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Erlenzeisig (Spinus spinus) - European siskin
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Erlenzeisig (Spinus spinus) - European siskin
de.wikipedia.org/wiki/Erlenzeisig
Der Erlenzeisig (Spinus spinus, Syn.: Carduelis spinus) ist eine Vogelart aus der Unterfamilie der Stieglitzartigen (Carduelinae). Vögel dieser Art werden zuweilen auch einfach Zeisig genannt, da sie im deutschsprachigen Raum die häufigsten und bekanntesten Stellvertreter der Gruppe kleiner Finkenvögel sind, die den Namensteil „-zeisig“ tragen.
Beschreibung
Erlenzeisige sind mit 12 Zentimetern relativ kleine Finken, ihre Flügelspannweite beträgt 20 bis 23 Zentimeter. Sie werden 12 bis 15 Gramm schwer. Das Männchen ist kontrastreich schwarz-gelb-grün gefärbt, mit schwarzer Stirn und schwarzem Kinn, ansonsten gelbem Kopf mit grünen Wangen. Der Rücken ist graugrün, die Flügel schwarz mit einer gelben Binde. Die Weibchen sind unscheinbarer graugrün und gestrichelt, mit hellgrauem Bauch. Ihre Flügel haben jedoch ebenfalls gelbe und grüne Bereiche. Der Audio-Datei / Hörbeispiel Gesang?/i des Männchens ist eilig zwitschernd, knirschend und scharrend, er wird von Baumspitzen aus oder im Flug vorgetragen.
en.wikipedia.org/wiki/Eurasian_siskin
The Eurasian siskin (Spinus spinus) is a small passerine bird in the finch family Fringillidae. It is also called the European siskin, common siskin or just siskin. Other (archaic) names include black-headed goldfinch,[2] barley bird and aberdevine.[3] It is very common throughout Europe and Asia. It is found in forested areas, both coniferous and mixed woodland where it feeds on seeds of all kinds, especially of alder and conifers.
It can be distinguished from other similar finches by the color of the plumage. The upper parts are greyish green and the under parts grey-streaked white. Its wings are black with a conspicuous yellow wing bar, and the tail is black with yellow sides. The male has a mainly yellow face and breast, with a neat black cap. Female and young birds have a greyish green head and no cap. It is a trusting, sociable and active bird. The song of this bird is a pleasant mix of twitters and trills. For these reasons it is often raised in captivity.
These birds have an unusual migration pattern as every few years in winter they migrate southwards in large numbers. The reasons for this behaviour are not known but may be related to climatic factors and above all the availability of food. In this way overwintering populations can thrive where food is abundant. This small finch is an acrobatic feeder, often hanging upside-down like a tit. It will visit garden bird feeding stations.
Der Snåsavatnet ist mit 120 Quadratkilometern der sechstgrößte Binnensee Norwegens, der sich von Snåsa bis kurz vor Steinkjer erstreckt. An dessen südlichen Ufer verläuft die aus Bodø kommende Nordlandsbahn, teils direkt entlang am See, mal auch etwas mehr abseits. Am Abend des 13.06.2023 fotografierte ich 312 005 mit Güterzug 5790 am Seeufer einige Kilometer vor dem Bahnhof Stod.
Steinhummeln sind größtenteils schwarz, das Ende des Hinterleibs ist braunrot. Männliche Steinhummeln haben eine gelbe Binde auf der Brust. Ihre Nester legen sie unter Steinhaufen oder Mauern an, worauf sich der Name bezieht. Sie können sich jedoch auch im Stroh von Ställen oder in verlassenen Vogelnestern befinden. Ein durchschnittlicher Staat besteht aus etwa 100 bis 200 Arbeiterinnen. Steinhummeln bevorzugen den Nektar von verschiedenen Kleearten und Taubnesseln.
Stone bumblebees are largely black, the end of the abdomen is brownish red. Male stone bumblebees have a yellow band on their chest. They lay their nests under piles of stones or walls, which is what the name refers to. However, they can also be found in the straw of stables or in abandoned bird nests. An average state consists of around 100 to 200 women workers. Stone bumblebees prefer the nectar of various species of clover and dead nettle.
Calopteryx splendens
my nature day week 29/2025
Approximately 5 cm in body length and 6 to 7 cm in wingspan. Males have greenish-tinted wings with a broad, iridescent black-blue band that leaves the base and tip exposed. The body is bright blue-green.
Ca. 5 cm Körperlänge und 6 bis 7 cm Flügelspannweite. Männchen haben grünlich getönte Flügel mit einer breiten, schwarzblau schillernden Binde, die die Flügelbasis und -spitze freilässt. Der Körper schillert leuchtend blaugrün.
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Bodyshine: ALT3 - Birthday Suit FX Shine - [See Important Stuff]
Makeup: Absinthe! - Goth Girl Makeup Set
At the Boutique:
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Time to Accessorise:
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Setting the Scene:
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Wham Bam Thank You Ma'am: "I Got That Flow" (youtube)
Part of: "Memento - zeitweilige Entnichtung" - // - "res noscenda note notiz sketch skizze material sammlung collection entwurf überlegung gedanke brainstorming musterbogen schnittmuster zwischenbilanz bestandsaufnahme rückschau vorschau" Internationaler frauentag
8.3.2017 #frau #woman #female #emanzipation #feminismus #gleichberechtigung #blaustrumpf #suffragette #slipeinlange #binde #menstruation #blutung #periode #tage #monatsblutung #regel #holz #wood #parkett #parkettboden #holzboden #holzbrett #maserung #loch #hole #rebe #weinrebe #weinstock #found #fund #find #trove #detail #stilllife #stillleben #textur #texture #blume #blossom #blühen #verblühen #flower #pantiliner #unterwegs
A few TEDx Talks from different countries:
Annemarie Harant, Bettina Steinbrugger : "Breaking the bloody taboo"
Pravin Nikam: "Men need to talk about menstruation"
Berkley Conner: "What if periods were free?"
Nadya Okamoto: "The Menstrual Movement"
Diana Fabianova: "The menstruation taboo" (with Englsih subtitles)
Aditi Gupta: "A taboo-free way to talk about periods"
Chella Quint: "Adventures in Menstruating: Don't Use Shame to Sell"
Rupal Gupta, Apurva Kothari, Niharika Adwani: "A period to period-shaming. - TEDxYouth" (all links: youtube)
So manch einem, der den 2. Februar als Marienfeiertag (zur Erinnerung 2.Februar: Christliches Fest Mariä Lichtmeß Purificatio Mariae (Bibel: Frau während Regel und nach Geburt unrein - daher Purificatio, Reinigung....) feiert, ist der Frauentag am 8. März nicht einmal eine Erwähnung wert....
Part of: "Memento - zeitweilige Entnichtung" - // - "res noscenda note notiz sketch skizze material sammlung collection entwurf überlegung gedanke brainstorming musterbogen schnittmuster zwischenbilanz bestandsaufnahme rückschau vorschau"
8.3.2017 International Women`s Day #weben #weave #tapistura #tapestry #tapisserie #stern #star #handwerk #werkstatt #werkstätte #arbeitsraum #studio #rundweben #circular #reifen #ring #kreis #wolle #wool #green #grün #loom #frauentag #frau #woman #female #emanzipation #feminismus #gleichberechtigung #suffragette #slipeinlange #binde #sign #zeichen #menstruation #blutung #periode #tage #monatsblutung #zyklus #holz #wood #parkett #parkettboden #holzboden #holzbrett #maserung #loch #hole #rebe #weinrebe #weinstock #found #fund #find #trove #stilllife #stillleben #blume #blossom #blühen #verblühen #flower #rosa #pink #red #rot #blue #blau #licht #light #frühling #spring #violet #pantiliner #ebenholz #fliete #fransen
Short Video about an experiment of 3 men and the conclusions they draw from it:
"Guys Experience Periods For The First Time" (they experience only one of the things that are part of menstruation) (youtube 4min48)
TED Talk by Arunachalam Muruganantham - also known as the menstrual man: "The sanitary pad revolution (Wie ich eine Monatsbinden-Revolution gestartet habe)" (English + Deutsche Untertitel)
Link to the homepage of the documentary movie about him by Amit Virmani: "Menstrual Man"
Slipeinlage mit Schrift: Menstruation
durchgestrichen: Tabu taboo Religion Märchen Mythos heilig unrein (läßt sich fortsetzen mit: Aberglaube Fluch Zauber .... durchgestrichen)
So manch einem, der den 2. Februar als Marienfeiertag (zur Erinnerung 2.Februar: Christliches Fest Mariä Lichtmeß Purificatio Mariae (Bibel: Frau während Regel und nach Geburt unrein - daher Purificatio, Reinigung....) feiert, ist der Frauentag am 8. März (UN Tag für die Rechte der Frau) nicht einmal eine Erwähnung wert....
Wenn Menschen dagegen kämpfen, daß Frauen während der Menstruation als dreckig angesehen und behandelt werden, wenn dagegen gekämpft wird, daß Frauen eingeredet wird, daß sie unrein seien, hat das sehr wohl etwas mit FrauenBEFREIUNG zu tun, hat sehr wohl etwas mit Rechten der Frau zu tun.
Die Stilisierung einer einzelnen Frau zur jungfräulichen Mutter (bis hin zu der Hochstilisierung zur absolut reinen Frau, die nie eine Menstruation hatte) und deren Verehrung in Marienkulten trägt in keinster Weise zur Frauenbefreiung bei, im Gegenteil. Dies als kurze Stellungnahme zu Argumentationen wie "das christentum ist frauenfeindlich (stimmt nur teilweise - s. marienkult, [....]" (wörtl. Zitat Kommentar Fabio Keiner).
Und nun kann man nocheinmal nachdenken über: Männer, egal welcher sexuellen Ausrichtung, für die Marienfeiertage zählen, die aber den Tag für die Rechte der Frau nicht einmal erwähnenswert finden.
Part of: "res noscenda note notiz sketch skizze material sammlung collection entwurf überlegung gedanke brainstorming musterbogen schnittmuster zwischenbilanz bestandsaufnahme rückschau vorschau" Schmuck Design - 8. März Internationaler Frauentag - die Donau so blau ist nicht blau und Schnee ist weder weiß noch off-white // anti-sakrale Kunst / Esoterik Entlarvung / kein Fetisch
9. März #menstruation #regel #blutung #periode #monatsblutung #tage #einstecktuch #mythos #religion #heilig #tabu #taboo #märchen #myth #swallowtail #frau #woman #frauentag #feminismus #emanzipation #fashion #mode #herrenmode #accessoire #dekor #decor #slipeinlange #binde #sign #zeichen #pantiliner #damenmode #sakko #hemd #shirt #chemise #frackhemd #frack #smokinghemd #tuxedo #smoking #verdeckt #knopfleiste #baumwolle #cotton #wolle #wool #gefärbt #blut #blood #red #rot #blutrot #weiß #white #blütenweiß #black #schwarz #schmuck #design #schmücken #konzeptkunst #menstruationsneid #vaginaneid #gebärneid #gebärmutterneid #mann #männer #men #circle #kreis #faden #thread #naht #knopf #knopfloch #herz #heart #spiegel #mirror #spiegelung #letter #schrift #handschrift #botschaft #nachricht #aussage #statement #inhalt #form #kleidung #kostüm #kleid #gewand #off-white #frau #grey #gray #grauabstufung #grauschattierung
musterhaftes Lehrbeispiel für falsches Lächeln Dagmar Koller singt Robert Stolz` Wien-Kitsch-Schlager: "Im Prater blüh`n wieder die Bäume" (youtube) Example for false laughter, smile, Viennese kitschy Schlager music
Part of: "an apple a day keeps the doctor away - An ENSO (Japanese: circle, Japanisch: Kreis) a day .... " Aktion Kreis Tagebuch A circle diary - Start of the 365-days Project: 1. September
panasonic DMC-GH3 - P1070582 - 2015-08-16 lumix
#physalis #kapstachelbeere #lampion #lampionblume #frucht #obst #garten #garden #schmetterling #butterfly #moth #toledo #present #geschenk #gift #aktionismus #sommer #sommerlicht #sommertag #sun #sonne #sonnenlicht #schatten #shadow #august #blue #blau #gelb #yellow #orange #wasser #water #unterlegung #überlegung #gedanke #schnittmuster #musterbogen #schaubild #ornament #bilderzyklus #private #privat #privateness #szene #scene #unterwegs #rundgang #ausflug #zwischenbilanz #bestandsaufnahme #spaziergang #serviette #napkin #pareidolia #lächeln #lachen #smile #grinsen #grin #smirk #face #gesicht #beard #bart #portrait #porträt #plan #map #radix
L: 14 - 31mm, Aug.-Okt. RL2 §
Kenzeichen: Schlanker als Oedipoda, Hinterschenkel oben ohne Stufe. Hinterflügel blau ohne dunkle Binde.
Vorkommen: Auf sandigen schwach bewachsenen Flächen, z.B. Dünen
Phylum: Arthropoda (arthropods, Gliederfüßer)
Subphylum: Hexapoda BLAINVILLE, 1816
Class: Insecta LINNAEUS, 1758 (insects, Insekten)
Subclass: Pterygota GEGENBAUR, 1878 (Fluginsekten)
Infraclass: Neoptera MARTYNOV, 1923 (Neuflügler)
Order: Orthoptera OLIVIER, 1789 (grasshoppers, crickets and katydids, Heuschrecken)
Suborder: Caelifera (short-horned grasshoppers, Kurzfühlerschrecken)
Superfamily: Acridoidea MACLEAY, 1821
Family: Acrididae MACLEAY, 1821 (grasshoppers, Feldheuschrecken)
Subfamily: Oedipodinae THOMAS, 1872 (band-winged grasshoppers, Ödlandschrecken)
Tribus: Sphingonotini
Genus: Sphingonotus FIEBER, 1852
Sphingonotus caerulans LINNAEUS, 1767 (Blauflügelige Sandschrecke)
iNat: www.inaturalist.org/observations/120746744
E-Germany, Brandenburg, Cottbus: vic. Turnow, 03.10.2013
IMG_3272
... aus dem arabischen Raum.
Ich habe einen Favoriten unter den folgenden. Du auch ?
> Vertraue auf Gott, aber binde zuerst Dein Kamel an.
> Wenn der Wind weht, löscht er die Kerze aus und facht das Feuer an.
> Wer keine Wunder versteht, der versteht auch keine langen Erklärungen.
> Wer ein Ei stiehlt, stiehlt auch ein Kamel.
> Das Gras wächst nicht schneller, wenn man daran zieht.
> Die Blume, die mit Gewalt gebrochen, verliert ihren Duft.
> Der Feind meines Feindes ist mein Freund.
> Ein goldener Sattel macht einen Esel noch nicht zum Pferd.
> Eine Frau ohne Bauch ist wie ein Himmel ohne Sterne.
> Fälle nicht den Baum, der Dir Schatten spendet.
> Nicht jeder, der einen Bart trägt, ist schon ein Philosoph.
> Armut schändet nicht, aber sie drückt.
> Immer nur Sonne macht eine Wüste.
> Man muss den Brunnen graben, bevor man Durst hat.
