlucky night - the end of the year- to the arrival of springs longer days. Traditionally, it is believed that the living were visited by the spirits of their ancestors on the last day of the year. Many people specially children, wrap themselves in shrouds symbolically reenacting the visits. By the light of the bonfire, they run through the streets banging on pots and pans with spoons called Gashog-Zani to beat out the last unlucky Wednesday of the year, while they knock on doors to ask for treats. Indeed, Halloween is a Celtic variation of this night.
In order to make wishes come true, it is customary to prepare special foods and distribute them on this night. Noodle Soup a filled Persian delight, and mixture of seven dried nuts and fruits, pistachios, roasted chic peas, almond, hazelnuts, figs, apricots, and raisins.
Fal-Gush
This is another ritual in which someone makes a wish and stands at the corner of an intersection , or on a terrace or behind a wall. That person will know his fortune when he overhears conversation of a passerby.
Haft-Seen
A few days prior to the New Year, a special cover is spread on to the Persian carpet or on a table in every Persian household. This ceremonial table is called cloth of seven dishes, (each one beginning with the Persian letter Sinn). The number seven has been sacred in Iran since the ancient times, and the seven dishes stand for the seven angelic heralds of life-rebirth, health, happiness, prosperity, joy, patience, and beauty.
The symbolic dishes consist of:
1. Sabzeh or sprouts, usually wheat or lentil representing rebirth.
2. Samanu is a pudding in which common wheat sprouts are transformed and given new life as a sweet, creamy pudding and represents the ultimate sophistication of Persian cooking.
3. Seeb means apple and represents health and beauty.
4. Senjed the sweet, dry fruit of the Lotus tree, represents love. It has been said that when lotus tree is in full bloom, its fragrance and its fruit make people fall in love and become oblivious to all else.
5. Seer which is garlic in Persian, represents medicine.
6. Somaq sumac berries, represent the color of sunrise; with the appearance of the sun Good conquers Evil.
7. Serkeh or vinegar, represents age and patience.
To reconfirm all hopes and wishes expressed by the traditional foods, other elements and symbols are also on the sofreh):
* a few coins placed on the sofreh represent prosperity and wealth;
* a basket of painted eggs represents fertility.
* a Seville orange floating in a bowl of water represents the earth floating in space.
* a goldfish in a bowl represents life and the end of astral year-picas.
* a flask of rose water known for its magical cleansing power, is also included on the tablecloth.
* Nearby is a brazier for burning wild rue ,a sacred herb whose smoldering fumes ward off evil spirits.
* A pot of flowering hyacinth or narcissus is also set on the sofreh.
* A mirror which represents the images and reflections of Creation as we celebrate anew the ancient Persian traditions and beliefs that creation took place on the first day of spring.
* On either side of the mirror are two candlesticks holding a flickering candle for each child in the family. The candles represent enlightenment and happiness.
Collection: Cornell University Collection of Political Americana, Cornell University Library
Repository: Susan H. Douglas Political Americana Collection, #2214 Rare & Manuscript Collections, Cornell University Library, Cornell University
Title: The Tippecanoe or Log Cabin Quick Step
Political Party: Whig
Election Year: 1840
Date Made: 1840
Measurement: Sheet Music: 13 x 10 in.; 33.02 x 25.4 cm
Classification: Publications
Persistent URI: http://hdl.handle.net/1813.001/5zrj
There are no known U.S. copyright restrictions on this image. The digital file is owned by the Cornell University Library which is making it freely available with the request that, when possible, the Library be credited as its source.
The GLAAD Media Awards at the Waldorf Astoria Hotel in New York City
The GLAAD Media Awards recognize and honor media for their fair, accurate and inclusive representations of the lesbian, gay, bisexual and transgender community and the issues that affect their lives.
GLAAD, the world's lesbian, gay, bisexual, and transgender (LGBT) media advocacy organization, honored Robert De Niro, Mariah Carey, and the best in film, television, and journalism at the 27th Annual GLAAD Media Awards at the Waldorf Astoria New York on Saturday May 14th 2016. Jennifer Lawrence, Aziz Ansari, Connie Britton, Diane Sawyer, Caitlyn Jenner, Tamron Hall, Noah Galvin, Andrew Rannells, Andreja Pejić, and Jason Biggs were among the special guests. Recording artists Alex Newell and Bebe Rexha, as well as the Tony Award-winning Broadway musical Fun Home performed at the event hosted by Emmy Award-winning actress Laverne Cox. The 27th Annual GLAAD Media Awards were presented by Delta Air Lines, Hilton, Ketel One Vodka, and Wells Fargo.
GLAAD Media Award recipients announced Saturday in New York. Additional awards were presented in Los Angeles at the Beverly Hilton on April 2.
Excellence in Media Award: Robert De Niro (presented by Jennifer Lawrence)
Ally Award: Mariah Carey (presented by Lee Daniels)
· Outstanding TV Journalism – Newsmagazine: “Bruce Jenner: The Interview" 20/20 (ABC) [accepted by: Diane Sawyer, Caitlyn Jenner, and David Sloan, senior executive producer]
· Outstanding TV Journalism Segment: "Interview with Jim Obergefell" Anderson Cooper 360 (CNN) [accepted by: U.S. Supreme Court plaintiff Jim Obergefell]
· Outstanding Magazine Overall Coverage: Cosmopolitan [accepted by: Laura Brounstein, special projects director]
· Outstanding Film – Limited Release: Tangerine (Magnolia Pictures)
· Outstanding Individual Episode: "The Prince of Nucleotides" Royal Pains (USA Network)
· Outstanding Digital Journalism – Multimedia: "Stopping HIV? The Truvada Revolution" Vice Reports (Vice.com)
· Outstanding Newspaper Article: "Cold Case: The Murders of Cosby and Jackson" by Dianna Wray (Houston Press)
· Outstanding Magazine Article: "Behind Brazil's Gay Pride Parades, a Struggle with Homophobic Violence" by Oscar Lopez (Newsweek)
· Outstanding Digital Journalism Article: "This Is What It’s Like To Be An LGBT Syrian Fleeing For Your Life" by J. Lester Feder (Buzzfeed.com)
SPANISH-LANGUAGE NOMINEES
· Outstanding Daytime Program Episode: "¿El marido de mi padre o yo?" Caso Cerrado (Telemundo)
· Outstanding TV Journalism – Newsmagazine: TIE: "Amor que rompe barreras" Un Nuevo Día (Telemundo) and "En cuerpo ajeno" Aquí y Ahora (Univision)
· Outstanding TV Journalism Segment: "Víctimas de abusos" Noticiero Univision (Univision)
· Outstanding Digital Journalism – Multimedia: "Campeones de la igualdad" (Univision.com)
GLAAD (formerly the Gay & Lesbian Alliance Against Defamation) is a U.S. non-governmental media monitoring organization founded by LGBT people in the media.
Motto - to promote understanding, increase acceptance, and advance equality.
Founded - 1985
Founder
Vito Russo
Jewelle Gomez
Lauren Hinds
GLAAD 2016 President and CEO Sarah Kate Ellis
GLAAD
104 W 29th St #4,
New York, NY 10001
USA
(212) 629-3322
Waldorf Astoria Hotel
301 Park Ave,
New York, NY 10022
USA
(212) 355-3000
Hashtag metadata tag
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Photo
New York City, Manhattan Island, New York State, USA The United States of America country, North America continent
May 14th 2016
Norooz
(Persian New Year)
In harmony with the rebirth of nature, the Iranian New Year Celebration, or NorooZ, always begins on the first day of spring. Norooz ceremonies are symbolic representations of two ancient concepts - the End and the Rebirth; or Good and Evil. A few weeks before the New Year, Iranians clean and rearrange their homes. They make new clothes, bake pastries and germinate seeds as sign of renewal. The ceremonial cloth is set up in each household. Troubadours, referred to as Haji Firuz, disguise themselves with makeup and wear brightly colored outfits of satin. These Haji Firuz, singing and dancing, parade as a carnival through the streets with tambourines, kettle drums, and trumpets to spread good cheer and the news of the coming new year.
Last Wednesday of the year(Chahar Shanbeh Suri) : On the eve of last Wednesday of the year, literally the eve of Red Wednesday or the eve of celebration, bonfires are lit in public places and people leap over the flames, shouting:
Give me your beautiful red color
And take back my sickly pallor!
With the help of fire and light symbols of good, we hope to see our way through this unlucky night - the end of the year- to the arrival of springs longer days. Traditionally, it is believed that the living were visited by the spirits of their ancestors on the last day of the year. Many people specially children, wrap themselves in shrouds symbolically reenacting the visits. By the light of the bonfire, they run through the streets banging on pots and pans with spoons called Gashog-Zani to beat out the last unlucky Wednesday of the year, while they knock on doors to ask for treats. Indeed, Halloween is a Celtic variation of this night.
In order to make wishes come true, it is customary to prepare special foods and distribute them on this night. Noodle Soup a filled Persian delight, and mixture of seven dried nuts and fruits, pistachios, roasted chic peas, almond, hazelnuts, figs, apricots, and raisins.
Fal-Gush
This is another ritual in which someone makes a wish and stands at the corner of an intersection , or on a terrace or behind a wall. That person will know his fortune when he overhears conversation of a passerby.
Haft-Seen
A few days prior to the New Year, a special cover is spread on to the Persian carpet or on a table in every Persian household. This ceremonial table is called cloth of seven dishes, (each one beginning with the Persian letter Sinn). The number seven has been sacred in Iran since the ancient times, and the seven dishes stand for the seven angelic heralds of life-rebirth, health, happiness, prosperity, joy, patience, and beauty.
The symbolic dishes consist of:
1. Sabzeh or sprouts, usually wheat or lentil representing rebirth.
2. Samanu is a pudding in which common wheat sprouts are transformed and given new life as a sweet, creamy pudding and represents the ultimate sophistication of Persian cooking.
3. Seeb means apple and represents health and beauty.
4. Senjed the sweet, dry fruit of the Lotus tree, represents love. It has been said that when lotus tree is in full bloom, its fragrance and its fruit make people fall in love and become oblivious to all else.
5. Seer which is garlic in Persian, represents medicine.
6. Somaq sumac berries, represent the color of sunrise; with the appearance of the sun Good conquers Evil.
7. Serkeh or vinegar, represents age and patience.
To reconfirm all hopes and wishes expressed by the traditional foods, other elements and symbols are also on the sofreh):
* a few coins placed on the sofreh represent prosperity and wealth;
* a basket of painted eggs represents fertility.
* a Seville orange floating in a bowl of water represents the earth floating in space.
* a goldfish in a bowl represents life and the end of astral year-picas.
* a flask of rose water known for its magical cleansing power, is also included on the tablecloth.
* Nearby is a brazier for burning wild rue ,a sacred herb whose smoldering fumes ward off evil spirits.
* A pot of flowering hyacinth or narcissus is also set on the sofreh.
* A mirror which represents the images and reflections of Creation as we celebrate anew the ancient Persian traditions and beliefs that creation took place on the first day of spring.
* On either side of the mirror are two candlesticks holding a flickering candle for each child in the family. The candles represent enlightenment and happiness.
The GLAAD Media Awards at the Waldorf Astoria Hotel in New York City
The GLAAD Media Awards recognize and honor media for their fair, accurate and inclusive representations of the lesbian, gay, bisexual and transgender community and the issues that affect their lives.
GLAAD, the world's lesbian, gay, bisexual, and transgender (LGBT) media advocacy organization, honored Robert De Niro, Mariah Carey, and the best in film, television, and journalism at the 27th Annual GLAAD Media Awards at the Waldorf Astoria New York on Saturday May 14th 2016. Jennifer Lawrence, Aziz Ansari, Connie Britton, Diane Sawyer, Caitlyn Jenner, Tamron Hall, Noah Galvin, Andrew Rannells, Andreja Pejić, and Jason Biggs were among the special guests. Recording artists Alex Newell and Bebe Rexha, as well as the Tony Award-winning Broadway musical Fun Home performed at the event hosted by Emmy Award-winning actress Laverne Cox. The 27th Annual GLAAD Media Awards were presented by Delta Air Lines, Hilton, Ketel One Vodka, and Wells Fargo.
GLAAD Media Award recipients announced Saturday in New York. Additional awards were presented in Los Angeles at the Beverly Hilton on April 2.
Excellence in Media Award: Robert De Niro (presented by Jennifer Lawrence)
Ally Award: Mariah Carey (presented by Lee Daniels)
· Outstanding TV Journalism – Newsmagazine: “Bruce Jenner: The Interview" 20/20 (ABC) [accepted by: Diane Sawyer, Caitlyn Jenner, and David Sloan, senior executive producer]
· Outstanding TV Journalism Segment: "Interview with Jim Obergefell" Anderson Cooper 360 (CNN) [accepted by: U.S. Supreme Court plaintiff Jim Obergefell]
· Outstanding Magazine Overall Coverage: Cosmopolitan [accepted by: Laura Brounstein, special projects director]
· Outstanding Film – Limited Release: Tangerine (Magnolia Pictures)
· Outstanding Individual Episode: "The Prince of Nucleotides" Royal Pains (USA Network)
· Outstanding Digital Journalism – Multimedia: "Stopping HIV? The Truvada Revolution" Vice Reports (Vice.com)
· Outstanding Newspaper Article: "Cold Case: The Murders of Cosby and Jackson" by Dianna Wray (Houston Press)
· Outstanding Magazine Article: "Behind Brazil's Gay Pride Parades, a Struggle with Homophobic Violence" by Oscar Lopez (Newsweek)
· Outstanding Digital Journalism Article: "This Is What It’s Like To Be An LGBT Syrian Fleeing For Your Life" by J. Lester Feder (Buzzfeed.com)
SPANISH-LANGUAGE NOMINEES
· Outstanding Daytime Program Episode: "¿El marido de mi padre o yo?" Caso Cerrado (Telemundo)
· Outstanding TV Journalism – Newsmagazine: TIE: "Amor que rompe barreras" Un Nuevo Día (Telemundo) and "En cuerpo ajeno" Aquí y Ahora (Univision)
· Outstanding TV Journalism Segment: "Víctimas de abusos" Noticiero Univision (Univision)
· Outstanding Digital Journalism – Multimedia: "Campeones de la igualdad" (Univision.com)
GLAAD (formerly the Gay & Lesbian Alliance Against Defamation) is a U.S. non-governmental media monitoring organization founded by LGBT people in the media.
Motto - to promote understanding, increase acceptance, and advance equality.
Founded - 1985
Founder
Vito Russo
Jewelle Gomez
Lauren Hinds
GLAAD 2016 President and CEO Sarah Kate Ellis
GLAAD
104 W 29th St #4,
New York, NY 10001
USA
(212) 629-3322
Waldorf Astoria Hotel
301 Park Ave,
New York, NY 10022
USA
(212) 355-3000
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Photo
New York City, Manhattan Island, New York State, USA The United States of America country, North America continent
May 14th 2016
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The Presidential Palace was originally white (03/05/2011, 12:50)
In 1992 have been divided the Czech and Slovak Federal Republic and Bratislava again became the capital of a sovereign state. There was a need to place many institutions, particularly domestic, but also representations of other states and international organizations. In Bratislava they were not sufficiently prepared.
This became especially at a time evident when the newly elected President of the Republic where did officiate. Residence, fortunately, did not need to, because there had their own house, but there could not officiate again and place all the staff of his office. The first area has received office of the President at the Castle. It was a temporary "accommodation" in poor areas, sometimes life-threatening. Especially when someone care so close to the president dropped a heavy chandelier.
