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The performance of the Canon 28-135 IS lens is excellent at the 28mm used here but not really good at the longer focal lengths and best avoided at 35 mm for apertures wider than f11.
I needed an embeddable version of this image outside of the control of my lighroom library. My usual solution for this is to do a minor edit in picnik and save the result as a new file that hopefully never gets modified again.
All clayed up. The insulation foam underneath saves me from sculpting a giant block all the way down to the table.
Gustav Behre, Malerei, Schrift, Graphik in der Praxis der Werbegestaltung, Karl Gröner-Verlag, Ulm-Söflingen, 1953
Translated text (Google, very lightly edited)
The Gilding Of Carved Lettering
Photo report of the work phases
The desire to emphasize the inscriptions embedded in the stone by covering them with gold leaf can be traced back to the decorative and solemn effect of this material. Even in ancient times, gold served as a symbol of supreme dignity and omnipotence.
If an inscription carved in stone is to be gilded, it is advisable to convince oneself of the type of stone before starting the preparatory work. The gilding technique depends on it, in addition to the different cleaning options for the surface. In general, only a few types from the multitude of rocks are used for this purpose. A distinction is made between soft and hard rock. Since the soft rock has a changing porous structure, a relatively early contamination can be observed. In addition, after years of weathering, the rock structure on the surface can be loosened. In such cases (e.g. limestone and sandstone) the cleaning and the removal of the loose parts must be carried out by grinding with a natural pumice stone under constant water supply. All grinding residues are to be removed by thorough rinsing and washing with clear water and a root brush. If the writing is not brushed out with the necessary care, the loose particles will prevent the gold background from anchoring. Spalling and settling damage would destroy the gold plating prematurely.
The different types of marble can be cleaned by grinding with flat sandstones. After wet sanding, wash with clean water and a root brush. Despite the intensive washing work, the surface loses its bright coloring as it dries. A graying occurs. But to restore the original depth of light effect, rub the surface with pure linseed oil. When it is washed off, which can take place after about 2 hours, the marble regains its specific luminous structure. Uncolored wax is particularly well suited for this purpose. When waxing, care must be taken to ensure that no wax gets into the indentations of the writing, otherwise the connection between the gold background and the stone is endangered. This danger does not arise if a rectangular, flat and handy stone is used to apply the wax. A clean linen cloth is to be stretched over this stone, smooth and without creases. Tensioning is achieved by rotating the tab ends several times on the back of the stone (Figure 1).
Chemical cleaning of the stones is not recommended, since the alkalis and acids are not always sufficiently neutralized, so that the gold plating can be destroyed from deep within. Apart from that, acids must not be used on calcareous types of rock because the expulsion of the carbonic acid will damage the rock structure. Basically, before any chemical cleaning, the stone should be dabbed with a 10% hydrochloric acid solution. If this causes effervescence, the stone is calcareous.
Compared to the time-consuming preparatory work on the soft rock, the cleaning of the hard rock requires little work. Since the very hard surface hardly weathers, only all moss parts and loose remains of the old gilding are removed with a wire brush (Figure 2). There is no need to worry about scratches and scratches on the surface during this process, since granite, the deep rock most commonly used for this purpose, has a high degree of hardness.
The following note for determining the hardness:
A good pocket knife has a blade with a hardness of 5½-6. With it we can probably scratch the soft rocks, but not the hard ones. As weathered areas are usually much softer, the determination should only be carried out on unweathered areas. This short note decides u. the preliminary work. So e.g. For example, a stone that can be scratched by the blade should never be treated with a wire brush. Scratching the surface would make it completely unsightly.
The dirt particles and dust exposed with the wire brush must be washed off with water and a root brush. After drying, the surface of the granite slab must be waxed in the form described above. Rubbing with linseed oil is not necessary. Here, too, great care is taken to ensure that no wax gets into the deep writing.
The writing can now be “applied” to the plate that has been prepared in this way. The specially prepared application oil, which is also known as “Mixtion” (Latin mixtura = mixture), is used for this. The transparent application oil is mixed with chrome yellow and gold ocher to a gold-like tone so that the thin gold leaf does not show any dark spots shining through. No dry pigments are used for mixing, but rather in linseed oil rubbed tube paints. It is not necessary to prime or seal the base of the writing, as the Mixtion system cannot migrate into the non-porous granite. The application is done evenly with the brush. If applied heavily, the application oil runs into the depths of the lettering. Uneven drying, wrinkling and sinking of the gold leaf impair the well-intentioned work. The waxed and non-porous stone allows the gold background to be applied beyond the edge of the writing (fig. 3). The porous soft rocks require a primer with a golden-yellow, non-bleeding oil paint color so that the Mixtion system cannot smack away. The comparatively low level of anchorage and the formation of cavities caused by the inclusion of air speak against the rounding of shellac. Laying over the edge of the writing should be avoided with these types of stone, since the primer or mixtion adhering to the pores can hardly be removed. The gilding looks unclean and leaves a bad impression.
