The Tateyama Kurobe Alpine Route crosses Honshu's Northern Alps (Hida Mountains) in Chūbu-Sengaku National Park. We made the crossing from east to west in seven stages over two days utilizing three tunnels and five different modes of transport. Stage one began at Ogizawa Station (elevation 1,433 m, 4,701 ft.) from which we took a trolley bus 6.1 km (3.8 mi.) through a tunnel to Kurobe Dam Station (elevation 1,470 m, 4,823 ft.). We then walked 0.5 km (0.3 mi.) across the Kurobe Dam to Kurobeko Station (elevation 1,455 m, 4,774 ft.) where we boarded a 0.8 km (0.5 mi.) underground funicular railway to Kurobedaira Station (elevation 1,828 m, 5,997 ft.). We then took the Tateyama Ropeway (cable car) 1.7 km (1.1 mi.) to Daikanbō Station (elevation 2,316 m. 7,598 ft.) where we took another trolley bus through a 3.7 km (2.3 mi.) tunnel to Murodo Station (elevation 2,450 m, 8,038 ft.) and the Hotel Tateyama, where we spent the night. The following morning we boarded a Tateyama Highland Bus and descended 23 km (14.3 mi.) along a paved, winding road to Bijodaira Station (elevation 977 m, 3,205 ft.) where we boarded a funicular railway and descended 1.3 km (0.8 mi.) to Tateyama Station (elevation 475 m, 1,558 ft.).

 

The Kurobe Dam Observation Deck is seen here atop the dam's eastern abutment photographed from the eastern end of the dam (elevation 1,454 m, 4,770 ft.). The dam was built between 1956 and 1963 to provide hydroelectricity. The lives of 171 workers were lost during its construction. At 186 m (610 ft.) high, it is the tallest dam in Japan.

The Great Pyramid of Giza is one of the best examples of ancient energy machines. It was like a Tesla power plant, but created thousands of years ago. It was a huge ancient structure that was able to use the natural properties of the Earth to create or produce a large amount of energy. It is believed that this energy was used by the ancient Egyptians, as well as ancient Mayans and other cultures around the world for millennia. This theory, however, has been firmly rejected by various researchers. If we approach the history of ancient civilizations from another perspective, we will find that ancient civilizations around the world were, in fact, extremely sophisticated and used advanced technologies thousands of years before conventional science reinvented them.

 

The Great Pyramid of Giza is one of the best examples of ancient energy machines. It was a Tesla-like power plant created thousands of years ago. It was a huge ancient structure that was capable of using the Earth’s natural properties in order to create or produce a great amount of energy. This energy is believed to have been used by the ancient Egyptians and other cultures such as the ancient Maya and other cultures around the globe for millennia. This theory, however, has been firmly rejected by mainstream researchers.

 

If we approach the history of ancient civilizations from another perspective, we will encounter that ancient civilizations around the globe were, in fact, extremely sophisticated and used advanced technologies thousands of years before mainstream science ‘reinvented them’.

 

The idea that civilizations around the world have evolved from a primitive state, towards a more advanced one is something that mainstream scholars have tried to implement and place as the ultimate truth inside our society, schools and history books. However, this is not the case as numerous researchers around the globe suggest. In fact, ancient civilizations were far more advanced than we believe.

 

Looking at the historical references that can be found in numerous ancient civilizations around the globe, we will find numerous patterns and details that tell a different story than the one being imposed by mainstream scholars.

 

These advanced technologies were present in ancient Egypt, Ancient Sumer, and in North, Central and South America. Electricity, electrochemistry, electromagnetic technology, metallurgy,advanced engineering, including hydro geology, chemistry, physics and advanced forms of mathematics and astronomy were all used thousands of years ago to great extents.

 

Many researchers agree that in the distant past, electricity was widely utilized in the land of the Pharaohs, with the Baghdad battery being one of the best examples of such advanced technology. Mainstream schools, however, do not agree. But by examining the careful history and details left behind by the ancient Egyptians, a different truth is immediately revealed where we can see that sophisticated illumination techniques were used during the construction of Pyramids and other buildings in ancient Egypt.

 

While mainstream scholars firmly disagree with the notion that ancient Egyptians used electricity to light up ancient buildings, many believe that there is enough evidence to support this notion. Intricate carvings demonstrate that the ancient Egyptians utilized what appear to be handheld torches that were not lit up by fire, and were as many believe, powered by means of wireless electricity, thousands of years ago.

 

But these mysterious torches were not the only example in ancient Egypt. It is believed that the ancient lighthouse in Alexandria was powered by an ‘Arc lamp’, and is another crucial piece of evidence suggesting that electricity was used in Ancient Egypt thousands of years ago. But, the electricity required to power such incredible structures on a daily basis could only have been provided by a regular ‘huge’ electrical source.

 

This is why, many people believe that the Great Pyramid of Giza, whose purpose remains a mystery, is believed to have been used in the distant past, as some sort of giant energy machine, used to power numerous devices across Egypt. The Great Pyramid of Giza is considered an ancient masterpiece of engineering and architecture and one of the best –if not best– examples of ancient construction.

 

While the idea that the Great Pyramid of Egypt were used as giant power plant generating free, wireless energy, is firmly rejected by mainstream scholars, this theory could explain numerous enigmas about the Pyramid itself and the sophisticated society that settled at the Nile River thousands of years ago.

 

Interestingly, the outer casing of the Great Pyramid of Giza was covered by ‘white tufa limestone’, put together in such a way that nothing could fit in between the stones. It is noteworthy to mention that the ‘white tufa limestone’ used in the outer casing of the Great Pyramid of Giza does not contain magnesium and has very high insulating properties. It is believed that this sophisticated insulation property allowed the ancient Egyptians to fully control the release of energy from within the Pyramid.

 

In addition, to the outer casing, the stone blocks used in the inner parts of the Great Pyramid were made from another form of limestone, which contains small amounts of crystals and metals which are believed to be two important properties that allowed maximum power transmission. Even more interestingly is the fact that the shafts built inside the Great pyramid were made of granite, and is a slightly radioactive substance permitting the ionization of the air inside the air shafts of the Great Pyramid, similar characteristics can be found in a conductive insulating cable.

 

The only thing missing for the Great Pyramid of Giza to function as a great giant power wireless plant was a source of energy which is why the ancient builders of the Great Pyramid took advantage of the water at the Giza plateau. Interestingly the Giza plateau where the pyramids are located is full of underground water channels. The Pyramids at the Giza plateau rise above the limestone layers located underneath (Aquifers), and the spaces in between them are filled with great amounts of water, and these layers of rock are capable of transmitting energy upwards as they carry the underground water to the surface. This means that the high volume flow of water that passes through these underground cavities is capable of producing an electrical current; known as physio-electricity. Physio-electricity can be defined as ‘Electricity obtained from the natural physical movements with the help of certain harnessing devices can be termed as physio-electricity. For example, energy from walking, energy from flowing stream of a river (Nile river flowing through aquifers.’ (Source)

 

The chambers built within the Great Pyramid of Giza are considered as granite conductors implemented in the design, charged with ‘physio-electricity’. This means that given the material and specific construction of the Great Pyramid of Giza, the electromagnetic field that forms at the very bottom of the Pyramid is transmitted towards the upper layers of the pyramid. It is believed that in the distant past, a device of excellent electric conductivity was located on the top of the pyramid, where today an empty space remains the only evidence of a pyramid that in the past, looked very different.

 

Interestingly, traces of this long-lost ancient technology were rediscovered in the 1900’s by the great Nikola Tesla. Located at the Wardenclyffe tower he built between 1901 and 1917, Tesla applied a nearly identical form of this ancient technology, used in Egypt over 4000 years ago. Tesla’s tower was also believed to have been built upon aquifers, which means that the electric technology used by Tesla is nearly identical to that applied in the construction of the Great Pyramid. Both the Great Pyramid of Giza and Tesla’s magnificent Wardenclyffe tower were systems that generated negative ions and were capable of transmitting them without the need for electric cables, a completely free and wireless energy that powered other electrical components through vast distances.

 

But it appears that the Ancient Egyptians were not the only ones to have understood the benefits of this ancient technology.

 

A recent study has shown that a natural sinkhole, also known as ‘cenote’ is located underneath the Pyramid of Chichen Itza. Experts have found it is connected to other caverns and lakes in the area. The water filling the cavern is thought to run from north to south. This means that the Pyramid of Chichen Itza sits upon a subterranean water source just as Tesla’s Wardenclyffe Tower, and the Great Pyramid of Giza.

 

369news.net/2018/04/10/great-pyramid-giza-nikola-tesla-po...

Utilizing OceanLabs' proprietary software, I was able to achieve an almost lossless extreme compression from a rather large file. Initial editing and adjustments were made in Elements 10,

The Burgtheater at Dr.-Karl -Lueger-Ring (from now on, that means 2013, Universitätsring) in Vienna is an Austrian Federal Theatre. It is one of the most important stages in Europe and after the Comédie-Française, the second oldest European one, as well as the greatest German speaking theater. The original 'old' Burgtheater at Saint Michael's square was utilized from 1748 until the opening of the new building at the ring in October, 1888. The new house in 1945 burnt down completely as a result of bomb attacks, until the re-opening on 14 October 1955 was the Ronacher serving as temporary quarters. The Burgtheater is considered as Austrian National Theatre.

Throughout its history, the theater was bearing different names, first Imperial-Royal Theater next to the Castle, then to 1918 Imperial-Royal Court-Burgtheater and since then Burgtheater (Castle Theater). Especially in Vienna it is often referred to as "The Castle (Die Burg)", the ensemble members are known as Castle actors (Burgschauspieler).

History

St. Michael's Square with the old K.K. Theatre beside the castle (right) and the Winter Riding School of the Hofburg (left)

The interior of the Old Burgtheater, painted by Gustav Klimt. The people are represented in such detail that the identification is possible.

The 'old' Burgtheater at St. Michael's Square

The original castle theater was set up in a ball house that was built in the lower pleasure gardens of the Imperial Palace of the Roman-German King and later Emperor Ferdinand I in 1540, after the old house 1525 fell victim to a fire. Until the beginning of the 18th Century was played there the Jeu de Paume, a precursor of tennis. On 14 March 1741 finally gave the Empress Maria Theresa, ruling after the death of her father, which had ordered a general suspension of the theater, the "Entrepreneur of the Royal Court Opera" and lessees of 1708 built theater at Kärntnertor (Carinthian gate), Joseph Karl Selliers, permission to change the ballroom into a theater. Simultaneously, a new ball house was built in the immediate vicinity, which todays Ballhausplatz is bearing its name.

In 1748, the newly designed "theater next to the castle" was opened. 1756 major renovations were made, inter alia, a new rear wall was built. The Auditorium of the Old Burgtheater was still a solid timber construction and took about 1200 guests. The imperial family could reach her ​​royal box directly from the imperial quarters, the Burgtheater structurally being connected with them. At the old venue at Saint Michael's place were, inter alia, several works of Christoph Willibald Gluck, Ludwig van Beethoven, Wolfgang Amadeus Mozart as well as Franz Grillparzer premiered .

On 17 February 1776, Emperor Joseph II declared the theater to the German National Theatre (Teutsches Nationaltheater). It was he who ordered by decree that the stage plays should not deal with sad events for not bring the Imperial audience in a bad mood. Many theater plays for this reason had to be changed and provided with a Vienna Final (Happy End), such as Romeo and Juliet or Hamlet. From 1794 on, the theater was bearing the name K.K. Court Theatre next to the castle.

1798 the poet August von Kotzebue was appointed as head of the Burgtheater, but after discussions with the actors he left Vienna in 1799. Under German director Joseph Schreyvogel was introduced German instead of French and Italian as a new stage language.

On 12 October 1888 took place the last performance in the old house. The Burgtheater ensemble moved to the new venue at the Ring. The Old Burgtheater had to give way to the completion of Saint Michael's tract of Hofburg. The plans to this end had been drawn almost 200 years before the demolition of the old Burgtheater by Joseph Emanuel Fischer von Erlach.

The "new" K.K. Court Theatre (as the inscription reads today) at the Ring opposite the Town Hall, opened on 14 October 1888 with Grillparzer's Esther and Schiller's Wallenstein's Camp, was designed in neo-Baroque style by Gottfried Semper (plan) and Karl Freiherr von Hasenauer (facade), who had already designed the Imperial Forum in Vienna together. Construction began on 16 December 1874 and followed through 14 years, in which the architects quarreled. Already in 1876 Semper withdrew due to health problems to Rome and had Hasenauer realized his ideas alone, who in the dispute of the architects stood up for a mainly splendid designed grand lodges theater.

However, created the famous Viennese painter Gustav Klimt and his brother Ernst Klimt and Franz Matsch 1886-1888 the ceiling paintings in the two stairwells of the new theater. The three took over this task after similar commissioned work in the city theaters of Fiume and Karlovy Vary and in the Bucharest National Theatre. In the grand staircase on the side facing the café Landtmann of the Burgtheater (Archduke stairs) reproduced ​​Gustav Klimt the artists of the ancient theater in Taormina on Sicily, in the stairwell on the "People's Garden"-side (Kaiserstiege, because it was reserved for the emperor) the London Globe Theatre and the final scene from William Shakespeare's "Romeo and Juliet". Above the entrance to the auditorium is Molière's The Imaginary Invalid to discover. In the background the painter immortalized himself in the company of his two colleagues. Emperor Franz Joseph I liked the ceiling paintings so much that he gave the members of the company of artists of Klimt the Golden Cross of Merit.

The new building resembles externally the Dresden Semper Opera, but even more, due to the for the two theaters absolutely atypical cross wing with the ceremonial stairs, Semper's Munich project from the years 1865/1866 for a Richard Wagner Festspielhaus above the Isar. Above the middle section there is a loggia, which is framed by two side wings, and is divided from a stage house with a gable roof and auditorium with a tent roof. Above the center house there decorates a statue of Apollo the facade, throning between the Muses of drama and tragedy. Above the main entrances are located friezes with Bacchus and Ariadne. At the exterior facade round about, portrait busts of the poets Calderon, Shakespeare, Moliere, Schiller, Goethe, Lessing, Halm, Grillparzer, and Hebbel can be seen. The masks which also can be seen here are indicating the ancient theater, furthermore adorn allegorical representations the side wings: love, hate, humility, lust, selfishness, and heroism. Although the theater since 1919 is bearing the name of Burgtheater, the old inscription KK Hofburgtheater over the main entrance still exists. Some pictures of the old gallery of portraits have been hung up in the new building and can be seen still today - but these images were originally smaller, they had to be "extended" to make them work better in high space. The points of these "supplements" are visible as fine lines on the canvas.

The Burgtheater was initially well received by Viennese people due to its magnificent appearance and technical innovations such as electric lighting, but soon criticism because of the poor acoustics was increasing. Finally, in 1897 the auditorium was rebuilt to reduce the acoustic problems. The new theater was an important meeting place of social life and soon it was situated among the "sanctuaries" of Viennese people. In November 1918, the supervision over the theater was transferred from the High Steward of the emperor to the new state of German Austria.

1922/1923 the Academy Theatre was opened as a chamber play stage of the Burgtheater. On 8th May 1925, the Burgtheater went into Austria's criminal history, as here Mentscha Karnitschewa perpetrated a revolver assassination on Todor Panitza.

The Burgtheater in time of National Socialism

The National Socialist ideas also left traces in the history of the Burgtheater. In 1939 appeared in Adolf Luser Verlag the strongly anti-Semitic characterized book of theater scientist Heinz Kindermann "The Burgtheater. Heritage and mission of a national theater", in which he, among other things, analyzed the "Jewish influence "on the Burgtheater. On 14 October 1938 was on the occasion of the 50th anniversary of the opening of the Burgtheater a Don Carlos production of Karl-Heinz Stroux shown that served Hitler's ideology. The role of the Marquis of Posa played the same Ewald Balser, who in a different Don Carlos production a year earlier (by Heinz Hilpert) at the Deutsches Theater in the same role with the sentence in direction of Joseph Goebbels box vociferated: "just give freedom of thought". The actor and director Lothar Müthel, who was director of the Burgtheater between 1939 and 1945, staged 1943 the Merchant of Venice, in which Werner Kraus the Jew Shylock clearly anti-Semitic represented. The same director staged after the war Lessing's parable Nathan the Wise. Adolf Hitler himself visited during the Nazi regime the Burgtheater only once (1938), and later he refused in pure fear of an assassination.

For actors and theater staff who were classified according to the Reich Citizenship Law of 1935 as "Jews ", were quickly imposed stage bans, within a few days, they were on leave, fired or arrested. The Burgtheater ensemble ​​between 1938 and 1945 did not put up significant resistance against the Nazi ideology, the repertoire was heavily censored, only a few joined the Resistance, as Judith Holzmeister (then also at the People's Theatre engaged) or the actor Fritz Lehmann. Although Jewish members of the ensemble indeed have been helped to emigrate, was still an actor, Fritz Strassny, taken to a concentration camp and murdered there.

The Burgtheater at the end of the war and after the Second World War

In summer 1944, the Burgtheater had to be closed because of the decreed general theater suspension. From 1 April 1945, as the Red Army approached Vienna, camped a military unit in the house, a portion was used as an arsenal. In a bomb attack the house at the Ring was damaged and burned down on 12th April 1945 completely. Auditorium and stage were useless, only the steel structure remained. The ceiling paintings and part of the lobby were almost undamaged.

The Soviet occupying power expected from Viennese City Councillor Viktor Matejka to launch Vienna's cultural life as soon as possible again. The council summoned on 23 April (a state government did not yet exist) a meeting of all Viennese cultural workers into the Town Hall. Result of the discussions was that in late April 1945 eight cinemas and four theaters took up the operation again, including the Burgtheater. The house took over the Ronacher Theater, which was understood by many castle actors as "exile" as a temporary home (and remained there to 1955). This venue chose the newly appointed director Raoul Aslan, who championed particularly active.

The first performance after the Second World War was on 30 April 1945 Sappho by Franz Grillparzer directed by Adolf Rott from 1943 with Maria Eis in the title role. Also other productions from the Nazi era were resumed. With Paul Hoerbiger, a few days ago as Nazi prisoner still in mortal danger, was shown the play of Nestroy Mädl (Girlie) from the suburbs. The Academy Theatre could be played (the first performance was on 19 April 1945 Hedda Gabler, a production of Rott from the year 1941) and also in the ball room (Redoutensaal) at the Imperial Palace took place performances. Aslan the Ronacher in the summer had rebuilt because the stage was too small for classical performances. On 25 September 1945, Schiller's Maid of Orleans could be played on the enlarged stage.

The first new productions are associated with the name of Lothar Müthel: Everyone and Nathan the Wise, in both Raoul Aslan played the main role. The staging of The Merchant of Venice by Müthel in Nazi times seemed to have been fallen into oblivion.

Great pleasure gave the public the return of the in 1938 from the ensemble expelled Else Wohlgemuth on stage. She performaed after seven years in exile in December 1945 in Clare Biharys The other mother in the Academy Theater. 1951 opened the Burgtheater its doors for the first time, but only the left wing, where the celebrations on the 175th anniversary of the theater took place.

1948, a competition for the reconstruction was tendered: Josef Gielen, who was then director, first tended to support the design of ex aequo-ranked Otto Niedermoser, according to which the house was to be rebuilt into a modern gallery theater. Finally, he agreed but then for the project by Michael Engelhardt, whose plan was conservative but also cost effective. The character of the lodges theater was largely taken into account and maintained, the central royal box but has been replaced by two balconies, and with a new slanted ceiling construction in the audience was the acoustics, the shortcoming of the house, improved significantly.

On 14 October 1955 was happening under Adolf Rott the reopening of the restored house at the Ring. For this occasion Mozart's A Little Night Music was played. On 15 and on 16 October it was followed by the first performance (for reasons of space as a double premiere) in the restored theater: King Ottokar's Fortune and End of Franz Grillparzer, staged by Adolf Rott. A few months after the signing of the Austrian State Treaty was the choice of this play, which the beginning of Habsburg rule in Austria makes a subject of discussion and Ottokar of Horneck's eulogy on Austria (... it's a good country / Well worth that a prince bow to it! / where have you yet seen the same?... ) contains highly symbolic. Rott and under his successors Ernst Haeusserman and Gerhard Klingenberg the classic Burgtheater style and the Burgtheater German for German theaters were finally pointing the way .

In the 1950s and 1960s, the Burgtheater participated (with other well-known theaters in Vienna) on the so-called Brecht boycott.

Gerhard Klingenberg internationalized the Burgtheater, he invited renowned stage directors such as Dieter Dorn, Peter Hall, Luca Ronconi, Giorgio Strehler, Roberto Guicciardini and Otomar Krejča. Klingenberg also enabled the castle debuts of Claus Peymann and Thomas Bernhard (1974 world premiere of The Hunting Party). Bernhard was as a successor of Klingenberg mentioned, but eventually was appointed Achim Benning, whereupon the writer with the text "The theatrical shack on the ring (how I should become the director of the Burgtheater)" answered.

Benning, the first ensemble representative of the Burgtheater which was appointed director, continued Klingenberg's way of Europeanization by other means, brought directors such as Adolf Dresen, Manfred Wekwerth or Thomas Langhoff to Vienna, looked with performances of plays of Vaclav Havel to the then politically separated East and took the the public taste more into consideration.

Directorate Claus Peymann 1986-1999

Under the by short-term Minister of Education Helmut Zilk brought to Vienna Claus Peymann, director from 1986 to 1999, there was further modernization of the programme and staging styles. Moreover Peymann was never at a loss for critical contributions in the public, a hitherto unusual attitude for Burgtheater directors. Therefore, he and his program within sections of the audience met with rejection. The greatest theater scandal in Vienna since 1945 occurred in 1988 concerning the premiere of Thomas Bernhard's Heldenplatz (Place of the Heroes) drama which was fiercly fought by conservative politicians and zealots. The play deals with the Vergangenheitsbewältigung (process of coming to terms with the past) and illuminates the present management in Austria - with attacks on the then ruling Social Democratic Party - critically. Together with Claus Peymann Bernhard after the premiere dared to face on the stage applause and boos.

Bernard, to his home country bound in love-hate relationship, prohibited the performance of his plays in Austria before his death in 1989 by will. Peymann, to Bernhard bound in a difficult friendship (see Bernhard's play Claus Peymann buys a pair of pants and goes eating with me) feared harm for the author's work, should his plays precisely in his homeland not being shown. First, it was through permission of the executor Peter Fabjan - Bernhard's half-brother - after all, possible the already in the schedule of the Burgtheater included productions to continue. Finally, shortly before the tenth anniversary of the death of Bernard it came to the revival of the Bernhard play Before retirement by the first performance director Peymann. The plays by Bernhard are since then continued on the programme of the Burgtheater and they are regularly newly produced.

In 1993, the rehearsal stage of the Castle theater was opened in the arsenal (architect Gustav Peichl). Since 1999, the Burgtheater has the operation form of a limited corporation.

Directorate Klaus Bachler 1999-2009

Peymann was followed in 1999 by Klaus Bachler as director. He is a trained actor, but was mostly as a cultural manager (director of the Vienna Festival) active. Bachler moved the theater as a cultural event in the foreground and he engaged for this purpose directors such as Luc Bondy, Andrea Breth, Peter Zadek and Martin Kušej.

Were among the unusual "events" of the directorate Bachler

* The Theatre of Orgies and Mysteries by Hermann Nitsch with the performance of 122 Action (2005 )

* The recording of the MTV Unplugged concert with Die Toten Hosen for the music channel MTV (2005, under the title available)

* John Irving's reading from his book at the Burgtheater Until I find you (2006)

* The 431 animatographische (animatographical) Expedition by Christoph Schlingensief and a big event of him under the title of Area 7 - Matthew Sadochrist - An expedition by Christoph Schlingensief (2006).

* Daniel Hoevels cut in Schiller's Mary Stuart accidentally his throat (December 2008). Outpatient care is enough.

Jubilee Year 2005

In October 2005, the Burgtheater celebrated the 50th Anniversary of its reopening with a gala evening and the performance of Grillparzer's King Ottokar's Fortune and End, directed by Martin Kušej that had been performed in August 2005 at the Salzburg Festival as a great success. Michael Maertens (in the role of Rudolf of Habsburg) received the Nestroy Theatre Award for Best Actor for his role in this play. Actor Tobias Moretti was awarded in 2006 for this role with the Gertrude Eysoldt Ring.

Furthermore, there were on 16th October 2005 the open day on which the 82-minute film "burg/private. 82 miniatures" of Sepp Dreissinger was shown for the first time. The film contains one-minute film "Stand portraits" of Castle actors and guest actors who, without saying a word, try to present themselves with a as natural as possible facial expression. Klaus Dermutz wrote a work on the history of the Burgtheater. As a motto of this season served a quotation from Lessing's Minna von Barnhelm: "It's so sad to be happy alone."

The Burgtheater on the Mozart Year 2006

Also the Mozart Year 2006 was at the Burgtheater was remembered. As Mozart's Singspiel Die Entführung aus dem Serail in 1782 in the courtyard of Castle Theatre was premiered came in cooperation with the Vienna State Opera on the occasion of the Vienna Festival in May 2006 a new production (directed by Karin Beier) of this opera on stage.

Directorate Matthias Hartmann since 2009

From September 2009 to 2014, Matthias Hartmann was Artistic Director of the Burgtheater. A native of Osnabrück, he directed the stage houses of Bochum and Zurich. With his directors like Alvis Hermanis, Roland Schimmelpfennig, David Bösch, Stefan Bachmann, Stefan Pucher, Michael Thalheimer, came actresses like Dorte Lyssweski, Katharina Lorenz, Sarah Viktoria Frick, Mavie Hoerbiger, Lucas Gregorowicz and Martin Wuttke came permanently to the Burg. Matthias Hartmann himself staged around three premieres per season, about once a year, he staged at the major opera houses. For more internationality and "cross-over", he won the Belgian artist Jan Lauwers and his Need Company as "Artists in Residence" for the Castle, the New York group Nature Theater of Oklahoma show their great episode drama Live and Times of an annual continuation. For the new look - the Burgtheater presents itself without a solid logo with word games around the BURG - the Burgtheater in 2011 was awarded the Cultural Brand of the Year .

Since 2014, Karin Bergmann is the commander in chief.

Utilizing the first mother/slug set of ECO units I've seen, NS Georgia Division local G34 sprints southbound through Dallas on its way to work industries in the Hiram area. The train will then work his way north, serving customers as he goes.

 

en.wikipedia.org/wiki/Aswan_Dam

 

The Aswan Dam, or more specifically since the 1960s, the Aswan High Dam, is the world's largest embankment dam, which was built across the Nile in Aswan, Egypt, between 1960 and 1970. Its significance largely eclipsed the previous Aswan Low Dam initially completed in 1902 downstream. Based on the success of the Low Dam, then at its maximum utilization, construction of the High Dam became a key objective of the government following the Egyptian Revolution of 1952; with its ability to better control flooding, provide increased water storage for irrigation and generate hydroelectricity, the dam was seen as pivotal to Egypt's planned industrialization. Like the earlier implementation, the High Dam has had a significant effect on the economy and culture of Egypt.

 

Before the High Dam was built, even with the old dam in place, the annual flooding of the Nile during late summer had continued to pass largely unimpeded down the valley from its East African drainage basin. These floods brought high water with natural nutrients and minerals that annually enriched the fertile soil along its floodplain and delta; this predictability had made the Nile valley ideal for farming since ancient times. However, this natural flooding varied, since high-water years could destroy the whole crop, while low-water years could create widespread drought and consequently famine. Both these events had continued to occur periodically. As Egypt's population grew and technology increased, both a desire and the ability developed to completely control the flooding, and thus both protect and support farmland and its economically important cotton crop. With the greatly increased reservoir storage provided by the High Aswan Dam, the floods could be controlled and the water could be stored for later release over multiple years.

 

The Aswan Dam was designed by the Moscow-based Hydroproject Institute.

 

The earliest recorded attempt to build a dam near Aswan was in the 11th century, when the Arab polymath and engineer Ibn al-Haytham (known as Alhazen in the West) was summoned to Egypt by the Fatimid Caliph, Al-Hakim bi-Amr Allah, to regulate the flooding of the Nile, a task requiring an early attempt at an Aswan Dam. His field work convinced him of the impracticality of this scheme.

 

The British began construction of the first dam across the Nile in 1898. Construction lasted until 1902 and the dam was opened on 10 December 1902. The project was designed by Sir William Willcocks and involved several eminent engineers, including Sir Benjamin Baker and Sir John Aird, whose firm, John Aird & Co., was the main contractor.

 

In 1952, the Greek-Egyptian engineer Adrian Daninos began to develop the plan of the new Aswan Dam. Although the Low Dam was almost overtopped in 1946, the government of King Farouk showed no interest in Daninos's plans. Instead the Nile Valley Plan by the British hydrologist Harold Edwin Hurst was favored, which proposed to store water in Sudan and Ethiopia, where evaporation is much lower. The Egyptian position changed completely after the overthrow of the monarchy, led by the Free Officers Movement including Gamal Abdel Nasser. The Free Officers were convinced that the Nile Waters had to be stored in Egypt for political reasons, and within two months, the plan of Daninos was accepted. Initially, both the United States and the USSR were interested in helping development of the dam. Complications ensued due to their rivalry during the Cold War, as well as growing intra-Arab tensions.

 

In 1955, Nasser was claiming to be the leader of Arab nationalism, in opposition to the traditional monarchies, especially the Hashemite Kingdom of Iraq following its signing of the 1955 Baghdad Pact. At that time the U.S. feared that communism would spread to the Middle East, and it saw Nasser as a natural leader of an anticommunist procapitalist Arab League. America and the United Kingdom offered to help finance construction of the High Dam, with a loan of $270 million, in return for Nasser's leadership in resolving the Arab-Israeli conflict. While opposed to communism, capitalism, and imperialism, Nasser identified as a tactical neutralist, and sought to work with both the U.S. and the USSR for Egyptian and Arab benefit.[8] After the UN criticized a raid by Israel against Egyptian forces in Gaza in 1955, Nasser realized that he could not portray himself as the leader of pan-Arab nationalism if he could not defend his country militarily against Israel. In addition to his development plans, he looked to quickly modernize his military, and he turned first to the U.S. for aid.

 

American Secretary of State John Foster Dulles and President Dwight Eisenhower told Nasser that the U.S. would supply him with weapons only if they were used for defensive purposes and if he accepted American military personnel for supervision and training. Nasser did not accept these conditions, and consulted the USSR for support.

 

Although Dulles believed that Nasser was only bluffing and that the USSR would not aid Nasser, he was wrong: the USSR promised Nasser a quantity of arms in exchange for a deferred payment of Egyptian grain and cotton. On 27 September 1955, Nasser announced an arms deal, with Czechoslovakia acting as a middleman for the Soviet support. Instead of attacking Nasser for turning to the Soviets, Dulles sought to improve relations with him. In December 1955, the US and the UK pledged $56 and $14 million, respectively, toward construction of the High Aswan Dam.

 

Though the Czech arms deal created an incentive for the US to invest at Aswan, the UK cited the deal as a reason for repealing its promise of dam funds. Dulles was angered more by Nasser's diplomatic recognition of China, which was in direct conflict with Dulles's policy of containment of communism.

 

Several other factors contributed to the US deciding to withdraw its offer of funding for the dam. Dulles believed that the USSR would not fulfil its commitment of military aid. He was also irritated by Nasser's neutrality and attempts to play both sides of the Cold War. At the time, other Western allies in the Middle East, including Turkey and Iraq, were resentful that Egypt, a persistently neutral country, was being offered so much aid.

 

In June 1956, the Soviets offered Nasser $1.12 billion at 2% interest for the construction of the dam. On 19 July the U.S. State Department announced that American financial assistance for the High Dam was "not feasible in present circumstances."

 

On 26 July 1956, with wide Egyptian acclaim, Nasser announced the nationalization of the Suez Canal that included fair compensation for the former owners. Nasser planned on the revenues generated by the canal to help fund construction of the High Dam. When the Suez War broke out, the United Kingdom, France, and Israel seized the canal and the Sinai. But pressure from the U.S. and the USSR at the United Nations and elsewhere forced them to withdraw.

 

In 1958, the USSR proceeded to provide support for the High Dam project.

 

In the 1950s, archaeologists began raising concerns that several major historical sites, including the famous temple of Abu Simbel were about to be submerged by waters collected behind the dam. A rescue operation began in 1960 under UNESCO

 

Despite its size, the Aswan project has not materially hurt the Egyptian balance of payments. The three Soviet credits covered virtually all of the project's foreign exchange requirements, including the cost of technical services, imported power generating and transmission equipment and some imported equipment for land reclamation. Egypt was not seriously burdened by payments on the credits, most of which were extended for 12 years with interest at the very low rate of 2-1/2%. Repayments to the USSR constituted only a small net drain during the first half of the 1960s, and increased export earnings derived from crops grown on newly reclaimed land have largely offset the modest debt service payments in recent years. During 1965–70, these export earnings amounted to an estimated $126 million, compared with debt service payments of $113 million.

 

A central pylon of the monument to Arab-Soviet Friendship. The memorial commemorates the completion of the Aswan High Dam. The coat of arms of the Soviet Union is on the left and the coat of arms of Egypt is on the right.

The Soviets also provided technicians and heavy machinery. The enormous rock and clay dam was designed by the Soviet Hydroproject Institute along with some Egyptian engineers. 25,000 Egyptian engineers and workers contributed to the construction of the dams.

 

Originally designed by West German and French engineers in the early 1950s and slated for financing with Western credits, the Aswan High Dam became the USSR's largest and most famous foreign aid project after the United States, the United Kingdom, and the International Bank for Reconstruction and Development (IBRD) withdrew their support in 1956. The first Soviet loan of $100 million to cover construction of coffer dams for diversion of the Nile was extended in 1958. An additional $225 million was extended in 1960 to complete the dam and construct power-generating facilities, and subsequently about $100 million was made available for land reclamation. These credits of some $425 million covered only the foreign exchange costs of the project, including salaries of Soviet engineers who supervised the project and were responsible for the installation and testing of Soviet equipment. Actual construction, which began in 1960, was done by Egyptian companies on contract to the High Dam Authority, and all domestic costs were borne by the Egyptians. Egyptian participation in the venture has raised the construction industry's capacity and reputation significantly.

 

On the Egyptian side, the project was led by Osman Ahmed Osman's Arab Contractors. The relatively young Osman underbid his only competitor by one-half.

 

1960: Start of construction on 9 January

1964: First dam construction stage completed, reservoir started filling

1970: The High Dam, as-Sad al-'Aali, completed on 21 July[18]

1976: Reservoir reached capacity.

 

Specifications

The Aswan High Dam is 3,830 metres (12,570 ft) long, 980 m (3,220 ft) wide at the base, 40 m (130 ft) wide at the crest and 111 m (364 ft)[ tall. It contains 43,000,000 cubic metres (56,000,000 cu yd) of material. At maximum, 11,000 cubic metres per second (390,000 cu ft/s) of water can pass through the dam. There are further emergency spillways for an extra 5,000 cubic metres per second (180,000 cu ft/s), and the Toshka Canal links the reservoir to the Toshka Depression. The reservoir, named Lake Nasser, is 500 km (310 mi) long[20] and 35 km (22 mi) at its widest, with a surface area of 5,250 square kilometres (2,030 sq mi). It holds 132 cubic kilometres (1.73×1011 cu yd) of water.

 

Due to the absence of appreciable rainfall, Egypt's agriculture depends entirely on irrigation. With irrigation, two crops per year can be produced, except for sugar cane which has a growing period of almost one year.

 

The high dam at Aswan releases, on average, 55 cubic kilometres (45,000,000 acre⋅ft) water per year, of which some 46 cubic kilometres (37,000,000 acre⋅ft) are diverted into the irrigation canals.

 

In the Nile valley and delta, almost 336,000 square kilometres (130,000 sq mi) benefit from these waters producing on average 1.8 crops per year. The annual crop consumptive use of water is about 38 cubic kilometres (31,000,000 acre⋅ft). Hence, the overall irrigation efficiency is 38/46 = 0.826 or 83%. This is a relatively high irrigation efficiency. The field irrigation efficiencies are much less, but the losses are reused downstream. This continuous reuse accounts for the high overall efficiency.

 

The following table shows the distribution of irrigation water over the branch canals taking off from the one main irrigation canal, the Mansuriya Canal near Giza.

 

Branch canalWater delivery in m3/feddan *

Kafret Nasser4,700

Beni Magdul3,500

El Mansuria3,300

El Hammami upstream2,800

El Hammami downstream1,800

El Shimi1,200

* Period 1 March to 31 July. 1 feddan is 0.42 ha or about 1 acre.

* Data from the Egyptian Water Use Management Project (EWUP)

The salt concentration of the water in the Aswan reservoir is about 0.25 kilograms per cubic metre (0.42 lb/cu yd), a very low salinity level. At an annual inflow of 55 cubic kilometres (45,000,000 acre⋅ft), the annual salt influx reaches 14 million tons. The average salt concentration of the drainage water evacuated into the sea and the coastal lakes is 2.7 kilograms per cubic metre (4.6 lb/cu yd). At an annual discharge of 10 cubic kilometres (2.4 cu mi) (not counting the 2 kilograms per cubic metre [3.4 lb/cu yd] of salt intrusion from the sea and the lakes, see figure "Water balances"), the annual salt export reaches 27 million ton. In 1995, the output of salt was higher than the influx, and Egypt's agricultural lands were desalinizing. Part of this could be due to the large number of subsurface drainage projects executed in the last decades to control the water table and soil salinity.

 

Drainage through subsurface drains and drainage channels is essential to prevent a deterioration of crop yields from waterlogging and soil salinization caused by irrigation. By 2003, more than 20,000 square kilometres (7,700 sq mi) have been equipped with a subsurface drainage system and approximately 7.2 square kilometres (2.8 sq mi) of water is drained annually from areas with these systems. The total investment cost in agricultural drainage over 27 years from 1973 to 2002 was about $3.1 billion covering the cost of design, construction, maintenance, research and training. During this period 11 large-scale projects were implemented with financial support from World Bank and other donors.

 

Effects

The High Dam has resulted in protection from floods and droughts, an increase in agricultural production and employment, electricity production, and improved navigation that also benefits tourism. Conversely, the dam flooded a large area, causing the relocation of over 100,000 people. Many archaeological sites were submerged while others were relocated. The dam is blamed for coastline erosion, soil salinity, and health problems.