The situation is partly solved by the then mayor, who under the pressure of the Slovak public with the president partially restored in just the town hall - at the Primate's Palace. Although it was clear that the town hall of the capital anywhere in the world is based head of state. Mr. President, the mayor is uskromnili, and despite the problems that have coexistence implies (guard, jointly used facilities, movement and site visitors in the city center, a demonstration in the square before the palace), this situation lasted for several years.
Despite the resistance of some groups of people are able to carry out the idea that the seat of the President and the office of President shall be the historical Presidential previously Grassalkovichov and Friedrich palace. But it was in a dilapidated condition. From the 50ties to 80ties years it housed the Communist youth organization, the palace was known as a pioneer, Pioneer House official Klement Gottwald. Before the revolution the palace was empty and for years afterwards. Consideration was given to even the demolition of its western part, containing the chapel, because it should enhance the defenders of peace Street (Štefánikova). After the revolution began with the restoration of the palace to the appropriate kind of unnecessary Gallery of Modern Art. Only be created small attic apartment accommodation for President of Czechoslovakia (!) during his visit to Bratislava.
Restoration of the palace for old-new features presidential residence took place between 1992 and 1995 with the greatest possible respect for the principles of historic preservation. The aim was to return to the palace and the accompanying park as close to its form after 1770. Meant to eliminate interference and remodeling, especially from the period after 1938 and a period of pioneers. In the forties overlaid the entire ground floor of the palace romantic rectangles of travertine that although there were visually quite spectacular, but causing excessive wetting of the ground floor rooms of the palace basement. The chapel was barred light rail, it was in storage. Some rooms have been divided into more areas. The vaulted rooms on the ground floor adjacent to the central garden rooms (towards Banskobystricka street ) was the central heating boiler. The huge depressions in the floor concrete tank used to supply coke imported through the park near the city gasworks (per square Kollar). Parquet and stone floors were destroyed maximum, wood paneling walls of 18 century damaged. From the original mobile device palace there were before reconstruction only chandeliers. For the entire building was only preserved box of 18th century!
Part of the reconstruction of the palace was the device state rooms or historicist historical furniture. According to the model interior presidential office in Vienna, Prague, Paris has sought and bought furniture stylistic corresponding reconstructed interior. Where appropriate furniture and carpets found, they were suitable to produce copies. Installed furniture of 17th to 19th century was harmonically aligned with the decoration of the walls and curtains on the windows. Into the drawing room of President shall be purchased as a quality historic seating forms of classicism in the late 18th century. Because it was similar, but not identical nest (in the past were made earlier "solo pieces"), they were reconstructed deliberately pulled two color mutations of the same (very high quality and very expensive) upholstery, imported from Paris. Today it some workers agents who have no concept of historical interiors criticize.
To state rooms they can produce replicas of historic tiled stoves with built-in devices to their electrical tempering. It was assumed that at the palace along these lines will continue. The main hall has been missing console tables with marble tops under the mirrors between the windows. Console tables amongst the drawing room windows are damaged because of the lack of other tables are sometimes used as a signature tables. The work of the panel, which then zariaďovala palace, often later tampering negated. The library appeared slushy "Globe" bar containing equipment. Wonder where they left off from Thonet chairs, made for Palace, coated with a special non-flammable fabric, designed in the main hall for visitors to concerts.
The problem seemed to use white paint on the facade of the palace. Before reconstruction was used for each run of the mill yellow to brown color that if the facades of houses in the historic center of the city prevailed. Knew that in 18 century such color there, could not be produced. Historical images and analogies from other cities (Vienna, Ljubljana, Prague, Gödöllő) pointed out that the palace was originally white. This is confirmed by historical plaster pieces that survive from the 18th century in small pieces under modern stone cladding of ground floor (all other plaster around otĺkli in 1958 and replaced with a new cement). Today we know quite well that the palace was in the 18th century really white. This is confirmed by studies at the Royal Palace in the Castle, and the building of the Hungarian royal courtly chamber on Michalska Street (University Library), and research on other facades of 18 century in Bratislava, Trnava and other places.
Stephen Holčík
PHOTO - Archive
www.bratislavskenoviny.sk/najnovsie-spravy-z-bratislavy/p...
Great Hall
Visit England’s last and greatest medieval hall. The Great Hall is also one of Britain's oldest theatres.
Henry VIII’s Great Hall
The room is spanned by a large and sumptuously decorated hammer-beam roof and its walls are hung with Henry VIII’s most splendid tapestries, The Story of Abraham.
William Shakespeare’s company—the “King’s Men’”—performed for King James I over Christmas and New Year in 1603-4.
In the 21st Century the Prime Minister at the time, Tony Blair, chaired an informal meeting of the Heads of State and Government of the European Union in the Great Hall on the October 27, 2005, following in a noble tradition of royal and political entertainment.
Historic Tourists to the Great Hall
“Going up into the left wing of the palace one comes to an enormous hall with an arched roof made from some Irish wood which, so they say, has the natural property of keeping free of cobwebs.”
—Baron Waldstein, tourist (1600)
“Hampton Court is as noble and uniform a pile, and as capacious as any Gothic architecture can have made it …The great hall is a most magnificent room…”
—John Evelyn, diarist (1662)
In the 16th century, Hampton Court was a palace, a hotel, a theater, and a vast entertainment complex. The Great Hall was, by itself, all of these things. It was used, every day, as the staff canteen for the lower ranks of Henry’s court. Up to 600 people ate here in two sittings, twice a day. On special occasions, however, the tapestries rolled out over the walls, candelabra were strung across the ceiling on wires, and the lights from hundreds of candles transformed the hall into a magical setting for a fantastical court masque.
The Great Hall is the largest room in the palace, 32 m (106 feet) long, 12 m (40 feet) wide, and over 18 m (60 feet) high. A vast team of masons, carpenters, bricklayers, and laborers began to build it for Henry VIII in the 1532, and it was finished in 1535, becoming the last medieval Great Hall built for any English monarch. The walls are still hung with the best tapestries in Henry VIII’s vast collection depicting the Story of Abraham—faded through the years but still beautiful. The tapestries under the gallery depict the Story of Hercules and the Triumph of Fate. Most characteristic about this large hall is the large wooden hammer-beam ceiling—the initials of Henry VIII and Anne Boleyn are still a part of the decoration. The ceiling was designed by the King’s Master Carpenter James Nedeham, was painted blue, red, and gold.
The Abraham tapestries which line the walls today were commissioned by Henry himself, and probably first hung here for the visit of a large French Embassy in 1546. This was just one of the magnificent state occasions when all the great rooms of Hampton Court were filled with the “swaggering theater” of court life. The Great Hall played host to dance and drama, with Henry himself earlier in his reign playing a starring role in specially written chivalric inventions, rescuing helpless maidens from dangerous castles.
When Henry VIII reigned, this was the most important room of the entire castle—seen through a courtier’s eyes. This is where the King would dine on a dais overlooking his court—in fact Henry was so impatient with this particular room that he made the masons work at night by candlelight as well as all through the day! Shakespeare performed a play of his in front of James I on New Year’s-day 1603—the same year that Elizabeth I died.
A History of the Great Hall
The center of life for most of the more-ranking members of the court was the Great Hall, where in Tudor times they dined in two shifts in the middle of the day.
The St. Valery family, who owned the Palace land from 1086, had built a chamber block and Great Hall. It remains exists beneath the existing Great Hall. In 1495, a list was made recording that the Great Hall of the house when it belonged to Lord Giles Daubeney contained two fixed tables, two long trestle tables, four benches, a cupboard, and a railing around the central hearth.
A visitor of high rank in Tudor times would expect to pass through the Great Hall into the more exclusive rooms beyond.
In 1532, Henry VIII rebuilt the Great Hall, the first in the sequence of rooms leading towards his private lodgings. It seems that Wolsey himself had begun rebuilding Lord Giles Daubeney’s hall; the oriel window, for example, is almost identical to that constructed by Wolsey’s masons at his Oxford College, Christ Church. It is not quite clear how far Wolsey’s work had advanced, but this oriel window now became part of a dramatically improved Great Hall.
Henry’s designers, Christopher Dickenson and James Nedeham, sat down to work in their tracing houses. The roof of the Great Hall is of hammerbeam construction. This design traditionally allowed carpenters to span halls of a greater width than the longest available timbers. However, timbers twelve meters (forty feet) in length, the width of the hall at Hampton Court, were readily available. The hammerbeam design, echoing the roof of Westminster Hall, was deliberately chosen to symbolize royalty, antiquity, and chivalry. A stone hearth lay in the center of the hall, and smoke was intended to escape through a shuttered louver above it in the medieval fashion. Yet the absence of any sort on the timbers of the louver itself throws doubt upon whether this archaic feature was ever used. The roof was decorated with carved and painted heads, and badges celebrating the King and Queen. The carved screen that remains today was erected across the “lower” or entrance end of the Hall, supporting a gallery for musicians above, while a dais was constructed at the other, “higher” end. Anne Boleyn’s badges and initials appear next to Henry VIII’s beneath the royal coats of arms decorating the Hall’s roof.
In the reign of Queen Elizabeth I, the Great Hall was used as a “masking house” or indoor theater at Christmas and New Year. The painted canvas backdrops included representations of “seven cities, one village, and one country house”.
In the time of James I, a new dais was built in the Great Hall to accommodate the King and Queen and the ambassadors from foreign courts who would be invited to watch the spectacles of the season. One of these was Samuel Daniels’s masque The Vision of the Twelve Goddesses. His stage directions record how the Queen herself took “the part of Pallas, in a blue mantel, with a silver embroidery of all weapons and engines of war, with a helmet-dressing on her head”. She descended by a winding stair from a “paradisical mountain” constructed at the lower end of the hall to perform a dance before the King seated beneath his Cloth of Estate. All the ambassadors and courtiers joined in the dancing, and young Prince Henry was thrown between them “like a tennis ball”. The celebrations in the Great Hall for the New Year in 1604 included performances by the King’s Men, whose resident dramatist was William Shakespeare.
The Great Hall was repaired in 1614.
Some of the wooden stags’ heads mounted with antlers that remain in the Great Hall and Horn Room date from Stuart times. The Palace’s collection of horns, later described by John Evelyn as “vast beams of stags, elks, antelopes etc.” also came to include the fossilized horns of an Irish elk, excavated from a bog in County Clare and presented to Charles II in 1684.
When William III and Mary II started considering rebuilding the palace, one design featured Henry VIII’s Great Hall at the center of a grand Baroque entrance facing North. Double avenues marching south across Bushy Park would have culminated in a vast semicircular courtyard built around the Great Hall.
In 1718, under George I, the Great Hall was converted into a theater (fulfilling the intentions of William III, who had begun to fit it out for the purpose). This work was probably undertaken by gentleman architect Sir John Vanbrugh, who was himself a playwright and theater impresario. Curtains covered the large windows, boxes and seats were installed, and the assembled audience faced west towards the stage erected in front of the screens passage. The canvas scenery was painted by Sir James Thornhill. Sir Richard Steele’s company from Drury Lane performed seven plays before the assembled court, including Hamlet and Henry VIII by Shakespeare, both appropriate to the setting.
On the orders of King George III in 1800, architect James Wyatt removed the theater from the great Hall, revealing the Tudor interior that had not been seen for a century. In this work, Wyatt began the process of making the great Hall even more tutored than it had ever been, by opening a new doorway from the dais into the Great Watching Chamber in an exemplary copy of the arched doorway in the adjacent Horn Room. This replaced a historically inaccurate doorway added in the 18th century. In addition, new flagstones were laid on the floor, and the walls were plastered to look like ancient stonework.
A.C. Pugin’s Specimens of Gothic Architecture (1821-1823) contained the first detailed measured drawings of the Great Hall and its roof.
With a deep romanticism and affection for Gothic styles and picturesque irregularity—and with an equally deep distaste for Sir Christopher Wren and the Baroque—Edward Jesse, Itinerant Deputy Surveyor in the Office of Woods, Forests and Land Revenues, supervised a series of restorations and re-presentations. The most notable was that of the Great Hall itself. Left clear and relatively bare by Wyatt, it was transformed between 1840 and 1846 into a state that Jesse believed Cardinal Wolsey and Henry VIII would have recognized instantly. The great series of Abraham tapestries, one of the glories to have survived Henry VIII’s reign, was returned there from the King’s State Apartments. They hammer beam ceiling was repainted and the windows of both the Great Hall and the Great Watching Chamber were filled with stained glass to the designs of Thomas Willement. Heraldic badges and figures in the glass evoked the genealogy of Henry VIII’s wives, of the King and his family, and of his chancellor, Thomas Wolsey. Willement incorporated the dissent of each of Henry VIII’s wives in the windows on the north and south sides of the Hall, interspersed with the King’s badges. The stained-glass was but one element in the redecoration of the Tudor Hall. Artful arrangements of arms and armor were placed around the walls on specially constructed corbels, and deer antlers (all from the parks) were added for further effect. The impressive displays included St. George slaying the dragon, although there is no evidence that armor had ever been previously hung in the Hall. Some was newly made; the rest was lent by the Tower of London. This arrangement survived until 1925. When Jesse had finished, it was “probably the finest and most brilliantly embellished building in Europe”, in the words of the correspondent of the Gentlemen’s Magazine.
In the late 19th century, many events were held in the Great Hall, including fund-raising evenings of entertainment held by Princess Frederica of Hanover, a descendant of George II.
The Great Hall was the object of the most thorough program of works, after dry rot and beetle infestation were found in the roof in 1922. Decayed timbers were replaced, and a steel truss system was inserted into the hammerbeam roof structure. The painted decoration on the timber was stripped away, as were many of the corbels, armor, and other novelties that Jesse had introduced in 1844.
Thirteen Fragments of Armorial Tapestry Borders
Thirteen fragments of detached borders of tapestries made from 1500 to 1547 from the collections of Henry VIII and Cardinal Wolsey. One is woven with repeating motifs of the royal arms and a crowned portcullis, separated by balusters, against a diapered ground. Others are woven with various armorials, including the arms of the See of York, of Cardinal Wolsey as archbishop of York, and of the two Sees of York and Canterbury. During the late nineteenth-century re-presentation of the Tudor apartments at Hampton Court Palace these borders were hung against the gallery of the Great Hall and around the walls of the Great Watching Chamber. It is not known which tapestries they were originally intended to surround. Tapestries played a fundamental role in the decoration of Henry VIII’s palaces. At his death in 1547 his collection contained over two thousand pieces. These were hung for short periods wherever the court was in residence and were carried about the country as it progressed between palaces. From the late seventeenth century, the disposition of tapestries in the royal palaces became more permanent, but there were none the less periodic rearrangements involving reduction or enlargement, either by detaching the borders or, more drastically, by cutting the pictorial field itself. These borders were probably woven in the Netherlands, but it is also possible that the royal “arras maker” responsible for the upkeep of the royal tapestries had workmen capable of producing tapestry of this quality. Because the royal Tudor arms remained unchanged after the accession of Henry VIII in 1509, the borders may conceivably date from the reign of his father, Henry VII. Catalogue entry from Royal Treasures, A Golden Jubilee Celebration, London 2002.
•Provenance: Probably made for Henry VIII. Recorded in the "Withdrawing Room" in 1659, from 1849 a selection has been hung in the Great Hall.