Adjusting the right degree of dryness of the mixtion system is of crucial importance for the subsequent gilding. Whilst the gold leaf sinks if applied too early, causing the surface to become wrinkled and dull, if the wait is too long it loses its adhesiveness. The right time for gilding has come when the fingertip sliding over the system makes a slight squeaking and whistling noise. Only now can the gold plating begin. Since the gilding work often has to be carried out outdoors, it is expedient to use storm or transfer gold attached to a tissue paper backing. The easy fastening prevents the gold leaf from being blown away when it is cut to size and placed on it. To avoid any signs of oxidation, use at least 23 carat gold. Pure gold is always 24k.
The gold leaf that has been cut to size is placed with the tissue paper underlay on the lettering created with Mixtion. Use a hair brush to gently press down (Figure 4). After the gold has been glued in, the piece of tissue paper can be easily peeled off. Once all parts have been gilded, the excess gold can be removed from the unapplied areas with a soft brush.
Before starting to fill in the gilding protruding beyond the lettering, it is advisable to wait a day or so, since the edges that are too fresh can be slightly blurred when cutting off. A clean, sharp spatula that is not too wide is suitable for filling. The gold plating to be removed can be easily pushed off with it (Figure 5). Finally, the remnants of the mixing system that are still on the plate are removed with the cloth (Figure 6). The rag must also lie unfolded over the stone, otherwise the gilding will be damaged. The fingers holding the stone at the side must not be too deep so that the fingernails do not scratch it. When all the remains of the mixture have been removed, change the surface of the cloth you are wiping the stone with to give the slab an even shine.
Captions:
Waxing of the cleaned writing plate. The rag must lie flat on the stone without any creases.
Removal of moss and paint residue with the wire brush
Application the lettering sections with Mixtion
Application of the gold transfer
Smoothing out the lettering with the spatula
Removal of mixture residues and final polish
Work phase photo report by senior trades teacher Kurt Wick, Bonn
Original German text (OCR):
Das Vergolden Von Eingehauenen Schriften
Werkphasen-Bildbericht
Der Wunsch, die im Stein vertieft liegenden Schriften durch
Auslegen mit Blattgold besonders hervorzuheben, ist vorwie-
send auf die schmückende und feierliche Wirkung dieses Werk-
stoffes zurückzuführen. Schon im Altertum diente das Gold als
Symbol der höchsten Würde und der Allmacht.
Soll eine ın Stein gehauene Schrift vergoldet werden, so ist es
zweckmäßig, sich vor Beginn der Vorarbeiten von der Gesteins-
art zu überzeugen. Von ihr hängt neben der unterschiedlichen
Säuberungsmöglichkeit der Oberfläche die Vergoldetechnik ab.
Im allgemeinen kommen für diese Zwecke aus der Vielzahl der
Gesteine nur einige Arten zur Anwendung. Von diesen unter-
scheidet man die Weich- und Hartgesteine. Da die Weich-
gesteine ein wechselndes poriges Gefüge haben, ist eine ver-
hältnismäßig frühe Verschmutzung zu beobachten. Außerdem
kann nach langjähriger Bewitterung das Gesteinsgefüge an der
Oberfläche gelockert werden. In solchen Fällen (z. B. Kalk-
und Sandstein) ist die Reinigung sowie die Entfernung der
losen Teile durch Schleifen mit einem Naturbimsstein unter
ständiger Wasserzuführung vorzunehmen. Alle Schleifreste
sind durch gründliches Nachspülen und Nachwaschen mit kla-
rem Wasser und Wurzelbürste zu entfernen. Wırd das Aus-
bürsten bei den vertieft liegenden Schriften nicht mit der
erforderlichen Sorgfalt durchgeführt, so verhindern die losen
Teilchen die Verankerung des Goldgrundes. Platz- und Ab-
setzschäden würden die Vergoldung frühzeitig zerstören.
Die verschiedenen Marmorarten lassen sich durch Schleifen mit
flächigen Sandsteinen reinigen. Nach dem Naßschliff ist mit
sauberem Wasser und Wurzelbürste nachzuwaschen. Trotz der
intensiven Wascharbeit verliert die Oberfläche mit zunehmen-
der Trocknung die leuchtende Farbgebung. Es tritt eine Ver-
grauung ein. Um aber die ursprüngliche Tiefenlichtwirkung
wieder herzustellen, reibe man die Oberfläche mit reinem
Leinöl ab. Mit dem Abwaschen, das nach etwa 2 Stunden er-
folgen kann, erhält der Marmor wieder die arteigene leuch-
tende Struktur. Für diesen Zweck ist nicht gefärbtes Wachs
besonders gut geeignet. Beim Abwachsen ist unbedingt darauf
zu achten, daß kein Wachs in die Vertiefungen der Schrift
kommt, da sonst die Verbindung des Goldgrundes mit dem
Stein gefährdet ist. Diese Gefahr trıtt nicht ein, wenn zum
Wachsauftrag ein rechteckiger flacher und handlicher Stein
benutzt wird. Über diesen Stein ist ein sauberer Leinenlappen
glatt und faltenlos zu spannen. Das Spannen wird durch eine
mehrmalige Umdrehung der Lappenenden auf der Rückseite
des Steins erreicht (Abbildung 1).
