Shot for Active Assignment Weekly, theme "Portrait".

WIT

I saw the contribution by Doug, -18 Celsius and snow everywhere. Over here, every year winters are warmer, snow is rare, and if it falls it is only a thin layer and for a short time.

So, this man takes his chance, grabs snow, molds it into a snowball and aims for his girlfriend, who retaliates immediately. The laughter could be heard through the windowpane...

In post converted to BW, the high ISO gives it a nice grainy look.

Some Flash vs. No Flash in Leggs Sheer Energy Active Support Pantyhose

By Becca Marsh. bit.ly/Lmk1IE

Casa Casi, Carrer Serradell, Arinsal poble, La Massana, Vall nord, Andorra, Pyrenees

More Arinsal photos by Lutz Meyer: www.flickr.com/groups/ad400arinsal/pool

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More Vall nord fotos (La Massana & Ordino): www.flickr.com/photos/lutzmeyer/sets/72157622806197778

More Arinsal & La Massana parroquia images: Follow the group links at right side.

.......

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HMS ACTIVE F171

Class……………………………Type 21 Frigate

Builder………………………..Vosper Thornycroft Ltd., Southampton , Woolston yard

Yard number……………….4233

Laid down..………………….21 July 1971

Launched….…………………23 November 1972

Completed.………………….19 June 1977

Propulsion.…………………..2 shafts : COGOG system: 2 Rolls-Royce Olympus TM3B gas turbines (30 knots max) + 2 Rolls-Royce Tyne RM1A gas turbines (17 knots max)

Speed..…………………………30 knots

Range…………………………..4000 nm at 17 knots / 1200 nm at 30 knots

Fate

•23 September 1994: Decommissioned by RN

•23 September 1994: Transferred to Pakistan and renamed SHAH JAHAN

•12 January 2021: Torpedoed and sunk as a target during a live-firing drill in the Arabian Sea.

HMS ACTIVE on 31 July 1990 at Devonport, Plymouth

Doors and windows.

The Royal Ontario Museum (ROM).

Restriction: Should not be in any reflection. To confirm, I have checked 4 times and I am not in any of those reflections!

WIT: Pretty much as is, I just made the blue sky even bluer to give it a bit more of a surreal feel. Apart from that, it is just as it was in-camera.

The Flickr Lounge: Blue theme

with space invader

Pampers active baby are now made with Comfort. With it’s soft leg cuffs and a pillowy soft backsheet, it comforts your baby like never before and provides a wonderful cosy feeling on his delicate skin.Pampers New Baby absorbs both newborns’ wee and even poo to help newborns feel as comfortable as possible.

www.instagram.com/itskaynic/

Active is a Reliance class Medium Endurance Cutter. Launched by Christy Corporation in Sturgeon Bay, WI in 1965, commissioned in 1966. Originally built with a CODAG (Combined Diesel And Gas) powerplant, the gas turbines were removed in a major overhaul in the 1980s.

Displacement:1,127.2 long tons (1,145 t) full load

Length:

210 ft 6 in (64.16 m) LOA

200 ft (61 m) LWL

Beam:34 ft (10 m)

Draft:10 ft 9 in (3.28 m)

Propulsion:2 × 2,500 hp (1,864 kW) ALCO 251B diesel egines

Speed:18 knots (33 km/h; 21 mph)

Range:8,000 nmi (15,000 km; 9,200 mi) at 12 knots (22 km/h; 14 mph)

Complement:75

Armament:

1 × 25mm Mk 38 autocannon

2 × M2HB .50 caliber (12.7mm) machine guns

Active Assignment Weekly - In The Style Of Lothar Wolleh

AAW - Aug. 7-14, 2023.

surface active tesselation

www.nonstandardstudio.wordpress.com

Pampers active baby Your baby enjoys his newly found freedom of movement – he is now able to crawl up to 1000m in only half an hour. To allow him to go so far, P&G's created Pampers Active Fit with Comfort Stretch. A diaper, that flexes to fit where your baby needs it most.

The Real Hong Kong Car Culture

Hong Kong Car | Automotive Photography since 2011

For a detailed introduction | guide on Hong Kong Car Licence Plates | Car Vanity Plates click on the link below to learn more :

✚ www.j3consultantshongkong.com/hk-car-vanity-plates

One of the largest collections of quality Hong Kong Car Images and specialising in Car Licence Plates | Car Vanity Plates or as the Hong Kong Government likes to call them - Vehicle Registration Marks

I photograph all car brands and please do bear in mind I am an enthusiastic amateur and NOT a professional photographer but I do have a fairly distinctive style and it has got better over the years.

☛.... and if you want to read about my views on Hong Kong, then go to my blog, link is shown below, I have lived in Hong Kong for over 50 years!

✚ www.j3consultantshongkong.com/j3c-blog

☛ Photography is simply a hobby for me, I do NOT sell my images and all of my images can be FREELY downloaded from this site in the original upload image size or 5 other sizes, please note that you DO NOT have to ask for permission to download and use any of my images!

Active Assignemnt Monthly for January 2010: Odd Man Out

This is my FIRST monthly submission, so I apologize if I do anything wrong.

My son is eating a lot of organic foods so we have these cool brown eggs in the house and I thought it would fit the assignment perfectly.

WIT: I used incoming daylight and tried different apertures to get the DOF I wanted. I liked this one best. I upped contrast an added a vignette in Lightroom 2

Shot for Active Assignment Weekly, theme "One Subject Photo".

WIT

I am not sure that I understood the assignment correctly, but here you go. One of my bee hives, in a nice background. My opinion :)

Shot for Active Assignment Weekly, theme "Since When?"

This bread topping is mostly sugar (92%), the rest is crushed anise seeds. It is a sort of powder that you need to apply very gently, in order not to cover the whole kitchen in dust. I am not fond of this, but my other family members love it.

I have not edited these shots in any particular order, so, in the end I miss out some, or post others twice or even more. But, it was such an experience, saw so many wonderful things, I could post everything at once, but trying not to.

Anyway, on with the show, and some more wide angle shots with the camera on a rickety tripod.

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Christianity reached Roman Britain in the second-century AD. A number of Roman artefacts - pots, tiles and glass - have been found in excavations around St Paul’s, however no evidence has emerged that the site of St Paul’s, as once believed, was ever used for a Roman temple. The official withdrawal of Roman administration in 410 AD did not end Christian belief in England but it was to be almost two hundred years before St Paul’s Cathedral was founded. The two names most associated with the establishment of the first St Paul’s are Saint Mellitus and Saint Erkenwald. The former, a monk who arrived in Britain with Saint Augustine on a mission from Rome instigated by Pope Gregory the Great, founded St Paul’s in 604 AD. The latter was the Abbot of Chertsey whose consecration as Bishop of London in 675 AD, following the city’s brief return to paganism, confirmed the return of the Roman Church to London. The earliest Cathedral buildings were relatively short-lived structures, repeatedly damaged by fires and Viking attacks. It was the Cathedral begun in about 1087 AD by Bishop Maurice, Chaplain to William the Conqueror, which would provide the longest standing home for Christian worship on the site to date, surviving for almost six hundred years.

1087–1559: Medieval Splendour

The Cathedral quire was the first part of the new building to be completed in 1148, enabling the Cathedral to function as a place of worship as quickly as possible. Up to the Reformation of the Church in England St Paul’s was a Catholic cathedral in which the celebration of the Mass, the preaching of sermons, the veneration of many saints, shrines, reliquaries, chapels, the observance of Saints’ feast days, masses for the dead said in chantry chapels, a wooden cross known as a rood, and a chapel devoted to The Virgin, all played a part in the liturgical life of the building. A great deal of public activity also took place; although not always welcomed by those looking after the Cathedral, trade, sports and ball games were common and a north/south route through the Cathedral transepts was used as a general thoroughfare. Paul’s Cross was an important feature of Cathedral life from at least the mid thirteenth-century. It was an outdoor covered pulpit from which proclamations were made and leading prelates expounded, often controversially, on theology and politics. It ceased to be used in the 1630s, and stood in the north churchyard until 1642.

The Cathedral School was re-established with new statutes just to the east of Paul’s Cross in 1512 by John Colet (1466–1519) a Renaissance scholar and friend of Erasmus who viewed education as prerequisite for spiritual regeneration.

All of these enterprises, the spiritual, the educational, and the civic, took place within or beside the largest building in medieval England: longer, taller and wider than the present building and richly decorated.

The reign of King Henry VIII saw the beginning of the end for many aspects of the religious life of the building associated with Roman Catholicism. The shrine of St Erkenwald was plundered and waves of iconoclasm followed in which shrines and images were destroyed. The full suppression of Catholic worship and fittings was carried out under Edward VI by the first Protestant Bishop of London, Nicholas Ridley, who was martyred by Mary I's government in 1555. After a restoration of Catholic rites under Mary, settled Protestant worship was confirmed finally under Elizabeth I's first Bishop of London, Edmund Grindal, in 1559.

1560–1666: Reformation to Conflagration

The new form of worship continued at St Paul’s in the wake of the Reformation, with the choir singing in English instead of Latin at Mattins and Evensong according to the new Book of Common Prayer. The Cathedral already had a long history as a place of commemoration and some of the grandest tombs were still to be added to the building in the late sixteenth and early seventeenth centuries. One of the most remarkable monuments from this period still survives, that of John Donne (1572–1631), the poet and clergyman who, after a raffish youth, went on to become Dean of St Pauls from 1621 until his death. During his lifetime, St Paul's and Paul's Cross were leading centres of a newly confident and thriving Protestant culture in England.