> Ich weinte, weil ich keine Schuhe hatte, da sah ich einen Mann, der hatte keine Füße.
... from the Arab region.
I have a favourite among the following. You too ?
> Trust in God, but first tie your camel.
> When the wind blows, it blows out the candle and lights the fire.
> He who does not understand miracles does not understand long explanations.
> He who steals an egg also steals a camel.
> The grass does not grow faster if you pull on it.
> The flower that is broken by force loses its fragrance.
> The enemy of my enemy is my friend.
> A golden saddle does not make a donkey a horse.
> A woman without a belly is like a sky without stars.
> Do not cut down the tree that gives you shade.
> Not everyone who wears a beard is a philosopher.
> Poverty does not disgrace, but it oppresses.
> Always only sun makes a desert.
> You have to dig the well before you are thirsty.
> I cried because I had no shoes, then I saw a man who had no feet.
street-art tour durch mümmelmannsberg mit rainer - ich bin mir immer noch nicht sicher, ob das zur street-art tour gehört
Nicht das schärfste Foto,aber ein seltener Gast an meinem Futterhaus.Manchmal muss man spontan Gelegenheiten nutzen auch wenn das Ergebnis dann nicht perfekt ist.
Der Gimpel (Pyrrhula pyrrhula), auch Dompfaff oder Blutfink genannt, ist eine Vogelart aus der Familie der Finken (Fringillidae). Er besiedelt Europa, Vorderasien, Ostasien einschließlich Kamtschatka und Japan sowie Sibirien. Sowohl im Tiefland als auch in Bergwäldern lebt der Gimpel im Nadelwald, überwiegend in Fichten-Schonungen, aber auch in lichten Mischwäldern mit wenig Nadelbäumen oder Unterholz. Seine Nahrung setzt sich aus halbreifen und reifen Samen von Wildkräutern und Knospen zusammen. Die Art gilt derzeit als nicht gefährdet.
Der Gimpel ist wie alle Vertreter der Gattung von gedrungener Gestalt mit kurzem Hals und dünnen Füßen. Kennzeichnend sind eine schwarze Kopfplatte, ein schwarzes Kinn und ein dicker, schwarzer Kegelschnabel. Die schwarzen Flügel weisen eine weiße Binde auf. Der Bürzel ist weiß, der Schwanz schwarz. Die Augen sind tiefbraun. Gimpel haben eine Körperlänge von etwa 15 bis 19 Zentimetern. Die Flügelspannweite beträgt 22 bis 26 Zentimeter und das Körpergewicht liegt meist bei etwa 26 Gramm.
Not the sharpest photo, but a rare guest at my bird feeder.Sometimes you have to take opportunities spontaneously even if the result is not perfect then.
The bullfinch, common bullfinch or Eurasian bullfinch (Pyrrhula pyrrhula) is a small passerine bird in the finch family Fringillidae. In Anglophone Europe it is known simply as bullfinch, as it is the original bird to bear the name bullfinch.
The bullfinch is a bulky bull-headed bird. The upper parts are grey; the flight feathers and short thick bill are black; as are the cap and face in adults (they are greyish-brown in juveniles), and the white rump and wing bars are striking in flight. The adult male has red underparts, but females and young birds have grey-buff underparts. The song of this unobtrusive bird contains fluted whistles.
(Wikipedia)
twoface. Binde now available in-world and on marketplace! ♥
Decided to make my own version of Bindi also known as the Third Eye. I hope you find it super duper. :>
Like, Share, Enjoy. ♥
*style card included*
Visit in-world:
maps.secondlife.com/secondlife/Bazinga/153/226/21
Marketplace:
I have a book made by Grethe Wellejus "Shibori reserveringsteknikker En håndbog om at binde, sy, folde og farve stoffer til spændende mønstre" that came revised in 1997 but original from 1989...the one from 1997 is also made together with the Danish edition in english and german language...
and she shows many different resist-techniques and i will try one pattern shown in the book and it it is a pattern that goes under the name Adire alabere...but other patterns under this name exist too...as far as i understand...the name shows that it is an inspiration from west Africa.....
Her one more picture of this beautiful guest on my terracy.
This butterfly is present throughout the entire Palearctic region through Russia to China and Japan (including the Himalayas and Taiwan) and across into Alaska, Canada, and the United States. In Asia it is reported as far south as Saudi Arabia, Oman, the high mountains of Yemen and Israel as well.
In Southern Asia it occurs in Pakistan and Kashmir, Northern India (Sikkim, to Assam and Arunachal Pradesh) Nepal, Bhutan and northern Myanmar.
This butterfly is widespread in Europe but in the United Kingdom it is limited to a few areas in the Norfolk Broads of East Anglia. It is the UK's largest resident butterfly. The Monarch Danaus plexippus is slightly larger but is only a rare vagrant.
Der größte und einer der auffälligsten Schmetterlinge des deutschen Sprachraums hat eine Spannweite von 50 bis 75 Millimetern. Er ist gelb und schwarz gemustert mit einer blauen Binde und roten Augenflecken an der hinteren Innenseite der Hinterflügel. An den Hinterflügeln stehen kurze, größtenteils schwarz gefärbte "Schwänzchen" ab. Er hat lange Haare an den Vorderbeinen, die als Putzkämmchen dienen.[1]
Die zweite Generation unterscheidet sich durch kräftige Farben und gelb bestäubte schwarze Zeichnungselemente von der ersten Generation.
Die Raupen werden ca. 45 Millimeter lang und sind unbehaart. Sie sind grün gefärbt und haben schwarze Querstreifen mit gelben oder orangeroten Punkten. Selten tritt eine weiße Form der Raupe auf, die statt der grünen eine weiße Grundfarbe hat.[1
Murrayville.
Farming settlement began in the region by the SA border at Panitya and Carina in 1908 but the first town lots were sold in Murrayville in 1910 two years before the railway reached the town from Ouyen. The town came into being in 1911 and it was named after the Victorian premier of the day John Murray. By the end of 1911 the town had several stores, a blacksmith and an Institute which opened in that year. Once the railway arrived in 1912 the large Murrayville Hotel opened and by 1916 the town had two banks. A new Post office was built in 1916 along with several community buildings- the private Austral Hall (now demolished) and the Institute Hall which was erected in 1911. It was replaced with a new public hall in 1957. Murrayville Courthouse was designed and built in 1914 by the same architect Samuel Bindely who designed the Courthouse in Ouyen. It closed as a courthouse in 1983 and became the local CFS station. Bindley’s courthouses have been described as wooden Federation Arts and Crafts style. The Masonic Lodge in Murrayville was formed in 1919 and members joined the Lodge in Pinnaroo across the border. The Lodge building in Murrayville was erected in 1923 and only closed in 2001. The Shire of Walpeup was formed in 1912 with the offices in Murrayville but these were moved to new shire offices in Ouyen in 1918. The first school in Murrayville opened in 1912 in the Mechanics Institute building. A year or so afterwards that a wooden school was built on the highway but this building was moved in 1926 to the consolidated school site in Poole Street. The Consolidated School (formed after the closure of small rural schools) was created in 1944 as the first area or consolidated school in Victoria. The closed wooden small rural schools – all 14 of them- were all moved to this site. That school complex has now been converted to an accommodation centre as there is another modern state school in Murrayville. Murrayville High School was established in 1969, with new buildings completed in 1973. Since then the high and primary schools have merged on one campus.
The earliest church in Murrayville was St Peter’s Lutheran Church erected in 1923 in limestone with brick quoins. But the Lutherans began worshipping in house as early as 1910 or they journeyed to the Lutheran Church in Pinnaroo. The wooden framed Catholic Church was built in 1937. Prior to that Catholic services were held in the Institute, Shire Hall and Hotel from 1921. Anglican services were held in Murrayville from 1911 in the hall until a timber and iron church was erected in 1913, with a local minister appointed to the town in 1916. But the stone Anglican Church in Murrayville was not built until 1926 with decorative buttresses and a steep roof. In recent years the Anglican Church combined with the Uniting Church for services in a new timber framed building but now only the Uniting Church survives in Murrayville. Both the Presbyterians and Methodists had early wooden churches in Murrayville but both are now gone.
The town has a good range of old shops and a quaint little railway station. On the main highway is the old baker’s shops now a café and bakery. A second Post Office was built in Murrayville in inter war Arts and Crafts style in 1926. The first Post Mistress of the 1926 building was a Fairy - Miss Mary Fairy. The café at no 19 McKenzie Street was one of the first shops in Murrayville built around 1912 to sell fruit and vegetables and then from 1920 meat was sold from this shop. It is now the Cobb and Co Café almost next door to the Murrayville Hotel. It has an usually high gable style parapet to the street. Perhaps the most interesting heritage shop in Murrayville is the former bakery and soft drink business at no 8 Reed Street. This shop was built in 1931 and retains the original glass, tiles and timber surrounds to the front. The advertising on the windows is related to Holten’s soft drink business which was based in this shop from 1949 to 1994. Other shops in this precinct still have shop advertising from the early 1940s. The Commercial Bank building from 1917 also constitutes part of this streetscape.
Murrayville.
Farming settlement began in the region by the SA border at Panitya and Carina in 1908 but the first town lots sold in Murrayville were in 1910 two years before the railway reached the town. The town came into being in 1911 and it was named after the Victorian premier of the day John Murray. By the end of 1911 the town had several stores, a blacksmith, and an Institute which opened in that year. Once the railway arrived in 1912 the large Murrayville Hotel opened and by 1916 the town had two banks. A new Post office was built in 1916 along with several community buildings- the private Austral Hall (now demolished) and the Institute Hall which was erected in 1911. It was replaced with a new public hall in 1957. Murrayville Courthouse was designed and built in 1914 by the same architect Samuel Bindely who designed the Courthouse in Ouyen. It closed as a courthouse in 1983 and became the local CFS station. Bindley’s courthouses have been described as wooden Federation Arts and Crafts style. The Masonic Lodge in Murrayville was formed in 1919 and members joined the Lodge in Pinnaroo across the border. The Lodge building in Murrayville was erected in 1923 and only closed in 2001. The Shire of Walpeup was formed in 1912 with the offices in Murrayville but these were moved to new shire offices in Ouyen in 1918. The first school in Murrayville opened in 1912 in the Mechanics Institute building. A year or so afterwards that a wooden school was built on the highway but this building was moved in 1926 to the consolidated school site in Poole Street. The Consolidated School (formed after the closure of small rural schools) was created in 1944 as the first area or consolidated school in Victoria. The closed wooden small rural schools – all 14 of them- were all moved to this site. That school complex has now been converted to an accommodation centre as there is another modern state school in Murrayville. Murrayville High School was established in 1969, with new buildings completed in 1973. Since then the high and primary schools have merged on one campus.
The earliest church in Murrayville was St Peter’s Lutheran Church erected in 1923 in limestone with brick quoins. But the Lutherans began worship in house as early as 1910 or they journeyed to the Lutheran Church in Pinnaroo. The wooden framed Catholic Church was built in 1937. Prior to that Catholic services were held in the Institute, Shire Hall and Hotel from 1921. Anglican services were held in Murrayville from 1911 in the hall until a timber and iron church was erected in 1913, with a local minister appointed to the town in 1916. But the stone Anglican Church in Murrayville was not built until 1926 with decorative buttresses and a steep roof. In recent years the Anglican Church combined with the Uniting Church for services in a new timber framed building but now only the Uniting Church survives in Murrayville. Both the Presbyterians and Methodists had early wooden churches in Murrayville but both are now gone.
The town has a good range of old shops and a quaint little railway station. On the main highway is the old baker’s shops now a café and bakery. A second Post Office was built in Murrayville in inter war Arts and Crafts style in 1926. The first Post Mistress of the 1926 building was a Fairy - Miss Mary Fairy. The café at no 19 McKenzie Street was one of the first shops in Murrayville built around 1912 to sell fruit and vegetables and then from 1920 meat was sold from this shop. It is now the Cobb and Co Café almost next door to the Murrayville Hotel. It has an usually high Dutch gable style parapet to the street. Perhaps the most interesting heritage shop in Murrayville is the former bakery and soft drink business at no 8 Reed Street. This shop was built in 1931 and retains the original glass, tiles and timber surrounds to the front. The advertising on the windows related to Holten’s soft drink business which was based in this shop from 1949 to 1994. Other shops in this precinct still have shop advertising from the early 1940s. The Commercial Bank building from 1917 also constitutes part of this streetscape.
Asklepios (lat. Äsculapius), bei Homer ein trefflicher Arzt sterblichen Geschlechts, während er in den Homerischen Hymnen als Gott der Heilkunde erscheint. Die Sagen nennen ihn einen Sohn des Apollon und der Koronis, der Tochter des thessal. Fürsten Phlegyas, oder auch des Apollon und der Arsinoe, Tochter des Leukippos in Messenien. A. vermochte nicht nur das Leben zu retten, sondern rief selbst Verstorbene ins Leben zurück, dafür erschlug ihn Zeus aber, durch Plutons Klagen bewogen, mit dem Blitze. A. wurde besonders zu Epidaurus in Argolis, seinem, Stammorte, nach der dort heimischen Sage verehrt. In seinem dortigen Heiligtume (Asklepieion oder Asklepeion genannt) heilten die Priester, wie in den Heiligtümern des A. überhaupt, die zu ihnen kommenden Kranken. (S. Asklepiaden.) Andere Hauptsitze seines Kultus waren Kos und Pergamum, auch Athen. Mit der Zeit verbreitete sich der Asklepiosdienst über ganz Griechenland und Kleinasien und kam endlich auch nach Rom, wohin A. 291 v. Chr. während einer Pest in Gestalt einer Schlange aus Epidaurus geholt wurde. A. hatte nach Homer zwei Söhne, Machaon und Podaleirios, die Ärzte des griech. Heers vor Troja. Als Töchter des Gottes werden angeführt: Hygieia (s. d.), Jaso, Panakeia und Aigle. Seine Tempel standen gewöhnlich außerhalb der Städte in gesunder Lage, in heiligen Hainen, in der Nähe von Quellen und Heilwassern und auf Anhöhen. An den Hauptorten seiner Verehrung wurden ihm zu Ehren auch Feste gefeiert, unter denen das berühmteste zu Epidaurus alle vier Jahre stattfand. Seine Bildsäule zu Epidaurus, aus Elfenbein und Gold, hatte Thrasymedes, ein jüngerer Zeitgenosse des Phidias, verfertigt. A. saß auf einem Throne mit dem Stabe in der einen Hand; die andere Hand war über den Kopf einer Schlange vorgestreckt, zu seinen Füßen befand sich, als Symbol der Wachsamkeit, ein Hund. Die ausgezeichnetsten Künstler, wie Kalamis, Alkamenes, Skopas, Praxiteles u. a., verfertigten Statuen des A. Er ward sowohl bärtig als unbärtig gebildet. Die meisten erhaltenen Statuen zeigen ihn stehend. Der Oberleib ist nackt; den Unterleib bedeckt ein von den Schultern herabhängender, faltenreicher Mantel; sein Gesichtsausdruck ist voll Ruhe und Klugheit. Gewöhnlich trägt er um sein Haupt eine Binde und hält einen großen dicken Stab, um den sich eine Schlange ringelt, die überhaupt sein stehendes Symbol ist (s. umstehende Figur von einem schönen Diptychon; der kleine neben A. erscheinende, in einen dicken Mantel mit Kapuze eingehüllte Knabe ist Telesphoros, der Dämon der Genesung). Mit der Zeit überwog ein Idealtypus, in dem er dem Zeus ähnlich, nur weniger erhaben und milder als dieser, dargestellt wurde. Seine Heiligtümer in Epidaurus und Athen sind jetzt vollständig ausgegraben und haben mit der reichen Ausbeute an Denkmälern und Inschriften zugleich überraschende Einblicke in die antike Heilkunde gewährt.
s0991 8581 Brock14A1B Asklepios (lat. Äsculapius) Die Brockhaus Konversations-Lexikon Die Brockhaus Enzyklopädie 14. Auflage 1892.
