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Aura Cacia, a division of Frontier partners with Goodwill Contract Services division for packing, inspecting and labeling of their essential oil products.
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New @prichards1995 #ScaniaXT R500 tag #SuppliedByKeltruck
#TomPrichardContracting #TomPrichard #Llantrisant #Wales #SouthWales #Cymru #CF72 prichardholdings.co.uk #ScaniaTough
Spec & order your new #Scania at keltruckscania.com/sales
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Another #TomPrichardContracting #Scania delivery. A bit wet for driver training but all went ahead and the sweeping begins #KeepWalesTidy #Sweeper #TomPrichard #Llantrisant #Wales #SouthWales #Cymru #CF72
#SuppliedByKeltruck keltruckscania.com/suppliedbykeltruck
KMP had five of these VW LT Optare Citypacers for use on the Electric Mountain visitor contract. They were painted in the green liveru of National Grid. Photo taken 22/04/90
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Another #TomPrichardContracting #Scania delivery. A bit wet for driver training but all went ahead and the sweeping begins #KeepWalesTidy #Sweeper #TomPrichard #Llantrisant #Wales #SouthWales #Cymru #CF72
#SuppliedByKeltruck keltruckscania.com/suppliedbykeltruck
First West of England’s 33937 YX66 WEA with 33942 YX66 WEK behind it pictured at Brislington Park and Ride both working P&R Circulars into Bristol City Centre merely weeks before the contract shifted over to Stagecoach.
MAZZALI Contract: “LA STECCA”, residenza universitaria di Imt Alti Studi Lucca
"La Stecca", l'imponente immobile originariamente parte del complesso del convento di San Francesco, è sede dell’ IMT (Istituzioni, Mercati, Tecnologie) Istituto di Alti Studi , un istituto statale di istruzione universitaria, di ricerca e di alta formazione.
Mazzali ha realizzato:
100 camere residenziali per docenti, ricercatori e studenti.
16 spazi ufficio e multimediali.
MAZZALI Contract : “ LA STECCA ” IMT campus, Lucca.
IMT is an Institute for Advanced Studies that aims to push the frontiers of knowledge and to contribute to the formation of international professional elites for business and institutions.
Mazzali made:
N° 100 short to medium term housing bedrooms for professors, students and visitors;
N° 16 office spaces for faculty and staff
The beautifully and painstakingly restored complex includes the San Francesco Church (to be used for major events), the Guinigi Chapel (for seminars and smaller events), the "Sala delle Colonne" (for seminars and meetings), classrooms, residential facilities for students, short- to medium-term housing for visiting faculty, office spaces for faculty and staff, the canteen, and numerous internal and external areas for study and socialization. PhD students who qualify for a scholarship are offered free housing in the San Francesco complex, while all students and faculty have free access to the canteen.
The Sherry-Netherland
781 Fifth Avenue
New York, NY 10022
The hotels first four floors are travertine marble with three two-story monumental arched windows facing Fifth Avenue. The cornice and balustrade sit over the third floor.
------------------------
The Early Years
The hotel site at the corner of Fifth Avenue and East 59th Street in Manhattan had been occupied by the New Netherland, built by William Waldorf Astor. The chateau like apartment tower facing Fifth Avenue was designed by William H. Hume. Its name came from New Netherland - the name given to a portion of the East Coast of North America by the Dutch Republic. The New Netherland's provincial capital was New Amsterdam which was located at the southern tip of the island of Manhattan.
The New Netherland was completed in 1892. The neo-Romanesque steel-framed building was 17 stories (234 feet) and claimed to be the "tallest hotel structure in the world" when it opened.
Developer Samuel Keller Jacobs began demolition of the New Netherland in 1926. Replacing it was a new tower apartment hotel occupying the same footprint and frontage on Fifth Avenue. Jacobs contracted with the architect firm Schultze & Weaver to work with high-rise specialist Buchman & Kahn.
Originally it was to be a 36-story transient hotel to have the same name - New Netherland. The Grand Army Plaza area was becoming a fashionable area. The Fifth Avenue mansions were giving way to high rise apartment hotels. It was decided to have Schultze & Weaver design a building to insure the wealthy residents of the area could continue their grand life style - but in a high rise apartment. During the construction Jacobs sold the hotel to Louis Sherry, Inc., a subsidiary of Boomer-duPont Properties Corporation. Lucius Boomer was a noted hotel operator and was also affiliated with the Waldorf=Astoria Hotel. Boomer was one of the early endowers to the Cornell Hotel School who made its establishment possible.
Louis Sherry (1855-1926) owned Sherry's an extremely successful and regaled restaurant and caterer located at Forty Third Street and Fifth Avenue. Sherry thought it best to close his restaurant business due to prohibition (which commenced in 1920) and what Sherry described as "war-born Bolshevism". The NY Times quoted Sherry "I am not at the point where I cannot increase my staff of waiters without admitting Bolsheviki, but I will not submit my patrons to have their food thrown at them."
Sherry and Lucius M. Boomer formed a new corporation (Louis Sherry, Inc.) with the intent to continue the ice cream, candy and catering business and also provide catering services for the Waldorf Astoria Hotel. Boomer was the chairman of the board for the original Waldorf-Astoria at Fifth Avenue and was also the original owner of Boston's Lenox Hotel.
Lucius Boomer renamed the hotel - The Sherry-Netherland - in anticipation of cashing in on the Sherry name known for its high standards of food and service. Louis Sherry died shortly before his name became associated with the new venture. An early brochure for the hotel states: "The Sherry tradition of perfection is drilled into every member of the personnel."
Also taking its name from Louis Sherry is the Sherry-Lehmann Wine and Spirits company. Their first store was in the Louis Sherry Building on Madison at 62nd. The store took its name from the name of the building - not the fortified wine of Spain.
During construction the hotel's upper floors suffered a fire that was visible from as far away as Long Island. The $10 million 165 apartment hotel was finished in 1927 and at 38-storys was known for a while as the tallest apartment hotel in New York City and the world.
At the time of the hotel's construction, the Vanderbilt mansion on Fifth Avenue (now the site of Bergdorf Goodman) was being demolished. Two limestone reliefs from that mansion were installed in the Sherry's entrance vestibule. The ornamental friezes by sculptor Karl Bitter depict a group of girls.
Because of Prohibition, the Sherry was designed with smaller public restaurant square footage than other pre-War hotels. Its lobby also designed small - which allowed for maximum street side store rentals. It was reported by the NY Times that a single apartment in 1927 at the Sherry-Netherland rented for a low of $1,600 per month and up to $6,500 per month.
The Architects: Schultz & Weaver together with Buchman and Kahn
Schultz & Weaver were best known for design work on hotels, including the Hotel Lexington, Hotel Pierre and the Waldorf-Astoria Hotel. The firm’s first completed hotel was the Los Angeles Biltmore now known as the Millennium Biltmore Hotel Los Angeles.
The hotel's design is noted for its high peaked roof topped with an elaborate Gothic minaret, or fleche. The spire top houses the water tank and even has an observation balcony. Gargoyles protrude from its crown.
According to the 1981 Upper East Side Historic District Designation Report the architecture style contains elements of neo-Romanesque and neo-Gothic styles. It is a 38-story hotel with stone and dark brown brick facing. The first four floors are travertine marble with three two-story monumental arched windows facing Fifth Avenue. The cornice and balustrade sit over the third floor. The building setbacks begin on the seventeenth leading to a slender tower crowned with a fleche. The setbacks allowed for spacious outdoor private terraces beginning on the eighteenth floor. Single apartments occupied the entire floors from the 24th floor to the 37th floor.
The minaret distinguishes the building as one of the most recognized hotel profiles in New York City.
Little of the building's architecture has changed since the Sherry-Netherland opened its doors in 1927. The canopy entrance, adorned with the hotel's famous landmark clock and four Italianate lanterns, is guarded by gargoyles on the 37-story Baroque tower. The recently restored vaulted lobby was modeled after the Vatican library. Striking features include sculptured panels from the Vanderbilt Mansion, Louis XV chairs, lavish chandeliers and elaborately designed marble floors with French carpets.
The Sherry Netherland’s frontage is elegant, adorned with griffins holding four hanging lanterns on the façade and a sidewalk clock that is gilded in genuine gold leaf.
Two Big Hotel Hold-ups - 1974 and 1977
On December 9, 1974 a team of five bandits took over the Sherry Netherland hotel for two hours and looted safety deposit boxes of more than $900,000 in cash and valuables. The robbers entered the hotel at 3.25AM and handcuffed 11 employees and 2 hotel guests. General Manager Philip Landau described the heist as "a gentlemen's robbery". The robbers used crowbars and screwdrivers to force open about 40 safe deposit boxes. The police reported the robbers seemed to know which drawers would contain the most bounty.
On October 10, 1977 four men walked into the Sherry Netherland's lobby, pulled guns, handcuffed four employees and made off with cash and gems (some belonging to super star Diana Ross) from the hotel' vaults. The haul could have been worth up to $1 million. The robbery was the second in less than three years at the Sherry Netherland.
No one was injured in the holdup before dawn Monday at the Fifth Avenue hotel, which was the scene of a similar stickup in 1974 that netted some $900,000 from the safe deposit boxes containing valuables of the hotel's wealthy clientele.
According to police reports the hotel lobby was empty when the four heavyset men, dressed in business suits and wearing wigs and false mustaches, entered about 4:30 a.m. They walked up to the desk, pulled handguns and herded night manager Robert Clancey and three other employees into a storage room where they were handcuffed and left inside. As the night security man was "making his rounds on the upper floors, the bandits spent the next 45 minutes prying open more than 100 of the 154 small safety deposit boxes in the vault room.
Hotel general manager Philip Landau said after the robbers finished, they went back to the storage room where Clancey, bellman Steve McPartland, night auditor William Farragher and porter Jay Morton were handcuffed and told them not to move for 10 minutes.
Professional burglars Samuel Nalo and Robert Comfort were the significant ring leaders for several New York City hotel heists in the 1970's.
The Later Years
In 1949 The Sherry Netherland was offered to two financiers, Floyd Odlum and Boyd Hatch at an attractive price. They named Serge Obolensky president of the holding company, hiring him away from Hilton which operated the Plaza across the street at that time.
During the early 1950's Serge Obolensky focused on the Sherry's profitability and the Carnaval Room- the hotel's supper club. As the talent buyer he contracted with night club performers such as Helene Francis and James Symington (a future U.S Senator from Missouri).
Childs Restaurants acquired 90% of the stock in Louis Sherry, Inc. (but not the hotel) from Mrs. Lucius M. Boomer in 1950 for more than $2,000,000.
In 1954 the Sherry Netherland's 165 apartments were converted to cooperatives. Today the hotel has approximately 97 co-op residences and 53 hotel room/suites. Co-op owners have the option of putting their apartment in the hotel rental pool while not in use or, “opt out” and use as full-time home. According to hausfitzgerald.com residents of the Sherry-Netherland over the years include Jack Warner, the head of Warner Brothers, Claire Boothe Luce, Diana Ross, Francis Ford Coppola and more recently Judith Sheindlin (Judge Judy).
The Sherry Netherland shares the block with the luxury cooperative apartment building, Park V at 785 Fifth Avenue. Usually called the Park Cinq, the eighteen-story building was constructed by the Fisher Brothers developers in 1960.
From 1965 to 1972 Jerry Brody (Club Caterers) operated the L’Etoile and the Cafe Bar at the Sherry-Netherland. Jerry Brody was Restaurant Associates founding president and recruited Joe Baum in 1953 to work the Newarker, the white table cloth restaurant at the Newark Airport.
In October 1968, the exclusive disco Raffles opened in the basement of the Sherry-Netherland. Jerry Brody was the club's owner and Earl Blackwell managed the membership. Raffles occupied the space known as the Carnaval Room where Sere Obolensky had presided.
In 1975 real estate developer Joe Norban (a co-op owner) took over the nightclub hidden away in the belly of the Sherry-Netherland hotel. He named it Doubles and envisioned a private club - with backgammon games, dining and dancing. Daughter Wendy Carduner took over in 1982 and has sustained her father’s vision and grown the non-profit private club to 2,500 members. Doubles' longevity is attributed to being consistent, never being snobbish, and having all kinds of members. Doubles' Executive Chef is Steven Mellina who previously served at The Manhattan Ocean Club and The Helmsley Palace Hotel.
In 1985, Lord Charles Forte, with Trusthouse Forte wanted to open a restaurant on the ground floor of New York’s Sherry-Netherland Hotel. Forte and his son, Rocco, thought a Harry’s Bar–style restaurant in the building would persuade the owners to let their company, Trusthouse Forte, take over the management of the hotel. The Fortes flew Arrigo Cipriani to New York to check out the Fifth Avenue location. As soon as Arrigo saw the existing restaurant, called Le Petit Café, with its windows facing Central Park, he knew it was the perfect spot for what would be called Harry Cipriani.
So, at the former site of Le Petit Cafe, Giuseppe Cipriani, who founded Harry's Bar in Venice in 1931, opened the street side Harry's Bar at the Sherry Netherland in 1985. Following a brief eviction the family returned to the hotel in 1987 with the restaurant - Harry Cipriani. This restaurant is almost an exact duplicate of the original Harry's Bar in Venice. It’s the sky-high prices that keep this jet setter’s restaurant so exclusive. In 2011 its house drink, The Bellini, costs $19.95. In 2007 the NY Times food critic Frank Bruni said the only thing compelling about Harry Cipriani's is the prices.
