View allAll Photos Tagged Values
The history of the Austrian Museum of Applied Arts/Contemporary Art
1863 / After many years of efforts by Rudolf Eitelberger decides Emperor Franz Joseph I on 7 March on the initiative of his uncle Archduke Rainer, following the model of the in 1852 founded South Kensington Museum (now the Victoria and Albert Museum, London), the establishment of the "k. k. Austrian Museum for Art and Industry" and apponted Rudolf von Eitelberger, the first professor of art history at the University of Vienna, to director. The museum should be serving as a specimen collection for artists, industrialists, and public and as a training and education center for designers and craftsmen.
1864/ on 12th of May, opened the museum - provisionally in premises of the ball house next to the Vienna Hofburg, the architect Heinrich von Ferstel for museum purposes had adapted. First exhibited objects are loans and donations from the imperial collections, monasteries, private property and from the kk polytechnic in Vienna. Reproductions, masters and plaster casts are standing value-neutral next originals.
1865-1897 / The Museum of Art and Industry publishes the journal Communications of Imperial (k. k.) Austrian Museum for Art and Industry .
1866 / Due to the lack of space in the ballroom setting up of an own museum building is accelerated. A first project of Rudolf von Eitelberger and Heinrich von Ferstel provides the integration of the museum in the project of imperial museums in front of the Hofburg Imperial Forum. Only after the failure of this project, the site of the former Exerzierfelds (parade ground) of the defense barracks before Stubentor the museum here is assigned, next to the newly created city park on the still being under development Rind Road.
1867 / Theoretical and practical training are combined with the establishment of the School of Applied Arts. This will initially be housed in the old gun factory, Währinger Straße 11-13/Schwarzspanierstrasse 17, Vienna 9.
1868 / With the construction of the building at Stubenring is started as soon as it is approved by Emperor Franz Joseph I. the second draft of Heinrich Ferstel.
1871 / The opening of the building at Stubering takes place after three years of construction, 15 November. Designed according to plans by Heinrich von Ferstel in the Renaissance style, it is the first built museum building on the ring. Objects from now on could be placed permanently and arranged according to main materials. / / The Arts School moves into the house on Stubenring. / / Opening of Austrian art and crafts exhibition.
1873 / Vienna World Exhibition. / / The Museum of Art and Industry and the Vienna School of Arts and Crafts are exhibiting together at Stubenring. / / Rudolf von Eitelberger organizes in the framework of the World Exhibition the worldwide first international art scientific congress in Vienna, thus emphasizing the orientation of the Museum on teaching and research. / / During the World Exhibition major purchases for the museum of funds of the Ministry are made, eg 60 pages of Indo-Persian Journal Mughal manuscript Hamzanama.
1877 / decision on the establishment of taxes for the award of Hoftiteln (court titels). With the collected amounts the local art industry can be promoted. / / The new building of the School of Applied Arts, adjoining the museum, Stubenring 3 , also designed by Heinrich von Ferstel, is opened.
1878 / participation of the Museum of Art and Industry and the School of Art at the Paris World Exhibition.
1884 / founding of the Vienna Arts and Crafts Association with seat in the museum. Many well-known companies and workshops (led by J. & L. Lobmeyr), personalities and professors of the arts and crafts school join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and crafts since the 1860s has obtained. For this reason are organized various times changing, open to the public exhibitions at the Imperial Austrian Museum for Art and Industry. The exhibits can also be purchased. These new, generously carried out exhibitions give the club the necessary national and international resonance.
1885 / After the death of Rudolf von Eitelberger is Jacob von Falke, his longtime deputy, appointed manager. Falke plans all collection areas als well as publications to develop newly and systematically. With his popular publications he influences significantly the interior design style of the historicism in Vienna.
1888 / The Empress Maria Theresa exhibition revives the contemporary discussion with the high baroque in the history of art and in applied arts in particular.
1895 / end of the Directorate of Jacob von Falke. Bruno Bucher, longtime curator of the Museum of metal, ceramic and glass, and since 1885 deputy director, is appointed director.
1896 / The Vienna Congress exhibition launches the confrontation with the Empire and Biedermeier style, the sources of inspiration of Viennese Modernism .
1897 / end of the Directorate of Bruno Bucher. Arthur von Scala, Director of the Imperial Oriental Museum in Vienna since its founding in 1875 (renamed Imperial Austrian Trade Museum 1887), takes over the management of the Museum of Art and Industry. / / Scala wins Otto Wagner, Felician of Myrbach, Koloman Moser, Josef Hoffmann and Alfred Roller to work at the museum and school of applied arts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagated the example of the Arts and Crafts Movement and makes appropriate acquisitions for the museum's collection.
1898 / Due to differences between Scala and the Arts and Crafts Association, which sees its influence on the Museum wane, Archduke Rainer puts down his function as protector. / / New statutes are written.
1898-1921 / The Museum magazine art and crafts replaces the Mittheilungen (Communications) and soon gaines international reputation.
1900 / The administration of Museum and Arts and Crafts School is disconnected.
1904 / The Exhibition of Old Vienna porcelain, the to this day most comprehensive presentation on this topic, brings with the by the Museum in 1867 definitely taken over estate of the " k. k. Aerarial Porcelain Manufactory" (Vienna Porcelain Manufactory) important pieces of collectors from all parts of the Habsburg monarchy together.
1907 / The Museum of Art and Industry takes over the majority of the inventories of the Imperial Austrian Trade Museum, including the by Arthur von Scala founded Asia collection and the extensive East Asian collection of Heinrich von Siebold .
1908 / Integration of the Museum of Art and Industry in the Imperial and Royal Ministry of Public Works.
1909 / separation of Museum and Arts and Crafts School, the latter remains subordinated to the Ministry of Culture and Education. / / After three years of construction, the according to plans of Ludwig Baumann extension building of the museum (now Weiskirchnerstraße 3, Wien 1) is opened. The museum receives thereby rooms for special and permanent exhibitions. / / Arthur von Scala retires, Eduard Leisching follows him as director. / / Revision of the statutes.
1909 / Archduke Carl exhibition. For the centenary of the Battle of Aspern. / / The Biedermeier style is discussed in exhibitions and art and crafts.
1914 / Exhibition of works by the Austrian art industry from 1850 to 1914, a competitive exhibition that highlights, among other things, the role model of the museum of arts and crafts in the fifty years of its existence.
1919 / After the founding of the First Republic it comes to assignments of former imperial possession to the museum, for example, of oriental carpets that are shown in an exhibition in 1920. The Museum now has one of the finest collections of oriental carpets worldwide .
1920 / As part of the reform of museums of the First Republic, the collection areas are delineated. The Antiquities Collection of the Museum of Art and Industry is given away to the Museum of Art History.
1922 / The exhibition of glasses of classicism, the Empire and Biedermeier time offers with precious objects from the museum and private collections an overview of the art of glassmaking from the former Austro-Hungarian Empire. / / Biedermeier glass serves as a model for contemporary glass production and designs, such as Josef Hoffmann.
1922 / affiliation of the museal inventory of the royal table and silver collection to the museum. Until the institutional separation the former imperial household and table decoration is co-managed by the Museum of Art and Industry and is inventoried for the first time by Richard Ernst.
1925 / After the end of the Directorate of Eduard Leisching Hermann Trenkwald is appointed director.
1926 / The exhibition Gothic in Austria gives a first comprehensive overview of the Austrian panel painting and of arts and crafts of the 12th to 16th Century.
1927 / August Schestag succeeds Hermann Trenkwald as director .
1930 / The Werkbund (artists' organization) Exhibition Vienna, A first comprehensive presentation of the Austrian Werkbund, takes place on the occasion of the meeting of the Deutscher Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.
1931 / August Schestag finishes his Directorate .
1932 / Richard Ernst is the new director .
1936 and 1940 / In exchange with the Kunsthistorisches Museum (Museum of Art History), the museum at Stubenring gives away part of the sculptures and takes over craft inventories of the collection Albert Figdor and the Kunsthistorisches Museum.
1937 / The Collection of the Museum of Art and Industry is re-established by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.
1938 / After the "Anschluss" of Austria by Nazi Germany, the museum was renamed "National Museum of Decorative Arts in Vienna".
1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Applied Arts in Vienna" is also enlarged in this way.
1945 / Partial destruction of the museum building by impact of war. / / War losses on collection objects, even in the places of rescue of objects.
1946 / The return of the outsourced objects of art begins. A portion of the during the Nazi time expropriated objects is returned in the following years.
1947 / The "State Museum of Applied Arts in Vienna" is renamed "Austrian Museum of Applied Arts".
1948 / The "Cathedral and Metropolitan Church of St. Stephen" organizes the exhibition The St. Stephen's Cathedral in the Museum of Applied Arts. History, monuments, reconstruction.
1949 / The Museum is reopened after repair of the war damages.
1950 / As last exhibition under director Richard Ernst takes place Great art from Austria's monasteries (Middle Ages).
1951 / Ignaz Schlosser is appointed manager.
1952 / The exhibition Social home decor, designed by Franz Schuster, makes the development of social housing in Vienna again the topic of the Museum of Applied Arts.
1955 / The comprehensive archive of the Wiener Werkstätte (workshop) is acquired.
1955-1985 / The Museum publishes the periodical ancient and modern art .
1956 / Exhibition New Form from Denmark, modern design from Scandinavia becomes topic of the museum and model.
1957 / On the occasion of the exhibition Venini Murano glass, the first presentation of Venini glass in Austria, there are significant purchases and donations for the collection of glass.