•People Involved:
oCreator(s): Netherlands (nationality); English (nationality)
oAcquirer(s): Henry VIII, King of England (1491-1547)
oSubject(s): Henry VIII, King of England (1491-1547); House of Tudor
•Physical Properties:
oMedium and Techniques: Woven wool tapestry
wool
tapestry; woven
oMeasurements: 66.0 × 226.0 cm (whole object)
•References:
oAlternative Title(s): Armorial panel
Cultural representations of Mongols
www.researchgate.net/figure/Ambrogio-Lorenzetti-The-Marty...
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Martyrs of Thana
www.footnotinghistory.com/home/the-martyrs-of-thana
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Historic Centre of Siena UNESCO World Heritage Site
_DSC4308 Anx2 Q90 Ap Anx2 1024h
The Presidential Palace was originally white (03/05/2011, 12:50)
In 1992 have been divided the Czech and Slovak Federal Republic and Bratislava again became the capital of a sovereign state. There was a need to place many institutions, particularly domestic, but also representations of other states and international organizations. In Bratislava they were not sufficiently prepared.
This became especially at a time evident when the newly elected President of the Republic where did officiate. Residence, fortunately, did not need to, because there had their own house, but there could not officiate again and place all the staff of his office. The first area has received office of the President at the Castle. It was a temporary "accommodation" in poor areas, sometimes life-threatening. Especially when someone care so close to the president dropped a heavy chandelier.
The situation is partly solved by the then mayor, who under the pressure of the Slovak public with the president partially restored in just the town hall - at the Primate's Palace. Although it was clear that the town hall of the capital anywhere in the world is based head of state. Mr. President, the mayor is uskromnili, and despite the problems that have coexistence implies (guard, jointly used facilities, movement and site visitors in the city center, a demonstration in the square before the palace), this situation lasted for several years.
Despite the resistance of some groups of people are able to carry out the idea that the seat of the President and the office of President shall be the historical Presidential previously Grassalkovichov and Friedrich palace. But it was in a dilapidated condition. From the 50ties to 80ties years it housed the Communist youth organization, the palace was known as a pioneer, Pioneer House official Klement Gottwald. Before the revolution the palace was empty and for years afterwards. Consideration was given to even the demolition of its western part, containing the chapel, because it should enhance the defenders of peace Street (Štefánikova). After the revolution began with the restoration of the palace to the appropriate kind of unnecessary Gallery of Modern Art. Only be created small attic apartment accommodation for President of Czechoslovakia (!) during his visit to Bratislava.
Restoration of the palace for old-new features presidential residence took place between 1992 and 1995 with the greatest possible respect for the principles of historic preservation. The aim was to return to the palace and the accompanying park as close to its form after 1770. Meant to eliminate interference and remodeling, especially from the period after 1938 and a period of pioneers. In the forties overlaid the entire ground floor of the palace romantic rectangles of travertine that although there were visually quite spectacular, but causing excessive wetting of the ground floor rooms of the palace basement. The chapel was barred light rail, it was in storage. Some rooms have been divided into more areas. The vaulted rooms on the ground floor adjacent to the central garden rooms (towards Banskobystricka street ) was the central heating boiler. The huge depressions in the floor concrete tank used to supply coke imported through the park near the city gasworks (per square Kollar). Parquet and stone floors were destroyed maximum, wood paneling walls of 18 century damaged. From the original mobile device palace there were before reconstruction only chandeliers. For the entire building was only preserved box of 18th century!
Part of the reconstruction of the palace was the device state rooms or historicist historical furniture. According to the model interior presidential office in Vienna, Prague, Paris has sought and bought furniture stylistic corresponding reconstructed interior. Where appropriate furniture and carpets found, they were suitable to produce copies. Installed furniture of 17th to 19th century was harmonically aligned with the decoration of the walls and curtains on the windows. Into the drawing room of President shall be purchased as a quality historic seating forms of classicism in the late 18th century. Because it was similar, but not identical nest (in the past were made earlier "solo pieces"), they were reconstructed deliberately pulled two color mutations of the same (very high quality and very expensive) upholstery, imported from Paris. Today it some workers agents who have no concept of historical interiors criticize.
To state rooms they can produce replicas of historic tiled stoves with built-in devices to their electrical tempering. It was assumed that at the palace along these lines will continue. The main hall has been missing console tables with marble tops under the mirrors between the windows. Console tables amongst the drawing room windows are damaged because of the lack of other tables are sometimes used as a signature tables. The work of the panel, which then zariaďovala palace, often later tampering negated. The library appeared slushy "Globe" bar containing equipment. Wonder where they left off from Thonet chairs, made for Palace, coated with a special non-flammable fabric, designed in the main hall for visitors to concerts.
The problem seemed to use white paint on the facade of the palace. Before reconstruction was used for each run of the mill yellow to brown color that if the facades of houses in the historic center of the city prevailed. Knew that in 18 century such color there, could not be produced. Historical images and analogies from other cities (Vienna, Ljubljana, Prague, Gödöllő) pointed out that the palace was originally white. This is confirmed by historical plaster pieces that survive from the 18th century in small pieces under modern stone cladding of ground floor (all other plaster around otĺkli in 1958 and replaced with a new cement). Today we know quite well that the palace was in the 18th century really white. This is confirmed by studies at the Royal Palace in the Castle, and the building of the Hungarian royal courtly chamber on Michalska Street (University Library), and research on other facades of 18 century in Bratislava, Trnava and other places.
Stephen Holčík
PHOTO - Archive
www.bratislavskenoviny.sk/najnovsie-spravy-z-bratislavy/p...
Norooz
(Persian New Year)
March 21st.
In harmony with the rebirth of nature, the Iranian New Year Celebration, or NorooZ, always begins on the first day of spring. Norooz ceremonies are symbolic representations of two ancient concepts - the End and the Rebirth; or Good and Evil. A few weeks before the New Year, Iranians clean and rearrange their homes. They make new clothes, bake pastries and germinate seeds as sign of renewal. The ceremonial cloth is set up in each household. Troubadours, referred to as Haji Firuz, disguise themselves with makeup and wear brightly colored outfits of satin. These Haji Firuz, singing and dancing, parade as a carnival through the streets with tambourines, kettle drums, and trumpets to spread good cheer and the news of the coming new year.
Last Wednesday of the year(Chahar Shanbeh Suri) : On the eve of last Wednesday of the year, literally the eve of Red Wednesday or the eve of celebration, bonfires are lit in public places and people leap over the flames, shouting:
Give me your beautiful red color
And take back my sickly pallor!
With the help of fire and light symbols of good, we hope to see our way through this unlucky night - the end of the year- to the arrival of springs longer days. Traditionally, it is believed that the living were visited by the spirits of their ancestors on the last day of the year. Many people specially children, wrap themselves in shrouds symbolically reenacting the visits. By the light of the bonfire, they run through the streets banging on pots and pans with spoons called Gashog-Zani to beat out the last unlucky Wednesday of the year, while they knock on doors to ask for treats. Indeed, Halloween is a Celtic variation of this night.
In order to make wishes come true, it is customary to prepare special foods and distribute them on this night. Noodle Soup a filled Persian delight, and mixture of seven dried nuts and fruits, pistachios, roasted chic peas, almond, hazelnuts, figs, apricots, and raisins.
Fal-Gush
This is another ritual in which someone makes a wish and stands at the corner of an intersection , or on a terrace or behind a wall. That person will know his fortune when he overhears conversation of a passerby.
Haft-Seen
A few days prior to the New Year, a special cover is spread on to the Persian carpet or on a table in every Persian household. This ceremonial table is called cloth of seven dishes, (each one beginning with the Persian letter Sinn). The number seven has been sacred in Iran since the ancient times, and the seven dishes stand for the seven angelic heralds of life-rebirth, health, happiness, prosperity, joy, patience, and beauty.
The symbolic dishes consist of:
1. Sabzeh or sprouts, usually wheat or lentil representing rebirth.
2. Samanu is a pudding in which common wheat sprouts are transformed and given new life as a sweet, creamy pudding and represents the ultimate sophistication of Persian cooking.
3. Seeb means apple and represents health and beauty.
4. Senjed the sweet, dry fruit of the Lotus tree, represents love. It has been said that when lotus tree is in full bloom, its fragrance and its fruit make people fall in love and become oblivious to all else.
5. Seer which is garlic in Persian, represents medicine.
6. Somaq sumac berries, represent the color of sunrise; with the appearance of the sun Good conquers Evil.
7. Serkeh or vinegar, represents age and patience.
To reconfirm all hopes and wishes expressed by the traditional foods, other elements and symbols are also on the sofreh):
* a few coins placed on the sofreh represent prosperity and wealth;
* a basket of painted eggs represents fertility.
* a Seville orange floating in a bowl of water represents the earth floating in space.
* a goldfish in a bowl represents life and the end of astral year-picas.
* a flask of rose water known for its magical cleansing power, is also included on the tablecloth.
* Nearby is a brazier for burning wild rue ,a sacred herb whose smoldering fumes ward off evil spirits.
* A pot of flowering hyacinth or narcissus is also set on the sofreh.
* A mirror which represents the images and reflections of Creation as we celebrate anew the ancient Persian traditions and beliefs that creation took place on the first day of spring.
* On either side of the mirror are two candlesticks holding a flickering candle for each child in the family. The candles represent enlightenment and happiness.
The New Theatre is the second opera of Verona and the Veneto , in addition to being one of the major Italian theaters. It is currently used for most representations of prose and musical works, or conference.
Inauguration
The theater was inaugurated on September 12th 1846 , with a work ever staged in Verona (the world premiere took place six months prior to the Teatro La Fenice in Venice), Attila by Giuseppe Verdi . Among the performers one was particularly well known, the soprano Rita Bass Borio . Work was combined with dance illusions of a painter
For the opening of the theater, the Verona Victor Merighi composed a sonnet patriotic: he wrote a sonnet dedicated to the first woman Rita Bass Borio which thrilled the audience, which was distributed together with other flyers, so that the police would not notice. The poem in fact said:
" Woman, now roaring of the wind, and the storm
pregnant rotation, and thunder shudders to give notice to Austria death, and life in Italy Appeals »
The season continued with Ernani Verdi and the good of Mercadante .
At the closure of the theater season, a new ode was composed, almost a hymn to ' Italy personified in the artist Conti and against the Stranger, who cowardly and evil have the perpetual grin on Italy . The Journal of Verona , controlled by the Austrian police , he could not deny what had happened, but did not explain the real reason for the enthusiasm nor the content of the ode.
The viceroy to the theater
In the two years that followed there were at the Teatro Nuovo for the most dramatic, and March 18 arrived in Verona even the Viceroy of the Kingdom of Lombardy-Venetia , to attend a drama. Police to create consensus popularized the rumor that he had come to bring some benefits to the city. On the same day the news came that Vienna was rioting, and that Metternich had fled, and the Emperor Ferdinand I of Austria had to concede the Constitution .
The announcement spread to Verona , and citizenship came to the New Theatre during the show. The chronicles tell of a true delirium, and a festive crowd and praising all ' Italy and Pope Pius IX . The theater was closed for this until the end of 1849 . The theater was closed again in 1858 by the military authorities.
Up to the present day
On January 2, 1862 , the theater was reopened with Il trovatore , then, from 1872 , the Martha by Friedrich von Flotow (which was unsuccessful). In 1893 there was Pagliacci by Ruggero Leoncavallo . In 1901 there was the first of masks of Pietro Mascagni , which was done simultaneously in seven cities. In 1909 the theater was closed for safety.
Reopen in 1914 with Tosca by Giacomo Puccini in 1915 The Barber of Seville , in 1919 a Lohengrin , in 1930 a Madama Butterfly , in 1932 Lucia di Lammermoor , in 1940 a Manon by Massenet and Andrea Chénier . In 1943 , during the war, were represented La traviata and La bohème .
The theater at the end of the war was in poor condition so much so that he had to close. There were quite a lot of renovations, which ended in 1949 . On 2 October 1949 the theater was finally reopened. From this point onwards, however, the theater billboard focuses on the representation of shows mostly in prose and in hosting conferences and cultural events.
In the New Theatre then became home to the Teatro Stabile di Verona, recognized in 2005 by the Ministry of Heritage and Cultural Activities Teatro Stabile.
Architecture
austere neoclassical fact the main facade of Viviani Square is dominated by a colonnade in white and gray stone. The room is Italian style, with two rows of boxes (except two small portions at the proscenium where orders are three) with Ionic columns, a balcony and a gallery. The environment, from simple white painting, it is enriched with golden decorations and clock located above the proscenium (on example of citizen Philharmonic Theatre ). The theater has a little reduced, which is accessed, rather than the main entry Piazza Viviani, from the side overlooking the Piazzetta Navona .
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The Presidential Palace was originally white (03/05/2011, 12:50)
In 1992 have been divided the Czech and Slovak Federal Republic and Bratislava again became the capital of a sovereign state. There was a need to place many institutions, particularly domestic, but also representations of other states and international organizations. In Bratislava they were not sufficiently prepared.
This became especially at a time evident when the newly elected President of the Republic where did officiate. Residence, fortunately, did not need to, because there had their own house, but there could not officiate again and place all the staff of his office. The first area has received office of the President at the Castle. It was a temporary "accommodation" in poor areas, sometimes life-threatening. Especially when someone care so close to the president dropped a heavy chandelier.
The situation is partly solved by the then mayor, who under the pressure of the Slovak public with the president partially restored in just the town hall - at the Primate's Palace. Although it was clear that the town hall of the capital anywhere in the world is based head of state. Mr. President, the mayor is uskromnili, and despite the problems that have coexistence implies (guard, jointly used facilities, movement and site visitors in the city center, a demonstration in the square before the palace), this situation lasted for several years.
Despite the resistance of some groups of people are able to carry out the idea that the seat of the President and the office of President shall be the historical Presidential previously Grassalkovichov and Friedrich palace. But it was in a dilapidated condition. From the 50ties to 80ties years it housed the Communist youth organization, the palace was known as a pioneer, Pioneer House official Klement Gottwald. Before the revolution the palace was empty and for years afterwards. Consideration was given to even the demolition of its western part, containing the chapel, because it should enhance the defenders of peace Street (Štefánikova). After the revolution began with the restoration of the palace to the appropriate kind of unnecessary Gallery of Modern Art. Only be created small attic apartment accommodation for President of Czechoslovakia (!) during his visit to Bratislava.
Restoration of the palace for old-new features presidential residence took place between 1992 and 1995 with the greatest possible respect for the principles of historic preservation. The aim was to return to the palace and the accompanying park as close to its form after 1770. Meant to eliminate interference and remodeling, especially from the period after 1938 and a period of pioneers. In the forties overlaid the entire ground floor of the palace romantic rectangles of travertine that although there were visually quite spectacular, but causing excessive wetting of the ground floor rooms of the palace basement. The chapel was barred light rail, it was in storage. Some rooms have been divided into more areas. The vaulted rooms on the ground floor adjacent to the central garden rooms (towards Banskobystricka street ) was the central heating boiler. The huge depressions in the floor concrete tank used to supply coke imported through the park near the city gasworks (per square Kollar). Parquet and stone floors were destroyed maximum, wood paneling walls of 18 century damaged. From the original mobile device palace there were before reconstruction only chandeliers. For the entire building was only preserved box of 18th century!