Philip Landau was the general manager of the Sherry Netherland for 35 years - 1957 to 1982.
Louis N. Ventresca was the Executive Vice President and Chief Operating Officer of the Sherry Netherland for over 20 years. He died at the age of 58 in 2003. He joined the Sherry Netherland Hotel in 1980 following stints at with PKF and Princess Hotels International.
In February, 2004 Michael Littler was appointed Executive Vice President and Chief Operating Officer at the Sherry-Netherland. Littler was the General Manager of the Four Seasons Philadelphia and for eleven year the general manager at the Millennium Broadway.
Michael Ullman was appointed Executive Vice President and Chief Operating Officer of the Sherry Netherland Hotel in April, 2010. Previously he was the Managing Director of the La Valencia Hotel in La Jolla, California from 1995 to 2008. Ullman has served as General Manager at the Ihilani in Hawaii and the Beverly Hills Hotel.
Theresa Nocerino has been the Sherry Netherland's Managing Director and Licensed Real Estate Agent from 1985 to present.
Text and photos compiled by Dick Johnson
December 2011
richardlloydjohnson@hotmail.com
Hanuman was born to the humanoid creatures called the vanaras. His mother Anjana was an apsara who was born on earth as a female vanara due to a curse. She was redeemed from this curse on her giving birth to a son. The Valmiki Ramayana states that his father Kesari was the son of Brihaspati and that Kesari also fought on Rama's side in the war against Ravana.[10] Anjana and Kesari performed intense prayers to Shiva to get a child. Pleased with their devotion, Shiva granted them the boon they sought.[11] Hanuman, in another interpretation, is the incarnation or reflection of Shiva himself.
Hanuman is often called the son of the deity Vayu; several different traditions account for the Vayu's role in Hanuman's birth. One story mentioned in Eknath's Bhavartha Ramayana (16th century CE) states that when Anjana was worshiping Shiva, the King Dasharatha of Ayodhya was also performing the ritual of Putrakama yagna in order to have children. As a result, he received some sacred pudding (payasam) to be shared by his three wives, leading to the births of Rama, Lakshmana, Bharata, and Shatrughna. By divine ordinance, a kite snatched a fragment of that pudding and dropped it while flying over the forest where Anjana was engaged in worship. Vayu, the Hindu deity of the wind, delivered the falling pudding to the outstretched hands of Anjana, who consumed it. Hanuman was born to her as a result.[10][12] Another tradition says that Anjana and her husband Kesari prayed Shiva for a child. By Shiva's direction, Vayu transferred his male energy to Anjana's womb. Accordingly, Hanuman is identified as the son of the Vayu.
Another story of Hanuman's origins is derived from the Vishnu Purana and Naradeya Purana. Narada, infatuated with a princess, went to his lord Vishnu, to make him look like Vishnu, so that the princess would garland him at swayamvara (husband-choosing ceremony). He asked for hari mukh (Hari is another name of Vishnu, and mukh means face). Vishnu instead bestowed him with the face of a vanara. Unaware of this, Narada went to the princess, who burst into laughter at the sight of his ape-like face before all the king's court. Narada, unable to bear the humiliation, cursed Vishnu, that Vishnu would one day be dependent upon a vanara. Vishnu replied that what he had done was for Narada's own good, as he would have undermined his own powers if he were to enter matrimony. Vishnu also noted that Hari has the dual Sanskrit meaning of vanara. Upon hearing this, Narada repented for cursing his idol. But Vishnu told him not repent as the curse would act as a boon, for it would lead to the birth of Hanuman, an avatar of Shiva, without whose help Rama (Vishnu's avatar) could not kill Ravana.
Birth place[edit]Multiple places in India are claimed as the birthplace of Hanuman.
According to one theory, Hanuman was born on 'Anjaneya Hill', in Hampi, Karnataka.[13] This is located near the Risyamukha mountain on the banks of the Pampa, where Sugreeva and Rama are said to have met in Valmiki Ramayana's Kishkinda Kanda. There is a temple that marks the spot. Kishkinda itself is identified with the modern Anekundi taluk (near Hampi) in Bellary district of Karnataka.[citation needed]
Anjan, a small village about 18 km away from Gumla, houses "Anjan Dham", which is said to be the birthplace of Hanuman.[14] The name of the village is derived from the name of the goddess Anjani, the mother of Hanuman. Aanjani Guha (cave), 4 km from the village, is believed to be the place where Anjani once lived. Many objects of archaeological importance obtained from this site are now held at the Patna Museum.
The Anjaneri (or Anjneri) mountain, located 7 km from Trimbakeshwar in the Nasik district, is also claimed as the birthplace of Hanuman.[15]
According to Anjan Dham, Hanuman was born on Lakshka Hill near Sujangarh in Churu district, Rajasthan.[16]
Childhood[edit]
Hanuman Mistakes the Sun for a Fruit by BSP PratinidhiAs a child, believing the sun to be a ripe mango, Hanuman pursued it in order to eat it. Rahu, a Vedic planet corresponding to an eclipse, was at that time seeking out the sun as well, and he clashed with Hanuman. Hanuman thrashed Rahu and went to take sun in his mouth.[17] Rahu approached Indra, king of devas, and complained that a monkey child stopped him from taking on Sun, preventing the scheduled eclipse. This enraged Indra, who responded by throwing the Vajra (thunderbolt) at Hanuman, which struck his jaw. He fell back down to the earth and became unconscious. A permanent mark was left on his chin (हनुः hanuḥ "jaw" in Sanskrit), due to impact of Vajra, explaining his name.[10][18] Upset over the attack, Hanuman's father figure Vayu deva (the deity of air) went into seclusion, withdrawing air along with him. As living beings began to asphyxiate, Indra withdrew the effect of his thunderbolt. The devas then revived Hanuman and blessed him with multiple boons to appease Vayu.[10]
Brahma gave Hanuman a boon that would protect him from the irrevocable Brahma's curse. Brahma also said: "Nobody will be able to kill you with any weapon in war." From Brahma he obtained the power of inducing fear in enemies, of destroying fear in friends, to be able to change his form at will and to be able to easily travel wherever he wished. From Shiva he obtained the boons of longevity, scriptural wisdom and ability to cross the ocean. Shiva assured safety of Hanuman with a band that would protect him for life. Indra blessed him that the Vajra weapon will no longer be effective on him and his body would become stronger than Vajra. Varuna blessed baby Hanuman with a boon that he would always be protected from water. Agni blessed him with immunity to burning by fire. Surya gave him two siddhis of yoga namely "laghima" and "garima", to be able to attain the smallest or to attain the biggest form. Yama, the God of Death blessed him healthy life and free from his weapon danda, thus death would not come to him. Kubera showered his blessings declaring that Hanuman would always remain happy and contented. Vishwakarma blessed him that Hanuman would be protected from all his creations in the form of objects or weapons. Vayu also blessed him with more speed than he himself had. Kamadeva also blessed him that the sex will not be effective on him.So his name is also Bala Bramhachari.[citation needed]
On ascertaining Surya to be an all-knowing teacher, Hanuman raised his body into an orbit around the sun and requested to Surya to accept him as a student. Surya refused and explained claiming that he always had to be on the move in his chariot, it would be impossible for Hanuman to learn well. Undeterred, Hanuman enlarged his form, with one leg on the eastern ranges and the other on the western ranges, and facing Surya again pleaded. Pleased by his persistence, Surya agreed. Hanuman then learned all of the latter's knowledge. When Hanuman then requested Surya to quote his "guru-dakshina" (teacher's fee), the latter refused, saying that the pleasure of teaching one as dedicated as him was the fee in itself. Hanuman insisted, whereupon Surya asked him to help his (Surya's) spiritual son Sugriva. Hanuman's choice of Surya as his teacher is said to signify Surya as a Karma Saakshi, an eternal witness of all deeds. Hanuman later became Sugriva's minister.[10][19]
Hanuman was mischievous in his childhood, and sometimes teased the meditating sages in the forests by snatching their personal belongings and by disturbing their well-arranged articles of worship. Finding his antics unbearable, but realizing that Hanuman was but a child, (albeit invincible), the sages placed a mild curse on him by which he became unable to remember his own ability unless reminded by another person. The curse is highlighted in Kishkindha Kanda and he was relieved from the curse by the end of Kishkindha Kanda when Jambavantha reminds Hanuman of his abilities and encourages him to go and find Sita and in Sundara Kanda he used his supernatural powers at his best.[10]
Adventures in Ramayana[edit]The Sundara Kanda, the fifth book in the Ramayana, focuses on the adventures of Hanuman.
Meeting with Rama[edit]
Rāma and Lakṣmaṇa meeting Hanumān at RishyamukhaHanuman meets Rama during the Rama's 14-year exile.[20] With his brother Lakshmana, Rama is searching for his wife Sita who had been abducted by Ravana. Their search brings them to the vicinity of the mountain Rishyamukha, where Sugriva, along with his followers and friends, are in hiding from his older brother Vali.
Having seen Rama and Lakshmana, Sugriva sends Hanuman to ascertain their identities. Hanuman approaches the two brothers in the guise of a brahmin. His first words to them are such that Rama says to Lakshmana that none could speak the way the brahmin did unless he or she had mastered the Vedas. He notes that there is no defect in the brahmin's countenance, eyes, forehead, brows, or any limb. He points out to Lakshmana that his accent is captivating, adding that even an enemy with sword drawn would be moved. He praises the disguised Hanuman further, saying that sure success awaited the king whose emissaries were as accomplished as he was.[20]
When Rama introduces himself, the brahman identitifies himself as Hanuman and falls prostrate before Rama, who embraces him warmly. Thereafter, Hanuman's life becomes interwoven with that of Rama. Hanuman then brings about friendship and alliance between Rama and Sugriva; Rama helps Sugriva regain his honour and makes him king of Kishkindha. Sugriva and his vanaras, most notably Hanuman, help Rama defeat Raavana and reunite with Sita.
In their search for Sita, a group of Vanaras reaches the southern seashore. Upon encountering the vast ocean, every vanara begins to lament his inability to jump across the water. Hanuman too is saddened at the possible failure of his mission, until the other vanaras and the wise bear Jambavantha begin to extol his virtues. Hanuman then recollects his own powers, enlarges his body, and flies across the ocean. On his way, he encounters a mountain that rises from the sea, proclaims that it owed his father a debt, and asks him to rest a while before proceeding. Not wanting to waste any time, Hanuman thanks the mountain and carries on. He then encounters a sea-monster, Surasa, who challenges him to enter her mouth. When Hanuman outwits her, she admits that her challenge was merely a test of his courage. After killing Simhika, a rakshasa, he reaches Lanka.
Finding Sita[edit]
Hanuman finds Sita in the ashoka grove, and shows her Rama's ringHanuman reaches Lanka and marvels at its beauty. After he finds Sita in captivity in a garden, Hanuman reveals his identity to her, reassures her that Rama has been looking for her, and uplifts her spirits. He offers to carry her back to Rama, but she refuses his offer, saying it would be an insult to Rama as his honour is at stake. After meeting Sita, Hanuman begins to wreak havoc, gradually destroying the palaces and properties of Lanka. He kills many rakshasas, including Jambumali and Aksha Kumar. To subdue him, Ravana's son Indrajit uses the Brahmastra. Though immune to the effects of this weapon Hanuman, out of respect to Brahma, allows himself be bound. Deciding to use the opportunity to meet Ravana, and to assess the strength of Ravana's hordes, Hanuman allows the rakshasa warriors to parade him through the streets. He conveys Rama's message of warning and demands the safe return of Sita. He also informs Ravana that Rama would be willing to forgive him if he returns Sita honourably.
Enraged, Ravana orders Hanuman's execution, whereupon Ravana's brother Vibhishana intervenes, pointing out that it is against the rules of engagement to kill a messenger. Ravana then orders Hanuman's tail be lit afire. As Ravana's forces attempted to wrap cloth around his tail, Hanuman begins to lengthen it. After frustrating them for a while, he allows it to burn, then escapes from his captors, and with his tail on fire he burns down large parts of Lanka. After extinguishing his flaming tail in the sea, he returns to Rama.
Shapeshifting[edit]In the Ramayana Hanuman changes shape several times. For example, while he searches for the kidnapped Sita in Ravana's palaces on Lanka, he contracts himself to the size of a cat, so that he will not be detected by the enemy. Later on, he takes on the size of a mountain, blazing with radiance, to show his true power to Sita.[21]
Also he enlarges & immediately afterwards contracts his body to out-wit Sirsa, the she-demon, who blocked his path while crossing the sea to reach Lanka. Again, he turns his body microscopically small to enter Lanka before killing Lankini, the she-demon guarding the gates of Lanka.
He achieved this shape-shifting by the powers of two siddhis; Anima and Garima bestowed upon him in his childhood by Sun-God, Surya.