1958 / End of the Directorate Ignaz Schlosser
1959 / Viktor Griesmaier is appointed as the new director.
1960 / Exhibition Artistic creation and mass production of Gustavsberg, Sweden. Role model of Swedish design for the Austrian art and crafts.
1963 / For the first time in Europe, in the context of a comprehensive exhibition art treasures from Iran are shown.
1964 / The exhibition Vienna 1900 presents Crafts of Art Nouveau for the first time after the Second World War. / / It is started with the systematic processing of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary grantes the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.
1965 / The Geymüllerschlössel is as a branch of the Museum angegliedert (annexed). Gleichzeitig (at the same time) with the building came the important collection of Franz Sobek - old Viennese clocks, emerged between 1760 and the second half of the 19th Century - and furniture from the years 1800 to 1840 in the possession of the MAK.
1966 / In the exhibition Selection 66 selected items of modern Austrian interior designers (male and female ones) are merged.
1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues to today of Austria's most important design project in the 20th Century.
1968 / On Viktor Griesmaier follows Wilhelm Mrazek as director.
1969 / The exhibition Sitting 69 shows on the international modernism oriented positions of Austrian designers, inter alia by Hans Hollein.
1974 / For the first time outside of China Archaeological Finds of the People's Republic of China are shown in a traveling exhibition in the so-called Western world.
1979 / Gerhart Egger is appointed director .
1980 / The exhibition New Living. Viennese interior design 1918-1938 provides the first comprehensive presentation of the art space in Vienna during the interwar period.
1981 / Herbert Fux follows Gerhart Egger as Director.
1984 / Ludwig Neustift is appointed interim director. / / Exhibition Achille Castiglioni: Designer. First exhibition of the Italian designer in Austria
1986 / Peter NOEVER is appointed as Director and started building up the collection of contemporary art.
1987 / Josef Hoffmann. Ornament between hope and crime is the first comprehensive exhibition on the work of the architect and designer.
1989-1993 / General renovation of thee old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for collection and additional exhibit spaces arise.
1989 / Exhibition Carlo Scarpa. The other city, the first comprehensive exhibition on the work of the architect outside Italy.
1990 / exhibition Hidden impressions. Japonisme in Vienna 1870-1930, first exhibition on the theme of the Japanese influence on the Viennese Modernism.
1991 / exhibition Donald Judd Architecture, first major presentation of the artist in Austria.
1992 / Magdalena Jetelová domestication of a pyramid (installation in the MAK portico).
1993 / The permanent collection is re-established, interventions of internationally recognized artists (Barbara Bloom, Eichinger oder Knechtl, Günther Förg, GANGART, Franz Graf, Jenny Holzer, Donald Judd, Peter Noever, Manfred Wakolbinger and Heimo Zobernig) update the prospects, in the sense of "Tradition and Experiment". The halls on Stubenring accommodate furthermore the study collection and the temporary exhibitions of contemporary artists reserved gallery. The building in the Weiskirchnerstraße is dedicated to changing exhibitions. / / The opening exhibition Vito Acconci. The City Inside Us shows a room installation by New York artist.
1994 / The Gefechtsturm (defence tower) Arenbergpark becomes branch of the MAK. / / Start of the cooperation MAK/MUAR - Schusev State Museum of Architecture Moscow. / / Ilya Kabakov: The Red Wagon (installation on the MAK terrace plateau).
1995 / The MAK founds the branch of MAK Center for Art and Architecture in Los Angeles, in the Schindler House and at the Mackey Apartments, MAK Artists and Architects-in-Residence Program starts in October 1995. / / Exhibition Sergei Bugaev Africa : Krimania.
1996 / For the exhibition Philip Johnson: Turning Point designs the American doyen of architectural designing the sculpture "Viennese Trio", which is located since 1998 at the Franz-Josefs-Kai/Schottenring.
1998 / The for the exhibition James Turrell. The other Horizon designed Skyspace today stands in the garden of MAK Expositur Geymüllerschlössel. / / Overcoming the utility. Dagobert Peche and the Wiener Werkstätte, the first comprehensive Personale of the work of the designer of Wiener Werkstätte after the Second World War.
1999 / Due to the Restitution Act and the Provenance Research from now on numerous during the Nazi time confiscated objects are returned .
2000 / Outsourcing the federal museums, transforming the museum into a "scientific institution under public law". / / The exhibition of art and industry. The beginnings of the Austrian Museum of Applied Arts in Vienna are dealing with the founding history of the house and the collection.
2001 / As part of the exhibition Franz West: No Mercy, for which the sculptor and installation artist developed his hitherto most extensive work the "Four lemurs heads " are placed at the Stubenbrücke located next to the MAK. / / Dennis Hopper: A System of Moments.
2001-2002 / The CAT Project - Contemporary Art Tower after New York, Los Angeles, Moscow and Berlin in Vienna is presented.
2002 / Exhibition Nodes. symmetrical-asymmetrical. The historic Oriental Carpets of the MAK presents the extensive rug collection.
2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, the exhibition The Price of Beauty. 100 years Wiener Werkstätte takes place. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.
2004 / James Turrell MAKlite is since November 2004 permanently on the facade of the building installed. / / Exhibition Peter Eisenmann. Barefoot on White-Hot Walls, large-scaled architectural installation on the work of the influential American architect and theorist.
2005 / Atelier Van Lieshout: The Disziplinatornbsp / / The exhibition Ukiyo-e Reloaded for the first time presents the collection of Japanese woodblock prints of the MAK in large scale.
2006 / Since the beginning of the year the birthplace of Josef Hoffmann in Brtnice of the Moravian Gallery in Brno and the MAK Vienna as a joint branch is run and presents special exhibitions annually. / / The exhibition The Price of Beauty. The Wiener Werkstätte and the Stoclet House brings the objects of the Wiener Werkstätte to Brussels. / / Exhibition Jenny Holzer: XX.
2007/2008 / Exhibition Coop Himmelb(l)au. Beyond the Blue, is the hitherto largest and most comprehensive museal presentation of the global team of architects .
2008 / The 1936 according to plans of Rudolph M. Schindler built Fitzpatrick-Leland House, a generous gift from Russ Leland to the MAK Center LA, becomes using a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, the center of the MAK UFI project - MAK Urban Future Initiative. / / Julian Opie: Recent Works / / The exhibition Recollecting. Looting and Restitution examines the status of efforts to restitute expropriated objects from Jewish property of museums in Vienna.
2009 / The permanent exhibition Josef Hoffmann: Inspiration is in the Josef Hoffmann Museum, Brtnice opened. / / Exhibition Anish Kapoor. Shooting into the Corner / / The museum sees itself as a promoter of Cultural Interchange and discusses in the exhibition Global:lab Art as a message. Asia and Europe 1500-1700 the intercultural as well as the intercontinental cultural exchange based on objects from the MAK and from international collections.
2011 / After Peter Noevers resignation Martina Kandeler-Fritsch takes over temporarily the management. / / Since 1 September Christoph Thun-Hohenstein is director of the MAK.
Birmingham Oratory seen from Beaufort Road.
It's founder is now Saint John Henry Newman.
The Birmingham Oratory is an English Catholic religious community of the Congregation of the Oratory of St. Philip Neri, located in the Edgbaston area of Birmingham. The community was founded in 1849 by the Blessed John Henry Newman, Cong.Orat., the first house of that congregation in England.
Part of the complex of the Oratory is the Parish Church of the Immaculate Conception, commonly referred to as the Oratory Church. It now also serves as the national shrine to Newman.
The current church was constructed between 1907 and 1910 in the Baroque style to replace the original structure as a memorial to Newman. It was designed by the architect Edward Doran Webb. It is familiarly called the Little Rome in Birmingham.
Prior to a final determination regarding the beatification of Newman, the Holy See gave instructions that his remains were to be transferred from the Oratorian cemetery in the West Midlands to the Oratory Church. A marble tomb was built for this but not installed in the church. When church and civil authorities opened the grave in October 2008, however, they found no human remains from his grave.
The Grade II* listed church continues to serve the Congregation of the Oratory there. Elsewhere in England, there are also communities of the Congregation at the Brompton Oratory in London and the Oxford Oratory.
In February 2012, the church suffered the theft of a large metal cross from its roof. The loss was valued at £30,000.
Grade II* Listed Building
Summary
A Roman Catholic, Oratory church, designed by E Doran Webb and built between 1903-1909, incorporating earlier work by John Hungerford Pollen of 1858, Henry Clutton of 1872-3, and an addition by G B Cox in 1927, together with the accompanying presbytery building, designed by Terence Flanagan in 1851 and the former Oratory School buildings designed by Henry Clutton in 1861-2 and 1872-3.
Description
ORATORY CHURCH
A Roman Catholic, Oratory church, designed by E Doran Webb from 1903-1909 and incorporating earlier work by John Hungerford Pollen of 1858, Henry Clutton of 1872-3, and an addition by G B Cox in 1927.
MATERIALS: the building is of limestone ashlar with a lead roof and internally clad with a rich variety of marble veneers, inlays and mosaic work. The Tunnel vault over the nave is of chestnut which was painted in 1959.