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Asklepije (grč. Ἀσκληπιός, Asklēpiós; lat. Aesculapius) u grčkoj mitologiji bog je liječništva, sin Apolona i nimfe Koronide. Asklepijev je pandan u rimskoj mitologiji Eskulap, a bio je znan i pod egipatskim imenom Imhotep.
Prikazivali su ga slično Zeusu, no uz Eskulapa su uvijek bile zmije koje su, zbog mogućnosti skidanja kože, bile simbol pomlađivanja. Osobito je bio štovan u Epidaurusu u Argolidi. Njegove su se svetkovine slavile dan prije dionizijskih svečanosti.
Asklepijevo najpoznatije svetište bilo je u Epidauru u Argolidi te na otoku Kiosu gdje je Hipokrat, poznati liječnik, vjerojatno počeo karijeru.
U Asklepijevu su čast zmije rabljene u iscjeliteljskim ritualima. Neotrovne zmije ostavljene su da pužu na podu gdje je bolesnik spavao. Katkad su i sveti psi lizali rane.
Brojni su liječnici u hramovima iscjeljivali u čast Asklepija, a dolazili su im i brojni hodočasnici. Originalna Hipokratova zakletva spominje i Asklepija:
Wikicitati „Kunem se Apolonom liječnikom, i Asklepijem, i Higejom, i Panacejom i svim ostalim bogovima...”
Liječenje zmijama se odnosio tako što bi pacijenti došli u njegovo lječilište te bi on postavio dijagnozu i pacijente bi uspavao te po jednoj verziji priče zmija bi liječila dodirom jezika, a druga verzija bi bila da bi ih zmija ugrizla. Postoji i priča o labirintu gdje bi puštao u labirint pacijente zavezanih očiju, a tamo bi bile zmije kojima je on izvadio otrova onoliko koliko je bilo potrebno za terapiju te bi ih te zmije izgrizle. Još jedna verzija liječenja psihičkih bolesnika je bila zatvaranje pacijenta u bačvu sa zmijom, koja je bivala otkotrljana nizbrdo.
Asklepije je bio u braku sa Hepionom. Imao je dva sina Podalerija i Mahaona koji su nastavili njegov rad i pet kćeri: Akeso, Iaso, Panakeja, Egli i Higijea, koja je bila najznačanija jer je bila oličenje duševnog i tjelesnog zdravlja (od njenog imena je nastala riječ higijena).
wiki
Murrayville.
Farming settlement began in the region by the SA border at Panitya and Carina in 1908 but the first town lots sold in Murrayville were in 1910 two years before the railway reached the town. The town came into being in 1911 and it was named after the Victorian premier of the day John Murray. By the end of 1911 the town had several stores, a blacksmith, and an Institute which opened in that year. Once the railway arrived in 1912 the large Murrayville Hotel opened and by 1916 the town had two banks. A new Post office was built in 1916 along with several community buildings- the private Austral Hall (now demolished) and the Institute Hall which was erected in 1911. It was replaced with a new public hall in 1957. Murrayville Courthouse was designed and built in 1914 by the same architect Samuel Bindely who designed the Courthouse in Ouyen. It closed as a courthouse in 1983 and became the local CFS station. Bindley’s courthouses have been described as wooden Federation Arts and Crafts style. The Masonic Lodge in Murrayville was formed in 1919 and members joined the Lodge in Pinnaroo across the border. The Lodge building in Murrayville was erected in 1923 and only closed in 2001. The Shire of Walpeup was formed in 1912 with the offices in Murrayville but these were moved to new shire offices in Ouyen in 1918. The first school in Murrayville opened in 1912 in the Mechanics Institute building. A year or so afterwards that a wooden school was built on the highway but this building was moved in 1926 to the consolidated school site in Poole Street. The Consolidated School (formed after the closure of small rural schools) was created in 1944 as the first area or consolidated school in Victoria. The closed wooden small rural schools – all 14 of them- were all moved to this site. That school complex has now been converted to an accommodation centre as there is another modern state school in Murrayville. Murrayville High School was established in 1969, with new buildings completed in 1973. Since then the high and primary schools have merged on one campus.
The earliest church in Murrayville was St Peter’s Lutheran Church erected in 1923 in limestone with brick quoins. But the Lutherans began worship in house as early as 1910 or they journeyed to the Lutheran Church in Pinnaroo. The wooden framed Catholic Church was built in 1937. Prior to that Catholic services were held in the Institute, Shire Hall and Hotel from 1921. Anglican services were held in Murrayville from 1911 in the hall until a timber and iron church was erected in 1913, with a local minister appointed to the town in 1916. But the stone Anglican Church in Murrayville was not built until 1926 with decorative buttresses and a steep roof. In recent years the Anglican Church combined with the Uniting Church for services in a new timber framed building but now only the Uniting Church survives in Murrayville. Both the Presbyterians and Methodists had early wooden churches in Murrayville but both are now gone.
The town has a good range of old shops and a quaint little railway station. On the main highway is the old baker’s shops now a café and bakery. A second Post Office was built in Murrayville in inter war Arts and Crafts style in 1926. The first Post Mistress of the 1926 building was a Fairy - Miss Mary Fairy. The café at no 19 McKenzie Street was one of the first shops in Murrayville built around 1912 to sell fruit and vegetables and then from 1920 meat was sold from this shop. It is now the Cobb and Co Café almost next door to the Murrayville Hotel. It has an usually high Dutch gable style parapet to the street. Perhaps the most interesting heritage shop in Murrayville is the former bakery and soft drink business at no 8 Reed Street. This shop was built in 1931 and retains the original glass, tiles and timber surrounds to the front. The advertising on the windows related to Holten’s soft drink business which was based in this shop from 1949 to 1994. Other shops in this precinct still have shop advertising from the early 1940s. The Commercial Bank building from 1917 also constitutes part of this streetscape.
Murrayville.
Farming settlement began in the region by the SA border at Panitya and Carina in 1908 but the first town lots sold in Murrayville were in 1910 two years before the railway reached the town. The town came into being in 1911 and it was named after the Victorian premier of the day John Murray. By the end of 1911 the town had several stores, a blacksmith, and an Institute which opened in that year. Once the railway arrived in 1912 the large Murrayville Hotel opened and by 1916 the town had two banks. A new Post office was built in 1916 along with several community buildings- the private Austral Hall (now demolished) and the Institute Hall which was erected in 1911. It was replaced with a new public hall in 1957. Murrayville Courthouse was designed and built in 1914 by the same architect Samuel Bindely who designed the Courthouse in Ouyen. It closed as a courthouse in 1983 and became the local CFS station. Bindley’s courthouses have been described as wooden Federation Arts and Crafts style. The Masonic Lodge in Murrayville was formed in 1919 and members joined the Lodge in Pinnaroo across the border. The Lodge building in Murrayville was erected in 1923 and only closed in 2001. The Shire of Walpeup was formed in 1912 with the offices in Murrayville but these were moved to new shire offices in Ouyen in 1918. The first school in Murrayville opened in 1912 in the Mechanics Institute building. A year or so afterwards that a wooden school was built on the highway but this building was moved in 1926 to the consolidated school site in Poole Street. The Consolidated School (formed after the closure of small rural schools) was created in 1944 as the first area or consolidated school in Victoria. The closed wooden small rural schools – all 14 of them- were all moved to this site. That school complex has now been converted to an accommodation centre as there is another modern state school in Murrayville. Murrayville High School was established in 1969, with new buildings completed in 1973. Since then the high and primary schools have merged on one campus.
The earliest church in Murrayville was St Peter’s Lutheran Church erected in 1923 in limestone with brick quoins. But the Lutherans began worship in house as early as 1910 or they journeyed to the Lutheran Church in Pinnaroo. The wooden framed Catholic Church was built in 1937. Prior to that Catholic services were held in the Institute, Shire Hall and Hotel from 1921. Anglican services were held in Murrayville from 1911 in the hall until a timber and iron church was erected in 1913, with a local minister appointed to the town in 1916. But the stone Anglican Church in Murrayville was not built until 1926 with decorative buttresses and a steep roof. In recent years the Anglican Church combined with the Uniting Church for services in a new timber framed building but now only the Uniting Church survives in Murrayville. Both the Presbyterians and Methodists had early wooden churches in Murrayville but both are now gone.
The town has a good range of old shops and a quaint little railway station. On the main highway is the old baker’s shops now a café and bakery. A second Post Office was built in Murrayville in inter war Arts and Crafts style in 1926. The first Post Mistress of the 1926 building was a Fairy - Miss Mary Fairy. The café at no 19 McKenzie Street was one of the first shops in Murrayville built around 1912 to sell fruit and vegetables and then from 1920 meat was sold from this shop. It is now the Cobb and Co Café almost next door to the Murrayville Hotel. It has an usually high Dutch gable style parapet to the street. Perhaps the most interesting heritage shop in Murrayville is the former bakery and soft drink business at no 8 Reed Street. This shop was built in 1931 and retains the original glass, tiles and timber surrounds to the front. The advertising on the windows related to Holten’s soft drink business which was based in this shop from 1949 to 1994. Other shops in this precinct still have shop advertising from the early 1940s. The Commercial Bank building from 1917 also constitutes part of this streetscape.
Weihnachtspyramide in einer Ausstellung im Haus der Evangelischen Kirche, Wiesbaden, 2009
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O binde, liebstes Jesulein
1.) O binde, liebstes Jesulein,
Wie dieses dein Gebrauch,
Dich selber dieses Fest mir ein,
Ich schenke mich dir auch:
Komm, nimm mich dir zu eigen hin,
Zu Lobe deiner Liebe,
Ach, gib mir deinen Kindessinn,
Dass ich dich nicht betrübe.
2.) Wie liebreich, freundlich, hold und mild
Bist du, o schönstes Kind
Ach, leucht in mich, bis dass dein Bild
In mir Gestalt gewinnt.
Ach, werde doch in mir auf's neu
Durch deinen Geist geboren,
Damit ich dir recht ähnlich sei, -
So werd ich nicht verloren.
3.) Versüße doch, o süßer Christ,
Durch deine Freundlichkeit,
Was noch so bitter in uns ist,
Gib Frieden für den Streit,
Dass wir, dir holdem Kindlein gleich,
Einander uns vergeben,
Und in dir, als im Himmelreich,
Einander liebend leben.
4.) Du ziehst mit Fried' und Freuden ein,
Es ist nur deine Lust,
In Herzensleid um uns zu sein, -
Auch mir sei nichts bewusst,
Als nur die Lust an dir, mein Heil,
Ich will mich dir verschreiben,
Erhalte mich zu deinem Teil,
Dir ewig treu zu bleiben.
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Autor: Karl Heinrich von Bogatzky
Melodie: Willkommen, edles Knäbelein
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Die Übung der Gottseligkeit
In allerley Geistlichen Liedern
von Carl Heinrich von Bogatzky
Verlag des Waisenhauses,
Halle [an der Saale], 1750
Thema: Weihnachten
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Karl Heinrich von Bogatzky (* 7. September 1690 in Jankowe bei Militsch (Niederschlesien); † 15. Juni 1774 in Halle/Saale) war ein evangelischer Theologe, Schriftsteller und Lieddichter der pietistischen Richtung. Er wurde als Sohn des Obristleutnants Johann Adam von Bogatzky und Eva Eleonore, geb. von Kalkreut, auf dem Hofgut seiner Vorfahren geboren und in christlichem Sinn erzogen. Als junger Mann war er zunächst als Page am Hof in Weißenfels angestellt, wo er die poetischen Versuche unternahm. Nachdem er seinen Vater umstimmen konnte, der ihn für die Militärlaufbahn vorgesehen hatte, studierte zunächst ab dem Jahr 1713 in Jena Rechtswissenschaften. Im Jahr 1714 besuchte er August Hermann Francke (1663-1727) in Halle/Saale, wo er zum lebendigen Glauben fand, dennoch aber zunächst sein begonnenes Studium fortsetzte. Um die Weihnachtszeit 1715 entschied er sich am Grab seiner unerwartet verstorbenen Mutter, Theologie zu studieren. Im Jahr 1726 hielt er sich in Glauchau auf, wo er dem dortigen Pfarrer mit seiner Arbeitskraft und seinem ganzen Vermögen half, eine Waisenhaus zu gründen. Im gleichen Jahr heiratete er seine Cousine Eleonore Barbara von Fels. Nachdem seine Frau ihm zwei Söhne geboren hatte, verstarb sie nach acht Jahren Ehe, worauf Bogatzky zu seiner Schwester nach Breslau zog, die ihm half, seine Kinder aufzuziehen. Bogatzky nahm zuerst eine Stelle am Reußschen Hof in Köstritz, dann um 1729 eine Stelle bei dem Herzog Christian Ernst von Sachsen-Saalfeld an, dessen geistlicher Berater er wurde. Auf Einladung von August Herrmann Francke wohnte ab Jahr 1746 im Waisenhaus der Franckeschen Stiftungen in Halle, wo er Erbauungsstunden für die Studenten hielt, viele Schriften und Lieder verfasste und 1774 mit 84 Jahren verstarb. Bogatzkys Schriften zeichnen sich durch tiefen Glaubensgehalt und großen Reichtum geistlicher Erfahrung aus. Er schrieb über 400 Lieder, das bekannteste ist das Missionslied 'Wach auf, du Geist der ersten Zeugen', das auch im Evangelischen Gesangbuch (EG) von 1993 unter Nummer 241 steht.
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Murrayville.
Farming settlement began in the region by the SA border at Panitya and Carina in 1908 but the first town lots sold in Murrayville were in 1910 two years before the railway reached the town. The town came into being in 1911 and it was named after the Victorian premier of the day John Murray. By the end of 1911 the town had several stores, a blacksmith, and an Institute which opened in that year. Once the railway arrived in 1912 the large Murrayville Hotel opened and by 1916 the town had two banks. A new Post office was built in 1916 along with several community buildings- the private Austral Hall (now demolished) and the Institute Hall which was erected in 1911. It was replaced with a new public hall in 1957. Murrayville Courthouse was designed and built in 1914 by the same architect Samuel Bindely who designed the Courthouse in Ouyen. It closed as a courthouse in 1983 and became the local CFS station. Bindley’s courthouses have been described as wooden Federation Arts and Crafts style. The Masonic Lodge in Murrayville was formed in 1919 and members joined the Lodge in Pinnaroo across the border. The Lodge building in Murrayville was erected in 1923 and only closed in 2001. The Shire of Walpeup was formed in 1912 with the offices in Murrayville but these were moved to new shire offices in Ouyen in 1918. The first school in Murrayville opened in 1912 in the Mechanics Institute building. A year or so afterwards that a wooden school was built on the highway but this building was moved in 1926 to the consolidated school site in Poole Street. The Consolidated School (formed after the closure of small rural schools) was created in 1944 as the first area or consolidated school in Victoria. The closed wooden small rural schools – all 14 of them- were all moved to this site. That school complex has now been converted to an accommodation centre as there is another modern state school in Murrayville. Murrayville High School was established in 1969, with new buildings completed in 1973. Since then the high and primary schools have merged on one campus.