The physical destruction wrought during the Reformation had only been the start of a series of threats to the fabric. In June 1561 lightning struck the Cathedral spire igniting a fire which destroyed the steeple and roofs, the heat and falling timbers causing such damage to the Cathedral structure that it would never fully recover. Plans were made for restoration and the architect Inigo Jones (1573–1652) was engaged to carry out work in 1633, but his work was left incomplete at the outbreak of the English Civil War in 1642. Parliamentary forces took control of the Cathedral and its Dean and Chapter dissolved; the Lady Chapel became a large preaching auditorium, while the vast nave was used as a cavalry barracks with, at one point, 800 horses stabled inside.

By the 1650s the building was in a serious state of disrepair and it was only after the Restoration in 1660 of King Charles II (1630–1685) that repair was once again considered in earnest as an architectural proclamation of the restored Church of England and the monarchy. Leading architects wrestled with the how to restore the medieval structure and were often in disagreement. Inspired by his travels in France and his knowledge of Italian architecture, Christopher Wren (1632–1732) proposed the addition of a dome to the building, a plan agreed upon in August 1666. Only a week later The Great Fire of London was kindled in Pudding Lane, reaching St Paul’s in two days. The wooden scaffolding contributed to the spread of the flames around the Cathedral and the high vaults fell, smashing into the crypt, where flames, fuelled by thousands of books stored there in vaults leased to printers and booksellers, put the structure beyond hope of rescue.

1666–1711: A new Cathedral for London

Sir Christopher Wren was a brilliant scientist and mathematician and Britain’s most famous architect. The building he designed to replace the pre-Fire Cathedral is his masterpiece. Nine years of planning were required to ensure that the new design would meet the requirements of a working cathedral; the quire was to be the main focus for liturgical activity, a Morning Chapel was required for Morning Prayer, vestries were needed for the clergy to robe, a treasury for the church plate, a home had to be planned for the enormous organ, bell towers were essential, and the interior had to be fitted for the grandest of occasions and ceremonies. The building which Wren delivered in thirty five years fulfilled all these needs and provided a symbol for the Church of England, the renewed capital city, and the emerging empire.

Construction commenced in 1675: the process involved many highly skilled draughtsmen and craftsmen and was pursued in phases, largely dependent on the availability of funding and materials. Portland stone predominated but other types of stone were necessary as well as bricks, iron and wood. All of the building accounts, contracts and records of the rebuilding commission survive, and many original drawings. A detailed history of the design of the cathedral can be found in the online Wren Office Drawings catalogue written by Dr Gordon Higgott (2012). Christopher Wren lived to see the building completed: the last stone of the Cathedral’s structure was laid on 26 October 1708 by two sons named after their fathers, Christopher Wren junior and Edward Strong (the son of master mason). The first service had already been held in 1697 – a Thanksgiving for the Peace between England and France.

1712–1795: Perilous painting and memorialising the Greats

The violent and iconoclastic transition from Roman Catholicism and the debate over the reformed faith which followed were tumultuous. The Cathedral was built at a time when the Civil War and Protectorate had again heightened sensitivity to the confluence of art and Protestantism. What constituted appropriate decoration for the Cathedral was the subject of great debate. After a competition Sir James Thornhill was chosen to provide a decorative scheme for the interior of the Cathedral dome in 1715 and immediately began work to produce eight scenes from the life of St Paul. Working precariously over fifty metres from the ground he completed the work within two years and was soon commissioned to continue his scheme into the lantern and onto the drum beneath the dome.

Daily rounds of worship were observed within view of the new murals, but despite the efforts to enliven the interior of the building, St Paul’s proved an unpopular venue with the Hanoverian dynasty and royal attendance dwindled; after George I’s visit in 1715 no monarch came again for seventy-four years. The capture of the French fortress of Louisburg during the course of the Seven Years War was marked by an impressive service in 1758, but it would not be until 1789 that George III marked his recovery with a special Thanksgiving service attended by thousands.

A monument to the philanthropist and prison reformer John Howard which was placed on the Cathedral floor in 1795 was the first of a host of sculptures commemorating the lives of clergy, writers, artists, scientists and military figures which were to populate vacant floor and wall space in the next century.Two of the most distinguished military commanders of the Napoleonic Wars were commemorated with state funerals and later great monuments on the church floor: Admiral Horatio Nelson in 1806 and Arthur Wellesley Duke of Wellington in 1852, both of whom are interred in the Cathedral crypt.

1800–1905 Heat, light and colour: St Paul’s in the age of industry

Institutional reform was matched by physical changes to St Paul’s in the nineteenth-century. Queen Victoria lamented that St Pauls was "most dreary, dingy and un-devotional” adding her voice to the general criticism of the Cathedral for being, dark, dirty and cold .The Cathedral Chapter took steps to make the building more inviting and began work on the so called "completion of the decoration”. While the use of vivid mosaic in the dome and the quire area were being explored, and programmes of stained glass were designed. The rearrangement of the quire by the Surveyor F C Penrose (1817–1903) was the most significant of many changes to the interior made under his supervision. By removing the screen dividing the quire from the nave many more people were able to participate in services. Great Victorian Deans, especially Henry H Millman and Robert Gregory, seized the opportunity to hold routine worship under the dome and in the nave, as well as in the quire – thus for the first time actively making the whole of the vast building a place of worship and Christian teaching. The full ceremonial potential of St Paul’s was also realised by this reordering, something anticipated in the state funeral for Nelson, and confirmed with that for Wellington.

Victorian philanthropy more generally flourished at a reinvigorated St Paul's. During the first half of the nineteenth-century Maria Hackett (1783–1874) devoted her time and money to a campaign to improve the living and educational conditions of boy choristers in St Paul’s and other cathedrals and Anglican choral foundations. In 1860 the Chapter of St Paul's presented William Weldon Champneys (1807–1875), to the vicarage of St Pancras, where he developed the schools, ragged schools, and Sunday schools and provided an invalids dinner table. The Canons of St Paul’s focused on the welfare of the thousands of clerks and warehousemen who worked in the vicinity of the Cathedral through the Amen Court Guild. At the end of the century St Paul’s had one of its most dynamic of English cathedral Chapters, with the many facets of the life of the Cathedral attaining new levels of distinction and in 1897 the organisation of the Diamond Jubilee Thanksgiving Service for Queen Victoria (1819–1901) proved an outstanding success.

906–1960 Belt and Braces: Strengthening the Dome and Defending the Building

Cracks had appeared in some parts of the Cathedral as a result of settlement even before the Cathedral was topped-off in 1710 and concern over the structural stability of the Cathedral persisted in to the early years of the twentieth-century. After various investigations, fears culminated in the Corporation of London's serving of a dangerous structure notice to the Dean on Christmas Eve 1924: the Cathedral was closed from 1925 to 1930 while the piers and dome were strengthened under the supervision of the surveyor Walter Godfrey Allen (1891–1986). Some of the strengthening interventions may have been excessive; however they were to provide valuable structural support when the Cathedral suffered two significant bomb strikes during the Second World War.

St Paul’s Watch, the group of volunteers who defended the Cathedral during The Blitz, enabled the continuation of services as normally as possible throughout the war years. At the end of the conflict, on 8 May 1945, ten consecutive services were held in thanksgiving for peace, each attended by over three thousand people. The last of the services focused on the work of the St Paul’s Watch. In the years that followed St Paul’s played an important role in commemorating those who had sacrificed their lives and in reconciliation. The American Memorial Chapel was constructed and consecrated in the presence of President Eisenhower (1890–1969) and on 21st October 1958, Theodor Heuss (1884–1963), President of the Federal Republic of Germany from 1949 to 1959, visited St Paul’s to present an altar set with the words "The German people have asked me to hand to you, Mr Dean, and to the Chapter of St Paul’s Cathedral this crucifix and these two candlesticks. Our gifts are a token of our sincere wish to serve, together with the British People, the cause of Peace in the World”.

1960–2012: Royal events and Social reformers

With the major structural issues resolved and war damage repaired, the Cathedral continued to welcome world leaders, thinkers, theologians, politicians and the public in pursuit of hope for a better society. Canon John Collins (1905–1982), who had been a leader in the drive for post-war reconciliation, campaigned tirelessly for peace, human rights, and nuclear disarmament, and against apartheid in South Africa. Dr Martin Luther King (1929–1968) stopped at St Paul's to speak from the west steps en route to collect his Nobel Peace Prize in 1964, and his widow Coretta Scott King (1927–2006) became the first woman to preach in a statutory service in St Paul’s. On January 30th, 1969 the Cathedral Choir was joined by Indian singers and instrumentalists, and addresses were given to mark the centenary of the birth of Mahatma Gandhi (1869–1948) the champion of non-violent resistance, civil rights and freedom across the world. Continuing this tradition, in 2012 the Dalai Lama (b. 1935) was welcomed to receive the Templeton prize ('for Progress Toward Research or Discoveries about Spiritual Realities'). The St Paul’s Institute was established in 2003 to foster an informed Christian response to the most urgent ethical and spiritual issues of our times and engaged with the Occupy Protests of 2011/12 seeking constructive debate on financial ethics.