PLAN: the building is oriented north-south, with the northern end representing the ritual eastern end. Ritual compass directions are used throughout this description. The basilican plan has a nave flanked by aisles. At either side of the nave alternating bays contain either a side chapel or a confessional, placed against the outer walls of the side aisles. The sanctuary has an apsidal end and there are transepts to each side whose outer walls are flush with those of the nave aisles. Above the crossing is a dome, and clerestory lighting is by large lights which pierce the sides of the tunnel vault. Further side chapels are placed at either side of the sanctuary. The organ gallery and loft are positioned in the south transept, above the altar of the Sacred Heart. The earlier St Philip’s Chapel (now dedicated to the Blessed John Newman) is attached to the south side of the south transept. The gallery at the western end of the nave is placed over bays of the earlier school cloister. The Oratory House lies to the south and is connected to the church through the Sacristy.
EXTERIOR: the west end of the church is fronted by the cloister garth of the former Oratory School. The façade is of three bays, divided by Composite pilasters with paired pilasters to the corners. At ground floor level it has three openings which front bays of the cloister. The central, taller, opening has a moulded, lugged surround above which is a pulvinated frieze and a broken, segmental pediment with figures of angels at either side, carved in relief and supporting an escutcheon with a coat of arms and a cardinal’s hat. At either side are portals with Gibbs surrounds and prominent triple keystones set against pulvinated friezes. At gallery level is a single, central light with segmental top, flanked by corbel brackets. The top of the wall has an entablature with pulvinated frieze and a triangular pediment.
The north flank of the nave has seven bays. The division of the bays is unmarked at ground-floor level, but buttresses with concave tops appear between the clerestory bays. At the top of the aisle walls is a balustrade with vase-shaped balusters and square piers. A similar balustrade is placed above the clerestory, along the skyline, and encircles the building above a full entablature with pulvinated frieze. The narrow nave windows which light the alternate bays housing confessionals have moulded surrounds and the larger clerestory windows have pilasters at either side and pedimental tops. The transept at left is blank, save for a niche with an arched head containing a statue of Philip Neri. The left corner has an octagonal staircase turret with a pepper-pot top. In the re-entrant angle between the eastern flank of the north transept and the chancel is the later Shrine of St Philip. This has walls clad with faience tiles, channelled rustication, canted corners and a stone surround to the half-glazed double doors at the centre of its north front. There is a dentilled cornice to the top of the wall. Above this is the drum of the dome, with pilasters placed between the segment-headed windows. Above the entablature the ribbed copper dome has a cross finial.
The chancel has a single window to the upper wall at left, but is otherwise blind, with square buttresses rising for the full height of the wall and continuing the cornice.
The south flank is largely masked by the Oratory House building, the Sacristy and Pollen’s Chapel of St Philip (now the Blessed John Newman), which are all characterised by red brick walling. The chapel has an apsidal end with three arched windows and above this the library has sash windows, all with stone surrounds. The eastern end of the south transept has an octagonal staircase turret, similar to that seen on the north side. In the re-entrant angle with the chancel is the lower Chapel of St Charles, which has three windows to its south flank. Above it both the transept and chancel have windows with moulded, pedimental surrounds.
The dome has four windows to its drum with moulded surrounds and floating pediments. Each window is flanked by three pairs of engaged Tuscan columns. There are four piers with arched niches, which were intended to be filled with carvings of the Evangelists, but this work was not carried out and the attached blocks project from the walls. Above the entablature is a parapet with balustrade panels and the ribbed dome, with its copper sheathing, rises above that to the stone lantern, which has arched lights and small, engaged columns. The domed top culminates in a ball and gilded cross.
INTERIOR: the nave has mosaic flooring laid in overlapping fan-shaped patterns. The aisle arcades have monolithic, unfluted columns of Breccia marble with bases of green Swedish marble and Composite capitals. These support a full entablature with plain frieze, from which springs the painted timber barrel vault.
The walls of the sanctuary are covered with panels of red African onyx with borders of yellow Siena marble. The altar stands forward from the rear wall on a stepped platform. It was designed by Dunstan Powell in 1899 for the old church. The tabernacle is circular with a domed roof which has enamel inlay. The frontal is of green Connemara marble with lapis lazuli plaques around the edges. Above the altar is a suspended baldacchino of gilded and painted wood. The ceiling of the apse has mosaic decoration representing the Coronation of the Virgin flanked by St John the Baptist and St John the Evangelist. Fixed to the side walls are choir stalls of Italian walnut, with tall backs, divided by panelled Corinthian pilasters and with a frieze of swags and ribbons to the top.
The pendentives at the crossing, below the dome, have mosaics representing the Prophets Isaiah, Jeremiah, Ezekiel and Daniel. Later decoration around the drum represents the Evangelists and major saints. The choir gallery is supported by a double colonnade supporting round arches. The grille to the front of the gallery is elaborately carved and gilded, as is the organ case above, both designed by Ernesto Sensi. At ground level, the altar of the Sacred Heart lies behind the double colonnade and was designed by John Pollen for the earlier church on this site. Against the northern wall of the north transept is Our Lady’s altar. The altar and altar rails were brought from the Church of S Andrea della Valle in Rome in 1911. The altar is flanked by columns of Siberian onyx, originally intended for Westminster Cathedral, which now support gilded statues of kneeling angels. The Shrine of St Philip Neri leads off from the east side of the transept. Its richly decorated interior has walls veneered in Siena marble and monolithic columns of red Languedoc marble to the corners. The Cosmatesque floor has a variety of inlayed patterns. The marble altar contains a wax effigy of the saint and the altar piece (after Guido Reni) has an elaborate gilded frame. To the south wall is a reliquary chest with relics and souvenirs of the saint given to Newman in Rome in 1846-7.
The series of side chapels off the nave all take the form of an apsidal niche with mosaic semi-dome and are richly decorated with panels of different marble veneers. Fixed altars have mosaic or marble fronts or, in the case of the chapel of St Athanasius, a glass panel revealing the decorated coffin of St Valentine. Confessionals are set in alternate bays which each have a stone screen, formed of a round arched central portal, flanked by two flat-headed entrances. Above this is a central stone sculpture niche, with carved consoles to its sides, flanked by a wrought metal screen. The wooden confessionals are set behind the stone screens, at the back of each side bay.
The baptistery is set in the western-most side bay of the north aisle. It was designed by Dunstan Powell and opened in 1912. It has a decorated metal barrier and richly-moulded plaster walls with swags and putti in high relief above ebony panelling. The bowl is of alabaster and the bronze cover (Hardman), which swings to one side, has a figure of St John the Baptist as finial.
The earlier side chapel, approached from the south transept and designed by JH Pollen in 1858, has an altarpiece of Chellaston alabaster designed by Giles Gilbert Scott in 1880.
ORATORY PRIESTS' HOUSE
A presbytery for Fathers of the Oratory, designed by Terence Flanagan in 1851 in an Italian Renaissance style.
MATERIALS & PLAN: the house is of red brick laid in Flemish bond, with ashlar dressings and a hipped, slate roof. It has three floors and a T-shaped arrangement of corridors on each floor, off which are individual rooms.
EXTERIOR: the southern front, facing Hagley Road, has five bays, symmetrically disposed. There are stone quoins at the corners and stone string courses between the floors, that between the ground and first floors having Vitruvian scroll ornament. A sill band also runs across the façade at first floor level. There are sash windows of twelve panes at ground and first floor levels, and six panes to the attic. Window surrounds are aedicular with lugs and panelled cornice heads at ground floor level. The central doorway has a similarly-moulded surround, above which is a square panel with a broken, segmental pediment, flanked by scrolls. The first floor windows are plainer with brackets below their sills, save for the central opening, which has a lugged surround with panelled cornice, as before, and scrolls to its side. The central, second-floor window has a lugged and shouldered surround. To the top of the wall is a dentilled cornice and the ridge carries four chimneys to full height.
The east front has two bays at left which continue the pattern of the street front. Recessed at right is a lower, two-storey range of four bays which have plainer window surrounds and a string course between the floors. At right again and projecting are five bays to the original height and pattern.
The north front has two widely-spaced bays at left, of the established pattern, with a C20 addition at ground floor level housing the kitchen. To right of this is a projecting single bay with Venetian window to the ground floor and at right again is the curved wall which marks the apsidal end of the chapel of St Philip Neri at ground floor level (now dedicated to the Blessed John Newman), added to the earlier church by Pollen in 1858. This has three arched lights at lower level, above which is the library of the Oratory House, with two blind windows with rectangular heads. Above the parapet and recessed is the curved timber and glass lantern which lights the library.
Chimneys across the building are to their original height and take the form of two square stacks joined by an arch.
INTERIOR: the entrance lobby is flanked by parlours with cornices. A central corridor runs north-south on all floors and a stone staircase with rectangular well is placed at the southern end. This has two metal balusters per tread and a mahogany handrail. The recreation room has an ante-room, divided from the main room by an arch, cornicing and a black marble fire surround. The dining room has wooden panelling, divided by pilasters with applied paterae and plaster anthemia to the top. There is an arched stove recess in the centre of the northern wall and a revolving cupboard by which food could be served to the fathers. In the north-east corner is a pulpit with panelled sides, tester and steps. At first floor level is a Chapter room with fitted platform, benches, cupboards and desk. Individual rooms at first floor level have an outer baize door, to denote private study, as well as an inner door. The study of Blessed John Newman is preserved as it was at his death, with bookcases, an altar and suspended baldacchino. The House library is at second floor level and has fitted bookcases to the walls and a cast iron gallery approached by a spiral staircase. Its deeply coved ceiling rises to the central timber and glass lantern.
ORATORY SCHOOL
A range of former school buildings, now part of the Oratory complex. The School Hall range facing the street was designed by Henry Clutton in 1861-2 and the cloister range, to the north, was designed in 1872-3.