Mountain Lifting[edit]
Hanuman fetches the herb-bearing mountain, in a print from the Ravi Varma Press, 1910sWhen Lakshmana is severely wounded during the battle against Ravana, Hanuman is sent to fetch the Sanjivani, a powerful life-restoring herb, from Dronagiri mountain in the Himalayas, to revive him. Ravana realises that if Lakshmana dies, a distraught Rama would probably give up, and so he dispatches the sorcerer Kalanemi to intercept Hanuman.[22] Kalanemi, in the guise of a sage, deceives Hanuman, but Hanuman uncovers his plot with the help of an apsara, whom he rescues from her accursed state as a crocodile.[22]
Ravana, upon learning that Kalanemi has been slain by Hanuman, summons Surya to rise before its appointed time because the physician Sushena had said that Lakshmana would perish if untreated by daybreak. Hanuman realizes the danger, however, and, becoming many times his normal size, detains the Sun God to prevent the break of day. He then resumes his search for the precious herb, but, when he finds himself unable to identify which herb it is, he lifts the entire mountain and delivers it to the battlefield in Lanka. Sushena then identifies and administers the herb, and Lakshmana is saved. Rama embraces Hanuman, declaring him as dear to him as his own brother. Hanuman releases Surya from his grip, and asks forgiveness, as the Sun was also his Guru.
Hanuman was also called "langra veer"; langra in Hindi means limping and veer means "brave". The story behind Hanuman being called langra is as follows. He was injured when he was crossing the Ayodhya with the mountain in his hands. As he was crossing over Ayodhya, Bharat, Rama's young brother, saw him and assumed that some Rakshasa was taking this mountain to attack Ayodhya. Bharat then shot Hanuman with an arrow, which was engraved with Rama's name. Hanuman did not stop this arrow as it had Rama's name written on it, and it injured his leg. Hanuman landed and explained to Bharat that he was moving the mountain to save his own brother, Lakshmana. Bharat, very sorry, offered to fire an arrow to Lanka, which Hanuman could ride in order to reach his destination more easily. But Hanuman declined the offer, preferring to fly on his own, and he continued his journey with his injured leg.
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Patala incident[edit]In another incident during the war, Rama and Lakshmana are captured by the rakshasa Mahiravana (or Ahiravan), brother of Ravana, who held them captive in their palace in Patala (or Patalpuri) --the netherworld. Mahiravana keeps them as offerings to his deity. Searching for them, Hanuman reaches Patala, the gates of which are guarded by a young creature called Makardhwaja (known also as Makar-Dhwaja or Magar Dhwaja), who is part reptile and part Vanara.
The story of Makardhwaja's birth is said to be that when Hanuman extinguished his burning tail in the ocean, a drop of his sweat fell into the waters, eventually becoming Makardhwaja, who perceives Hanuman as his father. When Hanuman introduces himself to Makardhwaja, the latter asks his blessings, but fights him to fulfill the task of guarding the gate. Hanuman defeats and imprisons him to gain entry.
Upon entering Patala, Hanuman discovers that to kill Mahiravana, he must simultaneously extinguish five lamps burning in different directions. Hanuman assumes the Panchamukha or five-faced form of Sri Varaha facing north, Sri Narasimha facing south, Sri Garuda facing west, Sri Hayagriva facing the sky and his own facing the east, and blows out the lamps. Hanuman then rescues Rama and Lakshmana. Afterwards, Rama asks Hanuman to crown Makardhwaja king of Patala. Hanuman then instructs Makardhwaja to rule Patala with justice and wisdom.
To date Chandraloak Devpuri mandir is located at Dugana a small village 17 km from Laharpur,Sitapur district,Uttar Pradesh. A divine place where Chakleswar Mahadev situated.
Honours[edit]
Hanuman showing Rama in His heartShortly after he is crowned Emperor upon his return to Ayodhya, Rama decides to ceremoniously reward all his well-wishers. At a grand ceremony in his court, all his friends and allies take turns being honoured at the throne. Hanuman approaches without desiring a reward. Seeing Hanuman come up to him, an emotionally overwhelmed Rama embraces him warmly, declaring that he could never adequately honour or repay Hanuman for the help and services he received from the noble Vanara. Sita, however, insists that Hanuman deserved honour more than anyone else, and Sita gives him a necklace of precious stones adorning her neck.
When he receives it, Hanuman immediately takes it apart, and peers into each stone. Taken aback, many of those present demand to know why he is destroying the precious gift. Hanuman answers that he was looking into the stones to make sure that Rama and Sita are in them, because if they are not, the necklace is of no value to him. At this, a few mock Hanuman, saying his reverence and love for Rama and Sita could not possibly be as deep as he implies. In response, Hanuman tears his chest open, and everyone is stunned to see Rama and Sita literally in his heart.
Hanuman Ramayana[edit]
Hanuman beheads Trisiras-from The Freer RamayanaAfter the victory of Rama over Ravana, Hanuman went to the Himalayas to continue his worship of the Lord Rama. There he scripted a version of the Ramayana on the Himalayan mountains using his nails, recording every detail of Rama's deeds. When Maharishi Valmiki visited him to show him his own version of the Ramayana, he saw Hanuman's version and became very disappointed.
When Hanuman asked Valmiki the cause of his sorrow, the sage said that his version, which he had created very laboriously, was no match for the splendour of Hanuman's, and would therefore go ignored. At this, Hanuman discarded his own version, which is called the Hanumad Ramayana. Maharishi Valmiki was so taken aback that he said he would take another birth to sing the glory of Hanuman which he had understated in his version.
Later, one tablet is said to have floated ashore during the period of Mahakavi Kalidasa, and hung at a public place to be deciphered by scholars. Kalidasa is said to have deciphered it and recognised that it was from the Hanumad Ramayana recorded by Hanuman in an extinct script, and considered himself very fortunate to see at least one pada of the stanza.
After the Ramayana war[edit]After the war, and after reigning for several years, the time arrived for Rama to depart to his supreme abode Vaikuntha. Many of Rama's entourage, including Sugriva, decided to depart with him. Hanuman, however, requested from Rama that he will remain on earth as long as Rama's name was venerated by people. Sita accorded Hanuman that desire, and granted that his image would be installed at various public places, so he could listen to people chanting Rama's name. He is one of the immortals (Chiranjivi) of Hinduism.[23]
Mahabharata[edit]Hanuman is also considered to be the brother of Bhima, on the basis of their having the same father, Vayu. During the Pandavas' exile, he appears disguised as a weak and aged monkey to Bhima in order to subdue his arrogance. Bhima enters a field where Hanuman is lying with his tail blocking the way. Bhima, unaware of his identity, tells him to move it out of the way. Hanuman, incognito, refuses. Bhima then tries to move the tail himself but he is unable, despite his great strength. Realising he is no ordinary monkey, he inquires as to Hanuman's identity, which is then revealed. At Bhima's request, Hanuman is also said to have enlarged himself to demonstrate the proportions he had assumed in his crossing of the sea as he journeyed to Lanka and also said that when the war came, he would be there to protect the Pandavas. This place is located at Sariska National Park in the Alwar District of the State of Rajasthan and named as Pandupole(Temple of Hanuman ji).Pandupole is very famous tourist spot of Alwar.
During the great battle of Kurukshetra, Arjuna entered the battlefield with a flag displaying Hanuman on his chariot.[23] The incident that led to this was an earlier encounter between Hanuman and Arjuna, wherein Hanuman appeared as a small talking monkey before Arjuna at Rameshwaram, where Rama had built the great bridge to cross over to Lanka to rescue Sita. Upon Arjuna's wondering aloud at Rama's taking the help of monkeys rather than building a bridge of arrows, Hanuman challenged him to build a bridge capable of bearing him alone; Arjuna, unaware of the vanara's true identity, accepted. Hanuman then proceeded to repeatedly destroy the bridges made by Arjuna, who decided to take his own life. Vishnu then appeared before them both after originally coming in the form of a tortoise, chiding Arjuna for his vanity and Hanuman for making Arjuna feel incompetent. As an act of penitence, Hanuman decided to help Arjuna by stabilizing and strengthening his chariot during the imminent great battle. After, the battle of Kurukshetra was over, Krishna asked Arjuna, that today you step down the chariot before me. After Arjuna got down, Krishna followed him and thanked Hanuman for staying with them during the whole fight in the form of a flag on the chariot. Hanuman came in his original form, bowed to Krishna and left the flag, flying away into the sky. As soon as he left the flag, the chariot began to burn and turned into ashes. Arjuna was shocked to see this, then Krishna told Arjuna, that the only reason his chariot was still standing was because of the presence of Himself and Hanuman, otherwise, it would have burnt many days ago due to effects of celestial weapons thrown at it in the war.
According to legend, Hanuman is one of the four people to have heard the Bhagwad Gita from Krishna and seen his Vishvarupa (universal) form, the other three being Arjuna, Sanjaya and Barbarika, son of Ghatotkacha.
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Kara Livingston looks at the contract she signed with the moving company, Vanlines of America. (KOMU photo/Brandon Twichell)
This was what it looked like this morning when I put my contract
in the mailbox.
Now I'm off to lie still in a tube for two hours.
Wish me luck.
The CONTRACT of the ARCH……
The ARCH is a word and a structure that features prominently over the millennia……
ARCHES are used in building powerful word constructs and social control structures as well as being used extensively in ARCHitecture and civil engineering.
These power structures are always hierARCHical, often with a single entity at the top known as a monARCH.
The MASONIC control structure has certainly adopted this ARCHitecture and even pretends to be borne out of the stone mason fraternities.
In Gnosticism, ARCHons are the builders of the physical universe. Among the ARCHontics, Ophites, Sethians and in the writings of Nag Hammadi library, the ARCHons are rulers, each related to one of seven planets; they prevent souls from leaving the material realm.
The ARCHers – a long running program through history – not just the BBC….
'SOVEREIGN' - literally means to reign from above.
This is why the MonARCH of a country is referred to as 'Your HIGHNESS'
Then we have
MatriARCHs - a system of society or government ruled by a woman or women
PatriARCHs - a system of society or government in which the father or eldest male is head of the family and descent is reckoned through the male line.
OligARCHs - government by the few, especially despotic power exercised by a small and privileged group for corrupt or selfish purposes.
In these long-running and ARCHaic societal control structures we also have:
ARCH dukes and ARCH duchesses
ARCH bishops
ARCH deacons
ARCH druids
ARCHangels
ARCHitects
SquireARCHies - landowners collectively, especially when considered as a class having political or social influence
mARCHioness - a noblewoman with the rank of marquess, or the wife of a marquess.
mARCHer lords - A Marcher Lord was a noble appointed by the King of England to guard the border between England and Wales. A Marcher Lord was the English equivalent of a margrave or a marquis before the introduction of the title of "marquess" in Britain
ARCHimandrite - the superior of a large monastery or group of monasteries in the Orthodox Church
ARCHaeology or archeology is the study of human activity through the recovery and analysis of material culture. Archaeology is often considered a branch of socio-cultural anthropology, but archaeologists also draw from biological, geological, and environmental systems through their study of the past
TrierARCH - the title of officers who commanded a trireme in the classical Greek world. In Classical Athens, the title was associated with the trierarchy, one of the public offices or liturgies, which were filled by wealthy citizens for a year
HagiARCHy - government by saints, holy men, or men in holy orders
AutARCHic - having and exercising complete political power and control: absolute, absolutistic, arbitrary, autarchical, autocratic, autocratical, despotic, dictatorial, monocratic, totalitarian, tyrannic, tyrannical, tyrannous
HeptARCHy - a collective name applied to the seven kingdoms of Anglo-Saxon England from the Anglo-Saxon settlement of Britain in the 5th century until the 8th century consolidation into the four kingdoms of Mercia, Northumbria, Wessex and East Anglia.
TetrARCHy - term adopted to describe the system of government of the ancient Roman Empire instituted by Roman Emperor Diocletian in 293, marking the end of the Crisis of the Third Century and the recovery of the Roman Empire
TheARCHy - rule by a god or gods
GynARCHy - rule by women or a woman.
ExARCHate - a Byzantine province governed by an exARCH
AnARCHy - a state of disorder due to lack of social structure
All this history was documented by ARCHivists – with old records being kept on pARCHment
At school we are not taught the true meaning of the ARCHway….
By passing through the ARCHway we may be unaware that we are entering into an agreement or contract where we are to be ruled over.
The ‘CONTRACT of the ARCH’ perhaps……
ARCANUM and ARCANA - mysterious or specialized knowledge, language, or information accessible or possessed only by the initiate.
ARCHES in Modern Culture….
The ARCHERS - a British BBC radio soap opera broadcast since 1951. Having aired over 19,300 episodes, it is the world's longest-running drama.
The ARCHERS is set in the fictional village of AmBRIDGE
ARCHing over us - the first ever flighted birds….
ARCHaeopteryx – a genus of bird-like feathered dinosaurs.
More famous ARCHes…
ARCHimedes (c. 287 – c. 212 BC)
Considered to be the greatest mathematician of ancient history, and one of the greatest of all time.
The Fields Medal for outstanding achievement in mathematics carries a portrait of ARCHimedes, along with a carving illustrating his proof on the sphere and the cylinder.
The inscription around the head of ARCHimedes is a quote attributed to him which reads in Latin: Transire suum pectus mundoque potiri.