Die chemische Reinigung der Steine ist nicht zu empfehlen, da
die ausreichende Neutralisation der Laugen und Säuren nicht
immer erzielt wird, so daß die Vergoldung aus der Tiefe zer-
‚stört werden kann. Abgesehen davon dürfen Säuren nicht auf
kalkhaltigen Gesteinsarten angewendet werden, weil durch das
Austreiben der Kohlensäure Schäden im Gesteinsgefüge ein-
treten. Grundsätzlich sollte man vor jeder chemischen Reinigung
den Stein mit einer 10°/sigen Salzsäurelösung betupfen. Ent-
steht hierbei ein Aufbrausen, so ist der Stein kalkhaltig.
Im Verhältnis zu den zeitraubenden Vorarbeiten der Weich-
gesteine erfordert die Reinigung der Hartgesteine einen ge-
rıngen Arbeitsaufwand. Da die sehr harte Oberfläche kaum
verwittert, werden lediglich alle Moosteile sowie losen Reste
von der alten Vergoldung mit der Drahtbürste entfernt (Ab-
bildung 2). Kratzer und Schrammen in der Oberfläche sind
bei diesem Vorgang nicht zu befürchten, da das für diesen
Zweck am meisten verwendete Tiefengestein Granit einen
hohen Härtegrad hat.
Zur Härtefeststellung folgender Hinweis:
Ein gutes Taschenmesser hat eine Klinge mit dem Härtegrad
5l/ge—6. Mit ıhr können wir wohl die Weich-, aber nicht die
Hartgesteine rıtzen. Da angewitterte Stellen meist viel wei-
cher sind, führe man die Bestimmung nur an unverwitterten
Stellen durch. Dieser kurze Hinweis entscheidet u. a. die Vor-
arbeit. So kann z. B. ein Stein, der sich von der Klinge ritzen
läßt, niemals mit der Drahtbürste behandelt werden. Die
Oberfläche würde durch Schrammen vollkommen unansehnlicdh
werden.
Die mit der Drahtbürste freigelegten Schmutzteilchen und
Staub sind mit Wasser und Wurzelbürste abzuwaschen. Nach
der Trocknung ist die Oberfläche der Granitplatte in der vor-
her beschriebenen Form abzuwachsen. Das Abreiben mit Lein-
öl ist nicht erforderlich. Auch hier achte man peinlichst darauf,
daß kein Wachs in die vertieft liegende Schrift kommt.
Auf die so vorbereitete Platte kann jetzt die Schrift „ange-
legt“ werden. Hierzu verwendet man das besonders präpa-
rierte Anlegeöl, das auch die Bezeichnung „Mixtion“ (lat.
mixtura = Mischung) führt. Das transparente Anlegeöl wird
mit Chromgelb und Goldocker zu einem goldähnlichen Ton
abgemischt, damit das dünne Blattgo!d keine durchscheinenden
dunklen Stellen zeigt. Zum Abmischen benutze man keine
Trockenpigmente, sondern in Leinöl angeriebene Tubenfarben.
Ein Grundieren oder Abdichten des Schriftgrundes ist nicht
erforderlich, da die Mixtionanlage nicht in den porenlosen
Granit abwandern kann. Der Auftrag erfolgt gleichmäßig
mit dem Pinsel. Bei starkem Auftrag läuft das Anlegeöl ın
die Schrifttiefen. Ungleichmäßige Trocknung, Runzelbildung
und Versaufen des Blattgoldes beeinträchtigen die gut gemeinte
Arbeit. Das abgewachste und porenlose Gestein erlaubt, den
Goldgrund über den Schriftrand hinaus aufzutragen (Abb. 3).
Die porösen Weıichgesteine verlangen eine Grundierung mit
einer goldgelben, nicht auslaufenden Ollackfarbe, damit die
Mixtionanlage nicht wegschlagen kann. Gegen die Schellack-
srundierung spricht die verhältnismäßig geringe Verankerung
und die durch den Lufteinschluß bedingte Hohlraumbildung.
Eine Anlage über den Schriftrand ist bei diesen Gesteinsarten
zu vermeiden, da die in den Poren haftende Grundierung oder
Mixtion kaum zu entfernen ist. Die Vergoldung wirkt unsauber
und hinterläßt einen schlechten Eindruck.