MATERIALS & PLAN: red brick walling laid in English bond, with ashlar dressings and a slate roof. The building has two storeys and is arranged around a rectangular cloister at the southern (ritual western) end of the Oratory church.
EXTERIOR: the southern front faces Hagley Road and abuts the earlier Oratory Priests' House to its right, which is slightly set back. The street frontage has blind brick walling at ground floor left, with a deep, flush stone band at the level of the springing of the round-arched portal at far right. This has a wrought-iron screen with a central gate and repoussé panels and leads through to the cloister behind this range. At first floor level are six windows with arched heads and pilasters at either side, supported by brackets. Flush stone bands run below the sills and at the level of the springing of the arches. The spandrel between the two central windows carries a circular, metal clock face. To the top of the wall is a cornice with brackets and above is a blocking course, sheathed with lead.
The short east flank is blind and abuts the Oratory Priests' House.
The west flank has two bays with first floor windows as before and two arched ground floor lights with prominent keystones. Projecting at left of this is a similar, single bay which appears to be part of an incomplete extension. A C20 extension in plum brick extends to the north of this.
The cloisters have brick vaults with stone dressings to the passage beneath the roadside range and to the northern side which abuts the ritual west front of the church. The east and west sides have beamed ceilings and the south side has deep stone brackets extending from square piers to support a first floor corridor. The east and west ranges and the northern range at either side of the church façade, which runs in front of part of the cloister, have short columns on high, tapered bases with Italian Romanesque capitals. First floor windows above the east and west cloister are arched lights or square-headed lancets.
INTERIOR: the ground floor former gymnasium (now the parish room) has transverse iron H-beams, from which hooks are suspended for gym equipment. A central row of iron columns supports the ceiling. A dog-leg staircase with stone treads leads to the generous first floor landing. The former school room has encased, transverse beams to the ceiling and arched sash windows to the north, south and west sides with a raised platform at the east end. The first floor Chapel has a canted north (ritual east) end, circular windows to the sides and a rectangular skylight.
Persuant to s1 (5) of the Planning (Listed Buildings and Conservation Areas) Act 1990 (‘the Act’) it is declared that the angled lift extension to the west of the School buildings and the triangular, single-storey kitchen block to the north of the Oratory Priests' House are not of special architectural or historic interest.
History
The congregation of the Oratory was founded in Rome in around 1552 by Philip Neri. His system of devotion was dependant on private and public prayer and contemplation, mixed with practical acts of charity. He attracted a group of disciples and their meetings, which included music and sermons, were moved to an ‘oratory’ or place of prayer. His group continued to grow and was granted the Church of S Maria in Valicella, which it rebuilt as the ‘Chiesa Nuova’, in which St Philip Neri is buried. The order spread widely in the C17 and C18, but contracted following the French Revolution and during the Italian Risorgimento. It was revived, especially in England, by John Newman, who had been an Anglican clergyman, but converted to Catholicism in 1845 and was then ordained priest in Rome in 1847. He founded the first Oratorian congregation in Birmingham in 1848, followed the following year by a second house in London. The first Birmingham community was based at Maryvale and then moved to a former gin distillery in Digbeth, where the community worked with the poor. Pope Pius IX had charged Newman with converting the educated classes, as well as the poor, and for this reason he moved the community to Edgbaston in 1852. The present House was built in that year, together with a temporary church. In 1859 he founded the Oratory School, a boarding school which was intended to be run on different lines to the Benedictine abbey schools which had previously dominated Catholic education in England. The school hall, which fronts Hagley Road, was designed by Henry Clutton in 1861-2 with a cloister range behind of 1872-3. All three buildings exist on the same site and physically overlap. Newman continued to live in the Oratory House as one of the community, even after his appointment as Cardinal in 1879, up until his death in 1890. In September 2010 Newman was beatified.
The church that John Newman had built in 1853 was designed by Terence Flanagan, who had also built the Oratory Priests' House. Despite ambitious designs by Louis Joseph Duc, also of 1853, and H R Yeoville Thomason, of 1860 (both in a Lombard Romanesque style), the initial construction was architecturally modest, and the roof timbers were salvaged from an abandoned factory. To this John Hungerford Pollen added an aisle with a round-arched arcade and an apse and transepts in 1858, but the essential form of the Flanagan church survived until after Newman’s death. In the following years it was decided to build a new church as a fitting tribute to the Cardinal and his work. The foundation stone of the new church, designed by E Doran Webb, was laid in 1903 and it was officially opened six years later. At its southern (ritual west) end it incorporates cloister bays of the former Oratory School, designed by Henry Clutton, of 1872-3, as well as the chapel of St Philip Neri (now dedicated to Cardinal Newman) designed by Pollen and built in 1858. The Shrine of St Philip Neri was designed by G B Cox and added to the north-west corner of the church (ritual north-east) in 1927.
Following the removal of the Oratory School to a site in Berkshire the school at Edgbaston was renamed St Philip's Grammar School. This has closed on the present site and the C19 buildings are now used as parish rooms.
Cardinal John Newman was beatified in September 2010 by Pope Benedict XVI during his visit to Birmingham.
Reasons for Listing
The Church of the Immaculate Conception (Birmingham Oratory), The Oratory Priests' House and The Oratory School Buildings are listed at Grade II* for the following principal reasons:
* Architectural quality and fittings: the group of three, inter-related Oratory buildings – church, school and priests’ house – have considerable design quality and form a unified whole; the design and craftsmanship of the fittings of the church are of very high quality;
* Survival of the original plan: the church, priests’ house and school are all very largely as they were originally completed and although the function of the school buildings has changed, its appearance is little altered;
* Interrelated grouping: the three parts of the group show the religious mission of the Congregation of the Oratory as interpreted by John Newman with a central church, its attendant priesthood and school.
Oesterreichische Nationalbank
Logo of the Austrian National Bank
Headquarters Vienna, Austria
Central Bank of Austria
Currency€
To ISO 4217 EUR
website
Previous Austro- Hungarian Bank
List of Central Banks
Oesterreichische Nationalbank, at Otto-Wagner -Platz No. 3, Vienna
The Austrian National Bank (OeNB), Austria's central bank as an integral part of the European System of Central Banks (ESCB) and the Eurosystem. It is instrumental in the design of the economic development in Austria and in the euro area. Legally, the OeNB is a public limited company.. However, it is also subject to further enshrined in the National Bank Act regulations resulting from its separate position as a central bank. In the framework of the Eurosystem, the OeNB contributes to a stability-oriented monetary policy. At the national level, it cares about the preservation of financial stability and the money supply and manage foreign exchange reserves to hedge against the euro in times of crisis. The guideline values in terms of the tasks of the Austrian National Bank are "security, stability and trust".
Contents
1 History
1.1 1816 to 1818
1.2 1818 to 1878
1.3 1878 to 1922
1.4 1922 to 1938
1.5 1938 to 1945
1.6 1945 to 1998
1.7 From 1999
2 The OeNB as a modern central bank
3 Legal form and organs
3.1 Legal framework
3.2 organs
3.2.1 General
3.2.2 General
3.2.3 Board of Directors
4 Tasks
4.1 Monetary policy strategies and monetary policy decision-making process
4.1.1 Economic analysis
4.1.2 Production of statistical information
4.1.3 Contribute to international organizations
4.2 Implementation of monetary policy
4.2.1 use of monetary policy instruments
4.2.2 Reserve Management
4.2.3 Money Supply
4.3 Communication of monetary policy
4.4 ensure financial stability
4.4.1 Financial Stability
4.4.2 Payment System Stability and payments
5 The OeNB in the European System of National Banks
6 President / Governors
7 See also
8 Literature
9 links
10 Notes and references
History
1816-1818
As long as 50 years before the founding of the National Bank the Habsburgs carried out first experiments with securities in the form of paper money. Finally, in the 18th Century the issue of banknotes transferred to a state independent institution, while the issue of paper money called "Banco notes," founded in 1705 by the "Vienna City Bank" took place in 1762.
In wartime governance took back control of the money issue, so there was an inflation of Banco-Zettel 1796-1810. The state ordered the forced acceptance of paper money in private transport, which led to a fast-growing discount on bills in the market. 1799 was therefore one for 100 guilders paper money only 92 guilders in silver coins, and at the end of 1810 the value of the paper florin had fallen to 15 % of the nominal value of the Banco-Zettel. Later, the Habsburgs declared a devaluation of the Banco-Zettel in the ratio of 5:1. This act was considered by the business community as a sovereign default, which the paper money experienced a rapid devaluation.
At the end of the Napoleonic wars the Habsburg multinational state ( → Habsburg Monarchy) faced a new challenge: the restoration of a European balance. Church, the nobility, the army and the bureaucracy as elements in the Ancien Régime were not sufficient to solve this problem, a well -founded economic situation was needed. Moreover, one could not ignore readily the laws of supply and demand.
In this regard, were the first June 1816 by Emperor Francis I two patents issued (later to distinguish the "main patent" or "bank patent"), the "privileged Austrian National Bank", conceived as a public company, had to constitute itself as soon a possible, propose the emperor three of its directors for selection of the governor and take up their activity provisionally on 1 July 1816.
The National Bank had henceforth a monopoly on the issuance of paper money, which led to a slowdown in the Austrian monetary system and an increase in the value of paper money. The economy was again a solid source of money keeping constant the value of money regardless of the spending plans of the State. The equity of the Bank justified this by share issues.