'RISE ABOVE ONESELF AND GRASP THE WORLD’.
ARCHimedes, Freemasonry and the Moderns Grand Lodge Constitutions
Frontispiece to the 1723 Edition:
The 1723 edition is well-known for its elaborate frontispiece engraved by John Pine in 1723. It features a classical arcade of John Montagu, the Second Duke of Montagu (Knight of the Garter #532), and the Grand Master of the Grand Lodge of England (1721-1723), passing the scroll of the "Constitutions" to his 1723 successor, Philip Warton, First Duke of Wharton. Both are attended by their officers. Apollo, god of the sun, charges above in his chariot, symbolizing the meridian height. Behind the gathering is a passageway framed by walls of water - evocative of the parting of the Red Sea.
The 47th proposition of Euclid, the traditional symbol of a past masters of a Masonic lodge, appears in the foreground. Below it, in Greek, is ARCHhimedes' famous exclamation: “Eureka!” (“I have found it!”)
eureka (English) - εύρηκα (Greek)
For more hidden knowledge see
In Abrahamic Religions, NOAH features as the tenth and last of the pre-Flood patriARCHs.
The story is all about the signs of the Zodiac - the Royal ARCH or ARK….
‘NOAH’S ARK of the COVENANT’ PDF Document Download Link:
pubastrology.files.wordpress.com/2021/10/noahs-ark-of-the...
_https://pubastrology.files.wordpress.com/2021/10/noahs-ark-of-the-covenant-revision-6.pdf
Hanuman was born to the humanoid creatures called the vanaras. His mother Anjana was an apsara who was born on earth as a female vanara due to a curse. She was redeemed from this curse on her giving birth to a son. The Valmiki Ramayana states that his father Kesari was the son of Brihaspati and that Kesari also fought on Rama's side in the war against Ravana.[10] Anjana and Kesari performed intense prayers to Shiva to get a child. Pleased with their devotion, Shiva granted them the boon they sought.[11] Hanuman, in another interpretation, is the incarnation or reflection of Shiva himself.
Hanuman is often called the son of the deity Vayu; several different traditions account for the Vayu's role in Hanuman's birth. One story mentioned in Eknath's Bhavartha Ramayana (16th century CE) states that when Anjana was worshiping Shiva, the King Dasharatha of Ayodhya was also performing the ritual of Putrakama yagna in order to have children. As a result, he received some sacred pudding (payasam) to be shared by his three wives, leading to the births of Rama, Lakshmana, Bharata, and Shatrughna. By divine ordinance, a kite snatched a fragment of that pudding and dropped it while flying over the forest where Anjana was engaged in worship. Vayu, the Hindu deity of the wind, delivered the falling pudding to the outstretched hands of Anjana, who consumed it. Hanuman was born to her as a result.[10][12] Another tradition says that Anjana and her husband Kesari prayed Shiva for a child. By Shiva's direction, Vayu transferred his male energy to Anjana's womb. Accordingly, Hanuman is identified as the son of the Vayu.
Another story of Hanuman's origins is derived from the Vishnu Purana and Naradeya Purana. Narada, infatuated with a princess, went to his lord Vishnu, to make him look like Vishnu, so that the princess would garland him at swayamvara (husband-choosing ceremony). He asked for hari mukh (Hari is another name of Vishnu, and mukh means face). Vishnu instead bestowed him with the face of a vanara. Unaware of this, Narada went to the princess, who burst into laughter at the sight of his ape-like face before all the king's court. Narada, unable to bear the humiliation, cursed Vishnu, that Vishnu would one day be dependent upon a vanara. Vishnu replied that what he had done was for Narada's own good, as he would have undermined his own powers if he were to enter matrimony. Vishnu also noted that Hari has the dual Sanskrit meaning of vanara. Upon hearing this, Narada repented for cursing his idol. But Vishnu told him not repent as the curse would act as a boon, for it would lead to the birth of Hanuman, an avatar of Shiva, without whose help Rama (Vishnu's avatar) could not kill Ravana.
Birth place[edit]Multiple places in India are claimed as the birthplace of Hanuman.
According to one theory, Hanuman was born on 'Anjaneya Hill', in Hampi, Karnataka.[13] This is located near the Risyamukha mountain on the banks of the Pampa, where Sugreeva and Rama are said to have met in Valmiki Ramayana's Kishkinda Kanda. There is a temple that marks the spot. Kishkinda itself is identified with the modern Anekundi taluk (near Hampi) in Bellary district of Karnataka.[citation needed]
Anjan, a small village about 18 km away from Gumla, houses "Anjan Dham", which is said to be the birthplace of Hanuman.[14] The name of the village is derived from the name of the goddess Anjani, the mother of Hanuman. Aanjani Guha (cave), 4 km from the village, is believed to be the place where Anjani once lived. Many objects of archaeological importance obtained from this site are now held at the Patna Museum.
The Anjaneri (or Anjneri) mountain, located 7 km from Trimbakeshwar in the Nasik district, is also claimed as the birthplace of Hanuman.[15]
According to Anjan Dham, Hanuman was born on Lakshka Hill near Sujangarh in Churu district, Rajasthan.[16]
Childhood[edit]
Hanuman Mistakes the Sun for a Fruit by BSP PratinidhiAs a child, believing the sun to be a ripe mango, Hanuman pursued it in order to eat it. Rahu, a Vedic planet corresponding to an eclipse, was at that time seeking out the sun as well, and he clashed with Hanuman. Hanuman thrashed Rahu and went to take sun in his mouth.[17] Rahu approached Indra, king of devas, and complained that a monkey child stopped him from taking on Sun, preventing the scheduled eclipse. This enraged Indra, who responded by throwing the Vajra (thunderbolt) at Hanuman, which struck his jaw. He fell back down to the earth and became unconscious. A permanent mark was left on his chin (हनुः hanuḥ "jaw" in Sanskrit), due to impact of Vajra, explaining his name.[10][18] Upset over the attack, Hanuman's father figure Vayu deva (the deity of air) went into seclusion, withdrawing air along with him. As living beings began to asphyxiate, Indra withdrew the effect of his thunderbolt. The devas then revived Hanuman and blessed him with multiple boons to appease Vayu.[10]
Brahma gave Hanuman a boon that would protect him from the irrevocable Brahma's curse. Brahma also said: "Nobody will be able to kill you with any weapon in war." From Brahma he obtained the power of inducing fear in enemies, of destroying fear in friends, to be able to change his form at will and to be able to easily travel wherever he wished. From Shiva he obtained the boons of longevity, scriptural wisdom and ability to cross the ocean. Shiva assured safety of Hanuman with a band that would protect him for life. Indra blessed him that the Vajra weapon will no longer be effective on him and his body would become stronger than Vajra. Varuna blessed baby Hanuman with a boon that he would always be protected from water. Agni blessed him with immunity to burning by fire. Surya gave him two siddhis of yoga namely "laghima" and "garima", to be able to attain the smallest or to attain the biggest form. Yama, the God of Death blessed him healthy life and free from his weapon danda, thus death would not come to him. Kubera showered his blessings declaring that Hanuman would always remain happy and contented. Vishwakarma blessed him that Hanuman would be protected from all his creations in the form of objects or weapons. Vayu also blessed him with more speed than he himself had. Kamadeva also blessed him that the sex will not be effective on him.So his name is also Bala Bramhachari.[citation needed]
On ascertaining Surya to be an all-knowing teacher, Hanuman raised his body into an orbit around the sun and requested to Surya to accept him as a student. Surya refused and explained claiming that he always had to be on the move in his chariot, it would be impossible for Hanuman to learn well. Undeterred, Hanuman enlarged his form, with one leg on the eastern ranges and the other on the western ranges, and facing Surya again pleaded. Pleased by his persistence, Surya agreed. Hanuman then learned all of the latter's knowledge. When Hanuman then requested Surya to quote his "guru-dakshina" (teacher's fee), the latter refused, saying that the pleasure of teaching one as dedicated as him was the fee in itself. Hanuman insisted, whereupon Surya asked him to help his (Surya's) spiritual son Sugriva. Hanuman's choice of Surya as his teacher is said to signify Surya as a Karma Saakshi, an eternal witness of all deeds. Hanuman later became Sugriva's minister.[10][19]
Hanuman was mischievous in his childhood, and sometimes teased the meditating sages in the forests by snatching their personal belongings and by disturbing their well-arranged articles of worship. Finding his antics unbearable, but realizing that Hanuman was but a child, (albeit invincible), the sages placed a mild curse on him by which he became unable to remember his own ability unless reminded by another person. The curse is highlighted in Kishkindha Kanda and he was relieved from the curse by the end of Kishkindha Kanda when Jambavantha reminds Hanuman of his abilities and encourages him to go and find Sita and in Sundara Kanda he used his supernatural powers at his best.[10]
Adventures in Ramayana[edit]The Sundara Kanda, the fifth book in the Ramayana, focuses on the adventures of Hanuman.
Meeting with Rama[edit]
Rāma and Lakṣmaṇa meeting Hanumān at RishyamukhaHanuman meets Rama during the Rama's 14-year exile.[20] With his brother Lakshmana, Rama is searching for his wife Sita who had been abducted by Ravana. Their search brings them to the vicinity of the mountain Rishyamukha, where Sugriva, along with his followers and friends, are in hiding from his older brother Vali.
Having seen Rama and Lakshmana, Sugriva sends Hanuman to ascertain their identities. Hanuman approaches the two brothers in the guise of a brahmin. His first words to them are such that Rama says to Lakshmana that none could speak the way the brahmin did unless he or she had mastered the Vedas. He notes that there is no defect in the brahmin's countenance, eyes, forehead, brows, or any limb. He points out to Lakshmana that his accent is captivating, adding that even an enemy with sword drawn would be moved. He praises the disguised Hanuman further, saying that sure success awaited the king whose emissaries were as accomplished as he was.[20]
When Rama introduces himself, the brahman identitifies himself as Hanuman and falls prostrate before Rama, who embraces him warmly. Thereafter, Hanuman's life becomes interwoven with that of Rama. Hanuman then brings about friendship and alliance between Rama and Sugriva; Rama helps Sugriva regain his honour and makes him king of Kishkindha. Sugriva and his vanaras, most notably Hanuman, help Rama defeat Raavana and reunite with Sita.
In their search for Sita, a group of Vanaras reaches the southern seashore. Upon encountering the vast ocean, every vanara begins to lament his inability to jump across the water. Hanuman too is saddened at the possible failure of his mission, until the other vanaras and the wise bear Jambavantha begin to extol his virtues. Hanuman then recollects his own powers, enlarges his body, and flies across the ocean. On his way, he encounters a mountain that rises from the sea, proclaims that it owed his father a debt, and asks him to rest a while before proceeding. Not wanting to waste any time, Hanuman thanks the mountain and carries on. He then encounters a sea-monster, Surasa, who challenges him to enter her mouth. When Hanuman outwits her, she admits that her challenge was merely a test of his courage. After killing Simhika, a rakshasa, he reaches Lanka.
Finding Sita[edit]
Hanuman finds Sita in the ashoka grove, and shows her Rama's ringHanuman reaches Lanka and marvels at its beauty. After he finds Sita in captivity in a garden, Hanuman reveals his identity to her, reassures her that Rama has been looking for her, and uplifts her spirits. He offers to carry her back to Rama, but she refuses his offer, saying it would be an insult to Rama as his honour is at stake. After meeting Sita, Hanuman begins to wreak havoc, gradually destroying the palaces and properties of Lanka. He kills many rakshasas, including Jambumali and Aksha Kumar. To subdue him, Ravana's son Indrajit uses the Brahmastra. Though immune to the effects of this weapon Hanuman, out of respect to Brahma, allows himself be bound. Deciding to use the opportunity to meet Ravana, and to assess the strength of Ravana's hordes, Hanuman allows the rakshasa warriors to parade him through the streets. He conveys Rama's message of warning and demands the safe return of Sita. He also informs Ravana that Rama would be willing to forgive him if he returns Sita honourably.
Enraged, Ravana orders Hanuman's execution, whereupon Ravana's brother Vibhishana intervenes, pointing out that it is against the rules of engagement to kill a messenger. Ravana then orders Hanuman's tail be lit afire. As Ravana's forces attempted to wrap cloth around his tail, Hanuman begins to lengthen it. After frustrating them for a while, he allows it to burn, then escapes from his captors, and with his tail on fire he burns down large parts of Lanka. After extinguishing his flaming tail in the sea, he returns to Rama.
Shapeshifting[edit]In the Ramayana Hanuman changes shape several times. For example, while he searches for the kidnapped Sita in Ravana's palaces on Lanka, he contracts himself to the size of a cat, so that he will not be detected by the enemy. Later on, he takes on the size of a mountain, blazing with radiance, to show his true power to Sita.[21]
Also he enlarges & immediately afterwards contracts his body to out-wit Sirsa, the she-demon, who blocked his path while crossing the sea to reach Lanka. Again, he turns his body microscopically small to enter Lanka before killing Lankini, the she-demon guarding the gates of Lanka.
He achieved this shape-shifting by the powers of two siddhis; Anima and Garima bestowed upon him in his childhood by Sun-God, Surya.
