View allAll Photos Tagged equalizer
Wren Rovers advanced to the next round with a 4-2 penalty shootout win over tital rivals Longridge Town. The game finished with 10 players on each side and Longridge equalized in the last minute
The temporary water barriers used during construction are nolonger needed as water is allowes to equalize between the two sides, during the opening of the new fish passageway at the Baxter Grist Mill Dam is an estimated 1.5 million dollar restoration project that features a concrete notched weir fishway for herring, reinforce the dam and improve the fish ladder at Mill Pond on the Mills Creek, in West Yarmouth, MA on Feb. 3, 2020. The progressive pool-weir fishway provides an incremental path for fish to swim between two bodies of water that have different elevations, such as here at a dam. The completion of the passage is just one major milestone in this restoration project.
An approximate $400,000 grant from the U.S. Department of Agriculture (USDA) Natural Resources and Conservation Service (N?RCS) and a majority share from the Community Preservation Act has paid for the project.
The efforts will benefit six habitats. One of the habitats is the Mill Pond, which is the seasonal home of swan pairs. Water levels and construction activities have successfully been underway without disrupting the swans.
The construction will better stabilize the mill, a local tourist attraction. The new spillway will provide better flow through the grist mill. The dam’s earthen embankments will be made more stable with riprap rock and thick sheeting.
Since 1710, the Baxter Mill has been at this location. The dam suffered failures about 60 years ago, with subsequent rebuilds. Local funding will provide the restoration of the mill, which has been inoperative for 40 years.
NRCS has a proud history of supporting America’s farmers, ranchers, and forest landowners. For more than 80 years, we have helped people make investments in their operations and local communities to keep working lands working, boost rural economies, increase the competitiveness of American agriculture, and improve the quality of our air, water, soil, and habitat.
As the USDA’s primary private lands conservation agency, we generate, manage, and share the data, technology, and standards that enable partners and policymakers to make decisions informed by objective, reliable science.
And through one-on-one, personalized advice, we work voluntarily with producers and communities to find the best solutions to meet their unique conservation and business goals. By doing so, we help ensure the health of our natural resources and the long-term sustainability of American agriculture.
Farm Production and Conservation (FPAC) is the Department’s focal point for the nation’s farmers and ranchers and other stewards of private agricultural lands and non-industrial private forest lands. FPAC agencies implement programs designed to mitigate the significant risks of farming through crop insurance services, conservation programs, and technical assistance, and commodity, lending, and disaster programs.
The agencies and services supporting FPAC are Farm Service Agency (FSA), Natural Resources Conservation Service (NRCS), and Risk Management Agency (RMA).
NRCS – NRCS - nrcs.usda.gov/wps/portal/nrcs/site/national/home/
FPAC - Farm Production and Conservation - usda.gov/our-agency/about-usda/mission-areas
USDA - USDA.gov
USDA Photo by Diane B. Petit
At Brewery Ommegang, a 35,000-gallon equalizer receives waste from the beer-making process and feeds into a 150,000 gallon aeration basin in Cooperstown, N.Y., on May 21, 2015. In the aeration basin, microorganisms break down organics to remove nutrients like nitrogen and phosphorus before water is discharged from the plant. “We consider wastewater the front of the train at the building. Without wastewater we can’t do anything. We can’t brew; we can’t package,” said Joe Poliseno, brewing manager at Brewery Ommegang. (Photo by Will Parson/Chesapeake Bay Program)
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Control stand of a BNSF SD40-2 locomotive.
The 2 left gauges display various air pressure of the brake system, the next is airflow, and the rightmost displays amps times 100.
Town Showed Great Hart! A gritty comeback from 2 nil down midway through the first was started with a Tom Ince goal just before half time. Ridge came out strong in the 2nd and soon saw an equalizer from captain George Melling before a quick brace from Jay Hart put the game to bed. Town got one more through Richie Allen before AFC got a consolation. A great start to the new league with 3 points.
Chloë Grace Moretz is an American film actress and model. She began her acting career in 2004 at the age of seven; her first award nomination came the following year for The Amityville Horror.
Los Angeles County Hall of Records, 1962
320 W Temple St
Richard J Neutra, Robert Alexander; Honnold and Rex; Herman Charles Light and James Friend, Joseph Young ("Topographical Map" Mosaic and Fountain)
__________
Courtyard above loading dock. Rear facade.
__________
"The Sixties turn 50" is the 2010 campaign for the Los Angeles Conservancy's Modern Committee, which seeks to call attention to Post-World War II architecture, and celebrate the rich architectural history of Los Angeles County that start turning 50 this decade. The Richard Neutra Modernist Hall of Records, built in 1962, falls into this catagory.