The wedding in St Paul’s of HRH the Prince of Wales to Lady Diana Spencer gripped the nation and much of the world in 1981, and Queen Elizabeth II officially marked both her Golden and Diamond Jubilees with Thanksgiving services in St Paul’s Cathedral. There have been occasions for national mourning: in 1965 Winston Churchill (1874–1965) who had led Britain during the war received a state funeral, a ceremony reserved for heads of state and others who have given significant leadership in the defence of the nation. A large ceremonial funeral was held for former Prime Minister, Baroness Thatcher, in 2013. Vast crowds gathered at St Paul's following the terrorist attacks on New York on September 11 2001, as London expressed its solidarity with the people of New York at a time of grief; and the victims of the 7/7 bombings were mourned in special services in 2005. The Diamond Jubilee and the special summer service at St Paul's celebrating the Paralympic Games made 2012 a spectacular year for the Cathedral.

www.stpauls.co.uk/history-collections/history/cathedral-h...

Our BC Active Transportation Design Guide workshops are underway.

A part of Move, Commute, Connect - BC's New Active Transportation Strategy - the Active Transportation Design Guide (and workshops) outline planning, selection, design, implementation and maintenance design principles for professionals to follow and implement.

Learn more about funding and grants for active transportation:

www2.gov.bc.ca/gov/content/transportation/funding-engagem...

Read the Design Guide:

www2.gov.bc.ca/gov/content/transportation/funding-engagem...

Active Assignment Weekly: Capture Your Country

I know Joe already went with this theme for America, but it's one of the first photos I took for this assignment but wasn't sure about it. Then I noticed some details I liked and decided to go for it. SOOC, except for a little clarity enhancement.

Virginia National Guard Soldiers, assigned to the 529th Combat Sustainment Support Battalion, 329th Regional Support Group, officially begin federal active duty with a departure ceremony Nov. 25, 2018, in Virginia Beach, Virginia. Approximately 70 Soldiers from the 529th will deploy to the Middle East where they will operate as a mission command headquarters with the task of planning and executing logistics support for U.S. and coalition forces in support of Operation Inherent Resolve. (U.S. National Guard photo by Cotton Puryear)

Outside of the Romney Marsh, ruined churches are rare in Kent. So St Mary, romantically situated beside the lake that brought about it's collapse is one to seek out. Even though, judging by the graffiti carved into the chalk block walls, and litter left strewn about, this is some kind of location used for partying or something else.

Eastwell and Challock used to be neighbouring parishes, and still are really, but the direct road between the two is cut by Eastwell Estate, the two churches each stand at the end of a dead end lane that used to join the two churches. To get between the two involves a ten minute drive around the estate back to Ashford and up along the main Canterbury road.

You approach St Mary down a narrow lane, it is not signposted. But you can see the still standing tower just above the mature trees growing in the churchyard. Just beyond the church is the gate to the Eastwell Estate.

Two points of interest; one a fine flint cross in the south face of the tower. And that St Mary might be the resting place of Richard Plantagenet, son of Richard III.

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One of the few ruined churches in the county, St Mary's stands in a well-kept churchyard on the edge of Eastwell Park Lake. Only the west tower is intact and shows in its lower stage one of the unusual inset flint crosses probably inserted during the construction of the building to mark the day of the patronal festival. To the south of the tower is a nineteenth-century chapel built to house the romantic monument to Lady Winchelsea, which can now be seen in the Victoria & Albert Museum. A stone table in the churchyard marks the burial place of Richard Plantagenet, the illegitimate son of Richard III, who is reputed to have lived in the house which still stands to the east. His burial is recorded in the church register of December 1550. The church was built almost entirely of chalk blocks which, following the construction of the lake in 1841, started to soak up water which eventually resulted in the total collapse of the church in 1951. The ruins are now maintained by the Friends of Friendless Churches, a national charity, both as a place of pilgrimage and a historic monument.

www.kentchurches.info/church.asp?p=Eastwell

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EASTWELL

IS the last parish remaining to be described in this hundred. It is written in antient records, Est-welles, and Estwelle, and sometimes only Welles; taking its name from the springs, with which it is watered, such being called by the Saxons, wells; and it has the addition of East from its situation, and to distinguish it from the adjoining parish of Westwell.

THE PARISH of Eastwell is very small, being not more than a mile across each way, containing in it about thirteen houses. It lies in a very healthy country, on a clean firm soil, at the side of the Ashford vale, at the foot of the range of down hills below Molash and Challock, which are here covered with woods, at the outskirt of a dreary barren country, where the soil is much addicted to chalk; but within this parish in the vale, and within the park, it becomes a flat, even and pleasant country, the soil changing to a sertile and kindly red earth of loamy clay, which produces a great deal of rich pasture. The greatest part of it is included in the park, which extends likewise into the parishes of Westwell, Challock, and Boughton Aluph, the church of Challock standing close to the pales on the north side, and that of Eastwell and the courtlodge, to those on the opposite side of it. The mansion of Eastwell-place stands at a small distance from the south east corner of the park, the pales of which join the high Faversham road and Boughton lees.

The house is very large, though the building is not extraordinary in the whole, yet the back front has something very noble and grand in the look of it. The park, though in the vale, yet it stands on higher ground that the rest of the vale beneath, having a beautiful prospect southward as far as the quarry hills, contains about 1600 acres, and by far the sinest situation in this county, the soil of it being very firm and hard, and the lower parts exceedingly sertile; the venison sed in it being accounted the sinest of any is Kent. The north-west part of it has fine inequality of ground, and being richly clothed with wood, shews nature in a most pleasing and picturesque state. In this part of the park is a very high hill, on the top of which is an octagon plain, from whence are cut eight several avenues or walks, called the Star Walks, the intermediare spaces being filled with fine venerable trees, so thick as to exclude the light from beneath them, making a very awful and majestic appearance. The view from the top of this hill is very extensive, for from it may be seen the course of the river Medway to Sheerness, and the buoy of the Nore toward the German ocean, and on the opposite side the British channel towards France beyond Romney Marsh, besides a very extensive and beautiful land prospect almost on every side.

One side of the village on Boughton lees in within this parish, at the eastern boundary of it, and there is another hamlet at the opposite part of the parish, called Linacre street, in which there is a house called Linacrehall, late belonging to Mr. Thomas Munn, of Ashford. This parish is watered by three springs, one of which rises at the bottom of the park, under Boughton-lees, and thence runs by Wilmington and Clipmill, into the river Stour, under Frogbrooke, having been joined by another which rises near the church; the third rises at the south corner of the park, near the other, and thence flows down by Kennington-common and Burton, into the river near Wilsborough-lees, just before which it is called Bacon's water.

There is a tradition, that a natural son of king Richard III. named Richard Plantagenet, sled hither from Leicester immediately after the fatal battle of Bosworth, fought in 1485, in which the king lost both his life and crown, and that he lived here in a mean capacity, having leave given him by Sir Tho. Moyle, as soon as he was discovered by him, to build for himself a small house, in one of his fields near his mansion of Eastwell-place, in which he afterwards lived and died; which is corroborated by an entry of his burial in the parish registry. He died in 1550, anno 4 king Edward VI. aged, as is supposed, about eighty-one. The entry in the parish register is as follows, under the article of burials: V. Richard Plantagenet, Desember 22d, 1550; the letter V prefixed being put before the name of every person of noble family mentioned in it; and against the north wall of the high chancel there is an antient tomb, without inscription, with the marks of two coats of arms, the brasses gone, which is reported to be that of this Richard Plantagenet. There was then no park here, but when there was one made, this small hut was included in it, and remained in being till it was pulled down by Heneage, earl of Winchelsea, who died in 1689. (fn. 1)

At the time of taking the general survey of Domesday, in the 15th year of the Conqueror's reign, this place was part of the possessions of Hugo de Montfort, under the general title of whose lands it is thus entered in it:

Hugo de Montfort holds one manor, Estwelle, which Frederic held of king Edward. It was taxed at one suling. There are three yokes within the division of Hugo, and the fourth yoke is without, and is of the fee of the bishop of Baieux. The arable land is three carucates in the whole. In demesne there are two carucates, and five villeins, and five borderers having one carucate and an half. There are ten servants, and twelve acres of meadow, and a wood. In the time of king Edward the Confessor, it was worth seventy shillings, and afterwards thirty shillings, now seventy shillings.

And the following entries in the same record, under the general title of the bishop of Baieux's lands, seem to relate to his possessions in this parish:

Ralph de Curbespine holds of the bishop Essewelle. It was taxed at three sulings. The arable land is . . . . . In demesne there are three carucates, and one villein, with seven borderers having half a carucate. There is one servant. It is worth six pounds. Molleue held it of king Edward.

The other entry is thus: Osbern holds of the bishop one manor, which three free tenants held of king Edward. It was taxed at one suling and an half. The arable land is . . . . In demesne there is one carucate, and one villein, with one borderer having half a caruacate. In the time of king Edward it was, and is now worth four pounds.