Mountain Lifting[edit]
Hanuman fetches the herb-bearing mountain, in a print from the Ravi Varma Press, 1910sWhen Lakshmana is severely wounded during the battle against Ravana, Hanuman is sent to fetch the Sanjivani, a powerful life-restoring herb, from Dronagiri mountain in the Himalayas, to revive him. Ravana realises that if Lakshmana dies, a distraught Rama would probably give up, and so he dispatches the sorcerer Kalanemi to intercept Hanuman.[22] Kalanemi, in the guise of a sage, deceives Hanuman, but Hanuman uncovers his plot with the help of an apsara, whom he rescues from her accursed state as a crocodile.[22]
Ravana, upon learning that Kalanemi has been slain by Hanuman, summons Surya to rise before its appointed time because the physician Sushena had said that Lakshmana would perish if untreated by daybreak. Hanuman realizes the danger, however, and, becoming many times his normal size, detains the Sun God to prevent the break of day. He then resumes his search for the precious herb, but, when he finds himself unable to identify which herb it is, he lifts the entire mountain and delivers it to the battlefield in Lanka. Sushena then identifies and administers the herb, and Lakshmana is saved. Rama embraces Hanuman, declaring him as dear to him as his own brother. Hanuman releases Surya from his grip, and asks forgiveness, as the Sun was also his Guru.
Hanuman was also called "langra veer"; langra in Hindi means limping and veer means "brave". The story behind Hanuman being called langra is as follows. He was injured when he was crossing the Ayodhya with the mountain in his hands. As he was crossing over Ayodhya, Bharat, Rama's young brother, saw him and assumed that some Rakshasa was taking this mountain to attack Ayodhya. Bharat then shot Hanuman with an arrow, which was engraved with Rama's name. Hanuman did not stop this arrow as it had Rama's name written on it, and it injured his leg. Hanuman landed and explained to Bharat that he was moving the mountain to save his own brother, Lakshmana. Bharat, very sorry, offered to fire an arrow to Lanka, which Hanuman could ride in order to reach his destination more easily. But Hanuman declined the offer, preferring to fly on his own, and he continued his journey with his injured leg.
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Patala incident[edit]In another incident during the war, Rama and Lakshmana are captured by the rakshasa Mahiravana (or Ahiravan), brother of Ravana, who held them captive in their palace in Patala (or Patalpuri) --the netherworld. Mahiravana keeps them as offerings to his deity. Searching for them, Hanuman reaches Patala, the gates of which are guarded by a young creature called Makardhwaja (known also as Makar-Dhwaja or Magar Dhwaja), who is part reptile and part Vanara.
The story of Makardhwaja's birth is said to be that when Hanuman extinguished his burning tail in the ocean, a drop of his sweat fell into the waters, eventually becoming Makardhwaja, who perceives Hanuman as his father. When Hanuman introduces himself to Makardhwaja, the latter asks his blessings, but fights him to fulfill the task of guarding the gate. Hanuman defeats and imprisons him to gain entry.
Upon entering Patala, Hanuman discovers that to kill Mahiravana, he must simultaneously extinguish five lamps burning in different directions. Hanuman assumes the Panchamukha or five-faced form of Sri Varaha facing north, Sri Narasimha facing south, Sri Garuda facing west, Sri Hayagriva facing the sky and his own facing the east, and blows out the lamps. Hanuman then rescues Rama and Lakshmana. Afterwards, Rama asks Hanuman to crown Makardhwaja king of Patala. Hanuman then instructs Makardhwaja to rule Patala with justice and wisdom.
To date Chandraloak Devpuri mandir is located at Dugana a small village 17 km from Laharpur,Sitapur district,Uttar Pradesh. A divine place where Chakleswar Mahadev situated.
Honours[edit]
Hanuman showing Rama in His heartShortly after he is crowned Emperor upon his return to Ayodhya, Rama decides to ceremoniously reward all his well-wishers. At a grand ceremony in his court, all his friends and allies take turns being honoured at the throne. Hanuman approaches without desiring a reward. Seeing Hanuman come up to him, an emotionally overwhelmed Rama embraces him warmly, declaring that he could never adequately honour or repay Hanuman for the help and services he received from the noble Vanara. Sita, however, insists that Hanuman deserved honour more than anyone else, and Sita gives him a necklace of precious stones adorning her neck.
When he receives it, Hanuman immediately takes it apart, and peers into each stone. Taken aback, many of those present demand to know why he is destroying the precious gift. Hanuman answers that he was looking into the stones to make sure that Rama and Sita are in them, because if they are not, the necklace is of no value to him. At this, a few mock Hanuman, saying his reverence and love for Rama and Sita could not possibly be as deep as he implies. In response, Hanuman tears his chest open, and everyone is stunned to see Rama and Sita literally in his heart.
Hanuman Ramayana[edit]
Hanuman beheads Trisiras-from The Freer RamayanaAfter the victory of Rama over Ravana, Hanuman went to the Himalayas to continue his worship of the Lord Rama. There he scripted a version of the Ramayana on the Himalayan mountains using his nails, recording every detail of Rama's deeds. When Maharishi Valmiki visited him to show him his own version of the Ramayana, he saw Hanuman's version and became very disappointed.
When Hanuman asked Valmiki the cause of his sorrow, the sage said that his version, which he had created very laboriously, was no match for the splendour of Hanuman's, and would therefore go ignored. At this, Hanuman discarded his own version, which is called the Hanumad Ramayana. Maharishi Valmiki was so taken aback that he said he would take another birth to sing the glory of Hanuman which he had understated in his version.
Later, one tablet is said to have floated ashore during the period of Mahakavi Kalidasa, and hung at a public place to be deciphered by scholars. Kalidasa is said to have deciphered it and recognised that it was from the Hanumad Ramayana recorded by Hanuman in an extinct script, and considered himself very fortunate to see at least one pada of the stanza.
After the Ramayana war[edit]After the war, and after reigning for several years, the time arrived for Rama to depart to his supreme abode Vaikuntha. Many of Rama's entourage, including Sugriva, decided to depart with him. Hanuman, however, requested from Rama that he will remain on earth as long as Rama's name was venerated by people. Sita accorded Hanuman that desire, and granted that his image would be installed at various public places, so he could listen to people chanting Rama's name. He is one of the immortals (Chiranjivi) of Hinduism.[23]
Mahabharata[edit]Hanuman is also considered to be the brother of Bhima, on the basis of their having the same father, Vayu. During the Pandavas' exile, he appears disguised as a weak and aged monkey to Bhima in order to subdue his arrogance. Bhima enters a field where Hanuman is lying with his tail blocking the way. Bhima, unaware of his identity, tells him to move it out of the way. Hanuman, incognito, refuses. Bhima then tries to move the tail himself but he is unable, despite his great strength. Realising he is no ordinary monkey, he inquires as to Hanuman's identity, which is then revealed. At Bhima's request, Hanuman is also said to have enlarged himself to demonstrate the proportions he had assumed in his crossing of the sea as he journeyed to Lanka and also said that when the war came, he would be there to protect the Pandavas. This place is located at Sariska National Park in the Alwar District of the State of Rajasthan and named as Pandupole(Temple of Hanuman ji).Pandupole is very famous tourist spot of Alwar.
During the great battle of Kurukshetra, Arjuna entered the battlefield with a flag displaying Hanuman on his chariot.[23] The incident that led to this was an earlier encounter between Hanuman and Arjuna, wherein Hanuman appeared as a small talking monkey before Arjuna at Rameshwaram, where Rama had built the great bridge to cross over to Lanka to rescue Sita. Upon Arjuna's wondering aloud at Rama's taking the help of monkeys rather than building a bridge of arrows, Hanuman challenged him to build a bridge capable of bearing him alone; Arjuna, unaware of the vanara's true identity, accepted. Hanuman then proceeded to repeatedly destroy the bridges made by Arjuna, who decided to take his own life. Vishnu then appeared before them both after originally coming in the form of a tortoise, chiding Arjuna for his vanity and Hanuman for making Arjuna feel incompetent. As an act of penitence, Hanuman decided to help Arjuna by stabilizing and strengthening his chariot during the imminent great battle. After, the battle of Kurukshetra was over, Krishna asked Arjuna, that today you step down the chariot before me. After Arjuna got down, Krishna followed him and thanked Hanuman for staying with them during the whole fight in the form of a flag on the chariot. Hanuman came in his original form, bowed to Krishna and left the flag, flying away into the sky. As soon as he left the flag, the chariot began to burn and turned into ashes. Arjuna was shocked to see this, then Krishna told Arjuna, that the only reason his chariot was still standing was because of the presence of Himself and Hanuman, otherwise, it would have burnt many days ago due to effects of celestial weapons thrown at it in the war.
According to legend, Hanuman is one of the four people to have heard the Bhagwad Gita from Krishna and seen his Vishvarupa (universal) form, the other three being Arjuna, Sanjaya and Barbarika, son of Ghatotkacha.
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Guido Reni (1575-1642), actif à Bologne et Rome
Baptême du Christ, approximativement 1622-1623
John prêche au bord du Jourdain, baptise et annonce la venue du Messie. Quand Jésus entra dans le fleuve pour recevoir le baptême de la main de John - des anges tiennent ses vêtements déposés - descende le Saint-Esprit sous la forme d'une colombe, et s'ouvre le ciel et la voix de Dieu se fait entendre, «Ceci est mon Fils bien-aimé, en qui j'ai trouvé ma complaisance." Compréhension réaliste de la réalité et l'idéalisation, vie terrestre et vie divin s'entremêlent, l'un avec l'autre, dans la scène solennelle, dont la composition équilibrée ait l'art de Raphaël comme modèle.
Guido Reni (1575-1642), tätig in Bologna und Rom
Taufe Christi, um 1622-1623
Johannes predigt am Jordan, tauft und kündet das Kommen des Messias an. Als auch Jesus in den Fluss stieg, um aus Johannes' Hand die Taufe zu empfangen - Engel halten seine abglegten Gewänder - schwebt der Heilige Geist in Gestalt einer Taube herab; es öffnet sich der Himmel und Gottes Stimme ertönt, "Dieses ist mein geliebter Sohn, an dem ich mein Wohlgefallen habe." Realistische Erfassung der Wirklichkeit und Idealisierung, Irdisches und Göttliches durchdringen einander in der feierlichen Szene, deren ausgewogene Komposition die Kunst Raffaels zum Vorbild hat.
Austria Kunsthistorisches Museum
Federal Museum
Logo KHM
Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture
Founded 17 October 1891
Headquartered Castle Ring (Burgring), Vienna 1, Austria
Management Sabine Haag
www.khm.at website
Main building of the Kunsthistorisches Museum at Maria-Theresa-Square
The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.
The museum
The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.
History
Archduke Leopold Wilhelm in his Gallery
The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building .
Architectural History
The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währingerstraße/ Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the opera ring, and Ludwig Zettl the southeast side of the grain market (Getreidemarkt).
From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience with of Joseph Semper at the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.
Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.
Construction of the two museums began without ceremony on 27 November 1871 instead. Semper moved to Vienna in the sequence. From the beginning, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, built in 1878, the first windows installed in 1879, the Attica and the balustrade from 1880 to 1881 and built the dome and the Tabernacle. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.
The lighting and air conditioning concept with double glazing of the ceilings made the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times .
Kuppelhalle
Entrance (by clicking the link at the end of the side you can see all the pictures here indicated!)
Grand staircase
Hall
Empire
The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891 , the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol will need another two years.
189, the farm museum was organized in seven collections with three directorates:
Directorate of coins, medals and antiquities collection
The Egyptian Collection
The Antique Collection
The coins and medals collection
Management of the collection of weapons, art and industrial objects
Weapons collection
Collection of industrial art objects
Directorate of Art Gallery and Restaurieranstalt (Restoration Office)
Collection of watercolors, drawings, sketches, etc.
Restoration Office
Library
Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.
1914, after the assassination of Franz Ferdinand, heir to the throne, his " Estonian Forensic Collection " passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d' Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.
The First World War went by, apart from the oppressive economic situation without loss. The farm museum remained during the five years of war regularly open to the public.
Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.
First Republic
The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.
It was not until the Treaty of Saint-Germain of 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.
On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House" , by the Republic. Of 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.
Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.
With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the
Egyptian and Near Eastern Collection (with the Oriental coins)
Collection of Classical Antiquities
Collection of ancient coins
Collection of modern coins and medals
Weapons collection
Collection of sculptures and crafts with the Collection of Ancient Musical Instruments
Picture Gallery
The Museum 1938-1945
Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.
With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the empire.
After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to perform certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.
The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. This was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.
The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.
The museum today
Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).
The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.
In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.
Management
1919-1923: Gustav Glück as the first chairman of the College of science officials
1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director
1933: Arpad Weixlgärtner first director
1934-1938: Alfred Stix first director
1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief in 1941 as first director
1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections in 1949 as general director of the historical collections of the Federation
1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections in 1949 as general director of art historical collections of the Federation
1949-1950: Hans Demel as administrative director
1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation
1951-1952: Fritz Eichler as administrative director
1953-1954: Ernst H. Buschbeck as administrative director
1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director
1967: Edward Holzmair as managing director
1968-1972: Erwin Auer first director
1973-1981: Friderike Klauner first director
1982-1990: Hermann Fillitz first director
1990: George Kugler as interim first director
1990-2008: Wilfried Seipel as general director
Since 2009: Sabine Haag as general director
Collections
To the Kunsthistorisches Museum are also belonging the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.