Für die nun folgende Vergoldung ist das Abpassen des rich-
tigen Trockengrades der Mixtionanlage von entscheidender
Bedeutung. Während bei einer zu frühen Auflage das Blatt-
gold versäuft, wodurch die Oberfläche runzelig und matt
wird, geht bei zu langer Wartezeit die Klebefähigkeit ver-
loren. Der richtige Zeitpunkt zur Vergoldung ist dann ge-
kommen, wenn die über die Anlage gleitende Fingerkuppe ein
leicht quietschendes und pfeifendes Geräusch hinterläßt. Erst
jetzt kann mit der Goldauflage begonnen werden. Da die
Vergoldearbeiten oft im Freien durchgeführt werden müssen,
verwendet man zweckmäßig das auf einer Seidenpapierunter-
lage befestigte Sturm- oder Transfergold. Die leichte Befesti-
gung verhindert, daß das Goldblättchen beim Zuschneiden und
Auflegen nicht fortgeweht wird. Um irgendwelche Oxyda-
tionserscheinungen auszuschließen, verwende man mindestens
23karätıges Gold. Reines Gold ist stets 24karätıg.
Das zugeschnittene Goldblättchen wird mit der Seidenpapier-
unterlage auf die mit Mixtion angelegten Schriftteile gelegt.
Zum leichten Andrücken dient ein Haarpinsel (Abbildung 4).
Nach dem Einkleben des Goldes läßt sich das Stückchen Sei-
denpapier leicht abziehen. Ist die Vergoldung in allen Teilen
erfolgt, so kann das überschüssige Gold von den nichtange-
legten Stellen mit einem weichen Pinsel entfernt werden.
Bevor mit dem Ausspachteln der über die Schriift hinausra-
genden Vergoldung begonnen wird, ıst es ratsam, noch etwa
einen Tag zu warten, da beim Abstechen der zu frischen
Anlage leicht unscharfe Kanten entstehen können. Zum Ab-
spachteln eignet sich ein sauberer, nicht allzu breiter scharfer
Spachtel. Mit ıhm läßt sich mühelos die zu entfernende Ver-
goldung abschieben (Abbildung 5). Abschließend werden die
noch auf der Platte verbliebenen Reste der Mixtionsanlage
mit dem Lappen entfernt (Abbildung 6). Der Lappen muß
ebenfalls faltenlos über dem Stein liegen, da sonst die Ver-
goldung beschädigt wird. Die den Stein seitlich haltenden
Finger dürfen nicht zu tief liegen, damit durch die Finger-
nägel keine Kratzer entstehen. Sind alle Mixtionsreste ent-
fernt, so wechsele man noch einmal die auf dem Stein lıe-
sende Lappenfläche, um damit der Platte den gleichmäßigen
Glanz zu geben.
Captions:
Abwachsen der gereinigten Schriftplatte. Der Lappen muß faltenlos
auf dem Stein aufliegen.
Entfernen von Moos und Farbresten mit der Drahtbürste
Anlegen der Schriftpartien mit Mixtion
Auflage des Transfergoldes
Glattstechen der Schrift mit dem Spachtel
Entfernen der Mixtionreste und Schluß politur
Werkphasen-Bildbericht von Gewerbe-Oberlehrer Kurt Wick, Bonn
I had to cut quite a bit of this agate away to eliminate the porous spots on the edges, which were very rough and varied a great deal in thickness. Otherwise, it is strickly a free form cabochon. There is some boytroidal area on the bottom side.
(further pictures and information you can see by clicking on the link at the end of page!)
Palais Ephrussi
1, University Ring 14
Architect Theophil Hansen 1873
Family:
Address: Franzensring to Universitätsring
Progenitor Ephrussi-Sephardic Greek from Russia
Family tree - family vault at the Central Cemetery
Ignaz leaves the palace built on the ring
Viktor is arrested by the Nazis
The hare with amber eyes
Palais:
A small but fine Heinrichshof - Förstersche group
The neighbor: Palais Lieben
Piano nobile in inconspicuous 1 floor
Interior of Hitler's Professor
Location: Story of the Schottentor
From Franzensring to Universitätsring
The Ephrussi family name is relatively unknown in Vienna.
The Palais Ephrussi, so the building at the ring road, however, many Viennese is familiar, was there but housed the administration of Casinos Austria from 1969 to 2009 housed. The company inscription 'decorates' still the facade.
Today, the property is home of a law firm, led by the President of the Bar Association Gerhard Benn-Ibler.
Students across the university is probably more known McDonald, who has rented the ground floor of the adjacent house.
At that time the palace was at Franzensring. It began at the Parliament and reached to the university. In 1934 one part of it was renamed in Dr. Karl Lueger-Ring. This remained so until 2012. Now it's called University Ring.
The other part even had a more eventfull naming:
1934 Dr. Ignaz Seipel-Ring
1940 Josef Bürckel-Ring
1945 Dr. Ignaz Seipel-Ring
1949 Parliament-Ring
1956 Dr. Karl Renner Ring
Palais Ephrussi, opposite the University
Progenitor Ephrussi - Sephardic Greek from Russia
Ephrussi sounds strange and a bit exotic. One does not really know how to write the word, if you have not seen it before. Hardly anyone suspects that the ancestor of the dynasty, Charles Joachim (1792 - 1864), from Odessa in Russia was - and yet less that this was a Sephardic Greek.