Part of the reconstruction of the palace was the device state rooms or historicist historical furniture. According to the model interior presidential office in Vienna, Prague, Paris has sought and bought furniture stylistic corresponding reconstructed interior. Where appropriate furniture and carpets found, they were suitable to produce copies. Installed furniture of 17th to 19th century was harmonically aligned with the decoration of the walls and curtains on the windows. Into the drawing room of President shall be purchased as a quality historic seating forms of classicism in the late 18th century. Because it was similar, but not identical nest (in the past were made earlier "solo pieces"), they were reconstructed deliberately pulled two color mutations of the same (very high quality and very expensive) upholstery, imported from Paris. Today it some workers agents who have no concept of historical interiors criticize.
To state rooms they can produce replicas of historic tiled stoves with built-in devices to their electrical tempering. It was assumed that at the palace along these lines will continue. The main hall has been missing console tables with marble tops under the mirrors between the windows. Console tables amongst the drawing room windows are damaged because of the lack of other tables are sometimes used as a signature tables. The work of the panel, which then zariaďovala palace, often later tampering negated. The library appeared slushy "Globe" bar containing equipment. Wonder where they left off from Thonet chairs, made for Palace, coated with a special non-flammable fabric, designed in the main hall for visitors to concerts.
The problem seemed to use white paint on the facade of the palace. Before reconstruction was used for each run of the mill yellow to brown color that if the facades of houses in the historic center of the city prevailed. Knew that in 18 century such color there, could not be produced. Historical images and analogies from other cities (Vienna, Ljubljana, Prague, Gödöllő) pointed out that the palace was originally white. This is confirmed by historical plaster pieces that survive from the 18th century in small pieces under modern stone cladding of ground floor (all other plaster around otĺkli in 1958 and replaced with a new cement). Today we know quite well that the palace was in the 18th century really white. This is confirmed by studies at the Royal Palace in the Castle, and the building of the Hungarian royal courtly chamber on Michalska Street (University Library), and research on other facades of 18 century in Bratislava, Trnava and other places.
Stephen Holčík
PHOTO - Archive
www.bratislavskenoviny.sk/najnovsie-spravy-z-bratislavy/p...
The Presidential Palace was originally white (03/05/2011, 12:50)
In 1992 have been divided the Czech and Slovak Federal Republic and Bratislava again became the capital of a sovereign state. There was a need to place many institutions, particularly domestic, but also representations of other states and international organizations. In Bratislava they were not sufficiently prepared.
This became especially at a time evident when the newly elected President of the Republic where did officiate. Residence, fortunately, did not need to, because there had their own house, but there could not officiate again and place all the staff of his office. The first area has received office of the President at the Castle. It was a temporary "accommodation" in poor areas, sometimes life-threatening. Especially when someone care so close to the president dropped a heavy chandelier.
The situation is partly solved by the then mayor, who under the pressure of the Slovak public with the president partially restored in just the town hall - at the Primate's Palace. Although it was clear that the town hall of the capital anywhere in the world is based head of state. Mr. President, the mayor is uskromnili, and despite the problems that have coexistence implies (guard, jointly used facilities, movement and site visitors in the city center, a demonstration in the square before the palace), this situation lasted for several years.
Despite the resistance of some groups of people are able to carry out the idea that the seat of the President and the office of President shall be the historical Presidential previously Grassalkovichov and Friedrich palace. But it was in a dilapidated condition. From the 50ties to 80ties years it housed the Communist youth organization, the palace was known as a pioneer, Pioneer House official Klement Gottwald. Before the revolution the palace was empty and for years afterwards. Consideration was given to even the demolition of its western part, containing the chapel, because it should enhance the defenders of peace Street (Štefánikova). After the revolution began with the restoration of the palace to the appropriate kind of unnecessary Gallery of Modern Art. Only be created small attic apartment accommodation for President of Czechoslovakia (!) during his visit to Bratislava.
Restoration of the palace for old-new features presidential residence took place between 1992 and 1995 with the greatest possible respect for the principles of historic preservation. The aim was to return to the palace and the accompanying park as close to its form after 1770. Meant to eliminate interference and remodeling, especially from the period after 1938 and a period of pioneers. In the forties overlaid the entire ground floor of the palace romantic rectangles of travertine that although there were visually quite spectacular, but causing excessive wetting of the ground floor rooms of the palace basement. The chapel was barred light rail, it was in storage. Some rooms have been divided into more areas. The vaulted rooms on the ground floor adjacent to the central garden rooms (towards Banskobystricka street ) was the central heating boiler. The huge depressions in the floor concrete tank used to supply coke imported through the park near the city gasworks (per square Kollar). Parquet and stone floors were destroyed maximum, wood paneling walls of 18 century damaged. From the original mobile device palace there were before reconstruction only chandeliers. For the entire building was only preserved box of 18th century!
Part of the reconstruction of the palace was the device state rooms or historicist historical furniture. According to the model interior presidential office in Vienna, Prague, Paris has sought and bought furniture stylistic corresponding reconstructed interior. Where appropriate furniture and carpets found, they were suitable to produce copies. Installed furniture of 17th to 19th century was harmonically aligned with the decoration of the walls and curtains on the windows. Into the drawing room of President shall be purchased as a quality historic seating forms of classicism in the late 18th century. Because it was similar, but not identical nest (in the past were made earlier "solo pieces"), they were reconstructed deliberately pulled two color mutations of the same (very high quality and very expensive) upholstery, imported from Paris. Today it some workers agents who have no concept of historical interiors criticize.
To state rooms they can produce replicas of historic tiled stoves with built-in devices to their electrical tempering. It was assumed that at the palace along these lines will continue. The main hall has been missing console tables with marble tops under the mirrors between the windows. Console tables amongst the drawing room windows are damaged because of the lack of other tables are sometimes used as a signature tables. The work of the panel, which then zariaďovala palace, often later tampering negated. The library appeared slushy "Globe" bar containing equipment. Wonder where they left off from Thonet chairs, made for Palace, coated with a special non-flammable fabric, designed in the main hall for visitors to concerts.
The problem seemed to use white paint on the facade of the palace. Before reconstruction was used for each run of the mill yellow to brown color that if the facades of houses in the historic center of the city prevailed. Knew that in 18 century such color there, could not be produced. Historical images and analogies from other cities (Vienna, Ljubljana, Prague, Gödöllő) pointed out that the palace was originally white. This is confirmed by historical plaster pieces that survive from the 18th century in small pieces under modern stone cladding of ground floor (all other plaster around otĺkli in 1958 and replaced with a new cement). Today we know quite well that the palace was in the 18th century really white. This is confirmed by studies at the Royal Palace in the Castle, and the building of the Hungarian royal courtly chamber on Michalska Street (University Library), and research on other facades of 18 century in Bratislava, Trnava and other places.
Stephen Holčík
PHOTO - Archive
www.bratislavskenoviny.sk/najnovsie-spravy-z-bratislavy/p...
St Oswald, Ashbourne, Derbyshire.
Detail: Angel.
The window contains representations of the Virgin Martyr Saints, St Cecilia, St Monica, and St Dorothea. It is a fine design by Christopher Whall, a pre-Raphaelite artist.
Christopher Whall window dated 1905.It was given to the church by Mr and Mrs.Peveril Turnbull of Sandybrook Hall and it commemorates their daughters who died in a local fire. The window consists of three lights and contains representations of the Martyr Saints, St Cecilia, St Monica and St Dorothea. St Cecilia is seen falling asleep to the sounds of celestial music; an exquisite symbol of death. Girls play the organ dressed in medieval clothes with flowers and crowns in their hair and the celestial city is visible in one panel, viewed through a thicket of thorns. Whall’s signature on this stained glass was his own thumbprint.
--------------------------------------
Memorial Window by Christopher Whitworth Whall (1849-1924), 1905.
For Monica Peveril Turnbull aged 22 (1878-1901) and Dorothea Peveril Turnbull aged 20 (1880-1901).
These two girls were the only children of Mr & Mrs Peveril Turnbull, of Sandybrook Hall. As they were leaving the dining room, a light which their father was carrying burst into flames. Dorothea's dress caught fire and Monica, rushing to help her sister, was also engulfed by the flames. Sadly, both died of their multiple burns.
The three lights of the window show (l to r) representations of the Martyr Saints, St Barbara, St Cecilia and St Dorothea. St Cecilia is seen falling asleep to the sounds of celestial music, an exquisite symbol of death. Girls play the organ dressed in medieval clothes with flowers and crowns in their hair and the celestial city is visible in one panel, viewed through a thicket of thorns.
The faces of St Barbara and St Dorothea are those of Monica and Dorothy Turnbull respectively. The face of St Cecilia is in the image of Christopher Whall's wife whilst the angel rising from the flames is that of his daughter, Veronica.
Christopher Whitworth Whall (1849-1924) was the son of a clergyman and grew up in Thurning, Huntingdonshire. He studied painting at the Royal Academy Schools in London under Frederick Leighton but in the later 1880s decided to learn the processes of making stained glass. He designed for James Powell & Sons but was frustrated by the lack of control over the completed windows. In the field of stained glass he had a profound effect as a practitioner, teacher (at the Central School of Arts and Crafts in London) and writer. His book Stained Glass Work, published in 1905, remains profoundly influential to this day.
Hendrick Ter Brugghen (1588-1629), actif à Utrecht
Joueuse de luth, 1626
Personnes en faisant de la musique, individuellement ou en groupes, sont populaires dès les premières représentations du sujet de Caravage, en particulier chez ses successeurs néerlandais. C'est précisément dans la musique néerlandais que musique souvent est pourvu de l'importance emblématique: peut-être le peintre voulait ainsi que son modèle, qui commence tout juste à faire de la musique et se mit à chanter et à jouer quelques notes de musiqe sur son instrument, soit compris comme une allégorie de l'ouïe.
Hendrick Terbrugghen (1588-1629), tätig in Utrecht
Lautenspielerin, um 1626
Musizierende, einzeln oder in Gruppen, sind seit Caravaggios frühen Darstellungen des Themas vor allem bei seinen holländischen Nachfolgern beliebt. Gerade in der niederländischen Malerei wird Musik gerne mit sinnbildhafter Bedeutung versehen: möglicherweise wollte der Maler also sein Modell, das gerade zu musizierend beginnt, sich und die Laute einstimmt, als Allegorie des Gehörsins verstanden wissen.
Austria Kunsthistorisches Museum
Federal Museum
Logo KHM
Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture
Founded 17 October 1891
Headquartered Castle Ring (Burgring), Vienna 1, Austria
Management Sabine Haag
www.khm.at website
Main building of the Kunsthistorisches Museum at Maria-Theresa-Square
The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.
The museum
The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.
History
Archduke Leopold Wilhelm in his Gallery
The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building .
Architectural History
The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währingerstraße/ Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the opera ring, and Ludwig Zettl the southeast side of the grain market (Getreidemarkt).
From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience with of Joseph Semper at the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.
Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.
Construction of the two museums began without ceremony on 27 November 1871 instead. Semper moved to Vienna in the sequence. From the beginning, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, built in 1878, the first windows installed in 1879, the Attica and the balustrade from 1880 to 1881 and built the dome and the Tabernacle. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.
The lighting and air conditioning concept with double glazing of the ceilings made the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times .
Kuppelhalle
Entrance (by clicking the link at the end of the side you can see all the pictures here indicated!)
Grand staircase
Hall
Empire
The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891 , the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol will need another two years.
189, the farm museum was organized in seven collections with three directorates:
Directorate of coins, medals and antiquities collection
The Egyptian Collection
The Antique Collection
The coins and medals collection
Management of the collection of weapons, art and industrial objects
Weapons collection
Collection of industrial art objects
Directorate of Art Gallery and Restaurieranstalt (Restoration Office)
Collection of watercolors, drawings, sketches, etc.
Restoration Office
Library
Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.
1914, after the assassination of Franz Ferdinand, heir to the throne, his " Estonian Forensic Collection " passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d' Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.
The First World War went by, apart from the oppressive economic situation without loss. The farm museum remained during the five years of war regularly open to the public.
Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.
First Republic
The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.
It was not until the Treaty of Saint-Germain of 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.
On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House" , by the Republic. Of 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.
Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.
With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the
Egyptian and Near Eastern Collection (with the Oriental coins)
Collection of Classical Antiquities
Collection of ancient coins
Collection of modern coins and medals
Weapons collection
Collection of sculptures and crafts with the Collection of Ancient Musical Instruments
Picture Gallery
The Museum 1938-1945
Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.
With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the empire.
After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to perform certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.
The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. This was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.
The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.
The museum today
Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).
The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.
In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.
Management
1919-1923: Gustav Glück as the first chairman of the College of science officials
1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director
1933: Arpad Weixlgärtner first director
1934-1938: Alfred Stix first director
1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief in 1941 as first director
1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections in 1949 as general director of the historical collections of the Federation
1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections in 1949 as general director of art historical collections of the Federation
1949-1950: Hans Demel as administrative director
1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation
1951-1952: Fritz Eichler as administrative director
1953-1954: Ernst H. Buschbeck as administrative director
1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director
1967: Edward Holzmair as managing director
1968-1972: Erwin Auer first director
1973-1981: Friderike Klauner first director
1982-1990: Hermann Fillitz first director
1990: George Kugler as interim first director
1990-2008: Wilfried Seipel as general director
Since 2009: Sabine Haag as general director
Collections
To the Kunsthistorisches Museum are also belonging the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.
Kunsthistorisches Museum (main building)
Picture Gallery
Egyptian and Near Eastern Collection
Collection of Classical Antiquities
Vienna Chamber of Art
Numismatic Collection
Library
New Castle
Ephesus Museum
Collection of Ancient Musical Instruments
Arms and Armour
Archive
Hofburg
The imperial crown in the Treasury
Imperial Treasury of Vienna
Insignia of the Austrian Hereditary Homage
Insignia of imperial Austria
Insignia of the Holy Roman Empire
Burgundian Inheritance and the Order of the Golden Fleece
Habsburg-Lorraine Household Treasure
Ecclesiastical Treasury
Schönbrunn Palace
Imperial Carriage Museum Vienna
Armory in Ambras Castle
Ambras Castle
Collections of Ambras Castle
Major exhibits
Among the most important exhibits of the Art Gallery rank inter alia:
Jan van Eyck: Cardinal Niccolò Albergati, 1438
Martin Schongauer: Holy Family, 1475-80
Albrecht Dürer : Trinity Altar, 1509-16
Portrait Johann Kleeberger, 1526
Parmigianino: Self Portrait in Convex Mirror, 1523/24
Giuseppe Arcimboldo: Summer 1563
Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07
Caravaggio: Madonna of the Rosary (1606-1607)
Titian: Nymph and Shepherd to 1570-75
Portrait of Jacopo de Strada, 1567/68
Raffaello Santi: Madonna of the Meadow, 1505 /06
Lorenzo Lotto: Portrait of a young man against white curtain, 1508
Peter Paul Rubens: The altar of St. Ildefonso, 1630-32
The Little Fur, about 1638
Jan Vermeer: The Art of Painting, 1665/66
Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559
Kids, 1560
Tower of Babel, 1563
Christ Carrying the Cross, 1564
Gloomy Day (Early Spring), 1565
Return of the Herd (Autumn), 1565
Hunters in the Snow (Winter) 1565
Bauer and bird thief, 1568
Peasant Wedding, 1568/69
Peasant Dance, 1568/69
Paul's conversion (Conversion of St Paul), 1567
Cabinet of Curiosities:
Saliera from Benvenuto Cellini 1539-1543
Egyptian-Oriental Collection:
Mastaba of Ka Ni Nisut
Collection of Classical Antiquities:
Gemma Augustea
Treasure of Nagyszentmiklós
Gallery: Major exhibits
Students from College of DuPage composition courses showcased visual representations of their written works at the second annual “See Writing Differently: A Celebration of Student Writing.” The event featured the capstone research projects of more than 500 English 1102 students and included websites, podcasts, PowerPoint presentations, posters, brochures, videos and art created in conjunction with written works.