Hugo de Montfort, before-mentioned, had accompanied the Conqueror in his expedition hither, and after the battle of Hastings was rewarded for his services with many lordships in different counties, and among them with this of Eastwell. Robert, his grandson, was general of king William Rufus's army; but favouring the title of Robert Curthose, in opposition to king Henry I. to avoid being called in question upon that account, obtained leave to go on a pilgrimage to Jerusalem, leaving his possessions to the king, by which means this manor came into the hands of the crown, of which it was afterwards held by a family who took their surname from it; one of whom, Matilda de Estwelles, held this manor, with the advowson of the church of it, of the king in capite, at her death in the 52d year of king Henry III. Soon after which it seems to have come into the possession of the family of Criol; for Bertram, son of John de Criol, died possessed of it in the 23d year of king Edward I. holding it in the like manner, and by ward to Dover castle, being part of those lands which made up the barony, called the Constabularie. He left two sons, John and Bertram, and a daughter Joane, who afterwards married Sir Richard de Rokesle. Both these sons died s.p. the former of them left his wife Alianor surviving, who entitled her second husband Edmund Gaselyn to this manor for her life, and she died possessed of it in the 23d year of king Edward III. upon which this manor descended to Agnes and Joane, the two daughters and coheirs of Joane her late husband's sister before-mentioned, by Sir Richard de Rokesley; and upon the division of their inheritance, the manor of Eastwell was allotted to Agnes the eldest, who entitled Thomas de Poynings her husband to it; and in his descendants this manor, with the advowson of the church, continued down to Robert de Poynings, who died possessed of it in the 25th year of king Henry VI. leaving Alianore, his grand-daughter, wife of Henry, lord Percy, eldest son of Henry, earl of Northumberland, his next heir; who in the 27th year of it had summons to parliament among the barons of this realm, as lord Poynings. Six years after which he succeeded his father as earl of Northumberland, and in his descendants this manor, with the advowson, continued down to Henry, earl of Northumberland, who in the 23d year of king Henry VIII. conveyed it to seossees, who soon afterwards passed it away by sale to Sir Christopher Hales, the king's attorney-general, whose lands were disgavelled by the act of the 31st of Henry VIII. and he died possessed of it in the 33d year of that reign, holding it of the king, as of the honor of his castle of Dover, by knight's service. He left three daughters his coheirs, and they, with their respective husbands, joined in the sale of it to Sir. Tho. Moyle, of Eastwell, whose lands were disgaveiled by the acts of 31 king Henry VIII. and second and third of Edward VI. being the son of John, descended from a family of this name at Bodmin, in Cornwall, and youngest brother of Walter Moyle, of Buckwell. (fn. 2) He was speaker of the house of commons anno 34 king Henry VIII. and chancellor of the court of augmentation, who was in high esteem with that prince, and accumulated a large fortune in his profession of the law. He new built the mansion of Eastwell place, and died possessed of this manor, with the advowson of the church of it in 1560, leaving two daughters his coheirs, Catherine, married to Thomas Finch, gent. and Anne, married to Sir Thomas Kempe, of Wye, but this manor, with the advowson, had been settled on the former, on her marriage with Mr. Thomas Finch, who was afterwards knighted, and resided at Eastwell-place, The family of Finch, according to John Philipott, Rouge Dragon, was originally descended from Henry Fitz-Herbert, chamberlain to king Henry I. whose descendant Matthew Fitz-Herbert, who was one of the magnates or barons, at the compiling of Magna Charta, as was his son of the same name in that parliament, which was convened to meet at Tewksbury. The alteration of this name to Finch was about the 10th of king Edward I. at which time Herbert Fitz-Herbert purchased the manor of Finches, in Lid, of which being entire lord, which he was not of his more antient patrimony of Netherfield, in Suffex, he assumed his surname from that, as many other families in that age did from those places of which they possessed the entire seignory, bearing for his arms, Argent, a chevron between three griffins, segreant, sable. Vincent Herbert, alias Finch, was of Netherfield, about the end of the reign of king Edward II. and left two sons, Henry and John, the latter of whom was father of John, prior of Christ-church. Henry Herbert, alias Finch, the eldest son, inherited Nethersfield, and died anno 8 king Richard II. and left Vincent Herbert, alias Finch, (with whom the pedigree of this family begins in the Heraldic Visitation of this county, in 1619) whose son Vincent, was living in the reigns of king Richard II. and Henry IV. and by his wife Isabel, daughter and coheir of Robert Cralle, of Cralle, in Sussex, had two sons, William and John; which latter married Elizabeth, daughter of Richard Seward, of Linsted, from whom descended the Finch's, of Sewards, Norton, Kingsdown, Faversham, Wye, and other places in this county. William Finch, the eldest son, by which name only he and his descendants wrote themselves, was of Netherfield, and had a son Henry Finch, esq. who married Alice, only daughter and heir of Philip Belknap, of the Moat, near Canterbury, uncle to Sir Ed ward Belknap, which marriage not only occasioned the first residence of this branch of the family in Kent, but rendered it more illustrious by a descent from many noble ones. Their eldest son Sir William Finch, was of the Moat in king Henry the VIIIth's reign, and was father of Sir Thomas Finch, of Eastwell, before-mentioned, (fn. 3) of which he died possessed in 1563. They had three sons and one daughter, of whom Henry, the third son, was sergeant-at-law, and left one son John, who was chief justice of the common pleas, lord keeper, and created anno 16 Charles I. lord Finch, baron of Fordwich, and died in 1661; the eldest, Sir Moyle Finch, was created a baronet at the first institution of that order, and surviving his mother, who had remarried Nicholas St. Leger, esq. (and lies buried in this church, as well as her father Sir Thomas Moyle, and all her descendants, to the present time) became possessed of this manor and advowson. He married Elizabeth, only daughter and heir of Sir Thomas Heneage, and resided at Eastwell-place, which he made very great additions to, and in 1589, obtained the queen's licence to inclose his grounds here, not exceeding one thousand acres, and to turn the highways that might be annoyed by it, and to embattle his house of Estwell. He died in 1614, leaving his widow, the lady Elizabeth Finch, surviving, who was by letters patent in 1623, anno 21 James I. created viscountess Maidstone; and afterwards, in 1628, anno 4 king Charles I. countess of Winchelsea, in Sussex. She died in 1633, and was buried at Eastwell, under a noble monument erected there for her and her husband, by whom she had several sons and daughters, the eldest son, Sir Theophilus Finch, bart. died s.p. the second, Sir Thomas, succeeded as earl of Winchelsea; the third, Sir John, was resident with the grand duke of Tuscany, and ambassador in Turkey, of whom there is no issue. He died in 1642, and was buried in Queen's college chapel, in Cambridge, to which he was a good benefactor; the fourth, Sir Heneage Finch, sergeant-at-law, and recorder of London, who died in 1641, was ancestor to the late earl of Winchelsea and Nottingham; and the fifth, Francis, was barrister-at-law, and an ingenious poet, who died s.p. Sir Thomas Finch, bart. the eldest surviving son, succeeded her as earl of Winchesea, &c. and in her possessions here, whose eldest son Heneage, second earl of Winchelsea, was one of those nobles who favored the restoration of king Charles II. and as such, was by general Monk entrusted with the government of Dover castle, and after king Charles's return was, in acknowledgment of his services, and of being descended from the antient family of Herbert, created baron Fitz-Herbert, of Eastwell, in the 12th year of his reign, and constituted lord lieutenant and custos rotulorum of this county, and shortly after sent ambassador extraordinary into Turkey. He was lord lieutenant when king James II. was taken, on his leaving this kingdom, and brought to Faversham, where, for protection from the insults of the populace, he sent to lord Winchelsea from Eastwell, who immediately came and persuaded the king to return to London. He died in 1689, having married four wives, by whom he had in all twenty-seven children, of whom sixteen lived to some maturity. At length these honors and estates descended afterwards down to John his son, by his fourth wife, his other intermediate descendants being dead without issue, who became the fifth earl of Winchelsea, who dying likewise s.p. in 1729, the titles of earl of Winchelsea and viscount Maidstone, for that of baron Fitz-Herbert became extinct, together with this manor and advowson, and the mansion and park of Eastwell, with the rest of the earl's estates in this county, devolved on Daniel, second earl of Nottingham, son and heir of Sir Heneage Finch, who had been created earl of Nottingham in 1681, son and heir of Sir Heneage Finch, the fourth son of Sir Moyle Finch, of Eastwell, knight and baronet, by his wife Katherine, who was created countess of Winchelsea as beforementioned. Sir Heneage Finch above-mentioned, was eminent in the profession of the law, and was recorder of London, and in the first year of king Charles I. elected speaker of the house of commons, and resided at Kensington, in the house now the royal palace. He died in 1631. Heneage, his son and heir, was in 1660, made solicitor-general, knighted, and created a baronet, being then of Raunston, in Buckinghamshire. He was afterwards attorney-general, and in 1673 made lord keeper; shortly after which he was in 1674, created lord Finch, baron of Daventry; and next year made lord chancellor, and in 1681 created earl of Nottingham; he had fourteen children, of which seven sons and one daughter survived him. Of the sons, Daniel succeeded him as earl of Nottingham; 2, Heneage was created baron of Guernsey and earl of Aylesford, of whom and his descendants a full account may be seen under that parish. (fn. 4) Charles was fellow of All Souls college, and Henry was dean of York, and lies buried there with his brother Edward, who was prebendary of that church. Daniel, second earl of Nottingham, above-mentioned, became the sixth earl of Winchelsea, and entered early into life, being of the privy council to king Charles II. after whose death he took an active part in the politics of the succeding reigns, and was, for his great learning and abilities, highly trusted and employed in the great affairs of state till the year 1716, when he retired from all public affairs, and lived so till his death in 1730. He was twice married, first to lady Essex Rich, second daughter and coheir of Robert, earl of Warwick, by whom he had one daughter Mary; secondly to Anne, only daughter of Christopher, viscount Hatton, by whom he had five sons and eight daughters, besides seventeen other children who died young. The eldest son was Daniel, who succeeded him in titles and estate; William was envoy extraordinary to Sweden and the States General, and afterwards privy counsellor and vice-chamberlain of the houshold, who left a son George, who on his uncle's death, succeeded him in his titles, as will be further mentioned; John was solicitor-general to king George II. when prince of Wales, and afterwards king's council. Henry was surveyor of his Majesty's works; and Edward afterwards took the name of Hatton, pursuant to the will of Anne his aunt, the youngest daughter of Christopher, viscount Hatton, and heir of her brother William, viscount Hatton. He married Anne, daughter and coheir of Sir Thomas Palmer, bart. of Wingham, by whom he had George Finch Hatton, of whom more hereaster, and four other sons, and three daughters.—He was succeeded in the titles of earl of Winchelsea and Nottingham, viscount Maidstone, and baron of Daventry, as well as in his estates in this county, by Daniel his eldest son, who was constantly employed from the accession of king George I in the most important offices of the state, till the year 1766, when he retired from all public business, having been in 1752 elected a knight of the garter. He was twice married; first to Frances, daughter of Basil Fielding, earl of Denbigh, by whom he had one daughter Charlotte; and secondly, to Mary, daughter and coheir of Sir T. Palmer, bart. above-mentioned, by whom he had four daughters, Heneage, Essex, Hatton, and Augusta. He died in 1769, æt. 81, full of years and wisdom, and was buried among his ancestors, in the church of Eastwell. On his death without issue male, his titles, together with his seat at Burleigh, and estates in Rutlandshire and other counties, descended to his nephew George, son of his next brother William, but he by his will devised the manor and advowson of Eastwell, with the park and mansion of Eastwell-place, together with all the rest of his Kentish estates, to his nephew George Finch Hatton, esq. eldest son of his youngest brother Edward Finch Hatton, who is the present possessor of them. He married Elizabeth-Mary, daughter of David, late lord viscount Stormont, afterwards earl of Mansfield, by whom he has issue, and now resides at Eastwell-place. He bears for his arms those of Finch before-mentioned, quartered with those of Hatton, being Azure, a chevron, between three garbs, or.