The earliest church in Murrayville was St Peter’s Lutheran Church erected in 1923 in limestone with brick quoins. But the Lutherans began worship in house as early as 1910 or they journeyed to the Lutheran Church in Pinnaroo. The wooden framed Catholic Church was built in 1937. Prior to that Catholic services were held in the Institute, Shire Hall and Hotel from 1921. Anglican services were held in Murrayville from 1911 in the hall until a timber and iron church was erected in 1913, with a local minister appointed to the town in 1916. But the stone Anglican Church in Murrayville was not built until 1926 with decorative buttresses and a steep roof. In recent years the Anglican Church combined with the Uniting Church for services in a new timber framed building but now only the Uniting Church survives in Murrayville. Both the Presbyterians and Methodists had early wooden churches in Murrayville but both are now gone.
The town has a good range of old shops and a quaint little railway station. On the main highway is the old baker’s shops now a café and bakery. A second Post Office was built in Murrayville in inter war Arts and Crafts style in 1926. The first Post Mistress of the 1926 building was a Fairy - Miss Mary Fairy. The café at no 19 McKenzie Street was one of the first shops in Murrayville built around 1912 to sell fruit and vegetables and then from 1920 meat was sold from this shop. It is now the Cobb and Co Café almost next door to the Murrayville Hotel. It has an usually high Dutch gable style parapet to the street. Perhaps the most interesting heritage shop in Murrayville is the former bakery and soft drink business at no 8 Reed Street. This shop was built in 1931 and retains the original glass, tiles and timber surrounds to the front. The advertising on the windows related to Holten’s soft drink business which was based in this shop from 1949 to 1994. Other shops in this precinct still have shop advertising from the early 1940s. The Commercial Bank building from 1917 also constitutes part of this streetscape.
Juveniler Dionysos zwischen Himeros, Mänaden & Silenen
Kelchkrater [425-400 BC]
Vienna KHM
Inv.No.: Antikensammlung, IV 1024
English description
Side A: Dionysus between Himeros, Maenads and Silenians. In the center of the picture sits Dionysus, youthful, naked except for the cloak tied around the loins and the left upper arm, ivy wreath and bandage in his hair, the Thyrsus staff in his right hand, the kantharos in his left. Under the seat of Dionysus there is a two-tier bema with two white fruits and a ribbon on top. Below is a crouched panther. The god is flanked by two maenads dressed in the same way. Both of them carry a bowl on their hands, the one on the left with gilded fruits, the one on the right with grapes. Silenus seated on Nebris on the left, playing the lyre, with an ivy wreath and hair band. Silenus standing on the right with a chlamys-like nebris, ivy wreath and hairband, his right hand raised to the shoulder, Thyrsos in the left.
Deutsche Beschreibung
Seite A: Dionysos zwischen Himeros, Mänaden und Silenen. In der Bildmitte sitzt Dionysos, jugendlich, nackt bis auf dem um die Lenden und den linken Oberarm geschlungenen Mantel, Efeukranz und Binde im Haar, den Thyrsosstab in der Rechten, den Kantharos in der Linken. Unter dem Sitz des Dionysos zweistufiges Bema, darauf zwei weiße Früchte und ein Band. Darunter geduckter Panther. Der Gott wird von zwei gleich gekleideten Mänaden flankiert. Auf den Händen tragen beide je eine Schüssel, die links mit vergoldeten Früchten, die rechts mit Trauben. Links auf Nebris sitzender Silen, Leier spielend, mit Efeukranz und Haarband. Rechts stehender Silen mit chlamysartig umgelegter Nebris, Efeukranz und Haarband, die Rechte zur Schulter erhebend, in der Linken Thyrsos.
Source: Museum
Update 05/20/2011: added nupsies and light. pic is nearly finished. Stay tuned for final version. Feel free to comment.
Finished 22/05/2011 added details and gave the pic a new name
Tags: kohärente entscheidung, wghc&htc, teratologia, time pilot, mr.white, dmps, trance nation, hardwired, bisomic Audio
The Earle Family: Ralph Earle and His Descendants Compiled By Pliny Earle of Northampton, Massachusetts. Printed For The Family. Worcester, Mass.: Press Of Charles Hamilton, 1888.
The Earle descendants of my ninth-great-grandfather Ralph Earle. Here is the text on him, the pioneer patriarch of the clan:
pp. 17-21
RALPH EARLE AND HIS DESCENDANTS
FIRST GENERATION.
[1]. Ralph1 Earle; m. Joan ; and d. at Portsmouth, R. I., in 1678.
Of the place of birth, the residence previous to emigration from England, or the ancestry of Ralph, we have no positive history. There is a tradition among his descendants that he came from Exeter, in the year 1634, and this tradition is probably correct. There is little doubt that he was married in England, and that his wife came with him, but her maiden surname and the dates of her birth and death are unknown. Her Christian name is spelled in the old records in three different ways, viz. : lone, Jone and Joan ; we have adopted the last orthography as now the most common.
The earliest trace of Ralph hitherto discovered, is in the records of Newport, R. I. His name is there found under date of "first of eighth month" (October), 1638, in a list with fifty-eight others, arranged as "A catalogue of such persons who, by the Generall consent of the company, were admitted to the Inhabytants of the Island now called Aqueedneck, having submitted themselves to the Government that is, or shall be, established according to the word of God therein."
[18]
The following is extracted from the records of Portsmouth, R. I.:
" April ye 30th, 1639.
We, whose names are under [written, doe acknowledge*] ourselves the legell subjects of [his majestie] King Charles, and in his name [doe hereby binde] ourzelves into a civill body politicke, unto, his lawes according to matters of justice."
This declaration was signed by twenty-nine men, of whom Ralph Earle** was one. January 7, 1640, it was ordered at a town meeting that he and his co-partner, Mr. Wilbur, "shall serve the town with good sufficient stuff, viz : well sawn boards at eight shillings the hundred, and half inch boards at seven shillings, to be delivered at the pit by the waterside."
March 21, 1640, Ralph conveyed to William Baulstone "parcells of upland and meadow."
In the record of a town meeting held August 26, 1647, it is stated that he was "chosen to keep an Inn to sell beer and wine, and to entertain strangers"; and at another held June 2, 1649, he was "chosen Treasurer for this year next insuing, and also overseer of the poor."
At a similar meeting on the 29th of April, 1650, Ralph and five others were chosen "for the committee for the General Assembly at Newport in May next." On the 12th of November, 1650, it was "voated & granted that Ralph Erl's house wherein he now dwelleth be recorded & Inn, in ye room of ye former vote that he was an Innkeeper"; on the 19th of January, 1651, he and three others were chosen "to proportion every man's farm," &c, for the purpose of assessing a tax for the support of a poor man; and on the 3d of June, 1651, he was again elected town treasurer.
[Footnotes:
* A part of the record is torn off, and it has been supplied on the town's book by the words in brackets.
** This name in all the very earliest records is written with the final e, but the orthography soon begins to vary and runs into the several forms—Earl, Earll, Erl and Erle.
In minor branches of the family the two forms Earle and Earl have been continued to the present day; and in central New York there are many families whose descent from Ralph is indicated by circumstantial evidence, but has not been positively demonstrated, who now write their names Earll. In this compilation the orthography of living families is that which is used by them, wherever it is known, and it will be seen that it sometimes varies in individuals of the same family.
End footnotes.]
[19]
Under date of August 25, 1651, there is a record of an agreement of division of fence between Ralph Earle and John Tripp. A very old copy of the original document is now in the possession of the heirs of the late George Earle of Providence, R. I. ; it is dated August 25, 1639.
On the 21st of May, 1651, Ralph conveyed a tenement and eight acres of land to Nicholas and Joan Harte; on the 24th of June, 1652, he sold to William Arnold of Providence, land formerly owned by Francis Weston's wife Margaret, near "Pawtuxet Falls"; on February 19, 1653, he quitclaimed to Thomas Lawton, and on December 13, 1653, he conveyed twenty acres to William Cadman.
In 1654, he and another man were chosen as a town's committee to "oversee the work of the Prison."
On the 5th of April, 1655, he conveyed to his son William eighteen acres of land on the northern extremity of the island, at Bristol Ferry. It is traditional that he owned the ferry, but this has not been confirmed by any discovered records.
May 5, 1655, the "Jurymen chosen for the Generall Court of Tryals to be held at Providence," were John Sandford, Ralph Earle and Francis Brayton. Ralph was again upon the grand jury in 1669.
May 25, 1655, he was appointed by the Court of Commissioners to keep a house of entertainment. A convenient sign was to be set out at the most "perspicuous" place, to give notice to strangers.
On November 24, 1656, he conveyed land to Daniel Grinnell, Ralph, Jr., signing the deed as witness ; and on the 5th of January, 1658, he conveyed forty acres to Jeremiah Willis.
At a town meeting March 2, 1658, five men were chosen "to examine and audit Ralph Earll's accompts of what the towne is indebted unto him, and what they shall find the towne to be in his debt shall be payd to the sayd Earll by the towne Treasurer."
August 10, 1667, he joined a " troope of horse," which had been ordered to be raised, and signed, with eighteen others, a paper in which they "approve of the choyce of our Captaine (Peleg N. Sanford) and Lieftenant (John Almy) to the full." He was afterward captain of the troop.
June 7, 1671, in the General Assembly, Ralph "Earll" and eleven others, of Portsmouth, and a number of residents of Newport, were appointed as a special court, to sit on the 15th of the same month, to try "two Indians now imprisoned upon criminall charge."
[20]
Ralph claimed the lands of the Dutch House of Good Hope, now Hartford, Connecticut, and commenced a lawsuit therefor "against Richard Lord and James Richards of Hartford, possessors of the Dutch land, about 1667. Earl affirmed that he purchased the land of Underhill, in August, 1653, and paid him twenty pounds sterling for it; but Underhill protested against Earl's claim." " It is not improbable," continues the article from which we quote, " that there was some foundation for this claim. There are many papers upon the subject in the archives of Connecticut."
Ralph's will was as follows :
"The last will and testiment of Ralph Earle, of Portsmouth, on Rhoad Island, being in perfect memory, being sencible of man's mortalitie and for the avoiding of futur controversies amongst my Relations doe order and dispose of my Estate as followeth :—first I doe order, substitute and apointe Jone my wife my whole and sole Executrix to Receive and pay all whatsoever is due Either to or from mee and that which Remains of my Estate shall bee and Remaine in the hand and possession of my said wife during her naturall life and att her deceas to be disposed and divided in maner and forme following, namely, my will is that after and upon the decease of my said wife that all my land and housing, with the apurtinenc thereto belonging, shall be and Remaine to my Eldest sonn, Ralph Earle, and to Ralph Earle, the sonn of my sonn William Earle, to be Equally divided into three parts, my sonn Ralph to have two parts thereof and my said Grandsonn one, to be to them, there heirs and Asigns a possesion and Estate forever: and further my will is that all my moveable Estate shall, at the decease of my said wife, be Equally divided into five parts, and that my sonn Ralph Earle shall have two parts thereof, he paying, or causing to be paid, the sum of one shilling to my son William Earle, as his portion of my Estate, and the other three parts thereof I doe give and bequeath to my three daughters, that is to say, Mary the wife of William Cory, Martha the wife of William Wood, and Sarah, widow to the late deceased Thomas Cornell, to Each of them an Equall share : and for the dividing and disposing wherof, as an overseer, I doe order and appoint my friend and neighbor John Tripp the Elder to take care to see this my will performed as abovesaid; and that this is my will and testament, to be performed to all true intents, witness my hand and seal, this nienteenth day of november, in the year one Thousand six hundred Seventy and Three."
" Witnes Thomas Havens."
The children of Ralph and Joan Earle were :
2-1. Ralph Earle ; m. Dorcas Sprague.
3-2. William Earle ; m. 1st, Mary Walker; 2d, Prudence .
[21]
4-3. Mary Earle ; m. William Cory.
5-4. Martha Earle ; m. William Wood.
6-5. Sarah Earle ; m. Thomas Cornell.
[My ancestor, my eighth-great-grandmother, is Mary Earle, who became the first Mary Corey in my line when she married William Corey (Cory).]
3074
Murrayville.
Farming settlement began in the region by the SA border at Panitya and Carina in 1908 but the first town lots were sold in Murrayville in 1910 two years before the railway reached the town from Ouyen. The town came into being in 1911 and it was named after the Victorian premier of the day John Murray. By the end of 1911 the town had several stores, a blacksmith and an Institute which opened in that year. Once the railway arrived in 1912 the large Murrayville Hotel opened and by 1916 the town had two banks. A new Post office was built in 1916 along with several community buildings- the private Austral Hall (now demolished) and the Institute Hall which was erected in 1911. It was replaced with a new public hall in 1957. Murrayville Courthouse was designed and built in 1914 by the same architect Samuel Bindely who designed the Courthouse in Ouyen. It closed as a courthouse in 1983 and became the local CFS station. Bindley’s courthouses have been described as wooden Federation Arts and Crafts style. The Masonic Lodge in Murrayville was formed in 1919 and members joined the Lodge in Pinnaroo across the border. The Lodge building in Murrayville was erected in 1923 and only closed in 2001. The Shire of Walpeup was formed in 1912 with the offices in Murrayville but these were moved to new shire offices in Ouyen in 1918. The first school in Murrayville opened in 1912 in the Mechanics Institute building. A year or so afterwards that a wooden school was built on the highway but this building was moved in 1926 to the consolidated school site in Poole Street. The Consolidated School (formed after the closure of small rural schools) was created in 1944 as the first area or consolidated school in Victoria. The closed wooden small rural schools – all 14 of them- were all moved to this site. That school complex has now been converted to an accommodation centre as there is another modern state school in Murrayville. Murrayville High School was established in 1969, with new buildings completed in 1973. Since then the high and primary schools have merged on one campus.
The earliest church in Murrayville was St Peter’s Lutheran Church erected in 1923 in limestone with brick quoins. But the Lutherans began worshipping in house as early as 1910 or they journeyed to the Lutheran Church in Pinnaroo. The wooden framed Catholic Church was built in 1937. Prior to that Catholic services were held in the Institute, Shire Hall and Hotel from 1921. Anglican services were held in Murrayville from 1911 in the hall until a timber and iron church was erected in 1913, with a local minister appointed to the town in 1916. But the stone Anglican Church in Murrayville was not built until 1926 with decorative buttresses and a steep roof. In recent years the Anglican Church combined with the Uniting Church for services in a new timber framed building but now only the Uniting Church survives in Murrayville. Both the Presbyterians and Methodists had early wooden churches in Murrayville but both are now gone.