Initially comprised the activities of the bank - under temporary management - the redemption of paper money and the issuance of shares. The full effectiveness attained the National Bank until after the issue of 1,000 shares and the associated possibility of shareholders to set the management themselves.
1818-1878
On 15 July 1817 recieved the National Bank as the "first Bankprivilegium" the exclusive right to unrestricted issue of banknotes and in this context a special position in terms of Rediskontgeschäfts (rediscount business). Beginning of 1818 the definitive bank management was ready. Part of it were among leading figures of Viennese society, including the banker Johann Heinrich von Geymüller and Bernard of Eskeles. From 1830 to 1837 the Office of the Governor was held by Adrian Nicholas Baron Barbier.
In the countries of the Habsburg Monarchy, which were characterized in large part by an agricultural oriented activity pattern, some regions showed a lively commercial-industrial growth. The goal now was to create a system of economic exchange between these areas. Successively established the National Bank branch network and thus guaranteed a uniform money and credit supply. From its headquarters in Vienna this network extended over early industrial areas and commercial centers in Eastern and Central Europe to the northern Mediterranean.
Trade bills and coins were preferred assets of the National Bank, less the supply of money to the state. With the exchange transactions, the National Bank supported the economic growth of the monarchy and secured at the same time the supply of silver coins in the event that the need for these increases in exchange for bank notes, contrary to expectations. 1818 was the National Bank, however, by increasing public debt, due to high spending in times of crisis, not spared to make an increase in the government debt positions on the asset side of its balance sheet.
The patent provisions of the founding of the National Bank not sufficiently secured against the autonomy of governance. At the center of the struggle for independence, this was the question of the extent to which the issue of banknotes must be made on the basis of government bonds. In 1841, a renewal of Bankprivilegiums got a weakening of the independence by pushing back the influence of the shareholders in favor of the state administration. During the revolution of 1848/49 followers of constitutional goals received great support from senior figures in the National Bank. For about a hundred years, the Austrian branch of the Rothschild bank (from which from 1855, the "Royal Privileged Austrian Credit-Institute for Commerce and Industry", the later Creditanstalt, was born) was playing a leading role in the banking center of Vienna. Salomon Mayer von Rothschild was involved during the pre-March in all major transactions of the National Bank for the rehabilitation of the state budget.
Special focus the National Bank was putting on the development of the premium that was payable at the exchange of banknotes into silver money in business dealings. The increase, which corresponded to a depreciation of the notes issued by the Bank should be prevented. From an overall state perspective, the increase of the silver premium means a deterioration in terms of the exchange ratio towards foreign countries, influencing the price competitiveness of the Austrian foreign trade adversely. The stabilization of the premium were set some limits. Although the height of the emission activitiy was depending on the Bank, but also the price of silver and the potential effects of increased government debt materially affected the silver premium. Especially the 1848 revolution and conflicts in the following years caused an increasement of the silver premium.
Mid-century, the private banking and wholesale houses were no longer able to cope with the rapidly growing financial intermediation of the Habsburg monarchy. New forms of capital formation were required. From an initiative of the House of Rothschild, the first by the government approved and private joint-stock bank was created. This formation was followed in 1863 and 1864 by two other joint-stock banks, whose major shareholders included important personalities of the aristocracy, who possessed large liquid funds. Overall, grew with these banks the money creation potential of the "financial center of Vienna".
The central bank faced another difficult task: with its limited resources it had to secure sufficient liquidity on the one hand and on the other hand prevent the inflationary expansion of the money supply. Through close contacts with the shareholders of Vienna was a financial center (informal) ballot, especially in times of crisis, easily dealt out. In contrast, it gave differences of opinion in the Fed Board, which required enforcement of decisions.
In 1861, Friedrich Schey Koromla became director of the National Bank. On 27 December 1862 experienced the Bankprivilegium another innovation. The independence of the National Bank of the State was restored and anchored. Furthermore, was introduced the direct allocation of banknotes in circulation by the system of "Peel'schen Bank Act", which states that the fixed budget of 200 million guilders exceeding circulation of banknotes must be covered by silver coins. In 1866, when the German war ended in defeat for Austria, the compliance of the system was no longer met. The state felt itself forced to pay compensation for breach of privilege. This balance was supported by a law of 1872, after the National Bank may issue notes up to a maximum of 200 million guilders and each additional payment must be fully backed by gold or silver.
1873 the economic boom of the Habsburg monarchy was represented in a long-lasting rise in the share price. A now to be expecting break could by the behavior of the Vienna Stock not be intercepted, so it came to the "Great Crash of 1873". The in 1872 fixed restrictions of the circulation of notes for a short time have been suspended. Contrary to expectations, the money supply in crisis peak but only outgrew by nearly 1% the prescribed limit in the bank acts. The banks and the industrial and commercial companies survived the crash without major losses, although the share prices significantly lay below the initial level.
The years with high growth were followed by a period of stagnation.
1878-1922
As part of the compensation negotiations between Austria and Hungary in 1867, the National Bank was able to exercise fully their Privilegialrechte, the Kingdom of Hungary but now had the certified right, every ten years exercisable, to found an own central bank (bank note). As resulted from the first 10 -year period that furthermore none of the two parts of the monarchy wanted to build an independent money-issuing bank (Zettelbank), was built on 28 June 1878, initially to 31 December 1887 limited, an Austro-Hungarian Bank, and equipped with the Fed privilege. The first privilege of the new bank was a compromise in which on the one hand, regulations on liability for national debts as well as regulations limiting the influence of the government on banking businesses were included. 1878 Gustav Leonhardt was Secretary of the Bank.
The General Assembly and the General Council formed the unit of the bank management. Two directorates and major institutions - in Vienna and Budapest - represented the dual nature of the bank. 1892-1900 followed a long discussion finally the currency conversion from guilders (silver currency) to the crown (gold standard) with "Gold Crown" said coins.
Since the new banknotes were very popular in the public, now many gold coins piled up in the vaults of the Austro-Hungarian Bank. This period was characterized by a balanced combination of price growth and damping, the "per capita national product" grew while prices remained mostly stable. Against this background, it was easy for the Fed to encourage a new wave of industrialization.
With a third privilege in 1899 conditions were established under which the bank could be put into the financial services of the two countries, on the other hand there have been important innovations that paved a good exchange policy. By 1914, the exchange ratio of the Austro-Hungarian currency was unchanged with only minor fluctuations. In contrast, was the by conflicts marked political development.
The expansive foreign policy quickly led to high costs from which had to be shouldered by the central bank a significant part. The stability of the currency was in danger. Shortly after the beginning of World War I in 1914, laid down the Military Command to indemnify any seized property with double the price. There was an increasing scarcity of goods, connected with an ongoing expansion of the money supply and finally the increase in the price level on the 16-fold.
The resulting cost of the war of the Dual Monarchy were covered to 40% on central bank loans and 60% through war bonds. Over the duration of the war, the power force built up in recent decades has been frozen at the end of the conflict in 1918, the real income of the workers had fallen to one-fifth of the last year of peace.
With the end of the war the end for the old order had come, too. The decay of Cisleithania and Transleithania caused in several successor states, despite the efforts of the central bank to maintain the order, a currency separation (see Crown Currency in the decay of the monarchy, successor states). First, a separate "Austrian management" of the bank was introduced. It was encouraged to shoulder the shortcomings of the state budget of the Republic of Austria founded in 1918.
The new South Slav state began in January 1919 stamping its crown banknotes. The newly founded Czechoslovak Republic retained the crown currency (to date), but their printed banknotes in circulation as of February 1919 with indications that now these ar Czechoslovak crowns. (The country could an inflation as experienced by Austria avoide.) In March 1919, German Austria began to stamp its crown banknotes.
The Treaty of Saint-Germain-en-Laye of 10 September 1919, by Austria on 25 October 1919 ratified and which on 16 July 1920 came into force, determined the cancellation and replacement of all crown banknotes of all successor states of Austria-Hungary as well as the complete liquidation of the Austro-Hungarian Bank under the supervision of the war winners. The last meetings of the Bank took place mid 1921 and at the end of 1922.
After a period of overvaluation of the crown the dollar rate rose from 1919 again. 1921, had to be paid over 5,000 Austrian crowns per dollar. In addition to the significant drop in the external value existed in Austria rising inflation. End of 1922 was ultimately a rehabilitation program with foreign assistance - the "Geneva Protocol" - passed which slowed down the inflation.
1922-1938
With Federal Law of 24 July 1922 the Minister of Finance was commissioned to build a central bank, which had to take over the entire note circulation plus current liabilities of the Austrian management of the Austro-Hungarian Bank. With Federal Law of 14 November 1922, certain provisions of the law were amended and promulgated the statutes of the Austrian National Bank. By order of the Federal Government Seipel I 29 December 1922, the Board of the Austrian Austro-Hungarian Bank issued authorization for the central bank union activity with 1 January 1923 have been declared extinct and was made known the commencement of operations of the Oesterreichische Nationalbank this day.
The statutes of the Austrian National Bank (OeNB) secured the independence from the state, the independence of the Bank under exclusion of external influences and the corresponding equity. First, the stabilization of the Austrian currency was at the forefront. With the Schilling Act of 20 December 1924 was the schilling currency (First Republic) with 1 Introduced in March 1925, it replaced the crown currency. For 10,000 crowns now you got a shilling.
As an important personality in terms of the order of the state budget, Dr. Victor Kienböck has to be mentioned. He was in the time from 1922 to 1924 and from 1926 to 1929 finance minister of the First Republic and from 1932 to 1938 President of the Austrian National Bank. Through his work remained the Austrian Schilling, also beyound the global economy crisis, stable. Under this condition, the Fed was able to cope with the large number of bank failures of the past.