 

The assessment of the costs and benefits of the dam remains controversial decades after its completion. According to one estimate, the annual economic benefit of the High Dam immediately after its completion was LE 255 million, $587 million using the exchange rate in 1970 of $2.30 per LE 1): LE 140 million from agricultural production, LE 100 million from hydroelectric generation, LE 10 million from flood protection, and LE 5 million from improved navigation. At the time of its construction, total cost, including unspecified "subsidiary projects" and the extension of electric power lines, amounted to LE 450 million. Not taking into account the negative environmental and social effects of the dam, its costs are thus estimated to have been recovered within only two years. One observer notes: "The impacts of the Aswan High Dam have been overwhelmingly positive. Although the Dam has contributed to some environmental problems, these have proved to be significantly less severe than was generally expected, or currently believed by many people." Another observer disagreed and he recommended that the dam should be torn down. Tearing it down would cost only a fraction of the funds required for "continually combating the dam's consequential damage" and 500,000 hectares (1,900 sq mi) of fertile land could be reclaimed from the layers of mud on the bed of the drained reservoir. Samuel C. Florman wrote about the dam: "As a structure it is a success. But in its effect on the ecology of the Nile Basin – most of which could have been predicted – it is a failure".

 

Periodic floods and droughts have affected Egypt since ancient times. The dam mitigated the effects of floods, such as those in 1964, 1973, and 1988. Navigation along the river has been improved, both upstream and downstream of the dam. Sailing along the Nile is a favorite tourism activity, which is mainly done during the winter when the natural flow of the Nile would have been too low to allow navigation of cruise ships.[clarification needed] A new fishing industry has been created around Lake Nasser, though it is struggling due to its distance from any significant markets. The annual production was about 35 000 tons in the mid-1990s. Factories for the fishing industry and packaging have been set up near the Lake.

 

According to a 1971 CIA declassified report, Although the High Dam has not created ecological problems as serious as some observers have charged, its construction has brought economic losses as well as gains. These losses derive largely from the settling in dam's lake of the rich silt traditionally borne by the Nile. To date (1971), the main impact has been on the fishing industry. Egypt's Mediterranean catch, which once averaged 35,000-40,000 tons annually, has shrunk to 20,000 tons or less, largely because the loss of plankton nourished by the silt has eliminated the sardine population in Egyptian waters. Fishing in high dam's lake may in time at least partly offset the loss of saltwater fish, but only the most optimistic estimates place the eventual catch as high as 15,000-20,000 tons. Lack of continuing silt deposits at the mouth of the river also has contributed to a serious erosion problem. Commercial fertilizer requirements and salination and drainage difficulties, already large in perennially irrigated areas of Lower and Middle Egypt, will be somewhat increased in Upper Egypt by the change to perennial irrigation.

 

The dams also protected Egypt from the droughts in 1972–73 and 1983–87 that devastated East and West Africa. The High Dam allowed Egypt to reclaim about 2.0 million feddan (840,000 hectares) in the Nile Delta and along the Nile Valley, increasing the country's irrigated area by a third. The increase was brought about both by irrigating what used to be desert and by bringing under cultivation of 385,000 hectares (950,000 acres) that were previously used as flood retention basins. About half a million families were settled on these new lands. In particular the area under rice and sugar cane cultivation increased. In addition, about 1 million feddan (420,000 hectares), mostly in Upper Egypt, were converted from flood irrigation with only one crop per year to perennial irrigation allowing two or more crops per year. On other previously irrigated land, yields increased because water could be made available at critical low-flow periods. For example, wheat yields in Egypt tripled between 1952 and 1991 and better availability of water contributed to this increase. Most of the 32 km3 of freshwater, or almost 40 percent of the average flow of the Nile that were previously lost to the sea every year could be put to beneficial use. While about 10 km3 of the water saved is lost due to evaporation in Lake Nasser, the amount of water available for irrigation still increased by 22 km3. Other estimates put evaporation from Lake Nasser at between 10 and 16 cubic km per year.

 

Electricity production

The dam powers twelve generators each rated at 175 megawatts (235,000 hp), with a total of 2.1 gigawatts (2,800,000 hp). Power generation began in 1967. When the High Dam first reached peak output it produced around half of Egypt's production of electric power (about 15 percent by 1998), and it gave most Egyptian villages the use of electricity for the first time. The High Dam has also improved the efficiency and the extension of the Old Aswan Hydropower stations by regulating upstream flows.

 

All High Dam power facilities were completed ahead of schedule. 12 turbines were installed and tested, giving the plant an installed capacity of 2,100 megawatts (MW), or more than twice the national total in 1960. With this capacity, the Aswan plant can produce 10 billion kWh of energy yearly. Two 500-kilovolt trunk lines to Cairo have been completed, and initial transmission problems, stemming mainly from poor insulators, were solved. Also, the damage inflicted on a main transformer station in 1968 by Israeli commandos has been repaired, and the Aswan plant is fully integrated with the power network in Lower Egypt. By 1971 estimation, Power output at Aswan, won't reach much more than half of the plant's theoretical capacity, because of limited water supplies and the differing seasonal water-use patterns for irrigation and power production. Agricultural demand for water in the summer far exceeds the amount needed to meet the comparatively low summer demand for electric power. Heavy summer irrigation use, however, will leave insufficient water under Egyptian control to permit hydroelectric power production at full capacity in the winter. Technical studies indicate that a maximum annual output of 5 billion kWh appears to be all that can be sustained due to fluctuations in Nile flows.

 

Resettlement and compensations

In Sudan, 50,000 to 70,000 Sudanese Nubians were moved from the old town of Wadi Halfa and its surrounding villages. Some were moved to a newly created settlement on the shore of Lake Nasser called New Wadi Halfa, and some were resettled approximately 700 kilometres (430 mi) south to the semi-arid Butana plain near the town of Khashm el-Girba up the Atbara River. The climate there had a regular rainy season as opposed to their previous desert habitat in which virtually no rain fell. The government developed an irrigation project, called the New Halfa Agricultural Development Scheme to grow cotton, grains, sugar cane and other crops. The Nubians were resettled in twenty five planned villages that included schools, medical facilities, and other services, including piped water and some electrification.

 

In Egypt, the majority of the 50,000 Nubians were moved three to ten kilometers from the Nile near Edna and Kom Ombo, 45 kilometers (28 mi) downstream from Aswan in what was called "New Nubia". Housing and facilities were built for 47 village units whose relationship to each other approximated that in Old Nubia. Irrigated land was provided to grow mainly sugar cane.

 

In 2019–20, Egypt started to compensate the Nubians who lost their homes following the dam impoundment.

 

Archaeological sites

Twenty-two monuments and architectural complexes that were threatened by flooding from Lake Nasser, including the Abu Simbel temples, were preserved by moving them to the shores of the lake under the UNESCO Nubia Campaign. Also moved were Philae, Kalabsha and Amada.

 

These monuments were granted to countries that helped with the works:

 

The Debod temple to Madrid

The Temple of Dendur to the Metropolitan Museum of Art of New York

The Temple of Taffeh to the Rijksmuseum van Oudheden of Leiden

The Temple of Ellesyia to the Museo Egizio of Turin

These items were removed to the garden area of the Sudan National Museum of Khartoum:

 

The temple of Ramses II at Aksha

The temple of Hatshepsut at Buhen

The temple of Khnum at Kumma

The tomb of the Nubian prince Djehuti-hotep at Debeira

The temples of Dedwen and Sesostris III at Semna

The granite columns from the Faras Cathedral

A part of the paintings of the Faras Cathedral; the other part is in the National Museum of Warsaw.

The Temple of Ptah at Gerf Hussein had its free-standing section reconstructed at New Kalabsha, alongside the Temple of Kalabsha, Beit el-Wali, and the Kiosk of Qertassi.

 

The remaining archaeological sites, including the Buhen fort and the cemetery of Fadrus have been flooded by Lake Nasser.

 

Loss of sediments

Before the construction of the High Dam, the Nile deposited sediments of various particle size – consisting of fine sand, silt and clay – on fields in Upper Egypt through its annual flood, contributing to soil fertility. However, the nutrient value of the sediment has often been overestimated. 88 percent of the sediment was carried to the sea before the construction of the High Dam. The nutrient value added to the land by the sediment was only 6,000 tons of potash, 7,000 tons of phosphorus pentoxide and 17,000 tons of nitrogen. These amounts are insignificant compared to what is needed to reach the yields achieved today in Egypt's irrigation. Also, the annual spread of sediment due to the Nile floods occurred along the banks of the Nile. Areas far from the river which never received the Nile floods before are now being irrigated.

 

A more serious issue of trapping of sediment by the dam is that it has increased coastline erosion surrounding the Nile Delta. The coastline erodes an estimated 125–175 m (410–574 ft) per year.

 

Waterlogging and increase in soil salinity

Before the construction of the High Dam, groundwater levels in the Nile Valley fluctuated 8–9 m (26–30 ft) per year with the water level of the Nile. During summer when evaporation was highest, the groundwater level was too deep to allow salts dissolved in the water to be pulled to the surface through capillary action. With the disappearance of the annual flood and heavy year-round irrigation, groundwater levels remained high with little fluctuation leading to waterlogging. Soil salinity also increased because the distance between the surface and the groundwater table was small enough (1–2 m depending on soil conditions and temperature) to allow water to be pulled up by evaporation so that the relatively small concentrations of salt in the groundwater accumulated on the soil surface over the years. Since most of the farmland did not have proper subsurface drainage to lower the groundwater table, salinization gradually affected crop yields.[31] Drainage through sub-surface drains and drainage channels is essential to prevent a deterioration of crop yields from soil salinization and waterlogging. By 2003, more than 2 million hectares have been equipped with a subsurface drainage system at a cost from 1973 to 2002 of about $3.1 billion.

 

Health

Contrary to many predictions made prior to the Aswan High Dam construction and publications that followed, that the prevalence of schistosomiasis (bilharzia) would increase, it did not. This assumption did not take into account the extent of perennial irrigation that was already present throughout Egypt decades before the high dam closure. By the 1950s only a small proportion of Upper Egypt had not been converted from basin (low transmission) to perennial (high transmission) irrigation. Expansion of perennial irrigation systems in Egypt did not depend on the high dam. In fact, within 15 years of the high dam closure there was solid evidence that bilharzia was declining in Upper Egypt. S. haematobium has since disappeared altogether. Suggested reasons for this include improvements in irrigation practice. In the Nile Delta, schistosomiasis had been highly endemic, with prevalence in the villages 50% or higher for almost a century before. This was a consequence of the conversion of the Delta to perennial irrigation to grow long staple cotton by the British. This has changed. Large-scale treatment programmes in the 1990s using single-dose oral medication contributed greatly to reducing the prevalence and severity of S. mansoni in the Delta.

 

Other effects

Sediment deposited in the reservoir is lowering the water storage capacity of Lake Nasser. The reservoir storage capacity is 162 km3, including 31 km3 dead storage at the bottom of the lake below 147 m (482 ft) above sea level, 90 km3 live storage, and 41 km3 of storage for high flood waters above 175 m (574 ft) above sea level. The annual sediment load of the Nile is about 134 million tons. This means that the dead storage volume would be filled up after 300–500 years if the sediment accumulated at the same rate throughout the area of the lake. Obviously sediment accumulates much faster at the upper reaches of the lake, where sedimentation has already affected the live storage zone.

 

Before the construction of the High Dam, the 50,000 km (31,000 mi) of irrigation and drainage canals in Egypt had to be dredged regularly to remove sediments. After construction of the dam, aquatic weeds grew much faster in the clearer water, helped by fertilizer residues. The total length of the infested waterways was about 27,000 km (17,000 mi) in the mid-1990s. Weeds have been gradually brought under control by manual, mechanical and biological methods.

 

Mediterranean fishing and brackish water lake fishery declined after the dam was finished because nutrients that flowed down the Nile to the Mediterranean were trapped behind the dam. For example, the sardine catch off the Egyptian coast declined from 18,000 tons in 1962 to a mere 460 tons in 1968, but then gradually recovered to 8,590 tons in 1992. A scientific article in the mid-1990s noted that "the mismatch between low primary productivity and relatively high levels of fish production in the region still presents a puzzle to scientists."

 

A concern before the construction of the High Dam had been the potential drop in river-bed level downstream of the Dam as the result of erosion caused by the flow of sediment-free water. Estimates by various national and international experts put this drop at between and 2 and 10 meters (6.6 and 32.8 ft). However, the actual drop has been measured at 0.3–0.7 meters (0.98–2.30 ft), much less than expected.[30]

 

The red-brick construction industry, which consisted of hundreds of factories that used Nile sediment deposits along the river, has also been negatively affected. Deprived of sediment, they started using the older alluvium of otherwise arable land taking out of production up to 120 square kilometers (46 sq mi) annually, with an estimated 1,000 square kilometers (390 sq mi) destroyed by 1984 when the government prohibited, "with only modest success," further excavation. According to one source, bricks are now being made from new techniques which use a sand-clay mixture and it has been argued that the mud-based brick industry would have suffered even if the dam had not been built.

 

Because of the lower turbidity of the water sunlight penetrates deeper in the Nile water. Because of this and the increased presence of nutrients from fertilizers in the water, more algae grow in the Nile. This in turn increases the costs of drinking water treatment. Apparently few experts had expected that water quality in the Nile would actually decrease because of the High Dam.

 

Appraisal of the Project

Although it is moot whether the project constitutes the best use of the funds spent, the Aswan Dam project unquestionably is and will continue to be economically beneficial to Egypt. The project has been expensive and it took considerable time to complete, as is usually the case with large hydroelectric developments, But Egypt now has a valuable asset with a long life and low operating costs. Even so, the wisdom of concentrating one-third of domestic saving and most of available foreign aid on a slow growth project is questionable. Since 1960, GNP has grown 50%, but mainly as a result of other investment.

 

Egyptian authorities were well aware that equivalent gains in output could have been achieved more quickly and more cheaply by other means. A series of low dams, similar to the barrages now contemplated, was suggested by Egyptian engineers as a more economical means of achieving up to 2,000 mW of additional generating capacity, US and WorldBank agricultural experts had long recommended improved drainage, introduction of hybrid seeds, and other such low-cost alternatives to land reclamation as a means of increasing agricultural output, In other areas, most notably the once efficient cotton textile industry, investment was needed to forestall an output decline, Implementation of these and other alternatives has been postponed rather than precluded by the High Dam project.

 

However, the decision to concentrate Egyptian savings and energies on the Aswan project for a decade was heavily based on non-economic factors. Nasser undoubtedly believed that a project of considerable symbolic appeal was needed to mobilize the population behind the government's economic goals, He also apparently felt that the East and West would be more easily persuaded to bid against each other for a project of this scope.

 

The Aswan High Dam made an appreciable contribution to Egyptian GNP, however the returns were well below what the planners had anticipated. The principal limiting factors on the High Dam's contribution to Egyptian output are a shortage of land suitable for reclamation, the high cost and long time required to bring reclaimed land to full productivity, and an inadequate water supply to meet power and irrigation goals simultaneously. The last limitation arises in part from the allocation in a 1959 agreement of more water to Sudan than was originally foreseen and in part from differences in the seasonal demand pattern of agriculture and the hydroelectric plant for the water. Irrigation requires very heavy use of water during summer months, while power generation needs peak during the winter. Ecological problems created by the dam, most of which were anticipated, have not seriously harmed the economy, although a few minor industries have been damaged.

 

The dam is, nonetheless, a viable project. Eventually the contribution to GNP equals as much as 20% of total investment. Moreover, the dam and associated projects provided returns that at least offset the cost of operation, repayment of foreign loans and amortisation of domestic loans.

The Burgtheater at Dr.-Karl -Lueger-Ring (from now on, Universitätsring) in Vienna is an Austrian Federal Theatre. It is one of the most important stages in Europe and after the Comédie-Française, the second oldest European one, as well as the greatest German speaking theater. The original 'old' Burgtheater at Saint Michael's square was utilized from 1748 until the opening of the new building at the ring in October, 1888. The new house in 1945 burnt down completely as a result of bomb attacks, until the re-opening on 14 October 1955 was the Ronacher serving as temporary quarters. The Burgtheater is considered as Austrian National Theatre.

Throughout its history, the theater was bearing different names, first Imperial-Royal Theater next to the Castle, then to 1918 Imperial-Royal Court-Burgtheater and since then Burgtheater (Castle Theater). Especially in Vienna it is often referred to as "The Castle (Die Burg)", the ensemble members are known as Castle actors (Burgschauspieler).

History

St. Michael's Square with the old K.K. Theatre beside the castle (right) and the Winter Riding School of the Hofburg (left)

The interior of the Old Burgtheater, painted by Gustav Klimt. The people are represented in such detail that the identification is possible.

The 'old' Burgtheater at St. Michael's Square

The original castle theater was set up in a ball house that was built in the lower pleasure gardens of the Imperial Palace of the Roman-German King and later Emperor Ferdinand I in 1540, after the old house 1525 fell victim to a fire. Until the beginning of the 18th Century was played there the Jeu de Paume, a precursor of tennis. On 14 March 1741 finally gave the Empress Maria Theresa, ruling after the death of her father, which had ordered a general suspension of the theater, the "Entrepreneur of the Royal Court Opera" and lessees of 1708 built theater at Kärntnertor (Carinthian gate), Joseph Karl Selliers, permission to change the ballroom into a theater. Simultaneously, a new ball house was built in the immediate vicinity, which todays Ballhausplatz is bearing its name.

In 1748, the newly designed "theater next to the castle" was opened. 1756 major renovations were made, inter alia, a new rear wall was built. The Auditorium of the Old Burgtheater was still a solid timber construction and took about 1200 guests. The imperial family could reach her ​​royal box directly from the imperial quarters, the Burgtheater structurally being connected with them. At the old venue at Saint Michael's place were, inter alia, several works of Christoph Willibald Gluck, Ludwig van Beethoven, Wolfgang Amadeus Mozart as well as Franz Grillparzer premiered .

On 17 February 1776, Emperor Joseph II declared the theater to the German National Theatre (Teutsches Nationaltheater). It was he who ordered by decree that the stage plays should not deal with sad events for not bring the Imperial audience in a bad mood. Many theater plays for this reason had to be changed and provided with a Vienna Final (Happy End), such as Romeo and Juliet or Hamlet. From 1794 on, the theater was bearing the name K.K. Court Theatre next to the castle.

1798 the poet August von Kotzebue was appointed as head of the Burgtheater, but after discussions with the actors he left Vienna in 1799. Under German director Joseph Schreyvogel was introduced German instead of French and Italian as a new stage language.

On 12 October 1888 took place the last performance in the old house. The Burgtheater ensemble moved to the new venue at the Ring. The Old Burgtheater had to give way to the completion of Saint Michael's tract of Hofburg. The plans to this end had been drawn almost 200 years before the demolition of the old Burgtheater by Joseph Emanuel Fischer von Erlach.

The "new" K.K. Court Theatre (as the inscription reads today) at the Ring opposite the Town Hall, opened on 14 October 1888 with Grillparzer's Esther and Schiller's Wallenstein's Camp, was designed in neo-Baroque style by Gottfried Semper (plan) and Karl Freiherr von Hasenauer (facade), who had already designed the Imperial Forum in Vienna together. Construction began on 16 December 1874 and followed through 14 years, in which the architects quarreled. Already in 1876 Semper withdrew due to health problems to Rome and had Hasenauer realized his ideas alone, who in the dispute of the architects stood up for a mainly splendid designed grand lodges theater.

However, created the famous Viennese painter Gustav Klimt and his brother Ernst Klimt and Franz Matsch 1886-1888 the ceiling paintings in the two stairwells of the new theater. The three took over this task after similar commissioned work in the city theaters of Fiume and Karlovy Vary and in the Bucharest National Theatre. In the grand staircase on the side facing the café Landtmann of the Burgtheater (Archduke stairs) reproduced ​​Gustav Klimt the artists of the ancient theater in Taormina on Sicily, in the stairwell on the "People's Garden"-side (Kaiserstiege, because it was reserved for the emperor) the London Globe Theatre and the final scene from William Shakespeare's "Romeo and Juliet". Above the entrance to the auditorium is Molière's The Imaginary Invalid to discover. In the background the painter immortalized himself in the company of his two colleagues. Emperor Franz Joseph I liked the ceiling paintings so much that he gave the members of the company of artists of Klimt the Golden Cross of Merit.

The new building resembles externally the Dresden Semper Opera, but even more, due to the for the two theaters absolutely atypical cross wing with the ceremonial stairs, Semper's Munich project from the years 1865/1866 for a Richard Wagner Festspielhaus above the Isar. Above the middle section there is a loggia, which is framed by two side wings, and is divided from a stage house with a gable roof and auditorium with a tent roof. Above the center house there decorates a statue of Apollo the facade, throning between the Muses of drama and tragedy. Above the main entrances are located friezes with Bacchus and Ariadne. At the exterior facade round about, portrait busts of the poets Calderon, Shakespeare, Moliere, Schiller, Goethe, Lessing, Halm, Grillparzer, and Hebbel can be seen. The masks which also can be seen here are indicating the ancient theater, furthermore adorn allegorical representations the side wings: love, hate, humility, lust, selfishness, and heroism. Although the theater since 1919 is bearing the name of Burgtheater, the old inscription KK Hofburgtheater over the main entrance still exists. Some pictures of the old gallery of portraits have been hung up in the new building and can be seen still today - but these images were originally smaller, they had to be "extended" to make them work better in high space. The points of these "supplements" are visible as fine lines on the canvas.

The Burgtheater was initially well received by Viennese people due to its magnificent appearance and technical innovations such as electric lighting, but soon criticism because of the poor acoustics was increasing. Finally, in 1897 the auditorium was rebuilt to reduce the acoustic problems. The new theater was an important meeting place of social life and soon it was situated among the "sanctuaries" of Viennese people. In November 1918, the supervision over the theater was transferred from the High Steward of the emperor to the new state of German Austria.

1922/1923 the Academy Theatre was opened as a chamber play stage of the Burgtheater. On 8th May 1925, the Burgtheater went into Austria's criminal history, as here Mentscha Karnitschewa perpetrated a revolver assassination on Todor Panitza.

The Burgtheater in time of National Socialism

The National Socialist ideas also left traces in the history of the Burgtheater. In 1939 appeared in Adolf Luser Verlag the strongly anti-Semitic characterized book of theater scientist Heinz Kindermann "The Burgtheater. Heritage and mission of a national theater", in which he, among other things, analyzed the "Jewish influence "on the Burgtheater. On 14 October 1938 was on the occasion of the 50th anniversary of the opening of the Burgtheater a Don Carlos production of Karl-Heinz Stroux shown that served Hitler's ideology. The role of the Marquis of Posa played the same Ewald Balser, who in a different Don Carlos production a year earlier (by Heinz Hilpert) at the Deutsches Theater in the same role with the sentence in direction of Joseph Goebbels box vociferated: "just give freedom of thought". The actor and director Lothar Müthel, who was director of the Burgtheater between 1939 and 1945, staged 1943 the Merchant of Venice, in which Werner Kraus the Jew Shylock clearly anti-Semitic represented. The same director staged after the war Lessing's parable Nathan the Wise. Adolf Hitler himself visited during the Nazi regime the Burgtheater only once (1938), and later he refused in pure fear of an assassination.

For actors and theater staff who were classified according to the Reich Citizenship Law of 1935 as "Jews ", were quickly imposed stage bans, within a few days, they were on leave, fired or arrested. The Burgtheater ensemble ​​between 1938 and 1945 did not put up significant resistance against the Nazi ideology, the repertoire was heavily censored, only a few joined the Resistance, as Judith Holzmeister (then also at the People's Theatre engaged) or the actor Fritz Lehmann. Although Jewish members of the ensemble indeed have been helped to emigrate, was still an actor, Fritz Strassny, taken to a concentration camp and murdered there.

The Burgtheater at the end of the war and after the Second World War

In summer 1944, the Burgtheater had to be closed because of the decreed general theater suspension. From 1 April 1945, as the Red Army approached Vienna, camped a military unit in the house, a portion was used as an arsenal. In a bomb attack the house at the Ring was damaged and burned down on 12th April 1945 completely. Auditorium and stage were useless, only the steel structure remained. The ceiling paintings and part of the lobby were almost undamaged.

The Soviet occupying power expected from Viennese City Councillor Viktor Matejka to launch Vienna's cultural life as soon as possible again. The council summoned on 23 April (a state government did not yet exist) a meeting of all Viennese cultural workers into the Town Hall. Result of the discussions was that in late April 1945 eight cinemas and four theaters took up the operation again, including the Burgtheater. The house took over the Ronacher Theater, which was understood by many castle actors as "exile" as a temporary home (and remained there to 1955). This venue chose the newly appointed director Raoul Aslan, who championed particularly active.

The first performance after the Second World War was on 30 April 1945 Sappho by Franz Grillparzer directed by Adolf Rott from 1943 with Maria Eis in the title role. Also other productions from the Nazi era were resumed. With Paul Hoerbiger, a few days ago as Nazi prisoner still in mortal danger, was shown the play of Nestroy Mädl (Girlie) from the suburbs. The Academy Theatre could be played (the first performance was on 19 April 1945 Hedda Gabler, a production of Rott from the year 1941) and also in the ball room (Redoutensaal) at the Imperial Palace took place performances. Aslan the Ronacher in the summer had rebuilt because the stage was too small for classical performances. On 25 September 1945, Schiller's Maid of Orleans could be played on the enlarged stage.

The first new productions are associated with the name of Lothar Müthel: Everyone and Nathan the Wise, in both Raoul Aslan played the main role. The staging of The Merchant of Venice by Müthel in Nazi times seemed to have been fallen into oblivion.

Great pleasure gave the public the return of the in 1938 from the ensemble expelled Else Wohlgemuth on stage. She performaed after seven years in exile in December 1945 in Clare Biharys The other mother in the Academy Theater. 1951 opened the Burgtheater its doors for the first time, but only the left wing, where the celebrations on the 175th anniversary of the theater took place.

1948, a competition for the reconstruction was tendered: Josef Gielen, who was then director, first tended to support the design of ex aequo-ranked Otto Niedermoser, according to which the house was to be rebuilt into a modern gallery theater. Finally, he agreed but then for the project by Michael Engelhardt, whose plan was conservative but also cost effective. The character of the lodges theater was largely taken into account and maintained, the central royal box but has been replaced by two balconies, and with a new slanted ceiling construction in the audience was the acoustics, the shortcoming of the house, improved significantly.

On 14 October 1955 was happening under Adolf Rott the reopening of the restored house at the Ring. For this occasion Mozart's A Little Night Music was played. On 15 and on 16 October it was followed by the first performance (for reasons of space as a double premiere) in the restored theater: King Ottokar's Fortune and End of Franz Grillparzer, staged by Adolf Rott. A few months after the signing of the Austrian State Treaty was the choice of this play, which the beginning of Habsburg rule in Austria makes a subject of discussion and Ottokar of Horneck's eulogy on Austria (... it's a good country / Well worth that a prince bow to it! / where have you yet seen the same?... ) contains highly symbolic. Rott and under his successors Ernst Haeusserman and Gerhard Klingenberg the classic Burgtheater style and the Burgtheater German for German theaters were finally pointing the way .

In the 1950s and 1960s, the Burgtheater participated (with other well-known theaters in Vienna) on the so-called Brecht boycott.

Gerhard Klingenberg internationalized the Burgtheater, he invited renowned stage directors such as Dieter Dorn, Peter Hall, Luca Ronconi, Giorgio Strehler, Roberto Guicciardini and Otomar Krejča. Klingenberg also enabled the castle debuts of Claus Peymann and Thomas Bernhard (1974 world premiere of The Hunting Party). Bernhard was as a successor of Klingenberg mentioned, but eventually was appointed Achim Benning, whereupon the writer with the text "The theatrical shack on the ring (how I should become the director of the Burgtheater)" answered.

Benning, the first ensemble representative of the Burgtheater which was appointed director, continued Klingenberg's way of Europeanization by other means, brought directors such as Adolf Dresen, Manfred Wekwerth or Thomas Langhoff to Vienna, looked with performances of plays of Vaclav Havel to the then politically separated East and took the the public taste more into consideration.

Directorate Claus Peymann 1986-1999

Under the by short-term Minister of Education Helmut Zilk brought to Vienna Claus Peymann, director from 1986 to 1999, there was further modernization of the programme and staging styles. Moreover Peymann was never at a loss for critical contributions in the public, a hitherto unusual attitude for Burgtheater directors. Therefore, he and his program within sections of the audience met with rejection. The greatest theater scandal in Vienna since 1945 occurred in 1988 concerning the premiere of Thomas Bernhard's Heldenplatz (Place of the Heroes) drama which was fiercly fought by conservative politicians and zealots. The play deals with the Vergangenheitsbewältigung (process of coming to terms with the past) and illuminates the present management in Austria - with attacks on the then ruling Social Democratic Party - critically. Together with Claus Peymann Bernhard after the premiere dared to face on the stage applause and boos.

Bernard, to his home country bound in love-hate relationship, prohibited the performance of his plays in Austria before his death in 1989 by will. Peymann, to Bernhard bound in a difficult friendship (see Bernhard's play Claus Peymann buys a pair of pants and goes eating with me) feared harm for the author's work, should his plays precisely in his homeland not being shown. First, it was through permission of the executor Peter Fabjan - Bernhard's half-brother - after all, possible the already in the schedule of the Burgtheater included productions to continue. Finally, shortly before the tenth anniversary of the death of Bernard it came to the revival of the Bernhard play Before retirement by the first performance director Peymann. The plays by Bernhard are since then continued on the programme of the Burgtheater and they are regularly newly produced.

In 1993, the rehearsal stage of the Castle theater was opened in the arsenal (architect Gustav Peichl). Since 1999, the Burgtheater has the operation form of a limited corporation.

Directorate Klaus Bachler 1999-2009

Peymann was followed in 1999 by Klaus Bachler as director. He is a trained actor, but was mostly as a cultural manager (director of the Vienna Festival) active. Bachler moved the theater as a cultural event in the foreground and he engaged for this purpose directors such as Luc Bondy, Andrea Breth, Peter Zadek and Martin Kušej.

Were among the unusual "events" of the directorate Bachler

* The Theatre of Orgies and Mysteries by Hermann Nitsch with the performance of 122 Action (2005 )

* The recording of the MTV Unplugged concert with Die Toten Hosen for the music channel MTV (2005, under the title available)

* John Irving's reading from his book at the Burgtheater Until I find you (2006)

* The 431 animatographische (animatographical) Expedition by Christoph Schlingensief and a big event of him under the title of Area 7 - Matthew Sadochrist - An expedition by Christoph Schlingensief (2006).

* Daniel Hoevels cut in Schiller's Mary Stuart accidentally his throat (December 2008). Outpatient care is enough.

Jubilee Year 2005

In October 2005, the Burgtheater celebrated the 50th Anniversary of its reopening with a gala evening and the performance of Grillparzer's King Ottokar's Fortune and End, directed by Martin Kušej that had been performed in August 2005 at the Salzburg Festival as a great success. Michael Maertens (in the role of Rudolf of Habsburg) received the Nestroy Theatre Award for Best Actor for his role in this play. Actor Tobias Moretti was awarded in 2006 for this role with the Gertrude Eysoldt Ring.

Furthermore, there were on 16th October 2005 the open day on which the 82-minute film "burg/private. 82 miniatures" of Sepp Dreissinger was shown for the first time. The film contains one-minute film "Stand portraits" of Castle actors and guest actors who, without saying a word, try to present themselves with a as natural as possible facial expression. Klaus Dermutz wrote a work on the history of the Burgtheater. As a motto of this season served a quotation from Lessing's Minna von Barnhelm: "It's so sad to be happy alone."

The Burgtheater on the Mozart Year 2006

Also the Mozart Year 2006 was at the Burgtheater was remembered. As Mozart's Singspiel Die Entführung aus dem Serail in 1782 in the courtyard of Castle Theatre was premiered came in cooperation with the Vienna State Opera on the occasion of the Vienna Festival in May 2006 a new production (directed by Karin Beier) of this opera on stage.

Directorate Matthias Hartmann since 2009

Since September 2009, Matthias Hartmann is Artistic Director of the Burgtheater. A native of Osnabrück, he directed the stage houses of Bochum and Zurich. With his directors like Alvis Hermanis, Roland Schimmelpfennig, David Bösch, Stefan Bachmann, Stefan Pucher, Michael Thalheimer, came actresses like Dorte Lyssweski, Katharina Lorenz, Sarah Viktoria Frick, Mavie Hoerbiger, Lucas Gregorowicz and Martin Wuttke came permanently to the Burg. Matthias Hartmann himself staged around three premieres per season, about once a year, he staged at the major opera houses. For more internationality and "cross-over", he won the Belgian artist Jan Lauwers and his Need Company as "Artists in Residence" for the Castle, the New York group Nature Theater of Oklahoma show their great episode drama Live and Times of an annual continuation. For the new look - the Burgtheater presents itself without a solid logo with word games around the BURG - the Burgtheater in 2011 was awarded the Cultural Brand of the Year .

Built in 1914 at no. 911 Wellington Street East.

 

"This is a Prairie-style single-story residence, noticeably located at the south-west corner of Wellington and Woodward in the city’s east-central area. It encompasses part of Lot 15, Plan 568 and Lot 29, Plan 930. GIS coordinates: 705,711.336 5,154,111.585 Meters

 

This handsome, distinctive, well maintained home is the best example of a Prairie-style residence to be found in Sault Ste. Marie. It is an elegant Craftsman style bungalow with a variety of gently pitched roof slopes and a small hipped dormer. The eaves are deep and bracketed. The columns are plain with square abacuses and no base. The inclusion of classical modillions in a residence is rare in Sault Ste. Marie and to Prairie-style homes. A variety of rustic building materials have been utilized: stucco, wood, brick and stone. The window groupings consist of both casement and sash with inner muntin bars. Those windows on the front have been replaced with modern aluminum windows but the windows around the sunroom on the east side and those on the partial second floor are original. Many of the original storm windows are stored in the garage. Craftsmanship in the building is excellent yet simple and functional. Even the interior fireplace sports hand-carved brackets of similar design to those supporting the overhanging exterior eaves. With the exception of the kitchen and bathroom, the main floor rooms are still finished with the original oak trim and floors. An old photo of the house indicates that cedar shingles once adorned the roof.

 

This residence was constructed, in its present form, in 1914 for Richard H. Carney who was District manager for Canada Life Assurance Co. It was the Carney family who was responsible for construction of the Carney Block on Queen St. It thus reflects the affluence of an upper middle class business family which was profiting from the Clergue industrial expansion of the day. A 1914 date and initials of the stone mason builder may be found in the basement wall mortar between the sandstone pieces. It is likely this sandstone was quarried from the locks as was typical for the day. This house was purchased in 1939 by the MacIntosh family who owned it until 2004.

 

The key exterior features that embody the heritage value of 911 Wellington St. E. include:

- Variety of gently pitched roof slopes provide horizontal emphasis reflecting the Prairiestyle bungalow

- Clerestory lighting that provides light to a half story loft

- A hipped dormer and deep bracketed eaves

- Columns with abacuses and no base but adorned with modillions

- Rustic building materials including stucco, wood, brick and stone

- Original casement windows with sash and inner muntin bars on the sunroom (east side)

and on the half story loft

- Home and property have been well maintained in traditional style with little change to

the exterior

- An interior with oak trim, baseboards and flooring unchanged save for the kitchen and

bathroom

- A beautiful fireplace with brackets supporting the mantle matching those under the

eaves on the exterior

- The best example of a classical Prairie-style residence in Sault Ste. Marie distinctively

located in a prominent east-central location

- A residence which reflects the affluence of a prominent Sault business family built

during the heyday of the Clergue industrial empire" - info from the Sault Ste. Marie Municipal Heritage Committee.

 

"Sault Ste. Marie (/ˈsuː seɪnt məˈriː/ SOO-seint-ma-REE) is a city on the St. Marys River in Ontario, Canada, close to the Canada–US border. It is the seat of the Algoma District and the third largest city in Northern Ontario, after Sudbury and Thunder Bay.

 

The Ojibwe, the indigenous Anishinaabe inhabitants of the area, call this area Baawitigong, meaning "place of the rapids." They used this as a regional meeting place during whitefish season in the St. Mary's Rapids. (The anglicized form of this name, Bawating, is used in institutional and geographic names in the area.)

 

To the south, across the river, is the United States and the Michigan city of the same name. These two communities were one city until a new treaty after the War of 1812 established the border between Canada and the United States in this area at the St. Mary's River. In the 21st century, the two cities are joined by the International Bridge, which connects Interstate 75 on the Michigan side, and Huron Street (and former Ontario Secondary Highway 550B) on the Ontario side. Shipping traffic in the Great Lakes system bypasses the Saint Mary's Rapids via the American Soo Locks, the world's busiest canal in terms of tonnage that passes through it, while smaller recreational and tour boats use the Canadian Sault Ste. Marie Canal.

 

French colonists referred to the rapids on the river as Les Saults de Ste. Marie and the village name was derived from that. The rapids and cascades of the St. Mary's River descend more than 6 m (20 ft) from the level of Lake Superior to the level of the lower lakes. Hundreds of years ago, this slowed shipping traffic, requiring an overland portage of boats and cargo from one lake to the other. The entire name translates to "Saint Mary's Rapids" or "Saint Mary's Falls". The word sault is pronounced [so] in French, and /suː/ in the English pronunciation of the city name. Residents of the city are called Saultites.

 

Sault Ste. Marie is bordered to the east by the Rankin and Garden River First Nation reserves, and to the west by Prince Township. To the north, the city is bordered by an unincorporated portion of Algoma District, which includes the local services boards of Aweres, Batchawana Bay, Goulais and District, Peace Tree and Searchmont. The city's census agglomeration, including the townships of Laird, Prince and Macdonald, Meredith and Aberdeen Additional and the First Nations reserves of Garden River and Rankin, had a total population of 79,800 in 2011.

 

Native American settlements, mostly of Ojibwe-speaking peoples, existed here for more than 500 years. In the late 17th century, French Jesuit missionaries established a mission at the First Nations village. This was followed by development of a fur trading post and larger settlement, as traders, trappers and Native Americans were attracted to the community. It was considered one community and part of Canada until after the War of 1812 and settlement of the border between Canada and the US at the Ste. Mary's River. At that time, the US prohibited British traders from any longer operating in its territory, and the areas separated by the river began to develop as two communities, both named Sault Ste. Marie." - info from Wikipedia.