Kunsthistorisches Museum (main building)
Picture Gallery
Egyptian and Near Eastern Collection
Collection of Classical Antiquities
Vienna Chamber of Art
Numismatic Collection
Library
New Castle
Ephesus Museum
Collection of Ancient Musical Instruments
Arms and Armour
Archive
Hofburg
The imperial crown in the Treasury
Imperial Treasury of Vienna
Insignia of the Austrian Hereditary Homage
Insignia of imperial Austria
Insignia of the Holy Roman Empire
Burgundian Inheritance and the Order of the Golden Fleece
Habsburg-Lorraine Household Treasure
Ecclesiastical Treasury
Schönbrunn Palace
Imperial Carriage Museum Vienna
Armory in Ambras Castle
Ambras Castle
Collections of Ambras Castle
Major exhibits
Among the most important exhibits of the Art Gallery rank inter alia:
Jan van Eyck: Cardinal Niccolò Albergati, 1438
Martin Schongauer: Holy Family, 1475-80
Albrecht Dürer : Trinity Altar, 1509-16
Portrait Johann Kleeberger, 1526
Parmigianino: Self Portrait in Convex Mirror, 1523/24
Giuseppe Arcimboldo: Summer 1563
Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07
Caravaggio: Madonna of the Rosary (1606-1607)
Titian: Nymph and Shepherd to 1570-75
Portrait of Jacopo de Strada, 1567/68
Raffaello Santi: Madonna of the Meadow, 1505 /06
Lorenzo Lotto: Portrait of a young man against white curtain, 1508
Peter Paul Rubens: The altar of St. Ildefonso, 1630-32
The Little Fur, about 1638
Jan Vermeer: The Art of Painting, 1665/66
Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559
Kids, 1560
Tower of Babel, 1563
Christ Carrying the Cross, 1564
Gloomy Day (Early Spring), 1565
Return of the Herd (Autumn), 1565
Hunters in the Snow (Winter) 1565
Bauer and bird thief, 1568
Peasant Wedding, 1568/69
Peasant Dance, 1568/69
Paul's conversion (Conversion of St Paul), 1567
Cabinet of Curiosities:
Saliera from Benvenuto Cellini 1539-1543
Egyptian-Oriental Collection:
Mastaba of Ka Ni Nisut
Collection of Classical Antiquities:
Gemma Augustea
Treasure of Nagyszentmiklós
Gallery: Major exhibits
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The Wallaroo Town Hall foundation stone was laid by the Mayor William Richardson, after a procession of infantry and school children. The Song of Australia was sung by the children.
On 19 November 1902 the hall was opened by the Premier, J G Jenkins.
Architect: Claude Lindsay, Unley.
Contractor: C H Coltman.
Ref’s: The Yorkes Peninsula Advertiser 28-3-1902, Advertiser (Adelaide) 21-11-1902.
On 17 March 1923 Mrs S McKee laid the foundation stone of the Soldiers’ Arch Memorial, commemorating local fallen soldiers of the Great War 1914–1919. Of 281 enlistees 52 paid the supreme sacrifice. The Wallaroo town band led the proceedings and the song of Australia was sung. Mr S E Martin, AMIE, of Wallaroo designed the granite and marble arch sited in front of the Wallaroo Town Hall.
The Arch Memorial was erected through the efforts of the ladies of The Wallaroo Cheer Up Society and the local branch of the R.S.S.I.L.A. Supported by the public.
Column inside panels display enlistees of World War Two 1939–1945 and Vietnam. Names listed are from the Royal Australian Navy,
Australian Imperial Force and the Royal Australian Air Force.
Ref: Kadina and Wallaroo Times 21-2-1923.
* Fire - Wallaroo Town Hall Destroyed December 26
The town hall, built about 15 years ago, was totally destroyed by fire this morning. The municipal picture show was held last night, and the caretaker left everything in order at midnight. The police report that at 3 o'clock this morning there was no sign of fire. About 5 o'clock the sounding of the smelting works' whistle gave the alarm, but nothing could be done to save the building.
The Savings Bank branch is located in the building, and — thanks to heroic work of the fire fighters—the books and most of the contents were saved.
Two pianos, the whole of the furniture, and everything else in the hall were destroyed. The total loss is estimated at £7,000, which is partly covered by insurance. The fire represents a calamity to the town. The corporation will meet today to consider the position. The police have the matter in hand.
Ref: Journal (Adelaide SA)Wednesday 26 December 1917.
*Fine Building Destroyed
A fire mysteriously occurred in the Town Hall at Wallaroo on Boxing Day, resulting in the building being completely gutted.
One drawback to the fire fighters was the lack of a brigade or proper fire-fighting appliances.
Ref: Chronicle (Adelaide SA) Saturday 5 January 1918.
*Wallaroo Town Hall Fire Inquest
Mr James Malcolm (coroner) held an inquest on the town hall fire at the courthouse, Wallaroo, on December 27. Mounted-Constable O'Connell appeared for the police, And Mr Paine and Mr Richard Tonkin for insurance companies.
John Henry Lindsay, caretaker of the town hall deposed that on the evening of the 25th inst he extinguished the lights after the picture show had closed.
George Gordon Hollands, picture show proprietor, said there were various ways a fire could be caused by the cinematograph machinery driven by electricity. At the conclusion of the performance the majority of the cinema machines were covered with a cloth. Should the cloth come in contact with the lamp-house, not momentarily, but for a length of time, that might cause a fire.
Every practical operator made a point of examining all electrical connections, from the main switch that entered the building to the terminals of the arc lamp occasionally.
Constable O'Connell said a man named Theim reported at the police station that the town hall building was on fire. He communicated with the fire brigade at Kadina by telephone. They stated they could not come. He then proceeded to the town hall building. A good number of men were present. He saw Mr Thorpe the Savings Bank manager, and assistants taking books and documents from the rooms in the building used as a Savings Bank. He walked round the building to the rear of the premises. The greatest flame appeared under the dress circle. The fire had not reached the rear of the premises, nor had it properly entered the corporation offices. The window was broken from the outside by Councillor Young, and Mr Lindsay, and a quantity of books and stationery, the property of the corporation, was removed through the window.
Ref: Chronicle (Adelaide SA) Saturday 5 January 1918.
*Wallaroo Town Hall Fire. A Verdict of Arson
The inquest into the fire at the Town Hall, which was adjourned on December 27, was reopened at the Courthouse on January 1, before Mr James Malcolm and a jury.
William Theim a farmer who first reported the fire stated he was passing the hall about 4.30 am, and noticed smoke. The flames appeared to be on the south side of the building. He saw no persons in the vicinity, and after he reported the matter to his wife he hurried to the police station and gave the alarm.
Leonard Jeffery Iron, a loco man employed at the railway workshops, stated that he first noticed the smoke about 4 o'clock. On arrival at the hall he entered the building through the south ante-room door, which he found closed but not locked. The flames had then a good hold of the building, and the seat of the fire appeared to be in the south side directly under the dress circle. He had to get out of the building as quickly as possible owing to the smoke and fumes.
William Camden Hotton, engineer and manager of the Municipal Pictures, stated that the strictest precautions had been observed regarding the operation of the cinema. In every possible manner everything was done to prevent a fire. He produced the motor and film box in Court, and asserted that from practical experience he could show that the fire did not originate in or near the lantern house.
The witness, who remained in the box for nearly an hour, was closely examined by Coroner, solicitor, and police officer.
Frederick Symons electrical engineer, tendered evidence of the efficiency of the installation of the town hall, and particularly regarding the resistance. He scouted the idea that the fire originated from the resistance room, and was equally emphatic regarding the theory advanced in previous evidence regarding a fire originating from "static" electricity.
The Coroner, in summing up, said the jury should bear in mind the fact that the nation was at war. It was the policy of the enemy to have his agents who would destroy public buildings. From the nature of the evidence tendered he was of the opinion that the circumstances were suspicious. The fact that smoke had been discovered in an air vent leading to the floor, near the south side where the fire was considered to have originated, was very significant. It was the only air opening in the building disturbed, and directly near to the supposed seat of the fire. The jury brought in a verdict that the town hall was set on fire by some person or persons unknown on the morning of December 26.
It is considered that the corporation will, in view of the verdict, offer a substantial reward for information. On the morning after the fire it is stated that the watchman reported that a motor car, drove to the hall at 2 am and stopped. The occupants on observing that a watchman was in charge, restarted the car, and made off without any explanation of their visit. The whole affair is shrouded in mystery, and many residents are convinced that the building could not have been destroyed so quickly unless it had been purposely set alight.
Ref: Observer (Adelaide SA) Saturday 12 January 1918.
*Wallaroo’s Town Hall
Our local correspondent writes—The Wallaroo Town Hall, originally erected in 1902 at a cost of about £3,500, and destroyed by fire on December 26, 1917, has been rebuilt, and the work is now completed. The opening ceremony will take place this week and will be performed by the ex-Mayor (Mr T E Ashton). The corporation have spared no expense in making the new building up to date. Mr Quinton Bruce, of Adelaide, was engaged as architect, and the whole of the work has been carried out under his personal supervision. The contract was let to Messrs Emmet & Sons, of Norwood, and operations started in June 1918.
Except for the main walls the building has been completely remodelled. The general appointments, furnishings, and fittings are far in advance of the average hall, and the opinion is freely expressed by visitors and others that Wallaroo possesses the most handsome and up-to-date country town hall in the State.
It boasts of a stage the dimensions of 45 ft x 29 ft, a capacious and luxuriously decorated auditorium, and a striking facade. The main hall has seating accommodation for 630 persons, and an additional 240 can be accommodated in the dress circle upstairs.
All the provisions of the Entertainments Act have been complied with.
Spacious dressing rooms, lavatories, a kitchen, and other conveniences are also provided. The ornate and massive ceiling, constructed of moulded fibrous plaster, is the admiration of all. There are three lofty ventilators, and the roof is constructed on the sliding principle, so as to provide for ample ventilation.
A grand concert piano, costing £100 (the gift of the Rowing Club), and a second-grade instrument are installed.
A cinema house will be in demand for the picture business.
Upstairs in the front portion the Mayor's parlour and council chambers are located, and a suite of offices for the Town Clerk and Savings Bank, all elegantly furnished, add considerably to the value of the place.
The electric light has been installed throughout. Attention has been given to the beautifying of the approaches, and instead of a barren and unsightly entrance, lawns and evergreen hedges have been planted and a garden prepared in front.
The contract for the ceiling was carried out by Messrs A E Pitt & Sons, and the scenery was executed by Mr Nelson Wood.
The total expenditure, including the town clock to arrive shortly (the gift of Mr Richard Tonkin), will amount approximately to £10,000.
Ref: Observer (Adelaide SA) Saturday 22 February 1919.
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Well! If she were a _real_ Zealot, she would have already have learned Phil Jimenez' table location from his Twitter feed.
Holy cats! That's a pager on her belt! So either:
(a) It's a greebly that she put on there for added texture, but she didn't have time to paint it;
(b) It's a "real-life in-character" choice; her character has been marooned on Earth for a couple of thousand years (thank you, Wikipedia) so perhaps Zealot is a bit slower to pick up on new tech when the old tool works just fine for her;
(c) She's an network admin or in some other line of work that requires a fail-safe way to contact her when an emergency happens. Pager networks and ham radio are the most reliable communications networks in such situations.
Now I'm trying to work out what kind of phone she has over her left hip. Thick slab with rounded corners. Either a modern phone in a case or something a bit old-school (like a prepaid or "free with contract" Android or slider phone).
(It's both a sickness AND part of my job as a tech columnist. Whenever I'm on the subway or in a crowd of people, I'm subconsciously marking the kinds of phones people are using and how they're using them. At comicon, for example, I was surprised by how many Nokia Lumia phones (either 1020s or 920s) out in use.
The exploitation rights for this text are the property of the Vienna Tourist Board. This text may be reprinted free of charge until further notice, even partially and in edited form. Forward sample copy to: Vienna Tourist Board, Media Management, Invalidenstraße 6, 1030 Vienna; media.rel@wien.info. All information in this text without guarantee.
Author: Andreas Nierhaus, Curator of Architecture/Wien Museum
Last updated January 2014
Architecture in Vienna
Vienna's 2,000-year history is present in a unique density in the cityscape. The layout of the center dates back to the Roman city and medieval road network. Romanesque and Gothic churches characterize the streets and squares as well as palaces and mansions of the baroque city of residence. The ring road is an expression of the modern city of the 19th century, in the 20th century extensive housing developments set accents in the outer districts. Currently, large-scale urban development measures are implemented; distinctive buildings of international star architects complement the silhouette of the city.
Due to its function as residence of the emperor and European power center, Vienna for centuries stood in the focus of international attention, but it was well aware of that too. As a result, developed an outstanding building culture, and still today on a worldwide scale only a few cities can come up with a comparable density of high-quality architecture. For several years now, Vienna has increased its efforts to connect with its historical highlights and is drawing attention to itself with some spectacular new buildings. The fastest growing city in the German-speaking world today most of all in residential construction is setting standards. Constants of the Viennese architecture are respect for existing structures, the palpability of historical layers and the dialogue between old and new.