He built a business empire, beginning with grain exports from Ukraine, then investing in the construction of infrastructure: bridges, railways, port facilities. And this, of course, also included the establishment of a bank - with offices in Paris and Vienna.
Offices in Paris - Vienna - Odessa
Pedigree
1. generation
Charles Joachim (1792 - 1864)
2. generation
Ignaz (1829 - 1899)
Leon (1826 - 1878)
3. generation
Viktor (1860 - 1945)
Charles (1849 - 1905)
4. generation
Elisabeth Waal (1899 - 2001)
Ignaz Ephrussi 'Iggie' (1906 - 2011)
5. generation
Victor de Waal
6. generation
Edmund de Waal (1964 - )
Son Ignaz has built the palace
Son Ignaz (1829 - 1899) took over in 1860 the financial transactions in Vienna, his brother Leonid (1826 - 1878) went to Paris and became 'Leon'
As the progenitor Charles died, he was laid to rest in the family vault Ephrussi at the Central Cemetery, not far from the gate 1
(There were later also Ignaz and his wife Emilie, born Porges 1836-1900, buried.)
Ephrussi family vault at the Central Cemetery, Gate 1
Son Ignaz was now head of the Viennese house and reputable in society. He was knighted by the emperor, bestowed him in 1871 with the Order of the Iron Crown, Third Class - although Ignaz throughout his life remained Russian citizen.
Economically he experienced a further upswing, founded more stores, also in London. It is said that the Ephrussi were the second richest banking family after the Rothschilds.
Therefore Ignaz could afford it to take on one of the most successful Ringstrasse architects, Theophil Hansen, 1869 for the construction of his palace. This one had a year earlier started with the construction of the Palais Epstein.
Apart from that Hansen had by his Athens stays good contacts with the Greek society of Vienna and came so to orders such as the Palais Sina am Hohen Markt or the Greek Orthodox Church at the meat market (Fleischmarkt).
Hansen Memorial, Parliament (detail)
Netsuke figurines come in the family
Around the time of the Palais building acquired Ignaz' extremely art-loving cousin Charles (1849 - 1905), who could afford to live as a bohemian and did not have to work, a collection of small carved Japanese figures, netsuke. Those were used in the attachment of kimono belts and were made of ivory, jade or horn.
As heritage (Note: according to other sources, as a gift ) within the family this exotic extravaganza came to Vienna's Palais, where Ignaz resided with family.
Son Victor is arrested by Nazis
In the family Ephrussi it came again to an alteration of generations: Viktor (1860-1945) took over the house. He was with Emilie, called 'Emmy', a born Schey, married.
The marriage was not happy, allegedly, in a manner of speaking the bride was in love with another man. Nevertheless, rapidly three children were born, almost 20 years later, another son - the father was at this time, however, almost certainly Emmys lover (but it was not talked about it).
The family survived reasonably sound an safe to the end of the monarchy, the first World War and the interwar period. But in 1938 came the Nazis, arrested the nearly 80-year-old Viktor in his palace and looted his valuables .
Viktor von Ephrussi
Against the Gestapo violence there were no means, only stratagems: Viktor's maid Anna scurried over and over again among the henchmen.
She succeeded every time to hide some of the small netsuke figurines under her apron, which she then hid in her room.
And she did not say a word to any of them. Not even the stately family.
Viktor was arrested, interrogated in the Hotel Metropol at Morzinplatz and forced to renounce all of his possessions in order to obtain an exit permit.
For his wife Emmy finally all of this became too much. She swallowed an increased dose of heart medications and died.
The Hotel Metropol as an interrogation center
The hare with amber eyes
Viktor was able to flee to England, where he died shortly before the end of the war. His daughter Elizabeth married into the Dutch family de Waal.
She returned in 1945 after the war to Vienna. In the meantime offices of the U. S. Army had moved Into the palais. Vienna should now remain occupied for ten years. Some of the old furnitures were still there. And Anna, the maid.
She handed out Elizabeth the netsuke figures which she could hide then. 264 by the number. A courageous woman. And no one knows her last name. Nobody has asked her for it.
Elizabeth's grandson Edmund has written the story of six generations in the book 'The Hare with the Amber Eyes'. A bestseller: sold 200 000 times.
The Bestseller
Netsuke Figures (Bid: Asian shop Bräunerstraße)
The war-damaged palace was in 1950 returned to the family. Meanwhile impoverished, it had to sell it for only $ 30 000. Were deferred only a few tapestries and books. For the compulsory expropriation of the bank a compensation of $ 5,000 was paid out - with the commitment that they would make no further claims .
As the palace changed hands in 2009, a sum of about 30 million euros has been rumored.