1938-1945
According to the on 13th March issued Anschlussgesetz (annexation law) , the Reichsmark with order of the Fuehrer and Chancellor of 17 was March 1938 introduced in the country Austria and determines the course: A Reichsmark is equal to one shilling fifty pence. On the same day, the Chancellor ordered that the management of the to be liquidated National Bank was transferred to the Reichsbank.
With regulation of three ministers of the German Reich of 23 April 1938, the National Bank was established as a property of the Reichsbank and its banknotes the quality as legal tender by 25 April 1938 withdrawn; public funds had Schilling banknotes until 15th of may in 1938 to accept. All the gold and foreign exchange reserves were transferred to Berlin.
The Second World War weakened the Austrian economy to a great extent, the production force after the war corresponded to only 40% of that of 1937 (see also air raids on Austria). To finance the war, the Reichsbank brought to a high degree banknotes in circulation, which only a great victory of the kingdom (Reich) actual values would have been opposable. Since prices were strictly regulated, inflation virtually could be "banned" during the war.
1945-1998
In occupied postwar Austria about 10 billion shillings by Allied military occupying powers were initially printed, which contributed to significant price increases.
With the re-establishment of the Republic of Austria by the Austrian declaration of independence of 27 April 1945, it came to the resumption of activities of the Oesterreichische Nationalbank. By the "Fed Transition Act" of July 1945 preliminary legal regulations for the operations of the Bank have been established. The restoration of the Austrian currency was their first big job. The goal was the summary of all currencies, which at the time were in circulation, and their secondment to a new Austrian currency. The "Schilling Act" of November 1945, the basis for the re-introduction of the Schilling (Second Republic) as legal tender in Austria. The next step was to reduce excess liquidity to make necessary funds for new business investment available and to make the external value of the shilling for the development of the economy competitive. First, however, less changed the inflationary situation and also the shilling was still significantly undervalued in relation to other currencies.
The "Currency Protection Act" of 1947 brought a significant change in the monetary overhang. Some deposits have been deleted without replacement, others converted into claims against the Federal Treasury. The following exchange operations also significantly reduced the amount of cash: banknotes from 1945 were canceled and exchanged for new schilling notes in the ratio 1:3. Only 150 shillings per person could go 1-1.
To control inflation, the social partners came to the foreground. The associations of employers and employees set in 1947 prices for supplies, wages were also raised. This was the first of the five "wage-price agreements" of the social partners. In 1952, inflation was held back by limiting the use of monetary policy instruments by the National Bank. Also, the external sector slowly relaxed after the end of the Korean War.
In 1955, the Austrian National Bank was re-established by the new National Bank Act as a corporation and the by the National Bank Transition of Authorities Act (Nationalbank-Überleitungsgesetz) established provisional arragement abolished. The National Bank Act stipulated that each half of the capital should be situated at the federal government and private shareholders. In addition to the independence of bank loans of the state, the new National Bank Act also contained an order that the central bank must watch within their monetary and credit policies on the economic policies of the federal government. From now on also included within the instruments of the National Bank were the areas open market and minimum reserve policy.
The Austrian economy increasingly stabilized, through good fiscal and monetary policy a high growth could be attained, with low inflation and long-term maintenance of external equilibrium.
1960, Austria joined the European Free Trade Association and participated in the European integration.
In the sixties came the international monetary system based on gold-dollar convertibility into currency fluctuations and political reforms were necessary. First, the loosening of exchange rate adjustments between several states was an option. However, U.S. balance of payments problems brought with it restrictions on capital movements, and then the Euro-Dollar market was born. In 1971, the convertibility of the U.S. dollar was lifted.
1975 interrupted a recession increasing growth time. International unbalanced ayments caused very extensive foreign exchange movements, whereby the intervention force of Austrian monetary policy has been strongly challenged. Their task now was to control the effect of foreign exchange on domestic economic activities to stabilize the shilling in the context of constantly shifting exchange rates and to control the price rise appropriately. Since the inflow of foreign funds reached to high proportions, so that the economic stability has been compromised, the policy went the way of the independent course design in a pool of selected European currencies.
The collapse of the economy forced the policy makers to a new course with active mutual credit control, subdued wage growth, financial impulses in supply and demand, and interest rates are kept low. This system of regulation, however, kept back the need for structural change, so it had to be given up in 1979. In the same year a fire destroyed large parts of the main building of the Austrian National Bank in Vienna. The repairs lasted until 1985.
Target in the eighties was to strengthen the economic performance using a competitive power comparison. The findings from the seventies stimulated the Austrian monetary policy to align the Schilling course at the Deutsche Mark to ensure price stability in the country. In addition, the structural change was initiated by inclusion in a large area. Stable, if not necessarily comfortable environment of monetary policy was a prerequisite, to secure the companies long-term productivity gains and thus safeguard their position in the economy.
Initially, this development stood a high level of unemployment in the way. Growth until the second half of the decade increased, at the same time increased the competitiveness and current accounts could be kept in balance.
In the nineties, the annexation of Austria took place in the European Community. 1995 Austria became a member of the European Union (EU) and joined the exchange rate mechanism of the European Monetary System. In 1998, the Central Banks (ESCB) have established the independence of institutions or bodies of the European Community and the governments of the EU Member States through an amendment to the National Bank Act of the Austrian National Bank to implement the goals and tasks of the European System. Thus, the legal basis for the participation of Austria in the third stage of Economic and Monetary Union (EMU) was created in 1999.
As of 1999
The Austrian National Bank, and other national central banks including the European Central Bank ( ECB), belongs to the European System of Central Banks.
On 1 January 1999 was introduced in the third stage of Economic and Monetary Union in Austria and ten other EU Member States, the euro as a common currency. The European Central Bank is henceforth responsible for monetary and currency policy, decisions in this regard will be taken in accordance with the Council of the European Central Bank.
Since May 2010, the OeNB is in full possession of the Republic of Austria, after originally lobbies, banks and insurance companies were involved with 50 % of the share capital in it. In 2011, the National Bank Act was adapted by an amendment (Federal Law Gazette I No. 50 /2011) in this circumstance, a renewed privatization is thus excluded by law.
The OeNB as a modern central bank
With the withdrawal from the retail business in the sixties as well as the first major internationalization and implementation of a strategic management in the seventies, the OeNB went on the way to a future-oriented central bank. Another major reform of banking began at the end of the eighties.
In terms of global development, the OeNB established in 1988 as a service company and expanded its guiding values - "security, stability and trust" - to the principles of " fficiency" and "cost-consciousness". The business center was optimized and strategic business experienced through targeted improvements a reinforcement. Be mentioned as examples are intensifying domestic cooperation in the area of payments by encouraging the creation of the Society for the Study co-payments (STUZZA), the liberalization of capital movements, the professional management of foreign exchange reserves, the improvement of the supply of money through the construction of the money center and the internationalization of business activities through the establishment of representative offices in Brussels (European Union), Paris (OECD) and the financial center of New York.
After Austria's accession to the EU in 1995, the OeNB participated in the European Monetary System (EMS ) and its Exchange Rate Mechanism. The integration in the third stage of Economic and Monetary Union (EMU) was the next step towards further development of policy stability. Since the conclusion of the Maastricht Treaty, the Austrian National Bank has very fully considered its role in the ESCB and created a basis for inclusion in the community. The profound economic and monetary policy of Austria was also a reference that qualified the OeNB to actively participate in the monetary future of Europe, a greater harmonization of the statistical framework and monetary policy instruments with a view to the euro system, the preparation of the issue of European banknotes, and the establishment of operational processes and organizational integration of business processes within the ESCB being specific objectives of the OeNB.
In the following, it came, inter alia, to the establishement of an economic study department, of an education or training initiative and to strengthen the position of payment transactions through the TARGET system.
A in 1996 created "OeNB master plan" provided important points for the upcoming transition to the euro.
In May 1998, a new pension system came into force, by which new employees were incorporated into a two-pillar model.
1999, Austria's participation in the third stage of EMU was manifest. The Austrian National Bank - as part of the ESCB - became the owner of the European Central Bank and received new powers in this context in the sense of participation in the monetary policy decision-making at the level of the European Community. With the introduction of the euro, monetary policy functions of the General Council have been transferred to the Governing Council. However, the implementation remains the responsibility of national central banks.
Activities of the Oesterreichische Nationalbank were or are, for example, the further professionalization of asset management, the expansion of the network of representative offices by opening a representative office in the financial center of London, preparation of the smooth introduction of euro cash in 2002 and the participation of the OeNB on the creation of the "A-SIT" (Center for secure Information Technology Center - Austria) and the "A-Trust" (society of electronic security systems in traffic GmbH ) in order to promote security in information technology.
HKFP: Thousands gathered at Edinburgh Place on Wednesday evening calling on G20 countries to raise concerns about Hong Kong at the leaders’ summit on Friday, hours after staging a mass march to foreign consulates to lobby country representatives directly.
Crowds wearing all-black spilt out of the public square, many holding signs that read “Free Hong Kong” and “Democracy Now.”
Organisers, the Civil Human Rights Front (CHRF), issued a statement urging a withdrawal of the government’s suspended extradition bill.
“If you believe in values like democracy, freedom, human rights and the rule of law like we do, please, we urge all of you to voice out during the G20 summit, and defend our rights together with Hong Kong people,” it read.