Culmination of medieval architecture: the Stephansdom
The oldest architectural landmark of the city is St. Stephen's Cathedral. Under the rule of the Habsburgs, defining the face of the city from the late 13th century until 1918 in a decisive way, the cathedral was upgraded into the sacral monument of the political ambitions of the ruling house. The 1433 completed, 137 meters high southern tower, by the Viennese people affectionately named "Steffl", is a masterpiece of late Gothic architecture in Europe. For decades he was the tallest stone structure in Europe, until today he is the undisputed center of the city.
The baroque residence
Vienna's ascension into the ranks of the great European capitals began in Baroque. Among the most important architects are Johann Bernhard Fischer von Erlach and Johann Lucas von Hildebrandt. Outside the city walls arose a chain of summer palaces, including the garden Palais Schwarzenberg (1697-1704) as well as the Upper and Lower Belvedere of Prince Eugene of Savoy (1714-22). Among the most important city palaces are the Winter Palace of Prince Eugene (1695-1724, now a branch of the Belvedere) and the Palais Daun-Kinsky (auction house in Kinsky 1713-19). The emperor himself the Hofburg had complemented by buildings such as the Imperial Library (1722-26) and the Winter Riding School (1729-34). More important, however, for the Habsburgs was the foundation of churches and monasteries. Thus arose before the city walls Fischer von Erlach's Karlskirche (1714-39), which with its formal and thematic complex show façade belongs to the major works of European Baroque. In colored interior rooms like that of St. Peter's Church (1701-22), the contemporary efforts for the synthesis of architecture, painting and sculpture becomes visible.
Upgrading into metropolis: the ring road time (Ringstraßenzeit)
Since the Baroque, reflections on extension of the hopelessly overcrowed city were made, but only Emperor Franz Joseph ordered in 1857 the demolition of the fortifications and the connection of the inner city with the suburbs. 1865, the Ring Road was opened. It is as the most important boulevard of Europe an architectural and in terms of urban development achievement of the highest rank. The original building structure is almost completely preserved and thus conveys the authentic image of a metropolis of the 19th century. The public representational buildings speak, reflecting accurately the historicism, by their style: The Greek Antique forms of Theophil Hansen's Parliament (1871-83) stood for democracy, the Renaissance of the by Heinrich Ferstel built University (1873-84) for the flourishing of humanism, the Gothic of the Town Hall (1872-83) by Friedrich Schmidt for the medieval civic pride.
Dominating remained the buildings of the imperial family: Eduard van der Nüll's and August Sicardsburg's Opera House (1863-69), Gottfried Semper's and Carl Hasenauer's Burgtheater (1874-88), their Museum of Art History and Museum of Natural History (1871-91) and the Neue (New) Hofburg (1881-1918 ). At the same time the ring road was the preferred residential area of mostly Jewish haute bourgeoisie. With luxurious palaces the families Ephrussi, Epstein or Todesco made it clear that they had taken over the cultural leadership role in Viennese society. In the framework of the World Exhibition of 1873, the new Vienna presented itself an international audience. At the ring road many hotels were opened, among them the Hotel Imperial and today's Palais Hansen Kempinski.
Laboratory of modernity: Vienna around 1900
Otto Wagner's Postal Savings Bank (1903-06) was one of the last buildings in the Ring road area Otto Wagner's Postal Savings Bank (1903-06), which with it façade, liberated of ornament, and only decorated with "functional" aluminum buttons and the glass banking hall now is one of the icons of modern architecture. Like no other stood Otto Wagner for the dawn into the 20th century: His Metropolitan Railway buildings made the public transport of the city a topic of architecture, the church of the Psychiatric hospital at Steinhofgründe (1904-07) is considered the first modern church.
With his consistent focus on the function of a building ("Something impractical can not be beautiful"), Wagner marked a whole generation of architects and made Vienna the laboratory of modernity: in addition to Joseph Maria Olbrich, the builder of the Secession (1897-98) and Josef Hoffmann, the architect of the at the western outskirts located Purkersdorf Sanatorium (1904) and founder of the Vienna Workshop (Wiener Werkstätte, 1903) is mainly to mention Adolf Loos, with the Loos House at the square Michaelerplatz (1909-11) making architectural history. The extravagant marble cladding of the business zone stands in maximal contrast, derived from the building function, to the unadorned facade above, whereby its "nudity" became even more obvious - a provocation, as well as his culture-critical texts ("Ornament and Crime"), with which he had greatest impact on the architecture of the 20th century. Public contracts Loos remained denied. His major works therefore include villas, apartment facilities and premises as the still in original state preserved Tailor salon Knize at Graben (1910-13) and the restored Loos Bar (1908-09) near the Kärntner Straße (passageway Kärntner Durchgang).
Between the Wars: International Modern Age and social housing
After the collapse of the monarchy in 1918, Vienna became capital of the newly formed small country of Austria. In the heart of the city, the architects Theiss & Jaksch built 1931-32 the first skyscraper in Vienna as an exclusive residential address (Herrengasse - alley 6-8). To combat the housing shortage for the general population, the social democratic city government in a globally unique building program within a few years 60,000 apartments in hundreds of apartment buildings throughout the city area had built, including the famous Karl Marx-Hof by Karl Ehn (1925-30). An alternative to the multi-storey buildings with the 1932 opened International Werkbundsiedlung was presented, which was attended by 31 architects from Austria, Germany, France, Holland and the USA and showed models for affordable housing in greenfield areas. With buildings of Adolf Loos, André Lurçat, Richard Neutra, Gerrit Rietveld, the Werkbundsiedlung, which currently is being restored at great expense, is one of the most important documents of modern architecture in Austria.
Modernism was also expressed in significant Villa buildings: The House Beer (1929-31) by Josef Frank exemplifies the refined Wiener living culture of the interwar period, while the house Stonborough-Wittgenstein (1926-28, today Bulgarian Cultural Institute), built by the philosopher Ludwig Wittgenstein together with the architect Paul Engelmann for his sister Margarete, by its aesthetic radicalism and mathematical rigor represents a special case within contemporary architecture.
Expulsion, war and reconstruction
After the "Anschluss (Annexation)" to the German Reich in 1938, numerous Jewish builders, architects (female and male ones), who had been largely responsible for the high level of Viennese architecture, have been expelled from Austria. During the Nazi era, Vienna remained largely unaffected by structural transformations, apart from the six flak towers built for air defense of Friedrich Tamms (1942-45), made of solid reinforced concrete which today are present as memorials in the cityscape.
The years after the end of World War II were characterized by the reconstruction of the by bombs heavily damaged city. The architecture of those times was marked by aesthetic pragmatism, but also by the attempt to connect with the period before 1938 and pick up on current international trends. Among the most important buildings of the 1950s are Roland Rainer's City Hall (1952-58), the by Oswald Haerdtl erected Wien Museum at Karlsplatz (1954-59) and the 21er Haus of Karl Schwanzer (1958-62).
The youngsters come
Since the 1960s, a young generation was looking for alternatives to the moderate modernism of the reconstruction years. With visionary designs, conceptual, experimental and above all temporary architectures, interventions and installations, Raimund Abraham, Günther Domenig, Eilfried Huth, Hans Hollein, Walter Pichler and the groups Coop Himmelb(l)au, Haus-Rucker-Co and Missing Link rapidly got international attention. Although for the time being it was more designed than built, was the influence on the postmodern and deconstructivist trends of the 1970s and 1980s also outside Austria great. Hollein's futuristic "Retti" candle shop at Charcoal Market/Kohlmarkt (1964-65) and Domenig's biomorphic building of the Central Savings Bank in Favoriten (10th district of Vienna - 1975-79) are among the earliest examples, later Hollein's Haas-Haus (1985-90), the loft conversion Falkestraße (1987/88) by Coop Himmelb(l)au or Domenig's T Center (2002-04) were added. Especially Domenig, Hollein, Coop Himmelb(l)au and the architects Ortner & Ortner (ancient members of Haus-Rucker-Co) by orders from abroad the new Austrian and Viennese architecture made a fixed international concept.
MuseumQuarter and Gasometer
Since the 1980s, the focus of building in Vienna lies on the compaction of the historic urban fabric that now as urban habitat of high quality no longer is put in question. Among the internationally best known projects is the by Ortner & Ortner planned MuseumsQuartier in the former imperial stables (competition 1987, 1998-2001), which with institutions such as the MUMOK - Museum of Modern Art Foundation Ludwig, the Leopold Museum, the Kunsthalle Wien, the Architecture Center Vienna and the Zoom Children's Museum on a wordwide scale is under the largest cultural complexes. After controversies in the planning phase, here an architectural compromise between old and new has been achieved at the end, whose success as an urban stage with four million visitors (2012) is overwhelming.
The dialogue between old and new, which has to stand on the agenda of building culture of a city that is so strongly influenced by history, also features the reconstruction of the Gasometer in Simmering by Coop Himmelb(l)au, Wilhelm Holzbauer, Jean Nouvel and Manfred Wehdorn (1999-2001). Here was not only created new housing, but also a historical industrial monument reinterpreted into a signal in the urban development area.
New Neighborhood
In recent years, the major railway stations and their surroundings moved into the focus of planning. Here not only necessary infrastructural measures were taken, but at the same time opened up spacious inner-city residential areas and business districts. Among the prestigious projects are included the construction of the new Vienna Central Station, started in 2010 with the surrounding office towers of the Quartier Belvedere and the residential and school buildings of the Midsummer quarter (Sonnwendviertel). Europe's largest wooden tower invites here for a spectacular view to the construction site and the entire city. On the site of the former North Station are currently being built 10,000 homes and 20,000 jobs, on that of the Aspangbahn station is being built at Europe's greatest Passive House settlement "Euro Gate", the area of the North Western Railway Station is expected to be developed from 2020 for living and working. The largest currently under construction residential project but can be found in the north-eastern outskirts, where in Seaside Town Aspern till 2028 living and working space for 40,000 people will be created.
In one of the "green lungs" of Vienna, the Prater, 2013, the WU campus was opened for the largest University of Economics of Europe. Around the central square spectacular buildings of an international architect team from Great Britain, Japan, Spain and Austria are gathered that seem to lead a sometimes very loud conversation about the status quo of contemporary architecture (Hitoshi Abe, BUSarchitektur, Peter Cook, Zaha Hadid, NO MAD Arquitectos, Carme Pinós).
Flying high
International is also the number of architects who have inscribed themselves in the last few years with high-rise buildings in the skyline of Vienna and make St. Stephen's a not always unproblematic competition. Visible from afar is Massimiliano Fuksas' 138 and 127 meters high elegant Twin Tower at Wienerberg (1999-2001). The monolithic, 75-meter-high tower of the Hotel Sofitel at the Danube Canal by Jean Nouvel (2007-10), on the other hand, reacts to the particular urban situation and stages in its top floor new perspectives to the historical center on the other side.
Also at the water stands Dominique Perrault's DC Tower (2010-13) in the Danube City - those high-rise city, in which since the start of construction in 1996, the expansion of the city north of the Danube is condensed symbolically. Even in this environment, the slim and at the same time striking vertically folded tower of Perrault is beyond all known dimensions; from its Sky Bar, from spring 2014 on you are able to enjoy the highest view of Vienna. With 250 meters, the tower is the tallest building of Austria and almost twice as high as the St. Stephen's Cathedral. Vienna, thus, has acquired a new architectural landmark which cannot be overlooked - whether it also has the potential to become a landmark of the new Vienna, only time will tell. The architectural history of Vienna, where European history is presence and new buildings enter into an exciting and not always conflict-free dialogue with a great and outstanding architectural heritage, in any case has yet to offer exciting chapters.
Info: The folder "Architecture: From Art Nouveau to the Presence" is available at the Vienna Tourist Board and can be downloaded on www.wien.info/media/files/guide-architecture-in-wien.pdf.
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
In July 1967, the first Swedish Air Force student pilots started training on the Saab 105, a Swedish high-wing, twin-engine trainer aircraft developed in the early sixties as a private venture by Saab AB. The Swedish Air Force procured the type for various roles and issued the aircraft with the designation Sk 60.
The Sk 60 entered service in 1967, replacing the aging De Havilland Vampire fleet, and had a long-lasting career. But in the late Eighties, by which point the existing engines of the Swedish Air Force's Sk 60 fleet were considered to be towards the end of their technical and economic lifespan and the airframes started to show their age and wear of constant use, the Swedish Air Force started to think about a successor and/or a modernization program.
Saab suggested to replace the Saab 105’s Turbomeca Aubisque engines with newly-built Williams International FJ44 engines, which were lighter and less costly to operate, but this was only regarded as a stop-gap solution. In parallel, Saab also started work for a dedicated new jet trainer that would prepare pilots for the Saab 39 Gripen – also on the drawing boards at the time – and as a less sophisticated alternative to the promising but stillborn Saab 38.
The Saab 38 (also known as B3LA or A 38/Sk 38) was a single-engine jet trainer and attack aircraft planned by Saab during the 1970s and actually a collaboration between Saab and the Italian aircraft manufacturer Aermacchi (the aircraft resembled the AMX a lot). It was to replace the older Saab 105 jet trainer in the Swedish Air Force, too, but the aircraft never got past the drawing board and was canceled in 1979 in favor of the more advanced Saab JAS 39 Gripen multi-role fighter.