POTHERY is a small manor within the bounds of this parish, which seems to have been part of that estate belonging to Odo, bishop of Baieux, described in Domesday before, which, on his disgrace about four years afterwards, that is, about the year 1084, became with the rest of his possessions, consiscated to the crown, of which it was afterwards held by the family of Criol; and John de Criol, younger son of Bertram, held it, together with the manor of Seaton, in Boughton Aluph, already descriebed before, in the account of that parish, at his death in the 48th year of Henry III. In his descendants it continued till it passed at length with that manor in marriage to Rokesle, and thence again in like manner to the Perys, and was sold with it by Henry, earl of Northumberland, in Henry the VIIIth.'s reign, to Sir Christopher Hales, whose three coheirs sold it to Sir Thomas Moyle, whence it went by marriage again to Finch, whose descendant Daniel, earl of Winchelsea and Nottingham, dying in 1769, without male issue, gave it by will to his nephew, George Finch Hatton, esq. now of Eastwell, the present owner of it.

Charities.

SIR WALTER MOYLE, of this parish, by will, anno 1480, ordered that his feoffees should deliver an estate in see simple to three or four honest and trusty men, in two acres of arable land in this parish, in a field called Cotingland, to the use of the church of Eastwell, in recompence of a certain annual rent of two pounds of wax, by him wrested and detained from it against his conscience.

MR. THOMAS KIPPS left by will in 1680, 20s. per annum to the use of the poor, out of a field in Great Chart, rented at 6l. per annum, the remainder of the rent being left to five other parishes.

THERE is an alms house in this parish.

The poor constantly relieved are about seven, casually five.

EASTWELL is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Charing.

¶The church, which is dedicated to St. Mary, consists of two isles and two chancels, having a square embattled tower at the west end, in which hang three bells. It is an antient building of slint, with ashler stone round the windows, which are small, and of only one compartment. The arms of Poynings still remain in the east window of the high chancel. Within the altar rails is a memorial for Nicholas Toke, clerk, obt. 1670, and for Nicholas Toke, his eldest son, obt. 1673. On the south side of the chancel is the tomb of Sir Thomas Moyle. In the south chancel is a sumptuous tomb, on which lie the figures of a man and woman in white marble, at full length, their sons and daughters round the sides of it; it had till within these few years, a beautiful dome or canopy over them, supported by eight pillars of black marble, the fragments of which now lie scattered about the chancel. It was erected for Sir Moyle Finch, knight and bart. who died in 1614, and Elizabeth his wife, created counteis of Winchelsea, &c. And a monument for Sir Heneage Finch, sergeant-at law, and recorder of London, who died in 1631, and of his first wife, who died in 1627. At the upper end of the south isle is a vault, for the Finch family, in which are thirty-eight coffins; the Hon. Edward Finch Hatton, father of the present Mr. Hatton, of Eastwell, being the last who was buried in it.

The church of Eastwell was always esteemed an appendage to the manor, and continues so, the lord of it, George Finch Hatton, esq. being the present patron of this rectory.

It is valued in the king's books at 9l. 16s. 8d. It is now a discharged living, of the clear yearly certified value of forty-two pounds. In 1588, it was valued at forty pounds per annum, communicants fifty-five. In 1640 the same.

www.british-history.ac.uk/survey-kent/vol7/pp398-412

Sub-Lieutenant Danielle Turner a Maritime Surface and Sub-Surface Officer checks a vessels bearing from Her Majesty's Canadian Ship Charlottetown's bridge during Operation ACTIVE ENDEAVOUR with, Standing NATO maritime Group 1 in the Mediterranean Sea on February 5, 2012.

L’Enseigne de vaisseau de 1re classe Danielle Turner, officier des opérations maritimes de surface et sous-marines, vérifie l’azimut sur la passerelle du Navire canadien de Sa Majesté CHARLOTTETOWN lors de l’opération Active Endeavour dans la mer Méditerranée, avec le 1er Groupe de la Force navale permanente de réaction de l’OTAN, le 5 février 2012.

Photo : Cpl Ronnie Kinnie

HS2012-0071-095

Samuel van Hoogstraten (1627-1678), active in Dordrecht, Vienna, Rome, London and The Hague

The inner Castle square in Vienna, 1652

During his two-year stay in Vienna (1651/53), Hoogstraten for emperor Ferdinand III was active. Probably on whose behalf arose the view to the inner Castle square in northwestern direction with the for Rudolf II built Amalienburg. By means of painted as trompe-l'oeil slip of paper with the signature of the artist on the as well simulated black picture frame, Hoogstraten expresses his penchant for the mixture of painting and reality by eye-deceiving effects.

Samuel van Hoogstraten (1627-1678), tätig in Dordrecht, Wien, Rom, London und Den Haag

Der innere Burgplatz in Wien, 1652

Während seines etwa zweijährigen Aufenthalts in Wien (1651/53) war Hoogstraten für Kaiser Ferdinand III. tätig. Vermutlich in dessen Auftrag entstand der Blick auf den inneren Burgplatz in Richtung Nordwesten mit der für Rudolf II. errichteten Amalienburg. Anhand des als Trompe-l'oeil gemalten Zettels mit der Signatur des Malers auf dem ebenfalls fingierten schwarzen Bilderrahmen bekundet Hoogstraten seine Vorliebe für die Vermischung von Malerei und Wirklichkeit durch augentäuschende Effekte.

Austria Kunsthistorisches Museum

Federal Museum

Logo KHM

Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture

Founded 17 October 1891

Headquartered Castle Ring (Burgring), Vienna 1, Austria

Management Sabine Haag

www.khm.at website

Main building of the Kunsthistorisches Museum at Maria-Theresa-Square

The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.

The museum

The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.

History

Archduke Leopold Wilhelm in his Gallery

The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building.

Architectural History

The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währinger street/Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the Opera ring, and Ludwig Zettl the southeast side of the Grain market (Getreidemarkt).

From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience of Joseph Semper with the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.

Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.

Construction of the two museums began without ceremony on 27 November 1871 instead. Semper subsequently moved to Vienna. From the beginning on, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, in 1878, the first windows installed, in 1879, the Attica and the balustrade finished, and from 1880 to 1881 the dome and the Tabernacle built. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.

The lighting and air conditioning concept with double glazing of the ceilings made ​​the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times.

Dome hall

Entrance (by clicking on the link at the end of the side you can see all the pictures here indicated!)

Grand staircase

Hall

Empire

The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891, the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol needs another two years.

1891, the Court museum was organized in seven collections with three directorates:

Directorate of coins, medals and antiquities collection

The Egyptian Collection

The Antique Collection

The coins and medals collection

Management of the collection of weapons, art and industrial objects

Weapons collection

Collection of industrial art objects

Directorate of Art Gallery and Restaurieranstalt (Restoration Office)

Collection of watercolors, drawings, sketches, etc.

Restoration Office

Library

Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.

1914, after the assassination of Franz Ferdinand, heir to the throne, his "Estensische Sammlung (Collection)" passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d'Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.

The First World War went by, apart from the oppressive economic situation without loss. The Court museum remained during the five years of war regularly open to the public.

Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.

First Republic

The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.

It was not until the Treaty of Saint-Germain on 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.

On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House", by the Republic. On 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.

Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.

With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the

Egyptian and Near Eastern Collection (with the Oriental coins)

Collection of Classical Antiquities

Collection of Ancient Coins

Collection of modern Coins and Medals

Weapons collection

Collection of Sculptures and Crafts with the Collection of Ancient Musical Instruments

Picture gallery

The Museum 1938-1945

Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.