Like so many citizens and tourists of LA, it's easy to pass the Hall of Records and dismiss it -- as did David Gebhard and Robert Winters in their book Architecture in Los Angeles -- as just middle aged: The Hall of Records is functional, but ". . . as an element within the Civic Center it does not contribute much," they wrote. Time, however, is the great equalizer. The Hall of Records has aged well, and now stands out in he Civic Center as an architectural masterpiece. Once just middled aged, it's now uber cool!
Green (before Green Architecture), the 15 story building includes many forward-thinking features. Huge louvers, sans Neutra's famed 1947 Kaufmann House, eliminate solar gain before the sun hits the glass. Their silver coating provides ambient natural light, eliminating glare, and the hollow panels themselves act as flues, reducing air conditioning costs. Smaller fins on the North side of the building reduce employee eye strain and UV ray exposure. The use of drop-ceiling luminous lighing was pioneering.
A blessing and a curse, the Hall of Records has remained virtually untouched. Unremodelled, the original features of Neutra's design have have been preserved. Obviously well cared for, the building on the whole, however, appears a bit tattered and in need of a well-deserved restoration.
Surrounding the building are several inviting courtyards for employees to relax at during their breaks At the main entrance on Temple Street is a marvelous reflecting pool and abstract and art installation/fountain by local artist Joseph Young. The "Topographical Map" pays homage to the water resources and mountains of Los Angeles County. The piece was restored in 2007 by Donna Williams.
Wikipedia Richard Neutra: en.wikipedia.org/wiki/Richard_Neutra
Los Angeles County Arts Commission, Joseph Young:
www.lacountyarts.org/civicart/01_First_District/1_dla_isd...
Los Angeles Conservancy Modern Committee: www.modcom.org/
Featuring as part of the Toronto International Film Festival (where we’ll be bringing you our review is a matter of days), is the big-screen actioner THE EQUALIZER, which is based on the same-titled cult 1980s series starring Edward Woodward. TRAINING DAY Oscar-winner Denzel Washington reunites ...
Vancouver Skylines - 14 (of 28) - Olympus dSLR E-410 with Zuiko Digital 1:3.5-5.6 14-42mm (4/3 mount) - Photographer Russell McNeil PhD (Physics) lives in Nanaimo, British Columbia where he works also as a writer and a personal trainer.
Highrises in Vancouver, BC, seen from Granville Bridge. This image is equalized & has a slight perspective correction to keep the verticals vertical.
In this first photo the Commemorative Column has been moved to it's new position, a couple of hundred yards from it's old position and is firmly fixed in place.The two cranes that carried out the lift (MC875 and MC824) have detached themselves, but are still linked together by way of the 100 ton pulley block that is slung beneath the two crane pully blocks, this arrangement enabled the two cranes to share an equil load while the lift was taking place.
It's been cloudy and I haven't been able to justify doing ANYTHING besides looking for a job. I'm going a bit crazy not taking pictures, so I set up my mini-studio and shot some bullets and my G26.
Town Showed Great Hart! A gritty comeback from 2 nil down midway through the first was started with a Tom Ince goal just before half time. Ridge came out strong in the 2nd and soon saw an equalizer from captain George Melling before a quick brace from Jay Hart put the game to bed. Town got one more through Richie Allen before AFC got a consolation. A great start to the new league with 3 points.
Peace To All,
Here is my Livingroom Audio setup. With the exception of the Kenwood KR-8010, which I paid $140.00 years ago, everything else was cheap. The Pioneer PL-530 was $15.00, the Panasonic BSR 1970 turntable was 10.00 with the cover in excellent condition, the Tamon equalizer $5.00, The Pioneer Tape deck was 17.00 in MINT condition, and the stand was 10.00. The Nova speakers were 20.00 with new drivers at 120wpc ea. BTW, that a Laurids Kinetic Tree Sculpture, and the stone box on the floor to the left, was only $.99. That's where I keep turntable items.
So many wonderful items waiting to be purchased and given a new home. I used to decorate like the store magazines and circulars, but honestly, it's boring to Me So I like to keep the imagination going with various colors, wood combined with metal, copper, glass, etc. If in the end, I can come up with a groovy and fun place to be, then I've accomplished what my heart has set forth, Thanks for having a look.
Did you find something today you may want to share? I'll take a look.
Blessings To All.
Town Showed Great Hart! A gritty comeback from 2 nil down midway through the first was started with a Tom Ince goal just before half time. Ridge came out strong in the 2nd and soon saw an equalizer from captain George Melling before a quick brace from Jay Hart put the game to bed. Town got one more through Richie Allen before AFC got a consolation. A great start to the new league with 3 points.
EPS10 vector abstract equalizer design on black background. Composition has bright lights and blurry bokeh particles.
Gas and fire equalizer made by artist Andrea Valenti for the Kunst Symposium and exhibition at Herr Keramikmanufaktur, Bogen (Bayern) the 11th August 2012.
Kitch me on Fakebook Site
Equalized vs. White Balance. I am not trying to get a certain effect on these slides, just attempting to recover as much of the original visual information as possible. Sometimes "equalized" works best, other times "white balance" or some other setting. After these I still need to tweak further in most cases. A fun project.