Free download under CC Attribution (CC BY 4.0). Please credit the artist and rawpixel.com.
Higher resolutions with no attribution required can be downloaded: www.rawpixel.com/category/public_domain
The Presidential Palace was originally white (03/05/2011, 12:50)
In 1992 have been divided the Czech and Slovak Federal Republic and Bratislava again became the capital of a sovereign state. There was a need to place many institutions, particularly domestic, but also representations of other states and international organizations. In Bratislava they were not sufficiently prepared.
This became especially at a time evident when the newly elected President of the Republic where did officiate. Residence, fortunately, did not need to, because there had their own house, but there could not officiate again and place all the staff of his office. The first area has received office of the President at the Castle. It was a temporary "accommodation" in poor areas, sometimes life-threatening. Especially when someone care so close to the president dropped a heavy chandelier.
The situation is partly solved by the then mayor, who under the pressure of the Slovak public with the president partially restored in just the town hall - at the Primate's Palace. Although it was clear that the town hall of the capital anywhere in the world is based head of state. Mr. President, the mayor is uskromnili, and despite the problems that have coexistence implies (guard, jointly used facilities, movement and site visitors in the city center, a demonstration in the square before the palace), this situation lasted for several years.
Despite the resistance of some groups of people are able to carry out the idea that the seat of the President and the office of President shall be the historical Presidential previously Grassalkovichov and Friedrich palace. But it was in a dilapidated condition. From the 50ties to 80ties years it housed the Communist youth organization, the palace was known as a pioneer, Pioneer House official Klement Gottwald. Before the revolution the palace was empty and for years afterwards. Consideration was given to even the demolition of its western part, containing the chapel, because it should enhance the defenders of peace Street (Štefánikova). After the revolution began with the restoration of the palace to the appropriate kind of unnecessary Gallery of Modern Art. Only be created small attic apartment accommodation for President of Czechoslovakia (!) during his visit to Bratislava.
Restoration of the palace for old-new features presidential residence took place between 1992 and 1995 with the greatest possible respect for the principles of historic preservation. The aim was to return to the palace and the accompanying park as close to its form after 1770. Meant to eliminate interference and remodeling, especially from the period after 1938 and a period of pioneers. In the forties overlaid the entire ground floor of the palace romantic rectangles of travertine that although there were visually quite spectacular, but causing excessive wetting of the ground floor rooms of the palace basement. The chapel was barred light rail, it was in storage. Some rooms have been divided into more areas. The vaulted rooms on the ground floor adjacent to the central garden rooms (towards Banskobystricka street ) was the central heating boiler. The huge depressions in the floor concrete tank used to supply coke imported through the park near the city gasworks (per square Kollar). Parquet and stone floors were destroyed maximum, wood paneling walls of 18 century damaged. From the original mobile device palace there were before reconstruction only chandeliers. For the entire building was only preserved box of 18th century!
Part of the reconstruction of the palace was the device state rooms or historicist historical furniture. According to the model interior presidential office in Vienna, Prague, Paris has sought and bought furniture stylistic corresponding reconstructed interior. Where appropriate furniture and carpets found, they were suitable to produce copies. Installed furniture of 17th to 19th century was harmonically aligned with the decoration of the walls and curtains on the windows. Into the drawing room of President shall be purchased as a quality historic seating forms of classicism in the late 18th century. Because it was similar, but not identical nest (in the past were made earlier "solo pieces"), they were reconstructed deliberately pulled two color mutations of the same (very high quality and very expensive) upholstery, imported from Paris. Today it some workers agents who have no concept of historical interiors criticize.
To state rooms they can produce replicas of historic tiled stoves with built-in devices to their electrical tempering. It was assumed that at the palace along these lines will continue. The main hall has been missing console tables with marble tops under the mirrors between the windows. Console tables amongst the drawing room windows are damaged because of the lack of other tables are sometimes used as a signature tables. The work of the panel, which then zariaďovala palace, often later tampering negated. The library appeared slushy "Globe" bar containing equipment. Wonder where they left off from Thonet chairs, made for Palace, coated with a special non-flammable fabric, designed in the main hall for visitors to concerts.
The problem seemed to use white paint on the facade of the palace. Before reconstruction was used for each run of the mill yellow to brown color that if the facades of houses in the historic center of the city prevailed. Knew that in 18 century such color there, could not be produced. Historical images and analogies from other cities (Vienna, Ljubljana, Prague, Gödöllő) pointed out that the palace was originally white. This is confirmed by historical plaster pieces that survive from the 18th century in small pieces under modern stone cladding of ground floor (all other plaster around otĺkli in 1958 and replaced with a new cement). Today we know quite well that the palace was in the 18th century really white. This is confirmed by studies at the Royal Palace in the Castle, and the building of the Hungarian royal courtly chamber on Michalska Street (University Library), and research on other facades of 18 century in Bratislava, Trnava and other places.
Stephen Holčík
PHOTO - Archive
www.bratislavskenoviny.sk/najnovsie-spravy-z-bratislavy/p...
Free download under CC Attribution ( CC BY 4.0). Please credit the artist and rawpixel.com.
Higher resolutions with no attribution required can be downloaded: www.rawpixel.com/category/public_domain
Persistent URL: digital.lib.muohio.edu/u?/tradecards,3441
Subject (TGM): Houses; Snow; Landscapes (Representations); Patent medicines; Medicines;
Norooz
(Persian New Year)
March 21st
In harmony with the rebirth of nature, the Iranian New Year Celebration, or NorooZ, always begins on the first day of spring. Norooz ceremonies are symbolic representations of two ancient concepts - the End and the Rebirth; or Good and Evil. A few weeks before the New Year, Iranians clean and rearrange their homes. They make new clothes, bake pastries and germinate seeds as sign of renewal. The ceremonial cloth is set up in each household. Troubadours, referred to as Haji Firuz, disguise themselves with makeup and wear brightly colored outfits of satin. These Haji Firuz, singing and dancing, parade as a carnival through the streets with tambourines, kettle drums, and trumpets to spread good cheer and the news of the coming new year.
Last Wednesday of the year(Chahar Shanbeh Suri) : On the eve of last Wednesday of the year, literally the eve of Red Wednesday or the eve of celebration, bonfires are lit in public places and people leap over the flames, shouting:
Give me your beautiful red color
And take back my sickly pallor!
With the help of fire and light symbols of good, we hope to see our way through this unlucky night - the end of the year- to the arrival of springs longer days. Traditionally, it is believed that the living were visited by the spirits of their ancestors on the last day of the year. Many people specially children, wrap themselves in shrouds symbolically reenacting the visits. By the light of the bonfire, they run through the streets banging on pots and pans with spoons called Gashog-Zani to beat out the last unlucky Wednesday of the year, while they knock on doors to ask for treats. Indeed, Halloween is a Celtic variation of this night.
In order to make wishes come true, it is customary to prepare special foods and distribute them on this night. Noodle Soup a filled Persian delight, and mixture of seven dried nuts and fruits, pistachios, roasted chic peas, almond, hazelnuts, figs, apricots, and raisins.
Fal-Gush
This is another ritual in which someone makes a wish and stands at the corner of an intersection , or on a terrace or behind a wall. That person will know his fortune when he overhears conversation of a passerby.
Haft-Seen
A few days prior to the New Year, a special cover is spread on to the Persian carpet or on a table in every Persian household. This ceremonial table is called cloth of seven dishes, (each one beginning with the Persian letter Sinn). The number seven has been sacred in Iran since the ancient times, and the seven dishes stand for the seven angelic heralds of life-rebirth, health, happiness, prosperity, joy, patience, and beauty.
The symbolic dishes consist of:
1. Sabzeh or sprouts, usually wheat or lentil representing rebirth.
2. Samanu is a pudding in which common wheat sprouts are transformed and given new life as a sweet, creamy pudding and represents the ultimate sophistication of Persian cooking.
3. Seeb means apple and represents health and beauty.
4. Senjed the sweet, dry fruit of the Lotus tree, represents love. It has been said that when lotus tree is in full bloom, its fragrance and its fruit make people fall in love and become oblivious to all else.
5. Seer which is garlic in Persian, represents medicine.
6. Somaq sumac berries, represent the color of sunrise; with the appearance of the sun Good conquers Evil.
7. Serkeh or vinegar, represents age and patience.
To reconfirm all hopes and wishes expressed by the traditional foods, other elements and symbols are also on the sofreh):
* a few coins placed on the sofreh represent prosperity and wealth;
* a basket of painted eggs represents fertility.
* a Seville orange floating in a bowl of water represents the earth floating in space.
* a goldfish in a bowl represents life and the end of astral year-picas.
* a flask of rose water known for its magical cleansing power, is also included on the tablecloth.
* Nearby is a brazier for burning wild rue ,a sacred herb whose smoldering fumes ward off evil spirits.
* A pot of flowering hyacinth or narcissus is also set on the sofreh.
* A mirror which represents the images and reflections of Creation as we celebrate anew the ancient Persian traditions and beliefs that creation took place on the first day of spring.
* On either side of the mirror are two candlesticks holding a flickering candle for each child in the family. The candles represent enlightenment and happiness.
The New Theatre is the second opera of Verona and the Veneto , in addition to being one of the major Italian theaters. It is currently used for most representations of prose and musical works, or conference.
Inauguration
The theater was inaugurated on September 12th 1846 , with a work ever staged in Verona (the world premiere took place six months prior to the Teatro La Fenice in Venice), Attila by Giuseppe Verdi . Among the performers one was particularly well known, the soprano Rita Bass Borio . Work was combined with dance illusions of a painter
For the opening of the theater, the Verona Victor Merighi composed a sonnet patriotic: he wrote a sonnet dedicated to the first woman Rita Bass Borio which thrilled the audience, which was distributed together with other flyers, so that the police would not notice. The poem in fact said:
" Woman, now roaring of the wind, and the storm
pregnant rotation, and thunder shudders to give notice to Austria death, and life in Italy Appeals »
The season continued with Ernani Verdi and the good of Mercadante .
At the closure of the theater season, a new ode was composed, almost a hymn to ' Italy personified in the artist Conti and against the Stranger, who cowardly and evil have the perpetual grin on Italy . The Journal of Verona , controlled by the Austrian police , he could not deny what had happened, but did not explain the real reason for the enthusiasm nor the content of the ode.
The viceroy to the theater
In the two years that followed there were at the Teatro Nuovo for the most dramatic, and March 18 arrived in Verona even the Viceroy of the Kingdom of Lombardy-Venetia , to attend a drama. Police to create consensus popularized the rumor that he had come to bring some benefits to the city. On the same day the news came that Vienna was rioting, and that Metternich had fled, and the Emperor Ferdinand I of Austria had to concede the Constitution .
The announcement spread to Verona , and citizenship came to the New Theatre during the show. The chronicles tell of a true delirium, and a festive crowd and praising all ' Italy and Pope Pius IX . The theater was closed for this until the end of 1849 . The theater was closed again in 1858 by the military authorities.
Up to the present day
On January 2, 1862 , the theater was reopened with Il trovatore , then, from 1872 , the Martha by Friedrich von Flotow (which was unsuccessful). In 1893 there was Pagliacci by Ruggero Leoncavallo . In 1901 there was the first of masks of Pietro Mascagni , which was done simultaneously in seven cities. In 1909 the theater was closed for safety.
Reopen in 1914 with Tosca by Giacomo Puccini in 1915 The Barber of Seville , in 1919 a Lohengrin , in 1930 a Madama Butterfly , in 1932 Lucia di Lammermoor , in 1940 a Manon by Massenet and Andrea Chénier . In 1943 , during the war, were represented La traviata and La bohème .
The theater at the end of the war was in poor condition so much so that he had to close. There were quite a lot of renovations, which ended in 1949 . On 2 October 1949 the theater was finally reopened. From this point onwards, however, the theater billboard focuses on the representation of shows mostly in prose and in hosting conferences and cultural events.
In the New Theatre then became home to the Teatro Stabile di Verona, recognized in 2005 by the Ministry of Heritage and Cultural Activities Teatro Stabile.
Architecture
austere neoclassical fact the main facade of Viviani Square is dominated by a colonnade in white and gray stone. The room is Italian style, with two rows of boxes (except two small portions at the proscenium where orders are three) with Ionic columns, a balcony and a gallery. The environment, from simple white painting, it is enriched with golden decorations and clock located above the proscenium (on example of citizen Philharmonic Theatre ). The theater has a little reduced, which is accessed, rather than the main entry Piazza Viviani, from the side overlooking the Piazzetta Navona .
The Presidential Palace was originally white (03/05/2011, 12:50)
In 1992 have been divided the Czech and Slovak Federal Republic and Bratislava again became the capital of a sovereign state. There was a need to place many institutions, particularly domestic, but also representations of other states and international organizations. In Bratislava they were not sufficiently prepared.
This became especially at a time evident when the newly elected President of the Republic where did officiate. Residence, fortunately, did not need to, because there had their own house, but there could not officiate again and place all the staff of his office. The first area has received office of the President at the Castle. It was a temporary "accommodation" in poor areas, sometimes life-threatening. Especially when someone care so close to the president dropped a heavy chandelier.
The situation is partly solved by the then mayor, who under the pressure of the Slovak public with the president partially restored in just the town hall - at the Primate's Palace. Although it was clear that the town hall of the capital anywhere in the world is based head of state. Mr. President, the mayor is uskromnili, and despite the problems that have coexistence implies (guard, jointly used facilities, movement and site visitors in the city center, a demonstration in the square before the palace), this situation lasted for several years.
Despite the resistance of some groups of people are able to carry out the idea that the seat of the President and the office of President shall be the historical Presidential previously Grassalkovichov and Friedrich palace. But it was in a dilapidated condition. From the 50ties to 80ties years it housed the Communist youth organization, the palace was known as a pioneer, Pioneer House official Klement Gottwald. Before the revolution the palace was empty and for years afterwards. Consideration was given to even the demolition of its western part, containing the chapel, because it should enhance the defenders of peace Street (Štefánikova). After the revolution began with the restoration of the palace to the appropriate kind of unnecessary Gallery of Modern Art. Only be created small attic apartment accommodation for President of Czechoslovakia (!) during his visit to Bratislava.
Restoration of the palace for old-new features presidential residence took place between 1992 and 1995 with the greatest possible respect for the principles of historic preservation. The aim was to return to the palace and the accompanying park as close to its form after 1770. Meant to eliminate interference and remodeling, especially from the period after 1938 and a period of pioneers. In the forties overlaid the entire ground floor of the palace romantic rectangles of travertine that although there were visually quite spectacular, but causing excessive wetting of the ground floor rooms of the palace basement. The chapel was barred light rail, it was in storage. Some rooms have been divided into more areas. The vaulted rooms on the ground floor adjacent to the central garden rooms (towards Banskobystricka street ) was the central heating boiler. The huge depressions in the floor concrete tank used to supply coke imported through the park near the city gasworks (per square Kollar). Parquet and stone floors were destroyed maximum, wood paneling walls of 18 century damaged. From the original mobile device palace there were before reconstruction only chandeliers. For the entire building was only preserved box of 18th century!