With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the German Reich.

After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to bring certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.

The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. To this end was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.

The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.

The museum today

Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).

The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.

In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.

Management

1919-1923: Gustav Glück as the first chairman of the College of science officials

1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director

1933: Arpad Weixlgärtner first director

1934-1938: Alfred Stix first director

1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief, in 1941 as first director

1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections, in 1949 as general director of the historical collections of the Federation

1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections, in 1949 as general director of art historical collections of the Federation

1949-1950: Hans Demel as administrative director

1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation

1951-1952: Fritz Eichler as administrative director

1953-1954: Ernst H. Buschbeck as administrative director

1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director

1967: Edward Holzmair as managing director

1968-1972: Erwin Auer first director

1973-1981: Friderike Klauner first director

1982-1990: Hermann Fillitz first director

1990: George Kugler as interim first director

1990-2008: Wilfried Seipel as general director

Since 2009: Sabine Haag as general director

Collections

To the Kunsthistorisches Museum also belon the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.

Kunsthistorisches Museum (main building)

Picture Gallery

Egyptian and Near Eastern Collection

Collection of Classical Antiquities

Vienna Chamber of Art

Numismatic Collection

Library

New Castle

Ephesus Museum

Collection of Ancient Musical Instruments

Arms and Armour

Archive

Hofburg

The imperial crown in the Treasury

Imperial Treasury of Vienna

Insignia of the Austrian Hereditary Homage

Insignia of imperial Austria

Insignia of the Holy Roman Empire

Burgundian Inheritance and the Order of the Golden Fleece

Habsburg-Lorraine Household Treasure

Ecclesiastical Treasury

Schönbrunn Palace

Imperial Carriage Museum Vienna

Armory in Ambras Castle

Ambras Castle

Collections of Ambras Castle

Major exhibits

Among the most important exhibits of the Art Gallery rank inter alia:

Jan van Eyck: Cardinal Niccolò Albergati, 1438

Martin Schongauer: Holy Family, 1475-80

Albrecht Dürer : Trinity Altar, 1509-16

Portrait Johann Kleeberger, 1526

Parmigianino: Self Portrait in Convex Mirror, 1523/24

Giuseppe Arcimboldo: Summer 1563

Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07

Caravaggio: Madonna of the Rosary (1606-1607)

Titian: Nymph and Shepherd to 1570-75

Portrait of Jacopo de Strada, 1567/68

Raffaello Santi: Madonna of the Meadow, 1505 /06

Lorenzo Lotto: Portrait of a young man against white curtain, 1508

Peter Paul Rubens: The altar of St. Ildefonso, 1630-32

The Little Fur, about 1638

Jan Vermeer: The Art of Painting, 1665/66

Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559

Kids, 1560

Tower of Babel, 1563

Christ Carrying the Cross, 1564

Gloomy Day (Early Spring), 1565

Return of the Herd (Autumn), 1565

Hunters in the Snow (Winter) 1565

Bauer and bird thief, 1568

Peasant Wedding, 1568/69

Peasant Dance, 1568/69

Paul's conversion (Conversion of St Paul), 1567

Cabinet of Curiosities:

Saliera from Benvenuto Cellini 1539-1543

Egyptian-Oriental Collection:

Mastaba of Ka Ni Nisut

Collection of Classical Antiquities:

Gemma Augustea

Treasure of Nagyszentmiklós

Gallery: Major exhibits

de.wikipedia.org/wiki/Kunsthistorisches_Museum

Just a few examples of active hot springs ("caldeiras") in the crater village of Furnas and close to the Lake Furnas on the largest Azorean island, Sao Miguel

Bearsden & Milngavie Highland Games 2013

Airbus A320 - MSN 175

Status : Active

Registration : C-FPWE

Airline Air Canada

Country : Canada

Date : 1937 -

Codes AC ACA

Callsign : Air Canada

Web site : www.aircanada.ca

Serial number175

Type320-211

First flight date08/02/1991

Test registrationF-WWIN

Plane age27.2 years

Seat configuration

Engines2 x CFMI CFM56-5A1

30/04/1991Canadian AirlinesC-FPWElsd from GPA

04/04/2001Air CanadaC-FPWE

01/11/2001TangoC-FPWE

30/09/2003Air Canada JetzC-FPWE

01/05/2012Air CanadaC-FPWE

Active Region AR2442 is about 18 earths wide. was too windy when I took the video.

+++ DISCLAIMER +++

Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!

Some background:

The Tornado ADV had its origins in an RAF Air Staff Requirement 395 (or ASR.395), which called for a long-range interceptor to replace the Lightning F6 and Phantom FGR2. The requirement for a modern interceptor was driven by the threat posed by the large Soviet long-range bomber fleet, in particular the supersonic Tupolev Tu-22M. From the beginning of the Tornado IDS's development in 1968, the possibility of a variant dedicated to air defence had been quietly considered; several American aircraft had been evaluated, but found to be unsuitable. However, the concept proved unattractive to the other European partners on the Tornado project, thus the UK elected to proceed in its development alone. On 4 March 1976, the development of the Tornado ADV was formally approved.

A total of 36 Tornado F.3 airframes with relatively low flying hours were brought to F.6 standard in the course of 2006-8 and gradually replaced older F.3s in RAF fighter units until 2009. The Tornado F.3 itself was retired in March 2011 when No. 111 Squadron RAF, located at RAF Leuchars, was disbanded. Both the F.5 and F.6 will at least keep on serving until the Eurofighter Typhoon is in full service, probably until 2020.

General characteristics:

Crew: 2

Length: 18.68 m (61 ft 3½ in)

Wingspan: 13.91 m (45 ft 7½ in) at 25° wing position

8.60 m (28 ft 2½ in) at 67° wing position

Height: 5.95 m (19 ft 6½ in)

Wing area: 27.55 m² (295.5 sq ft)

Empty weight: 14,750 kg (32,490 lb)

Max. takeoff weight: 28,450 kg (62,655 lb)

Powerplant:

2× Eurojet EJ200 afterburning turbofans with 60 kN (13,500 lbf) dry thrust and

90 kN (20,230 lbf) thrust with afterburner each

Performance:

Maximum speed: Mach 2.3 (2,500 km/h, 1,550 mph) at 9,000 m (30,000 ft)

921 mph (800 knots, 1,482 km/h) indicated airspeed limit near sea level

Combat radius: more than 1,990 km (1.100 nmi, 1,236 mi) subsonic,

more than 556 km (300 nmi, 345 mi) supersonic

Ferry range: 4,265 km (2,300 nmi, 2,650 mi) with four external tanks

Endurance: 2 hr combat air patrol at 560-740 km (300-400 nmi, 345-460 mi) from base

Service ceiling: 15,240 m (50,000 ft)

Armament:

1× 27 mm (1.063 in) Mauser BK-27 revolver cannon with 180 RPG under starboard fuselage side

A total of 10 hardpoints (4× semi-recessed under-fuselage, 2× under-fuselage, 4× swivelling

under-wing) holding up to 9000 kg (19,800 lb) of payload; the two inner wing pylons have shoulder

launch rails for 2× Short-Range AAM (SRAAM) each (AIM-9 Sidewinder or AIM-132 ASRAAM)

4× MBDO Meteor or AIM-120 AMRAAM, mounted under the fuselage

The kit and its assembly:

The eight entry for the RAF Centenary Group Build at whatifmodelers.com, and after 100 years of RAF what-if models we have now arrived at the present. This modified Tornado ADV was spawned through the discussions surrounding another modeler’s build of a modified F.3 (and examples of other Tornado conversions, e. g. with fixed wings or twin fins), and I spontaneously wondered what a change of the air intakes would do to the aircraft’s overall impression? Most conversions I have seen so far retain this original detail. An idea was born, and a pair of leftover Academy MiG-23 air intakes, complete with splitter plates, were the suitable conversion basis.

The basic kit is the Italeri Tornado ADV, even though in a later Revell re-boxing. It’s IMHO the kit with the best price-performance ration, and it goes together well. The kit was mostly built OOB, with some cosmetic additions. The biggest changes came through the integration of the completely different air intakes. These were finished at first and, using them as templates, openings were cut into the lower fuselage flanks in front of the landing gear well. Since the MiG-23 intakes have a relatively short upper side, styrene sheet fillers had to be added and blended with the rest of the fuselage via PSR. The gap between the wing root gloves and the intakes had to be bridged, too, with 2C putty. Messier affair than it sounds, but it went well.

In order to make the engine change plausible I modified the Tornado exhaust and added a pair of orifices from an F-18 – they look very similar to those on the Eurofighter Typhoon, and their diameter is perfect for this change. This and the different air intakes stretch the Tonka visually, it looks IMHO even more slender than the F.3.

Another issue was the canopy: the 2nd hand kit came without clear parts, but I was lucky to still have a Tornado F.3 canopy in the spares box – but only the windscreen from a Tornado IDS, which does not fit well onto the ADV variant. A 2mm gap at the front end had to be bridged, and the angles on the side as well as the internal space to the HUD does not match too well. But, somehow, I got it into place, even though it looks a bit shaggy.

The IRST in front of the windscreen is a piece of clear styrene sprue (instead of an opaque piece, painted glossy black), placed on a black background. The depth effect is very good!

More changes pertained to the ordnance: the complete weaponry was exchanged. The OOB Sidewinders were replaced with specimen from a Hasegawa F-4 Phantom (these look just better than the AIM-9 that come with the kit), and I originally planned to mount four AIM-120 from the same source under the fuselage – until I found a Revell Eurofighter kit in my stash that came with four Meteor AAMs, a suitable and more modern as well as British alternative!