The pro-democracy coalition have led millions on marches over recent weeks against the bill, as demands have evolved into calling for universal suffrage ahead of the July 1 pro-democracy rally.
CHRF manifesto :
"Withdraw the Extradition Bill! Free Hong Kong!
A time when democracy and freedom are universal values that are inviolable.
Hong Kong people had urged for democratisation for over 30 years. When Hong Kong was handed over to China since 1997, as written in the Sino-British Joint Declaration, China promised that Hong Kong can enjoy One Country Two Systems and a high degree of autonomy. The Basic Law also promised universal suffrage to be implemented in the year of 2007 to 2008. But China broke these promises, and gradually intervened deeply in Hong Kong’s internal affairs.
Hong Kong people have always insisted on having universal suffrage – to let Hong Kong people rule Hong Kong. Unfortunately, we seem to be further and further away from genuine democracy. In merely 22 years after the hand-over, the One Country Two Systems principle barely survives. During the [legislative] process of the “Extradition Bill”, the Hong Kong Liaison Office blatantly intervened in Hong Kong’s internal affairs and scrapped the promises of [a] high degree of autonomy.
This year, the government decided to put the Extradition Bill through Legislative Council, in order to make all people in Hong Kong, including local citizens and expats, to be potentially extradited to China, or to countries which have less protection on human rights and the rule of law. This will destroy existing protection on human rights and the rule of law in Hong Kong and will crack down the last defence to freedom and safety.
In our current political system, Hong Kong does not have genuine democracy. To stop this evil law from passing, 1.03 million followed by 2 million Hongkongers courageously took to the streets in the past two weeks. Some were even cracked down by the police with excessive, disproportionate force and lethal weapons. But the government only gave a shallow apology, without making any tangible changes.
As world leaders meet at the G20 summit, Hong Kong citizens now sincerely urge all of you, including Xi Jinping, to answer our humble questions: Does Hong Kong deserve democracy? Should Hong Kong people enjoy democracy? Can [a] democratic system be implemented in Hong Kong now?
Dear friends from around the world. I believe you have seen through media and the Internet, that Hongkongers spared no efforts to safeguard our freedom. Please bear in mind: if the Extradition Bill passes, when you come to Hong Kong to travel, study or for business, you may face unfair trials. If you believe in values like democracy, freedom, human rights and the rule of law like we do, please, we urge all of you to voice out, during the G20 summit and defend our rights together with Hong Kong people."
www.hongkongfp.com/2019/06/26/democracy-now-hundreds-gath...
民陣昨晚在中環愛丁堡廣場舉行集會，有數以千計市民出席，大會以英語、普通話、日語等，呼籲包括國家主席習近平等各國領袖關注香港情况，集會人群擠滿愛丁堡廣場，更擠出大會堂對出的龍和道，警員需封閉東西行車線。
UN VALUE: Human Rights
This is not to say that one with a great amount of experience is always going to have an accurate intuition, however, the chances of it being more reliable are definitely amplified. The boy is taught to obey his teacher. Credit: United Nations/Mondal Nitai
A. Create a design that moves the value from light in the central area to dark in the outer perimeter.
B. Create a design that moves the value from dark in the central area to light at the outer perimeter. The following is what I came up with.
Members of the HMCS FREDERICTON diving team after a dive during Operation REASSURANCE on 22 February 2023 in Souda Harbour, Crete.
Please credit: Cpl Noé Marchon, Canadian Armed Forces Photo
Des membres de l’équipe de plongée du NCSM FREDERICTON après avoir effectué une plongée au cours de l’opération REASSURANCE, le 22 février 2023, dans la baie de Souda, en Grèce.
Photo : Cpl Noé Marchon, Forces armées canadiennes
DLDwomen Impact Award 2012: Maria Furtwängler-Burda (DLDwomen), Pat Mitchell (DLDwomen Chairwoman/Paley Center for Media), Gabi Zedlmayer (HP) and Steffi Czerny (DLDwomen). DLDwomen (Digital-Life-Design) Conference is taking place for 3rd time in Munich, July 11-12, 2012 "New Rules, New Values"
Members of HMCS FREDERICTON paint the hull of the ship from a floating scaffold during Operation REASSURANCE on 22 February 2023 in Souda Bay, Greece.
Please credit: Cpl Noé Marchon, Canadian Armed Forces Photo
Des membres d’équipage du NCSM FREDERICTON peignent la coque du navire à partir d’un échafaudage flottant au cours de l’opération REASSURANCE, le 22 février 2023, dans la baie de Souda, en Grèce.
Photo : Cpl Noé Marchon, Forces armées canadiennes
A member of HMCS FREDERICTON’s force protection component stands watch as the ship enters Souda Bay, Greece, during Operation REASSURANCE, on 21 February 2023.
Please credit: Cpl Noé Marchon, Canadian Armed Forces Photo
Un membre de l’élément de protection de la force du NCSM FREDERICTON assure la surveillance lors de l’arrivée du navire dans la baie de Souda, en Grèce, au cours de l’opération REASSURANCE, le 21 février 2023.
Photo : Cpl Noé Marchon, Forces armées canadiennes
Senator Jeff Sessions speaking at the Values Voter Summit in Washington, DC.
Please attribute to Gage Skidmore if used elsewhere.
1975 Nikon Nikkormat FT2.
Non-ai prime Nikkors -
UD 20mm f/3.5
28mm f/2.8
50mm f/2
£1 Kodak "Mexican Fandango" 200 asa colour print film.
Nikon Nikkormat FT2.
Non-ai prime Nikkors -
UD 20mm f/3.5
28mm f/2.8
50mm f/2
£1 Kodak "Mexican Fandango" 200 asa colour print film.
Church of St Brynach , Llanfrynach
Llanfrynach Church is in the Diocese of Swansea and Brecon, in the community of Llanfrynach in the county of Powys. It is located at Ordnance Survey national grid reference SO0752325791.
The church is recorded in the CPAT Historic Environment Record as number 16859 and this number should be quoted in all correspondence.
Summary
St Brynach's church is situated in the centre of Llanfrynach village some 4km from Brecon. It is a Victorian structure attached to a medieval tower and contains only a few items of interest, namely the only survivor of three early medieval stones found during the rebuilding of 1885 and a medieval font. The churchyard is large for a village church and may once have been more curvilinear than it now appears.
Tower is attributed to 14thC, though it is as likely to be 15thC, but rest of the building dates from 1885.
Parts of the following description are quoted from the 1979 publication The Buildings of Wales: Powys by Richard Haslam
History
An early medieval foundation here seems likely, though the dedication and the three reputedly sculptured stones apart there is no evidence to collaborate such a view.
The 1291 Taxatio records 'Ecclesia de Lambernach' at the unexceptional value of œ4 6s 8d.
The nave and chancel were replaced by a local builder, William Jones, in the Decorated style in 1885. The rood loft which functioned as a gallery according to Theophilus Jones was removed a this time and of three early medieval stones found at the time only one can now be located.
In 1864 the tower wall was broken through to create space for a set of pews for the de Winton family. A west window was created at the same time. The vestry was added in 1892, the tower was re-roofed in 1905, and internally the font was re-dressed in 1892.
Architecture
Llanfrynach comprises a nave with a slightly narrower chancel, a west tower of the same width as the nave, a north vestry with a boiler room underneath, and a south porch towards the south-west corner of the nave. It is aligned north-east/south-west but 'ecclesiastical east' is adopted here for descriptive purposes.
Fabrics: 'A' consists of greyish red sandstone, though with some variations in colour, in both blocks and slabs, irregularly coursed and with ashlar quoins. 'B' is of more regular blocks and slabs, less weathered, and randomly coursed. All this stone looks new and there are buff-yellow sandstone dressings.
Roof: reconstituted clay tiles. Cross finials on chancel and porch.
Drainage: there are no obvious signs other than downpipes into raised drain holes against the walls. It is possible that any trench around the wall has now grassed over.
Exterior
Tower. General. Fabric A. Wall faces are heavily pointed, obscuring the masonry. Certain features are consistent to all faces: there is a chamfered plinth at a height of 1m, a string-course in rounded section at 1.5m, a string-course defines the top of the second stage about two-thirds of the way up the tower, and a third with hollow moulding at the top of the belfry stage; above this is a battlemented parapet, which Griffiths of RCAHMW thought was modern. The whole tower is usually attributed to the 14thC.
North wall: at base of second stage is a trefoil-headed lancet of buff sandstone with a relieving arch over, completely Victorian, inserted. This stage also shows some possible plaster remnants. Belfry is lit by a four-centred arched window, the two lights having cusped tracery and louvre boards; some of the dressings renewed.
East wall: nave apex reaches to just below the second stage string-course. Third stage has standard belfry window but not possible to determine whether any of the dressings renewed. Two waterspouts on the string-course above.
South wall: second stage has an inserted Victorian window as in north wall. At the top of this stage there is also a slit window with unchamfered jambs and a lintel that is splayed on the underside. This slit is blocked up as is part of the standard belfry window in the third stage.
West wall: the second stage carries a large two-light window of Victorian date, and above it is a slit window with undercut lintel as on the south side. The standard belfry window has some renewed tracery, and there are two waterspouts on the string-course above.
Nave. General. Fabric 'B'. Plinth with chamfer at height of between 0.3m-0.6m. Windows of regular form and all have relieving arches in 'B'.
North wall: two two-light windows. Buttress overlies junction of nave and tower.
South wall: three two-light windows, having quatrefoils above, hoodmouldings with ballflower stops; two buttresses, one at south-east angle, the other overlapping tower wall as on the north.