Antoine Fuqua present tis movie in 2014, with Denzel Washington, Chloë Grace Moretz, Marton Csokas, Haley Bennett, Melissa Leo,...
Premier Jason Kenney announced in Calgary on July 15, 2021, that Albertans will have an opportunity to have their say on equalization and daylight saving time and elect nominees to the Senate when they vote in the fall municipal elections.
In addition to voting for Senate nominees, Albertans will be asked to vote on these two provincial topics on Oct. 18, in conjunction with the municipal elections:
Equalization payments – Should the principle of making equalization payments be removed from the Constitution?
Daylight saving time – Should Alberta end the practice of changing our clocks twice a year?
“Alberta has a long and proud tradition of grassroots, direct democracy. We will renew that tradition this fall. I encourage all Albertans to get engaged on these important issues and I look forward to taking part in the debate this fall.” said Premier Kenney.
Equalization :
Over the last 25 years, Albertans have contributed more than $400 billion more to the nation in tax dollars than they have received in federal spending. Albertans make an immense contribution to equalization through federal tax contributions, which are transferred by the federal government to other provinces for programs and services. The current program has many issues, including a formula that requires it to grow automatically with Canada’s economy, even if contributing provinces like Alberta are experiencing immense economic challenges.
Daylight saving time :
Across Canada and the United States, more governments are bringing forward legislation to move to permanent daylight saving time, also known as summer hours. In 2019, Service Alberta asked Albertans if they thought we should make a similar shift. More than 141,000 Albertans responded, of which 91 per cent were in favour of year-round summer hours.
“Changing our clocks twice a year is something that every Albertan has an opinion on. As Alberta first adopted daylight saving time following a referendum in 1971, we owe it to Albertans to give them the same opportunity to make their voices heard now that we are considering another change.” said Nate Glubish, Minister of Service Alberta.
Senate elections :
Along with the municipal elections and the two referendum questions this fall, Albertans will elect three Senate nominees – one for each of the two current vacancies and one in case of early retirement.
The Senate nominee election enhances democracy in the province by allowing Albertans to choose the individuals who will best represent them in Parliament. Having representatives elected by Albertans would increase senators’ accountability to Alberta voters to defend the province’s interests.
Provincial police and pension :
For the topics of creating an Alberta Police Service and Alberta Pension Plan, further analysis and work are underway before next steps are determined.
“Through the Fair Deal Panel, Albertans who are policed by the RCMP said that they want to see Alberta build its own provincial police service to improve policing in their communities. We are continuing to study what this could look like and how it could improve the safety and security of Albertans and their property, as part of making an informed decision on the next steps.” said Kaycee Madu, Minister of Justice and Solicitor General.
“The potential creation of an Alberta Pension Plan would be a significant decision for Albertans. As such, we are continuing the important work of completing an actuarial, economic and structural analysis so Albertans can make an educated and well-informed choice, and their questions and concerns can be adequately addressed. We look forward to putting this important decision on the table when the time is right.” said Travis Toews, President of Treasury Board and Minister of Finance.
(photography by Chris Schwarz/Government of Alberta)
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
dreary shot of Capital in DC, playing with EQ in Photoshop. mask sky adjust eq, the invert and adjust eq on lower half of image
"He's a camera nut and you're not. So what.
You're still matching him picture for picture... and his equipment cost three, maybe four times what yours did.
Don't think he doesn't hate you just a little. Your exposures are just as perfect. Your shots just as crisp. And now that you've really gotten into the swing of it, your composition has got 'm a little worried.
Well, why didn't he buy what you bought in the first place? Your Auto-100 (by Beseler Topcon) is so good you could go out and make a fine living with it...."
I used the photo shop adjustment equalize for this result
Document name:Oct24wma4b.FWrk
Fractal type:mandelbrot
Plot size (w,h):2210,2210
Maximum iterations:31000
Center Point (real, imaginary):-0.911749756095,0.238889067194 i
Plot Width (real):6E-10
Color scheme name:Toadie1
Color scheme last modified:2008-10-24 15:47:02 -0700
Plot uses DE:Yes
Plot uses fractaional iterations:Yes
Plotted with symmetry:Yes
Plotted with boundary following:Yes
Plotted with multiple processors:Yes
Total plot time:116.283 seconds
Total iterations:8126384165
Iterations/second:69884341
Pixels skipped:13
Iterations skipped:403000
Percent of pixels calculated:100
Percent of iterations calculated:100
Plot height:0.1
Peak steepness:0.2
Plot flipped:Yes
Camera x:0
Camera y:0
Camera z:-1.36
Ambient light:0.5
Directional light:0.6
Specular light:0.7
Surface shininess: 30
Light x direction:-1
Light Y direction:1
Light z direction:1
Background color red:232
Background color green:116
Background color blue: 69
.