All in all, just subtle modifications.

Painting and markings:

Well, the RAF was the creative direction, so I stuck to a classic/conservative livery. However, I did not want a 100% copy of the typical “real world” RAF Tornado F.3, so I sought inspiration in earlier low-visibility schemes. Esp. the Phantom and the Lightning carried in their late days a wide variety of grey-in-grey schemes, and one of the most interesting of them (IMHO) was carried by XS 933: like some other Lightnings, the upper surfaces were painted in Dark Sea Grey (instead of the standard Medium Sea Grey), a considerably murkier tone, but XS933 had a mid-height waterline. I found that scheme to be quite plausible for an aircraft that would mostly operate above open water and in heavier weather, so I adapted it to the Tonka. The fact that XS 933 was operated by RAF 5 Squadron, the same unit as my build depicts with its markings, is just a weird coincidence!

An alternative would have been the same colors, but with a low waterline (e.g. like Lightning XR728) – but I rejected this, because the result would have looked IMHO much too similar to the late Tornado GR.4 fighter bombers, or like a Royal Navy aircraft.

Since the upper color would be wrapped around the wings’ leading edges, I used the lower wing leading edge level as reference for the high waterline on the forward fuselage, Behind the wings’ trailing edge I lowered the waterline down to the stabilizers’ level.

All upper surfaces, including the tall fin, were painted with Tamiya XF-54, a relatively light interpretation of RAF Dark Sea Grey (because I did not want a harsh contrast with the lower colors), while the fuselage undersides and flanks were painted in Medium Sea Grey (Humbrol 165). The same tone was also used for the underwing pylons and the “Hindenburger” drop tanks. The undersides of the wings and the stabilizers were painted in Camouflage Grey (formerly known as Barley Grey, Humbrol 167).

Disaster struck when I applied the Tamiya paint, though. I am not certain why (age of the paint, I guess), but the finish developed a kind of “pigment pelt” which turned out to be VERY sensitive to touch. Even the slightest handling would leave dark, shiny spots!

My initial attempt was to hide most of this problem under post-shading (with Humbrol 126, FS 36270), but that turned the Tonka visually into a Tiger Meet participant – the whole thing looked as if it wore low-viz stripes! Aaargh!

In a desperate move (since more and more paint piled up on the upper surfaces, and I did not want to strip the kit off of all paint right now) I applied another thin coat of highly diluted XF-54 on top of the tiger stripe mess, and that toned everything done enough to call it a day. While the finish is not perfect and still quite shaggy (even streaky here and there…), it looks O.K., just like a worn and bleached Dark Sea Grey.

A little more rescue came with the decals. The markings are naturally low-viz variants and the RAF 5 Sq. markings come from an Xtradecal BAC Lightning sheet (so they differ from the markings applied to the real world Tornado F.3s of this unit). The zillion of stencils come from the OOB sheet, but the walking area warnings came from a Model Decal Tornado F.3 sheet (OOB, Revell only provides you a bunch of generic, thin white lines, printed on a single carrier film, and tells you “Good luck”! WTF?). Took a whole afternoon to apply them, but I used as many of them as possible in order to hide the paint finish problems… Some things, like the tactical letter code or the red bar under the fuselage roundel, had to be improvised.

With many troubles involved (the paint job, but furthermore the wing pylons as well as one stabilizer broke off during the building and painting process…), I must say that the modified Tonka turned out better than expected while I was still working on it. In the end, I am happy with it – it’s very subtle, I wonder how many people actually notice the change of air intakes and jet exhausts, and the Meteor AAMs are, while not overtly visible, a nice update, too.

The paint scheme looks basically also good (if you overlook the not-so-good finish due to the problems with the Tamiya paint), and the darker tones suit the Tonka well, as well as the fake RAF 5 Squadron markings.

Anselm Feuerbach (1829 - 1880; active in Karlsruhe, Venice, Castel Toblino, Rome, Vienna, Nuremberg

Flower Girl, 1854)

Taken over 1907 from grand-ducal private ownership, inventory in 1031

Anselm Feuerbach (1829 - 1880; tätig in Karlsruhe, Venedig, Castel Toblino, Rom, Wien, Nürnberg

Blumenmädchen, 1854)

Übernommen 1907 aus großherzoglichem Besitz, Inventar 1031

Collection

The foundation of the collection consists of 205 mostly French and Dutch paintings from the 17th and 18th centuries which Margravine Karoline Luise acquired 1759-1776. From this collection originate significant works, such as The portrait of a young man by Frans van Mieris the Elder, The winter landscape with lime kiln of Nicolaes Pieterszoon Berchem, The Lacemaker by Gerard Dou, the Still Life with hunting equipment and dead partridge of Willem van Aelst, The Peace in the Chicken yard by Melchior de Hondecoeter as well as a self-portrait by Rembrandt van Rijn. In addition, four still lifes of Jean Siméon Chardin and two pastoral scenes by François Boucher, having been commissioned directly by the Marchioness from artists.

A first significant expansion the museum received in 1858 by the collection of canon Johann Baptist von Hirscher (1788-1865) with works of religious art of the 15th and 16th centuries. This group includes works such as two tablets of the Sterzinger altar and the wing fragment The sacramental blessing of Bartholomew Zeitblom. From 1899 to 1920, the native of Baden painter Hans Thoma held the position of Director of the Kunsthalle. He acquired old masterly paintings as the tauberbischofsheim altarpiece by Matthias Grünewald and drove the expansion of the collection with art of the 19th century forward. Only his successors expanded the holdings of the Art Gallery with works of Impressionism and the following generations of artists.

The permanent exhibition in the main building includes approximately 800 paintings and sculptures. Among the outstanding works of art of the Department German painters of the late Gothic and Renaissance are the Christ as Man of Sorrows by Albrecht Dürer, the Carrying of the Cross and the Crucifixion by Matthias Grünewald, Maria with the Child by Lucas Cranach the Elder, the portrait of Sebastian Brant by Hans Burgkmair the elder and The Nativity of Hans Baldung. Whose Margrave panel due to property disputes in 2006 made it in the headlines and also led to political conflicts. One of the biggest buying successes which a German museum in the postwar period was able to land concerns the successive acquisition of six of the seven known pieces of a Passion altar in 1450 - the notname of the artist after this work "Master of the Karlsruhe Passion" - a seventh piece is located in German public ownership (Wallraf-Richartz Museum, Cologne).

In the department of Dutch and Flemish paintings of the 16th century can be found, in addition to the aforementioned works, the portrait of the Marchesa Veronica Spinola Doria by Peter Paul Rubens, Moses strikes the rock and water flows for the thirsty people of Israel of Jacob Jordaens, the still life with kitchen tools and foods of Frans Snyders, the village festival of David Teniers the younger, the still life with lemon, oranges and filled clay pot by Willem Kalf, a Young couple having breakfast by Gabriel Metsu, in the bedroom of Pieter de Hooch, the great group of trees at the waterfront of Jacob Izaaksoon van Ruisdael, a river landscape with a milkmaid of Aelbert Jacobsz. Cuyp as well as a trompe-l'œil still life of Samuel van Hoogstraten.

Further examples of French paintings of the 17th and 18th centuries are, the adoration of the golden calf of Claude Lorrain, preparations for dance class of the Le Nain brothers, the portrait of Marshal Charles-Auguste de Matignon by Hyacinthe Rigaud, the portrait of a young nobleman in hunting costume of Nicolas de Largillière, The storm of Claude Joseph Vernet and The minuet of Nicolas Lancret. From the 19th century can be found with Rocky wooded valley at Civita Castellana by Gustave Courbet, The Lamentation of Eugène Delacroix, the children portrait Le petit Lange of Édouard Manet, the portrait of Madame Jeantaud by Edgar Degas, the landscape June morning near Pontoise by Camille Pissarro, homes in Le Pouldu Paul Gauguin and views to the sea at L'Estaque by Paul Cézanne further works of French artists at Kunsthalle.

One focus of the collection is the German painting and sculpture of the 19th century. From Joseph Anton Koch, the Kunsthalle possesses a Heroic landscape with rainbow, from Georg Friedrich Kersting the painting The painter Gerhard Kügelgen in his studio, from Caspar David Friedrich the landscape rocky reef on the sea beach and from Karl Blechen view to the Monastery of Santa Scolastica. Other important works of this department are the disruption of Adolph Menzel as well as the young self-portrait, the portrait Nanna Risi and The Banquet of Plato of Anselm Feuerbach.

For the presentation of the complex of oeuvres by Hans Thoma, a whole wing in 1909 at the Kunsthalle was installed. Main oeuvres of the arts are, for example, the genre picture The siblings as well as, created on behalf of the grand-ducal family, Thoma Chapel with its religious themes.

Of the German contemporaries of Hans Thoma, Max Liebermann on the beach of Noordwijk and Lovis Corinth with a portrait of his wife in the museum are represented. Furthermore the Kunsthalle owns works by Ferdinand Georg Waldmüller, Carl Spitzweg, Arnold Böcklin, Hans von Marées, Wilhelm Leibl, Fritz von Uhde, Wilhelm Trübner and Max Klinger.