A small but fine Heinrichshof
The Palais Ephrussi extends on the ring road side over nine window axes, on the Schottengasse eight window axes.
The building is a scaled down version of the Heinrichshof which Hansen 1861-63 had built for the brick Baron Heinrich Drasche opposite the Court Opera (destroyed in 1945).
Heinrichshof, 1863
Palais Ephrussi on the left, then the Förstersche group
Theophil Hansen renounced of an accentuation of the center in favor of monumental tower-like corner projections giving the impression that the building stands free. The corner risalit was a characteristic of the baroque palace architecture (example: Schloss Belvedere). It was Hansen's innovative idea to incorporate this motif into the housing. In the business office at the corner of Schottengasse moved in the large, as well furnished by Hansen Café Hembsch.
University (left), Förstersche group (middle), Café Landtmann (right)
Hansen worked very closely with the architects of the adjacent building groups, which also had familial backgrounds: He was with Sophie, sister of Emil Foerster (1838 -1909) married. The brother took over the design on the ring road side, Carl Tietz on the back side at the Palais Lieben. In the literature, this complex of buildings of aesthetic and formal unity went down in history as the 'Förstersche group'.
Unfortunately, the part of the building complex (No. 10, to Mölkerbastei) was severely damaged by bombing in World War II and replaced by a new building.
Palais Ephrussi with caryatids, next to # 12
University Ring No. 10: New in 1966, Carl Appel
The neighbor: Palais Lieben
View Schottengasse:
Left Palais Lieben (8 window axes), right Palais Ephrussi (8 window axes)
One is inclined to attribute the Palais Ephrussi the entire complex. But on the side Schottengasse it includes only the first eight window axes.
If you look closely you can clearly see this on the basis of the color difference of the facade and the gilded, or not gilded balcony lattices.
Ephrussis' immediate neighbors were at the corner Schottengasse/Mölkerbastei the Lieben family, on the ring road side the Iron Baron Mayr-Melnhof (No. 12), No. 10 owned Theresa Blum (destroyed in 1945).
Corner Mölkerbastei/Schottengasse
Piano nobile in inconspicuous 1st floor
Italian flair with plenty of balconies
University Ring (above), Schottengasse (right)
The palace is through ledges horizontally divided into three zones ( base, 'piano nobile', Attica), nevertheless dominates the vertical order: pilasters embrace the second and third floor and the optical impression is further extended by the Terrakottakaryatiden (Terracotta caryatides) that carry the woodwork.
The entire attic floor lies something set back and is circumscribed by a gilded tendrils grid (the thus created balcony room provides surely a nice residential feeling, moreover, perhaps with a view to the Vienna Woods.)
The color scheme of the facade is particularly eye-catching and gives an Italian flair: red brick color with yellow stucco.
Hansen accentuates with the Palais Ephrussi in the first floor the main entrance and the sides with columns, wearing balconies. The shape of the balusters will be taken up later in the opposite University.
The lower floors were rusticated in the neo-Renaissance style, the appear massive and simple.
On the first floor, above the balcony, were the apartment of the landlord and the representative rooms - and not, as one might suspect, a floor above.
Terracotta Jewelry: The head of Mercury protrudes from the Arkanthusblättern (arcanthus leaves) of the capital. Fruit garlands adorn the tower walls between the pilaster capitals.
Detail balcony lattices
Interior of Hitler's Professor
Entrance hall
Transversely embedded courtyard with a glass roof
1 bedroom
2 Damensalon (ladie's salon)
3 dance lounge (including main entrance)
4 reception room
5 smoking-room, billiard room
6 Dining Room
(Note: In the Palais no tours are possible, only the reception area on the ground floor can be visited during business hours.)
Floor plan main floor
Ignaz Ritter von Ephrussi expressly wished from the architect to his main floor a separate staircase, which must not beeing used by any other house party. For the tenants were to build three floors with a convenient main and kitchen stair. On the ground floor a stable for four horses was provided. There are two basement levels.
For the interior design none other than Christian Griepenkerl was taken that equipped the main floor with painting cycles.
Later this one will Adolf Hitler refuse admission to the Academy of Arts because of "insufficient sample drawings".
The ceiling paintings in the Palais show Greek Zeus adventures and Jewish themes (images from the Book of Esther). In other respects, too, it was made sure that nothing was lacking: precious wood floors, expensive fireplaces, elegant marble - and a lot of gold. Inside and outside.
In sunlight, the balcony lattices shine far into the distance. No other Ringstraßenpalais (ring road palais) afforded this beauty .
Terracotta decorations, detail (Mercury)
Location - history from Schottentor
View before 1900 with still intact Gehtor (walking gate) of the Schottentor (gate).
Tor - Tower - Residential House
In the Middle Ages the Babenberg Jasomirgott took Irish-Scottish monks to Vienna. They founded on the ancient Roman road (traffic artery) leading to the west a convent and a school. The name Schottenviertel became customary.