Part of the reconstruction of the palace was the device state rooms or historicist historical furniture. According to the model interior presidential office in Vienna, Prague, Paris has sought and bought furniture stylistic corresponding reconstructed interior. Where appropriate furniture and carpets found, they were suitable to produce copies. Installed furniture of 17th to 19th century was harmonically aligned with the decoration of the walls and curtains on the windows. Into the drawing room of President shall be purchased as a quality historic seating forms of classicism in the late 18th century. Because it was similar, but not identical nest (in the past were made earlier "solo pieces"), they were reconstructed deliberately pulled two color mutations of the same (very high quality and very expensive) upholstery, imported from Paris. Today it some workers agents who have no concept of historical interiors criticize.
To state rooms they can produce replicas of historic tiled stoves with built-in devices to their electrical tempering. It was assumed that at the palace along these lines will continue. The main hall has been missing console tables with marble tops under the mirrors between the windows. Console tables amongst the drawing room windows are damaged because of the lack of other tables are sometimes used as a signature tables. The work of the panel, which then zariaďovala palace, often later tampering negated. The library appeared slushy "Globe" bar containing equipment. Wonder where they left off from Thonet chairs, made for Palace, coated with a special non-flammable fabric, designed in the main hall for visitors to concerts.
The problem seemed to use white paint on the facade of the palace. Before reconstruction was used for each run of the mill yellow to brown color that if the facades of houses in the historic center of the city prevailed. Knew that in 18 century such color there, could not be produced. Historical images and analogies from other cities (Vienna, Ljubljana, Prague, Gödöllő) pointed out that the palace was originally white. This is confirmed by historical plaster pieces that survive from the 18th century in small pieces under modern stone cladding of ground floor (all other plaster around otĺkli in 1958 and replaced with a new cement). Today we know quite well that the palace was in the 18th century really white. This is confirmed by studies at the Royal Palace in the Castle, and the building of the Hungarian royal courtly chamber on Michalska Street (University Library), and research on other facades of 18 century in Bratislava, Trnava and other places.
Stephen Holčík
PHOTO - Archive
www.bratislavskenoviny.sk/najnovsie-spravy-z-bratislavy/p...
1/76 scale Code 3 model representations of Strathtay Buses Alexander Y Type buses with both bus and coach type windows which were common. Both of these models have been taken apart, original paint removed, interiors decorated, resprayed, re-assembled and transfers applied.
Strathtay was a bus operator within the Tayside and Perthshire areas, taking over following deregulation from Northern and Midland Scottish. Y Types were very commonly used across Scotland and were real workhorses, with Strathtay using a large number of them.
My nostalgic link to Strathtay is that my Dad was a driver for them, working from Forfar’s Prior Road depot, which (as of 12/2019) is still in use as a sub-station of Arbroath, owned by Stagecoach, formerly operating as “Stagecoach Strathtay”. As such, a large number of models in my fleet are either formally produced Strathtay or Stagecoach Strathtay, or Code 3 repaints such as the one pictured.
Thankfully a number of Strathtay vehicles have entered preservation, including Leyland Leopards and Tigers.
(further pictures and information you can get by clicking on the link at the end of page!)
Künstlerhaus Vienna
Künstlerhaus Vienna (1883)
Foyer of the Künstlerhaus (2007)
The Künstlerhaus is an exhibition building in the city center of Vienna (1st district). It is located in the Ring Road area between Academy Street, Bösendorferstraße, Dumbastraße and Musikverein place, next to the building of the Vienna Musikverein, and has its main entrance from the Karlsplatz.
The building was built in 1865-1868 and is now used as an exhibition house for painting, sculpture, architecture and applied arts. Owner is the Society of Austrian Visual Artists, Artists' House, the oldest existing association of artists in Austria. Since 1949, the Künstlerhaus operates (with the entrance on its side front at the Academy Street) the "Künstlerhaus" cinema, in which the by the Vienna Film Festival Viennale run "cinema city" will move in September 2013.
The Artists' Association
Poster of the Jubilee Exhibition in 1898
In the suburb Laimgrube which was incorporated in 1850 as part of the new district Mariahilf to Vienna there was at the corner Untere Stättengasse (since 1862 Dürergasse) and Canalgasse (since 1902 Joanelligasse) the restaurant "To The Blue Bouquet". There the architect Leopold Ernst 1847 finished under huge cost overrun a neo-Gothic ballroom. This hall was the meeting place of the in 1851 founded company of the association of young artists and academics, who later renamed itself in Albrecht Dürer's club.
1861, the artist clubs concord and Albrecht Dürer club joined together under the name Cooperative Artists of Vienna for the then professional organization of Viennese painters, sculptors and architects. 1868, the new house was purchased. 1897 split some modern artists from the Künstlerhaus and founded the Vienna Secession. Thus, the Künstlerhaus lost its function as the authoritative representation of all artists.
Since 1972, the association is also open to representatives of the applied arts. In 1976, while maintaining the cooperative legal form, it was renamed into Society of Visual Artists of Austria, Artists' House. Since 1983 also film and audiovisual artists are members. The in 1985 founded Künstlerhaus -Ges. m. b . H. (limited liability company) organizes also exhibitions for other museums and institutions. From 2002 to 2012 Peter Bogner was the director of Künstlerhaus.
Architectural History
The House of Artists in 1900
Exhibition: Space Inventions (2010)
After the decision by Emperor Franz Joseph I taken late 1857 to let demolish the city walls, the Vienna ring road was planned and built as a representative boulevard and by the Emperor in 1865 opened, in the year of the beginning of the construction of the Künstlerhaus. The at the Ministry of the Interior established urban expansion fund had the task to exploit the former military site and sold most of the lots to private investors. To the attractiveness of the new ring road zone should contribute cultural institutions to which the Fund provided land free of charge. These facilities included the Artists' House and the Musikverein, which received opposite the Karlskirche land on the banks of the then still open flowing river Wien.
Architect of the Künstlerhaus was August Weber (1836-1903), who had built 1863/1864 the horticulture building at the park ring. It was based on the style of an Italian Renaissance villa of Jacopo Sansovino. The Vienna company Anton Wasserburger carried out all the stonework, preferentially St. Margarethen and Wöllersdorfer stone and Kaiser stone from Kaiser quarry (Kaisersteinbruch) were used. Franz Joseph I put the keystone.
The on 1 September 1868 - almost nine months before the near Imperial Court Opera and 16 months before the neighboring Musikverein - opened house received in 1882 a larger annex, namely the two side wings, where later in 1949 left a cinema and 1974 right a theater was housed, in the same year the First International Art Exhibition was held in the Artist's house. 1888, the interior garden was roofed over.
In the last decade of the 19th Century, began construction works on the Vienna city railway and on the partial vaulting of the Vienna River. Since 1899, the artist house immediately adjacent rail station (since 1980 exclusively subway station), designed by Otto Wagner, is in operation. 1899/1900, the vaulting of the Wienfluss (Vienna river) was completed, so that the front of the Künstlerhaus no longer was situated on a river bank, but on the edge of the new, large, 1899 named Charles Square.
1956/57, the Stiftersaal was subjected to a massive modernization.
Building speculation
Artist House 1st Floor Exhibition: Cool Mega 4.0 (2012)
Exhibition: Munkácsy. Magic & Mystery (2012)
Exhibition: relationship work. Art and Institution (2011)
In the 20th Century the for the ring road area unusual low construction several times came under speculative demolition or at least increasement pressure. So the plan Kaym / Hetmanek in the early 1930s provided the replacement of the historicist pavilion by eight-story apartment buildings, 1935, the young Roland Rainer started to think about a "building density" at this prominent location.
The guidelines of the planning competition Karlsplatz in 1946 made clear that the city of Vienna the Artists' House and the Transport Office building at the other end of Karlsplatz considered as expendable (both still exist today). Also worth mentioning is the 1966 by Karl Schwanzer instead of the Künstlerhaus planned office building for IBM, but which met broad public discontent among the public and medias. The case of St. Florian church in the summer of 1965 probably here had led to second thoughts.
Current use and planning
Today, planning considerations are again underway to better integrate the Künstlerhaus through extensions and conversions in the museum cluster at Karlsplatz. For example, was the result of an in 1999 conducted architectural competition, which had provided the replacement of the two side wings through glass pavilions, in July 2010 by Beppo Mauhart again brought into play.
The on the southeastern side of Karlsplatz located Vienna Museum, opened in 1959 as the Historical Museum of the City of Vienna, the Künstlerhaus repeatedly rented for months for exhibitions, among them were:
1985: dream and reality. Vienna 1870-1930 (Directorate Robert Waissenberger), designed by Hans Hollein, with 622,000 visits to date Viennese record
1987: Biedermeier and Vormärz (Directorate Günther Düriegl), designed by Boris Podrecca
2004: Alt-Wien. The city that never was (Directorate Wolfgang Kos)
2009/2010: Battle for the City. Politics, art and everyday life in 1930 (Directorate Wolfgang Kos)
Thus, there were considerations to transfer the Künstlerhaus into the management of the suffering from lack of space Vienna Museum, but the artists' association could not make friends with it. In the meantime, this is no longer considered in the Vienna Museum, and discussed with the municipality where a new building could be built for the museum.
The Kunsthistorisches Museum (Museum of Art History) the Artists' House in the era of the directorate of Wilfried Seipel in the last decade of the 20th Century also has used for exhibitions. Later, the Ministry of Education for it no longer has provided resources, by which was opened a significant gap in the budget of the Künstlerhaus.
2011 was publicly debated that occurred structural damages would require a lot of money for repairs, but that the association of artists these funds can not generate from the ongoing operation of the Künstlerhaus. The institutions as grants and subsidies coming into question, the Ministry of Education and Culture Department of the City Administration have, however, to face with their own budget problems.
Theatre
brut Künstlerhaus (Popfest 2013)
Since the conversion of the right wing to theater in the middle of the 1970s, the Comedians House Theatre was located there until 1985. After the end of which there was an attempt to revive the theater as a Political Stage Artists' House. On behalf of the City of Vienna and the former culture councillor Ursula Pasterk was decided in 1987 to place the theater together with the also vacant theater in the Konzerthaus the free theater groups of the city at the disposal. With 31 January 1989 took over the dietheater, supported by the Theatre Association of Vienna, under the artistic direction of Christian Pronay the two venues. By 2007, the dietheater served as a stage various Austrian, especially Viennese theater groups, the contemporary dance art devotes since then the annually held there festival imagetanz (image dance).
The re-tendering of the artistic direction of the theater club in the summer of 2006 Thomas Frank and Haiko Pfost could win for themselves, which on 20 November 2006 were designated by executive councillor for Culture Andreas Mailath-Pokorny as new artistic directors. This was followed by the reconstruction or renovation of the venue as well as the renaming of dietheater in brood (" brut Künstlerhaus" and "brut im Konzerthaus"). The re-opening as a stage for off-theater productions, dance performances and concerts took place on 9 November 2007.
Cinema
Cinema in the Künstlerhaus (Viennale 2009)
The cinema in the Künstlerhaus arose 1947-1949 with the conversion of the previously as an exhibition hall used left wing, designed by architect Alfons Hetmanek. The large paintings on the side walls of the cinema, allegorical representations of visual art, music, poetry, film and theater, stem from Rudolf Eisenmenger and Rudolf Holzinger. By 1966 Leopold Hauer was responsible for the program design as artistic director. Were shown here, among others, Austrian premieres of works by Jean Cocteau, Jacques Tati and René Clair.
After it was previously one of the cinemas showing films within the scope of the Viennale film festival, since 2005 it is again one of the festival venues. Was started in 2009 with the renovation and technical renewal of the cinema. By the end of 2012, the Künstlerhaus with the Viennale concluded a contract for 20 years, accordingly to which the "cinema city" will give up its location at Schwarzenbergplatz and in September 2013 as the "City Cinema in the Künstlerhaus" move here.
Norooz
(Persian New Year)
March 21st
In harmony with the rebirth of nature, the Iranian New Year Celebration, or NorooZ, always begins on the first day of spring. Norooz ceremonies are symbolic representations of two ancient concepts - the End and the Rebirth; or Good and Evil. A few weeks before the New Year, Iranians clean and rearrange their homes. They make new clothes, bake pastries and germinate seeds as sign of renewal. The ceremonial cloth is set up in each household. Troubadours, referred to as Haji Firuz, disguise themselves with makeup and wear brightly colored outfits of satin. These Haji Firuz, singing and dancing, parade as a carnival through the streets with tambourines, kettle drums, and trumpets to spread good cheer and the news of the coming new year.
Last Wednesday of the year(Chahar Shanbeh Suri) : On the eve of last Wednesday of the year, literally the eve of Red Wednesday or the eve of celebration, bonfires are lit in public places and people leap over the flames, shouting:
Give me your beautiful red color
And take back my sickly pallor!
With the help of fire and light symbols of good, we hope to see our way through this unlucky night - the end of the year- to the arrival of springs longer days. Traditionally, it is believed that the living were visited by the spirits of their ancestors on the last day of the year. Many people specially children, wrap themselves in shrouds symbolically reenacting the visits. By the light of the bonfire, they run through the streets banging on pots and pans with spoons called Gashog-Zani to beat out the last unlucky Wednesday of the year, while they knock on doors to ask for treats. Indeed, Halloween is a Celtic variation of this night.
In order to make wishes come true, it is customary to prepare special foods and distribute them on this night. Noodle Soup a filled Persian delight, and mixture of seven dried nuts and fruits, pistachios, roasted chic peas, almond, hazelnuts, figs, apricots, and raisins.
Fal-Gush
This is another ritual in which someone makes a wish and stands at the corner of an intersection , or on a terrace or behind a wall. That person will know his fortune when he overhears conversation of a passerby.
Haft-Seen
A few days prior to the New Year, a special cover is spread on to the Persian carpet or on a table in every Persian household. This ceremonial table is called cloth of seven dishes, (each one beginning with the Persian letter Sinn). The number seven has been sacred in Iran since the ancient times, and the seven dishes stand for the seven angelic heralds of life-rebirth, health, happiness, prosperity, joy, patience, and beauty.
The symbolic dishes consist of:
1. Sabzeh or sprouts, usually wheat or lentil representing rebirth.
2. Samanu is a pudding in which common wheat sprouts are transformed and given new life as a sweet, creamy pudding and represents the ultimate sophistication of Persian cooking.
3. Seeb means apple and represents health and beauty.
4. Senjed the sweet, dry fruit of the Lotus tree, represents love. It has been said that when lotus tree is in full bloom, its fragrance and its fruit make people fall in love and become oblivious to all else.
5. Seer which is garlic in Persian, represents medicine.
6. Somaq sumac berries, represent the color of sunrise; with the appearance of the sun Good conquers Evil.
7. Serkeh or vinegar, represents age and patience.
To reconfirm all hopes and wishes expressed by the traditional foods, other elements and symbols are also on the sofreh):
* a few coins placed on the sofreh represent prosperity and wealth;
* a basket of painted eggs represents fertility.
* a Seville orange floating in a bowl of water represents the earth floating in space.