 

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The Burgtheater at Dr.-Karl -Lueger-Ring (from now on, 2013, Universitätsring) in Vienna is an Austrian Federal Theatre. It is one of the most important stages in Europe and after the Comédie-Française, the second oldest European one, as well as the greatest German speaking theater. The original 'old' Burgtheater at Saint Michael's square was utilized from 1748 until the opening of the new building at the ring in October, 1888. The new house in 1945 burnt down completely as a result of bomb attacks, until the re-opening on 14 October 1955 was the Ronacher serving as temporary quarters. The Burgtheater is considered as Austrian National Theatre.

Throughout its history, the theater was bearing different names, first Imperial-Royal Theater next to the Castle, then to 1918 Imperial-Royal Court-Burgtheater and since then Burgtheater (Castle Theater). Especially in Vienna it is often referred to as "The Castle (Die Burg)", the ensemble members are known as Castle actors (Burgschauspieler).

History

St. Michael's Square with the old K.K. Theatre beside the castle (right) and the Winter Riding School of the Hofburg (left)

The interior of the Old Burgtheater, painted by Gustav Klimt. The people are represented in such detail that the identification is possible.

The 'old' Burgtheater at St. Michael's Square

The original castle theater was set up in a ball house that was built in the lower pleasure gardens of the Imperial Palace of the Roman-German King and later Emperor Ferdinand I in 1540, after the old house 1525 fell victim to a fire. Until the beginning of the 18th Century was played there the Jeu de Paume, a precursor of tennis. On 14 March 1741 finally gave the Empress Maria Theresa, ruling after the death of her father, which had ordered a general suspension of the theater, the "Entrepreneur of the Royal Court Opera" and lessees of 1708 built theater at Kärntnertor (Carinthian gate), Joseph Karl Selliers, permission to change the ballroom into a theater. Simultaneously, a new ball house was built in the immediate vicinity, which todays Ballhausplatz is bearing its name.

In 1748, the newly designed "theater next to the castle" was opened. 1756 major renovations were made, inter alia, a new rear wall was built. The Auditorium of the Old Burgtheater was still a solid timber construction and took about 1200 guests. The imperial family could reach her ​​royal box directly from the imperial quarters, the Burgtheater structurally being connected with them. At the old venue at Saint Michael's place were, inter alia, several works of Christoph Willibald Gluck, Ludwig van Beethoven, Wolfgang Amadeus Mozart as well as Franz Grillparzer premiered .

On 17 February 1776, Emperor Joseph II declared the theater to the German National Theatre (Teutsches Nationaltheater). It was he who ordered by decree that the stage plays should not deal with sad events for not bring the Imperial audience in a bad mood. Many theater plays for this reason had to be changed and provided with a Vienna Final (Happy End), such as Romeo and Juliet or Hamlet. From 1794 on, the theater was bearing the name K.K. Court Theatre next to the castle.

1798 the poet August von Kotzebue was appointed as head of the Burgtheater, but after discussions with the actors he left Vienna in 1799. Under German director Joseph Schreyvogel was introduced German instead of French and Italian as a new stage language.

On 12 October 1888 took place the last performance in the old house. The Burgtheater ensemble moved to the new venue at the Ring. The Old Burgtheater had to give way to the completion of Saint Michael's tract of Hofburg. The plans to this end had been drawn almost 200 years before the demolition of the old Burgtheater by Joseph Emanuel Fischer von Erlach.

The "new" K.K. Court Theatre (as the inscription reads today) at the Ring opposite the Town Hall, opened on 14 October 1888 with Grillparzer's Esther and Schiller's Wallenstein's Camp, was designed in neo-Baroque style by Gottfried Semper (plan) and Karl Freiherr von Hasenauer (facade), who had already designed the Imperial Forum in Vienna together. Construction began on 16 December 1874 and followed through 14 years, in which the architects quarreled. Already in 1876 Semper withdrew due to health problems to Rome and had Hasenauer realized his ideas alone, who in the dispute of the architects stood up for a mainly splendid designed grand lodges theater.

However, created the famous Viennese painter Gustav Klimt and his brother Ernst Klimt and Franz Matsch 1886-1888 the ceiling paintings in the two stairwells of the new theater. The three took over this task after similar commissioned work in the city theaters of Fiume and Karlovy Vary and in the Bucharest National Theatre. In the grand staircase on the side facing the café Landtmann of the Burgtheater (Archduke stairs) reproduced ​​Gustav Klimt the artists of the ancient theater in Taormina on Sicily, in the stairwell on the "People's Garden"-side (Kaiserstiege, because it was reserved for the emperor) the London Globe Theatre and the final scene from William Shakespeare's "Romeo and Juliet". Above the entrance to the auditorium is Molière's The Imaginary Invalid to discover. In the background the painter immortalized himself in the company of his two colleagues. Emperor Franz Joseph I liked the ceiling paintings so much that he gave the members of the company of artists of Klimt the Golden Cross of Merit.

The new building resembles externally the Dresden Semper Opera, but even more, due to the for the two theaters absolutely atypical cross wing with the ceremonial stairs, Semper's Munich project from the years 1865/1866 for a Richard Wagner Festspielhaus above the Isar. Above the middle section there is a loggia, which is framed by two side wings, and is divided from a stage house with a gable roof and auditorium with a tent roof. Above the center house there decorates a statue of Apollo the facade, throning between the Muses of drama and tragedy. Above the main entrances are located friezes with Bacchus and Ariadne. At the exterior facade round about, portrait busts of the poets Calderon, Shakespeare, Moliere, Schiller, Goethe, Lessing, Halm, Grillparzer, and Hebbel can be seen. The masks which also can be seen here are indicating the ancient theater, furthermore adorn allegorical representations the side wings: love, hate, humility, lust, selfishness, and heroism. Although the theater since 1919 is bearing the name of Burgtheater, the old inscription KK Hofburgtheater over the main entrance still exists. Some pictures of the old gallery of portraits have been hung up in the new building and can be seen still today - but these images were originally smaller, they had to be "extended" to make them work better in high space. The points of these "supplements" are visible as fine lines on the canvas.

The Burgtheater was initially well received by Viennese people due to its magnificent appearance and technical innovations such as electric lighting, but soon criticism because of the poor acoustics was increasing. Finally, in 1897 the auditorium was rebuilt to reduce the acoustic problems. The new theater was an important meeting place of social life and soon it was situated among the "sanctuaries" of Viennese people. In November 1918, the supervision over the theater was transferred from the High Steward of the emperor to the new state of German Austria.

1922/1923 the Academy Theatre was opened as a chamber play stage of the Burgtheater. On 8th May 1925, the Burgtheater went into Austria's criminal history, as here Mentscha Karnitschewa perpetrated a revolver assassination on Todor Panitza.

The Burgtheater in time of National Socialism

The National Socialist ideas also left traces in the history of the Burgtheater. In 1939 appeared in Adolf Luser Verlag the strongly anti-Semitic characterized book of theater scientist Heinz Kindermann "The Burgtheater. Heritage and mission of a national theater", in which he, among other things, analyzed the "Jewish influence "on the Burgtheater. On 14 October 1938 was on the occasion of the 50th anniversary of the opening of the Burgtheater a Don Carlos production of Karl-Heinz Stroux shown that served Hitler's ideology. The role of the Marquis of Posa played the same Ewald Balser, who in a different Don Carlos production a year earlier (by Heinz Hilpert) at the Deutsches Theater in the same role with the sentence in direction of Joseph Goebbels box vociferated: "just give freedom of thought". The actor and director Lothar Müthel, who was director of the Burgtheater between 1939 and 1945, staged 1943 the Merchant of Venice, in which Werner Kraus the Jew Shylock clearly anti-Semitic represented. The same director staged after the war Lessing's parable Nathan the Wise. Adolf Hitler himself visited during the Nazi regime the Burgtheater only once (1938), and later he refused in pure fear of an assassination.

For actors and theater staff who were classified according to the Reich Citizenship Law of 1935 as "Jews ", were quickly imposed stage bans, within a few days, they were on leave, fired or arrested. The Burgtheater ensemble ​​between 1938 and 1945 did not put up significant resistance against the Nazi ideology, the repertoire was heavily censored, only a few joined the Resistance, as Judith Holzmeister (then also at the People's Theatre engaged) or the actor Fritz Lehmann. Although Jewish members of the ensemble indeed have been helped to emigrate, was still an actor, Fritz Strassny, taken to a concentration camp and murdered there.

The Burgtheater at the end of the war and after the Second World War

In summer 1944, the Burgtheater had to be closed because of the decreed general theater suspension. From 1 April 1945, as the Red Army approached Vienna, camped a military unit in the house, a portion was used as an arsenal. In a bomb attack the house at the Ring was damaged and burned down on 12th April 1945 completely. Auditorium and stage were useless, only the steel structure remained. The ceiling paintings and part of the lobby were almost undamaged.

The Soviet occupying power expected from Viennese City Councillor Viktor Matejka to launch Vienna's cultural life as soon as possible again. The council summoned on 23 April (a state government did not yet exist) a meeting of all Viennese cultural workers into the Town Hall. Result of the discussions was that in late April 1945 eight cinemas and four theaters took up the operation again, including the Burgtheater. The house took over the Ronacher Theater, which was understood by many castle actors as "exile" as a temporary home (and remained there to 1955). This venue chose the newly appointed director Raoul Aslan, who championed particularly active.

The first performance after the Second World War was on 30 April 1945 Sappho by Franz Grillparzer directed by Adolf Rott from 1943 with Maria Eis in the title role. Also other productions from the Nazi era were resumed. With Paul Hoerbiger, a few days ago as Nazi prisoner still in mortal danger, was shown the play of Nestroy Mädl (Girlie) from the suburbs. The Academy Theatre could be played (the first performance was on 19 April 1945 Hedda Gabler, a production of Rott from the year 1941) and also in the ball room (Redoutensaal) at the Imperial Palace took place performances. Aslan the Ronacher in the summer had rebuilt because the stage was too small for classical performances. On 25 September 1945, Schiller's Maid of Orleans could be played on the enlarged stage.

The first new productions are associated with the name of Lothar Müthel: Everyone and Nathan the Wise, in both Raoul Aslan played the main role. The staging of The Merchant of Venice by Müthel in Nazi times seemed to have been fallen into oblivion.

Great pleasure gave the public the return of the in 1938 from the ensemble expelled Else Wohlgemuth on stage. She performaed after seven years in exile in December 1945 in Clare Biharys The other mother in the Academy Theater. 1951 opened the Burgtheater its doors for the first time, but only the left wing, where the celebrations on the 175th anniversary of the theater took place.

1948, a competition for the reconstruction was tendered: Josef Gielen, who was then director, first tended to support the design of ex aequo-ranked Otto Niedermoser, according to which the house was to be rebuilt into a modern gallery theater. Finally, he agreed but then for the project by Michael Engelhardt, whose plan was conservative but also cost effective. The character of the lodges theater was largely taken into account and maintained, the central royal box but has been replaced by two balconies, and with a new slanted ceiling construction in the audience was the acoustics, the shortcoming of the house, improved significantly.

On 14 October 1955 was happening under Adolf Rott the reopening of the restored house at the Ring. For this occasion Mozart's A Little Night Music was played. On 15 and on 16 October it was followed by the first performance (for reasons of space as a double premiere) in the restored theater: King Ottokar's Fortune and End of Franz Grillparzer, staged by Adolf Rott. A few months after the signing of the Austrian State Treaty was the choice of this play, which the beginning of Habsburg rule in Austria makes a subject of discussion and Ottokar of Horneck's eulogy on Austria (... it's a good country / Well worth that a prince bow to it! / where have you yet seen the same?... ) contains highly symbolic. Rott and under his successors Ernst Haeusserman and Gerhard Klingenberg the classic Burgtheater style and the Burgtheater German for German theaters were finally pointing the way .

In the 1950s and 1960s, the Burgtheater participated (with other well-known theaters in Vienna) on the so-called Brecht boycott.

Gerhard Klingenberg internationalized the Burgtheater, he invited renowned stage directors such as Dieter Dorn, Peter Hall, Luca Ronconi, Giorgio Strehler, Roberto Guicciardini and Otomar Krejča. Klingenberg also enabled the castle debuts of Claus Peymann and Thomas Bernhard (1974 world premiere of The Hunting Party). Bernhard was as a successor of Klingenberg mentioned, but eventually was appointed Achim Benning, whereupon the writer with the text "The theatrical shack on the ring (how I should become the director of the Burgtheater)" answered.

Benning, the first ensemble representative of the Burgtheater which was appointed director, continued Klingenberg's way of Europeanization by other means, brought directors such as Adolf Dresen, Manfred Wekwerth or Thomas Langhoff to Vienna, looked with performances of plays of Vaclav Havel to the then politically separated East and took the the public taste more into consideration.

Directorate Claus Peymann 1986-1999

Under the by short-term Minister of Education Helmut Zilk brought to Vienna Claus Peymann, director from 1986 to 1999, there was further modernization of the programme and staging styles. Moreover Peymann was never at a loss for critical contributions in the public, a hitherto unusual attitude for Burgtheater directors. Therefore, he and his program within sections of the audience met with rejection. The greatest theater scandal in Vienna since 1945 occurred in 1988 concerning the premiere of Thomas Bernhard's Heldenplatz (Place of the Heroes) drama which was fiercly fought by conservative politicians and zealots. The play deals with the Vergangenheitsbewältigung (process of coming to terms with the past) and illuminates the present management in Austria - with attacks on the then ruling Social Democratic Party - critically. Together with Claus Peymann Bernhard after the premiere dared to face on the stage applause and boos.

Bernard, to his home country bound in love-hate relationship, prohibited the performance of his plays in Austria before his death in 1989 by will. Peymann, to Bernhard bound in a difficult friendship (see Bernhard's play Claus Peymann buys a pair of pants and goes eating with me) feared harm for the author's work, should his plays precisely in his homeland not being shown. First, it was through permission of the executor Peter Fabjan - Bernhard's half-brother - after all, possible the already in the schedule of the Burgtheater included productions to continue. Finally, shortly before the tenth anniversary of the death of Bernard it came to the revival of the Bernhard play Before retirement by the first performance director Peymann. The plays by Bernhard are since then continued on the programme of the Burgtheater and they are regularly newly produced.

In 1993, the rehearsal stage of the Castle theater was opened in the arsenal (architect Gustav Peichl). Since 1999, the Burgtheater has the operation form of a limited corporation.

Directorate Klaus Bachler 1999-2009

Peymann was followed in 1999 by Klaus Bachler as director. He is a trained actor, but was mostly as a cultural manager (director of the Vienna Festival) active. Bachler moved the theater as a cultural event in the foreground and he engaged for this purpose directors such as Luc Bondy, Andrea Breth, Peter Zadek and Martin Kušej.

Were among the unusual "events" of the directorate Bachler

* The Theatre of Orgies and Mysteries by Hermann Nitsch with the performance of 122 Action (2005 )

* The recording of the MTV Unplugged concert with Die Toten Hosen for the music channel MTV (2005, under the title available)

* John Irving's reading from his book at the Burgtheater Until I find you (2006)

* The 431 animatographische (animatographical) Expedition by Christoph Schlingensief and a big event of him under the title of Area 7 - Matthew Sadochrist - An expedition by Christoph Schlingensief (2006).

* Daniel Hoevels cut in Schiller's Mary Stuart accidentally his throat (December 2008). Outpatient care is enough.

Jubilee Year 2005

In October 2005, the Burgtheater celebrated the 50th Anniversary of its reopening with a gala evening and the performance of Grillparzer's King Ottokar's Fortune and End, directed by Martin Kušej that had been performed in August 2005 at the Salzburg Festival as a great success. Michael Maertens (in the role of Rudolf of Habsburg) received the Nestroy Theatre Award for Best Actor for his role in this play. Actor Tobias Moretti was awarded in 2006 for this role with the Gertrude Eysoldt Ring.

Furthermore, there were on 16th October 2005 the open day on which the 82-minute film "burg/private. 82 miniatures" of Sepp Dreissinger was shown for the first time. The film contains one-minute film "Stand portraits" of Castle actors and guest actors who, without saying a word, try to present themselves with a as natural as possible facial expression. Klaus Dermutz wrote a work on the history of the Burgtheater. As a motto of this season served a quotation from Lessing's Minna von Barnhelm: "It's so sad to be happy alone."

The Burgtheater on the Mozart Year 2006

Also the Mozart Year 2006 was at the Burgtheater was remembered. As Mozart's Singspiel Die Entführung aus dem Serail in 1782 in the courtyard of Castle Theatre was premiered came in cooperation with the Vienna State Opera on the occasion of the Vienna Festival in May 2006 a new production (directed by Karin Beier) of this opera on stage.

Directorate Matthias Hartmann since 2009

From September 2009 to 2014, Matthias Hartmann was Artistic Director of the Burgtheater. A native of Osnabrück, he directed the stage houses of Bochum and Zurich. With his directors like Alvis Hermanis, Roland Schimmelpfennig, David Bösch, Stefan Bachmann, Stefan Pucher, Michael Thalheimer, came actresses like Dorte Lyssweski, Katharina Lorenz, Sarah Viktoria Frick, Mavie Hoerbiger, Lucas Gregorowicz and Martin Wuttke came permanently to the Burg. Matthias Hartmann himself staged around three premieres per season, about once a year, he staged at the major opera houses. For more internationality and "cross-over", he won the Belgian artist Jan Lauwers and his Need Company as "Artists in Residence" for the Castle, the New York group Nature Theater of Oklahoma show their great episode drama Live and Times of an annual continuation. For the new look - the Burgtheater presents itself without a solid logo with word games around the BURG - the Burgtheater in 2011 was awarded the Cultural Brand of the Year .

Since 2014, Karin Bergmann is the commander in chief.

Koziar's Christmas Village is a seasonal attraction located in Jefferson Township, near Bernville, Berks County, Pennsylvania, U.S.A., approximately 15 miles (24 km) northwest of Reading. Christmas Village utilizes approximately one half million Christmas lights and other decorative effects in a presentation that has repeatedly been listed among the top tourist attractions in Pennsylvania and the top Christmas displays in the United States.

 

The Christmas Village property was originally known as Spring Lake Dairy Farm, a working dairy farm. William M. Koziar began decorating his rural property for Christmas in 1948. The display was created for the enjoyment of Koziar's wife, Grace, and four children and initially centered on the house and barn. However, the display became increasingly elaborate and grew to incorporate the lake, walkways, trees, and fences. Over time the private display became a popular local attraction, known as "The Christmas House," and traffic on the nearby road was sometimes snarled by passersby stopping to view the display. Eventually, visitors were admitted to the premises and Koziar paved a former wheat field to provide parking. Initially, the dairy farm remained active, and the Koziars had to wait until after the cows were milked to turn on the lights, as there was not enough power for the milking machines and the lights to operate simultaneously. Many of the dioramas are housed in former chicken coops and display toys, clothes and other belongs of the Koziars' children and grandchildren. In 2008 Koziar's Christmas Village celebrated its sixtieth anniversary. It remains a family-owned attraction, currently operated by the Koziars' daughters, and several current employees are second- and third-generation associates.

 

Christmas Village features the elaborately illuminated home and barn of the Koziar family, as well as numerous smaller buildings. Upon entrance, visitors are greeted by costumed characters Rudolph, Frosty, and the Village's own Buddy the Bear. A marked pathway leads visitors among the illuminated buildings and other displays. Children may visit Santa Claus at his headquarters on Santa Claus Lane. There are several large dioramas depicting scenes such as Christmas Beneath the Sea, Christmas in the Jungle, Santa's Post Office, and Christmas in Other Lands. There are a number of displays featuring cut-out representations of characters from popular comic strips, animated films and fairy tales, as well as manger scenes, presentations of the biblical story of the Nativity, and tellings of seasonal stories such as A Christmas Carol and The Nutcracker. The Village also includes a recreation of the Valley Forge encampment and a G gauge outdoor train layout that encompasses most of the barnyard. The "Kissing Bridge" has been the site of several marriage proposals, engagements and weddings. In addition, there are several indoor features, including an extensive H0 scale model train layout and sales area, as well as shops selling souvenirs, Christmas decorations, refreshments, and other seasonal items.

 

Perhaps the most dramatic feature of the Village is the first glimpse one sees of the display. Most visitors approach the property from the east, via Christmas Village Road. Being farm country the surrounding area is sparsely inhabited and, after dark, sparsely lit. The terrain blocks the view of the Village until the road crests a hill just a few hundred feet to the east of the display, at which point the entire Village is suddenly visible, reflected in the lake. As of late 2010 the Christmas Village website features a virtual recreation of this experience as a part of its home page.

 

Christmas Village has been named Best Outdoor Christmas Display in the World by Display World magazine. It has also been given the "Award of Excellence" by the Pennsylvania Travel Council as a top travel attraction in the state. A twilight image of Christmas Village was used as jacket art for the book Christmas in America: A Photographic Celebration of the Holiday Season by Peter Guttman, published in 2007 by Skyhorse Publishing and now in its second edition. Christmas Village has been featured frequently by local media, as well as by national and international outlets.

 

Information from: en.wikipedia.org/wiki/Koziar%27s_Christmas_Village

 

www.koziarschristmasvillage.com/

 

Our mission is to utilize USS Hornet and the collections, exhibitions and educational programming to promote awareness and understanding of history, science, technology, and service. The might of an aircraft carrier lies in its ability to quickly move about the world’s oceans, projecting power whenever and wherever it is needed. The heart of a carrier’s combat strength is its aircraft; her Air Groups provided Hornet’s lethal sting. Hornet’s success was dependent on the capabilities of highly trained pilots and aircrews and the specialized aircraft that operated from her flight deck.

In World War II, her air groups consisted of a fighter (VF) squadron, a bombing (VB) squadron and a torpedo (VT) squadron. During the 1950s as naval warfare technology evolved, so too did the complexity and specialty of carrier-based aircraft. Joining the classic fighter and attack aircraft were electronic/early warning, photo-reconnaissance, and anti-submarine warfare aircraft. Dual-role aircraft also provided aerial tanking and limited cargo capabilities and helicopters proved essential to carrier operations which included search and rescue missions.

I utilize my lunch break to pay a visit to Pyg. Luckily, I stuffed the armor in my trunk before I left for work. Man, in this heat, I may need to get a shower after this. It rarely gets above 75 in Gotham, except for that summer during the whole Holiday Killer case, but this suit is like wearing two comforters at all times.

 

I park where Pyg can't see me. There, I change into the armor. When I walk up, he, with legs spread agape, is sitting in the corner of the cage. When I get within his field of vision, he shoots up and leans against the barred walls. His butt is sticking out with his face in between the rails of his prison. He disgusts me. "Didn't expect to see you here, sexy."

 

"Shut up."

 

"I was talking to my reflection in your new armor. You didn't like the adjustments I made to the last on-"

 

"SHUT UP!"

 

"I thought you looked dashing."

 

"The fuck is with the cages?.... and that?"

 

"Mother! I can-- I know! I can handle-- okay! These are where the misbehaving dollies go."

 

"Dollies? What the fuck is that thing I'm staring at?"

 

"My dollatrons, my minions."He starts dropping to the floor. "my children," and the he shoots back up. "My masterpieces!"

 

"You victims?! Those were people whose lives you ruined, you sicko!"

 

"They were beautiful! Perfect! Okay, you don't have to nag at every detail! They were my creations!"

 

"What the fuck? Who are you talking to? What the fuck is THAT?"

 

He stares at the mannequin thing and yells, "STOP IT!!!!"

 

I step up to the cage and grab his shirt collar. "You stop it right this fucking moment! What the fuck is that thing?!"

 

I throw him against the back wall. With tears in his eyes, he drops to his knees while pulling his hair in frustration."THAT'S MOTHER!!! GET ME OUT OF THE SAME ROOM AS HER!"

 

"...the fu--"

 

"She's always undermining me! Always saying my stuff is shit! This is a masterpiece, mother! You don't know the first thing about art!!!" He starts tearing off his apron and shirt. "You're right! I am a pig! Look at me and my fat! You made me like this! I'm a pig because of you, you fat whore! Oinkity oink!"

 

I don't know what the fuck is going on... what is this?! I'm getting out of here... This... I can't... no... I walk off while he's in the heat of the argument with his mother... who he has made as a mannequin thing... I'm not waiting to see how this ends...

Utilizing very dramatic effects of HDR here.

This image came as a result of trying to utilize my portrait lens in a new way.

 

Typically, the 85mm lens is used to get some really nice bokeh in the background when taking portraits, but I was able to get a nice focus on the buildings a few blocks away.

 

During post editing, I had a few ways that I could go with this image. The colors were nicely captured and there really wasn't much I had to do to a great image. However, I added, what is now becoming my go to color grading option -- an orange and blue enhancer.

 

Hopefully there will be more beautiful sights like these for humanity to enjoy

Utilizing light bending techniques that don't involve a computer (except for the part of imaging. And recoloring. Oh. But otherwise, it's an image that utilizes no GMOs.). ; > )

Okay, physics may play a part here....

Guemes Channel. Dakota Creek Industries. (DCI)

Delivery: November 2017

"This US flagged Amendment 80 replacement vessel designed for Fishermen’s Finest by Skipsteknisk AS (ST-116XL) specifically for catching and producing frozen at sea white fish products, groundfish, including yellow and rock sole species. Operations will be the North Pacific Gulf of Alaska, Chukchi Sea and Bering Sea."

dakotacreek.com/project/fishermens-finest-trawler/

 

"The Vessel joins 6 other ST-116 design trawler (ST116 Class), operating around the world and will be the first ST-116XL, and first to operate in the United States. The Vessel will be powered by a MAN 8L32/44CR diesel engine, utilizing the latest Common Rail technology."

 

I KNOW they won't mind :)

NS C13 going through Steubenville OH and then using the wye as well as C17 coming back from WV to shove their train into the yard in Mingo Junction

I've always been attracted to some of the utilization of "blur" in photography and noticed a few of my contacts have recently been playing with the process. I, too, have sometimes found the application interesting and actually have some images that I've created myself. I've even posted some. The methodology I usually employ is slipping on the ice or snow, or tripping on a stair or branch, while inadvertently simultaneously clicking the picture-taking button (sorry for the technical reference) on the camera. Any type of unplanned erratic movement works quite well. You know...that which everyone else finds hilarious while you find it aggravating and slightly embarrassing.

 

In any event, here is a break for both of us...representing a different type of landscape. I will leave it to the unmatched and inestimably creative minds of you, my Flickr friends, to let your imagination take you where it may. A bit of a warmer feel, I'll be back with more snow tomorrow...maybe.

Copyright 2011 © sundeepkullu.com All rights reserved.

The Stock samples of SDBWP SunDeep Bhardwaj World Photography in flickr Photostream cannot be Copied,Distributed,Published or Used in any form,full or in part,or in any kind of media without prior permission from Sundeep Bhardwaj the owner of these images.Utilization in other websites,intenet media,pages,blogs etc without written consent is PROHIBITED.

 

The images are also available for licence through GETTY IMAGES or directly by contacting Sundeep Bhardwaj Kullu Himachal Around the World to more than 50+Countries & 200+Major Destinations across 6 Continents.

 

Sundeep Bhardwaj Kullu

sundeepkullu.com

facebook.com/sundeepkullu

sb@sundeepkullu.com

+974 55344547

 

Eibsee

 

Eibsee is a lake in Bavaria, Germany, 9km southwest of Garmisch-Partenkirchen and roughly 100km southwest of Munich. At an elevation of 973.28 m, its surface area is 177.4 ha. Eibsee lies at the base of the Zugspitze (2950 meters above sea level), Germany's highest mountain.

As of May 2010, trains from Munich to Garmisch-Partenkirchen leave roughly once an hour and the trip takes about an hour and a half[1]. Buses travel regularly from the train station in Garmisch-Partenkirchen to Eibsee[2]. A valid train ticket can often be used to ride the bus

 

Source en.wikipedia.org/wiki/Eibsee

sundeepkullu.com

  

Garmisch-Partenkirchen

 

Garmisch-Partenkirchen is a mountain resort town in Bavaria, southern Germany. It is the administrative centre of the district of Garmisch-Partenkirchen, in the Oberbayern region, and the district is on the border with Austria. Nearby is Germany's highest mountain, Zugspitze, at 2961 m (9714 ft.).

 

Origin

 

Garmisch-Partinkirken was at first two separate cities (Garmisch and Partinkirken).Until the Olympics were held right in between the two cities and often faught over simple things. So, as a compromise, they merged together to create Garmisch-Partinkirken and make the process much easier.

[edit]History

 

Garmisch (in the west) and Partenkirchen (in the east) were separate towns for many centuries, and still maintain quite separate identities.

Partenkirchen originated as the Roman town of Partanum on the trade route from Venice to Augsburg and is first mentioned in the year A.D. 15. Its main street, Ludwigsstrasse, follows the original Roman road.

Garmisch is first mentioned some 800 years later as Germaneskau ("German District"), suggesting that at some point a Teutonic tribe took up settlement in the western end of the valley.

The valley came under the rule of the Bishop of Freising and was governed by a bishop's representative known as a Pfleger (caretaker or warden) from Werdenfels Castle on a cliff north of Garmisch.

The discovery of America at the turn of the 16th century led to a boom in shipping and a sharp decline in overland trade, which plunged the region into a centuries-long economic depression. The valley floor was swampy and difficult to farm. Bears, wolves and lynxes were a constant threat to livestock. The population suffered from periodic epidemics, including several serious outbreaks of bubonic plague. Adverse fortunes from disease and crop failure occasionally led to witch hysteria. Most notable of these were the notorious trials and executions of 1589-1596, in which 63 victims — more than 10 percent of the population at the time — were burned at the stake or garroted.

Werdenfels Castle, where the accused were held, tried and executed, became an object of superstitious horror and was abandoned in the 17th century. It was largely torn down in the 1750s and its stones used to build the baroque Neue Kirche (New Church) on Marienplatz, which was completed in 1752. It replaced the nearby Gothic Alte Kirche (Old Church), parts of which predated Christianity and may originally have been a pagan temple. Used as a storehouse, armory and haybarn for many years, it has since been re-consecrated. Some of its medieval frescoes are still visible.

Garmisch and Partenkirchen remained separate until their respective mayors were forced by Adolf Hitler to combine the two market towns in 1935 in anticipation of the 1936 Winter Olympic games. Today, the united town is casually (but incorrectly) referred to as Garmisch, much to the dismay of Partenkirchen's residents. Most visitors will notice the slightly more modern feel of Garmisch while the fresco-filled, cobblestoned streets of Partenkirchen offer a glimpse into times past. Early mornings and late afternoons in pleasant weather often find local traffic stopped while the dairy cows are herded to and from the nearby mountain meadows.

[edit]Transportation

   

Garmisch-Partenkirchen,

painting by Anton Doll

The town is served by Federal Highway 2 as a continuation of the A95 Autobahn (motorway), which ends at Eschenlohe 16 km north of the city.

Garmisch-Partenkirchen is on the Munich–Garmisch-Partenkirchen line and the Mittenwald Railway (Garmisch–Mittenwald–Innsbruck). It is the terminus of the Außerfern Railway to Reutte in Tirol / Kempten im Allgäu and the Bavarian Zugspitze Railway (with sections of rack railway) to the Zugspitze, the highest mountain in Germany. Regional services run every hour to München Hauptbahnhof and Mittenwald and every two hours to Innsbruck Hauptbahnhof and Reutte. In addition there are special seasonal long-distance services, including ICEs, to Berlin, Hamburg, Dortmund, Bremen and Innsbruck.

Several accessible hiking trails from the town are especially spectacular and cover both the lower and higher elevations.

[edit]Sports

   

Aerial view of

Garmisch-Partenkirchen

In 1936 it was the site of the Winter Olympic Games, the first to feature alpine skiing. A variety of Nordic and alpine World Cup ski races are held here, usually on the Kandahar Track outside town. Traditionally, a ski jumping contest is held in Garmisch-Partenkirchen on New Year's Day, as a part of the Four Hills Tournament (Vierschanzen-Tournee). The World Alpine Ski Championships were held in Garmisch in 1978 and 2011.

Garmisch-Partenkirchen is also a favored holiday spot for skiing, snowboarding, and hiking, having some of the best skiing areas (Garmisch Classic and Zugspitze) in Germany.

It was announced on December 7, 2007, that Garmisch-Partenkirchen is part of a Bavarian bid to host the 2018 Winter Olympics, with partner candidates Munich and Schönau am Königsee (near Berchtesgaden). The Winter Olympics were last held in the German-speaking Alps in 1976 in nearby Innsbruck, Austria.

[edit]Public institutions

 

The George C. Marshall European Center for Security Studies[2] is also located in Garmisch-Partenkirchen. The Marshall Center is an internationally funded and mostly U.S.-staffed learning and conference center for governments from around the world, but primarily from the former Soviet Union and Eastern European countries. It was established in June 1993, replacing the U.S. Army Russian Institute. Near the Marshall Center is the American Armed Forces Recreation Centers (Edelweiss Lodge and Resort) in Garmisch that serves U.S. and NATO military and their families. A number of U.S. troops and civilians are stationed in the town to provide logistical support to the Marshall Center and Edelweiss Recreation Center.

 

Zugspitze

 

Zugspitze

From Wikipedia, the free encyclopedia

Zugspitze

 

The Zugspitze massif from the west (left: the summit)

Elevation2,962 m (9,718 ft) [1]

Prominence1,746 m (5,728 ft) [2]

↓ Fern Pass → Parseierspitze

Parent peakFinsteraarhorna / Mont Blancb

Isolation = 24.6 km → Acherkogel

ListingCountry high point (Germany)

Ultra

Location

  

Zugspitze

Germany

Location on Austria/Germany border

LocationTyrol, Austria

Bavaria, Germany

RangeWettersteingebirge, Eastern Alps

Coordinates47°25′16″N 10°59′07″ECoordinates: 47°25′16″N 10°59′07″E[2]

Geology

TypeWetterstein limestone[3]

Age of rockTriassic

Climbing

First ascent27 August 1820 by Josef Naus, Johann Georg Tauschl and survey assistant, Maier

Easiest routeReintal Route

  

Geography

   

Map showing the Zugspitze's location

The Zugspitze belongs to the Wetterstein range of the Northern Limestone Alps.

The border between Germany and Austria goes right over the mountain. There used to be a border checkpoint at the summit. But since Germany and Austria are now both part of the Schengen zone, the border crossing is no longer manned.

The exact height of the Zugspitze was a matter of debate for quite a while. Given figures ranged from 2,690–2,970 metres (8,830–9,740 ft), but it is now generally accepted that the peak is 2,962 m (9,718 ft) above sea level as a result of a survey carried out by the Bavarian State Survey Office. The lounge at the new café is named "2962" for this reason.

[edit]Location and surrounding area

  

Aerial photograph

  

View from the Alpspitze of the Zugspitze summit and the Höllentalferner glacier in 2007

  

Annotated aerial photograph of the Zugspitze massif

At 2,962 metres (9,718 ft) (eastern peak) the Zugspitze is the highest mountain of the Zugspitze massif. This height is referenced to the Amsterdam Gauge and is given by the Bavarian State Office for Survey and Geoinformation.[4] The same height is recorded against the Trieste Gauge used in Austria, which is 27 cm lower. Originally the Zugspitze had three peaks: the east, middle and west summits (Ost-, Mittel- and Westgipfel). The only one that has remained in its original form is the east summit, which is also the only one that lies entirely on German territory. The middle summit fell victim to one of the cable car summit stations in 1930. In 1938 the west summit was blown up to create a building site for a planned flight control room for the Wehrmacht. This was never built however. Originally the height of the west summit was given as 2,964 m (9,724 ft).[5]

The Zugspitze rises eleven kilometres southwest of Garmisch-Partenkirchen and just under six kilometres east of Ehrwald. The border between Germany and Austria runs over the west summit; thus the Zugspitze massif belongs to the German state of Bavaria and the Austrian state of Tyrol. The municipalities responsible for it are Grainau and Ehrwald. To the west the Zugspitze massif drops into the valley of the River Loisach, which flows around the massif towards the northeast in a curve whilst, in the east, the streams of Hammersbach and Partnach have their source. To the south the Gaistal valley and its river, the Leutascher Ache, separate the Wetterstein Mountains from the Mieming Chain. To the north at the foot of the Zugspitze is the lake of Eibsee. The next highest mountain in the area is the Acherkogel (3,008 m or 9,869 ft) in the Stubai Alps, which gives the Zugspitze an topographic isolation value of 24.6 kilometres. The reference point for the prominence is the Parseierspitze (3,036 m or 9,961 ft). In order to climb it from the Zugspitze, a descent to the Fern Pass (1,216 m or 3,990 ft) is required, so that the prominence is 1,746 m (5,728 ft).[6]

[edit]Zugspitze Massif

The massif of the Zugspitze has several other peaks. To the south the Zugspitzplatt is surrounded in an arc by the Zugspitzeck (2,820 m or 9,250 ft) and Schneefernerkopf (2,874 m or 9,429 ft), the Wetterspitzen (2,747 m or 9,012 ft), the Wetterwandeck (2,698 m or 8,852 ft), the Plattspitzen (2,679 m or 8,789 ft) and the Gatterlköpfen (2,490 m or 8,170 ft). The massif ends int the Gatterl (2,024 m or 6,640 ft), a wind gap between it and the Hochwanner. Running eastwards away from the Zugspitze is the famous Jubilee Ridge or Jubiläumsgrat over the Höllentalspitzen towards the Alpspitze and Hochblassen. The short crest of the Riffelwandkamm runs northeast over the summits of the Riffelwandspitzen (2,626 m or 8,615 ft) and the Riffelköpfe (2,459 m or 8,068 ft), to the Riffel wind gap (Riffelscharte, 2,161 m or 7,090 ft). From here the ridge of the Waxensteinkamm stretches away over the Riffelspitzen to the Waxenstein.[7]

[edit]Zugspitzplatt

  

The Zugspitzplatt above the Reintal valley in 2006

The Platt or Zugspitzplatt is a plateau below the summit of the Zugspitze to the south and southeast which lies at a height of between 2,000 and 2,650 m (6,600 and 8,690 ft). It forms the head of the Reintal valley and has been shaped by a combination of weathering, karstification and glaciation. The area contains roches moutonnées, dolines and limestone pavements as a consequence of the ice ages. In addition moraines have been left behind by various glacial periods. The Platt was completely covered by a glacier for the last time at the beginning of the 19th century. Today 52% of it consists of scree, 32% of bedrock and 16% of vegetation-covered soils, especially in the middle and lower areas.[8]

[edit]Climate

  

Climatic diagram for the Zugspitze: normal periods 1961-1990

From a climatic perspective the Zugspitze lies in the temperate zone and its prevailing winds are Westerlies. As the first high orographic obstacle to these Westerlies in the Alps, the Zugspitze is particular exposed to the weather. It is effectively the north barrier of the Alps (Nordstau der Alpen), against which moist air masses pile up and release heavy precipitation. At the same time the Zugspitze acts as protective barrier for parts of the Alps to the south. By contrast, Föhn weather conditions push in the other direction against the massif, affecting the region for about 60 days per year. These warm, dry air masses stream from south to north and can result in unusually high temperatures in winter. Nevertheless frost dominates the picture on the Zugspitze with an average of 310 days per year. The nearest place with comparable values is the island of Spitsbergen in the Arctic Ocean.