The town has a good range of old shops and a quaint little railway station. On the main highway is the old baker’s shops now a café and bakery. A second Post Office was built in Murrayville in inter war Arts and Crafts style in 1926. The first Post Mistress of the 1926 building was a Fairy - Miss Mary Fairy. The café at no 19 McKenzie Street was one of the first shops in Murrayville built around 1912 to sell fruit and vegetables and then from 1920 meat was sold from this shop. It is now the Cobb and Co Café almost next door to the Murrayville Hotel. It has an usually high Dutch gable style parapet to the street. Perhaps the most interesting heritage shop in Murrayville is the former bakery and soft drink business at no 8 Reed Street. This shop was built in 1931 and retains the original glass, tiles and timber surrounds to the front. The advertising on the windows is related to Holten’s soft drink business which was based in this shop from 1949 to 1994. Other shops in this precinct still have shop advertising from the early 1940s. The Commercial Bank building from 1917 also constitutes part of this streetscape.
Murrayville.
The first town lots were sold here in 1910 two years before the railway reached the town. The town came into being in 1911 and it was named after the Victorian premier of the day John Murray. By the end of 1911 the town had several stores, a blacksmith, and an Institute which opened in that year. Once the railway arrived in 1912 the large Murrayville Hotel opened and by 1916 the town had two banks. A new Post office was built in 1916 along with several community buildings- the Masonic Hall, the private Austral Hall and the Institute Hall. Murrayville Courthouse was designed and built in 1914 by the same architect Samuel Bindely who designed the Courthouse in Ouyen. It closed as a courthouse in 1983 and became the local CFS station. Bindley’s courthouses have been described as wooden Federation Arts and Crafts style. The Masonic Lodge in Murrayville was formed in 1919 and members joined the Lodge in Pinnaroo across the border. The Lodge building in Murrayville was erected in 1923 and only closed in 2001. The earliest church in Murrayville was St Peter’s Lutheran Church erected in 1923 in limestone with brick quoins. The wooden framed Catholic Church was built in 1937. Prior to that Catholic services were held in the Institute, Shire Hall and Hotel from 1921. The Anglican Church in Murrayville was built in 1926 with decorative buttresses and a steep roof but in recent years it has combined with the Uniting Church for services. This 1926 Anglican Church replaced a galvanised iron one that opened in 1913. The town has a good range of old shops and a quaint little railway station. On the main highway is the old baker’s shops bow a café and bakery. The large original primary school has now been converted to an accommodation centre as there is a modern state school in Murrayville. A second Post Office was built in Murrayville in inter war Arts and Crafts style in 1926. The first Post Mistress of the 1926 building was a Fairy - Miss Mary Fairy. The café at no 19 McKenzie Street was one of the first shops in Murrayville built around 1912 to sell fruit and vegetables and then in the 1920 meat was sold from this shop. It is now the Cobb and Co Café almost next door to the Murrayville Hotel. It has an usually high Dutch gable style parapet to the street. Perhaps the most interesting heritage shop in Murrayville is the former bakery and soft drink business at no 8 Reed Street. This shop was built in 1931 and retains the original glass, tiles and timber surrounds to the front. The advertising on the windows related to Holten’s soft drink business which was based in this shop from 1949 to 1994. Other shops in this precinct still have shop advertising from the early 1940s. The Commercial Bank building from 1917 also constitutes part of this streetscape.
Murrayville.
Farming settlement began in the region by the SA border at Panitya and Carina in 1908 but the first town lots sold in Murrayville were in 1910 two years before the railway reached the town. The town came into being in 1911 and it was named after the Victorian premier of the day John Murray. By the end of 1911 the town had several stores, a blacksmith, and an Institute which opened in that year. Once the railway arrived in 1912 the large Murrayville Hotel opened and by 1916 the town had two banks. A new Post office was built in 1916 along with several community buildings- the private Austral Hall (now demolished) and the Institute Hall which was erected in 1911. It was replaced with a new public hall in 1957. Murrayville Courthouse was designed and built in 1914 by the same architect Samuel Bindely who designed the Courthouse in Ouyen. It closed as a courthouse in 1983 and became the local CFS station. Bindley’s courthouses have been described as wooden Federation Arts and Crafts style. The Masonic Lodge in Murrayville was formed in 1919 and members joined the Lodge in Pinnaroo across the border. The Lodge building in Murrayville was erected in 1923 and only closed in 2001. The Shire of Walpeup was formed in 1912 with the offices in Murrayville but these were moved to new shire offices in Ouyen in 1918. The first school in Murrayville opened in 1912 in the Mechanics Institute building. A year or so afterwards that a wooden school was built on the highway but this building was moved in 1926 to the consolidated school site in Poole Street. The Consolidated School (formed after the closure of small rural schools) was created in 1944 as the first area or consolidated school in Victoria. The closed wooden small rural schools – all 14 of them- were all moved to this site. That school complex has now been converted to an accommodation centre as there is another modern state school in Murrayville. Murrayville High School was established in 1969, with new buildings completed in 1973. Since then the high and primary schools have merged on one campus.
The earliest church in Murrayville was St Peter’s Lutheran Church erected in 1923 in limestone with brick quoins. But the Lutherans began worship in house as early as 1910 or they journeyed to the Lutheran Church in Pinnaroo. The wooden framed Catholic Church was built in 1937. Prior to that Catholic services were held in the Institute, Shire Hall and Hotel from 1921. Anglican services were held in Murrayville from 1911 in the hall until a timber and iron church was erected in 1913, with a local minister appointed to the town in 1916. But the stone Anglican Church in Murrayville was not built until 1926 with decorative buttresses and a steep roof. In recent years the Anglican Church combined with the Uniting Church for services in a new timber framed building but now only the Uniting Church survives in Murrayville. Both the Presbyterians and Methodists had early wooden churches in Murrayville but both are now gone.
The town has a good range of old shops and a quaint little railway station. On the main highway is the old baker’s shops now a café and bakery. A second Post Office was built in Murrayville in inter war Arts and Crafts style in 1926. The first Post Mistress of the 1926 building was a Fairy - Miss Mary Fairy. The café at no 19 McKenzie Street was one of the first shops in Murrayville built around 1912 to sell fruit and vegetables and then from 1920 meat was sold from this shop. It is now the Cobb and Co Café almost next door to the Murrayville Hotel. It has an usually high Dutch gable style parapet to the street. Perhaps the most interesting heritage shop in Murrayville is the former bakery and soft drink business at no 8 Reed Street. This shop was built in 1931 and retains the original glass, tiles and timber surrounds to the front. The advertising on the windows related to Holten’s soft drink business which was based in this shop from 1949 to 1994. Other shops in this precinct still have shop advertising from the early 1940s. The Commercial Bank building from 1917 also constitutes part of this streetscape.
I have a book made by Grethe Wellejus "Shibori reserveringsteknikker En håndbog om at binde, sy, folde og farve stoffer til spændende mønstre" that came revised in 1997 but original from 1989...the one from 1997 is also made as well as the Danish edition... in english and german language...
and she shows many different resist-techniques and i will try one pattern shown in the book and it it is a pattern that goes under the name Adire alabere...
Franz Xaver Messerschmidt (1736-1783)
Self-portrait in tondol; Bratislava [1780]
Selbstbildnis im Tondo; Pressburg [~1780] Alabaster -
Berlin; Bode-Museum;
wikimedia; original photo by courtesy of Daderot
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The medallion shows the portrait of a man between forty and fifty years old, facing left in profile. His shoulder-length hair is softly waved. He is wearing a flat hat with an unusual band and a heavily waisted coat with a lapel collar, the English redingote that came into fashion around 1780. The three works by Franz Xaver Messerschmidt known as self-portraits are so similar to the portrait on the Berlin medallion that this too can be described as an idealised self-portrait of the artist. In addition to his famous ‘character heads’, Messerschmidt also created numerous portraits and alabaster medallions on commission in the style of the work presented here. After a successful career in Vienna, the artist retired to Bratislava in 1777, where he produced this simple, yet vividly expressive and lifelike self-portrait.
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Das Medaillon zeigt das im Profil nach links ausgerichtete Bildnis eines zwischen vierzig und fünfzig Jahre alten Mannes. Sein schulterlanges Haar ist weich gewellt. Er trägt einen flachen Hut mit ungewöhnlicher Binde sowie einen stark taillierten Mantel mit Reverskragen, den um 1780 in Mode gekommenen englischen Redingote. Die drei als Selbstbildnisse bezeichneten Werke Franz Xaver Messerschmidts sind dem Porträt des Berliner Medaillons so ähnlich, dass auch dieses als ein idealisiertes Selbstbildnis des Künstlers bezeichnet werden kann. Neben seinen berühmten ›Charakterköpfen‹ schuf Messerschmidt auf Bestellung auch zahlreiche Porträts und Alabastermedaillons in der Art des hier vorgestellten Werkes. Nach einer erfolgreichen Karriere in Wien zog sich der Künstler 1777 nach Preßburg zurück, wo er dieses schlichte, zugleich aber im Ausdruck lebendige und naturgetreue Selbstbildnis fertigte.
Petersen's Description:
Scene XVI (pp. 58-59)
Dass die Römer hier Halt gemacht haben, zeigt das Zelt oben. Aber schon ziehen sie weiter, zu unterst - rechts zur Marschrichtung - Fussvolk, andres zu oberst, d. i. links, dazwischen ein mit l\Iaultieren bespannter Geschützwagen, ein carro ballista nach Vegetius 2, 25, der einzige an dieser Säule, gegenüber nicht wenigen an der Trajanischen; dahinter Rinder, die Kolonne auch vorn und hinten durch Bewaffnete ge· schlossen, also ein agmen quadratum; in der rechten Seite durch besondern Panzer und Schärpe ausgezeichnet 8 der Feldherr, nicht porträthaft, aber jedenfalls nicht :Mare Aurel. Aber warum rückt die Kolonne nicht vor? Es ist ja kein Feind zu sehen, der sie hinderte. Hier ist offenbar Naturgewalt im Spiele. Von den Rindern sehen wir eines verreckt zu Boden gestürzt, ein anderes wild darüber springend. Der Soldat weiter oben, nach B zu beurteilen besser als nach A, hebt Hand und Augen zum Himmel empor. Gleich daneben aber beginnt es auch schon zu regnen, und ein Soldat tränkt hinter dem Geschütz ein Ross. Wir erraten also, dass hier Hitze und Durst mehr als der Feind die Dränger sind, und wir sehen, wie der Himmel den Römern zu Hilfe kommt. Die meisten freilich in der oberen Reihe - zu der unteren nämlich erstreckt sich aus künstlerischen Gründen der Regen nicht - sie erheben die Schilde, nicht um Wasser zu fangen, sondern um sich zu schirmen; denn bei 22 und 23 sieht man das Schild zeichen auf der Wölbung oben. Einen aber wenigstens 20 sehen wir im strömenden Regen trinken. Grösser aber noch erscheint für die Römer des Himmels Gunst da, wo die Personifikation des Regens selbst gleich dem Weltüberschwemmer Notus bei Ovid Metamorphosen I 264 dahin schwebt, ein bärtiges, wie klagend erscheinendes Haupt, an Bildung Flussgöttern wie dem vatikanischen Nil verwandt, mit ausgebreiteten Flügeln und Armen. Und aus Haar und Bart und von Flügeln und Armen rinnt un endlicher Regen herab, den Römern keinen Schaden thuend, aber die Feinde ver derbend. In mehreren Gebirgsschluchten sehen wir Rosse ringend mit dem (nicht sichtbar gemachten) Wasserschwall oder untersinkend, und Barbaren, vornehme 40 wie geringe 38, 41, tot am Boden liegend, auch die Waffen wie an einem Ort zu sammengeschwemmt, alles freilich so, als hätten die vVasser sich bereits wieder verlaufen.
In der That sind die Römer, die vorher so unbeweglich standen, wieder im Vorrücken, einzelne wie gefasst, auf den Feind zu stossen: mit Staunen und Entsetzen sehen sie die verheerenden Wirkungen des ihnen günstigen gewaltigen Regens, und nur Regens.
The tent on top shows that the Romans have made camp here. But already they are moving on, farthest down – to the right of the direction of march – the infantry, up above more, i.e. to the left, between a mule-drawn carroballista (artillery piece) according to Vegetius 2, 25, the only one on this column, compared to more on Trajan’s; in back, cattle, the march column guarded front and rear by armed men, ergo an agmen quadratum (square marching formation); on the right side, distinguished by special armor and sash 8 the general, not a portrait likeness, but in any case not Marcus Aurelius. But why is the column not advancing? No enemy is in sight that might hinder it. Here the power of nature is obviously at work. We see one of the cattle dead on the ground, another frantically jumping over it. The soldier above, better seen on B than A, lifts hand and eyes to the sky. But immediately adjacent to this, it also begins to rain already, and a soldier behind the artillery piece waters his horse. Hence, we surmise that here the heat and thirst rather than the enemy are the adversaries, and we can see heaven come to the aid of the Romans.
However, most of those in the upper row – for artistic reasons, the rain fall does not reach the lower row – raise their shields not to catch water but to cover themselves; for on 22 and 23 we see the shield markings on the curvature facing up. But we see at least one 20 drinking in the pouring rain. Even greater appears heaven’s favor for the Romans there where the rain itself is personified by a figure hovering like the world inundator Notus in Ovid’s Metamorphoses I 264, a bearded, almost doleful looking head, its form related to river gods like the Vatican’s Nile, with wings and arms spread. And out of the beard and hair, from wings and arms falls unending rain, doing the Romans no harm but ruining their enemies. In several mountain canyons we see horses struggling against the (not depicted) wall of water or going under and barbarians, nobles and commoners, lying dead on the ground, the weapons also as if washed away to a single place, but everything clearly indicating that the water has already subsided once again.
Scene XVII
Marc Aurel mit seinem Gefolge, keiner noch kenntlich, steht auf erhöhtem Platze, weiter rechts in doppelter Reihe Soldaten mit zwei Adlern, 10 und 14, zwischen zwei Fahnen, 7/8 und 17 (?), im Hintergrund; vorn germanische Männer und Frauen mit ihren Kindern, deren König, wie die übrigen vollbekleidet, zum Kaiser hinansteigt und dessen Rechte zu küssen sich vorneigt. Die Lebhaftigkeit, mit der die zwei kleinen Knaben, 26, 31, und neben diesen noch ein kleines Mädchen 33, ähnlich be wegt, so viel noch zu sehen, sich an Vater und Mutter drängen, deutet vielleicht auf Trennung der als Geiseln zu stellenden Kinder hin. Die vier schon ältern Knaben und Mädchen, 20-23, grad unter dem Kaiser, lassen sich bereitwilliger von den Eltern anweisen, das Herz des unter Himmels Schutz stehenden Siegers zu rühren. Am rechten Ende erkennt man noch den rechten Fuss einer nach rechts bewegten und den linken einer nach links gehenden Figur, Reste, die durch das moderne Flick stück nicht erläutert werden.