* a goldfish in a bowl represents life and the end of astral year-picas.
* a flask of rose water known for its magical cleansing power, is also included on the tablecloth.
* Nearby is a brazier for burning wild rue ,a sacred herb whose smoldering fumes ward off evil spirits.
* A pot of flowering hyacinth or narcissus is also set on the sofreh.
* A mirror which represents the images and reflections of Creation as we celebrate anew the ancient Persian traditions and beliefs that creation took place on the first day of spring.
* On either side of the mirror are two candlesticks holding a flickering candle for each child in the family. The candles represent enlightenment and happiness.
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The Ulysses S. Grant Memorial is a presidential memorial in Washington, D.C., honoring American Civil War general and 18th United States President Ulysses S. Grant. It sits at the base of Capitol Hill (Union Square, the Mall, 1st Street, between Pennsylvania Avenue and Maryland Avenue), below the west front of the United States Capitol. Its central sculpture of Grant on horseback faces west, overlooking the Capitol Reflecting Pool and facing toward the Lincoln Memorial, which honors Grant's wartime president, Abraham Lincoln. Grant's statue is raised on a pedestal decorated with bronze reliefs of the infantry; flanking pedestals hold statues of protective lions and bronze representations of the Union cavalry and artillery. The whole is connected with marble covered platforms, balustrades, and stairs. The Grant and Lincoln memorials define the eastern and western ends, respectively, of the National Mall.
The Grant Memorial is a contributor to the Civil War Monuments in Washington, D.C., of the National Register of Historic Places. James M. Goode's authoritative The Grant Memorial in Washington, D.C. (1974) called it "one of the most important sculptures in Washington." It includes the largest equestrian statue in the United States and the fifth-largest in the world.
The Grant Memorial is in Union Square, which also encompasses the Capitol Reflecting Pool. The platform for the Monument, made of Vermont marble, is 252 feet (77 m) long and 71 feet (22 m) wide and is divided into three sections. The tall, middle section features a 10,700-pound, 17-foot-2-inch (5.23 m) high equestrian statue depicting Grant astride his war horse Cincinnati on a 22½-foot high marble pedestal.
A striking feature of the central statue is Grant's calm (almost disaffected) attitude amidst the raging fighting going on around him. This is not surprising because Grant was known for his calmness and coolheadedness during battle. In sharp contrast to Grant are the sculpture groups on either side, Cavalry Charge and Artillery, which
... possess more dramatic interest and suspense than any sculpture in the city and, indeed, in the Nation.
Surrounding the main pedestal are four shorter pedestals, each supporting a bronze lion in repose guarding both the United States flag and the flags of the Army. The memorial was the largest bronze sculpture cast in the United States at that time.
The Artillery Group to the south shows a caisson carrying three artillerymen and pulled by three horses. Astride the horse on the left is the guidon (flag) carrier who is signaling a sharp right wheel. Despite the impending course change the horse on the right is able to continue lunging forward due to a broken strap on the right bridle bit. To the north the Cavalry Group depicts a color squad consisting of seven cavalrymen charging into battle. The horse on the right has fallen and the rider, modeled after Shrady himself, is moments from being trampled by the onrushing horses.
The drive to erect a monument to Grant was begun in the 1890s by the Society of the Army of the Tennessee.
Work on the memorial was begun in 1902 as the largest ever commissioned by Congress at the time, was created by sculptor Henry Merwin Shrady and architect Edward Pearce Casey. Sculptor Edmond Amateis assisted Shrady as the monument neared completion in 1921. Shrady spent 20 years of his life working on the memorial and died, stressed and overworked, two weeks before its dedication in 1922.
The sculptures were cast in bronze at the Roman Bronze Works in New York. Construction on the site of the memorial began in 1909 when the marble superstructure and the four bronze lions were installed. The Artillery Group was installed in 1912, the Cavalry Group in 1916, and the bronze equestrian statue of Grant in 1920. The memorial was dedicated on the 100th anniversary of Grant's birth, April 27, 1922. Shrady having died, the infantry panels on the base of Grant's pedestal were completed by sculptor Sherry Fry based on Shrady's sketches and installed in 1924. The Grant Memorial composes the center of a three-part sculptural group including the James A. Garfield Monument to the south and the Peace Monument to the north.
During 2015 and 2016 a cleaning and restoration program was carried out on the memorial. This included the replacement of 150 elements of the work, such as swords and scabbards, that had gone missing or been stolen over the years. The layer of green corrosion on the memorial's bronze was removed to return it to its original brown color.
The National Mall is a landscaped park near the downtown area of Washington, D.C., the capital city of the United States. It contains and borders a number of museums of the Smithsonian Institution, art galleries, cultural institutions, and various memorials, sculptures, and statues. It is administered by the National Park Service (NPS) of the United States Department of the Interior as part of the National Mall and Memorial Parks unit of the National Park System. The park receives approximately 24 million visitors each year.
The core area of the National Mall extends between the United States Capitol grounds to the east and the Washington Monument to the west and is lined to the north and south by several museums and a federal office building. The term National Mall may also include areas that are also officially part of neighboring West Potomac Park to the south and west and Constitution Gardens to the north, extending to the Lincoln Memorial on the west and Jefferson Memorial to the south.
Washington, D.C., formally the District of Columbia and commonly called Washington or D.C., is the capital city and federal district of the United States. The city is on the Potomac River, across from Virginia, and shares land borders with Maryland to its north and east. Washington, D.C., was named for George Washington, a Founding Father and first president of the United States. The district is named for Columbia, the female personification of the nation.
Washington, D.C., anchors the southern end of the Northeast megalopolis, one of the nation's largest and most influential cultural, political, and economic regions. As the seat of the U.S. federal government and several international organizations, the city is an important world political capital. The city had 20.7 million domestic visitors and 1.2 million international visitors, ranking seventh among U.S. cities as of 2022.
The U.S. Constitution in 1789 called for the creation of a federal district under the exclusive jurisdiction of the U.S. Congress. As such, Washington, D.C., is not part of any state, and is not one itself. The Residence Act, adopted on July 16, 1790, approved the creation of the capital district along the Potomac River. The city was founded in 1791, and the 6th Congress held the first session in the unfinished Capitol Building in 1800 after the capital moved from Philadelphia. In 1801, the District of Columbia, formerly part of Maryland and Virginia and including the existing settlements of Georgetown and Alexandria, was officially recognized as the federal district; initially, the city was a separate settlement within the larger federal district. In 1846, Congress returned the land originally ceded by Virginia, including the city of Alexandria. In 1871, it created a single municipality for the remaining portion of the district, although its locally elected government only lasted three years and elective city-government did not return for over a century. There have been several unsuccessful efforts to make the district into a state since the 1880s; a statehood bill passed the House of Representatives in 2021 but was not adopted by the U.S. Senate. Designed in 1791 by Pierre Charles L'Enfant, the city is divided into quadrants, which are centered around the Capitol Building and include 131 neighborhoods. As of the 2020 census, the city had a population of 689,545, making it the 23rd-most populous city in the U.S., third-most populous city in the Southeast after Jacksonville and Charlotte, and third-most populous city in the Mid-Atlantic after New York City and Philadelphia. Commuters from the city's Maryland and Virginia suburbs raise the city's daytime population to more than one million during the workweek. The Washington metropolitan area, which includes parts of Maryland, Virginia, and West Virginia, is the country's seventh-largest metropolitan area, with a 2023 population of 6.3 million residents.
The city hosts the U.S. federal government and the buildings that house government headquarters, including the White House, the Capitol, the Supreme Court Building, and multiple federal departments and agencies. The city is home to many national monuments and museums, located most prominently on or around the National Mall, including the Jefferson Memorial, the Lincoln Memorial, and the Washington Monument. It hosts 177 foreign embassies and serves as the headquarters for the World Bank, the International Monetary Fund, the Organization of American States, and other international organizations. Many of the nation's largest industry associations, non-profit organizations, and think tanks are based in the city, including AARP, American Red Cross, Atlantic Council, Brookings Institution, National Geographic Society, The Heritage Foundation, Wilson Center, and others.
A locally elected mayor and 13-member council have governed the district since 1973, though Congress retains the power to overturn local laws. Washington, D.C., residents are, on the federal level, politically disenfranchised since the city's residents do not have voting representation in Congress; the city's residents elect a single at-large congressional delegate to the U.S. House of Representatives who has no voting authority. The city's voters choose three presidential electors in accordance with the Twenty-third Amendment.
The District of Columbia was created in 1801 as the federal district of the United States, with territory previously held by the states of Maryland and Virginia ceded to the federal government of the United States for the purpose of creating its federal district, which would encompass the new national capital of the United States, the City of Washington. The district came into existence, with its own judges and marshals, through the District of Columbia Organic Act of 1801; previously it was the Territory of Columbia. According to specific language in the U.S. Constitution, it was 100 square miles (259 km2).
The district encompassed three small cities: Alexandria, formerly in Virginia, Georgetown, formerly Maryland, and the deliberately planned central core, the City of Washington. Both the White House and the United States Capitol were already completed and in use by 1800 as called for by the 1791 L'Enfant Plan for the City of Washington, although the city was not formally chartered until 1802. Beyond those cities, the remainder of the district was farmland organized by the 1801 Act into two counties, Washington County, D.C., on the Maryland side, and Alexandria County, D.C., on the Virginia side, encompassing today's Arlington County, Virginia, and the independent city of Alexandria.
The district was governed directly by the U.S. Congress from the beginning. Alexandria City and County were ceded back from the federal government to the commonwealth of Virginia in 1846, in a process known as retrocession, anticipating the 1850 ban on slave trading (but not slavery) in the district.
Washington and Georgetown retained their separate charters for seventy years, until the District of Columbia Organic Act of 1871. That act cancelled the charters of the towns and brought the entire area within the district borders under one district government, ending any distinction between "the District of Columbia" and "Washington", making the two terms effectively synonymous.
Main article: History of Washington, D.C. § Establishment
Congress determined, in the Residence Act of 1790, that the nation's capital be on the Potomac, between the Anacostia River and today's Williamsport, Maryland, and in a federal district up to 10 miles square. The exact location was to be determined by President George Washington, familiar with the area from his nearby home and properties at Mt. Vernon, Virginia.
Its trans-state location reflected a compromise between the Southern and Northern states. Virginia lobbied for the selection, an idea opposed by New York and Pennsylvania, both of which had previously housed the nation's capital. Maryland, whose State House was older than that of Virginia, and like Virginia a slave state, was chosen as a compromise. At Washington's request the City of Alexandria was included in the district, though with the provision that no federal buildings could be built there. The new capital district was at about the center of the country.
About 2/3 of the original district was in Maryland and 1/3 in Virginia, and the wide Potomac in the middle. The future district was surveyed in 1791–92; 24 of its surviving stone markers are in Maryland, 12 in Virginia. (See Boundary Markers of the original District of Columbia.) Washington decided that the capital's location would be located between the mouth of the Anacostia River and Georgetown, which sits at the Potomac's head of navigation.
As specified by Article One of the United States Constitution, in fact as one of the enumerated powers of section 8, Congress assumed direct administrative control of the federal district upon its creation by the District of Columbia Organic Act of 1801. There was no district governor or executive body. The U.S. House created a permanent Committee on the District of Columbia in January 1808, and the U.S. Senate established its counterpart in December 1816. These committees remained active until 1946. Thus the U.S. Congress managed the detailed day-to-day governmental needs of the district through acts of Congress—an act authorizing the purchase of fire engines and construction of a firehouse, for instance, or an act to commission three new city streets and closing two others in Georgetown.
The five component parts of the district operated their own governments at the lower level. The three cities within the district (Georgetown, the City of Washington, and Alexandria) operated their own municipal governments, each with a continuous history of mayors. Robert Brent, the first mayor of the City of Washington, was appointed directly by Thomas Jefferson in 1802 after the city's organization that year.
The remaining rural territory within the district belonged either to Alexandria County D.C., (district land west of the Potomac outside the City of Alexandria, formerly in Virginia) or to Washington County, D.C., (the unincorporated east side, formerly in Maryland, plus islands and riverbed). Both counties operated with boards of commissioners for county-level government functions. Both counties were governed by levy courts made of presidentially appointed Justices of the Peace. Prior to 1812, the levy courts had a number of members defined by the president, but after that Washington County had 7 members. In 1848, the Washington County levy court was expanded to 11 members, and in 1863 that was reduced by two to nine members.
The language of the establishing act of 1801 omitted any provision for district residents to vote for local, state-equivalent, or federal representatives.
This omission was not related to any constitutional restriction or, apparently, any rationale at all. Legal scholars in 2004 called the omission of voting rights a simple "historical accident", pointing out that the preceding Residence Act of July 16, 1790, exercising the same constitutional authority over the same territory around the Potomac, had protected the votes of the district's citizens in federal and state elections. Those citizens had indeed continued to cast ballots, from 1790 through 1800, for their U.S. House representatives and for their Maryland and Virginia state legislators. James Madison had written in the Federalist No. 43 that the citizens of the federal district should "of course" have their will represented, "derived from their own suffrages." The necessary language simply did not appear in the 1801 legislation.
The prospect of disenfranchisement caused immediate concern. One voice from a public meeting in January 1801, before the bill's passage, compared their situation to those who fought against British taxation without representation in the Revolutionary War—20 years prior. Despite these complaints the bill went into effect as written. Given exclusive and absolute political control, Congress did not act to restore any of these rights until the 1960s. The district still has no voting representation in Congress, and the decisions of its long-sought local government established in 1973 are still subject to close congressional review, annulment, and budget control.
Residents of Alexandria saw no economic advantage from being in the District. No federal buildings could be built on the south side of the Potomac, nor did they have representation in Congress. Some resistance was expressed immediately. One leading figure in the fight to retrocede through the 1820s was Thomson Francis Mason, who was elected mayor of Alexandria, D.C., four times between 1827 and 1830. Also Alexandria was a center of the profitable slave trade – the largest slave-trading company in the country, Franklin and Armfield, was located there – and Alexandria residents were afraid that if the District banned the slave trade, as seemed likely, this industry would leave the city.
To prevent this, Arlington held a referendum, through which voters petitioned Congress and the state of Virginia to return the portion of the District of Columbia south of the Potomac River (Alexandria County) to Virginia. On July 9, 1846, Congress retroceded Alexandria County to Virginia, after which the district's slave traders relocated to Alexandria. The district's slave trade was outlawed in the Compromise of 1850. The penalty for bringing a slave into the district for sale, was freedom for the slave. Southern senators and congressmen resisted banning slavery altogether in the District, to avoid setting a precedent. The practice remained legal in the district until after secession, with the District of Columbia Compensated Emancipation Act signed by Lincoln on April 16, 1862, which established the annual observance of Emancipation Day.
The District of Columbia Organic Act of 1871 created a single new district corporation governing the entire federal territory, called the District of Columbia, thus dissolving the three major political subdivisions of the district (Port of Georgetown, the City of Washington, and Washington County) and their governments. By this time the county also contained other small settlements and nascent suburbs of Washington outside its bounded limits, such as Anacostia, which had been incorporated in 1854 as Uniontown; Fort Totten, dating at least to the Civil War; and Barry Farm, a large tract bought by the Freedmen's Bureau and granted to formerly enslaved and free-born African Americans in 1867.