For the decades from 1961 to 1990 - designated by the World Meteorological Organization as the "normal period" - the average annual precipitation on the Zugspitze was 2,003.1 mm; the wettest month being April with 199 mm, and the driest, October with 108.8 mm.[9] By comparison the values for 2009 were 2,070.8 mm, the wettest month being March with 326.2 mm and the driest, January, with 56.4 mm.[10] The average temperature in the normal period was -4.8 Celsius, with July and August being the warmest at 2.2 °C and February, the coldest, with -11.4 °C.[9] By comparison the average temperature in 2009 was -4.2 °C, the warmest month was August at 5.3 °C and the coldest was February at -13.5 °C.[10] The average sunshine during the normal period was 1,846.3 hours per year, the sunniest month being October with 188.8 hours and the darkest being December with 116.1 hours.[9] In 2009 there were 1,836.3 hours of sunshine, the least occurring in February with just 95.4 hours and the most in April with 219 hours.[10] In 2009, according to the weather survey by the German Met Office, the Zugspitze was the coldest place in Germany with a mean annual temperature of -4.2 °C.[11]

The lowest measured temperature on the Zugspitze was -35.6 °C in 14 February 1940. The highest temperature occurred on 5 July 1957 when the thermometer reached 17.9 °C. A squall on 12 June 1985 registered 335 km/h, the highest measured wind speed on the Zugspitze. In April 1944 meteorologists recorded a snow depth of 8.3 metres.[12][13]

[edit]Geology

  

The north face of the Zugspitze seen from the Eibsee lake

All mountain-building strata consists of sedimentary rocks of the Mesozoic era, that were originally laid down on the seabed. The base of the mountain comprises muschelkalk beds; its upper layers are made of Wetterstein limestone. With steep rock walls up to 800 metres high, it is this Wetterstein limestone from the Upper Triassic that is mainly responsible for the rock faces, arêtes, pinnacles and the summit rocks of the mountain. Due to the frequent occurrence of marine coralline algea in the Wetterstein limestone it can be deduced that this rock was at one time formed in a lagoon. The colour of the rock varies between grey-while and light grey to speckled. In several places it contains lead and zinc ore. These minerals were mined between 1827 and 1918 in the Höllental valley. The dark grey, almost horizontal and partly grass-covered layers of muschelkalk run from the foot of the Great Riffelwandspitze to the Ehrwalder Köpfe. From the appearance of the north face of the Zugspitze it can be seen that this massif originally consisted of two mountain ranges that were piled on top of one another.[14]

[edit]Flora

  

The Eibsee in front of the Zugspitze: woods on the northern shore

The flora on the Zugspitze is not particularly diverse due to the soil conditions, nevertheless the vegetation, especially in the meadows of Schachen, the Tieferen Wies near Ehrwald, and in the valleys of Höllental, Gaistal and Leutaschtal is especially colourful.

The shaded and moist northern slopes of the massif like, for example, the Wettersteinwald, are some of the most species-rich environments on the Zugspitze. The Mountain Pine grows at elevations of up to 1,800 metres. The woods lower down consist mainly of Spruce and Fir, but Honeysuckle, Woodruff, poisonous Herb Paris, Meadow-rue and Speedwell[disambiguation needed ] also occur here. Dark Columbine, Alpine Clematis, Blue and Yellow Monkshood, Stemless carline thistle, False aster, Golden cinquefoil, Round-leaved saxifrage, Wall hawkweed, Alpine calamint and Alpine Forget-me-not flower in the less densely wooded places, whilst Cinquefoil, Sticky Sage, Butterbur, Alpenrose, Turk's cap lily and Fly Orchid thrive on the rocky soils of the mountain forests. Lily of the Valley and Daphne also occur, especially in the Höllental, in Grainau and by the Eibsee.[15]

To the south the scene changes to Larch (mainly in the meadow of Ehrwalder Alm and the valleys of Gaistal and Leutaschtal) and pine forests and into mixed woods of Beech and Sycamore. Here too, Mountain Pine grows at the higher elevations of over 2,000 metres.

Relatively rare in the entire Zugspitze area are trees like the Lime, Birch, Rowan, Juniper and Yew. The most varied species of moss, that often completely cover limestone rocks in the open, occur in great numbers.

Bilberry, Cranberry and Cowberry are restricted to dry places and Lady's Slipper Orchid occurs in sheltered spots. Below the Waxenstein are fields with raspberries and occasionally wild strawberries too. The Alpine poppy and Purple mountain saxifrage both thrive up to a very great height. On the scree slops there are Penny-cress and Mouse-ear chickweed as well as Mountain avens, Alpine toadflax, Mint and Musky Saxifrage or Cloth of Gold. Following snowmelt Dark stonecrop and Snow gentian are the first to appear, their seeds beginning to germinate as early as August. And well-known Alpine flowers like the Edelweiss, Gentians and, more rarely, Cyclamen flower on the Zugspitze.

[edit]Fauna

  

Alpine choughs on the Zugspitzeck

The rocks around the Zugspitze are a habitat for Chamois and Marmots are widespread on the southern side of the massif. At the summit there are frequently Alpine Choughs, drawn there by people feeding them. Somewhat lower down the mountain there are Mountain Hare and the Hazel Dormouse. Alpine birds occurring on the Zugspitze include the Golden Eagle, Rock Ptarmigan, Snow Finch, Alpine Accentor and Brambling. The Crag Martin which has given its name to the Schwalbenwand ("Swallows' Wall") at Kreuzeck is frequently encountered. The basins of Mittenwald and Seefeld, as well as the Fern Pass are on bird migration routes.

The Viviparous lizard inhabits rocky terrain, as does the black Alpine Salamander known locally as the Bergmandl, which can be seen after rain showers as one is climbing. Butterflies like Apollo, Alpine Perlmutter, Gossamer-winged butterfly, Geometer moth, Ringlet and Skipper may be seen on the west and south sides of the Zugspitze massif, especially in July and August.[16] The woods around the Zugspitze are home to Red Deer, Red Squirrel, Weasel, Capercaillie, Hazel Grouse and Black Grouse. On the glaciers live glacier fleas (Desoria saltans) and water bears.[17]

[edit]Glaciers

Three of the five German glaciers are found on the Zugspitze massif: the Höllentalferner the Southern and Northern Schneeferner.

[edit]Höllentalferner

  

The Höllentalferner in 2009

The Höllentalferner lies northeast of the Zugspitze in a cirque below the Jubilee Ridge (Jubiläumsgrat) to the south and the Riffelwandspitzen peaks to the west and north. It has a northeast aspect. Its accumulation zone is formed by a depression, in which large quantities of avalanche snow collect. To the south the Jubiläumsgrat shields the glacier from direct sunshine. These conditions meant that the glacier only lost a relatively small area between 1981 and 2006.[18] In recent times the Höllentalferner reached its greatest around 1820 with an area of 47 hectares. Thereafter its area reduced continually until the period between 1950 and 1981 when it grew again, by 3.1 hectares to 30.2 hectares. Since then the glacier has lost (as at 2006) an area of 5.5 hectares and now has an area of 24.7 hectares. In 2006 the glacier head was at 2,569 m and its lowest point at 2,203 metres.[19]

[edit]Schneeferner

  

The Northern Schneeferner and winter sport infrastructure in 2009

[edit]Northern Schneeferner

Southwest of the Zugspitze, between the Zugspitzeck and Schneefernerkopf, is the Northern Schneeferner which has an eastern aspect. With an area of 30.7 hectares (2006) it is the largest German glacier. Around 1820 the entire Zugspitzplatt was glaciated, but of this Platt Glacier (Plattgletscher) only the Northern and Southern Schneeferner remain. The reason for the relatively constant area of the Northern Schneeferner in recent years, despite the lack of shade, is the favourable terrain that results in the glacier tending to grow or shrink in depth rather than area. In the recent past the glacier has also been artificially fed by the ski region operators, using piste tractors to heap large quantities of snow onto the glacier in order to extend the skiing season. At the beginning of the 1990s, ski slope operators began to cover the Northern Schneeferner in summer with artificial sheets in order to protect it from sunshine.[20][21] The Northern Schneeferner reached its last high point in 1979, when its area grew to 40.9 hectares. By 2006 it had shrunk to 30.7 hectares. The glacier head then lay at 2,789 m and the foot at 2,558 metres.[22]

[edit]Southern Schneeferner

The Southern Schneeferner is surrounded by the peaks of the Wetterspitzen and the Wetterwandeck. It is also a remnant of the once great Platt Glacier. Today, the Southern Schneeferner extends up as far as the arête and therefore has no protection from direct sunshine. It has also been divided into two basins by a ridge of rock that has appeared as the snow has receded. It is a matter of debate whether the Southern Schneeferner should still be classified as a glacier.[23] The Southern Schneeferner also reached its last high point in 1979, when it covered an area of 31.7 hectares. This had shrunk by 2006 to just 8.4 hectares however. The highest point of the glacier lies at an elevation of 2,665 metres and the lowest at 2,520 metres.[24]

[edit]Caves

Below the Zugspitzplatt chemical weathering processes have created a large number of caves and abîmes in the Wetterstein limestone. In the 1930s the number of caves was estimated at 300. By 1955 62 caves were known to exist and by 1960 another 47 had been discovered. The first cave explorations here took place in 1931. Other, largest exploratory expeditions took place in 1935 and 1936 as well as between 1955 and 1968. During one expedition, in 1958, the Finch Shaft (Finkenschacht) was discovered. It is 131 metres deep, 260 metres long and has a watercourse. There is a theory that this watercourse could be a link to the source of the River Partnach.[Note 1][25][26]

[edit]Name

 

From the early 14th century, geographic names from the Wetterstein Mountains began to be recorded in treaties and on maps, and this trend intensified in the 15th century. In 1536 a border treaty dating to 1500 was refined in that its course was specified as running over a Schartten ("wind gap" or "col").[27] In the 17th century the reference to this landmark in the treaty was further clarified as "now known as the Zugspüz" (jetzt Zugspüz genant).[27] The landmark referred to was a wind gap on the summit of the Zugspitze and is used time and again in other sources. During the Middle Ages Scharte was a common name for the Zugspitze.[27]

The Zugspitze was first mentioned by name in 1590. In a description of the border between the County of Werdenfels and Austria, it states that the same border runs "from the Zugspitz and over the Derle" (von dem Zugspitz und über den Derle")[28] and continues to a bridge over the River Loisach. Another border treaty in 1656 states: "The highest Wetterstein or Zugspitz" ("Der höchste Wetterstain oder Zugspitz").[28] There is also a map dating to the second half of the 18th century that shows "the Reintal in the County of Werdenfels". It covers the Reintal valley from the Reintaler Hof to the Zugspitzplatt and shows prominent points in the surrounding area, details of tracks and roads and the use pasture use. This includes a track over the then much larger Schneeferner glacier to the summit region of the Zugspitze. However the map does not show any obvious route to the summit itself.[29]

The name of the Zugspitze is probably derived from its Zugbahnen or avalanche paths. In winter avalanches sweep down from the upper slopes of the massif into the valley and leave behind characteristic avalanche remnants in the shape of rocks and scree. Near the Eibsee lake there are several plots of land with the same root: Zug, Zuggasse, Zugstick, Zugmösel or Zugwankel.[28] Until the 19th century the name der Zugspitz was commonplace. It was described as die Zugspitze for the first time on a map printed in 1836.[30]

[edit]Summit cross

   

Summit cross on the Zugspitze

Since 1851 there has been a summit cross on the top of Zugspitze. The driving force behind the erection of a cross on the summit was the priest, Christoph Ott. He was a keen meteorologist and whilst observing conditions from the Hoher Peißenberg mountain he saw the Zugspitze in the distance and was exercised by the fact that "the greatest prince of the Bavarian mountains raised its head into the blue air towards heaven, bare and unadorned, waiting for the moment when patriotic fervour and courageous determination would see that his head too was crowned with dignity."[31] As a result he organised an expedition from 11 to 13 August 1851 with the goal of erecting a summit cross on the Zugspitze. Twenty eight bearers were led through the gorge of the Partnachklamm and the Reintal valley under the direction of forester, Karl Kiendl, up to the Zugspitze. The undertaking, which cost 610 Gulden and 37 Kreuzer, was a success. As a result, a 28-piece, 14 foot high, gilded iron cross now stood on the West Summit. Ott himself did not climb the Zugspitze until 1854. After 37 years the cross had to be taken down after suffering numerous lightning strikes; its support brackets were also badly damaged. In the winter of 1881–1882 it was therefore brought down into the valley and repaired. On 25 August 1882 seven mountain guides and 15 bearers took the cross back to the top. Because an accommodation shed had been built on the West Summit, the team placed the cross on the East Summit. There is remained for about 111 years, until it was removed again on 18 August 1993. This time the damage was not only caused by the weather, but also by an ill-disciplined American soldier who had shot at the cross in 1945, at the end of the Second World War. Because the summit cross could no longer be repaired, a replica was made that was true to the original cross. After two months the rack railway carried the new cross on 12 October to the Zugspitzplatt, from where it was flown to the summit by helicopter. The new cross has a height of 4.88 metres.[32] It was renovated and regilded in 2009 for 15,000 euros and, since 22 April 2009, has stood once again on the East Summit.[33]

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EIBSEE LAKE GARMICH PARTENKIRCHEN BAVARIA OBERBAYERN ZUGSPITZE SOUTHERN GERMANY MUNICH GERMANY's HIGHEST MOUNTAIN

 

Samantha was always the face of the American Girl brand in my eyes. Perhaps it's because it was her sillhouette that was utilized on the packaging for so long. Her original "meet" ensemble, shown on the left, will always have a special place in my heart. I opted to model my 80s Samantha (with white body) for this photo. Her lighter hair and eyes contrast with my 2004 Samantha's darker features. Their differences accentuate the two "meet" dresses. I will say that I always found Sam's purple "meet" dress to be a little cheap, even as a kid. I recall the ribbon belt frayed a bit on my first Samantha's dress. The shoes were identical to Molly's "meet" ones, which made them less exciting. But, they did match a variety of things. Her coordinating accessories set, on the other hand, is LUXURIOUS! I was blown away by her hat especially, when I got it for my birthday in 2004. My Samantha doll was my seventh birthday gift, back in 1998. So by that point the outfit itself had seen better days. I'm grateful that I have several of these dresses as an adult, because I was able to pick a super nice one for this photo (I believe it was the one sold with my 2004 doll). The hat and purse are both velvety soft. I love all the little ribbon hangings that are tied around the band of the hat. It seems impractical, but adds so much flavor to the outfit. And of course that fabulous embroidered handkerchief needs a mention too. It sticks out of the purse splendidly!

 

Initially I was thrown by the Beforever getup, shown on the right. It seemed too pink...too modern, to be Sammy's. But it grew on me after some time. I mainly bought it right away because it came with undies. I needed them at the time for Nellie, a commando flea market rescue I purchased in 2014 (she since got another pair from a thrift store). I never bothered buying the accessory set since it comes with a headband, which is cute, but doesn't add much to the ensemble. I rarely buy the accessory sets unless I feel they bring the outfit to the next level. I love the Mary Jane style shoes, which have velcro closures. They are so similar to the ones sold with Samantha's Socks and Shoes Set. The more I look at this, the more I think it is wonderful. It's also superb quality (the tights are lackluster, but the dress is stunning craftsmanship). I like how this color scheme pops with Samantha's dark hair, without overpowering her.

slightly hesitant to post this, but I mean, come on, it's my only body and the best I can do is utilize it for art and whatnot. Yus.

The Burgtheater at Dr.-Karl -Lueger-Ring (from now on, Universitätsring) in Vienna is an Austrian Federal Theatre. It is one of the most important stages in Europe and after the Comédie-Française, the second oldest European one, as well as the greatest German speaking theater. The original 'old' Burgtheater at Saint Michael's square was utilized from 1748 until the opening of the new building at the ring in October, 1888. The new house in 1945 burnt down completely as a result of bomb attacks, until the re-opening on 14 October 1955 was the Ronacher serving as temporary quarters. The Burgtheater is considered as Austrian National Theatre.

Throughout its history, the theater was bearing different names, first Imperial-Royal Theater next to the Castle, then to 1918 Imperial-Royal Court-Burgtheater and since then Burgtheater (Castle Theater). Especially in Vienna it is often referred to as "The Castle (Die Burg)", the ensemble members are known as Castle actors (Burgschauspieler).

History

St. Michael's Square with the old K.K. Theatre beside the castle (right) and the Winter Riding School of the Hofburg (left)

The interior of the Old Burgtheater, painted by Gustav Klimt. The people are represented in such detail that the identification is possible.

The 'old' Burgtheater at St. Michael's Square

The original castle theater was set up in a ball house that was built in the lower pleasure gardens of the Imperial Palace of the Roman-German King and later Emperor Ferdinand I in 1540, after the old house 1525 fell victim to a fire. Until the beginning of the 18th Century was played there the Jeu de Paume, a precursor of tennis. On 14 March 1741 finally gave the Empress Maria Theresa, ruling after the death of her father, which had ordered a general suspension of the theater, the "Entrepreneur of the Royal Court Opera" and lessees of 1708 built theater at Kärntnertor (Carinthian gate), Joseph Karl Selliers, permission to change the ballroom into a theater. Simultaneously, a new ball house was built in the immediate vicinity, which todays Ballhausplatz is bearing its name.

In 1748, the newly designed "theater next to the castle" was opened. 1756 major renovations were made, inter alia, a new rear wall was built. The Auditorium of the Old Burgtheater was still a solid timber construction and took about 1200 guests. The imperial family could reach her ​​royal box directly from the imperial quarters, the Burgtheater structurally being connected with them. At the old venue at Saint Michael's place were, inter alia, several works of Christoph Willibald Gluck, Ludwig van Beethoven, Wolfgang Amadeus Mozart as well as Franz Grillparzer premiered .

On 17 February 1776, Emperor Joseph II declared the theater to the German National Theatre (Teutsches Nationaltheater). It was he who ordered by decree that the stage plays should not deal with sad events for not bring the Imperial audience in a bad mood. Many theater plays for this reason had to be changed and provided with a Vienna Final (Happy End), such as Romeo and Juliet or Hamlet. From 1794 on, the theater was bearing the name K.K. Court Theatre next to the castle.

1798 the poet August von Kotzebue was appointed as head of the Burgtheater, but after discussions with the actors he left Vienna in 1799. Under German director Joseph Schreyvogel was introduced German instead of French and Italian as a new stage language.

On 12 October 1888 took place the last performance in the old house. The Burgtheater ensemble moved to the new venue at the Ring. The Old Burgtheater had to give way to the completion of Saint Michael's tract of Hofburg. The plans to this end had been drawn almost 200 years before the demolition of the old Burgtheater by Joseph Emanuel Fischer von Erlach.

The "new" K.K. Court Theatre (as the inscription reads today) at the Ring opposite the Town Hall, opened on 14 October 1888 with Grillparzer's Esther and Schiller's Wallenstein's Camp, was designed in neo-Baroque style by Gottfried Semper (plan) and Karl Freiherr von Hasenauer (facade), who had already designed the Imperial Forum in Vienna together. Construction began on 16 December 1874 and followed through 14 years, in which the architects quarreled. Already in 1876 Semper withdrew due to health problems to Rome and had Hasenauer realized his ideas alone, who in the dispute of the architects stood up for a mainly splendid designed grand lodges theater.

However, created the famous Viennese painter Gustav Klimt and his brother Ernst Klimt and Franz Matsch 1886-1888 the ceiling paintings in the two stairwells of the new theater. The three took over this task after similar commissioned work in the city theaters of Fiume and Karlovy Vary and in the Bucharest National Theatre. In the grand staircase on the side facing the café Landtmann of the Burgtheater (Archduke stairs) reproduced ​​Gustav Klimt the artists of the ancient theater in Taormina on Sicily, in the stairwell on the "People's Garden"-side (Kaiserstiege, because it was reserved for the emperor) the London Globe Theatre and the final scene from William Shakespeare's "Romeo and Juliet". Above the entrance to the auditorium is Molière's The Imaginary Invalid to discover. In the background the painter immortalized himself in the company of his two colleagues. Emperor Franz Joseph I liked the ceiling paintings so much that he gave the members of the company of artists of Klimt the Golden Cross of Merit.

The new building resembles externally the Dresden Semper Opera, but even more, due to the for the two theaters absolutely atypical cross wing with the ceremonial stairs, Semper's Munich project from the years 1865/1866 for a Richard Wagner Festspielhaus above the Isar. Above the middle section there is a loggia, which is framed by two side wings, and is divided from a stage house with a gable roof and auditorium with a tent roof. Above the center house there decorates a statue of Apollo the facade, throning between the Muses of drama and tragedy. Above the main entrances are located friezes with Bacchus and Ariadne. At the exterior facade round about, portrait busts of the poets Calderon, Shakespeare, Moliere, Schiller, Goethe, Lessing, Halm, Grillparzer, and Hebbel can be seen. The masks which also can be seen here are indicating the ancient theater, furthermore adorn allegorical representations the side wings: love, hate, humility, lust, selfishness, and heroism. Although the theater since 1919 is bearing the name of Burgtheater, the old inscription KK Hofburgtheater over the main entrance still exists. Some pictures of the old gallery of portraits have been hung up in the new building and can be seen still today - but these images were originally smaller, they had to be "extended" to make them work better in high space. The points of these "supplements" are visible as fine lines on the canvas.

The Burgtheater was initially well received by Viennese people due to its magnificent appearance and technical innovations such as electric lighting, but soon criticism because of the poor acoustics was increasing. Finally, in 1897 the auditorium was rebuilt to reduce the acoustic problems. The new theater was an important meeting place of social life and soon it was situated among the "sanctuaries" of Viennese people. In November 1918, the supervision over the theater was transferred from the High Steward of the emperor to the new state of German Austria.

1922/1923 the Academy Theatre was opened as a chamber play stage of the Burgtheater. On 8th May 1925, the Burgtheater went into Austria's criminal history, as here Mentscha Karnitschewa perpetrated a revolver assassination on Todor Panitza.

The Burgtheater in time of National Socialism

The National Socialist ideas also left traces in the history of the Burgtheater. In 1939 appeared in Adolf Luser Verlag the strongly anti-Semitic characterized book of theater scientist Heinz Kindermann "The Burgtheater. Heritage and mission of a national theater", in which he, among other things, analyzed the "Jewish influence "on the Burgtheater. On 14 October 1938 was on the occasion of the 50th anniversary of the opening of the Burgtheater a Don Carlos production of Karl-Heinz Stroux shown that served Hitler's ideology. The role of the Marquis of Posa played the same Ewald Balser, who in a different Don Carlos production a year earlier (by Heinz Hilpert) at the Deutsches Theater in the same role with the sentence in direction of Joseph Goebbels box vociferated: "just give freedom of thought". The actor and director Lothar Müthel, who was director of the Burgtheater between 1939 and 1945, staged 1943 the Merchant of Venice, in which Werner Kraus the Jew Shylock clearly anti-Semitic represented. The same director staged after the war Lessing's parable Nathan the Wise. Adolf Hitler himself visited during the Nazi regime the Burgtheater only once (1938), and later he refused in pure fear of an assassination.

For actors and theater staff who were classified according to the Reich Citizenship Law of 1935 as "Jews ", were quickly imposed stage bans, within a few days, they were on leave, fired or arrested. The Burgtheater ensemble ​​between 1938 and 1945 did not put up significant resistance against the Nazi ideology, the repertoire was heavily censored, only a few joined the Resistance, as Judith Holzmeister (then also at the People's Theatre engaged) or the actor Fritz Lehmann. Although Jewish members of the ensemble indeed have been helped to emigrate, was still an actor, Fritz Strassny, taken to a concentration camp and murdered there.

The Burgtheater at the end of the war and after the Second World War

In summer 1944, the Burgtheater had to be closed because of the decreed general theater suspension. From 1 April 1945, as the Red Army approached Vienna, camped a military unit in the house, a portion was used as an arsenal. In a bomb attack the house at the Ring was damaged and burned down on 12th April 1945 completely. Auditorium and stage were useless, only the steel structure remained. The ceiling paintings and part of the lobby were almost undamaged.

The Soviet occupying power expected from Viennese City Councillor Viktor Matejka to launch Vienna's cultural life as soon as possible again. The council summoned on 23 April (a state government did not yet exist) a meeting of all Viennese cultural workers into the Town Hall. Result of the discussions was that in late April 1945 eight cinemas and four theaters took up the operation again, including the Burgtheater. The house took over the Ronacher Theater, which was understood by many castle actors as "exile" as a temporary home (and remained there to 1955). This venue chose the newly appointed director Raoul Aslan, who championed particularly active.

The first performance after the Second World War was on 30 April 1945 Sappho by Franz Grillparzer directed by Adolf Rott from 1943 with Maria Eis in the title role. Also other productions from the Nazi era were resumed. With Paul Hoerbiger, a few days ago as Nazi prisoner still in mortal danger, was shown the play of Nestroy Mädl (Girlie) from the suburbs. The Academy Theatre could be played (the first performance was on 19 April 1945 Hedda Gabler, a production of Rott from the year 1941) and also in the ball room (Redoutensaal) at the Imperial Palace took place performances. Aslan the Ronacher in the summer had rebuilt because the stage was too small for classical performances. On 25 September 1945, Schiller's Maid of Orleans could be played on the enlarged stage.

The first new productions are associated with the name of Lothar Müthel: Everyone and Nathan the Wise, in both Raoul Aslan played the main role. The staging of The Merchant of Venice by Müthel in Nazi times seemed to have been fallen into oblivion.

Great pleasure gave the public the return of the in 1938 from the ensemble expelled Else Wohlgemuth on stage. She performaed after seven years in exile in December 1945 in Clare Biharys The other mother in the Academy Theater. 1951 opened the Burgtheater its doors for the first time, but only the left wing, where the celebrations on the 175th anniversary of the theater took place.

1948, a competition for the reconstruction was tendered: Josef Gielen, who was then director, first tended to support the design of ex aequo-ranked Otto Niedermoser, according to which the house was to be rebuilt into a modern gallery theater. Finally, he agreed but then for the project by Michael Engelhardt, whose plan was conservative but also cost effective. The character of the lodges theater was largely taken into account and maintained, the central royal box but has been replaced by two balconies, and with a new slanted ceiling construction in the audience was the acoustics, the shortcoming of the house, improved significantly.

On 14 October 1955 was happening under Adolf Rott the reopening of the restored house at the Ring. For this occasion Mozart's A Little Night Music was played. On 15 and on 16 October it was followed by the first performance (for reasons of space as a double premiere) in the restored theater: King Ottokar's Fortune and End of Franz Grillparzer, staged by Adolf Rott. A few months after the signing of the Austrian State Treaty was the choice of this play, which the beginning of Habsburg rule in Austria makes a subject of discussion and Ottokar of Horneck's eulogy on Austria (... it's a good country / Well worth that a prince bow to it! / where have you yet seen the same?... ) contains highly symbolic. Rott and under his successors Ernst Haeusserman and Gerhard Klingenberg the classic Burgtheater style and the Burgtheater German for German theaters were finally pointing the way .

In the 1950s and 1960s, the Burgtheater participated (with other well-known theaters in Vienna) on the so-called Brecht boycott.

Gerhard Klingenberg internationalized the Burgtheater, he invited renowned stage directors such as Dieter Dorn, Peter Hall, Luca Ronconi, Giorgio Strehler, Roberto Guicciardini and Otomar Krejča. Klingenberg also enabled the castle debuts of Claus Peymann and Thomas Bernhard (1974 world premiere of The Hunting Party). Bernhard was as a successor of Klingenberg mentioned, but eventually was appointed Achim Benning, whereupon the writer with the text "The theatrical shack on the ring (how I should become the director of the Burgtheater)" answered.

Benning, the first ensemble representative of the Burgtheater which was appointed director, continued Klingenberg's way of Europeanization by other means, brought directors such as Adolf Dresen, Manfred Wekwerth or Thomas Langhoff to Vienna, looked with performances of plays of Vaclav Havel to the then politically separated East and took the the public taste more into consideration.

Directorate Claus Peymann 1986-1999

Under the by short-term Minister of Education Helmut Zilk brought to Vienna Claus Peymann, director from 1986 to 1999, there was further modernization of the programme and staging styles. Moreover Peymann was never at a loss for critical contributions in the public, a hitherto unusual attitude for Burgtheater directors. Therefore, he and his program within sections of the audience met with rejection. The greatest theater scandal in Vienna since 1945 occurred in 1988 concerning the premiere of Thomas Bernhard's Heldenplatz (Place of the Heroes) drama which was fiercly fought by conservative politicians and zealots. The play deals with the Vergangenheitsbewältigung (process of coming to terms with the past) and illuminates the present management in Austria - with attacks on the then ruling Social Democratic Party - critically. Together with Claus Peymann Bernhard after the premiere dared to face on the stage applause and boos.

Bernard, to his home country bound in love-hate relationship, prohibited the performance of his plays in Austria before his death in 1989 by will. Peymann, to Bernhard bound in a difficult friendship (see Bernhard's play Claus Peymann buys a pair of pants and goes eating with me) feared harm for the author's work, should his plays precisely in his homeland not being shown. First, it was through permission of the executor Peter Fabjan - Bernhard's half-brother - after all, possible the already in the schedule of the Burgtheater included productions to continue. Finally, shortly before the tenth anniversary of the death of Bernard it came to the revival of the Bernhard play Before retirement by the first performance director Peymann. The plays by Bernhard are since then continued on the programme of the Burgtheater and they are regularly newly produced.

In 1993, the rehearsal stage of the Castle theater was opened in the arsenal (architect Gustav Peichl). Since 1999, the Burgtheater has the operation form of a limited corporation.

Directorate Klaus Bachler 1999-2009

Peymann was followed in 1999 by Klaus Bachler as director. He is a trained actor, but was mostly as a cultural manager (director of the Vienna Festival) active. Bachler moved the theater as a cultural event in the foreground and he engaged for this purpose directors such as Luc Bondy, Andrea Breth, Peter Zadek and Martin Kušej.

Were among the unusual "events" of the directorate Bachler

* The Theatre of Orgies and Mysteries by Hermann Nitsch with the performance of 122 Action (2005 )

* The recording of the MTV Unplugged concert with Die Toten Hosen for the music channel MTV (2005, under the title available)

* John Irving's reading from his book at the Burgtheater Until I find you (2006)

* The 431 animatographische (animatographical) Expedition by Christoph Schlingensief and a big event of him under the title of Area 7 - Matthew Sadochrist - An expedition by Christoph Schlingensief (2006).

* Daniel Hoevels cut in Schiller's Mary Stuart accidentally his throat (December 2008). Outpatient care is enough.

Jubilee Year 2005

In October 2005, the Burgtheater celebrated the 50th Anniversary of its reopening with a gala evening and the performance of Grillparzer's King Ottokar's Fortune and End, directed by Martin Kušej that had been performed in August 2005 at the Salzburg Festival as a great success. Michael Maertens (in the role of Rudolf of Habsburg) received the Nestroy Theatre Award for Best Actor for his role in this play. Actor Tobias Moretti was awarded in 2006 for this role with the Gertrude Eysoldt Ring.

Furthermore, there were on 16th October 2005 the open day on which the 82-minute film "burg/private. 82 miniatures" of Sepp Dreissinger was shown for the first time. The film contains one-minute film "Stand portraits" of Castle actors and guest actors who, without saying a word, try to present themselves with a as natural as possible facial expression. Klaus Dermutz wrote a work on the history of the Burgtheater. As a motto of this season served a quotation from Lessing's Minna von Barnhelm: "It's so sad to be happy alone."

The Burgtheater on the Mozart Year 2006

Also the Mozart Year 2006 was at the Burgtheater was remembered. As Mozart's Singspiel Die Entführung aus dem Serail in 1782 in the courtyard of Castle Theatre was premiered came in cooperation with the Vienna State Opera on the occasion of the Vienna Festival in May 2006 a new production (directed by Karin Beier) of this opera on stage.

Directorate Matthias Hartmann since 2009

From September 2009 to 2014, Matthias Hartmann was Artistic Director of the Burgtheater. A native of Osnabrück, he directed the stage houses of Bochum and Zurich. With his directors like Alvis Hermanis, Roland Schimmelpfennig, David Bösch, Stefan Bachmann, Stefan Pucher, Michael Thalheimer, came actresses like Dorte Lyssweski, Katharina Lorenz, Sarah Viktoria Frick, Mavie Hoerbiger, Lucas Gregorowicz and Martin Wuttke came permanently to the Burg. Matthias Hartmann himself staged around three premieres per season, about once a year, he staged at the major opera houses. For more internationality and "cross-over", he won the Belgian artist Jan Lauwers and his Need Company as "Artists in Residence" for the Castle, the New York group Nature Theater of Oklahoma show their great episode drama Live and Times of an annual continuation. For the new look - the Burgtheater presents itself without a solid logo with word games around the BURG - the Burgtheater in 2011 was awarded the Cultural Brand of the Year .

Since 2014, Karin Bergmann is the commander in chief.

The Burgtheater at Dr.-Karl -Lueger-Ring (from now on, Universitätsring) in Vienna is an Austrian Federal Theatre. It is one of the most important stages in Europe and after the Comédie-Française, the second oldest European one, as well as the greatest German speaking theater. The original 'old' Burgtheater at Saint Michael's square was utilized from 1748 until the opening of the new building at the ring in October, 1888. The new house in 1945 burnt down completely as a result of bomb attacks, until the re-opening on 14 October 1955 was the Ronacher serving as temporary quarters. The Burgtheater is considered as Austrian National Theatre.

Throughout its history, the theater was bearing different names, first Imperial-Royal Theater next to the Castle, then to 1918 Imperial-Royal Court-Burgtheater and since then Burgtheater (Castle Theater). Especially in Vienna it is often referred to as "The Castle (Die Burg)", the ensemble members are known as Castle actors (Burgschauspieler).

History

St. Michael's Square with the old K.K. Theatre beside the castle (right) and the Winter Riding School of the Hofburg (left)

The interior of the Old Burgtheater, painted by Gustav Klimt. The people are represented in such detail that the identification is possible.

The 'old' Burgtheater at St. Michael's Square

The original castle theater was set up in a ball house that was built in the lower pleasure gardens of the Imperial Palace of the Roman-German King and later Emperor Ferdinand I in 1540, after the old house 1525 fell victim to a fire. Until the beginning of the 18th Century was played there the Jeu de Paume, a precursor of tennis. On 14 March 1741 finally gave the Empress Maria Theresa, ruling after the death of her father, which had ordered a general suspension of the theater, the "Entrepreneur of the Royal Court Opera" and lessees of 1708 built theater at Kärntnertor (Carinthian gate), Joseph Karl Selliers, permission to change the ballroom into a theater. Simultaneously, a new ball house was built in the immediate vicinity, which todays Ballhausplatz is bearing its name.

In 1748, the newly designed "theater next to the castle" was opened. 1756 major renovations were made, inter alia, a new rear wall was built. The Auditorium of the Old Burgtheater was still a solid timber construction and took about 1200 guests. The imperial family could reach her ​​royal box directly from the imperial quarters, the Burgtheater structurally being connected with them. At the old venue at Saint Michael's place were, inter alia, several works of Christoph Willibald Gluck, Ludwig van Beethoven, Wolfgang Amadeus Mozart as well as Franz Grillparzer premiered .

On 17 February 1776, Emperor Joseph II declared the theater to the German National Theatre (Teutsches Nationaltheater). It was he who ordered by decree that the stage plays should not deal with sad events for not bring the Imperial audience in a bad mood. Many theater plays for this reason had to be changed and provided with a Vienna Final (Happy End), such as Romeo and Juliet or Hamlet. From 1794 on, the theater was bearing the name K.K. Court Theatre next to the castle.

1798 the poet August von Kotzebue was appointed as head of the Burgtheater, but after discussions with the actors he left Vienna in 1799. Under German director Joseph Schreyvogel was introduced German instead of French and Italian as a new stage language.

On 12 October 1888 took place the last performance in the old house. The Burgtheater ensemble moved to the new venue at the Ring. The Old Burgtheater had to give way to the completion of Saint Michael's tract of Hofburg. The plans to this end had been drawn almost 200 years before the demolition of the old Burgtheater by Joseph Emanuel Fischer von Erlach.

The "new" K.K. Court Theatre (as the inscription reads today) at the Ring opposite the Town Hall, opened on 14 October 1888 with Grillparzer's Esther and Schiller's Wallenstein's Camp, was designed in neo-Baroque style by Gottfried Semper (plan) and Karl Freiherr von Hasenauer (facade), who had already designed the Imperial Forum in Vienna together. Construction began on 16 December 1874 and followed through 14 years, in which the architects quarreled. Already in 1876 Semper withdrew due to health problems to Rome and had Hasenauer realized his ideas alone, who in the dispute of the architects stood up for a mainly splendid designed grand lodges theater.

However, created the famous Viennese painter Gustav Klimt and his brother Ernst Klimt and Franz Matsch 1886-1888 the ceiling paintings in the two stairwells of the new theater. The three took over this task after similar commissioned work in the city theaters of Fiume and Karlovy Vary and in the Bucharest National Theatre. In the grand staircase on the side facing the café Landtmann of the Burgtheater (Archduke stairs) reproduced ​​Gustav Klimt the artists of the ancient theater in Taormina on Sicily, in the stairwell on the "People's Garden"-side (Kaiserstiege, because it was reserved for the emperor) the London Globe Theatre and the final scene from William Shakespeare's "Romeo and Juliet". Above the entrance to the auditorium is Molière's The Imaginary Invalid to discover. In the background the painter immortalized himself in the company of his two colleagues. Emperor Franz Joseph I liked the ceiling paintings so much that he gave the members of the company of artists of Klimt the Golden Cross of Merit.