Chancel. General. Similar to nave in terms of fabric, plinth, windows etc. The roof is lower by almost one metre.
North wall: almost completely disguised by vestry.
East wall: three-light window with cusped tracery, hoodmoulding with weathered human-headed stops, relieving arch; two diagonal buttresses at corners.
South wall: one two-light window with trefoiled heads, hoodmoulding with ballflower stops, relieving arch.
Vestry. General. Boiler house beneath with flight of steps leading down to it. Door plus windows are square-headed and the latter have lights with mock Caernarvon arches. Blocked window in east wall.
Porch. General. Fabric 'B'.
East wall: one trefoiled window with a 'decorative' relieving arch; buttress at south-east angle.
South wall: high-pitched gable end. Two-centred arched doorway with complex mouldings and a hoodmoulding with ballflower stops. Old gravestones leant against wall.
West wall: as east wall.
Interior
Porch. General. Stone flags for floor, plastered walls; roof of rafters with collars.
North wall: Gothic arched doorway with complex moulding and ballflower stops to the hoodmoulding. Plain wooden door.
East wall: small splayed window with stone bench beneath.
West wall: as east wall.
Tower. General. Floor is reached by two steps up from nave. Wooden floor with pews set on it. Plastered walls.
North wall: nothing significant.
East wall: high two-centred arch, chamfered on both faces but only above springing points. Early medieval stone (see below) attached to northern reveal.
South and west walls: nothing of significance.
Nave. General. Tiles, some decorated, and raised wooden floors under seats; no grilles or obvious heating ducts. Walls plastered and whitewashed. Roof of spaced scissor-trusses with collars.
North wall: splayed windows, two-centred arched doorway of Victorian form to vestry. Three mural tablets, one of 1763/1785, the other two 19thC.
East wall: high two-centred arch with stops and responds. Galvanised steel plaques bear Lord's Prayer and Ten Commandments.
South wall: splayed windows. Two mural tablets of 19thC and 20thC.
Chancel. General. One step up to chancel and two to altar. Tiled floor with carpets over. Roof as nave but no scissor trusses.
North wall: has organ against it and two 19thC mural tablets.
East wall: galvanised reredos painted with 'Art Noveau' angels on either side of altar.
South wall: 20thC mural tablet.
Churchyard
Llanfrynach churchyard is exceptionally large and flat. Its present shape is sub-square and there is no evidence to indicate an earlier fossilised boundary.
It is overgrown on the east and north sides where there are fewer burial, but the areas of more recent burials are better maintained.
Boundary: the perimeter is defined by a stone wall, replaced by breeze block walling at the north-west angle.
Monuments: their spread is irregular. The area north-west of the church is currently in use, there is a single row east of the chancel, 19thC groups to the south of the church, and further graveslabs have been cleared and are now set against the east and much of the north wall of the churchyard.
Furniture: a churchyard cross, but of the 20thC, having been copied from one at Merthyr Mawr, Glamorgan, in 1910.
Earthworks: church is set on a slight platform, visible at the eastern end and around part of the north side. The earlier bank of the churchyard can be seen running about 2m outside the present eastern perimeter wall.
Ancillary features: small, double iron gates at the western corner, similar gates with the addition of a kissing gate on the south, both served by tarmac paths. On the south-east opposite the pub is a stone stile and on the north-east access from Ty-mawr was provided by a mock crenellated gateway; both of these served by grass paths. The rectory was linked to the church by a vertical stone stile in the north wall.
Vegetation: there are a number of large pines and deciduous trees on the north side of the churchyard and yews form both sides of an avenue running from the porch to the south gate with a few more by the grass path leading eastwards.
DAVOS/SWITZERLAND, 20JAN16 - Rana Mitter, Professor of History and Politics of Modern China, University China Centre, University of Oxford, United Kingdom, Jean-Paul Paloméros, General, French Air Force, Ministry of Defence of France, France, Muhammad Yunus, Chairman, Yunus Centre, Bangladesh, Mary Galeti, Executive Director, Tecovas Foundation, USA; Global Shaper; Global Agenda Council on Values and Dhananjayan Sriskandarajah, Secretary-General, Civicus: World Alliance for Citizen Participation, South Africa; Young Global Leader at the Annual Meeting 2016 of the World Economic Forum in Davos, January 20, 2016.
WORLD ECONOMIC FORUM/Benedikt von Loebell
2016 Design Value Award awarded to Kaiser Permanente Design Consultancy for the KPLantern Project - field work to understand the transgender person health experience.
From the Apartheid Musem in Johannesburg. Freedom, Respect, Democracy, Responsibility et al. rusting away.
Strangely, there are not very many artefacts left on site from the period when Boys Village near St Athan was in use, everything of any value or easily removable has gone, leaving only memories and ghosts from a long-gone era. One item that I felt was particularly poignant was an old-fashioned boot scraper by the door of the most modern dormitory block, this had been set in a block of concrete so that it was movable but stable enough for use wherever it had been placed.
I did wonder how many boys in scruffy short trousers wearing hob-nailed boots or muddy wellingtons had cleaned their footwear on that scraper during the last 70 years, so thought I would find a suitable ghost from my archive to appear in this image.
It would seem that photographs taken in the past at this historic site are extremely rare; I have managed to find one of Ton Pentre & Gelli Boys Club at Ystrad Station on their way to Boys Village.
My scrap attack values/bullseye quilt. I threw untrimmed blocks on the design wall as I had sewn them just to see how it will look.
Fabrics from grab bags, gifts, swaps and projects past.
HKFP: Thousands gathered at Edinburgh Place on Wednesday evening calling on G20 countries to raise concerns about Hong Kong at the leaders’ summit on Friday, hours after staging a mass march to foreign consulates to lobby country representatives directly.
Crowds wearing all-black spilt out of the public square, many holding signs that read “Free Hong Kong” and “Democracy Now.”
Organisers, the Civil Human Rights Front (CHRF), issued a statement urging a withdrawal of the government’s suspended extradition bill.
“If you believe in values like democracy, freedom, human rights and the rule of law like we do, please, we urge all of you to voice out during the G20 summit, and defend our rights together with Hong Kong people,” it read.
The pro-democracy coalition have led millions on marches over recent weeks against the bill, as demands have evolved into calling for universal suffrage ahead of the July 1 pro-democracy rally.
CHRF manifesto :
"Withdraw the Extradition Bill! Free Hong Kong!
A time when democracy and freedom are universal values that are inviolable.
Hong Kong people had urged for democratisation for over 30 years. When Hong Kong was handed over to China since 1997, as written in the Sino-British Joint Declaration, China promised that Hong Kong can enjoy One Country Two Systems and a high degree of autonomy. The Basic Law also promised universal suffrage to be implemented in the year of 2007 to 2008. But China broke these promises, and gradually intervened deeply in Hong Kong’s internal affairs.
Hong Kong people have always insisted on having universal suffrage – to let Hong Kong people rule Hong Kong. Unfortunately, we seem to be further and further away from genuine democracy. In merely 22 years after the hand-over, the One Country Two Systems principle barely survives. During the [legislative] process of the “Extradition Bill”, the Hong Kong Liaison Office blatantly intervened in Hong Kong’s internal affairs and scrapped the promises of [a] high degree of autonomy.
This year, the government decided to put the Extradition Bill through Legislative Council, in order to make all people in Hong Kong, including local citizens and expats, to be potentially extradited to China, or to countries which have less protection on human rights and the rule of law. This will destroy existing protection on human rights and the rule of law in Hong Kong and will crack down the last defence to freedom and safety.
In our current political system, Hong Kong does not have genuine democracy. To stop this evil law from passing, 1.03 million followed by 2 million Hongkongers courageously took to the streets in the past two weeks. Some were even cracked down by the police with excessive, disproportionate force and lethal weapons. But the government only gave a shallow apology, without making any tangible changes.
As world leaders meet at the G20 summit, Hong Kong citizens now sincerely urge all of you, including Xi Jinping, to answer our humble questions: Does Hong Kong deserve democracy? Should Hong Kong people enjoy democracy? Can [a] democratic system be implemented in Hong Kong now?
Dear friends from around the world. I believe you have seen through media and the Internet, that Hongkongers spared no efforts to safeguard our freedom. Please bear in mind: if the Extradition Bill passes, when you come to Hong Kong to travel, study or for business, you may face unfair trials. If you believe in values like democracy, freedom, human rights and the rule of law like we do, please, we urge all of you to voice out, during the G20 summit and defend our rights together with Hong Kong people."
www.hongkongfp.com/2019/06/26/democracy-now-hundreds-gath...
民陣昨晚在中環愛丁堡廣場舉行集會，有數以千計市民出席，大會以英語、普通話、日語等，呼籲包括國家主席習近平等各國領袖關注香港情况，集會人群擠滿愛丁堡廣場，更擠出大會堂對出的龍和道，警員需封閉東西行車線。
Dartmouth has been recognized for the exceptional value of its education and acknowledged for the low debt load carried by undergraduates in U.S. News and World Report's "Best Colleges 2015." The College came in at No. 5 among national universities in terms of least debt carried by graduates, moving up from No. 12 last year.
Stay connected to Dartmouth:
I was tasked with designing icons to graphically convey our core values. They will be used as graphics during appropriate sermons, in training publications (ie - small group leaders' training manuals), etc. Top to bottom, left to right they are...
My biggest concern is that the contrast isn't significant enough (especially if they're sized down for printing purposes). Thoughts? This is still in the prelim stage, so any feedback is welcome.