The newly restructured district government provided for a governor appointed by the president for a 4-year term, with an 11-member council also appointed by the president, a locally elected 22-member assembly, and a five-man Board of Public Works charged with modernizing the city. The first vice-chair of that Board of Public Works was real-estate developer Alexander Robey Shepherd, the architect and proponent of the consolidating legislation. From September 1873 to June 1874, Shepherd would serve as the second, and final, governor of the District.
The Seal of the District of Columbia features the date 1871, recognizing the year the district's government was incorporated.
The Presidential Palace was originally white (03/05/2011, 12:50)
In 1992 have been divided the Czech and Slovak Federal Republic and Bratislava again became the capital of a sovereign state. There was a need to place many institutions, particularly domestic, but also representations of other states and international organizations. In Bratislava they were not sufficiently prepared.
This became especially at a time evident when the newly elected President of the Republic where did officiate. Residence, fortunately, did not need to, because there had their own house, but there could not officiate again and place all the staff of his office. The first area has received office of the President at the Castle. It was a temporary "accommodation" in poor areas, sometimes life-threatening. Especially when someone care so close to the president dropped a heavy chandelier.
The situation is partly solved by the then mayor, who under the pressure of the Slovak public with the president partially restored in just the town hall - at the Primate's Palace. Although it was clear that the town hall of the capital anywhere in the world is based head of state. Mr. President, the mayor is uskromnili, and despite the problems that have coexistence implies (guard, jointly used facilities, movement and site visitors in the city center, a demonstration in the square before the palace), this situation lasted for several years.
Despite the resistance of some groups of people are able to carry out the idea that the seat of the President and the office of President shall be the historical Presidential previously Grassalkovichov and Friedrich palace. But it was in a dilapidated condition. From the 50ties to 80ties years it housed the Communist youth organization, the palace was known as a pioneer, Pioneer House official Klement Gottwald. Before the revolution the palace was empty and for years afterwards. Consideration was given to even the demolition of its western part, containing the chapel, because it should enhance the defenders of peace Street (Štefánikova). After the revolution began with the restoration of the palace to the appropriate kind of unnecessary Gallery of Modern Art. Only be created small attic apartment accommodation for President of Czechoslovakia (!) during his visit to Bratislava.
Restoration of the palace for old-new features presidential residence took place between 1992 and 1995 with the greatest possible respect for the principles of historic preservation. The aim was to return to the palace and the accompanying park as close to its form after 1770. Meant to eliminate interference and remodeling, especially from the period after 1938 and a period of pioneers. In the forties overlaid the entire ground floor of the palace romantic rectangles of travertine that although there were visually quite spectacular, but causing excessive wetting of the ground floor rooms of the palace basement. The chapel was barred light rail, it was in storage. Some rooms have been divided into more areas. The vaulted rooms on the ground floor adjacent to the central garden rooms (towards Banskobystricka street ) was the central heating boiler. The huge depressions in the floor concrete tank used to supply coke imported through the park near the city gasworks (per square Kollar). Parquet and stone floors were destroyed maximum, wood paneling walls of 18 century damaged. From the original mobile device palace there were before reconstruction only chandeliers. For the entire building was only preserved box of 18th century!
Part of the reconstruction of the palace was the device state rooms or historicist historical furniture. According to the model interior presidential office in Vienna, Prague, Paris has sought and bought furniture stylistic corresponding reconstructed interior. Where appropriate furniture and carpets found, they were suitable to produce copies. Installed furniture of 17th to 19th century was harmonically aligned with the decoration of the walls and curtains on the windows. Into the drawing room of President shall be purchased as a quality historic seating forms of classicism in the late 18th century. Because it was similar, but not identical nest (in the past were made earlier "solo pieces"), they were reconstructed deliberately pulled two color mutations of the same (very high quality and very expensive) upholstery, imported from Paris. Today it some workers agents who have no concept of historical interiors criticize.
To state rooms they can produce replicas of historic tiled stoves with built-in devices to their electrical tempering. It was assumed that at the palace along these lines will continue. The main hall has been missing console tables with marble tops under the mirrors between the windows. Console tables amongst the drawing room windows are damaged because of the lack of other tables are sometimes used as a signature tables. The work of the panel, which then zariaďovala palace, often later tampering negated. The library appeared slushy "Globe" bar containing equipment. Wonder where they left off from Thonet chairs, made for Palace, coated with a special non-flammable fabric, designed in the main hall for visitors to concerts.
The problem seemed to use white paint on the facade of the palace. Before reconstruction was used for each run of the mill yellow to brown color that if the facades of houses in the historic center of the city prevailed. Knew that in 18 century such color there, could not be produced. Historical images and analogies from other cities (Vienna, Ljubljana, Prague, Gödöllő) pointed out that the palace was originally white. This is confirmed by historical plaster pieces that survive from the 18th century in small pieces under modern stone cladding of ground floor (all other plaster around otĺkli in 1958 and replaced with a new cement). Today we know quite well that the palace was in the 18th century really white. This is confirmed by studies at the Royal Palace in the Castle, and the building of the Hungarian royal courtly chamber on Michalska Street (University Library), and research on other facades of 18 century in Bratislava, Trnava and other places.
Stephen Holčík
PHOTO - Archive
www.bratislavskenoviny.sk/najnovsie-spravy-z-bratislavy/p...
The Presidential Palace was originally white (03/05/2011, 12:50)
In 1992 have been divided the Czech and Slovak Federal Republic and Bratislava again became the capital of a sovereign state. There was a need to place many institutions, particularly domestic, but also representations of other states and international organizations. In Bratislava they were not sufficiently prepared.
This became especially at a time evident when the newly elected President of the Republic where did officiate. Residence, fortunately, did not need to, because there had their own house, but there could not officiate again and place all the staff of his office. The first area has received office of the President at the Castle. It was a temporary "accommodation" in poor areas, sometimes life-threatening. Especially when someone care so close to the president dropped a heavy chandelier.
The situation is partly solved by the then mayor, who under the pressure of the Slovak public with the president partially restored in just the town hall - at the Primate's Palace. Although it was clear that the town hall of the capital anywhere in the world is based head of state. Mr. President, the mayor is uskromnili, and despite the problems that have coexistence implies (guard, jointly used facilities, movement and site visitors in the city center, a demonstration in the square before the palace), this situation lasted for several years.
Despite the resistance of some groups of people are able to carry out the idea that the seat of the President and the office of President shall be the historical Presidential previously Grassalkovichov and Friedrich palace. But it was in a dilapidated condition. From the 50ties to 80ties years it housed the Communist youth organization, the palace was known as a pioneer, Pioneer House official Klement Gottwald. Before the revolution the palace was empty and for years afterwards. Consideration was given to even the demolition of its western part, containing the chapel, because it should enhance the defenders of peace Street (Štefánikova). After the revolution began with the restoration of the palace to the appropriate kind of unnecessary Gallery of Modern Art. Only be created small attic apartment accommodation for President of Czechoslovakia (!) during his visit to Bratislava.
Restoration of the palace for old-new features presidential residence took place between 1992 and 1995 with the greatest possible respect for the principles of historic preservation. The aim was to return to the palace and the accompanying park as close to its form after 1770. Meant to eliminate interference and remodeling, especially from the period after 1938 and a period of pioneers. In the forties overlaid the entire ground floor of the palace romantic rectangles of travertine that although there were visually quite spectacular, but causing excessive wetting of the ground floor rooms of the palace basement. The chapel was barred light rail, it was in storage. Some rooms have been divided into more areas. The vaulted rooms on the ground floor adjacent to the central garden rooms (towards Banskobystricka street ) was the central heating boiler. The huge depressions in the floor concrete tank used to supply coke imported through the park near the city gasworks (per square Kollar). Parquet and stone floors were destroyed maximum, wood paneling walls of 18 century damaged. From the original mobile device palace there were before reconstruction only chandeliers. For the entire building was only preserved box of 18th century!
Part of the reconstruction of the palace was the device state rooms or historicist historical furniture. According to the model interior presidential office in Vienna, Prague, Paris has sought and bought furniture stylistic corresponding reconstructed interior. Where appropriate furniture and carpets found, they were suitable to produce copies. Installed furniture of 17th to 19th century was harmonically aligned with the decoration of the walls and curtains on the windows. Into the drawing room of President shall be purchased as a quality historic seating forms of classicism in the late 18th century. Because it was similar, but not identical nest (in the past were made earlier "solo pieces"), they were reconstructed deliberately pulled two color mutations of the same (very high quality and very expensive) upholstery, imported from Paris. Today it some workers agents who have no concept of historical interiors criticize.
To state rooms they can produce replicas of historic tiled stoves with built-in devices to their electrical tempering. It was assumed that at the palace along these lines will continue. The main hall has been missing console tables with marble tops under the mirrors between the windows. Console tables amongst the drawing room windows are damaged because of the lack of other tables are sometimes used as a signature tables. The work of the panel, which then zariaďovala palace, often later tampering negated. The library appeared slushy "Globe" bar containing equipment. Wonder where they left off from Thonet chairs, made for Palace, coated with a special non-flammable fabric, designed in the main hall for visitors to concerts.
The problem seemed to use white paint on the facade of the palace. Before reconstruction was used for each run of the mill yellow to brown color that if the facades of houses in the historic center of the city prevailed. Knew that in 18 century such color there, could not be produced. Historical images and analogies from other cities (Vienna, Ljubljana, Prague, Gödöllő) pointed out that the palace was originally white. This is confirmed by historical plaster pieces that survive from the 18th century in small pieces under modern stone cladding of ground floor (all other plaster around otĺkli in 1958 and replaced with a new cement). Today we know quite well that the palace was in the 18th century really white. This is confirmed by studies at the Royal Palace in the Castle, and the building of the Hungarian royal courtly chamber on Michalska Street (University Library), and research on other facades of 18 century in Bratislava, Trnava and other places.
Stephen Holčík
PHOTO - Archive
www.bratislavskenoviny.sk/najnovsie-spravy-z-bratislavy/p...
Representations of giant maize ears even adorn the walls in the town of Jala, Nayarit, on the Pacific coast of Mexico. Jala is proudly home to the Jala maize landrace, which produces the largest ears in the world, and maize is an essential part of the local culture. Each year the town enjoys a two-week Feria del Elote, or maize ear festival, which since 1981 has included a competition for the year's longest maize ear, established in order to celebrate Jala's unique maize and to encourage farmers to keep growing it.
CIMMYT safeguards Jala maize seed in its germplasm bank, and has also contributed seed to efforts to restore the maize to its former size, lost over the past century due to outcrossing with improved varieties.
Photo credit: Eloise Phipps/CIMMYT.
For more about Jala maize, see CIMMYT's August 2007 e-news story "Pride and pragmatism sustain a giant Mexican maize," available online at: www.cimmyt.org/newsletter/63-2007/180-pride-and-pragmatis....
The Presidential Palace was originally white (03/05/2011, 12:50)
In 1992 have been divided the Czech and Slovak Federal Republic and Bratislava again became the capital of a sovereign state. There was a need to place many institutions, particularly domestic, but also representations of other states and international organizations. In Bratislava they were not sufficiently prepared.
This became especially at a time evident when the newly elected President of the Republic where did officiate. Residence, fortunately, did not need to, because there had their own house, but there could not officiate again and place all the staff of his office. The first area has received office of the President at the Castle. It was a temporary "accommodation" in poor areas, sometimes life-threatening. Especially when someone care so close to the president dropped a heavy chandelier.
The situation is partly solved by the then mayor, who under the pressure of the Slovak public with the president partially restored in just the town hall - at the Primate's Palace. Although it was clear that the town hall of the capital anywhere in the world is based head of state. Mr. President, the mayor is uskromnili, and despite the problems that have coexistence implies (guard, jointly used facilities, movement and site visitors in the city center, a demonstration in the square before the palace), this situation lasted for several years.
Despite the resistance of some groups of people are able to carry out the idea that the seat of the President and the office of President shall be the historical Presidential previously Grassalkovichov and Friedrich palace. But it was in a dilapidated condition. From the 50ties to 80ties years it housed the Communist youth organization, the palace was known as a pioneer, Pioneer House official Klement Gottwald. Before the revolution the palace was empty and for years afterwards. Consideration was given to even the demolition of its western part, containing the chapel, because it should enhance the defenders of peace Street (Štefánikova). After the revolution began with the restoration of the palace to the appropriate kind of unnecessary Gallery of Modern Art. Only be created small attic apartment accommodation for President of Czechoslovakia (!) during his visit to Bratislava.
Restoration of the palace for old-new features presidential residence took place between 1992 and 1995 with the greatest possible respect for the principles of historic preservation. The aim was to return to the palace and the accompanying park as close to its form after 1770. Meant to eliminate interference and remodeling, especially from the period after 1938 and a period of pioneers. In the forties overlaid the entire ground floor of the palace romantic rectangles of travertine that although there were visually quite spectacular, but causing excessive wetting of the ground floor rooms of the palace basement. The chapel was barred light rail, it was in storage. Some rooms have been divided into more areas. The vaulted rooms on the ground floor adjacent to the central garden rooms (towards Banskobystricka street ) was the central heating boiler. The huge depressions in the floor concrete tank used to supply coke imported through the park near the city gasworks (per square Kollar). Parquet and stone floors were destroyed maximum, wood paneling walls of 18 century damaged. From the original mobile device palace there were before reconstruction only chandeliers. For the entire building was only preserved box of 18th century!
Part of the reconstruction of the palace was the device state rooms or historicist historical furniture. According to the model interior presidential office in Vienna, Prague, Paris has sought and bought furniture stylistic corresponding reconstructed interior. Where appropriate furniture and carpets found, they were suitable to produce copies. Installed furniture of 17th to 19th century was harmonically aligned with the decoration of the walls and curtains on the windows. Into the drawing room of President shall be purchased as a quality historic seating forms of classicism in the late 18th century. Because it was similar, but not identical nest (in the past were made earlier "solo pieces"), they were reconstructed deliberately pulled two color mutations of the same (very high quality and very expensive) upholstery, imported from Paris. Today it some workers agents who have no concept of historical interiors criticize.
To state rooms they can produce replicas of historic tiled stoves with built-in devices to their electrical tempering. It was assumed that at the palace along these lines will continue. The main hall has been missing console tables with marble tops under the mirrors between the windows. Console tables amongst the drawing room windows are damaged because of the lack of other tables are sometimes used as a signature tables. The work of the panel, which then zariaďovala palace, often later tampering negated. The library appeared slushy "Globe" bar containing equipment. Wonder where they left off from Thonet chairs, made for Palace, coated with a special non-flammable fabric, designed in the main hall for visitors to concerts.
The problem seemed to use white paint on the facade of the palace. Before reconstruction was used for each run of the mill yellow to brown color that if the facades of houses in the historic center of the city prevailed. Knew that in 18 century such color there, could not be produced. Historical images and analogies from other cities (Vienna, Ljubljana, Prague, Gödöllő) pointed out that the palace was originally white. This is confirmed by historical plaster pieces that survive from the 18th century in small pieces under modern stone cladding of ground floor (all other plaster around otĺkli in 1958 and replaced with a new cement). Today we know quite well that the palace was in the 18th century really white. This is confirmed by studies at the Royal Palace in the Castle, and the building of the Hungarian royal courtly chamber on Michalska Street (University Library), and research on other facades of 18 century in Bratislava, Trnava and other places.
Stephen Holčík
PHOTO - Archive
www.bratislavskenoviny.sk/najnovsie-spravy-z-bratislavy/p...