The new building resembles externally the Dresden Semper Opera, but even more, due to the for the two theaters absolutely atypical cross wing with the ceremonial stairs, Semper's Munich project from the years 1865/1866 for a Richard Wagner Festspielhaus above the Isar. Above the middle section there is a loggia, which is framed by two side wings, and is divided from a stage house with a gable roof and auditorium with a tent roof. Above the center house there decorates a statue of Apollo the facade, throning between the Muses of drama and tragedy. Above the main entrances are located friezes with Bacchus and Ariadne. At the exterior facade round about, portrait busts of the poets Calderon, Shakespeare, Moliere, Schiller, Goethe, Lessing, Halm, Grillparzer, and Hebbel can be seen. The masks which also can be seen here are indicating the ancient theater, furthermore adorn allegorical representations the side wings: love, hate, humility, lust, selfishness, and heroism. Although the theater since 1919 is bearing the name of Burgtheater, the old inscription KK Hofburgtheater over the main entrance still exists. Some pictures of the old gallery of portraits have been hung up in the new building and can be seen still today - but these images were originally smaller, they had to be "extended" to make them work better in high space. The points of these "supplements" are visible as fine lines on the canvas.

The Burgtheater was initially well received by Viennese people due to its magnificent appearance and technical innovations such as electric lighting, but soon criticism because of the poor acoustics was increasing. Finally, in 1897 the auditorium was rebuilt to reduce the acoustic problems. The new theater was an important meeting place of social life and soon it was situated among the "sanctuaries" of Viennese people. In November 1918, the supervision over the theater was transferred from the High Steward of the emperor to the new state of German Austria.

1922/1923 the Academy Theatre was opened as a chamber play stage of the Burgtheater. On 8th May 1925, the Burgtheater went into Austria's criminal history, as here Mentscha Karnitschewa perpetrated a revolver assassination on Todor Panitza.

The Burgtheater in time of National Socialism

The National Socialist ideas also left traces in the history of the Burgtheater. In 1939 appeared in Adolf Luser Verlag the strongly anti-Semitic characterized book of theater scientist Heinz Kindermann "The Burgtheater. Heritage and mission of a national theater", in which he, among other things, analyzed the "Jewish influence "on the Burgtheater. On 14 October 1938 was on the occasion of the 50th anniversary of the opening of the Burgtheater a Don Carlos production of Karl-Heinz Stroux shown that served Hitler's ideology. The role of the Marquis of Posa played the same Ewald Balser, who in a different Don Carlos production a year earlier (by Heinz Hilpert) at the Deutsches Theater in the same role with the sentence in direction of Joseph Goebbels box vociferated: "just give freedom of thought". The actor and director Lothar Müthel, who was director of the Burgtheater between 1939 and 1945, staged 1943 the Merchant of Venice, in which Werner Kraus the Jew Shylock clearly anti-Semitic represented. The same director staged after the war Lessing's parable Nathan the Wise. Adolf Hitler himself visited during the Nazi regime the Burgtheater only once (1938), and later he refused in pure fear of an assassination.

For actors and theater staff who were classified according to the Reich Citizenship Law of 1935 as "Jews ", were quickly imposed stage bans, within a few days, they were on leave, fired or arrested. The Burgtheater ensemble ​​between 1938 and 1945 did not put up significant resistance against the Nazi ideology, the repertoire was heavily censored, only a few joined the Resistance, as Judith Holzmeister (then also at the People's Theatre engaged) or the actor Fritz Lehmann. Although Jewish members of the ensemble indeed have been helped to emigrate, was still an actor, Fritz Strassny, taken to a concentration camp and murdered there.

The Burgtheater at the end of the war and after the Second World War

In summer 1944, the Burgtheater had to be closed because of the decreed general theater suspension. From 1 April 1945, as the Red Army approached Vienna, camped a military unit in the house, a portion was used as an arsenal. In a bomb attack the house at the Ring was damaged and burned down on 12th April 1945 completely. Auditorium and stage were useless, only the steel structure remained. The ceiling paintings and part of the lobby were almost undamaged.

The Soviet occupying power expected from Viennese City Councillor Viktor Matejka to launch Vienna's cultural life as soon as possible again. The council summoned on 23 April (a state government did not yet exist) a meeting of all Viennese cultural workers into the Town Hall. Result of the discussions was that in late April 1945 eight cinemas and four theaters took up the operation again, including the Burgtheater. The house took over the Ronacher Theater, which was understood by many castle actors as "exile" as a temporary home (and remained there to 1955). This venue chose the newly appointed director Raoul Aslan, who championed particularly active.

The first performance after the Second World War was on 30 April 1945 Sappho by Franz Grillparzer directed by Adolf Rott from 1943 with Maria Eis in the title role. Also other productions from the Nazi era were resumed. With Paul Hoerbiger, a few days ago as Nazi prisoner still in mortal danger, was shown the play of Nestroy Mädl (Girlie) from the suburbs. The Academy Theatre could be played (the first performance was on 19 April 1945 Hedda Gabler, a production of Rott from the year 1941) and also in the ball room (Redoutensaal) at the Imperial Palace took place performances. Aslan the Ronacher in the summer had rebuilt because the stage was too small for classical performances. On 25 September 1945, Schiller's Maid of Orleans could be played on the enlarged stage.

The first new productions are associated with the name of Lothar Müthel: Everyone and Nathan the Wise, in both Raoul Aslan played the main role. The staging of The Merchant of Venice by Müthel in Nazi times seemed to have been fallen into oblivion.

Great pleasure gave the public the return of the in 1938 from the ensemble expelled Else Wohlgemuth on stage. She performaed after seven years in exile in December 1945 in Clare Biharys The other mother in the Academy Theater. 1951 opened the Burgtheater its doors for the first time, but only the left wing, where the celebrations on the 175th anniversary of the theater took place.

1948, a competition for the reconstruction was tendered: Josef Gielen, who was then director, first tended to support the design of ex aequo-ranked Otto Niedermoser, according to which the house was to be rebuilt into a modern gallery theater. Finally, he agreed but then for the project by Michael Engelhardt, whose plan was conservative but also cost effective. The character of the lodges theater was largely taken into account and maintained, the central royal box but has been replaced by two balconies, and with a new slanted ceiling construction in the audience was the acoustics, the shortcoming of the house, improved significantly.

On 14 October 1955 was happening under Adolf Rott the reopening of the restored house at the Ring. For this occasion Mozart's A Little Night Music was played. On 15 and on 16 October it was followed by the first performance (for reasons of space as a double premiere) in the restored theater: King Ottokar's Fortune and End of Franz Grillparzer, staged by Adolf Rott. A few months after the signing of the Austrian State Treaty was the choice of this play, which the beginning of Habsburg rule in Austria makes a subject of discussion and Ottokar of Horneck's eulogy on Austria (... it's a good country / Well worth that a prince bow to it! / where have you yet seen the same?... ) contains highly symbolic. Rott and under his successors Ernst Haeusserman and Gerhard Klingenberg the classic Burgtheater style and the Burgtheater German for German theaters were finally pointing the way .

In the 1950s and 1960s, the Burgtheater participated (with other well-known theaters in Vienna) on the so-called Brecht boycott.

Gerhard Klingenberg internationalized the Burgtheater, he invited renowned stage directors such as Dieter Dorn, Peter Hall, Luca Ronconi, Giorgio Strehler, Roberto Guicciardini and Otomar Krejča. Klingenberg also enabled the castle debuts of Claus Peymann and Thomas Bernhard (1974 world premiere of The Hunting Party). Bernhard was as a successor of Klingenberg mentioned, but eventually was appointed Achim Benning, whereupon the writer with the text "The theatrical shack on the ring (how I should become the director of the Burgtheater)" answered.

Benning, the first ensemble representative of the Burgtheater which was appointed director, continued Klingenberg's way of Europeanization by other means, brought directors such as Adolf Dresen, Manfred Wekwerth or Thomas Langhoff to Vienna, looked with performances of plays of Vaclav Havel to the then politically separated East and took the the public taste more into consideration.

Directorate Claus Peymann 1986-1999

Under the by short-term Minister of Education Helmut Zilk brought to Vienna Claus Peymann, director from 1986 to 1999, there was further modernization of the programme and staging styles. Moreover Peymann was never at a loss for critical contributions in the public, a hitherto unusual attitude for Burgtheater directors. Therefore, he and his program within sections of the audience met with rejection. The greatest theater scandal in Vienna since 1945 occurred in 1988 concerning the premiere of Thomas Bernhard's Heldenplatz (Place of the Heroes) drama which was fiercly fought by conservative politicians and zealots. The play deals with the Vergangenheitsbewältigung (process of coming to terms with the past) and illuminates the present management in Austria - with attacks on the then ruling Social Democratic Party - critically. Together with Claus Peymann Bernhard after the premiere dared to face on the stage applause and boos.

Bernard, to his home country bound in love-hate relationship, prohibited the performance of his plays in Austria before his death in 1989 by will. Peymann, to Bernhard bound in a difficult friendship (see Bernhard's play Claus Peymann buys a pair of pants and goes eating with me) feared harm for the author's work, should his plays precisely in his homeland not being shown. First, it was through permission of the executor Peter Fabjan - Bernhard's half-brother - after all, possible the already in the schedule of the Burgtheater included productions to continue. Finally, shortly before the tenth anniversary of the death of Bernard it came to the revival of the Bernhard play Before retirement by the first performance director Peymann. The plays by Bernhard are since then continued on the programme of the Burgtheater and they are regularly newly produced.

In 1993, the rehearsal stage of the Castle theater was opened in the arsenal (architect Gustav Peichl). Since 1999, the Burgtheater has the operation form of a limited corporation.

Directorate Klaus Bachler 1999-2009

Peymann was followed in 1999 by Klaus Bachler as director. He is a trained actor, but was mostly as a cultural manager (director of the Vienna Festival) active. Bachler moved the theater as a cultural event in the foreground and he engaged for this purpose directors such as Luc Bondy, Andrea Breth, Peter Zadek and Martin Kušej.

Were among the unusual "events" of the directorate Bachler

* The Theatre of Orgies and Mysteries by Hermann Nitsch with the performance of 122 Action (2005 )

* The recording of the MTV Unplugged concert with Die Toten Hosen for the music channel MTV (2005, under the title available)

* John Irving's reading from his book at the Burgtheater Until I find you (2006)

* The 431 animatographische (animatographical) Expedition by Christoph Schlingensief and a big event of him under the title of Area 7 - Matthew Sadochrist - An expedition by Christoph Schlingensief (2006).

* Daniel Hoevels cut in Schiller's Mary Stuart accidentally his throat (December 2008). Outpatient care is enough.

Jubilee Year 2005

In October 2005, the Burgtheater celebrated the 50th Anniversary of its reopening with a gala evening and the performance of Grillparzer's King Ottokar's Fortune and End, directed by Martin Kušej that had been performed in August 2005 at the Salzburg Festival as a great success. Michael Maertens (in the role of Rudolf of Habsburg) received the Nestroy Theatre Award for Best Actor for his role in this play. Actor Tobias Moretti was awarded in 2006 for this role with the Gertrude Eysoldt Ring.

Furthermore, there were on 16th October 2005 the open day on which the 82-minute film "burg/private. 82 miniatures" of Sepp Dreissinger was shown for the first time. The film contains one-minute film "Stand portraits" of Castle actors and guest actors who, without saying a word, try to present themselves with a as natural as possible facial expression. Klaus Dermutz wrote a work on the history of the Burgtheater. As a motto of this season served a quotation from Lessing's Minna von Barnhelm: "It's so sad to be happy alone."

The Burgtheater on the Mozart Year 2006

Also the Mozart Year 2006 was at the Burgtheater was remembered. As Mozart's Singspiel Die Entführung aus dem Serail in 1782 in the courtyard of Castle Theatre was premiered came in cooperation with the Vienna State Opera on the occasion of the Vienna Festival in May 2006 a new production (directed by Karin Beier) of this opera on stage.

Directorate Matthias Hartmann since 2009

From September 2009 to 2014, Matthias Hartmann was Artistic Director of the Burgtheater. A native of Osnabrück, he directed the stage houses of Bochum and Zurich. With his directors like Alvis Hermanis, Roland Schimmelpfennig, David Bösch, Stefan Bachmann, Stefan Pucher, Michael Thalheimer, came actresses like Dorte Lyssweski, Katharina Lorenz, Sarah Viktoria Frick, Mavie Hoerbiger, Lucas Gregorowicz and Martin Wuttke came permanently to the Burg. Matthias Hartmann himself staged around three premieres per season, about once a year, he staged at the major opera houses. For more internationality and "cross-over", he won the Belgian artist Jan Lauwers and his Need Company as "Artists in Residence" for the Castle, the New York group Nature Theater of Oklahoma show their great episode drama Live and Times of an annual continuation. For the new look - the Burgtheater presents itself without a solid logo with word games around the BURG - the Burgtheater in 2011 was awarded the Cultural Brand of the Year .

Since 2014, Karin Bergmann is the commander in chief.

Utilizing the BA M2 barrel and Overmolded RPG

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Malana is an ancient village to the north-east of Kullu Valley. This solitary village in the Malana Nala, a side valley of the Parvati Valley, is isolated from the rest of the world. The majestic peaks of Chandrakhani and Deotibba shadow the village. It is situated on a remote plateau by the side of torrential Malana river at a height of 3029 m above the sea level. Unaffected by the modern civilisation, Malana has its own lifestyle and social structure. People are strict in following their customs. Malana has been the subject of various documentaries including, Malana: Globalization of a Himalayan Village,[1] and Malana, A Lost Identity.[2] The existing speakers of the autochthonus language Kanashi, the traditional language of the inhabitants of Malana are approximately 1700. According to the 1961 census, language speakers were 563. Today the population of Malana is at least three times as large as 40 years ago.[3]

 

Geography

 

Malana is located at 32°0'19"N 77°14'43"E . It has an average elevation of 3029 metres (9940 feet).

 

History

 

Malana has a history and it goes back to Jamlu rishi (sage) who inhabited this place and made rules and regulations. It is one of the oldest democracies of the world with a well organized parliamentary system. All of this is guided by the their devta (deity) Jamlu rishi.[4] Although Jamlu is currently identified with a sage from the Puranas, this is a relatively recent development. Jamlu is believed to have been worshipped in pre-Aryan times. Penelope Chetwood recounts a tale about an orthodox Brahmin priest, who visited Malana, and tried to educate the locals about the pedigree of their god, and what subsequently befell the hapless priest.[5]

Malana is considered to be one of the first democracies in the world. According to tradition, the residents of Malana are the descendant of Aryans, and they acquired their independence during the Mughal reign when the Emperor Akbar walked to the village in order to cure an ailment that he was afflicted with; after having been successfully cured he put out an edict stating that all the inhabitants of the valley would never be required to pay tax. An alternative tradition suggests that Malana was founded by remnants of Alexander the Great's Army.

A dam project, the Malana Hydro Power Station, has brought Malana much closer to the rest of the world and provides revenue for the region. A new road has shortened the walking time from several days to just 4 hours.

[edit]Language

 

The residents of Malana speak Kanashi/Raksh (supposedly the dialect of devils residing there long ago),[6] which is understood only by the villagers. "Kanashi, the language of Malana, does not resemble any of the dialects spoken in its neighbourhood but seems to be a mixture of Sanskrit and several Tibetan dialects."[7] Ethnologue, citing a reference from 2002, classifies Malana as a Tibetan-Burmese language, rather than as a member of the Indo-European languages that includes Sanskrit,[8] and notes that Kanashi has "no intelligibility with any Tibeto-Burman languages of Lahul-Spiti and Kinnaur" and that Malana is surrounded by Indo-Aryan language speaking populations. The Hydro Malana Project has also ruined the beauty of the valley

[edit]Culture and lifestyle

 

The village administration is democratic and is believed[by whom?] to be the oldest republic of the world.[9]

The social structure of Malana in fact rests on villagers' unshaked faith in their powerful deity, Jamblu Devta. The entire administration of the village is controlled by him through a village council. This council has eleven members and they are believed as delegates of Jamblu who govern the village in his name. His decision is ultimate in any dispute and any outsider authority is never required. It is although a real fact that Malanis through this council perform a political system of direct democracy very similar to that of ancient Greece. Thus Malana has been named the Athens of Himalayas[10]

Malanis (the inhabitants of Malana) admire their culture, customs and religious beliefs. They generally do not like to change though some traces of modernization are visible.

People in Malana consider all non-Malani to be inferior and consequently untouchable. Visitors to Malana town must pay particular attention to stick to the prescribed paths and not to touch any of the walls, houses or people there. If this does occur, visitors are expected to pay a forfeit sum, that will cover the sacrificial slaughter of a lamb in order purify the object that has been made impure. Malani people may touch impure people or houses as long as they follow the prescribed purification ritual before they enter their house or before they eat. Malanis may never accept food cooked by a non-Malani person, unless they are out of the valley (in which case their Devt can't see them). Malanis may offer visitors food but all utensils will have to undergo a strict purification ritual before they can be used again.

Despite of being a part of the Kullu valley, the Malanis have very distinct physical features, and a dialect which is different from the rest of the valley. There are various legends about their origin. According to one of them, it is believed that they are the descendants of Greek soldiers of Alexander's army. As the legend goes, some soldiers took refuge in this remote land after Alexander left the country and later settled there permanently. This myth is however disputed because there are those who claim that it is the valley of Kalash, in Pakistan that is actually the area in which Alexander the Great's soldiers took refuge. This legend is also inconsistent with the legendary descent of the local people from Indo-Aryans who would predate Alexander the Great's soldiers by approximately a thousand years. Recent genetic typing of the Malani population is more consistent with an Indo-Aryan origin with a large proportion of Y-DNA haplotypes J2 and R1a associated with Indo-Aryan influences in South Asia than with a Greek origin which would have a different characteristic mix of Y-DNA haplotypes.[11]

Malana was also once famous for producing some of the best quality hashish (Cannabis resin) in the world, known as "Malana Cream", which sells for 1,200-1,800 rupees per tola (= 10 grams).

 

Source en.wikipedia.org/wiki/Malana,_Himachal_Pradesh

 

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Música (abrir en nueva pestaña) / Music (Open link in new tab): Gary Stadler – Spark in the Night Lullaby.

 

Repasando las fotografías de hace unos años para irlas archivando e ir decidiendo cuáles de ellas enviar a imprimir, me encontré con este retrato de mi hija menor, Irene, que le hice una tarde de Agosto, durante nuestras vacaciones en Moraira (Costa Blanca, Alicante), con el Canon EF 50mm. f/1.8 II. Me llamó la atención su cerrado encuadre y el desenfoque del fondo.

 

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-English:

Reviewing the pictures I made about a few years ago, to store and decide which ones send to print, I found this portrait of Irene, my youngest daughter, I did an afternoon of August while vacationing in Moraira (Costa Blanca, Alicante, Spain), with Canon EF 50mm. f / 1.8 II lens. The closed framing and background bokeh of this portrait stood out to me.

 

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The Rabbis taught: Four [Sages] entered the Pardes [literally "the orchard."]. Rashi explains that they ascended to heaven by utilizing the [Divine] Name [i.e., they achieved a spiritual elevation through intense meditation on G‑d's Name] (Tosafot, ad loc). They were Ben Azzai, Ben Zoma, Acher [Elisha ben Avuya, called Acher— the other one — because of what happened to him after he entered the Pardes] and Rabbi Akiva. Rabbi Akiva said to them [prior to their ascension]: "When you come to the place of pure marble stones, do not say, 'Water! Water!' for it is said, 'He who speaks untruths shall not stand before My eyes' (Psalms 101:7)." Ben Azzai gazed [at the Divine Presence - Rashi] and died. Regarding him the verse states, "Precious in the eyes of G‑d is the death of His pious ones" (Psalms 116:15). Ben Zoma gazed and was harmed [he lost his sanity — Rashi]. Regarding him the verse states, "Did you find honey? Eat only as much as you need, lest you be overfilled and vomit it up" (Proverbs 25:16). Acher cut down the plantings [he became a heretic]. Rabbi Akiva entered in peace and left in peace. Ramak now cites the Tikunei Zohar which adds some details not mentioned in the Talmud. The ancient Saba [an old man] stood up and said [to Rabbi Shimon bar Yochai], "Rabbi, Rabbi! What is the meaning of what Rabbi Akiva said to his students, "When you come to the place of pure marble stones, do not say, 'Water! Water!' lest you place yourselves in danger, for it is said, 'He who speaks untruths shall not stand before My eyes.' But it is written, "There shall be a firmament between the waters and it shall separate between water [above the firmament] and water [below the firmament]" (Genesis 1:6). Since the Torah describes the division of the waters in to upper and lower, why should it be problematic to mention this division? Furthermore, since there are [in fact] upper and lower waters, why did Rabbi Akiva warn them, "do not say, 'Water! Water!'"

The Holy Lamp [a title accorded to Rabbi Shimon bar Yochai] replied, "Saba, it is proper that you reveal this secret that the chevraya [Rabbi Shimon's circle of disciples] have not grasped clearly." The ancient Saba answered, "Rabbi, Rabbi, Holy Lamp. Surely the pure marble stones are the letter yud — one the upper yud of the letter aleph, and one the lower yud of the letter aleph [an aleph in script is formed by an upright yud at the top to the right, and an upside-down yud at the bottom to the left, joined by a vav, the diagonal line between them]. Here there is no spiritual impurity; only pure marble stones, and so there is no separation between one water and the other; they form a single unity from the aspect of the Tree of Life, which is the vav in the midst of the letter aleph. In this regard it states, "[lest he put forth his hand] and if he take of the Tree of Life [and eat and live forever]…(Gen. 3:22) Ramak now begins to analyze these passages. The meaning of Rabbi Akiva's exhortation is that the Sages should not declare that there are two types of water. Since there are not [two types of water] one would be causing a separation. This is the meaning of "do not say, 'water, water'" — do not say that there are two types of water, lest you endanger yourself because of the sin of separation. For this reason the old man asked two questions, both of which are real questions: "There shall be a firmament between the waters and it shall separate…" (Genesis 1:6). Thus there are two types of water and a separation between them. In this case, does it not appear to be permissible to refer to two types of water? Even more problematic is that the Torah itself states, "It shall separate between water and water" — the water above the firmament and the water below the firmament. This is a complete separation. The marble stones represent the letter yud. The old man asked a second question — the waters are in fact of two types: water of the firmament and water below the firmament [in rivers, lakes and seas]. Why then did Rabbi Akiva exhort them not to say "water, water, lest they endanger themselves?" On the contrary; it should be permitted to mention two types of water, for this is no worse than the language used by the Torah, and this is also the situation in fact! Now Rabbi Shimon did not wish to explain this matter himself; he wanted his disciples to hear it from the old man. The old man explained that each of the marble stones represents the letter yud. As we have explained elsewhere this means a yud at the beginning, and a yud at the end, according to the mystical explanation of "I am first and I am last" (Isaiah 44:6). The first yud represents chochma, and the second yud represents malchut, which is also chochma according to the mystical explanation of the light that returns from below to above (called or chozer). The upper yud is the yud of the Tetragrammaton (Yud-Hei-Vav-Hei) while the lower yud is the yud of the Name Alef-Dalet-Nun-Yud. The latter is the concept of "female waters" (Mayin Nukvin), and the former the concept of "male waters" (Mayin Dechurin). They are called "female waters" because they receive from below, from the performance of the commandments, and through them a person has the ability to affect the higher worlds so that the light will shine forth and become clothed in them, as in a palace. Thus the light that is elicited [by the performance of the commandments is like] a king in his palace. These are also the keys to the inner and outer aspects. The inner aspect is the light of the Tetragrammaton, which undoubtedly descends as or yashar from above to below. The outer aspect is that which returns according to the mystical explanation of or chozer. This is the meaning of the statement in regard to the sefirot "from below to above, and from above to below," as explained elsewhere. This is signified by the top and the bottom yuds of the aleph. This is also the secret of the intertwining (shiluv) of the two Names --Yud-Alef-Hei-Dalet-Vov-Nun-Hei-Yud — with the upper yud at the beginning and the lower yud at the end. These two yuds are referred to in the passage "pure marble stones." Each of the yuds is a stone because its shape is round like a stone. It is called "marble" because marble is generally white, which is indicative of the attribute of Mercy (in Hebrew rachamim). In this sense it is also similar to water [which represents kindness]. Now since these two yuds are the aspect of compassion, just like water, which is called "waters of kindness," they are therefore referred to as "marble," as we just explained. We can also explain this by way of [the science of] tzeiruf (letter combinations and permutations): The sefira of chochma is called yesh — "being" [since it is the first immanent sefira], spelled Yud-Shin in Hebrew. The lower chochma [i.e., malchut] is called shai [Shin-Yud — the identical letters, but in reverse order]. When both words are combined they form the word shayish — Shin-Yud-Shin ("marble"). The yud is chochma, the source, and the shin is the emanation of its branches [i.e., the branching out into sefirot according to the mystical explanation of or yashar]…Malchut is called shai according to the mystical explanation of the light that reverses (or chozer). When these two words, signifying these two types of light, are combined to form the word shayish (the two yuds combine into one). They are the letter yud...the upper and lower yuds of the aleph are joined by a diagonal vav

They are called "pure," for there are a number of different types of water [mentioned in the Torah]; one of these is mei nida — literally waters of impurity [because they are used to purify a person after he became contaminated by contact with the dead. Water from a living spring is mixed with the ashes of the red heifer and is then sprinkled upon the impure person]. Separation and division is mentioned in regard to this type of water, as will be explained. These waters [of the pure] marble stones are completely pure and pertain to Atzilut.

"They are the letter yud — one the upper yud of the letter aleph…" We already explained above that the Name Yud-Alef-Hei-Dalet-Vav-Nun-Hei-Yud has the upper and lower aspects of chochma [represented by the two yuds] and six letters in between, alluding to the letter vav [which has a numerical value of 6. Note that the upper and lower yuds of the aleph are joined by a diagonal vav. This is the way a scribe traditionally writes the letter א]. This symbolizes tiferet, which branches out into six extremities [tiferet is the central sefira of the six sefirot of Zeir Anpin]. The vav is situated between the yuds in order to join them. That is to say, through tiferet the daughter [malchut] is able to ascend "to her father's house as in her youth."

 

It is for this reason that Rabbi Akiva warned them not to say that those two marble stones were separated from one another, G‑d forbid, for this is not true. On the contrary, the firmament between them, which is tiferet, actually unites them and through it they are joined together. There is no separation other than in a place of spiritual impurity, as it is written, "to separate between the impure and the pure" (Leviticus 11:47). But in a place of purity — pure marble stones — "do not say, 'water, water." This is what the old man was explaining, "Here there is no spiritual impurity… they are from the aspect of the Tree of Life…" These waters are in Atzilut and therefore there is no separation between them… on the contrary, the firmament unites them….

The tree of life. It is arguably one of the most popular symbols in the Bible. It’s too bad that so many people read Genesis, discover the tree of life, and think it’s literal. To do so robs the mind of this ancient symbol’s true beauty and essence! Sometimes called the cosmic or world tree, the tree of life did not originate with the authors of Genesis. For thousands of years it has been used in sacred literature to describe man’s connection with the divine. Although different cultures have known this tree by different names, the essence of this tree’s significance is essentially the same; it represents both divine and natural man, the spiritual and natural world. And just as the tree of life symbolically spans all the worlds of existence, so does man. I know the above sounds super spiritual, so what does it really mean for all of us down here on earth? Simply put, the tree of life is about the evolution of subjective consciousness from the lower planes to the higher planes—the world of physical matter to the world of energetic spirit. And consciousness is the center of it all! Consider the Buddha. He was enlightened under the great Bodhi tree. Is it really just a coincidence that Odin gained supernatural abilities (enlightenment) under the branches of Yggdrasil, the mythological tree of the ancient Scandinavians? How about the fact that ancient Mayan kings, including Pakal Votan, were portrayed on stone monuments with the world tree emerging from their headdress (more enlightenment imagery)? I apologize in advance to the fundamentalist that believes the concept behind the tree of life is unique to Biblical literature, but I don’t think all this imagery is coincidental. In fact, we can easily connect enlightenment with the Biblical tree of life. Consider the scripture from Revelations: “…To him that overcometh [achieves enlightenment] will I give to eat of the tree of life, which is in the midst of the Paradise of God” (Rev. 2:7). The seven seals being opened throughout the course of the Book of Revelations corresponds to the opening of the seven chakras, the cause of enlightenment, and eating from the tree of life is symbolic of the fruit one gains after traversing the many planes of consciousness. They key to understanding the above statement must include a knowledge of both the tree of life and the tree of knowledge of good and evil. ,Let’s review the scripture from genesis that references both trees. Unveiling it will reveal some heavy esoteric knowledge . “And out of the ground made the LORD God to grow every tree that is pleasant to the sight, and good for food; the tree of life also in the midst of the garden, and the tree of knowledge of good and evil” (Genesis 2:9). Why do you think the Genesis author implies that both trees are in the midst of the garden? It is because together they represent different aspects of ONE tree! The world tree is comprised of both the tree of life and the tree of knowledge of good and evil. In the realm of duality you cannot have one tree without the other. The experience of man includes both trees, from limited individual consciousness to the liberation gained through cosmic consciousness. When consciousness (spirit) incarnated on the physical plane, man began living out his existence among hardship and pain. This is part of the growing process, and there is going to be some wounds to lick. But to he who overcomes by continuing to grow consciously will be given to eat of the tree of life.

The key is in the fruit! Within the experience of duality lies consciousness evolution and moving up the tree of life to partake of its fruit. Again, we can prove all this with scripture. Review Genesis 2:9 again. God said the trees in the garden were for food. This has nothing to do with physical food. It’s a about spiritual food. Let’s compare the fruit of each tree from Gaskell’s Dictionary of Scripture and myth. Fruit of the tree of life: “Symbolic of the higher emotions and faculties of the buddhic [Christ] nature laid up for the soul when perfected.” In Revelations Jesus states that the tree of life on either side of the river bears twelve fruits that provide healing. What causes us to express the higher emotions and mental faculties of the Christ? It is through the acquisition of wisdom, which brings healing. “She [wisdom] is a tree of life to them that lay hold upon her…” (Proverbs 3:18). How does anyone gain wisdom? It starts with obedience to God on the physical plane. It ends when one truly learns the lessons (on the soul level) that experience in duality provides. Now consider the other side of this coin: Fruit of the tree of knowledge of good and evil: “A symbol of the experience acquired through the activities of the lower nature and the development of the moral nature.” How does the Bible explain how man acquired experience and learned to develop the moral nature? By being kicked out of the garden (spiritual existence) to live life among “thorns” and “thistles” (duality). This is the fruit of the knowledge of the tree of good and evil! Sometimes the tree of life is inverted in Kabbalah. The inverted tree of life has its roots firmly established in heaven (spiritual planes) and the rest of the tree emanates into the physical world. Likewise, man originated in the Eden, a spiritual plane, and ended up in the physical world, earth. The inverted tree depicts this process. Now it is up to us to climb back up the spiritual worlds. I like to picture the inverted tree as the tree of life and the right-side up tree as the tree of knowledge of good and evil. It makes sense for me to picture the two in this way because remember that the true world tree contains both the tree of life and the tree of knowledge of good and evil. Picturing one tree as inverted and the other right-side up helps me to get a clear picture for the functions of both trees. Tree of LifeThe tree of life then is the ultimate motif of the evolution of consciousness. Its branches reach into heaven, the spiritual planes. The trunk resides on the material plane, and the roots grow into the earth, or underworld, which represents many subconscious aspects of our soul.

The consciousness of man then can be likened unto a tree itself. The ultimate goal is to become complete and whole, which is the true meaning of Biblical perfection. This is accomplished through following and understanding the deeper esoteric meanings of God’s commands.

“And he shall be like a tree planted by the rivers of water, that bringeth forth his fruit in his season; his leaf [true ideals] shall not wither; and whatsoever he does shall prosper” (Psalm 1:3).

Returning to the tree of life is to gain enlightenment. It is guarded by Cherubim because we must go through the planes of existence and experience duality in order to raise consciousness before we can gain access. It’s that simple.

Every day that you wake up, consider it your day to experience something that brings you one step closer to again gaining access to the tree of life, or enlightenment! And it’s all Biblical! I especially want Christians who are questioning orthodox interpretation to know this, so I’ll say it again. It’s all Biblical! Don’t fret the fact that the Bible is truly a book with eastern concepts woven throughout. Doing so only limits the truths provided through this great book. It certainly isn’t of isolation.

  

Did the Tree of Life mentioned in the book of Genesis, have power to impart immortality to mortal man, as might be deduced from Genesis 3:22?’

The Tree of Life stood in the centre of the Garden of Eden which elsewhere is called ‘The Garden of the LORD’.1 It was a real tree, to be sure, but let me suggest that it was also symbolic of the fact that God was, and is, the source of eternal life and blessing. Adam and Eve were to have their life centred in Him, even as the Tree was in the centre of His Garden. Other parts of the Bible also mention The Tree of Life. In Ezekiel 47:12 (NASB) we read of trees whose ‘fruit will be for food and their leaves for healing’. This image is taken up also in Revelation 22:2. It is clear particularly in Proverbs where a number of things are referred to as ‘a tree of life’ (wisdom (3:15), the fruit of the righteous (11:30), desire fulfilled (13:12), and a soothing tongue (15:4)) that the Tree of Life in these references symbolises that which brings joy and healing to people. This, I suspect, was what the original, the real Tree of Life in the Garden of Eden symbolised. It was material, yet it stood for the blessing of eternal life which God would give to Adam and Eve, and their descendants, if they were to pass the test of obedience. They were permitted to eat of any tree in the Garden except the Tree of the Knowledge of Good and Evil on pain of death.2 Now, use a little lateral thinking. What else in the Bible is real and material, yet at the same time symbolises the life which is in Christ and points us repeatedly to Him? Something in which Christians share, and which reminds them that Jesus’ death brings us life? It is the sacrament of the Lord’s Supper.

IF ADAM PASSED THE TEST OF OBEDIENCE, IT WOULD BE THE MEANS OF GOD’S IMPARTING ETERNAL LIFE TO HIM. Now, let us return to the Garden of Eden. I want to suggest that the Tree of Life was there to perform such a sacramental function. If Adam passed the test of obedience, it would be the means of God’s imparting eternal life to him, not by magic, but by the working of his Spirit ‘by, with and under’ the fruit of the Tree. But Adam sinned. He failed the test and lost his right to eat from the Tree. As one commentator puts it, ‘that he might understand himself to be deprived of his former life, a solemn excommunication is added; not that the Lord would cut him off from all hope of salvation, but, by taking away what he had given, would cause man to seek new assistance elsewhere.’3 Just as Christians who profane the Lord’s Supper are subject to judgment, so Adam would have been further condemned if he had presumed to eat the fruit to which he was not now entitled. In doing so, he would have been trying to rob life from God, a grave blasphemy. The implication of Genesis 3:22 (NIV) ‘And the Lord God said, “The man has now become like one of us, knowing good and evil. He must not be allowed to reach out his hand and take also from the tree of life and eat, and live for ever,”’ is that he, and us with him,4 would have been plunged into a condition of absolute lostness. He would have lived eternally cut off from God without hope of escape from the terrible consequences of sin. This would have been God’s just punishment for such a presumptuous sin, not merely a ‘magical’ effect of the Tree of Life. Mercifully, God did not permit this to happen.5 Adam was cast out of the Garden of Eden. No longer could he even contemplate eating from the Tree of Life. It was beyond his reach. Physical death now began to enter the human race. Adam began to die! The last Adam (Christ) later came to Earth to die so that through faith in Jesus, we may now inherit the eternal life Adam forfeited. Indeed, Jesus says to those who persevere in faith, ‘To him who overcomes, I will grant to eat of the Tree of Life which is in the Paradise of God.’6 The Genesis account of the Tree of Life reminds us there is only one way to attain to an eternal life of blessedness—the way God has appointed. That is through His Son, the Creator of heaven and Earth—the Lord Jesus Christ. It is He alone who can say, ‘I am the way, the truth and the life.’

 

The Muslim man explained that probably the most fundamental difference is that the Koran2 speaks of Jesus as a prophet—definitely not the Son of God. That evening, the Australian-born student told her father of the encounter, and asked, ‘Dad, I’ve been thinking … our bodies are unclean! Why would God, who is pure, sully himself by coming down to Earth in human form?’ After her father failed to give a reasoned answer, she turned her back on the church, converted to Islam and later married a Muslim.3. Such a question requires only a basic understanding of the Atonement to answer. Salvation required a sacrificial ‘last Adam’ (1 Cor. 15:45) to shed His blood in death, one who was a physical descendant of the first, yet sinless. This could be fulfilled only through God incarnate, Jesus Christ (Hebrews 9:12, 22). Notice, though, how all this is built upon the foundational Genesis truths of the first Adam bringing in sin and death, and the first shedding of blood as a covering for sin (Genesis 3:21). The increasing confusion caused in the church by long-age compromises (which, by putting suffering, death and bloodshed before Adam, undermine these truths) is a major reason why so many today cannot give reasoned answers to basic Gospel-related questions (contravening 1 Peter 3:15). This leaves young people in the church vulnerable to being tossed by winds of false doctrine (Ephesians 4:14).