The Schottentor was a part of the fortification. Mentioned it is for the first time in 1276, from 1291 on it was called the Schottenburgtor (Scottish castle gate), later only Schottentor.
The above the gate situated tower was extended in 1418, 1716 were converted into a house gate and tower, which belonged 1775-95 to the couple Eva and Anton Prohaska and 1812 to Protomedicus Edward Guldner von Lobes.
1839 has been demolished.
Old Schottentor Schottenkloster (monastery) 1683
Already in 1656 had been built a new (outer) gate in front of the old Schottentor. 1840 it was replaced by a neoclassical building, similar to the exterior castle gate.
However, as so inconvenient The five passages at Schottentor proved that the new gate soon, " the 5 follies " was the nickname . Supposedly, have been held to narrow the driving gates. And for pedestrians , it was a zig- zag course .
The new Schottentor was already 20 years after its establishment , in 1862 , demolished, only a Gehtor has been preserved until 1900. Then they demolished the remaining groups together with four houses of Mölkerbastei .
The term Schottentor found today on any street sign, only the metro station at the University bears the name - much to the chagrin of some Vienna tourists from the next station - can be misleading - Scots ring.
Old Schottentor to 1839
Schottentor , plan 1799
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New Schottentor 1840
View Schottengasse with Schottentor ( direction Votive Church ) , circa 1840
View Schottentor - outside, around 1840
View Schottentor - outside, around 1840
Outside, around 1840
Outside, around 1840
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New ablation Schottentor 1862
left: Palais Ephrussi
1875 - 1920 : Maximilian Course ( Emperor Maximilian of Mexico, initiated the building of the Votive Church )
1920 - 1934 : Liberty Square
1934 - 1938 : Dollfußplatz
1938 - 1945 : Hermann Goering place
1945 - 1946 : Liberty Square
1946 - Roosevelt Square ( with Sigmund Freud Park )
After the 2nd World War I circulated the following joke in Vienna: A visitor from the provinces asks in a Viennese tram :
" What is the name of the place over there? " "That is the Town Hall Square , formerly Adolf- Hitler-Platz . " A little further asks the visitors again :
" And what is there in the building? " "This is the Parliament , formerly County House . " Again, the tram runs a piece .
" And what is this place?" "This is the Stalin Square , formerly Schwarzenberg Platz . " The visitor gets out and says goodbye with the words:
"Goodbye , formerly Heil Hitler . "
View after 1900
▲
external link : Image Indoors on f1.online
Link :
Alphonse Thorsch
A banker was almost as rich as Rothschild - the extinction
Tomb of Thorsch family , Central Cemetery , Gate 1
▲
sources:
Dehio S 336 , Czeike , Archives Publishing
Viennese palace , W. Kraus, P. Müller, Blanck stone Verlag, 1991
The Ringstrasse , a European architectural idea , Barbara Dmytrasz , Amalthea Verlag, 2008
Vienna in old postcards, Czeike , 1989
Vienna pictures from the youth of our Emperor , Gerlach, 80 born FJ
The Press : The Ephrussi family scattered to the winds
The Standard : Prison of gold
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Mohsin Junejo (left) is back in school in Nawan Juneja village, in Pakistan's Sindh province, but his family still live in a tent following last summer’s flood.
Their village was completely underwater for months following the devastating floods in Pakistan last year. UK aid has helped restore the local primary school to a better standard than it was before the floods. The school now has clean drinking water and the only toilet in the village.
Mohsin’s dad said “Our house vanished in the flood. Some loose bricks are all we had left. We went to Sukkur for 15 days, then came back to Shikapur for 25 days, then to a camp in Wazirabad, then came back to the village, but it was still flooded so we camped on the road outside the village.
"In March the flood water receded and we moved back in to the village, but our brick house was destroyed and we’re now in a tent. We don’t have money to rebuild it, but we’re happy to be back in the village so our son can go to school. He wasn’t in school for five to six months because of the floods.”
To find out more about how the UK is helping in Pakistan, please visit: www.dfid.gov.uk/Media-Room/Features/2011/Pakistan-floods-...
Image credit: Vicki Francis/Department for International Development
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Eskil Roningsbakken during handstand balancing on the edge of a cliff 304
meters high with one of his assistants.
(Embedded image moved to file: pic15332.jpg)Click Here To Join
OMG! These people are looking really crazy. Why they need to do so? Well
they all are really brave because its not very easy to do such a dangerous
job. It needs a lot of attention, will power and practice. Lets take a
looking at most stunning stunts of 2009.