Als Germanen sind von Männern 19 und 27 kenntlich. Die Weiber tragen loses Haar, bedeckt oder unbedeckt, bedeckt 2 4, nicht mit Mantel, sonelern nur mit einem kleinen, hinten bis zum Gürtel reichenden Tuch; 25 hat eine Binde ums Haar. Langärmeliges Hemd und ärmelloses Kleid, hoch gegürtet und zum zweitenmal mit Bausch um die Hüften, zeigen am deutlichsten 24, 25. Die Kinder haben die Tracht der Eltern.
Marc Aurelius stands on a raised place with his retinue, none yet identifiable, further to the right are two ranks of soldiers with two eagle standards, 10 and 14, between two flags 7/8 and 17(?) in the background; in front, Germanic men and women with their children, whose king fully clothed like the rest climbs up to the Emperor and bows to kiss his right hand. The lively way in which the two small boys, 26, 31, and next to them also a little girl 33, just as lively, cling to father and mother indicates perhaps a propsective separation from the children as hostages. The four older boys and girls, 20 – 23, just below the Emperor, listening more willingly to their parents’ pleas to move the heart of the victor who stands under the heavens’ protection. At the right end, we detect also the right foot of a figure moving rightward and on the left end the left foot of a figure moving to the left, remains that the modern patchwork does nothing to explain.
Men 19 and 27 are clearly Germanic. The women wear their hair loose, covered or uncovered, covered on 24, not with a cloak but with a small scarf reaching down to the belt; 25 has a ribbon tied around her hair. 24 and 25 show most clearly the longsleeved shirt and sleeveless dress, belted high up and a second time puffed around the hips. The children are clothed like their parents. –
===================================
Author: Petersen, Eugen (Eugen Adolf Hermann), 1836-1919.
Title: Die Marcus-säule auf Piazza Colonna in Rom, herausgegeben von Eugen Petersen, Alfred von Domaszewski, Guglielmo Calderini; mit CXXVIII Tafeln folio.
Format: Book
Published: München, F. Bruckmann a.g., 1896.
Description: 125 p. illus. (incl. ports., map) 39 cm. and atlas of 128 mounted pl. 50 cm.
Other contributors: Domaszewski, Alfred von, 1856-1927. Calderini, Guglielmo, 1837-1916. Mommsen, Theodor, 1817-1903.
Contents: Einleitung, von E. Petersen.--Der Marcomanen-krieg unter Kaiser Marcus, von T. Mommsen.--L'architettura della colonna, da G. Calderini.--Beschreibung der Bildwerke, von E. Petersen.--Erläuterung der Bildwerke, von A. von Domaszewski.
Subject headings: Column of Marcus Aurelius (Rome, Italy)
Petersen's Description:
Scene XVII (p. 59)
Marc Aurel mit seinem Gefolge, keiner noch kenntlich, steht auf erhöhtem Platze, weiter rechts in doppelter Reihe Soldaten mit zwei Adlern, 10 und 14, zwischen zwei Fahnen, 7/8 und 17 (?), im Hintergrund; vorn germanische Männer und Frauen mit ihren Kindern, deren König, wie die übrigen vollbekleidet, zum Kaiser hinansteigt und dessen Rechte zu küssen sich vorneigt. Die Lebhaftigkeit, mit der die zwei kleinen Knaben, 26, 31, und neben diesen noch ein kleines Mädchen 33, ähnlich be wegt, so viel noch zu sehen, sich an Vater und Mutter drängen, deutet vielleicht auf Trennung der als Geiseln zu stellenden Kinder hin. Die vier schon ältern Knaben und Mädchen, 20-23, grad unter dem Kaiser, lassen sich bereitwilliger von den Eltern anweisen, das Herz des unter Himmels Schutz stehenden Siegers zu rühren. Am rechten Ende erkennt man noch den rechten Fuss einer nach rechts bewegten und den linken einer nach links gehenden Figur, Reste, die durch das moderne Flickstück nicht erläutert werden.
Als Germanen sind von Männern 19 und 27 kenntlich. Die Weiber tragen loses Haar, bedeckt oder unbedeckt, bedeckt 2 4, nicht mit Mantel, sondern nur mit einem kleinen, hinten bis zum Gürtel reichenden Tuch; 25 hat eine Binde ums Haar. Langärmeliges Hemd und ärmelloses Kleid, hoch gegürtet und zum zweitenmal mit Bausch um die Hüften, zeigen am deutlichsten 24, 25. Die Kinder haben die Tracht der Eltern.
Marc Aurelius stands on a raised place with his retinue, none yet identifiable, further to the right are two ranks of soldiers with two eagle standards, 10 and 14, between two flags 7/8 and 17(?) in the background; in front, Germanic men and women with their children, whose king fully clothed like the rest climbs up to the Emperor and bows to kiss his right hand. The lively way in which the two small boys, 26, 31, and next to them also a little girl 33, just as lively, cling to father and mother indicates perhaps a propsective separation from the children as hostages. The four older boys and girls, 20 – 23, just below the Emperor, listening more willingly to their parents’ pleas to move the heart of the victor who stands under the heavens’ protection. At the right end, we detect also the right foot of a figure moving rightward and on the left end the left foot of a figure moving to the left, remains that the modern patchwork does nothing to explain.
Men 19 and 27 are clearly Germanic. The women wear their hair loose, covered or uncovered, covered on 24, not with a cloak but with a small scarf reaching down to the belt; 25 has a ribbon tied around her hair. 24 and 25 show most clearly the longsleeved shirt and sleeveless dress, belted high up and a second time puffed around the hips. The children are clothed like their parents. –
Scene XVIII (pp. 59-60)
So entstellt durch Abspaltung des Reliefs, durch Flickung und Abarbeitung die Scene ist, scheint doch so viel deutlich, dass die Handlung sich um das in der Mitte liegende Haus dreht, das gleicher Bauart wie in Scene VII, und speziell wie das letzte daselbst rechts, eckig nicht rund, sich auf einem Sockel oder gar auf Stufen erhebt, also gewiss das Haus eines hervorragenden Mannes, auf den die Römer es abgesehen haben müssen. Ob freilich vor der geöffneten Thüre eine oder zwei kleinere Figuren gestanden, ist jetzt nicht mehr festzustellen, aber nach links wie nach rechts vom Hause treiben römische Soldaten die Feinde zurück. Nach links verdrängt der Römer 8, am linken Arm den Schild, in der Rechten die Lanze, einen Gegner, der mit erhobener Linken sich umwendend, nach links weicht, wo ihm ein Römer (?) 3 entgegenkommt, der Schild und Lanze links, mit der Rechten ein lediges(?) Pferd heranführt. Unter diesem liegt ein gefallener Barbar 2, tiefer erscheint ein römischer Reiter, wild mit eingelegter Lanze nach rechts sprengend, wo wieder ein Gefallener 6 sich auf den Boden stützt; noch tiefer hintflr einem nach links galoppierenden Pferd der gefallene Barbar 1. Nach rechts von dem Hause ein römischer Reiter 11 gegen den, wie ein berühmter Gigantentypus, tapfer mit Schild und Schwert ihm entgegen tretenden Barbaren q; weiter vorauf drei Römer 13, 15, 16 gegen einen am Fusse einer Eiche sitzenden Barbaren; tiefer ein Römer, der einen feindlichen Reiter 12 rückwärts vom Pferde reisst; ein anderer 17 schon unter dem davonlaufenden Pferde liegend.
Hier bildet oben der Baum, tiefer der durch den grossen Spalt markierte Ein schnitt eine Scenentrennung: ein leerer Raum, darin unten ein plattes Halbrund mit zwei modernen Buchstaben, vielleicht der 17 entfallende Schild (vgl. 117, 2), und höher eine unkenntliche horizontale Masse. Mit einer gewissen Symmetrie scheint die beschriebene Scene um das Haus komponiert zu sein. Auch in den nächsten Scenen handelt es sich um das Einfangen bestimmter Personen.
As disfigured by spalling, patching and reworking the scene is, this much seems to be clear: the action revolves around the house in the center, of similar construction as in Scene VII, and squared in the same way, not round, raised on a plinth or even steps, hence sure to be the house of a highly-placed man whom the Romans have it in for. Unfortunately, if one or two smaller figures stood in front of the open door can no longer be determined, but to the left as well as to the rightof the house Roman soldiers are driving the enemy back. The Roman 8, the shield on his left arm, javelin in the right is driving an adversary before him who, turning with his left arm raised, is retreating to the left, where a Roman (?) 3 is advancing toward him, shield and javelin in the left, bringing up a riderless (?) horse. Beneath that one lies a fallen barbarian 2; farther down, a Roman cavalryman appears, wildly galloping toward the right with lance at the ready, where again a wounded man props himself up on the ground; farther down yet, behind a horse gallopping toward the left, the fallen barbarian 1. Toward the right of the house, a Roman cavalryman 11 being attacked by the barbarian 14, bravely, with shield and sword, like a mythical kind of giant; farther ahead, three Romans 13, 15, 16 going against a barbarian sitting at the foot of an oaktree; lower down, a Roman who yanks a mounted enemy 12 off his horse backwards, with another one 17 already lying under the escaping horse.
Here on top a tree, farther down a large fissure serve to separate scenes: an empty space, in which down below is a flat semicircle with two modern letters, possibly the shield that has fallen from 17 (cf. 117,2) and higher up an unidentifiable mass. The scene described seems to be composed with a certain symmetry around the house. The next scenes also deal with the capture of specific persons.
===================================
Author: Petersen, Eugen (Eugen Adolf Hermann), 1836-1919.
Title: Die Marcus-säule auf Piazza Colonna in Rom, herausgegeben von Eugen Petersen, Alfred von Domaszewski, Guglielmo Calderini; mit CXXVIII Tafeln folio.
Format: Book
Published: München, F. Bruckmann a.g., 1896.
Description: 125 p. illus. (incl. ports., map) 39 cm. and atlas of 128 mounted pl. 50 cm.
Other contributors: Domaszewski, Alfred von, 1856-1927. Calderini, Guglielmo, 1837-1916. Mommsen, Theodor, 1817-1903.
Contents: Einleitung, von E. Petersen.--Der Marcomanen-krieg unter Kaiser Marcus, von T. Mommsen.--L'architettura della colonna, da G. Calderini.--Beschreibung der Bildwerke, von E. Petersen.--Erläuterung der Bildwerke, von A. von Domaszewski.
Subject headings: Column of Marcus Aurelius (Rome, Italy)
Petersen's Description:
Scene LXXXIV (p. 81)
Von 1 und 2 ist kein Teil antik : der Pferdekopf hinter 3, 4 zeigt, dass hier schon einer sein Pferd am Zügel führte, so wie weiterhin alle 3-7 auf der Brücke, 3, 4 ohne, 5, 6, 7 mit Schild, 7 auffallenderweise durch eine Binde über dem Panzerhemd ausgezeichnet, also, wie Pertinax beim grossen Regen, wohl der Anführer der Abteilung, die ohne vexillum ist. Zu ihr müssen wir auch, wegen seines Umblickens, 8 rechnen, obgleich schon auf Felsboden schreitend und ohne Pferd; wie ursprünglich vielleicht auch einer am Anfang der Brücke an Stelle von 1. Den Kopf hebt 5, um zu sehen, die Pferde von 5 und 6, weil der Künstler sie ganz sichtbar machen wollte und sie zur Motivierung wiehern liess. Pontons und Brückengeländer sind ungewöhnlich hoch, letzeres ohne deshalb von den Darübergehenden mehr zu verdecken.
No part of 1 and 2 is antique: the horse’s head in back shows that here someone once led a horse by the bridle, just like also all 3 – 7 on the bridge, 3, 4 without, 5, 6, 7 with shield, 7 notably is distinguished by a sash across the chainmail shirt, i.e., like Pertinax during the great rain, likely to be the leader of this detachment that is moving without vexillum. Because he turns around, we also have to count 8 as part of it although he is already walking on the rocky ground and horseless; like one perhaps originally in place of 1 at the start of the bridge. Lifting his head is 5, in order to see the horses of 5 and 6, because the artist wanted to make them totally visible and let them neigh for motivation. Pontoons and bridge banisters are unusually high, the latter without covering up more of those crossing.
Scene LXXXV (pp. 81-82)
Auch 1 könnte von der Brücke herzukommen scheinen, und deutlicher noch die vorige Scene in unmittelbare Verbindung mit dieser neuen zu setzen, wo Garde infanterie gefangene Weiber und Kinder nach rückwärts geleitet. In Wirklichkeit scheint der Künstler vielmehr gerade die Trennung der beiden Scenen betonen zu wollen, indem er in der oberen Scene 8 und 3, in der unteren 3 und 1 sich von einander abkehren lässt, nicht ohne innere Motivierung. Oben dient dazu die Trauer der Gefangenen, unten ein Entweichungsversuch oder wenigstens Rückwärtsbewegung der Frau mit dem Knaben, ähnlich wie Taf. 28 und 113. Denn in dem unteren Streifen wird hier das Widerstreben der Gefangenen betont. Auch 9, an Auge, Wange und langem Haare als Frau kenntlich, obgleich in dem hässlichen Flicken als Mann ergänzt, wurde von dem vorausgehenden Soldaten 8 gezogen: das Stück mit dem grösseren Teile seiner Figur ist abgespalten, aber antik; der gegen seinen Oberschenkel hin bewegte Arm der Frau war sicherlich oben von seiner Rechten gepackt. Von dem nach folgenden, dem derselbe gedankenlose Restaurator zum erhaltenen Schild noch einen gegeben hat, wird sie mit der gegen den Hinterkopf gestemmten Rechten geschoben. In der oberen Reihe kommt dagegen die Würde der Gefangenen zum Ausdruck, vor allem in der auf dem Polstersitz des vierrädrigen, gewiss eigenen Ochsen karrens, mit ihrer Tochter sitzenden Fürstin. Beide mit dem langärmeligen Hemd, gewiss unter einem Obergewand, bekleidet, die Mutter auch mit über den Kopf ge zogenem Mantel, sitzen mit höher gestelltem rechten Fuss, und stützt die Mutter auf den rechten Oberschenkel den rechten Ellbogen, um mit Daumen und zwei Fingern in trübem Nachdenken Kinn und Lippe zu berühren, während die Tochter sich fragend zu ihr wendet. Der Gestus der Mutter wiederholt sich halb bei der einen und voll ständiger bei der zweiten voraufschreitenden Frau, hat aber bei letzterer, indem die Finger, wegen der oben erklärten Kopfdrehung, sich an das Haar legen, sei ne Be deutung verloren oder gar ins Gezierte verkehrt. Beide haben zu Hemd und Kleid noch einen Überwurf, dessen Natur und Lage bei 3 unklar ist. Von den geleitenden Soldaten schreiten 6 und 8 ruhig nebenher; 6 würde man, wäre nicht der Schild, den mit gehobenem Kopfe brüllenden Ochsen vorwärts zerrend denken.