Following September 11, 2001, the increased prominence of Islam in the media, and public declarations by government (and many church) leaders that Islam is a ‘great’ religion, will likely raise further questions in the minds of many young people in the churches. E.g. ‘Do Jews, Christians and Muslims worship the same God?’ and ‘What does the Koran say about the Bible?’ Many Christian commentators have sought to raise awareness of fundamental doctrinal differences between the Koran and the Bible (see below), but few people are aware of how the Muslim’s holy book starkly contradicts the Biblical account of our origins. Genesis provides a unified description of Creation; the Koran does not. Creation, The Fall, Flood and Babel . Genesis provides a unified description of Creation; the Koran does not. Instead, fragmented passages are scattered across many of its 114 chapters (‘Sura’). The tables (below) attempt to assimilate these fragments for a clearer picture of what the Koran says, compared to the Bible. The many contradictions highlighted in these tables surely demolish any claims that the ‘revelation’ given to Muhammad is not a corruption of, but reliably builds upon, Judeo-Christian history. Eve’s distorted view, obviously wrong, is portrayed as truth in the Koran. For instance, the Koranic account prohibits Adam from going anywhere near the Forbidden Tree, while Genesis says that God only commanded Adam not to eat its fruit (see Table 2). (Man had been placed in the garden to tend it (Genesis 2:15), which seems to require physical access to each tree for e.g. pruning.) Interestingly, the Bible relates that Eve, who was deceived (1 Timothy 2:14), had misconstrued God’s instruction to not eat of the fruit from the tree to instead also mean not to touch it (Genesis 3:3). Yet Eve’s distorted view, obviously wrong, is portrayed as truth in the Koran [update: see Did Eve lie before the Fall?—Ed.]. The Biblical account of origins also makes more sense of today’s world than does the Koran—e.g. the presence of sin, violence, death and the origin of languages (and concomitant minor ‘racial’ differences). The Bible explains why the whole creation is so obviously groaning, in bondage to decay (Romans 8:19–22). In contrast, the Koran makes God responsible for death and suffering (see Tables 1 and 2), in common with long-age and evolutionary Christian views, and Eastern religions.

 

The Koran and evolution

With the increased adoption of evolution-based curricula, some Muslim leaders and scholars began to recognize the threat to Islam from a rising tide of evolutionary thinking. Their response has been either to attack evolution, or, more commonly, to blend it with Islam.

 

New Scientist reported that Islamic creationist books cite and copy Christian creationists, but with Biblical references deleted.

1. The Islamic creationists

The creationist Muslims claim that ‘The theory [of evolution] and the holy Qur’an are in direct conflict with each other and no compatibility is possible anywhere.’4 New Scientist reported that Islamic creationist books cite and copy Christian creationists, but with Biblical references deleted.5

 

2. The Islamic evolutionists

Evolution-believing Muslims seem to be far more numerous, and vocal, than creationist Muslims.

 

They have a substantial strategic advantage precisely because the Koran is so vague, nebulous and seemingly open to various interpretations.6 They delight in pointing out that, in contrast, ‘There is absolutely no ambiguity whatsoever in the Biblical description of the Creation in six days followed by a day of rest, the sabbath, analogous with the days of the week.’7 These evolution-accommodating Muslims are adamant that the ‘days’ of Creation in the Koran ‘mean in reality “very long Periods, or Ages, or Aeons”?’.7 Muslim apologists gleefully point out that the Koran is compatible with evolution where the Bible is not. Muslim apologists gleefully point out that the Koran is compatible with evolution where the Bible is not, e.g.: ‘Neither here nor anywhere else in the Holy Qur-án is it affirmed that Adam was the first man, or that there was no creation by God before Adam, nor that Adam lived or man was created, or the earth made, only six thousand years ago.’8,9 Long-age Muslims exploit the Bible’s explicit detail of the Flood, too. They say that because the Bible clearly says there was a recent global Flood, while ‘science’ says there was not, the Bible is wrong and the Koran is thus confirmed to be right!10 Some of the Muslim literature even claims that the Koran shows that Allah revealed to Muhammad details about the ‘big bang’, ancient universe and evolution long before scientists began to ‘discover’ such ‘facts’.11

Christian awareness: In the same way that being aware of evolutionary challenges to our faith helps us to be ready with answers,12 so, too, we need to be aware of what religions, including Islam, actually say, in order to be better prepared to answer our children’s questions.13 When men teach things that are contrary to the Bible, we are commanded to actively oppose such ideas (2 Corinthians 10:5). Christians need to be ready to help guide young people through the kinds of ‘intellectual crisis of faith’ that many confront in their teenage years—whether because of exposure to evolutionary teaching, or to other religions.

Knowing that the Word of God accurately explains our world ahead of all opposing ideas not only strengthens our own faith, but gives us the confidence to reach out in love to challengers—including Muslims. In Koran 6:91, the Book given to Moses is described as ‘a light and guidance to man …’

Using Genesis to reach Muslims?

Just as the Apostle Paul used Athenian beliefs to draw his Greek listeners to the truth of the Gospel (Acts 17:22–23, 28), Christians could use a similar approach when talking with Muslims. One could start by reminding the Muslim that the Koran says that the Scriptures of Jews and Christians were given by God, e.g. Koran 2:87—‘We gave Moses the Book and followed him up with a succession of Apostles; We gave Jesus the son of Mary Clear (Signs) and strengthened him with the Holy Spirit.’ Similarly, in Koran 6:91, the Book given to Moses is described as ‘a light and guidance to man …’ . So why so many irreconcilable differences between Genesis 1–11 and the Koran? A Muslim might say that today’s copies of the Bible have been corrupted. But the earliest Biblical manuscripts (e.g. in the British Museum14) date from before Muhammad, demonstrating the reliability of our current copies. The Bible explains that death, violence, pain and decay entered a once-perfect Creation as a result of Adam’s sin in the garden of Eden. A further challenge for the Muslim would concern the presence of death, suffering, grief, etc., in the world. Consider the following exchange between American TV host Larry King and Georgetown University’s Islamic professor of theology, Maysam Al-Faruqi:

 

KING: Maysam, if you believe in heaven and paradise, then dying is good?

 

AL-FARUQI: Absolutely. And dying is perfectly natural, it’s the end of things.

 

KING: Why do we treat it tragically? … …

 

AL-FARUQI: Well, there is the pain …15

So in this Muslim (also theistic evolutionary) view of death as ‘perfectly natural’, why grieve and wail at the death of a loved one? The Islamic professor’s answer, ‘Well, there is the pain …’ begs the question: ‘So pain and suffering are a “natural”? part of God’s good (Koran 32:7) creation, too?’ Clearly, Muslims have no satisfactory answer.But the Bible explains that death, violence, pain and decay entered a once-perfect Creation as a result of Adam’s sin in the garden of Eden (Genesis 2:17, 3:19; Romans 5:12–17; 8:19–22; 1 Corinthians 15:21–22). Thankfully, this situation is only temporary, as God gave his Son, Jesus Christ, the second Person of the Trinity, that those who believe in Him can look forward to the coming restoration, to a world with ‘no more death, mourning, crying or pain’, i.e. no more Genesis Curse (John 1:18, 3:16; Acts 3:21; Revelation 21:4, 22:3).

 

In Islam, Adam (Ādam; Arabic: آدم‎), whose role is being the father of humanity, is looked upon by Muslims with reverence. Eve (Ḥawwāʼ;Arabic: حواء ) is the “mother of humanity.” The creation of Adam and Eve is referred to in the Qurʼān, although different Qurʼanic interpreters give different views on the actual creation story (Qurʼan, Surat al-Nisaʼ, verse 1).

In al-Qummi’s tafsir on the Garden of Eden, such place was not entirely earthly. According to the Qurʼān, both Adam and Eve ate the forbidden fruit in a Heavenly Eden (See alsoJannah). As a result, they were both sent down to Earth as God’s representatives. Each person was sent to a mountain peak: Adam on al-Safa, and Eve on al-Marwah. In this Islamic tradition, Adam wept 40 days until he repented, after which God sent down the Black Stone, teaching him the Hajj. According to a prophetic hadith, Adam and Eve reunited in the plain of ʻArafat, near Mecca. They had two sons together, Qabil (Cain) and Habil (Abel). There is also a legend of a younger son, named Rocail, who created a palace and sepulcher containing autonomous statues that lived out the lives of men so realistically they were mistaken for having souls. The concept of original sin does not exist in Islam, because Adam and Eve were forgiven by God. When God orders the angels to bow to Adam, Iblis questioned, “Why should I bow to man? I am made of pure fire and he is made of soil.” The liberal movements within Islam have viewed God’s commanding the angels to bow before Adam as an exaltation of humanity, and as a means of supporting human rights; others view it as an act of showing Adam that the biggest enemy of humans on earth will be their ego. The Garden of Eden is spoken about prominently in the Quran and the tafsir (interpretation). This includes surat Sad, which features 21 verses on the subject, surat al-Baqarah, surat al-A’raf, and surat al-Hijr. The narrative mainly surrounds the expulsion of Iblis from the garden and his subsequent tempting of Adam and Eve. After Iblis refuses to follow God’s command to bow down to Adam for being his greatest creation, Allah transforms him into Satan as a punishment. Unlike the Biblical account, the Quran mentions only one tree in Eden, the tree of immortality, which Allah specifically forbade to Adam and Eve. Satan, disguised as a serpent, repeatedly told Adam to eat from the tree, and eventually both Adam and Eve did so, thus disobeying Allah.These stories are also featured in the Islamic hadith collections, including al- Tabari. The Tree of Immortality (Arabic: شجرة الخلود) is the tree of life motif as it appears in the Quran. It is also alluded to in hadiths and tafsir. Unlike the biblical account, the Quran mentions only one tree in Eden, also called the tree of immortality, which Allah specifically forbade to Adam and Eve. Satan, disguised as a serpent, repeatedly told Adam to eat from the tree, and eventually both Adam and Eve did so, thus disobeying Allah. The hadiths however speak about other trees in heaven.

 

en.wikipedia.org/wiki/Garden_of_Eden

Criss Creek is located in the British Columbia Interior, Canada. - on the Bonaparte Plateau north of the city of Kamloops. There are several ranches in the area which utilize Criss Creek for irrigation. Additionally there have been low quality gold deposits discovered along the creek.

 

CRISS CREEK - "Mrs. Williams' ranch at the forks of Deadmans Creek and Criss Creek was taken up in the early 1860s by a Hollander named Christopher Pumpmaker, an old packer. He was always spoken of as "old Chris" and the creek at his place was naturally called after him Chris Creek. But in latter days the government surveyors have changed it to Criss Creek.... Christopher Pumpmaker died in 1876 and Si Hemans bought the ranch, selling it to Tingley in 1884 who sold it to Williams.....A. Driscoll, DLS, uses the spelling "Chris Creek". Later this became "Cris" and on a 1910 plan by Joseph E. Ross, DLS, it is spelled "Criss Creek", probably the latest plan used to establish the name of the adjacent post office in 1914.

 

(from - Wrigley's 1918 British Columbia Directory) - CRISS CREEK - a post office and ranching settlement northwest of Kamloops, in Lillooet Provincial Electoral District, reached by wagon road. Nearest railway point is Savona, on C. P. R., 21 miles from which point Criss Creek is reached by trail. The population in 1918 was 83. Local resources: Stock raising.

 

The CRISS CREEK Post Office was established - 1 June 1914 and closed - 30 March 1968 due to the retirement of the Postmaster and to its limited usefulness. All mail addressed to Criss Creek after the closing date was forwarded to Kamloops, B.C. for delivery.

 

LINK to a list of the Postmasters who served at the CRISS CREEK Post Office - central.bac-lac.gc.ca/.redirect?app=posoffposmas&id=2...

 

Alfred Frederick Winter was the Postmaster at CRISS CREEK from - 1 October 1920 to - 6 February 1936.

(b. 2 September 1883 in England - d. 22 February 1951 at age 67 in Vancouver, B.C. - his permanent residence was Surrey, B.C.) - his occupations were cattle rancher. Postmaster and Justice of the Peace. LINK to - Alfred Frederick WINTER Obituary - www.newspapers.com/clip/50562089/alfred-frederick-winter-...

 

LINK to his - Personnel Records from the First World War - www.bac-lac.gc.ca/eng/discover/military-heritage/first-wo...

 

His wife - Grace Hamilton (nee Baxter) Winter

(b, 6 October 1889 in Hamilton, Scotland - d. 22 June 1969 at age 79 in Surrey, B.C.)

 

- sent from - / CRISS CREEK / OC 31 / 29 / B.C. / - split ring cancel - this split ring hammer (A1-1) was proofed - 13 May 1914 - (RF C).

 

Addressed to: Mrs. W. C. Clement, / c/o Mr. E. L. Clement (her son), / Kelowna, / B.C. / (Mrs. William Charles Clement and her son Ernest "Ernie" Leslie Clement).

 

Matilda Jane Brown and William Charles Clement - Matilda Jane Brown was born 11 February, 1844 in Belleville, Hastings Co., Ontario. She was baptized 15 January, 1845 at the St. Thomas Church. Matilda married William Charles Clement on 23 January, 1866 in Caradoc, Middlesex Co., Ontario, Lapeer County, Michigan, USA. William Charles Clement was born 15 June, 1838 in Port Hope, Ontario. William had TB and they thought the climate in British Columbia in would help his condition.

 

William Charles Clement was born at Port Hope, Ontario, in 1838, of English/Irish origins. In 1866 (at Caradoc Township, Middlesex County, Ontario), he married Matilda Jane Brown (born at Belleville, Ontario, in 1844, of Irish Origins). The Clement family moved to Manitoba, where they farmed, in 1880, and to Vernon in the fall of 1897. In March of 1898, the Clements located south at Kelowna. Their first home was the present-day location of the Keg Restaurant, and there Matilda operated Kelowna’s first commercial bakery. William Charles Clement worked as a builder, and eventually had a small orchard and garden at their home on the corner of Clement Avenue and Richter Street. He died in 1911. Matilda Jane Clement lived in Kelowna and Ellison until her death in 1930. Both are buried in the Kelowna Pioneer Cemetery. Seven children were born to William Charles and Matilda Jane Clement: Charles George, Clara Viola, William James, Mabel Matilda, Myrtle Louisa, John Percy and Ernest Leslie Clement. LINK to the complete article - boardmanbrown.wordpress.com/2015/11/27/george-and-esther-...

 

Through the death on Thursday last of Mrs. Matilda Clement, who passed away at the home of her son, Mr. E. L. Clement, Ellison, Kelowna lost one who had been a resident here prior to the advent of the twentieth century — an esteemed lady who pioneered to the West in the late seventies and endured the hardships that all settlers of a new country must face with a smile.

 

Ernest Leslie Clement came to Kelowna with his parents in 1898, at the age of fifteen. After moving to Vernon to finish his schooling, he returned to Kelowna and worked at a variety of jobs, including the cigar factory, S.M. Simpson's sash and door factory, and the KSU and Stirling and Pitcairn packing houses. While working on the Whelan ranch he met and, in 1909, married Margaret Whelan (1884-1962), second daughter of George Whelan (1844-1927), an early settler on the Ellison district (1873) who eventually held 3,000 acres in his Cloverdale Ranch. The couple lived in this house until 1928. Ernest Clement learned carpentry as he worked for M.J. Curts, an important local builder. Among buildings they worked on was the palatial home of Countess Bubna on the Eldorado Ranch (formerly the Postill Ranch). Clement later went into business for himself, and built many homes in Kelowna. In 1928, he tried farming on the old Whelan place - West Home Farm - which Margaret had inherited after her father's death in 1927, but he decided farming was not for him. In 1935, the Clements turned the farm over to their son Cliff and bought the Winfield General Store, which Ernest Clement operated until his death in 1947. LINK to the complete article - www.historicplaces.ca/en/rep-reg/place-lieu.aspx?id=11872

 

Matilda Jane (nee Brown) Clement

(b. 11 February 1844 in Belleville, Hastings, Ontario, Canada – d. 2 October 1930 at age 86 in Kelowna, British Columbia, Canada)

 

Her husband - William Charles Clement

(b. 15 June 1838 in Port Hope, Durham, Ontario – d. 25 March 1911 at age 72 in Kelowna, British Columbia, Canada)

 

Her son that she was living with at the time of her death -

Ernest Leslie Clement

(b. 3 November 1882 in Treherne, Manitoba, Canada – d. 27 October 1947 at age 64 in Kelowna, British Columbia, Canada)

 

Winfield General Store - Mr. Lawley operated the store until 1931. Winnie and Wilfred May ran it for awhile, then Ted Winchombe operated it. In 1934, it was purchased by Ernest "Ernie" Leslie Clement of Ellison. For the next 23 years Ernie, his son Leslie, and daughter Wilma, ran the store. The Greyhound bus stopped at the store until 1948. There was a small sub-post office in the store in 1948 and by 1951, the Winfield Post Office took over the rural route that had previously been serviced out of Kelowna. An addition to the store was built to accommodate the Post Office. That Post Office served the Winfield district until it was replaced by the present Post Office on Berry Road in 1963. In 1957, the Clements sold the store to Ernie Oxenham who in turn sold to Howard Ransom a couple of years later. Les Clement continued to run the Post Office and when the new Post Office was built, he was the Postmaster there until he retired in 1974. LINK to the complete article - www.lakecountrymuseum.com/history/winfieldgeneralstore-2/

"Found in the Agora of the Italians on Delos

in Greece a Greco-Roman trading island at the time.The warrior, wounded in the thigh, has fallen to the ground on his right knee and will have been attempting to defend himself against his enemy with his left arm.On the ground, next to him rests a Galatian helmet.Typical example of Late Hellenistic sculpture with features of the Pergamene school ".

Compare to the 'Dying Gaul' or 'Dying Galatian' Roman copy from a Greek/Hellenistic original.

www.flickr.com/photos/celtico/4711208522/

Some classical writers were awed by the warriors or mercenaries of Celtic tribes.Some wore helmets and chain mail , again some 'classic' writers say specific bands fought almost naked? Three tribes were invited into Anatolia from the Balkans or Thrace and eventually became the Galatians. Agasias, son of Menophilus was an Ancient Greek sculptor from Ephesus. He was possibly the cousin of Agasias, son of Dositheus, sculptor of the 'Borghese Gladiator' (misnamed a gladiator due to an erroneous restoration) .

He is mentioned in a Greek inscription, from which it appears that he exercised his art in Delos while that island was under Roman sway; probably some time about 100 BC. He probably sculpted this striking figure of a Celtic warrior now in the National Archaeological Museum, Athens.

 

The Attalid dynasty was a Hellenistic dynasty that ruled the city of Pergamon after the death of Lysimachus, a general of Alexander the Great. The Attalid kingdom was the rump state left after the collapse of the Lysimachian Empire. One of Lysimachus' officers, Philetaerus, took control of the city in 282 BC. The later Attalids were descended from his father, and they expanded the city into a kingdom. Attalus I proclaimed himself King in the 230s BC, following his victories over the Galatians. The Attalids ruled Pergamon until Attalus III bequeathed the kingdom to the Roman Republic in 133 BC to avoid a likely succession crisis. A war with Eumenes III resulted in the creation of Roman province of Asia over much of the territory.There was a later Roman genocide of the Galatians.

en.wikipedia.org/wiki/Galatian_War

  

On the interior of the Pergamon Altar is a frieze depicting the life of Telephus, son of Herakles, whom the ruling Attalid dynasty associated with its city and utilized to claim descent from the Olympians. Pergamon, having entered the Greek world much later than its counterparts to the west, could not boast the same divine heritage as older city-states, and retroactively had to cultivate its place in Greek mythology.

This is an example of a phenomenon found in the commercial districts of small towns that have undergone an economic decline. The original retailers that occupied the downtown stores are long gone.

 

Based on what I've seen in a number of small towns in recent years, thrift stores tend to sprout up in the places formerly occupied by such traditional retailers as jewelry stores, pharmacies, clothes emporiums or barber shops.

 

These second-generation stores are different in that the store fronts have hand-painted signs instead of the computer-generated signs printed on durable synthetic material.

========================================================

 

Here's the very long story of Raymond, Washington:

 

The blanket of old growth forest that covered the Willapa Hills surrounding Raymond, on the Willapa River in Pacific County, fueled the town's growth from a handful of farms to a mill town bustling with trains filled with freshly cut logs, mills running 24 hours a day, and ships laden with lumber bound for the East Coast, South American, San Francisco, and Hawaii in less than a decade after its founding in 1903.

 

When a combination of overharvesting, environmental laws, and changes in the global market severely reduced logging and milling in the 1980s and 1990s, Raymond residents looked to new, more sustainable ways to utilize the surrounding hills, rivers, and bay to create jobs and sustain their community.

 

First Peoples

 

The Willapa River, with headwaters in the Willapa Hills, winds through the Willapa Valley until it is reaches the sea at Willapa Bay. A few miles upstream from the river's mouth, the South Fork of the Willapa joins the main river. Sloughs thread through the lowland forming what is called the Island, though it is not technically completely encircled by water.

 

Prior to contact with Europeans, three tribes lived around the Willapa's mouth, the Shoalwater (or Willapa) Chinook, the Lower Chehalis, and, seasonally, the Kwalhiloqua. Epidemic diseases brought by European and white American traders wreaked havoc in the Indian communities because they lacked immunities to the diseases. A malaria epidemic in the 1830s, probably brought to the area by sailors who had been in the tropics, decimated tribes in the lower Columbia River region.

 

After the epidemic, the Kwalhioqua all but disappeared, and the few remaining individuals joined the Willapa Chinook and Lower Chehalis. The northern part of Willapa Bay and the Willapa River formed a boundary between the Chinooks to the south and the Lower Chehalis to the north. The two groups intermarried and traded often.

 

These are the people who oystermen met when they came to Willapa Bay in the 1850s to harvest shellfish for the San Francisco market. The Indians worked with the oystermen in harvesting the shellfish.

 

Loggers, Farmers, and Indians

 

It was not long before the area's forests attracted loggers and sawmill operators. Brothers John (b. ca. 1830) and Valentine Riddell (b. ca. 1817) established a mill at what would become South Bend in 1869. Others followed, included John Adams' mill on the north side of the junction of the Willapa River with the South Fork.

 

Several farmers staked claims in the vicinity of the junction. The community, known as Riverside, had a school in 1875 and a post office.

 

The Indians in the area continued to work with oystermen, and in the more recently established salmon canneries and saw mills. They also continued to visit their traditional gathering places for berries and other plant materials.

 

The tribes had not yet formally agreed to allow the white Americans to live on their land, so, in February 1855, Territorial Governor Isaac Stevens (1818-1862) met with the Quinault, Queets, Lower Chehalis, Upper Chehalis, Shoalwater Bay, Chinook, and Cowlitz tribes at the Chehalis River Treaty Council (at the location of Cosmopolis today). The tribes did not object to ceding their lands, but once they heard the terms of the treaty they rejected the provision that required them to move to a shared reservation away from their traditional lands with the location of the reservation to be determined later. The tribes refused to accept those conditions and Stevens left without an agreement.

 

The absence of a treaty did not prevent white settlers from claiming lands along the Willapa River, thereby leaving less and less room for the Indians to live. On September 22, 1866 President Andrew Johnson (1808-1875) established the Shoalwater Bay Tribes Reservation by reserving 335 acres near Tokeland for the Lower Chehalis and Willapa Chinook who lived along Willapa Bay. The reservation is and has been used by a number of the tribes' members, but many also live in the surrounding communities (and elsewhere).

 

Raymond is Formed

 

In 1889 the promise of a Northern Pacific Railway terminus in South Bend, just downstream from the river junction, led to a land boom. Lots in South Bend and along the river in both directions sold for incredible profits until 1893 when a national financial panic led to a bust in South Bend. South Bend had the county seat and retained the railroad and some operating mills, but a grant of land to the Northern Pacific on the waterfront tied up many of its choicest industrial sites.

 

Upriver, at the river junction, a group of residents, some with Homestead Act claims and others who had bought land at low prices following the bust in South Bend, formed the Raymond Land and Development Company in 1903.

 

Incorporators of the land company included Leslie (1874-1961) (often referred to as L. V.) and Stella (1875-1960) Raymond, who had a farm on the Island. Stella had inherited the land from her father, Captain George Johnson (1823-1882), who had established a Homestead Act Claim for almost 179 acres. Presumably Johnson or the Raymonds purchased part of their holdings, because they brought 310 acres to the partnership.

 

L. V. and Stella, who married in 1897, moved to the farm in 1899 and Raymond became the name of the town that grew up on and around their land. L. V. served as the town's first postmaster, first Northern Pacific Railway agent, and developed a water system for the town. The Raymonds donated land and their time to community projects, such as a playfield and the fire department. A bequest from the Raymonds established the Raymond Foundation in 1962 as a non-profit organization to fund scholarships and community development projects.

 

Building a River Town

 

Alexander C. Little (1860-1932) was also a partner in the land company. After a career in local and state politics that included serving as Aberdeen's mayor, helping elect Governor John R. Rogers, and serving on the State Fisheries Commission, in 1903 Little decided to shift to the private sector. According to Pacific County historian Douglas Allen, "Raymond was named for L. V. but from the beginning A.C. Little formed the character of the town" (Allen, 65).

 

According to Allen, Little contributed two key elements to the town's success. First, he recommended that the land company offer free riverfront lots to mills, thereby ensuring an economic foundation for the town. Second, Little brought Harry C. Heermans (1852-1943) into the partnership. Heermans's engineering background helped solve issues associated with building a town on a river. The sloughs that laced the land rose and fell with the tides, but uphill development would have taken mills too far from the riverfront. Besides, the hills surrounding the river junction rose abruptly and would have posed their own engineering challenges.

 

Other incorporators of the land company included J. B. Duryea, Winfield S. Cram (b.1866), and John T. Welsh (1866-1954). A second land company, the Great West Land Company, also formed in 1903, had some of the same investors and also worked to develop the town.

 

In 1903, the first mill, operated by Jacob Siler and Winfield Cram, began operations. Several more mills, including the West Coast Veneer & Manufacturing Company mill run by Little, followed and businesses grew up nearby.

 

On April 16, 1904, the Raymond Land Company filed a plat for the town of Raymond. The business district consisted of a store, a saloon, and a mess house that served mill workers. A drug store and hotel were coming soon.

 

Lots Sold by the Gallon

 

To allow people to cross the water-sodden landscape, the town constructed 2,900 feet of elevated wooden sidewalks. These sidewalks ran down either side of what would become 1st Street, which was really an open space onto which the buildings fronted. Additional wooden sidewalks crossed the void at regular intervals.

 

Lillian Smith (1875-1960), a teacher from Michigan who came to teach in Raymond for a year not long after the town's founding, remembered her first impressions of the town,

 

"At first I seemed to be crossing the river no matter what street I took. It was like losing oneself with Alice on the other side of the Looking Glass where you had to keep going in order to stand still, and vice versa. Imagine streets like long bridges built on piles driven into the slough (pronounced slu). Wooden railings on either side, and beyond these narrower wooden bridges of sidewalk width, these too with railings — a perfect maze of railings, necessary to keep careless pedestrians from falling into the slough" (Smith, 3).

 

Still, the town's location provided enough benefits to outweigh the difficulties of being what Smith called, "an amphibious town" (Smith, 6). It was located at the head of navigable waters, close to the bay and to the forests that fed its mills. It also had access to the Northern Pacific Railway, without having had to give up its waterfront lots the way South Bend had.

 

Navigation on the river depended on assistance from the Army Corps of Engineers. Early in its history Willapa Bay was known as Shoalwater Bay because of its many shallow areas. These made ideal oyster grounds, but limited ships' access to ports. The Corps, under the provisions of several different Rivers and Harbors Acts, had dredged the river up to Willapa City, just upstream from the Raymond townsite, and kept it clear of snags. The Corps also maintained a channel through the bar at the mouth of the bay.

 

Businesses besides lumber mills diversified the economy. In 1907 Stewart L. Dennis (1873-1952) and Perry W. Shepard (b. ca. 1871) formed a transfer company that would become an important retail business in Pacific County, now known as the Dennis Company, and John W. Dickie and his son, David, came to Raymond to establish a boatyard.

 

The Dickies had worked in the San Francisco Bay area and, according to local historian Ina E. Dickie, came to Raymond because the more-isolated Willapa Bay offered better access to lumber and to employees who accepted lower wages and had not yet formed unions. Dickie & Son built steamships -- the first was the Willapa -- at Raymond over the next several years. All were built for the coastwise lumber trade, which was booming following the 1906 earthquake and fires in San Francisco.

 

On August 6, 1907, voters approved a measure to incorporate the town of Raymond. A handful of residents resisted the town's boundaries because they included some outlying farms in anticipation of the town's growth.

 

Little served as the first mayor, an office he would hold for 10 of the next 11 years. When asked in 1910 to serve as president of the Southwest Washington Development Association, Little replied that he was "disqualified because of his partiality for the place where lots are sold by the gallon at high tide" ("Southwest Part of the State Unites").

 

A Lumber Town

 

The first council consisted of seven men: C. Frank Cathcart, president of Raymond Transfer and Storage and Northern Pacific agent, Winfield S. Cram, Timothy H. Donovan, superintendent of the Pacific & Eastern Railway and Sunset Timber Company, Floyd Lewis, real estate agent, Charles Myers, sawyer at the Siler Mill, L. V. Raymond, and Willard G. Shumway a clerk. P. T. Johnson served as the first treasurer and Neal Stupp as the clerk and secretary.

 

By 1910 the population had increased to 2,540, but that was just the start of the flood of new residents. In 1911, there were about 5,000 people in Raymond. They were needed for the kind of production boasted of by a promotional brochure from 1912. It lists the output of the towns mills for the previous year as 27,834,779 board feet of lumber, 226,712,250 shingles, 105 million berry baskets (made from veneer), and 33 million pieces of lath for plaster walls. The newcomers included business people, mill owners, mill workers, and loggers from all parts of the world.

 

Labor v. Capital

 

The 1910s, although economically prosperous, saw a series of disputes between labor unions and mill owners up and down the West Coast. Working conditions in the lumber industry were dismal and lumber workers struck for better wages and better logging camp conditions.

 

On March 25, 1912, mill workers in Raymond walked off the job to prevent the lumber companies from using their Raymond mills to replace lost production at Grays Harbor mills, where workers had begun a strike two weeks earlier. The town's business community's response was swift and severe. They held a meeting the second day of the strike. A. C. Little led the discussion, railing against the strike's organizers, the Industrial Workers of the World, also known as the Wobblies. The meeting participants decided that they should protect "any man who might want to work" ("Strikes Close Raymond Mills"). To that stated end, several committees formed to support the effort. Over the next several days the sheriff swore in 460 deputies to "protect property and the working men" ("Strikes Close Raymond Mills").

 

To prevent the mill workers from gathering, the city closed all the saloons and brothels for the duration of the strikes. Likewise, three "Socialists speakers," were arrested upon disembarking the Raymond depot ("Strikes Close Raymond Mills").

 

A few days later, on March 30, 1912, the mill owners blew their whistles for the start of work. Anyone who did not heed to the call found themselves and their families rounded up by about 200 men with rifles and shotguns and loaded onto a railroad car bound for Centralia. The South Bend Journal identified those who refused to work as Finns and Greeks.

 

The Greek workers were taken to Centralia, where the Greek consul from Tacoma, Hans Heldner, met them and protested their treatment. The Finns had been removed by boat to Nahcotta. From there they traveled on to Astoria where there was a large Finnish American community. After the strike ended, the South Bend Journal said that the Greek mill workers asked to return, but, "American flags have been hoisted on the mills and only Americans or civilized foreigners need apply" ("Agitators Banished from Raymond"). Other strikes would come to Raymond and labor unions led fights for improved safety, better conditions, and higher pay.

 

Despite labor problems, the mills kept prospering in Raymond. In 1912 there were 14 mills in operation. They used an average of 50 railroad cars full of logs from logging camps in the surrounding fills. The mills produced an average of 20 railroad cars a day of lumber and other forest products. These included shingles, cascara bark, used for medications, doors, and window frames.

 

Growth and Development

 

In 1912 the town also started to fill the sloughs that ran through town so residents could have actual streets and so that houses would not flood at high tide. In 1915 the Chicago, Milwaukee & St. Paul Railroad began passenger and freight service between Raymond and Puget Sound. The mayors of Raymond and South Bend presented the railroad's representatives with a wooden key "symbolical [sic] of the freedom of Willapa Harbor" (Krantz). The train service was a vital link between the Willapa River towns and the interior of Washington. Not until 1917 would a road through the Willapa Hills open. The precursor of State Route 6, it was not reliably useable. It featured steep switchbacks and its gravel surface routinely suffered from water damage.

 

The late 1910s saw Raymond operating at full bore. Six saw mills, two veneer plants, a box factory, five shingle mills, and a woodworking plant were joined by the Sanderson & Porter shipyard, which employed 1,000 workers in building ships for the United States Navy during World War I. In the postwar era, the population dropped to about 4,500.

 

Port of Willapa Harbor

 

In 1928 residents of Raymond joined with South Bend to form the Port of Willapa Harbor, a public port district. The Port built a public dock on land between Raymond and South Bend that allowed smaller sawmills access to the river. This facilitated the transport of logs, which could be floated down the river from logging camps in the Willapa Hills, and the shipping of finished lumber. Before the public dock was completed in 1930, sawmills and other forest-products factories that did not have riverfront property had to send their goods to Grays Harbor or Puget Sound via the railroad, adding significantly to transport costs and time.

 

The Port dedicated the dock on October 8, 1930, and the city of South Bend dedicated a reconstructed city dock and improved slip. The same day, state highway officials led a celebration of the opening of Highway 101 between Aberdeen and Raymond-South Bend. For the first time travelers could follow a road through the Willapa Hills to the north of South Bend. It also connected Aberdeen with Ilwaco and the Long Beach Peninsula. This provided drivers with a direct route to the ferries that crossed the Columbia River to Astoria.

 

The Port's dock housed a sawmill, owned first by Ralph Tozier (1920-2005) and then Ben Cheney (1905-1971), who owned Cheney Lumber Company. According to Med Nicholson, writing in the Sou'wester, in 1945, Cheney was faced with a problem of wasted wood that resulted from cutting logs for ties. In order to square up the logs, large slabs were cut off each of four sides. Cheney had the insight that the slabs were eight feet long (the length of railroad ties) and house ceilings were eight and one-half feet tall. At the time home builders were buying studs in 10- and 12-foot lengths and cutting them down, also resulting in a lot of wasted wood. Cheney cut the slabs into a "Cheney Stud," what are now known as eight-foot two-by-four and sold them to home builders. Eight-foot ceilings became standard in houses, "putting to use an enormous amount of formerly wasted timber and incidentally saving American homeowners uncounted millions of dollars in heating expense" ("The Ben Cheney Story," 10).

 

Raymond's Great Depression

 

Unfortunately, the advantages presented by the new port and highway were hampered by the Great Depression. The economic downturn resulted in drastically decreased demand for lumber and Raymond residents struggled to find jobs. The decline of the Great Depression would reduce the town's population to 4,000. A steady decline after the Depression brought the population to just under 3,000 by 1990, where it has stayed since.

 

Though circumstances improved slightly when Weyerhaeuser purchased two mills in Raymond and one in South Bend and reorganized them in 1931, larger economic forces made it nearly impossible for commerce to continue in Raymond. In 1932 the Raymond Chamber of Commerce, faced with a near stoppage of business following the failure of the First Willapa Harbor National Bank, printed its own currency called "oyster money" to carry people over until real money became available again.

 

The Port of Willapa Harbor continued its efforts to improve the port's facilities. The Army Corps of Engineers carried out at federally funded dredging and channel straightening project on the river in 1936. The dredge spoils created Jensen Island and the new channel allowed deeper-draft boats to reach Raymond.

 

Logging and Lumber

 

A 1954 report by Nathaniel H. Engle and Delbert C. Hastings of the University of Washington's Bureau of Business Research, draws an interesting portrait of Pacific County's average male citizen as delineated by the 1950 Federal Census:

 

"Mr. Average Citizen of Pacific County, at the last census, 1950, was white and 33 years of age. He had had two years of high school education. He was employed as a laborer or an operative in the lumber industry. His income for the year was about $3,042. He was married and had two children. He lived in a 4 or 5 room house in good condition, with hot and cold running water, toilet, and bath. He had mechanical refrigeration, and a radio, but no central heating. His home was worth close to $4,000 and was owned clear of debt. Thus Pacific County's average citizen rates as a substantial American wage earner, somewhat better off, on the whole, than the average American, although not quite up to the average in Washington state" (Engle and Hastings, 5).

 

The lumber industry supported a significant number of these "average" residents. Where Grays Harbor had nearly cleared much its surrounding forest lands in the 1920s, Pacific County still had considerable standing timber in the 1950s. In 1951 more than 66 million board feet of logs and more than 90 million board feet of lumber left Raymond on ships and railroad cars. This may have been the result of a high concentration of ownership by large companies such as Weyerhaeuser, which owned 380 square miles (nearly half of the county), Crown-Zellerbach, owner of 60 square miles, and Rayonier, owner of 50 square miles.

 

Engle and Hastings described the logging companies' success as resulting from the companies' willingness to use sustained yield practices, rather than cutting the forests as quickly as the mills could cut the logs. Sustained yield did lead to more selective and more reseeding, but it did not maintain forests that could support diverse ecosystems because most of the reseeding was of single, productive species such as Douglas fir. Wildlife populations were further damaged by hunting programs designed to eliminate animals such as deer or bear that browsed on seedlings and new growth on older trees.

 

In 1954 and 1955, Weyerhaeuser carried out a two-part renovation of the old Willapa Lumber Company mill that it had acquired in 1931. First they replaced all the mill's facilities and then they rebuilt the mill itself. This mill, known as Mill W, remains in operation in 2010, the last softwood lumber mill in operation in Raymond,

 

In the 1970s the region saw another lumber boom. According to Richard Buck, of The Seattle Times, a new generation of baby boomers began buying houses, which increased the demand for lumber, leading to increased competition and prices. Prices reached $337 per 1,000 board feet.

 

The next decade, the declines in the national economy devastated the local economy rather than driving it. Prices dropped by two-thirds to $102 per 1,000 board feet in 1985. According to Buck this was due to a decline in housing starts and the increase in the value of the dollar and interest rates, which made Canadian lumber cheaper. Also, deregulation of the transportation industry increased the disadvantage West Coast lumber mills had compared to Southern and Midwestern lumber mills' proximity to East Coast markets.

 

In addition to the economic forces battering the lumber industry, in the late 1980s the local environment could no longer support the intense logging of the previous century. Historical overharvest and increased environmental regulations reduced the acreage of public forestland open to logging. In 1990, the Northern Spotted Owl was listed as endangered under the Endangered Species Act. With the owl's listing, communities in Pacific County had to adjust to reduced logging and fewer jobs at the area's sawmills. The effects of the environmental regulations were compounded by plant modernization, which also led to fewer jobs in the mills. Many smaller mills could not compete with the larger companies' more efficient mills and a number went out of business.

 

The closure of the federal forests combined with changes in how Weyerhaeuser managed its lands and utilized mills in Pacific County led to the closure of numerous mills. This, in turn, led to fewer jobs in the forest products industry, as well as other sectors of the county's economy.