The team of 70 skydivers made a massive leap in winged costumes at Lake
Elsinore, California in an attempt to set a new world record for number of
participants performing this complex figure. (SWNS)
(Embedded image moved to file: pic00192.jpg)Click Here To See More
181 women parachuting from 31 countries joined together to set a new
record for women’s parachuting in Perris (Perris), California. (AP)
(Embedded image moved to file: pic22967.jpg)Click Here To See More
Team paratroopers set a world record for the largest number of people who
came together in a free fall head down. 108 connections simultaneously
formed in the fall at a speed of 290 km / h over Illinois. (BARCROFT
MEDIA)
(Embedded image moved to file: pic30506.jpg)Click Here To See More
Spouses Heather and Glenn Singlmen (Heather and Glenn Singleman) made a
leap from the top of the mountain Brent (Brento) in Italy, the winged
suits that allow them to fly in the air. (James Boole / BARCROFT MEDIA
LTD)
Russia ekstremal Valery Rozov hovers in the air over Mutnovsky volcano in
Kamchatka in Russia before opening the parachute. (REUTERS)
The members of the special team of military descend by parachute during
the 61-th anniversary of the Armed Forces Gireong (Gyeryong) military
headquarters in South Korea. (REUTERS)
(Embedded image moved to file: pic23116.jpg)Click Here To See More
A bird flies in front of Austrian Hannes Arch in the second round of Red
Bull Air Race World Championship in San Diego in 2009 … (REUTERS)
And….. soon the collision. (REUTERS)
The British Harry Hunt (Gary Hunt) and Orlando Duque (Orlando Duque)
immersed in the Columbia River from a helicopter near the temple of
Poseidon on the eve of the eighth and final phase of the Red Bull Cliff
Diving World Series at Cape Sounion, Greece. (REUTERS)
Extreme climber Biet Kammelender, 50 years, during recovery, which he has
committed to become the first man conquering a vertical cliff “principle
of hope” to Bers wafers in Vorarlberg, Austria. (PETER MATHIS)
French climber Alain Robert, known as “Spider-Man”, stands on top of one
of the skyscrapers Petronas (Petronas Twin Towers) in Malaysia after the
successful ascent. (REUTERS)
A jump in the performance of Russian fans of parkour from the roof of the
building to the roof of an eight-story building in St. Petersburg.
(Embedded image moved to file: pic05185.jpg)Click Here To See More
Skiers with lights on their heads in Mount Cargo (Grouse Mountain) with a
view of Vancouver, British Columbia.
The two RAAF F-111S perform air room ‘Dump and fire’ ( ‘Dump and Burn’) at
the eighth annual airshow Defense Force in Townsville, Australia.
The maneuvering over the stadium after the ceremony Falcon 2009 U.S. Air
Force Academy near Colorado Springs.
B-2 Spirit Stealth Bomber is frozen in time when the breaks sound barrier
during a test flight over the California desert.
Ring of the water vapor formed around the aircraft F/A-18F Super Hornet,
pilotirumeogo lieutenants Justin Halliganom and Michael Witt, in
overcoming the sound barrier at the airshow on the beach Jones (Jones
Beach), New York.
(Embedded image moved to file: pic31412.jpg)Click Here To See More
Ryan Newman (Ryan Newman) flies to slide upside down on the track after a
collision with Kevin Harvick (Kevin Harvick) in the course of the
competition Dickies 500 NASCAR Sprint Cup Series at Talladega
Superspeedway in Alabama.
Australian motocross star Robbie Meddison jump overcomes open SPAN Tower
of London Bridge.
The motocross freestylers perform synchronous jump at the World Freestyle
Motocross in Rostov-na-Donu.
(Embedded image moved to file: pic18228.jpg)Click Here To See More
Motorcyclist rides on the board set a schoolgirl during a “show courage”,
organized by the government primary school in Villupuram in the Indian
state of Tamil Nadu.
(Embedded image moved to file: pic08382.jpg)Click Here To See More
Of the Seoul Police Agency Police special operations group splits hit beer
bottle during a demonstration of military skills.
(Embedded image moved to file: pic05982.jpg)Click Here To See More
Samsam Bubbleman tries to establish a record and inflate the biggest soap
puzyn in the world, using top-secret mix in Finsbury Park London.
(Embedded image moved to file: pic01845.jpg)Click Here To See More
The Snake Woman Lyuvsandordzh Iona has prolonged retention turning
Marinelli bend, which is supported through the mouth by the handle at the
top of the short pole and is considered the most difficult.
(Embedded image moved to file: pic11229.jpg)Click Here To See More
(Embedded image moved to file: pic08466.jpg)
(See attached file: Image-05.jpg)
Around the Lenin statue there was a lot of stuff embedded into the sidewalk. I didn't get any decent pictures of the whole thing, but this detail of a very finely decorated hammer embedded in the concrete did turn out pretty well I thought.
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Edited in PicMonkey, color tweaks and 16 x 9 crop.
I knew I had to take a picture of this driftwood when I saw it, and I wasn't sure why I loved it so much until I realized later on that it reminds me of a photo I took in Yellowstone back in early Summer 2015 of some trees killed by geothermal water from a nearby geyser. (That photo is also posted on my Flickr account, by the way)