In the building of the adjacent Orangerie works of the collection and new acquisitions from the years after 1952 can be seen. In two integrated graphics cabinets the Kupferstichkabinett (gallery of prints) gives insight into its inventory of contemporary art on paper. From the period after 1945, the works Arabs with footprints by Jean Dubuffet, Sponge Relief RE 48; Sol. 1960 by Yves Klein, Honoring the square: Yellow center of Josef Albers, the cityscape F by Gerhard Richter and the Fixe idea by Georg Baselitz in the Kunsthalle. The collection of classical modernism wandered into the main building. Examples of paintings from the period to 1945 are The Eiffel Tower by Robert Delaunay, the Improvisation 13 by Wassily Kandinsky, Deers in the Forest II by Franz Marc, People at the Blue lake of August Macke, the self-portrait The painter of Ernst Ludwig Kirchner, the Merzpicture 21b by Kurt Schwitters, the forest of Max Ernst, Tower gate II by Lyonel Feininger, the Seven Deadly Sins of Otto Dix and the removal of the Sphinxes by Max Beckmann. In addition, the museum regularly shows special exhibitions.

Sammlung

Den Grundstock der Sammlung bilden 205 meist französische und niederländische Gemälde des 17. und 18. Jahrhunderts, welche Markgräfin Karoline Luise zwischen 1759 und 1776 erwarb. Aus dieser Sammlung stammen bedeutende Arbeiten, wie das Bildnis eines jungen Mannes von Frans van Mieris der Ältere, die Winterlandschaft mit Kalkofen von Nicolaes Pieterszoon Berchem, Die Spitzenklöpplerin von Gerard Dou, das Stillleben mit Jagdgeräten und totem Rebhuhn von Willem van Aelst, Der Friede im Hühnerhof von Melchior de Hondecoeter sowie ein Selbstbildnis von Rembrandt van Rijn. Hinzu kommen vier Stillleben von Jean Siméon Chardin und zwei Schäferszenen von François Boucher, die die Markgräfin bei Künstlern direkt in Auftrag gegeben hatte.

Eine erste wesentliche Erweiterung erhielt das Museum 1858 durch die Sammlung des Domkapitulars Johann Baptist von Hirscher (1788–1865) mit Werken religiöser Kunst des 15. und 16. Jahrhunderts. Zu dieser Gruppe gehören Werke wie zwei Tafeln des Sterzinger Altars und das Flügelfragment Der sakramentale Segen von Bartholomäus Zeitblom. Von 1899 bis 1920 bekleidete der aus Baden stammende Maler Hans Thoma die Position des Direktors der Kunsthalle. Er erwarb altmeisterliche Gemälde wie den Tauberbischofsheimer Altar von Matthias Grünewald und trieb den Ausbau der Sammlung mit Kunst des 19. Jahrhunderts voran. Erst seine Nachfolger erweiterten die Bestände der Kunsthalle um Werke des Impressionismus und der folgenden Künstlergenerationen.

Die Dauerausstellung im Hauptgebäude umfasst rund 800 Gemälde und Skulpturen. Zu den herausragenden Kunstwerken der Abteilung deutsche Maler der Spätgotik und Renaissance gehören der Christus als Schmerzensmann von Albrecht Dürer, die Kreuztragung und Kreuzigung von Matthias Grünewald, Maria mit dem Kinde von Lucas Cranach der Ältere, das Bildnis Sebastian Brants von Hans Burgkmair der Ältere und die Die Geburt Christi von Hans Baldung. Dessen Markgrafentafel geriet durch Eigentumsstreitigkeiten 2006 in die Schlagzeilen und führte auch zu politischen Auseinandersetzungen. Einer der größten Ankaufserfolge, welche ein deutsches Museum in der Nachkriegszeit verbuchen konnte, betrifft den sukzessiven Erwerb von sechs der sieben bekannten Tafeln eines Passionsaltars um 1450 – der Notname des Malers nach diesem Werk „Meister der Karlsruher Passion“ – eine siebte Tafel befindet sich in deutschem öffentlichen Besitz (Wallraf-Richartz Museum, Köln).

In der Abteilung niederländischer und flämischer Malerei des 16. Jahrhunderts finden sich, neben den erwähnten Werken, das Bildnis der Marchesa Veronica Spinola Doria von Peter Paul Rubens, Moses schlägt Wasser aus dem Felsen von Jacob Jordaens, das Stillleben mit Küchengeräten und Lebensmitteln von Frans Snyders, das Dorffest von David Teniers dem Jüngeren, das Stillleben mit Zitrone, Orangen und gefülltem Römer von Willem Kalf, ein Junges Paar beim Frühstück von Gabriel Metsu, Im Schlafzimmer von Pieter de Hooch, die Große Baumgruppe am Wasser von Jacob Izaaksoon van Ruisdael, eine Flusslandschaft mit Melkerin von Aelbert Jacobsz. Cuyp sowie ein Augenbetrüger-Stillleben von Samuel van Hoogstraten.

Weitere Beispiele französischer Malerei des 17. bzw. 18. Jahrhunderts sind Die Anbetung des Goldeen Kalbes von Claude Lorrain, die Vorbereitung zur Tanzstunde der Brüder Le Nain, das Bildnis des Marschalls Charles-Auguste de Matignon von Hyacinthe Rigaud, das Bildnis eines jungen Edelmannes im Jagdkostüm von Nicolas de Largillière, Der Sturm von Claude Joseph Vernet und Das Menuett von Nicolas Lancret. Aus dem 19. Jahrhundert finden sich mit Felsiges Waldtal bei Cività Castellana von Gustave Courbet, Die Beweinung Christi von Eugène Delacroix, dem Kinderbildnis Le petit Lange von Édouard Manet, dem Bildnis der Madame Jeantaud von Edgar Degas, dem Landschaftsbild Junimorgen bei Pontoise von Camille Pissarro, Häuser in Le Pouldu von Paul Gauguin und Blick auf das Meer bei L’Estaque von Paul Cézanne weitere Arbeiten französischer Künstler in der Kunsthalle.

Einen Schwerpunkt der Sammlung bildet die deutsche Malerei und Skulptur des 19. Jahrhunderts. Von Joseph Anton Koch besitzt die Kunsthalle eine Heroische Landschaft mit Regenbogen, von Georg Friedrich Kersting das Gemälde Der Maler Gerhard Kügelgen in seinem Atelier, von Caspar David Friedrich das Landschaftsbild Felsenriff am Meeresstrand und von Karl Blechen den Blick auf das Kloster Santa Scolastica. Weitere bedeutende Werke dieser Abteilung sind Die Störung von Adolph Menzel sowie das Jugendliche Selbstbildnis, das Bildnis Nanna Risi und Das Gastmahl des Plato von Anselm Feuerbach.

Für die Präsentation des Werkkomplexes von Hans Thoma wurde 1909 in der Kunsthalle ein ganzer Gebäudetrakt errichtet. Hauptwerke des Künstlers sind etwa das Genrebild Die Geschwister sowie die, im Auftrag der großherzöglichen Familie geschaffene, Thoma-Kapelle mit ihren religiösen Themen.

Von den deutschen Zeitgenossen Hans Thomas sind Max Liebermann mit Am Strand von Noordwijk und Lovis Corinth mit einem Bildnis seiner Frau im Museum vertreten. Darüber hinaus besitzt die Kunsthalle Werke von Ferdinand Georg Waldmüller, Carl Spitzweg, Arnold Böcklin, Hans von Marées, Wilhelm Leibl, Fritz von Uhde, Wilhelm Trübner und Max Klinger.

Im Gebäude der benachbarten Orangerie sind Werke der Sammlung und Neuankäufe aus den Jahren nach 1952 zu sehen. In zwei integrierten Grafikkabinetten gibt das Kupferstichkabinett Einblick in seinen Bestand zeitgenössischer Kunst auf Papier. Aus der Zeit nach 1945 finden sich die Arbeiten Araber mit Fußspuren von Jean Dubuffet, Schwammrelief >RE 48:Sol.1960< von Yves Klein, Ehrung des Quadrates: Gelbes Zentrum von Josef Albers, das Stadtbild F von Gerhard Richter und die Fixe Idee von Georg Baselitz in der Kunsthalle. Die Sammlung der Klassischen Moderne wanderte in das Hauptgebäude. Beispiele für Gemälde aus der Zeit bis 1945 sind Der Eiffelturm von Robert Delaunay, die Improvisation 13 von Wassily Kandinsky, Rehe im Wald II von Franz Marc, Leute am blauen See von August Macke, das Selbstbildnis Der Maler von Ernst Ludwig Kirchner, das Merzbild 21b von Kurt Schwitters, Der Wald von Max Ernst, Torturm II von Lyonel Feininger, Die Sieben Todsünden von Otto Dix und der Abtransport der Sphinxe von Max Beckmann. Darüber hinaus zeigt das Museum regelmäßig Sonderausstellungen.

de.wikipedia.org/wiki/Staatliche_Kunsthalle_Karlsruhe

Active Canvas presents two Yakshagana performances by "Saligrama Makkala Mela".

Yakshagana(Kannada) - Veera Vrishasena - 15th May 2010 7:00 p.m

Yakshagana(Kannada) -Babruvahana Kalaga - 16th May 2010 11:00 a.m

Venue: H.N.Kalakshetra, National College, 7th Block, Jayanagar

More about Active Canvas:- activecanvas.in/

Thanks to Divya for this oppurtunity :)

Do visit to my blog for the report:

get2shaan.blogspot.com/2010/05/yakshagana-behind-scene.html

Bee Active (Manchester Aquatics Centre) - part of "Bee in the City" 2018

Panning