 

According to a Seattle Times article, "Some residents liken the area to a Third World nation, an underdeveloped colony whose resources are removed by 'foreign' corporations. Weyerhaeuser, they note, owns more than 50 percent of the land in Pacific County" (Hatch). Additionally, they accused Weyerhaeuser of using profits gained in Pacific County to build the very mills in the American South, where wages were lower, that undermined the viability of Raymond's mills. Although there is certainly a component of anger at outside companies taking a tremendous amount of natural resources out of the surrounding hills without investing a significant portion of the resulting profits in the local community, this sentiment also reflects the frustration that resulted from one company owning so much of the county's land and making decisions driven by the global market.

 

Strategies for Change

 

Raymond residents have created multiple strategies to address the changes to the regional economy. When one mill, the Mayr Brothers sawmill, closed in 1986, the Port of Willapa Harbor bought the land and buildings and leased them to Pacific Hardwoods. When that mill closed in 2001, a group of Raymond investors banded together and reopened it as Willapa Bay Hardwoods, employing 35 people. It planned to cut 17.5 million board feet a year, a far more sustainable volume than during the boom years.

 

The Port of Willapa Harbor has been involved in other economic development projects. The Port developed two industrial parks and received grants to construct light manufacturing buildings at one of the industrial parks and at the Port dock. A variety of industries have leased Port buildings, including a chitosan (a natural polymer produced from shellfish shells) producer, seafood processors, and an airplane prototype design company. Additionally, some of the buildings are used by retail stores, including a saw shop and a health club.

 

The Raymond community, in conjunction with the city government and the Port of Willapa Harbor, has developed attractions that will draw tourists to the region as a way to build the economy. The former railroad bed across the Willapa Hills has been turned into a hiking and biking trail. The city has begun redeveloping its riverfront and a regional consortium developed the Willapa Water Trail, which small boats can follow to explore Willapa Bay.

 

Over the past century the environment in and around Raymond has attracted people, many of whom have sought to remove as much of it as possible for sale in markets far from Pacific County. The town's future lies in a more sustainable use of those resources, including the intangible ones that have to be experienced in person.

www.historylink.org/File/9590

The Burgtheater at Dr.-Karl -Lueger-Ring (from now on, Universitätsring) in Vienna is an Austrian Federal Theatre. It is one of the most important stages in Europe and after the Comédie-Française, the second oldest European one, as well as the greatest German speaking theater. The original 'old' Burgtheater at Saint Michael's square was utilized from 1748 until the opening of the new building at the ring in October, 1888. The new house in 1945 burnt down completely as a result of bomb attacks, until the re-opening on 14 October 1955 was the Ronacher serving as temporary quarters. The Burgtheater is considered as Austrian National Theatre.

Throughout its history, the theater was bearing different names, first Imperial-Royal Theater next to the Castle, then to 1918 Imperial-Royal Court-Burgtheater and since then Burgtheater (Castle Theater). Especially in Vienna it is often referred to as "The Castle (Die Burg)", the ensemble members are known as Castle actors (Burgschauspieler).

History

St. Michael's Square with the old K.K. Theatre beside the castle (right) and the Winter Riding School of the Hofburg (left)

The interior of the Old Burgtheater, painted by Gustav Klimt. The people are represented in such detail that the identification is possible.

The 'old' Burgtheater at St. Michael's Square

The original castle theater was set up in a ball house that was built in the lower pleasure gardens of the Imperial Palace of the Roman-German King and later Emperor Ferdinand I in 1540, after the old house 1525 fell victim to a fire. Until the beginning of the 18th Century was played there the Jeu de Paume, a precursor of tennis. On 14 March 1741 finally gave the Empress Maria Theresa, ruling after the death of her father, which had ordered a general suspension of the theater, the "Entrepreneur of the Royal Court Opera" and lessees of 1708 built theater at Kärntnertor (Carinthian gate), Joseph Karl Selliers, permission to change the ballroom into a theater. Simultaneously, a new ball house was built in the immediate vicinity, which todays Ballhausplatz is bearing its name.

In 1748, the newly designed "theater next to the castle" was opened. 1756 major renovations were made, inter alia, a new rear wall was built. The Auditorium of the Old Burgtheater was still a solid timber construction and took about 1200 guests. The imperial family could reach her ​​royal box directly from the imperial quarters, the Burgtheater structurally being connected with them. At the old venue at Saint Michael's place were, inter alia, several works of Christoph Willibald Gluck, Ludwig van Beethoven, Wolfgang Amadeus Mozart as well as Franz Grillparzer premiered .

On 17 February 1776, Emperor Joseph II declared the theater to the German National Theatre (Teutsches Nationaltheater). It was he who ordered by decree that the stage plays should not deal with sad events for not bring the Imperial audience in a bad mood. Many theater plays for this reason had to be changed and provided with a Vienna Final (Happy End), such as Romeo and Juliet or Hamlet. From 1794 on, the theater was bearing the name K.K. Court Theatre next to the castle.

1798 the poet August von Kotzebue was appointed as head of the Burgtheater, but after discussions with the actors he left Vienna in 1799. Under German director Joseph Schreyvogel was introduced German instead of French and Italian as a new stage language.

On 12 October 1888 took place the last performance in the old house. The Burgtheater ensemble moved to the new venue at the Ring. The Old Burgtheater had to give way to the completion of Saint Michael's tract of Hofburg. The plans to this end had been drawn almost 200 years before the demolition of the old Burgtheater by Joseph Emanuel Fischer von Erlach.

The "new" K.K. Court Theatre (as the inscription reads today) at the Ring opposite the Town Hall, opened on 14 October 1888 with Grillparzer's Esther and Schiller's Wallenstein's Camp, was designed in neo-Baroque style by Gottfried Semper (plan) and Karl Freiherr von Hasenauer (facade), who had already designed the Imperial Forum in Vienna together. Construction began on 16 December 1874 and followed through 14 years, in which the architects quarreled. Already in 1876 Semper withdrew due to health problems to Rome and had Hasenauer realized his ideas alone, who in the dispute of the architects stood up for a mainly splendid designed grand lodges theater.

However, created the famous Viennese painter Gustav Klimt and his brother Ernst Klimt and Franz Matsch 1886-1888 the ceiling paintings in the two stairwells of the new theater. The three took over this task after similar commissioned work in the city theaters of Fiume and Karlovy Vary and in the Bucharest National Theatre. In the grand staircase on the side facing the café Landtmann of the Burgtheater (Archduke stairs) reproduced ​​Gustav Klimt the artists of the ancient theater in Taormina on Sicily, in the stairwell on the "People's Garden"-side (Kaiserstiege, because it was reserved for the emperor) the London Globe Theatre and the final scene from William Shakespeare's "Romeo and Juliet". Above the entrance to the auditorium is Molière's The Imaginary Invalid to discover. In the background the painter immortalized himself in the company of his two colleagues. Emperor Franz Joseph I liked the ceiling paintings so much that he gave the members of the company of artists of Klimt the Golden Cross of Merit.

The new building resembles externally the Dresden Semper Opera, but even more, due to the for the two theaters absolutely atypical cross wing with the ceremonial stairs, Semper's Munich project from the years 1865/1866 for a Richard Wagner Festspielhaus above the Isar. Above the middle section there is a loggia, which is framed by two side wings, and is divided from a stage house with a gable roof and auditorium with a tent roof. Above the center house there decorates a statue of Apollo the facade, throning between the Muses of drama and tragedy. Above the main entrances are located friezes with Bacchus and Ariadne. At the exterior facade round about, portrait busts of the poets Calderon, Shakespeare, Moliere, Schiller, Goethe, Lessing, Halm, Grillparzer, and Hebbel can be seen. The masks which also can be seen here are indicating the ancient theater, furthermore adorn allegorical representations the side wings: love, hate, humility, lust, selfishness, and heroism. Although the theater since 1919 is bearing the name of Burgtheater, the old inscription KK Hofburgtheater over the main entrance still exists. Some pictures of the old gallery of portraits have been hung up in the new building and can be seen still today - but these images were originally smaller, they had to be "extended" to make them work better in high space. The points of these "supplements" are visible as fine lines on the canvas.

The Burgtheater was initially well received by Viennese people due to its magnificent appearance and technical innovations such as electric lighting, but soon criticism because of the poor acoustics was increasing. Finally, in 1897 the auditorium was rebuilt to reduce the acoustic problems. The new theater was an important meeting place of social life and soon it was situated among the "sanctuaries" of Viennese people. In November 1918, the supervision over the theater was transferred from the High Steward of the emperor to the new state of German Austria.

1922/1923 the Academy Theatre was opened as a chamber play stage of the Burgtheater. On 8th May 1925, the Burgtheater went into Austria's criminal history, as here Mentscha Karnitschewa perpetrated a revolver assassination on Todor Panitza.

The Burgtheater in time of National Socialism

The National Socialist ideas also left traces in the history of the Burgtheater. In 1939 appeared in Adolf Luser Verlag the strongly anti-Semitic characterized book of theater scientist Heinz Kindermann "The Burgtheater. Heritage and mission of a national theater", in which he, among other things, analyzed the "Jewish influence "on the Burgtheater. On 14 October 1938 was on the occasion of the 50th anniversary of the opening of the Burgtheater a Don Carlos production of Karl-Heinz Stroux shown that served Hitler's ideology. The role of the Marquis of Posa played the same Ewald Balser, who in a different Don Carlos production a year earlier (by Heinz Hilpert) at the Deutsches Theater in the same role with the sentence in direction of Joseph Goebbels box vociferated: "just give freedom of thought". The actor and director Lothar Müthel, who was director of the Burgtheater between 1939 and 1945, staged 1943 the Merchant of Venice, in which Werner Kraus the Jew Shylock clearly anti-Semitic represented. The same director staged after the war Lessing's parable Nathan the Wise. Adolf Hitler himself visited during the Nazi regime the Burgtheater only once (1938), and later he refused in pure fear of an assassination.

For actors and theater staff who were classified according to the Reich Citizenship Law of 1935 as "Jews ", were quickly imposed stage bans, within a few days, they were on leave, fired or arrested. The Burgtheater ensemble ​​between 1938 and 1945 did not put up significant resistance against the Nazi ideology, the repertoire was heavily censored, only a few joined the Resistance, as Judith Holzmeister (then also at the People's Theatre engaged) or the actor Fritz Lehmann. Although Jewish members of the ensemble indeed have been helped to emigrate, was still an actor, Fritz Strassny, taken to a concentration camp and murdered there.

The Burgtheater at the end of the war and after the Second World War

In summer 1944, the Burgtheater had to be closed because of the decreed general theater suspension. From 1 April 1945, as the Red Army approached Vienna, camped a military unit in the house, a portion was used as an arsenal. In a bomb attack the house at the Ring was damaged and burned down on 12th April 1945 completely. Auditorium and stage were useless, only the steel structure remained. The ceiling paintings and part of the lobby were almost undamaged.

The Soviet occupying power expected from Viennese City Councillor Viktor Matejka to launch Vienna's cultural life as soon as possible again. The council summoned on 23 April (a state government did not yet exist) a meeting of all Viennese cultural workers into the Town Hall. Result of the discussions was that in late April 1945 eight cinemas and four theaters took up the operation again, including the Burgtheater. The house took over the Ronacher Theater, which was understood by many castle actors as "exile" as a temporary home (and remained there to 1955). This venue chose the newly appointed director Raoul Aslan, who championed particularly active.

The first performance after the Second World War was on 30 April 1945 Sappho by Franz Grillparzer directed by Adolf Rott from 1943 with Maria Eis in the title role. Also other productions from the Nazi era were resumed. With Paul Hoerbiger, a few days ago as Nazi prisoner still in mortal danger, was shown the play of Nestroy Mädl (Girlie) from the suburbs. The Academy Theatre could be played (the first performance was on 19 April 1945 Hedda Gabler, a production of Rott from the year 1941) and also in the ball room (Redoutensaal) at the Imperial Palace took place performances. Aslan the Ronacher in the summer had rebuilt because the stage was too small for classical performances. On 25 September 1945, Schiller's Maid of Orleans could be played on the enlarged stage.

The first new productions are associated with the name of Lothar Müthel: Everyone and Nathan the Wise, in both Raoul Aslan played the main role. The staging of The Merchant of Venice by Müthel in Nazi times seemed to have been fallen into oblivion.

Great pleasure gave the public the return of the in 1938 from the ensemble expelled Else Wohlgemuth on stage. She performaed after seven years in exile in December 1945 in Clare Biharys The other mother in the Academy Theater. 1951 opened the Burgtheater its doors for the first time, but only the left wing, where the celebrations on the 175th anniversary of the theater took place.

1948, a competition for the reconstruction was tendered: Josef Gielen, who was then director, first tended to support the design of ex aequo-ranked Otto Niedermoser, according to which the house was to be rebuilt into a modern gallery theater. Finally, he agreed but then for the project by Michael Engelhardt, whose plan was conservative but also cost effective. The character of the lodges theater was largely taken into account and maintained, the central royal box but has been replaced by two balconies, and with a new slanted ceiling construction in the audience was the acoustics, the shortcoming of the house, improved significantly.

On 14 October 1955 was happening under Adolf Rott the reopening of the restored house at the Ring. For this occasion Mozart's A Little Night Music was played. On 15 and on 16 October it was followed by the first performance (for reasons of space as a double premiere) in the restored theater: King Ottokar's Fortune and End of Franz Grillparzer, staged by Adolf Rott. A few months after the signing of the Austrian State Treaty was the choice of this play, which the beginning of Habsburg rule in Austria makes a subject of discussion and Ottokar of Horneck's eulogy on Austria (... it's a good country / Well worth that a prince bow to it! / where have you yet seen the same?... ) contains highly symbolic. Rott and under his successors Ernst Haeusserman and Gerhard Klingenberg the classic Burgtheater style and the Burgtheater German for German theaters were finally pointing the way .

In the 1950s and 1960s, the Burgtheater participated (with other well-known theaters in Vienna) on the so-called Brecht boycott.

Gerhard Klingenberg internationalized the Burgtheater, he invited renowned stage directors such as Dieter Dorn, Peter Hall, Luca Ronconi, Giorgio Strehler, Roberto Guicciardini and Otomar Krejča. Klingenberg also enabled the castle debuts of Claus Peymann and Thomas Bernhard (1974 world premiere of The Hunting Party). Bernhard was as a successor of Klingenberg mentioned, but eventually was appointed Achim Benning, whereupon the writer with the text "The theatrical shack on the ring (how I should become the director of the Burgtheater)" answered.

Benning, the first ensemble representative of the Burgtheater which was appointed director, continued Klingenberg's way of Europeanization by other means, brought directors such as Adolf Dresen, Manfred Wekwerth or Thomas Langhoff to Vienna, looked with performances of plays of Vaclav Havel to the then politically separated East and took the the public taste more into consideration.

Directorate Claus Peymann 1986-1999

Under the by short-term Minister of Education Helmut Zilk brought to Vienna Claus Peymann, director from 1986 to 1999, there was further modernization of the programme and staging styles. Moreover Peymann was never at a loss for critical contributions in the public, a hitherto unusual attitude for Burgtheater directors. Therefore, he and his program within sections of the audience met with rejection. The greatest theater scandal in Vienna since 1945 occurred in 1988 concerning the premiere of Thomas Bernhard's Heldenplatz (Place of the Heroes) drama which was fiercly fought by conservative politicians and zealots. The play deals with the Vergangenheitsbewältigung (process of coming to terms with the past) and illuminates the present management in Austria - with attacks on the then ruling Social Democratic Party - critically. Together with Claus Peymann Bernhard after the premiere dared to face on the stage applause and boos.

Bernard, to his home country bound in love-hate relationship, prohibited the performance of his plays in Austria before his death in 1989 by will. Peymann, to Bernhard bound in a difficult friendship (see Bernhard's play Claus Peymann buys a pair of pants and goes eating with me) feared harm for the author's work, should his plays precisely in his homeland not being shown. First, it was through permission of the executor Peter Fabjan - Bernhard's half-brother - after all, possible the already in the schedule of the Burgtheater included productions to continue. Finally, shortly before the tenth anniversary of the death of Bernard it came to the revival of the Bernhard play Before retirement by the first performance director Peymann. The plays by Bernhard are since then continued on the programme of the Burgtheater and they are regularly newly produced.

In 1993, the rehearsal stage of the Castle theater was opened in the arsenal (architect Gustav Peichl). Since 1999, the Burgtheater has the operation form of a limited corporation.

Directorate Klaus Bachler 1999-2009

Peymann was followed in 1999 by Klaus Bachler as director. He is a trained actor, but was mostly as a cultural manager (director of the Vienna Festival) active. Bachler moved the theater as a cultural event in the foreground and he engaged for this purpose directors such as Luc Bondy, Andrea Breth, Peter Zadek and Martin Kušej.

Were among the unusual "events" of the directorate Bachler

* The Theatre of Orgies and Mysteries by Hermann Nitsch with the performance of 122 Action (2005 )

* The recording of the MTV Unplugged concert with Die Toten Hosen for the music channel MTV (2005, under the title available)

* John Irving's reading from his book at the Burgtheater Until I find you (2006)

* The 431 animatographische (animatographical) Expedition by Christoph Schlingensief and a big event of him under the title of Area 7 - Matthew Sadochrist - An expedition by Christoph Schlingensief (2006).

* Daniel Hoevels cut in Schiller's Mary Stuart accidentally his throat (December 2008). Outpatient care is enough.

Jubilee Year 2005

In October 2005, the Burgtheater celebrated the 50th Anniversary of its reopening with a gala evening and the performance of Grillparzer's King Ottokar's Fortune and End, directed by Martin Kušej that had been performed in August 2005 at the Salzburg Festival as a great success. Michael Maertens (in the role of Rudolf of Habsburg) received the Nestroy Theatre Award for Best Actor for his role in this play. Actor Tobias Moretti was awarded in 2006 for this role with the Gertrude Eysoldt Ring.

Furthermore, there were on 16th October 2005 the open day on which the 82-minute film "burg/private. 82 miniatures" of Sepp Dreissinger was shown for the first time. The film contains one-minute film "Stand portraits" of Castle actors and guest actors who, without saying a word, try to present themselves with a as natural as possible facial expression. Klaus Dermutz wrote a work on the history of the Burgtheater. As a motto of this season served a quotation from Lessing's Minna von Barnhelm: "It's so sad to be happy alone."

The Burgtheater on the Mozart Year 2006

Also the Mozart Year 2006 was at the Burgtheater was remembered. As Mozart's Singspiel Die Entführung aus dem Serail in 1782 in the courtyard of Castle Theatre was premiered came in cooperation with the Vienna State Opera on the occasion of the Vienna Festival in May 2006 a new production (directed by Karin Beier) of this opera on stage.

Directorate Matthias Hartmann since 2009

Since September 2009, Matthias Hartmann is Artistic Director of the Burgtheater. A native of Osnabrück, he directed the stage houses of Bochum and Zurich. With his directors like Alvis Hermanis, Roland Schimmelpfennig, David Bösch, Stefan Bachmann, Stefan Pucher, Michael Thalheimer, came actresses like Dorte Lyssweski, Katharina Lorenz, Sarah Viktoria Frick, Mavie Hoerbiger, Lucas Gregorowicz and Martin Wuttke came permanently to the Burg. Matthias Hartmann himself staged around three premieres per season, about once a year, he staged at the major opera houses. For more internationality and "cross-over", he won the Belgian artist Jan Lauwers and his Need Company as "Artists in Residence" for the Castle, the New York group Nature Theater of Oklahoma show their great episode drama Live and Times of an annual continuation. For the new look - the Burgtheater presents itself without a solid logo with word games around the BURG - the Burgtheater in 2011 was awarded the Cultural Brand of the Year .

 

The three Bell Huey 2 helicopters utilized by Kennedy Space Center's Flight Operations team for security purposes are photographed inside the Launch and Landing Facility hangar on Sept. 30, 2020. Two new Airbus H135 (T3) helicopters arrived at the Florida spaceport on Sept. 30 to replace the Bell Huey 2 aircraft in service now. The new helicopters provide a number of technological and safety advantages over the Hueys, such as more lifting power, greater stability in the air, and expanded medical capabilities. The team expects to fully transition to flying the two H135 aircraft later this year. A third is expected to arrive in early 2021, and with its arrival, will complete the fleet's upgrade. Photo credit: NASA/Amber Jean Watson

NASA image use policy.

Utilized by the U.S. Government and private business, observatories at the summit of Haleakala Volcano, Maui

  

Press L for large view

Still working out the kinks in how to best utilize the "LDD to POVRay Converter". This time I followed some of the advice over at Eurobricks and up-converted the pixel dimensions (by 100%) and turned off anti-aliasing. This actually reduced the rendering time by 50% compared to my last one (a scant 7hrs,15mins as opposed to 14hrs, 40mins). This is, of course, still on my Windows 7 virtual machine, running on my MacBook Pro.

 

I also turned off one of the 'right' light, bumped the 'left' light up to 70% and turned off the shadow from the 'top' light. The end result looks a bit less rendery, I think, but it was a bit too dark. I had to manipulate it in Photoshop only a slight bit. Frankly, it could still go a bit brighter still.

 

Decided to recolor this one. The original version was in Classic Space livery. This time around I opted for the tasty Tan/DkRed scheme.

 

Download LXF.

Fotodiox Rhinocam Sony/Pentax 645 - utilizing 645 Pentax Lenses - Test shots of our neighborhood across the street, a slice of the front of our house, and one way to look at my study - The Rhinocam is a set of slider plates set up to accept a Pentax 645 lens and a Sony Nex mount camera. The slider functions to shoot through the medium format lens in a set of 6 to 8 frames shot according to markings on the back side of the mechanism which are then composited together in Lightroom or MS Image Composite Editor (ICE) to emulate the results that would be obtained from a medium format digital camera. Well, if it could be afforded, I believe the MF digital camera would be a better choice. But, I am only justed starting; it should get easier ;+))

 

Look at the original size for the incredible detail of a Medium Format size photo.

New Haven Railroad ALCO HH660 class DEY-1b switcher # 0923 and an ALCO RS-1 DERS-1b road Switcher # 0664 are seen in the yard locomotive service area, Boston, July 29, 1966. This old high hood ALCO switcher was among the oldest switchers operated by the New Haven Railroad. The HH660 still utilized plain bearings in its trucks. It appears that the radiator core has been removed, so this may be a dead line or a repair track. Notice the sanding tower and fuel tank seen in the background. This photo came from my Houser Collection photos.

 

Copyright Disclaimer under Section 107 of the Copyright Act of 1976, allowance is made for “fair use” for the purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.

EAA Airventure utilizes these old VW Beetles as utility vehicles for staff transportation, follow-me vehicles, etc. At the EAA gift store, I've seen posters that explain the myriad of VW Beetle variations and functions. I took a quick snapshot of the poster, but don't recall when that was.

edit: it's in the photos from Saturday, 2023. The poster title is "Airventure Bug Identifier", in case you want to buy one.

Música (abrir en nueva pestaña) / Music (Open link in new tab): Corvus Corax - Rustica puella.

 

En las cercanías del Palacio de Gosálvez, se encuentra la Ermita de Santiago Apóstol, construida en honor a Santiago Gosálvez, el antepasado de la familia que, en 1842, estableció las fábricas de harina, hilados y papel continuo en el Puente de Don Juan. La ermita se construyó entre 1946 y 1948 en estilo neogótico, a base de muros de tapial y verdugadas de ladrillo. Sus ventanales (dos a cada lado y tres en la cabecera) así como el arco de la portada, son apuntados. Sobre esta última figura una gran hornacina con un arco de ladrillo de medio punto. En ella había un colorido fondo de azulejos historiado de Santiago Matamoros. La fachada se remata con un pequeño frontón cuadrado de ladillo que, a modo de espadaña, alberga el hueco de la campana. Canon EOS 50D con Tokina 11-16 f/2.8 atx pro DX

 

-English:

The Chapel of "Santiago Apóstol" (St. James) is located next to Palace of Gosálvez. It was built in honor of Santiago Gosálvez, the ancestor of the family who, in 1842, established flour, textile and paper industries in "Puente de Don Juan", near Villalgordo del Júcar (Albacete, Spain). The chapel was built between 1946 and 1948 in Neo Gothic style, with walls of mud and rows of bricks. The windows (two on each side and three on the header) and the arc of the façade are pointed. Above the latter there was a niche with a half point brick arch with a colorful historiated background of tiles depicting "Santiago Matamoros" in it. The facade is topped with a small brick square pediment as a bell-gable. Canon EOS 50D with Tokina 11-16 f/2.8 atx pro DX

 

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St. Charles's Church, Vienna

 

The St. Charles's Church (German: Karlskirche) is a church situated on the south side of Karlsplatz, Vienna. It is located on the edge of the 1st district, 200 metres outside the Ringstraße. It is one of the most outstanding baroque church structures, and boasts a dome in the form of an elongated ellipsoid.

 

Ever since Karlsplatz was restored as an ensemble in the late 1980s, the Karlskirche has garnered fame due to its dome and its two flanking columns of bas-reliefs, as well as its role as an architectural counterweight to the buildings of the Musikverein and of the Vienna University of Technology.

 

The church is cared for by a religious order and has long been the parish church as well as the seat of the Catholic student ministry of the Vienna University of Technology.

 

Design and construction

   

Karlskirche column, with spiral as on Trajan's Column

In 1713, one year after the last great plague epidemic, Charles VI, Holy Roman Emperor, pledged to build a church for his namesake patron saint, Charles Borromeo, who was revered as a healer for plague sufferers. An architectural competition was announced, in which Johann Bernhard Fischer von Erlach prevailed over, among others, Ferdinando Galli-Bibiena and Johann Lukas von Hildebrandt. Construction began in 1716 under the supervision of Anton Erhard Martinelli. After J. B. Fischer's death in 1723, his son, Joseph Emanuel Fischer von Erlach, completed the construction in 1737 using partially altered plans. The church originally possessed a direct line of sight to the Hofburg and was also, until 1918, the imperial patron parish church.

 

As a creator of historic architecture, J. B. Fischer united the most diverse of elements. The façade in the center, which leads to the porch, corresponds to a Greek temple portico. The neighboring two columns, crafted by Lorenzo Mattielli, found a model in Trajan's Column in Rome. Next to those, two tower pavilions extend out and show the influence of the Roman baroque (Bernini and Borromini). Above the entrance, a dome rises up above a high drum, which the younger J. E. Fischer shortened and partly altered.

 

[edit]Iconography

 

The iconographical program of the church originated from the imperial official Carl Gustav Heraeus and connects St. Charles Borromeo with his imperial benefactor. The relief on the pediment above the entrance with the cardinal virtues and the figure of the patron on its apex point to the motivation of the donation. This sculpture group continues onto the attic story as well. The attic is also one of the elements which the younger Fischer introduced. The columns display scenes from the life of Charles Borromeo in a spiral relief and are intended to recall the two columns, Boaz and Jachim, that stood in front of the Temple at Jerusalem. They also recall the Pillars of Hercules and act as symbols of imperial power. The entrance is flanked by angels from the Old and New Testaments.

 

This program continues in the interior as well, above all in the dome fresco by Johann Michael Rottmayr of Salzburg and Gaetano Fanti (pseudoarchitecture) which displays an intercession of Charles Borromeo, supported by the Virgin Mary. Surrounding this scene are the cardinal virtues. The frescos in a number of side chapels are attributed to Daniel Gran.

   

The gold piece high above the altar symbolizing Yahweh.

The high altar painting portraying the ascension of the saint was conceptualized by the elder Fischer and executed by Ferdinand Maximilian Brokoff. The altar paintings in the side chapels are by various artists, including Daniel Gran, Sebastiano Ricci, Martino Altomonte and Jakob van Schuppen.

   

Full view of the Altar

As strong effect emanates from the directing of light and architectural grouping, in particular the arch openings of the main axis. The color scheme is characterized by marble with sparring and conscious use of gold leaf. The large round glass window high above the main altar with the Hebrew Tetragrammaton/Yahweh symbolizes God's omnipotence and simultaneously, through its warm yellow tone, God's love.Below is a representation of Apotheosis of Saint Charles Borromeo.

 

Next to the structures at Schönbrunn Palace, which maintain this form but are more fragmented, the Karlskirche is Fischer's greatest work. It is also an expression of the Austrian joie de vivre stemming from the victorious end of the Turkish Wars.

  

Karlsplatz

 

Karlsplatz ("Charles' Square") is a town square on the border of the first and fourth districts of Vienna. It is one of the most frequented and best connected transportation hubs in Vienna. The Karlskirche is located here.

 

Resselpark, adorned with numerous monuments, takes up the most area in the plaza and is on the south side. The Evangelische Schule (Evangelical School) and the Technische Universität Wien (Vienna Technical University) are located here. The plaza is closed in by Karlskirche (which has a water tank and a Henry Moore sculpture in front of it), the main building of the Vienna Museum, and the Winterthur Insurance building. Separated from the plaza to the north are the buildings of the Wiener Musikverein (Vienna Music Society), the Künstlerhaus (art house), and the Handelsakademie (business school). A Video of the plaza and a eventlist are available on the Website of the association karlsplatz.org Verein zur Förderung d. kulturellen Belebung öffentlicher Räume [1].

 

On the Karlsplatz the exhibition of the United Buddy Bears was shown in 2006 for the first time in Austria. The exhibition was opened by Christiane Hörbiger, Film actress and UNICEF Ambassador, together with Grete Laska, Deputy Mayor of Vienna and Karin Schubert, Mayor of Berlin. According to the City of Vienna, project partners, they were able to count nearly 1 million visitors over the 6 weeks of the exhibition[1].

 

The first district can be reached either by subway or via Operngasse (a street). The pavilions of the former Karlsplatz Stadtbahn Station remain despite the construction of the U-Bahn system.

 

en.wikipedia.org/wiki/Karlskirche

en.wikipedia.org/wiki/Karlsplatz

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To protect my work i load pictures only on flickr and they are in web compatible resolutions only.Orignal pictures shot in 5,616 × 3,744 (21.1 megapixels) using Canon EOS 5D Mark II FULL FRAME DSLR CAMERA or 3872 x 2592 (10.2 million effective pixels) using NIKON D60 DSLR or 4,288 × 2,848 (12.3 effective megapixels) USING NIKON D90 DSLR's.

 

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ART OF PHOTOGRAPHY & WORLD THROUGH THE EYES OF SERIOUS PHOTOGRAPHERS on facebook

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HIMACHAL Kullu Manali, Sundernagar Mandi, Dharamsala,Shimla,Lahaul Spiti12

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ART OF PHOTOGRAPHY & WORLD THROUGH SERIOUS PHOTOGRAPHERS EYES

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I intent to publish in near future the TRAVEL PHOTOBOOKS on

Landscapes in 6 Continents (Title 1- Stupendous Landscapes across 6 Continents) ,

Wonders of World (Title 2 - "Ancient and New 7 Wonders of World from a Himalayan Photographers Eye") ,

28 UNESCO World Heritage Sites in India (Title 3 -"All 28 UNESCO World Heritage Sites in India") ,

Himalayas in India, Nepal, China, Tibet & Bhutan (Title 4 -"Stupendous Himalayas"),

UNESCO Interesting World Heritage Sites across globe ( Title 5 - "Best of UNESCO World Heritage Sites") ,

Himachal Pradesh (Title 6 - "Unforgettable Himachal Pradesh" Photostories by SunDeep® Bhardwaj sundeepkullu.com)

 

I do not allow downloading of my images and they are digitally watermarked with Digimarc (DMRC) which makes it easier for me to identify any unauthorised party using the across web or any media. Even if my work is downloaded in full or in part Digimarc is capable of tracing the use of images across web or any other media. Due to previous copyright infringement by parties not authorised in written by me, i have penalised parties using my images without my permisision. I stock my photos on my official website sundeepkullu.com and flickr (the world's best photography website for professionals amateurs and serious photographers as well as photo admirers) in web compatible resolutions only with no permissions to download or use my pictures in any kind of media without prior written permission from me. Thanks for your understanding.

 

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WORLD IS MY STUDIO "I live with one vision to create things that would outlast me. I discovered photography as a means for me to connect with my innerself"........... SunDeep® Bhardwaj Kullu

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INDIA ROAMING AND HIMACHAL +91 9816499629 (Please drop me a SMS message)

WORLD ROAMING +974 55344547 (I prefer all correspondances on facebook as i am still on my World Tour which i started 5 years before and may be in some other country.Will definately contact back whenever next to internet or reply by SMS)

 

These are reduced sized pictures.Orignal pictures shot in 5,616 × 3,744 (21.1 megapixels) using Canon EOS 5D Mark II FULL FRAME DSLR CAMERA or 3872 x 2592 (10.2 million effective pixels) using NIKON D60 DSLR or 4,288 × 2,848 (12.3 effective megapixels) USING NIKON D90 DSLR's.

 

All rights reserved.

copyright 2011 © sundeepkullu.com

Developer - phototube.co

Affiliation - himachalculturalvillage.com

 

HIGH RESOLUTION images on sundeepkullu.com WORLD IS MY STUDIO This picture is LOW RESOLUTION for web compatibility **Sorry Guys i have deleted most of my pictures from facebook due to copyright infringement by parties not authorised by me.But i have made a flash website for exibiting my Photostories Do visit sundeepkullu.com

 

And alternatively my pictures can be see in better resolutions on

www.flickr.com/photos/wittysam or

fFULL SCREEN SLIDE SHOW www.flickr.com/photos/wittysam/show

www.flickr.com/photos/wittysam/collections/

 

***DO NOT COMMENT ON FACEBOOK AS I DO NOT USE IT FOR STOCKING MY PHOTOS.

 

Link to my Flickr Photostream where you can comment flickr.com/photos/wittysam

  

Lahaul and Spiti district

 

The district of Lahaul-Spiti in the Indian state of Himachal Pradesh consists of the two formerly separate districts of Lahaul and Spiti. The present administrative centre is Keylong in Lahaul. Before the two districts were merged, Kardang was the capital of Lahaul, and Dhankar the capital of Spiti.

 

Kunzum la or the Kunzum Pass (altitude 4,551 m; 14,931 ft) is the entrance pass to the Spiti Valley from Lahaul. It is 21 km from Chandra Tal.[1] This district is connected to Manali through the Rohtang Pass. To the south, Spiti ends 24 km from Tabo, at the Pare chu gorge where the road enters Kinnaur and joins with National Highway No. 22.[2]

 

The two valleys are quite different in character. Spiti is more barren and difficult to cross, with an average elevation of the valley floor of 4,270 m (14,009 ft). It is enclosed between lofty ranges, with the Spiti river rushing out of a gorge in the southeast to meet the Sutlej River. It is a typical mountain desert area with an average annual rainfall of only 170 mm (6.7 inches).[3]

 

Flora and fauna

   

Lahaul valley in winter

  

Mountain peak in Lahaul and Spiti district

The harsh conditions of Lahaul permit only scattered tufts of hardy grasses and shrubs to grow, even below 4,000 metres. Glacier lines are usually found at 5,000 metres.

 

Animals such as yaks and dzos roam across the wild Lingti plains. However, over-hunting and a decrease in food supplies has led to a large decrease in the population of the Tibetan antelope, argali, kiangs, musk deer, and snow leopards in these regions, reducing them to the status of endangered species. However, in the Lahaul valley, one can see ibex, brown bears, foxes and snow leopards during winter.

 

[edit]People

   

Mother and child in near Gandhola Monastery. 2004

The language, culture, and populations of Lahaul and Spiti are closely related. Generally the Lahaulis are of Tibetan and Indo-Aryan descent, while the Spiti Bhotia are more similar to the Tibetans, owing to their proximity to Tibet. Fairer skin and hazel-colored eyes are commonly seen among the Lahaulis.

 

The languages of both the Lahauli and Spiti Bhutia belong to the Tibetan family. They are very similar to the Ladakhi and Tibetans culturally, as they had been placed under the rule of the Guge and Ladakh kingdoms at occasional intervals.

 

Among the Lahaulis, the family acts as the basic unit of kinship. The extended family system is common, evolved from the polyandric system of the past. The family is headed by a senior male member, known as the Yunda, while his wife, known as the Yundamo, attains authority by being the oldest member in the generation. The clan system, also known as Rhus, plays another major role in the Lahauli society.

 

The Spiti Bhutia community has an inheritance system that is otherwise unique to the Tibetans. Upon the death of both parents, only the eldest son will inherit the family property, while the eldest daughter inherits the mother's jewellery, and the younger siblings inherit nothing. Men usually fall back on the social security system of the Trans-Himalayan Gompas.

 

[edit]Lifestyle

The lifestyles of the Lahauli and Spiti Bhotia are similar, owing to their proximity. Polyandry was widely practiced by the Lahaulis in the past, although this practice has been dying out. The Spiti Bhutia do not generally practice polyandry any more, although it is accepted in a few isolated regions.

 

Divorces are accomplished by a simple ceremony performed in the presence of village elders. Divorce can be sought by either partner. The husband has to pay compensation to his ex-wife if she does not remarry. However, this is uncommon among the Lahaulis.

 

Agriculture is the main source of livelihood. Potato farming is common. Occupations include animal husbandry, working in government programs, government services, and other businesses and crafts that include weaving. Houses are constructed in the Tibetan architectural style, as the land in Lahul and Spiti is mountainous and quite prone to earthquakes.

 

[edit]Religion

 

Kunzum Pass between Lahul & Spiti

  

Ki-Gompa Spiti

Most of the Lahaulis follow a combination of Hinduism and Tibetan Buddhism of the Drukpa Kagyu order, while the Spiti Bhotia follow Tibetan Buddhism of the Gelugpa order. Within Lahoul/swangla, the Baralacha-La region had the strongest Buddhist influence, owing to its close proximity to Spiti. Lahoul/swangla has temples such as Triloknath , where pilgrims worship a certain god in different manifestations, notably in the form of Shiva and Avalokiteshvara where Udaipur is a puritan temple. This bas-relief, of marble, depicts the Buddhist deity Avalokiteshvara (the embodiment of the Buddha's compassion) in a stylized seated position; Hindu devotees take it to be Shiva Nataraj, Shiva dancing. This image appears to be of sixteenth century Chamba craftsmanship. It was created to replace the original black stone image of the deity, which became damaged by art looters. This original image is kept beneath the plinth of the shrine. It appears to be of 12th century Kashmiri provenance . Much of the art thieves are active in this remote belt because of neglected gompas and temples.