Charakteristik ist an Weibern ja überall in aller Kunst bescheidener; die etwas aufgeworfene Nase der Frau 4 genügt kaum sie für eine Sarmatin zu halten; es dürfte eher ein Anzeichen ihrer niedrigen Art sein, die nicht übel auch in ihrer ganzen Haltung ausgedrückt ist, zum Unterschied von der vornehmen Haltung der Frauen im oberen Streifen. Aber wo sind die Männer dieser Frauen?
Figure 1 could also be coming from the bridge, and thus intimately link the preceding scene even more clearly with this new one, where Guard infantry leads captive women and children back to the rear. In reality, the artist seems to have wanted to emphasize even more the separation of the two scenes, by letting 8 and 3 in the upper scene and 3 and 1 in the lower turn away from each other, not without inner motivation. On top, this is served by the grief of the captives, down below by an escape attempt or at least a move by the woman with boy in the opposite direction, similar to Plates 28 and 113. For in the lower band is where the captives’ resistance is emphasized. Also 9, recognizable as a woman by her eye, cheek and long hair, although renovated as a man in the ugly patch, was being pulled by a Roman solider: the piece with the largest part of his figure has chipped off, but it is antique; the woman’s arm moving toward his thigh surely was gripped by his right hand. The back of her head is being pushed by the right hand of the man following behind, whom the same thoughtless restorer gave another shield added to the preserved one. By contrast, in the upper row, the dignity of the captives is given expression, particularly on the princess sitting with her daughter on the upholstered seat of the four-wheeled ox cart that must belong to her. Both dressed with the longsleeved shirt, no doubt under an outer garment, the mother with her cloak pulled over her head, they sit with their right legs propped up and the mother resting her right elbow on her right thigh, so that she can touch her chin and lip in dismal contemplation, while the daughter
turns to her questioningly. The mother’s gesture is repeated halfway by the first and more fully by the second woman striding forward, but in the case of the latter it has lost its meaning or it has even morphed into affectation, because the fingers touch the hair due to the turn of her head commented on earlier. Both have some kind of wrap thrown over shirt and dress, whose nature and placement are unclear on 3. Of the escorting soldiers, 6 and 8 walk calmly side by side; but for the shield, we might think 6 is tugging the ox bellowing with raised head forward.
Characteristization on the females is of more modest artistry everywhere; the slightly upturned nose of female 4 is hardly enough to tag her as Sarmatian; more likely, it is a mark of her low status, which is also expressed fairly well in her entire posture, in contrast to the elegant attitude of the women in the upper band. But where are the men that belong with these women?
===================================
Author: Petersen, Eugen (Eugen Adolf Hermann), 1836-1919.
Title: Die Marcus-säule auf Piazza Colonna in Rom, herausgegeben von Eugen Petersen, Alfred von Domaszewski, Guglielmo Calderini; mit CXXVIII Tafeln folio.
Format: Book
Published: München, F. Bruckmann a.g., 1896.
Description: 125 p. illus. (incl. ports., map) 39 cm. and atlas of 128 mounted pl. 50 cm.
Other contributors: Domaszewski, Alfred von, 1856-1927. Calderini, Guglielmo, 1837-1916. Mommsen, Theodor, 1817-1903.
Contents: Einleitung, von E. Petersen.--Der Marcomanen-krieg unter Kaiser Marcus, von T. Mommsen.--L'architettura della colonna, da G. Calderini.--Beschreibung der Bildwerke, von E. Petersen.--Erläuterung der Bildwerke, von A. von Domaszewski.
Subject headings: Column of Marcus Aurelius (Rome, Italy)
En gruppe Inuit fra Iglulik på slæderejse ved Pingerqalik, Canada. Om vinteren var slæden det vigtigste transportmiddel på færdsel over land eller havis. Familiens ejendele var dækket af skind. Om natten kunne de samme skind give varme. Skindstrimler blev også brugt til at binde slæden sammen med og til slædehundenes trækliner. Skind var en vigtig ressource for inuit og indgik i mange dagligdags redskaber. Fotografi fra 5. thuleekspedition 1921-24.
A group of Inuit from Iglulik travelling by sledge at Pingerqalik, Canada. Sledges were the most important means of transportation on land or ice during the winter. The family’s possessions were placed under a skin cover. During the night the same skins were used for warmth. Skin strips were also used for tying the sledge together and for dog lines and harnesses. Skin was an important resource for the Inuit and was part of many tools. Photo from the 5th Thule-expedition 1921-24.
10. novembrī pie pulkveža Oskara Kalpaka pieminekļa notika Lāčplēša dienai un akcijas “Atceries savējos!” atklāšanai veltīts pasākums, kurā piedalījās aizsardzības ministrs Raimonds Bergmanis un Nacionālo bruņoto spēku vadība.
Akciju “Atceries savējos!” organizē Valsts aizsardzības un patriotisma fonds “Namejs”, kura valdes priekšsēdētājs atvaļinātais ģenerālleitnants Raimonds Graube pasākuma dalībniekus informēja par akcijas mērķi un uzdevumiem, kā arī pasniegs pirmās piemiņas nozīmītes ar Nameja gredzenu to veidotājiem un O. Kalpaka Rīgas Tautas daiļamatu pamatskolas skolēniem, kuri iesaistījās ziedojumu kastīšu izgatavošanā un ziedojumu vākšanā.
Piemiņas nozīmītes ikviens varēs iegādāties par ziedojumiem, kas kļūs par vienu no ziedojumu vākšanas veidiem. Tās būs pieejamas 11. un 18. novembra svētkiem veltīto pasākumu norises vietās.
“Tā Latvijā ir jauna ilgtermiņa akcija, un tās pirmais solis ir ziedojumu vākšana bojā gājušo karavīru bērnu, ģimeņu, starptautisko operāciju un visu veterānu sociālajam atbalstam. Apmeklējot gandrīz visas bojā gājušo karavīru ģimenes un tiekoties ar veterāniem un veterānu organizācijām, jau ir apzinātas pirmās nepieciešamības. Akcijas vadmotīvs ir “Atceries savējos!”, un tas ir visu Latvijas sabiedrību vienojošs aicinājums, jo Irākā un Afganistānā ir krituši karavīri gan no latviešu, gan no krievu valodā runājošām ģimenēm”, norāda valdes priekšsēdētājs Raimonds Graube, kurš fonda vārdā kā pirmo auditoriju ziedojumu vākšanā jau ir uzrunājis bruņoto spēku karavīrus, zemessargus un darbiniekus.
O. Kalpaka Rīgas Tautas daiļamatu pamatskolas un Valsts aizsardzības un patriotisma fonda “Namejs” rīkotajā pasākumā piedalīsies arī vairāki simti skolēnu, skolotāji un fonda pārstāvji, bet par pasākuma muzikālo noformējumu rūpēsies Rīgas 6. vidusskolas orķestris.
Fonda “Namejs” mērķis ir veicināt patriotismu Latvijas sabiedrībā, godināt starptautiskās operācijās cietušo karavīru piemiņu un atbalstīt Nacionālo bruņoto spēku attīstību un to uzdevumu izpildi valsts aizsardzībā.
Atsaucoties bijušā aizsardzības ministra, Valsts prezidenta Raimonda Vējoņa aicinājumam, biedrība „Latvijas ģenerāļu klubs” 2015. gada 21. jūlijā izveidoja nodibinājumu “Valsts aizsardzības un patriotisma fonds „Namejs””. Tā mērķis ir veicināt patriotismu Latvijas sabiedrībā, uzturēt starptautiskajās operācijās cietušo karavīru piemiņu un atbalstīt Nacionālo bruņoto spēku attīstību un to uzdevumu izpildi valsts aizsardzībā. Nodibinājuma darbība ir vērsta iniciatīvas rosināšanai un sabiedrības iesaistīšanai pilsoniskās un militāri patriotiskās audzināšanas pasākumos. Savukārt tā uzmanības lokā būs jauniešu militāri patriotiskās un ētiskās audzināšanas uzdevumi, kā arī karavīru piemiņas saglabāšanai veltītu projektu īstenošana. Fondā darbojas bijušie Nacionālo bruņoto spēku komandieri – valdes priekšsēdētājs Raimonds Graube, valdes locekļi Juris Dalbiņš un Dainis Turlais, kā arī sabiedrībā zināmas personas - Jānis Kažociņš, uzņēmējs Juris Binde un akadēmiskās zinātnes pārstāvis Ojārs Spārītis. Goda padomes priekšsēdētāja ir bijusī Valsts prezidente Vaira Vīķe-Freiberga.
Atceries savējos un ziedo viņu atbalstam!
Valsts aizsardzības un patriotisma fonds “Namejs”
Reģ. nr. 40008240249
Konta nr. LV45HABA0551040447334
Paldies!
Foto: Gatis Dieziņš (Jaunsardzes un informācijas centrs)
Uzņēmums “Latvijas Mobilais Telefons” sadarbībā ar Aizsardzības ministriju un Rīgas Tehnisko universitāti attīsta virkni valsts aizsardzības inovāciju projektu, tai skaitā mobilo lietotni "Viedsargs" militārajai saziņai, kā arī īpašus sensoru, mākslīgā intelekta un datorredzes risinājumus. Tās ir ne tikai inovācijas valsts aizsardzībai, bet arī unikāls eksporta produkts ar augstu pievienoto vērtību, kas Latviju var ierindot starp inovatoriem militārās aizsardzības jomā.
"Veiksmīgas valsts un privāto uzņēmēju sadarbības rezultātā spējam radīt inovatīvus tehnoloģiskos risinājumus, kas var nest būtisku pienesumu Latvijas valsts aizsardzībai. Mums ir paveicies, ka Latvijai ir uzņēmums, kas gatavs investēt resursus valsts aizsardzības spēju palielināšanai," uzsver R. Bergmanis.
Jauno militāro inovāciju prototipu prezentācijā piedalās uzņēmuma “Latvijas Mobilais Telefons” prezidents Juris Binde,Aizsardzības ministrs Raimonds Bergmanis, Nacionālo bruņoto spēku karavīri, kā arī inovāciju izstrādātāji un sadarbības partneri. Pasākuma laikā bija iespēja apskatīt arī kaujas izlūkošanas kāpurķēžu bruņutehniku.
Foto: Normunds Mežiņš (Jaunsardzes un informācijas centrs)
Petersen's Description:
Scene CXV (p. 94)
Des trennenden Fensters wegen, und weil dort schon die Soldaten unter dem Tribunal zugegen waren, gehören die Garden und Legionare, mit dem vexillum voran, (vgl. LXIX) als Führer zu den über eine Schiffbrücke Gehenden. Zur Übersiedelung in ein anderes Land abgeführt, schreiten sie traurig hinter ihrem mit einer Binde um das Haar geschmückten (vgl. Taf. 59, 16) auf ungesatteltem zaumlosem Maultier reitenden Häuptling einher, Frauen 7, 8, 10 und Männer 9, 11, 13, auf schon niedriger werdendem Reliefstreifen. Obgleich der, auf den Böten der Brücke fehlende, Fussboden unter den Füssen des Pferdes von 16 sichtbar wird, als aus quergelegten Brettern bestehend, deren Fugen mit Leisten, behufs sicheres Auftritts (?) bedeckt sind, deutlich zu den Pontons sich hinaufziehend, scheint doch der rechtshin stehende Römer 15 anzudeuten, dass der Reiter 16, der auf einem Rosse mit Zügel reitet aber ohne Sattel, einen neuen Zug eröffnet. Jener Maultierreiter 5 hat ebenso germanischen Typus, wie der folgende zu Ross 16 am Bart, und gar sein Hintermann 17 im ganzen Gesicht als ungermanisch, fast möchte man sagen mongolisch erscheinen. Von drei Römern geleitet, folgen dem Reiter zwei Ochsenwagen (vom zweiten nur etwas von den Ochsen sichtbar, die In sassen vielleicht einst über 1, 2) : auf dem ersten eine sitzende und eine neben ihr stehende Frau, beide mit Gewand über dem Kopf.
Given the dividing window and because the soldiers were already present below the tribunal, the Guards and legionaries, with the vexillum in the lead (cf. LXIX), belong as guides to those crossing over on a pontoon bridge. Led away for resettlement in another country, they walk along sadly behind a chieftain, his hair tied with a ribbon (cf. Plates 59, 16), riding on an unsaddled, unbridled mule: women 7, 8, 10 and men 9, 11, 13 on a relief band that is already narrowing. Although the floorboards that are missing from the top of the bridge pontoons become visible under the hooves of 16’s horse as boards laid down crosswise extending clearly up to the pontoons, the spaces between the boards covered with strips for better traction(?), the Roman 15 standing off to the right seems to indicate that 16, riding a bridled but unsaddled horse, opens a new procession. That mule rider 5 has about as much Germanic traits as the one following on the horse 16 judging by his beard and even more so the man behind him 17 that looks non-Germanic if not almost Mongolian. Following the rider and led by three Romans are two ox wagons (of the second only the oxen are visible, with the passenger perhaps erstwhile above 1, 2), a woman sitting on the first one and one standing next to her, both with garments covering their heads.
Scene CXVI (pp. 94-95)
Unmittelbar dahinter sieht man ein Boot landen, aus welchem Prätorianer 1-13, 15, 17 angriffsmässig vorgehen, um Männer und Frauen, denen dann das Vieh folgt, aus dem hohen Gras oder auch die immer kleiner werdenden Figuren sind, so erkennt man doch ungefähr noch das Einzelne: 11 eilt, von hinten gesehen, befehlend hinzu; 12 tritt eben aus dem Grase wieder heraus, Schild am linken Arm aber rückwärts nach rechts den Kopf wendend und den rechten Arm reckend; 13 hält in ähnlicher Stellung, den von innen gesehenen Schild am linken Arm, mit der rechten Hand eine Frau 14 hinter sich herziehend, die, verhülltes Hauptes, die Linke flehend gegen 13 ausstreckt. Auch 15, ähnlich wie 13 mit Schild am linken Arm, wendet sich, mit der Rechten eine rückwärts entweichende Frau am rechten Arme festhaltend; 17 ein Römer, von hinten gesehen, hält Schild vor am linken Arm, mit der Rechten einen Barbaren, dem die Hände auf dem Rücken gebunden sind, nach sich ziehend. Diesem folgt eine Frau mit ausgestreckten Armen, sei es, um den Abgeführten zu halten, sei es, um gleich dem hinter ihr Knieenden Gnade zu erflehen; dahinter vier Rinder, ein Baum, zwei Ziegen, schon zur Hälfte modern wie das folgende Untier.
Immediately behind we see a boat landing, from which Praetorians 1 – 13, 15, 17 debark aggressively to drag men and women, followed by livestock, out of high grass or reeds into which they had fled to avoid resettlement. As severely damaged as the ever-shrinking figures are, we can still roughly recognize details: seen from behind, 11 hurries up issuing commands; 12 is just emerging from the grass again, shield on the left arm but turning his head back toward the right and raising his right arm; 13 holds up in a similar posture, the shield seen from its inside on the left arm, pulling a woman 14 after him who, her head veiled, lifts her left hand pleading toward 13. Also 15, like 13 with shield on the left arm, turns around, restraining by the right arm a woman who recoils from him; a Roman, 17, seen from behind, holds his shield out front with his left arm, with the right pulling with him a barbarian whose hands are tied behind his back. Following them is a woman with stretched out arm, be it to stop the one from being led away or to plead for mercy, like the one kneeling behind her; behind them, four cattle, a tree, two goats, already half modern like the final monstrosity that follows them. –
===================================
Author: Petersen, Eugen (Eugen Adolf Hermann), 1836-1919.