Anyway, this decision left Sweden without a replacement for the Sk 60 as transitional trainer and as a light attack and reconnaissance aircraft.
In 1991, Saab presented its new trainer design, internally called "FSK900", to the Swedish Air Force. The aircraft was a conservative design, with such a configurational resemblance to the Dassault-Dornier Alpha Jet that it is hard to believe Saab engineers didn't see the Alpha Jet as a model for what they wanted to do. However, even if that was the case, the FSK900 was by no means a copy of the Alpha Jet, and the two machines can be told apart at a glance. FSK900 had a muscular, rather massive appearance, while the Alpha Jet was more wasp-like and very sleek. The FSK900 was also bigger in length and span and had an empty weight about 10% greater.
The FSK900 was mostly made of aircraft aluminum alloys, with some control surfaces made of carbon-fiber / epoxy composite, plus very selective use of titanium. It had high-mounted swept wings, with a supercritical airfoil section and a leading-edge dogtooth; a conventional swept tail assembly; tricycle landing gear; twin engines, one mounted in a pod along each side of the fuselage; and a tandem-seat cockpit with dual controls.
The wings had a sweep of 27.5°, an anhedral droop of 7°, and featured ailerons for roll control as well as double slotted flaps. The tailplanes were all-moving, and also featured an anhedral of 7°. An airbrake was mounted on each side of the rear fuselage. Flight controls were hydraulic, and hydraulic systems were dual redundant.
The instructor and cadet sat in tandem, both on zero-zero ejection seats, with the instructor's seat in the rear raised 27 centimeters (10.6 inches) to give a good forward view. The cockpit was pressurized and featured a one-piece canopy, hinged open to the right, that provided excellent visibility.
The landing gear assemblies all featured single wheels, with the nose gear retracting forward and the main gear retracting forward and into the fuselage, featuring an antiskid braking system. The twin engines were two Williams International FJ44-4M turbofans without reheat, each rated at 16.89 kN (3,790 lbst). These were the same engines, that Saab had also proposed for Saab’s Sk 60 modernization program, even though a less powerful variant for the lighter aircraft.
The FSK900 could be fitted with two pylons under each wing and under the fuselage centerline, for a total of five hardpoint. The inner wing pylons were wet and could be used to carry 450 liter (119 US gallon) external tanks, a total external payload of 2,500 kg (5,500 lb) could be carried.
External stores included a centerline target winch for the target tug role, an air-sampling pod for detection of fallout or other atmospheric pollutants, jammer or chaff pods for electronic warfare training, a camera/sensor pod and a baggage pod for use in the liaison role. The aircraft also featured a baggage compartment in the center fuselage, which also offered space for other special equipment or future updates.
Potential armament comprised a conformal underfuselage pod with a single 27 mm Mauser BK-27 revolver cannon with 120 rounds (the same weapon that eventually went into the Saab Gripen).
Other weapons included various iron and cluster bombs of up to 454 kg (1.000 lb) caliber, unguided missiles of various calibers and the Rb.74 (AIM-9L Sidewinder) AAM. A radar was not mounted, but the FSK900’s nose section offered enough space for a radome.
The Swedish Air Force accepted the Saab design, leading to a contract for two nonflying static-test airframes and four flying prototypes. Detail design was complete by the end of 1993 and prototype construction began in the spring of 1994, leading to first flight of the initial prototype on 29 July 1994. The first production "Sk 90 A", how the basic trainer type was officially dubbed, was delivered to the Swedish Air Force in 1996.
In parallel, a contract was signed for the re-engining of 115 Saab Sk 60 aircraft in 1993; the number of aircraft to be upgraded was subsequently reduced as a result of cuts to the defense budget and the advent of the FSK900, of which 60 were ordered initially.
The Sk 90 was regarded as strong, agile, and pleasant to fly, while being cheap to operate. Sk 90 As flying in the training role typically painted in the unique “Fields & Meadows” splinter camouflage, although decorative paint jobs showed up on occasion and many aircraft received additional dayglow markings.
Some of the few aircraft given to operational squadrons, which used them for keeping up flight hours and as hacks, had apparently been painted in all-grey camouflage to match the combat aircraft they shared the flight line with.
With the Sk 90 S a new variant was soon introduced, replacing the Sk 60 C, two-seat ground attack/reconnaissance version for the Swedish Air Force with an extended camera nose. It featured a similar camera arrangement to the Sk 60 C with a panoramic camera, plus an avionics palet in the baggage compartment for a modular DICAST (Digital Camera And Sensor Tray) pod under the fuselage. Unlike the Sk 60 C, which was converted from existing Sk 60 A trainers, the Sk 90 S was an original design. 20 were delivered until 1997, together with the standard trainers, which were kept on the production lines at slow pace until 1999.
A total of 108 production Sk 90s were built, and the Swedish Air Force has no further requirement for new Sk 90s at present. Upgrades are in planning, including fit of at least some Sk 90s with a modern "glass cockpit" to provide advanced training for the Saab Gripen (which had entered service in June 1992), and a full authority digital engine control (FADEC) for the FJ44-4M turbofans. Integration of the Rb.75 (the AGM-65A/B Maverick in Swedish service) together with a pod-mounted FLIR camera system was also suggested, improving the Sk 90’s attack capability dramatically. These updates were started in 2000. The modified aircraft received the designation Sk 90 B and Sk 90 SB, respectively, and until 2006 the whole fleet was updated.
Tests were also made with reinforced underwing pylons that would allow the carriage of the RBS-15 anti-ship missile. Even though the Sk 90 did not carry a radar, the missile-armed trainers were considered as a linked multiplicators for Saab 39s with the appropriate avionics, so that salvoes of multiple missiles could be launched in order to overload ship defences and improve hit probability. While the latter assumption was proved as correct during field trials with two modified Sk 90s, the missiles’ extra drag and the consequent loss in agility, speed and range made the concept unpractical, since the armed Sk 90 could not keep up with the Saab 39, limit reaction time and would offer an easy target.
Another plan was the Sk 90 C, a two-seater with enhanced attack capabilities. Its most distict feature was a simplified PS-05/A pulse-Doppler X band multi-mode radar, developed by Ericsson and GEC-Marconi for the JAS 39 Gripen.
The system was based on the Blue Vixen radar for the Sea Harrier that also served as the basis for the Eurofighter's CAPTOR radar, and it would allow a highly improved air-to-air and air-to-ground capability, also in better concunction with the Saab Gripen as lead aircraft. Two technology demonstrators were converted from Sk 90 A trainers, but the project was shelved - due to budget restrictions and simply through the fact that the JAS 39 Gripen offered anything the Swedish Air Force had called for in just one, single weapon system, so that the Sk 90 remained in its advanced trainer and tactical recce role. The technology package was offered to foreign customers, though.
Despite its qualities and development potential, the Sk 90 did not attain much foreign interest. It suffered from bad timing and from the focus on domestic demands. It came effectively 10 years too late to be serious export success, and the Sk 90 was very similar to the Dassault/Dornier Alpha Jet (even though it was cheaper to operate) - at a time when the German Luftwaffe started to prematurely phaze out its attack variant and flooded the market with cheap second hand aircraft in excellent condition. Besides, the Saab Sk 90 had, with the BAe Hawk, another proven competitor with a long operational track record all over the world.
Modest foreign sales could be secured, though: Austria procured 36 Sk 90 Ö in 2002 (basically comparable with the updated Sk 90 B), replacing its Saab 105 fleet and keeping up its close connection with Saab since the Seventies. Malaysia showed interest, too, as well as Singapore, Myanmar, Finland, Poland and Hungary.
The latest interest came from the Republic of Scotland in late 2017 – after the country’s separation from the United Kingdom and building an independent air force with a supplier from a neutral country.
The Republic of Scotland’s Air Corps (RoScAC) started negotiations with Saab and the Swedish government over either eight newly built or refurbished, older Sk 90 As that were updated to C standard with the PS-05/A radar.
Scotland additionally showed interest in a small fleet of 1st generation Saab 39 interceptors that would replace the RAF fighters based on Scottish ground.
General characteristics:
Crew: two pilots in tandem
Length incl. pitot: 13.0 m (42 ft 8 in) for the A trainer, 13.68 m (44 ft 10 in) for the S variant
Wingspan: 9.94 m (32 ft 7 in)
Height: 4.6 m (15 ft 1 in)
Empty weight: 3,790 kg (8,360 lb)
Max. takeoff weight: 7,500 kg (16,530 lb)
Powerplant:
2× Williams International FJ44-4M turbofans without reheat, rated at 16.89 kN (3,790 lbst) each
Performance:
Maximum speed: 1,038 km/h (645 mph)
Range: 1,670 km (900 nm)
Armament:
No internal gun; five hardpoints for 2,500 kg (5,500 lb) of payload and a variety of ordnance
The kit and its assembly:
A simple kit travesty! This is basically the 1:72 Kawasaki T-4 from Hasegawa, with little modifications.
Originally, I wondered what an overdue Saab 105 replacement could or would look like? The interesting Saab 38 never saw the light, as mentioned above, there was also an A-10-style light attack aircraft (maybe to be built as a kitbashing some day...) and I assume that neutral Sweden would rather develop its own aircraft than procure a foreign product.
Consideration of the BAe Hawk, Alpha Jet and the L-39 Albatros as inspirations for this project, I eventually came across the modern but rather overlooked Japanese Kawasaki T-4 trainer – and found that it had a certain Swedish look about it? Hmm... And coupled with a very characteristic paint scheme, like “Fields & Meadows”, maybe…?
I wanted to keep things simple, though, so the T-4 was mostly built OOB. A pleasant experience. The kit is relatively simple and fit is very good, with only minimal PSR necessary.
The only changes are the underwings hardpoints, which come from a Heller SEPECAT Jaguar, the pair of drop tanks (from an Academy F-5E, IIRC), a scratched recce pod for the ventral hardpoint and a modified bow section. This camera nose is a transplant from a Marivox Saab 105, assuming that the new trainer would be employed in similar roles as the Sk 60. The respective Swedish kit comes with a lot of optional parts, including the extended Sk 60 C’s camera nose - and it fits very well onto the T-4's rounded nose.
Painting and markings:
Well, when building a kit is not a true challenge, maybe the paint job is? The T-4 in a "Fields & Meadows" livery was the initial inspiration for this build, so I tried to stick with the concept as far as possible, even though I'd assume that Swedish aircraft in the kit's time frame would rather be grey with subdued markings. But there's hardly anything as Swedish and spectacular as "Fields & Meadows", and this scheme would also be perfect for the tactical recce role of this build.
The pattern was loosely inspired by the Saab Viggens’ scheme (I found pictures of Sk 60 in Fields & Meadows, but could not puzzle together a complete view) as benchmark.
Painting was done with a fine brush (size 2), free-handedly. Even the waterline was created without masking tape - a clean, bigger brush (size 6) was enough to create the sharp edge. This sounds bizarre and maybe suggest a masochistic touch, but it actually worked better than expected - and I was in the lucky situation that I did not have to slavishly copy and recreate the splinter pattern on a real-world model. ;-)
Finding proper tones for the famous and very characteristic Swedish paint scheme was not easy, though. Pictures of real aircraft vary largely, light conditions and weathering make a proper identification difficult, to say the least. Since I wanted a simple solution (a lot of corrections during the painting process was expected), I settled upon the following enamel tones:
• Modelmaster 2060, RAF Dark Green
• Humbrol 150, Forest Green FS 34127
• Humbrol 72, Khaki Drill, for the earth tone
• A 1:1 mix of Humbrol 33 (Flat Black) + Modelmaster 2094 (RAL 7021) for a very dark grey
• Humbrol 247 (RLM 76) for the undersides
Painting was done from black (starting here because it was the only mixed tone), then the earth tone, light green and finally the dark green - a slow (2 full days) but rather uncomplicated process. But I think that the effort paid out, and helps selling the fictional Sk 90 idea.
The cockpit was painted in neutral grey, while the landing gear and the air intakes became white. A very Swedish touch are the bright green headrests - seen on Saab 37.
The markings were kept simple, puzzled together from various sources. Tactical codes come from a Heller Saab 37 Viggen sheet, while the roundels come from an RBD Models sheet (great stuff!) from Sweden - they actually belong to a Saab 32, but since the roundel sizes are normed the transplant onto the smaller aircraft here was easy and even plausible.
Some stencils were taken from the T-4 OOB sheet or gathered together from the scrap box, e .g. the "FARA" warnings.
The silver trim at the flaps and the fin rudder were made with generic 0.5mm decal stripes in silver. Similar strips in black were used to create the de-icers on the wings' leading edges.
Finally, the kit was sealed with matt acrylic varnish (Italeri).
Not tough to build, but still a challenge to paint. But the result is spectacular, and the T-4 under foreign flag looks disturbingly plausible. How could Sweden hide this aircraft from the public for so long...?
And it's certainly not the last T-4 I will build. A Scottish aircraft, as mentioned in the background, is a hot candidate - but the aircraft has a lot of OOB whiffing potential...