 

Before the spread of Tibetan Buddhism and Hinduism, the people were adherents of the religion 'Lung Pe Chhoi', an animistic religion that had some affinities with the Bön religion of Tibet. While the religion flourished, animal and human sacrifices were regularly offered up to the 'Iha', a term that refers to evil spirits residing in the natural world, notably in the old pencil-cedar trees, rocks and caves. Vestiges of the Lung Pe Chhoi religion can be seen in the behaviour of the Lamas, who are believed to possess certain supernatural powers.

 

The Losar festival (also known as Halda in Lahauli) is celebrated between the months of January and February. The date of celebration is decided by the Lamas. It has the same significance as the Diwali festival of Hinduism, but is celebrated in a Tibetan fashion.

 

At the start of the festival, two or three persons from every household will come holding burning incense. The burning sticks are then piled into a bonfire. The people will then pray to Shiskar Apa, the goddess of wealth (other name Vasudhara) in the Buddhist religion.

 

In the Pattan belt of the valley in Lahoul most population follows Hinduism,but counts for 14 percent of the total and they are called swanglas. The fagli festival is celebrated between February and March all over the valley. This festival is a new year festival and closely precedes beginning of tibetian and Chinese calendar. Notable is the Pattan people are the late settlers in the valley around 1500 A.D. and have broad highlights and have distinct language on the likes the central Asians,chamba, pangi, pashtoons and uyghurs. This belt is known for the convergence for chandra and bhaga rivers to form Chenab.

 

[edit]Tourism

 

Ki Gompa

The natural scenery and Buddhist monasteries, such as Ki, Dhankar, Shashur, Guru Ghantal and Tayul Gompas, are the main tourist attractions of the region.

 

One of the most interesting places is the Tabo Monastery, located 45 km from Kaza, Himachal Pradesh, the capital of the Spiti region. This monastery rose to prominence when it celebrated its thousandth year of existence in 1996. It houses a collection of Buddhist scriptures, Buddhist statues and Thangkas. The ancient gompa is finished with mud plaster, and contains several scriptures and documents. Lama Dzangpo heads the gompa here. There is a modern guest house with a dining hall and all facilities are available.

 

Another famous gompa, Kardang Monastery, is located at an elevation of 3,500 metres across the river, about 8 km from Keylong. Kardang is well connected by the road via the Tandi bridge which is about 14 km from Keylong. Built in the 12th century, this monastery houses a large library of Buddhist literature including the main Kangyur and Tangyur scriptures.

 

The treacherous weather in Lahaul and Spiti permits visitors to tour only between the months of June to October, when the roads and villages are free of snow and the high passes (Rothang La and Kunzum La) are open. It is possible to access Spiti from Kinnaur (along the Sutlej) all through the year, although the road is sometimes temporarily closed by landslides or avalanches.

 

Buddhist Monasteries in Spiti: Spiti is one of the important centers of Buddhism in Himachal Pradesh. It is popularly known as the 'land of lamas'. The valley is dotted by numerous Buddhist Monasteries or Gompas that are famous throughout the world and are a favorite of Dalai Lama.

 

Kye Monastery: Kye Monastery in Spiti is the main research center of the Buddhists in India. Near about 300 lamas are receiving their religious training from here. It is oldest and biggest monastery in Spiti. It houses the rare painting and beautiful scriptures of Buddha and other gods and goddess. You may also find rare 'Thangka' paintings and ancient musical instruments 'trumpets, cymbals, and drums in the monastery.

 

Tabo Monastery: Perched at an amazing altitude of 3050 meters, Tabo Monastery in the valley of Spiti is often referred to as the 'Ajanta of the Himalayas'. The 10th century Tabo Monastery was founded by the great scholar, Richen Zangpo, and has been declared as the World Heritage Site by UNESCO. The monastery houses more than 6 lamas and contains the rare collection of scriptures, pieces of art, wall paintings -Tankhas and Stucco.

 

Flora and fauna of Spiti Valley: The valley is blessed with the good population of snow leopards, ibex, Himalayan Brown Bear, Musk Deer, Himalayan Blue Sheep etc. which serves as the boon for the wildlife lovers. There are two important protected areas in the region that are a home to snow leopard and its prey including the Pin Valley National Park and Kibber Wildlife Sanctuary. Surprisingly, due to ardent religious beliefs, people of Spiti do not hunt these wild animals.

 

Apart from the exotic wildlife, the Valley of Spiti is also known for its amazing wealth of flora and the profusion of wild flowers. Some of the mot common species found here include Causinia thomsonii, Seseli trilobum, Crepis flexuosa, Caragana brevifolia and Krascheninikovia ceratoides. Then there are more than 62 species of medicinal plants found here.

 

Adventure activities:

 

To- do-Trials: For trekkers, the Spiti Valley is a paradise, offering challenging treks to explore the new heights of the Himalayas. The treks takes you to the most remote areas including the rugged villages and old Gompas followed by the exotic wildlife trails. Some of the popular trekking routes in the area includes Kaza-Langza-Hikim-Comic-Kaza, Kaza-Ki-Kibber-Gete-Kaza, Kaza-Losar-Kunzum La and Kaza-Tabo-Sumdo-Nako. Please note that you carry all the necessary things before out for the trekking tour to Spiti. Tents, sleeping bags, cooking equipment, heavy woollens and sunglasses are a must.

 

Skiing: Skiing is the popular adventure sports in Spiti and is popular in India from the past few years. The amazing snow clad mountains with the added advantage of inspiring heights are enough to allure the adventure spirits of the avid skier, providing all the thrill and fun attracted to the sport. People from all around the globe come to experience this enthralling adventure activity.

 

Yak Safari: The most exciting of all adventure activities in Spiti is the Yak safari. You can hire the Yak to see the flora and fauna of trans-Himalayan desert. It is, in fact, the lifetime opportunity that you won't find anywhere else so easily. Apart from this, horse safaris are also conducted in this area.

  

Sources en.wikipedia.org/wiki/Lahaul_and_Spiti_district

sundeepkullu.com

   

IF YOU LIKE AND WANT TO COMMENT ANY PICTURES IN SDBWP (SunDeep Bhardwaj World Photography)

PLEASE SIGN IN TO FLICKR (using yahoo ID) AND COMMENT ONLY THERE

 

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sundeepkullu.com is my official website and if you LIKE to COMMENT go to sundeepkullu.com and click on photos you like to COMMENT by clicking thumbnails under different pages or alternatively by visiting flickr.com/photos/wittysam. You may need to sign-in to flickr.com with your Yahoo account to comment on my flickr Photostream where i stock my World Tour Pictures shot in 50+ Countries 200+ Destinations across 6 Continents.

 

To protect my work i load pictures only on flickr and they are in web compatible resolutions only.Orignal pictures shot in 5,616 × 3,744 (21.1 megapixels) using Canon EOS 5D Mark II FULL FRAME DSLR CAMERA or 3872 x 2592 (10.2 million effective pixels) using NIKON D60 DSLR or 4,288 × 2,848 (12.3 effective megapixels) USING NIKON D90 DSLR's.

 

Groups i administer on facebook and flickr (1000 plus members allready in few months )

 

ART OF PHOTOGRAPHY & WORLD THROUGH THE EYES OF SERIOUS PHOTOGRAPHERS on facebook

www.facebook.com/group.php?gid=111942842150274

 

HIMACHAL Kullu Manali, Sundernagar Mandi, Dharamsala,Shimla,Lahaul Spiti12

www.facebook.com/group.php?gid=234474081858

 

ART OF PHOTOGRAPHY & WORLD THROUGH SERIOUS PHOTOGRAPHERS EYES

www.flickr.com/groups/prodigious/

 

I intent to publish in near future the TRAVEL PHOTOBOOKS on

Landscapes in 6 Continents (Title 1- Stupendous Landscapes across 6 Continents) ,

Wonders of World (Title 2 - "Ancient and New 7 Wonders of World from a Himalayan Photographers Eye") ,

28 UNESCO World Heritage Sites in India (Title 3 -"All 28 UNESCO World Heritage Sites in India") ,

Himalayas in India, Nepal, China, Tibet & Bhutan (Title 4 -"Stupendous Himalayas"),

UNESCO Interesting World Heritage Sites across globe ( Title 5 - "Best of UNESCO World Heritage Sites") ,

Himachal Pradesh (Title 6 - "Unforgettable Himachal Pradesh" Photostories by SunDeep® Bhardwaj sundeepkullu.com)

 

I do not allow downloading of my images and they are digitally watermarked with Digimarc (DMRC) which makes it easier for me to identify any unauthorised party using the across web or any media. Even if my work is downloaded in full or in part Digimarc is capable of tracing the use of images across web or any other media. Due to previous copyright infringement by parties not authorised in written by me, i have penalised parties using my images without my permisision. I stock my photos on my official website sundeepkullu.com and flickr (the world's best photography website for professionals amateurs and serious photographers as well as photo admirers) in web compatible resolutions only with no permissions to download or use my pictures in any kind of media without prior written permission from me. Thanks for your understanding.

 

Thanks for your LIKES and COMMENTS and VISITING

 

sundeepkullu.com

 

WORLD IS MY STUDIO "I live with one vision to create things that would outlast me. I discovered photography as a means for me to connect with my innerself"........... SunDeep® Bhardwaj Kullu

SDBWP™

Synchronicity was in a great way for this picture between couple sun ☀️ and moonlight 🌙 , throned son, cristal light’s heals all the soul under nymphs...( thanks to Nymphaea by Claude Monet ) Cristal healing and echoes of consciousness.

Liberation of darkness is possible way with your pineal glands and you can compare them with a crystal light and follow the guidance through your dream.Other significant work for linking the throne to nymphaea could be a Jungian interpretation for Alchemist (following old Egyptian science)

It’s amazing how crystal light is a healing process for testing your body to sitting on a throne.However, it has only recently become clear that apomorphine can be utilized, with excellent results, to treat erectile dysfunction. It is a centrally acting, selective D1/D2 dopamine agonist, and activation of dopaminergic receptors in the paraventricular nucleus of the hypothalamus initiates a cascade of events, ultimately resulting in smooth muscle relaxation and vasodilatation within the corpora cavernosa, leading to penile erection. Crystal river and albedo was whiteness day for a throne of consciousness enlightenment

 

This discovery provides a likely explanation for the appearance of Nymphaea in the Luxor frescoes and in erotic cartoons ... The fact that temple drawings only depict use by the higher castes, such as priests and royalty, suggests that the masses did not benefit from this discovery. The Nymphaea story serves as a further illustration of how the effects of substances of plant origin were known even though the discoverers lacked the technology to explain them. The water lily was also used for other medicinal purposes, according to Lise Manniche in An Ancient Egyptian Herbal, including liver disease, poultices for the head, constipation and as an enema (1989, p. 134). She also notes that it was used in a magical spell to cause a "hated woman"'s hair to fall out. In Greco-Roman times, it was thought of as a cooling herb, and was thus used to bring down a fever.

 

Original article: www.thekeep.org/~kunoichi/kunoichi/themestream/egypt_wate...

© Caroline Seawright

 

The source is one: male and female are united. In alchemical images we see a throne from which streams of water flow into one flashback to primordial life’s hermaphrodite.

The Syrian love goddess who the Egyptians married off to Min, was depicted as a naked woman who stood on the back of a lion, carrying snakes and water lily buds. The buds are likely linked with her role as a goddess of sexuality and fertility. Votive offerings to Hathor included bowls with water lily motifs, again alluding to fertility, the renewal of life and rebirth. (A water bowl was also the hieroglyph for a woman, which A.H. Gardiner in Egyptian Grammar believes to represent the vagina, linking the fertility sign of the water lily in the bowl to female fertility in this case.) The Egyptian idea of sexuality was identified with creation. Being a flower of creation, the flower became linked to human fertility and sexuality. The images of women holding the flower may be hinting at her ability to bear children or that she was sexually desirable, and images of men holding the flower may hint at their potency. It could also be a way to ensure that the person painted would be fertile - and sexy - in the afterlife.

 

Contemporary reference to the role of water lilies and mandrakes (Nymphaea and Mandragora, respectively) in ancient Egyptian healing ... suggest the possible importance of these plants as adjuncts to shamanistic healing in dynastic Egypt. Although the usual interpretation of the water lily and the mandrake has been that of a part of ritual mourning ... it is argued that the dynastic Egyptians had developed a form of shamanistic trance induced by these two plants and used it in medicine as well as healing rituals. Analysis of the ritual and sacred iconography of dynastic Egypt, as seen on stelae, in magical papyri, and on vessels, indicates that these people possessed a profound knowledge of plant lore and altered states of consciousness. The abundant data indicate that the shamanistic priest, who was highly placed in the stratified society, guided the souls of the living and dead, provided for the transmutation of souls into other bodies and the personification of plants as possessed by human spirits, as well as performing other shamanistic activities. test was carried out to see if there were any narcotic effects of the blue water lily. There were no known psychotropic substance found in the flower itself. In The Mystery of the Cocaine Mummies Rosalie David ('Keeper of Egyptology, Manchester Museum') says that "we see many scenes of individuals holding a cup and dropping a water lily flower into the cup which contained wine". The assertion by Dr Andrew Sherratt, based on these depictions, is that he believes that when the flower was infused with wine, that the chemical content might change and become the ancient Egyptian party drug or a shamanistic aid. The lilies were flown from Cairo to England, and nineteen of them opened after the sun came out. The flowers were soaked in the wine, and after a few days, two volunteers - who claimed to know nothing about ancient Egypt - drank the lily-wine:Unfortunately the test was not up to scientific standards - there was no control group (where another set of volunteers would drink wine not infused with the lily, but told that it had been) - so it is rather difficult to know how much of the effects on the two were just from the alcohol and if any were from the lily infusion itself.The blue water lily was possibly also a symbol of sexuality - Dr Liz Williamson says that the flower "has a sort of Viagra effect". Women were wooed with the blue water lily. In certain erotic scenes from the Turin Papyrus, women are shown wearing very little apart from the white lily as a headdress.The blue water lily was possibly also a symbol of sexuality - Dr Liz Williamson says that the flower "has a sort of Viagra effect". Women were wooed with the blue water lily. In certain erotic scenes from the Turin Papyrus, women are shown wearing very little apart from the white lily as a headdress.

The blue water lily was possibly also a symbol of sexuality - Dr Liz Williamson says that the flower "has a sort of Viagra effect". Women were wooed with the blue water lily. In certain erotic scenes from the Turin Papyrus, women are shown wearing very little apart from the white lily as a headdress.

 

More recently, it has been discovered that this plant could have been used by the ancient Egyptians to help with erectile dysfunction. This would help explain why the plant was so intimately connected with sex and sexuality:

 

Nymphaea caerulea (blue lotus) and N. ampla, which has a white flower but a similar alkaloid content, grow along lakes and rivers, thrive in wet soil, and bloom in the spring. They belong to the water-lily family ... The isolation of the psychoactive apomorphine from Nymphaea species has offered chemical support to speculation that Nymphaea species may have been employed as hallucinogens in both the Old and the New World. The use of N. caerulea and of N. lotos in rites and rituals is depicted in the frescoes within the tombs, and in very early papyrus scrolls. The most important of these was the scroll of Ani (Book of the Dead). Nymphaea is mentioned and represented in several chapters of the book, always tied to magical-religious rites.

The water lily was also used for other medicinal purposes, according to Lise Manniche in An Ancient Egyptian Herbal, including liver disease, poultices for the head, constipation and as an enema (1989, p. 134). She also notes that it was used in a magical spell to cause a "hated woman"'s hair to fall out. In Greco-Roman times, it was thought of as a cooling herb, and was thus used to bring down a fever.The flower wasn't just used at parties, but it was used at funerals. As with many symbols of fertility, the blue water lily was also symbolic of rebirth after death. Tutankhamen's innermost gold coffin had blue water lily petals scattered over it along with a few other floral tributes. The Egyptians looked forward to their souls coming to life "like a water lily reopening", thinking that the deceased died as the water lily closed awaiting opening with the morning sun. The Book of the Dead has a spell to allow the deceased to transform into one of these flowers:

 

The goddess Qedeshet, standing on a lion, holding water lilies and a snake, the Syrian love goddess who the Egyptians married off to Min, was depicted as a naked woman who stood on the back of a lion, carrying snakes and water lily buds. The buds are likely linked with her role as a goddess of sexuality and fertility. Votive offerings to Hathor included bowls with water lily motifs, again alluding to fertility, the renewal of life and rebirth. (A water bowl was also the hieroglyph for a woman, which A.H. Gardiner in Egyptian Grammar believes to represent the vagina, linking the fertility sign of the water lily in the bowl to female fertility in this case.) The Egyptian idea of sexuality was identified with creation. Being a flower of creation, the flower became linked to human fertility and sexuality. The images of women holding the flower may be hinting at her ability to bear children or that she was sexually desirable, and images of men holding the flower may hint at their potency. It could also be a way to ensure that the person painted would be fertile - and sexy - in the afterlife.As we mentioned above, Aphrodite/Venus as the morning star is a central image for the albedo phase of the Great Work. Aphrodite was born from the foam that arose when the genitals of Uranus (cut of by Chronos, out of hate and jealousy) fell into the sea. The cutting of the genitals represents repressed and tormented love. The sea, symbol of the soul, however will bring forth the love goddess. Liberation will happen when we become conscious again of the contents of the soul. As Aphrodite is born from the sea, she is the guide through the fearful world of the unconscious (the sea, or the underworld). The alchemist descends into these depths to find the ‘prima materia’, also called the ‘green lion’. The color green refers to the primal life forces. Venus also has the green color. An important characteristic of Aphrodite is that she helps us in our human shortcomings. She gives ideals and dreams to fulfill. But she also gives frightening images in order to make man aware of his lower nature. "By her beauty Venus attracts the imperfect metals and gives rise to desire, and pushes them to perfection and ripeness." (Basilius Valentinus, 1679) Liberation can only happen by becoming conscious of the lower nature and how we transmute it.

In Jungian psychology Venus/Aphrodite is the archetype of the anima (in alchemy also the ‘soror’ or ‘wife’ of the alchemist). The anima is the collective image of the woman in a man. It is an image especially tainted by his first contact with his mother. The anima represents all the female tendencies in the psyche of a man, such as feelings, emotions, moods, intuition, receptivity for the irrational, personal love and a feeling for nature. She is the bearer for the spiritual. Depending on the development of the man she can also be the seductress who lures him away to love, hopelessness, demise, and even destruction.

Other alchemical images for albedo are baptism and the white dove, both derived from Christianity. Baptism symbolizes the purification of both body and soul by ‘living water’. ‘Living water’ was regarded as the creative force of the divine. It allowed the soul to be received into the community of the holy spirit. Thus baptism allows the purified soul to bring forth the resurrection of Christ in oneself. This is the ‘hieros gamos’, the ‘sacred marriage’ between the soul and Christ. Christ here represent our own inner divine essence.

There are many other symbols in alchemy for the second phase, or albedo: the white swan, the rose, the white queen, and so on. As lead is the metal of nigredo, silver is the metal of albedo, transmuted from lead. As silver is the metal of the moon, the moon was also a symbol for albedo. Alchemists also talk about the white stone or white tincture. They all means basically the same thing, although one has to understand them in the context in which they were written.

The union of Hermes and Aphrodite. The moon is above the retort, indicating this is the stage of Albedo. The sun above is the next stage of Rubedo. At the same time sun and moon are again the opposites to be united. Aphrodite has two torches. One pointing down, representing the lower passions to be transmuted. The upside down torch is the purified energies. Aphrodite is standing on a tetrahedron, the perfect three dimensional body, as all corners are equally distant from each other, resulting in a lack of tension.

Albedo, symbolized by Aurora, by the dawn, the morning star (Venus-Aphrodite), and by the sun rising up from the Philosopher's Sea.

 

Albedo is also represented by Aurora, the Roman goddess of the dawn. Her brother is Helios, the Sun. With a play of words aurora was connected with aurea hora, ‘the hour of gold’. It is a supreme state of conscious. Pernety (1758): "When the Artist (=Alchemist) sees the perfect whiteness, the Philosophers say that one has to destroy the books, because they have become superfluous."

Albedo is also symbolized by the morning star Venus/Aphrodite. Venus has a special place in the Great Work. In ancient times Lucifer was identified with the planet Venus. Originally Lucifer has a very positive meaning. In the Bible we find 2Petrus 1:19 "…till the day arrives and the morning star rises in your hearts". In Revelation 12:16 Christ says: "I am the shining morning star". Here Christ identifies himself with the Lucifer! We find the same in mystic literature. In ancient times Lucifer was a positive light being. It was just one man who changed all that: when a certain Hieronymous read a phrase from Jesaja 14:12 (Jesaja talking to a sinful king of Babylon): " How did you fall from heaven, you morning star, you son of the dawn; how did you fall to earth, conqueror of people". Hieronymous used this phrase to identify Lucifer with the dragon thrown out of heaven by Michael. By the interpretation of this one man, Lucifer was tuned from a shining light being into the darkest devilish being in the world.

We find Lucifer in alchemy associated with impure metals polluted by rough sulfur. It means that the light being Lucifer in ourselves is polluted by what the alchemists call ‘superfluities’, ‘dross’, caused by man himself.

Mercury and Lucifer are one and the same. One talks about Mercury when he is pure, it is the white sulphur, the fire in heaven. As ‘spiritus’ he gives life. As ‘spiritus sapiens’ he teaches the alchemist the Great Work. Lucifer is the impure Mercury. Lucifer is the morning star fallen from (the golden) heaven. He descended into the earth and is now present in all humans. Lucifer is Mercury mixed with impure elements. He dissolved ‘in sulfur and salt’, ‘is wrapped with strings’, ‘darkened with black mud’. Keep in mind we are always talking about our consciousness. Lucifer represents our everyday consciousness, all the (psychological and other) complexes have clouded our pure consciousness, Mercury.

The light of Mercury that appears to us as Lucifer, because of the distortion caused by the impurities, gives the impression of what the alchemists called ‘red sulfur’. The red sulfur of Lucifer, as traditional devil, is actually an illusion. It does not exist by itself because it is only an image, a distorted image of Mercury. We ourselves caused the impurities, the blackness that veils our true light being.

Red sulfur is the same as what is called Maya in eastern philosophies. Maya is the world of illusions, or the veil that prevents us from seeing and experiencing true reality, where the eternal light is. By the impurities of Maya, man has become ignorant. He has forgotten his origin and thinks he is in a world which in actuality is an illusion.Albedo - Whiteness

 

Je ne craignais pas de mourir

mais de mourir sans etre illumine.

(I was not afraid to die,

but to die without having been enlightened)

Comte de Saint-Germain, La Tres Sainte Trinisophie

The herald of the light

is the morning star.

This way man and woman approach

the dawn of knowledge,

because in it is the germ of life,

being a blessing of the eternal.

Haji Ibrahim of Kerbala

Lucifer, Lucifer stretch your tail,

and lead me away, full speed through the narrow passage,

the valley of the death,

to the brilliant light, the palace of the gods.

Isanatha Muni

Being deep in nigredo, a white light appears. We have arrived at the second stage of the Great Work: albedo, or whiteness. The alchemist has discovered within himself the source from which his life comes forth. The fountain of life from which the water of life flows forth giving eternal youth.

The source is one: male and female are united. In alchemical images we see a fountain from which two streams of water flow into one basin. Albedo is the discovery of the hermaphroditic nature of man. In the spiritual sense each man is a hermaphrodite. We can also see this in the first embryonic phase of the fetus. There is no sex until a certain number of weeks after conception. When man descended into the physical world his body entered a world of duality. On the bodily level this is expressed by the sexes. But his spirit is still androgen, it contains duality in unity. Its unity is not bound to space, time or matter. Duality is an expression of unity in our physical world. It is temporal and will eventually cease to exist. When male and female are united again, one will experience his true self. Conscious and unconscious are totally united.

Albedo happens when the Sun rises at midnight. It is a symbolic expression for the rising of the light at the depth of darkness. It is the birth of Christ in the middle of the winter. In the depth of a psychological crises, a positive change happens.

 

www.soul-guidance.com/houseofthesun/alchemy 2.htm

 

Utilizing the Cincinnati Directional Running, NS train 196 hustles northbound through Glendale, Ohio on CSX trackage as train Z105-14 with the NS New York Central Heritage Unit on the point.

Koziar's Christmas Village is a seasonal attraction located in Jefferson Township, near Bernville, Berks County, Pennsylvania, U.S.A., approximately 15 miles (24 km) northwest of Reading. Christmas Village utilizes approximately one half million Christmas lights and other decorative effects in a presentation that has repeatedly been listed among the top tourist attractions in Pennsylvania and the top Christmas displays in the United States.

 

The Christmas Village property was originally known as Spring Lake Dairy Farm, a working dairy farm. William M. Koziar began decorating his rural property for Christmas in 1948. The display was created for the enjoyment of Koziar's wife, Grace, and four children and initially centered on the house and barn. However, the display became increasingly elaborate and grew to incorporate the lake, walkways, trees, and fences. Over time the private display became a popular local attraction, known as "The Christmas House," and traffic on the nearby road was sometimes snarled by passersby stopping to view the display. Eventually, visitors were admitted to the premises and Koziar paved a former wheat field to provide parking. Initially, the dairy farm remained active, and the Koziars had to wait until after the cows were milked to turn on the lights, as there was not enough power for the milking machines and the lights to operate simultaneously. Many of the dioramas are housed in former chicken coops and display toys, clothes and other belongs of the Koziars' children and grandchildren. In 2008 Koziar's Christmas Village celebrated its sixtieth anniversary. It remains a family-owned attraction, currently operated by the Koziars' daughters, and several current employees are second- and third-generation associates.

 

Christmas Village features the elaborately illuminated home and barn of the Koziar family, as well as numerous smaller buildings. Upon entrance, visitors are greeted by costumed characters Rudolph, Frosty, and the Village's own Buddy the Bear. A marked pathway leads visitors among the illuminated buildings and other displays. Children may visit Santa Claus at his headquarters on Santa Claus Lane. There are several large dioramas depicting scenes such as Christmas Beneath the Sea, Christmas in the Jungle, Santa's Post Office, and Christmas in Other Lands. There are a number of displays featuring cut-out representations of characters from popular comic strips, animated films and fairy tales, as well as manger scenes, presentations of the biblical story of the Nativity, and tellings of seasonal stories such as A Christmas Carol and The Nutcracker. The Village also includes a recreation of the Valley Forge encampment and a G gauge outdoor train layout that encompasses most of the barnyard. The "Kissing Bridge" has been the site of several marriage proposals, engagements and weddings. In addition, there are several indoor features, including an extensive H0 scale model train layout and sales area, as well as shops selling souvenirs, Christmas decorations, refreshments, and other seasonal items.

 

Perhaps the most dramatic feature of the Village is the first glimpse one sees of the display. Most visitors approach the property from the east, via Christmas Village Road. Being farm country the surrounding area is sparsely inhabited and, after dark, sparsely lit. The terrain blocks the view of the Village until the road crests a hill just a few hundred feet to the east of the display, at which point the entire Village is suddenly visible, reflected in the lake. As of late 2010 the Christmas Village website features a virtual recreation of this experience as a part of its home page.

 

Christmas Village has been named Best Outdoor Christmas Display in the World by Display World magazine. It has also been given the "Award of Excellence" by the Pennsylvania Travel Council as a top travel attraction in the state. A twilight image of Christmas Village was used as jacket art for the book Christmas in America: A Photographic Celebration of the Holiday Season by Peter Guttman, published in 2007 by Skyhorse Publishing and now in its second edition. Christmas Village has been featured frequently by local media, as well as by national and international outlets.

 

Information from: en.wikipedia.org/wiki/Koziar%27s_Christmas_Village

 

www.koziarschristmasvillage.com/

 

Inside the expansive cargo plane visitor’s immediately discover that that every available surface has been utilized to maximize the plane as a flying laboratory. Wires, conduits and specialized hardware take up nearly every inch of the cabin area.

 

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The North Atlantic Aerosols and Marine Ecosystems Study (NAAMES) is a five year investigation to resolve key processes controlling ocean system function, their influences on atmospheric aerosols and clouds and their implications for climate.

 

Michael Starobin joined the NAAMES field campaign on behalf of Earth Expeditions and NASA Goddard Space Flight Center’s Office of Communications. He presented stories about the important, multi-disciplinary research being conducted by the NAAMES team, with an eye towards future missions on the NASA drawing board. This is a NAAMES photo essay put together by Starobin, a collection of 49 photographs and captions.

 

Photo and Caption Credit: Michael Starobin

 

NASA image use policy

 

NASA Goddard Space Flight Center enables NASA’s mission through four scientific endeavors: Earth Science, Heliophysics, Solar System Exploration, and Astrophysics. Goddard plays a leading role in NASA’s accomplishments by contributing compelling scientific knowledge to advance the Agency’s mission.

 

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RADIUM

P. O. Fairmont Springs, B.C. (corner card cover)

 

The Kootenai, Shuswap, and Blackfoot Indians were the first to utilize the hot springs around what is now Fairmont. In 1887, the first non-native to homestead in the Fairmont area (which was then called Radium and later known as Fairmont Springs Post Office and Railroad Station) was George Geary.

 

George Geary established a homestead here in 1887. The following year Sam Brewer built a rest stop for stagecoaches, which were just beginning to travel through the valley. The first resort was built at the hot springs location in the early 1900's. In 1957, brothers Earl and Lloyd Wilder bought the business and immediately expanded the hot mineral pools...people passing through the country bathed in the hot springs here long before Mr. and Mrs. Brewer, around 1888, built their Fairmont Hotel, a log house within half a mile of the springs.

 

Fairmont Springs, B.C. - "Near Brewer's Ranch, about thirteen miles south of Windermere and only a few hundred yards from the main road, there is a series of hot springs, known as Fairmont Springs, which at this point bubble out from the side-hill. The waters as they leave the ground have a temperature of from 90° to 120°F. These springs, some twenty or twenty-five in number, cover an area of several acres and are of varying size and temperature, the largest running about as much water as would come out of a 3-inch pipe under a 10-foot head. The water is as clear as crystal and is evidently highly charged with lime and a little iron, judging from the deposits which form on the surface around the springs. This deposit forms in the shape of a circular basin with the spring in centre - regular natural baths - much used as such by the people of the locality, who credit the waters with great medicinal properties, a belief handed down by the Indians of the neighbourhood. There are several of these basins in the creek-bottom with waters at a temperature of 100°F, while within 5 feet flows a good-sized creek with water at 40 degrees, providing the 'hot bath and cold plunge' of the Turkish bath." (BC Mines Report, 1898)

 

- from 1908 "Lovell's Gazetteer of the Dominion of Canada" - FAIRMONT SPRINGS, a post village In the East Kootenay District, B.C., 2 miles from Upper Columbia Lakes, and 3 miles from Sam's Landing, Lake Windermere. The nearest railway station is Golden (100 miles northward), on the main line of the C.P.R., between Field and Donald. The Hot Springs are seven in number; they are celebrated for their curative properties, and will eventually be a favorite resort for Invalids and otviers.

 

(from - Wrigley's 1918 British Columbia Directory) - FAIRMONT SPRINGS - a post office and ranching settlement in the Columbia Valley, at head of Columbia Lake, in Columbia Provincial Electoral District, distant one mile from Radium on the C. P. R. The nearest telegraph, C. P. R., is at Windermere 13 miles. The Hot Springs are 1 1/2 miles from Radium station, and besides being radio-active, also contain radium, sulphate of calcium, gypsum, and strong in carbonic acid gas, the temperature varying around 115 degrees Fahr.

 

Fairmont Springs Post Office was opened - 1 April 1888; closed - 31 December 1901; re-opened - 1 April 1902; renamed Fairmont Hot Springs Post Office - 1 May 1934.

 

LINK to a list of Postmasters who served at the FAIRMONT SPRINGS Post Office - www.bac-lac.gc.ca/eng/discover/postal-heritage-philately/...;

 

- sent from - / FAIRMONT SPRINGS / FE 8 / 28 / B.C. / - split ring cancel - this split ring hammer (A-2) was proofed - 5 January 1911 - (RF D). The first split ring hammer (A-1) was proofed - 30 May 1888.

 

- arrived at - / CRANBROOK / PM / FE 8 / 28 / B.C. / - cds arrival backstamp

 

Addressed to: C. Garrett Esq., / Taxidermist, / Cranbrook, B.C.

 

Cecil Bernard Dudley Garrett (b. 31 December 1882 in Southsea Hants, Hampshire, England - d. 1 January 1979 at age 96 in North Vancouver, British Columbia) - son of D' Chase Fredrick Garrett and Mary Augusta Greatrex.

 

His wife - Rose Marion (nee Eassie) Garrett

Birth - 24 January 1881 in London, City of London, England

Death - 10 May 1938 (aged 57) in Cranbrook, British Columbia

 

Daughter of William Eassie and Marian Dennehy; married to Cecil Bernard Dudley Garrett - Rose Marion Eassie daughter of William Eassie and Rose Harlow were married in Cranbrook BC on - 15 November 1919.

 

(Cranbrook Courier newspaper) - September 9, 1928 - Michell and Garrett have opened a taxidermist establishment in the Cranbrook Hotel block. Both these gentlemen are past masters in the subject of natural history and besides are champion lawn tennis players in Alberta.

The collection of "modified pueblo revival"-style buildings near the far southern tip of Chapin Mesa, Mesa Verde National Park, is exceptionally attractive and interesting. The buildings, most constructed from around 1920 to 1930, are still in use as originally conceived.

 

Headquarters and Museum (the building in this picture) :

 

"Mesa Verde Historic Administrative District

You are standing in the Mesa Verde Administrative District, developed between 1922 and 1938. The Modified Pueblo Revival style buildings blend into their environment and reflect the vision of Park Superintendent Jesse Nussbaum. Today the area is a National Historic Landmark. It was established in 1987 to recognize the unique place it holds in the development of architecture in this country. The Chapin Mesa Archaeological Museum [closed for renovation], one of the historic structures in the district, is to your left, across the road [pictured here from across the canyon].

 

As you approach the Museum [which was closed for renovations so we did not visit the inside], notice the building’s architectural details. Windows and door frames are carved with geometric forms reminiscent of those found on Ancestral Pueblo pottery. Inside you will find hand-tooled tin light fixtures and carved furniture. These details display the talent of the Civilian Conservation Corps (CCC) workers who also build the museum’s colorful dioramas in the 1930s."

 

And for even better details, see the Park Service's website for Mesa Verde National Park

www.nps.gov/gis/storymaps/mapjournal/v2/index.html?appid=...

 

"Chapin Mesa Archeological Museum

The rich diversity and abundance of artifacts found within the park boundaries led to early recognition of the need to be systematic in gathering and preserving the integrity of the scientific data associated with them. The desire to showcase them for the education of the public also grew. In 1915, park superintendent Thomas Rickner commented that, “it has been a matter of wonder to tourists, and a disappointment to them, that there was no collection for them to examine…”

 

In 1917, the park re-purposed a log cabin built as a ranger station to serve as what may have been the first museum in any national park. This cabin, today known as Fewke’s Cabin, had a broad veranda, where visitors could sit and enjoy the beauty of Spruce Tree Canyon and also displayed collections. Dr. Fewkes frequently gave lectures to the visiting public on the history of Mesa Verde and the archeological work going on in the park.

 

It was immediately clear that there was a need for a fire-proof museum. In 1921, a donation of $1000 by Mrs. Stella Leviston, led Mr. and Mrs. Nusbaum to draw up plans that provided for the building of a museum in several units that Mrs. Leviston approved. She would eventually contribute $5000 for the building of the museum. Other donations, some by prominent people like John J. Rockefeller, Jr and some by interested visitors enabled the park to acquire some of the furniture, fixtures and pictures.

 

The Chapin Mesa Archeological Museum was built from 1922-25 and followed the same style of architecture as the superintendent’s house. Like the other buildings in this loop, the museum was built using Cliffhouse Formation sandstone; the same rock used by the Ancestral Pueblo people to make their dwellings.

 

Construction was difficult; the stone was quarried by Navajo workers and the vigas (wooden beams) were brought from forests 20 miles north of Mancos. A drought in 1924 stopped construction until water could be spared to prepare the Puebloan-inspired red mortar for the walls. The stone was laid up with concrete and the earthen mortar was added over the concrete for aesthetics.

 

Administration Building

The administration building (1923) began as a small, three-room structure north of the superintendent's residence. Two additional offices were added five years after construction of the original building, and a major addition in 1939-40 resulted in the construction of more offices, a file room, furnace room, and employee restrooms.

 

Some of the stones in the masonry walls show peck marks, indicative of prehistoric use in a structure.

 

The main entrance to the structure is through a large entryway on the north side that features many of the characterizing stylistic elements. The posts supporting the roof structure are topped with zapatas (corbels) cut in zig-zag patterns of Indian design. The adz marks, readily visible on the shaped timbers of the portal, add texture and a hand-crafted, pioneer feeling to the building. The entryway's ceiling is made up of exposed vigas (beams) and latillas (lathe).

 

An additional entryway on the west side of the building at the basement level provides access to that lower level. The interior of the administration building retains some original elements characteristic of the style; kiva fireplaces, exposed vigas, adzed log lintels over windows and doors, and some original furnishings of Spanish-Colonial design.

 

Conclusion

Under the capable guidance of Jesse Nusbaum and his talented wife, Aileen, the park facilities began to take shape. Drawing from his years of archeological experience, Jesse chose what he felt was the only suitable architectural style for the area, that of the ancient pueblos. In requesting approval to build these structures, he wrote to the National Park Service Director that materials for constructing buildings of this type would be readily available and that the style would "help to preserve the Indian atmosphere which the ruins and environment create." He noted that modern buildings would be out of place amid the ancient ruins, that the pueblo-styled buildings he and Aileen designed would increase interest in the prehistoric structures, and ultimately serve as educational tools.

 

The Nusbaums based their architecture on cultural traditions rather than looking toward the park's natural resources for design ideas as other park managers had. The designs obviously harmonized with the surrounding landscape and showed a true concern for the "aesthetic values of park lands." His buildings were the first constructed by the new agency to solve the problem of an appropriate architecture for park lands set aside for their cultural resources rather than their natural resources.

 

The impact of Jesse and Aileen Nusbaum’ vision extends beyond Mesa Verde National Park. Their choice of using a style derived from local cultural ties rather than from mainstream architectural styles was a first for the National Park Service and one that would quickly be utilized in southwestern parks and monuments in the 1930s."