Title: Die Marcus-säule auf Piazza Colonna in Rom, herausgegeben von Eugen Petersen, Alfred von Domaszewski, Guglielmo Calderini; mit CXXVIII Tafeln folio.
Format: Book
Published: München, F. Bruckmann a.g., 1896.
Description: 125 p. illus. (incl. ports., map) 39 cm. and atlas of 128 mounted pl. 50 cm.
Other contributors: Domaszewski, Alfred von, 1856-1927. Calderini, Guglielmo, 1837-1916. Mommsen, Theodor, 1817-1903.
Contents: Einleitung, von E. Petersen.--Der Marcomanen-krieg unter Kaiser Marcus, von T. Mommsen.--L'architettura della colonna, da G. Calderini.--Beschreibung der Bildwerke, von E. Petersen.--Erläuterung der Bildwerke, von A. von Domaszewski.
Subject headings: Column of Marcus Aurelius (Rome, Italy)
Murrayville.
Farming settlement began in the region by the SA border at Panitya and Carina in 1908 but the first town lots were sold in Murrayville in 1910 two years before the railway reached the town from Ouyen. The town came into being in 1911 and it was named after the Victorian premier of the day John Murray. By the end of 1911 the town had several stores, a blacksmith and an Institute which opened in that year. Once the railway arrived in 1912 the large Murrayville Hotel opened and by 1916 the town had two banks. A new Post office was built in 1916 along with several community buildings- the private Austral Hall (now demolished) and the Institute Hall which was erected in 1911. It was replaced with a new public hall in 1957. Murrayville Courthouse was designed and built in 1914 by the same architect Samuel Bindely who designed the Courthouse in Ouyen. It closed as a courthouse in 1983 and became the local CFS station. Bindley’s courthouses have been described as wooden Federation Arts and Crafts style. The Masonic Lodge in Murrayville was formed in 1919 and members joined the Lodge in Pinnaroo across the border. The Lodge building in Murrayville was erected in 1923 and only closed in 2001. The Shire of Walpeup was formed in 1912 with the offices in Murrayville but these were moved to new shire offices in Ouyen in 1918. The first school in Murrayville opened in 1912 in the Mechanics Institute building. A year or so afterwards that a wooden school was built on the highway but this building was moved in 1926 to the consolidated school site in Poole Street. The Consolidated School (formed after the closure of small rural schools) was created in 1944 as the first area or consolidated school in Victoria. The closed wooden small rural schools – all 14 of them- were all moved to this site. That school complex has now been converted to an accommodation centre as there is another modern state school in Murrayville. Murrayville High School was established in 1969, with new buildings completed in 1973. Since then the high and primary schools have merged on one campus.
The earliest church in Murrayville was St Peter’s Lutheran Church erected in 1923 in limestone with brick quoins. But the Lutherans began worshipping in house as early as 1910 or they journeyed to the Lutheran Church in Pinnaroo. The wooden framed Catholic Church was built in 1937. Prior to that Catholic services were held in the Institute, Shire Hall and Hotel from 1921. Anglican services were held in Murrayville from 1911 in the hall until a timber and iron church was erected in 1913, with a local minister appointed to the town in 1916. But the stone Anglican Church in Murrayville was not built until 1926 with decorative buttresses and a steep roof. In recent years the Anglican Church combined with the Uniting Church for services in a new timber framed building but now only the Uniting Church survives in Murrayville. Both the Presbyterians and Methodists had early wooden churches in Murrayville but both are now gone.
The town has a good range of old shops and a quaint little railway station. On the main highway is the old baker’s shops now a café and bakery. A second Post Office was built in Murrayville in inter war Arts and Crafts style in 1926. The first Post Mistress of the 1926 building was a Fairy - Miss Mary Fairy. The café at no 19 McKenzie Street was one of the first shops in Murrayville built around 1912 to sell fruit and vegetables and then from 1920 meat was sold from this shop. It is now the Cobb and Co Café almost next door to the Murrayville Hotel. It has an usually high Dutch gable style parapet to the street. Perhaps the most interesting heritage shop in Murrayville is the former bakery and soft drink business at no 8 Reed Street. This shop was built in 1931 and retains the original glass, tiles and timber surrounds to the front. The advertising on the windows is related to Holten’s soft drink business which was based in this shop from 1949 to 1994. Other shops in this precinct still have shop advertising from the early 1940s. The Commercial Bank building from 1917 also constitutes part of this streetscape.
Murrayville.
Farming settlement began in the region by the SA border at Panitya and Carina in 1908 but the first town lots sold in Murrayville were in 1910 two years before the railway reached the town. The town came into being in 1911 and it was named after the Victorian premier of the day John Murray. By the end of 1911 the town had several stores, a blacksmith, and an Institute which opened in that year. Once the railway arrived in 1912 the large Murrayville Hotel opened and by 1916 the town had two banks. A new Post office was built in 1916 along with several community buildings- the private Austral Hall (now demolished) and the Institute Hall which was erected in 1911. It was replaced with a new public hall in 1957. Murrayville Courthouse was designed and built in 1914 by the same architect Samuel Bindely who designed the Courthouse in Ouyen. It closed as a courthouse in 1983 and became the local CFS station. Bindley’s courthouses have been described as wooden Federation Arts and Crafts style. The Masonic Lodge in Murrayville was formed in 1919 and members joined the Lodge in Pinnaroo across the border. The Lodge building in Murrayville was erected in 1923 and only closed in 2001. The Shire of Walpeup was formed in 1912 with the offices in Murrayville but these were moved to new shire offices in Ouyen in 1918. The first school in Murrayville opened in 1912 in the Mechanics Institute building. A year or so afterwards that a wooden school was built on the highway but this building was moved in 1926 to the consolidated school site in Poole Street. The Consolidated School (formed after the closure of small rural schools) was created in 1944 as the first area or consolidated school in Victoria. The closed wooden small rural schools – all 14 of them- were all moved to this site. That school complex has now been converted to an accommodation centre as there is another modern state school in Murrayville. Murrayville High School was established in 1969, with new buildings completed in 1973. Since then the high and primary schools have merged on one campus.
The earliest church in Murrayville was St Peter’s Lutheran Church erected in 1923 in limestone with brick quoins. But the Lutherans began worship in house as early as 1910 or they journeyed to the Lutheran Church in Pinnaroo. The wooden framed Catholic Church was built in 1937. Prior to that Catholic services were held in the Institute, Shire Hall and Hotel from 1921. Anglican services were held in Murrayville from 1911 in the hall until a timber and iron church was erected in 1913, with a local minister appointed to the town in 1916. But the stone Anglican Church in Murrayville was not built until 1926 with decorative buttresses and a steep roof. In recent years the Anglican Church combined with the Uniting Church for services in a new timber framed building but now only the Uniting Church survives in Murrayville. Both the Presbyterians and Methodists had early wooden churches in Murrayville but both are now gone.
The town has a good range of old shops and a quaint little railway station. On the main highway is the old baker’s shops now a café and bakery. A second Post Office was built in Murrayville in inter war Arts and Crafts style in 1926. The first Post Mistress of the 1926 building was a Fairy - Miss Mary Fairy. The café at no 19 McKenzie Street was one of the first shops in Murrayville built around 1912 to sell fruit and vegetables and then from 1920 meat was sold from this shop. It is now the Cobb and Co Café almost next door to the Murrayville Hotel. It has an usually high Dutch gable style parapet to the street. Perhaps the most interesting heritage shop in Murrayville is the former bakery and soft drink business at no 8 Reed Street. This shop was built in 1931 and retains the original glass, tiles and timber surrounds to the front. The advertising on the windows related to Holten’s soft drink business which was based in this shop from 1949 to 1994. Other shops in this precinct still have shop advertising from the early 1940s. The Commercial Bank building from 1917 also constitutes part of this streetscape.
Murrayville.
The first town lots were sold here in 1910 two years before the railway reached the town. The town came into being in 1911 and it was named after the Victorian premier of the day John Murray. By the end of 1911 the town had several stores, a blacksmith, and an Institute which opened in that year. Once the railway arrived in 1912 the large Murrayville Hotel opened and by 1916 the town had two banks. A new Post office was built in 1916 along with several community buildings- the Masonic Hall, the private Austral Hall and the Institute Hall. Murrayville Courthouse was designed and built in 1914 by the same architect Samuel Bindely who designed the Courthouse in Ouyen. It closed as a courthouse in 1983 and became the local CFS station. Bindley’s courthouses have been described as wooden Federation Arts and Crafts style. The Masonic Lodge in Murrayville was formed in 1919 and members joined the Lodge in Pinnaroo across the border. The Lodge building in Murrayville was erected in 1923 and only closed in 2001. The earliest church in Murrayville was St Peter’s Lutheran Church erected in 1923 in limestone with brick quoins. The wooden framed Catholic Church was built in 1937. Prior to that Catholic services were held in the Institute, Shire Hall and Hotel from 1921. The Anglican Church in Murrayville was built in 1926 with decorative buttresses and a steep roof but in recent years it has combined with the Uniting Church for services. This 1926 Anglican Church replaced a galvanised iron one that opened in 1913. The town has a good range of old shops and a quaint little railway station. On the main highway is the old baker’s shops bow a café and bakery. The large original primary school has now been converted to an accommodation centre as there is a modern state school in Murrayville. A second Post Office was built in Murrayville in inter war Arts and Crafts style in 1926. The first Post Mistress of the 1926 building was a Fairy - Miss Mary Fairy. The café at no 19 McKenzie Street was one of the first shops in Murrayville built around 1912 to sell fruit and vegetables and then in the 1920 meat was sold from this shop. It is now the Cobb and Co Café almost next door to the Murrayville Hotel. It has an usually high Dutch gable style parapet to the street. Perhaps the most interesting heritage shop in Murrayville is the former bakery and soft drink business at no 8 Reed Street. This shop was built in 1931 and retains the original glass, tiles and timber surrounds to the front. The advertising on the windows related to Holten’s soft drink business which was based in this shop from 1949 to 1994. Other shops in this precinct still have shop advertising from the early 1940s. The Commercial Bank building from 1917 also constitutes part of this streetscape.
Petersen's Description:
Scene CXIV (p. 94)
Erst in der Mitte von 124 A haben wir, nach einem Stück neuer Arbeit aus antiker Säulentrommel, wieder antikes Relief: römische Soldaten, Garden und Legionare stehen und schauten unzweifelhaft zu ihrem auf dem Tribunal stehenden Imperator hinauf, zu dem von rechts eine Schaar vollbekleideter Barbaren unterwürfig sich drängen, mehrfach mit noch kenntlichem langem Kinnbart, der letzte mit von der Eile flatterndem Mantel über dem Fenster, unter welchem ein moderner Flicken stört.
It is not until after a piece of modern work on an antique column drum that we again come upon antique relief in the middle of 124 A: Roman soldiers, Guards and legionaries standing and undoubtedly looking up at their Imperator standing on the tribunal, on whose right side a group of fully clothed barbarians are crowding submissively toward him, in several cases with long beards, the last one with a cloak fluttering in haste above the window, with a jarring note introduced by a modern patch beneath it.
Scene CXV (p.94)
Des trennenden Fensters wegen, und weil dort schon die Soldaten unter dem Tribunal zugegen waren, gehören die Garden und Legionare, mit dem vexillum voran, (vgl. LXIX) als Führer zu den über eine Schiffbrücke Gehenden. Zur Übersiedelung in ein anderes Land abgeführt, schreiten sie traurig hinter ihrem mit einer Binde um das Haar geschmückten (vgl. Taf. 59, 16) auf ungesatteltem zaumlosem Maultier reitenden Häuptling einher, Frauen 7, 8, 10 und Männer 9, 11, 13, auf schon niedriger werdendem Reliefstreifen. Obgleich der, auf den Böten der Brücke fehlende, Fussboden unter den Füssen des Pferdes von 16 sichtbar wird, als aus quergelegten Brettern bestehend, deren Fugen mit Leisten, behufs sicheres Auftritts (?) bedeckt sind, deutlich zu den Pontons sich hinaufziehend, scheint doch der rechtshin stehende Römer 15 anzudeuten, dass der Reiter 16, der auf einem Rosse mit Zügel reitet aber ohne Sattel, einen neuen Zug eröffnet. Jener Maultierreiter 5 hat ebenso germanischen Typus, wie der folgende zu Ross 16 am Bart, und gar sein Hintermann 17 im ganzen Gesicht als ungermanisch, fast möchte man sagen mongolisch erscheinen. Von drei Römern geleitet, folgen dem Reiter zwei Ochsenwagen (vom zweiten nur etwas von den Ochsen sichtbar, die In sassen vielleicht einst über 1, 2) : auf dem ersten eine sitzende und eine neben ihr stehende Frau, beide mit Gewand über dem Kopf.
Given the dividing window and because the soldiers were already present below the tribunal, the Guards and legionaries, with the vexillum in the lead (cf. LXIX), belong as guides to those crossing over on a pontoon bridge. Led away for resettlement in another country, they walk along sadly behind a chieftain, his hair tied with a ribbon (cf. Plates 59, 16), riding on an unsaddled, unbridled mule: women 7, 8, 10 and men 9, 11, 13 on a relief band that is already narrowing. Although the floorboards that are missing from the top of the bridge pontoons become visible under the hooves of 16’s horse as boards laid down crosswise extending clearly up to the pontoons, the spaces between the boards covered with strips for better traction(?), the Roman 15 standing off to the right seems to indicate that 16, riding a bridled but unsaddled horse, opens a new procession. That mule rider 5 has about as much Germanic traits as the one following on the horse 16 judging by his beard and even more so the man behind him 17 that looks non-Germanic if not almost Mongolian. Following the rider and led by three Romans are two ox wagons (of the second only the oxen are visible, with the passenger perhaps erstwhile above 1, 2), a woman sitting on the first one and one standing next to her, both with garments covering their heads.
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Author: Petersen, Eugen (Eugen Adolf Hermann), 1836-1919.
Title: Die Marcus-säule auf Piazza Colonna in Rom, herausgegeben von Eugen Petersen, Alfred von Domaszewski, Guglielmo Calderini; mit CXXVIII Tafeln folio.
Format: Book
Published: München, F. Bruckmann a.g., 1896.
Description: 125 p. illus. (incl. ports., map) 39 cm. and atlas of 128 mounted pl. 50 cm.
Other contributors: Domaszewski, Alfred von, 1856-1927. Calderini, Guglielmo, 1837-1916. Mommsen, Theodor, 1817-1903.
Contents: Einleitung, von E. Petersen.--Der Marcomanen-krieg unter Kaiser Marcus, von T. Mommsen.--L'architettura della colonna, da G. Calderini.--Beschreibung der Bildwerke, von E. Petersen.--Erläuterung der Bildwerke, von A. von Domaszewski.
Subject headings: Column of Marcus Aurelius (Rome, Italy)