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An image dating to the mid nineteenth century entitled 'Anne Boleyn's last farewell of her ladies'. Part of my collection of nineteenth century depictions of Anne Boleyn.
Used by the Trujillo regime as one of many tools to torture, terrorize, and control his opposition.. This was one of the many tactis used by the regime, along with improsnment, brutal beatings, and killing of the accused family. Trujillo known for his ruthless tactics in his later years as dictator, used the electrical chair as an object to terrify the public and anyone who goes on his opposition. Trujillo was known for sitting in many of the electrecuations and invited press so that the country would know he is serious buissiness. Trujillo also at time gave punishment similar to this to his own men and his own regime so that any person in the regime would know not to go against him. The dictator showed no mercy. In his early years as ruler of the small Island Trujillo was known as a person who would take the country away from poverty and restore it to economical greatness. His ruthless acts began as soon as the country saw no need for him to be in power and his approval ratings soon went to a downward spiral. His fear of loosing his power sparked murders, rapes, beatings, and various unreasobable inprisonments.
Espaillat, Arturo R.. Trujillo: The Last Caesar. Chicago. IL: H. Regnery Co, 1963.
Picture taken by Otto Piron
for more Information visit en.wikipedia.org/wiki/Rafael_Le%c3%b3nidas_Trujillo
E. H. Wilson: Criminals awaiting execution, 1899-1910. Tied to a cross-shaped frame, two criminals wait to be moved to the scene of their death. The queue was passed through a hole in the top of the vertical post to keep the body in position, and a rope around the neck was twisted until strangulation occurred.
Source: The Face of China As Seen by Photographers & Travelers 1860-1912, p. 38
Hermann Herdtle (1848-1926)
Chest for the Imperial Royal Austrian Museum of Art and Industry
Vienna, 1894
Execution: Kölbl and Threm, oil painting by Prof. Rudolf Rössler
Limewood, softwood
Executed for the Imperial Royal Austrian Museum of Art and Industry, at the expense of the Hoftiteltaxfonds endowwnment
Hermann Herdtle (1848-1926)
Truhe für das k. k. Österreichische Museum für Kunst und Industrie
Wien, 1894
Ausführung: Kölbl und Threm, Ölgemälde von Prof. Rudolf Rössler
Lindenholz, Weichholz
H 854/1895, ausgeführt für das k. k. Österreichische Museum für Kunst und Industrie, zu Kosten des Hoftiteltaxfonds
The history of the Austrian Museum of Applied Art/Contemporary Art
1863 / After many years of efforts by Rudolf Eitelberger decides emperor Franz Joseph I on 7 March on the initiative of his uncle archduke Rainer, following the model of the in 1852 founded South Kensington Museum (now the Victoria and Albert Museum, London) the establishment of the "k.u.k. Austrian Museum for Art and Industry" and appoints Rudolf von Eitelberger, the first professor of art history at the University of Vienna director. The museum should be serving as a specimen collection for artists, industrialists, and public and as a training and education center for designers and craftsmen.
1864/ on 12th of May, opened the museum - provisionally in premises of the ball house next to the Vienna Hofburg, the architect Heinrich von Ferstel for museum purposes had adapted. First exhibited objects are loans and donations from the imperial collections, monasteries, private property and from the k.u.k. Polytechnic in Vienna. Reproductions, masters and plaster casts are standing value-neutral next originals.
1865-1897 / The Museum of Art and Industry publishes the journal Communications of Imperial (k.u.k.) Austrian Museum for Art and Industry .
1866 / Due to the lack of space in the ballroom the erection of an own museum building is accelerated. A first project of Rudolf von Eitelberger and Heinrich von Ferstel provides the integration of the museum in the project of imperial museums in front of the Hofburg Imperial Forum. Only after the failure of this project, the site of the former Exerzierfelds (parade ground) of the defense barracks before Stubentor the museum here is assigned, next to the newly created city park at the still being under development Rind Road.
1867 / Theoretical and practical training are combined with the establishment of the School of Applied Arts. This will initially be housed in the old gun factory, Währinger street 11-13/Schwarzspanier street 17, Vienna 9.
1868 / With the construction of the building at Stubenring is started as soon as it is approved by emperor Franz Joseph I. the second draft of Heinrich Ferstel.
1871 / The opening of the building at Stubering takes place after three years of construction, 15 November. Designed according to plans by Heinrich von Ferstel in the Renaissance style, it is the first built museum building at the Ring. Objects from now on could be placed permanently and arranged according to main materials. / / The School of Arts and Crafts (Kunstgewerbeschule) moves into the house at Stubenring. / / Opening of Austrian arts and crafts exhibition.
1873 / Vienna World Exhibition. / / The Museum of Art and Industry and the Vienna School of Arts and Crafts are exhibiting together at Stubenring. / / Rudolf von Eitelberger organizes in the framework of the World Exhibition the worldwide first international art scientific congress in Vienna, thus emphasizing the orientation of the Museum on teaching and research. / / During the World Exhibition major purchases for the museum from funds of the Ministry are made, eg 60 pages of Indo-Persian Journal Mughal manuscript Hamzanama.
1877 / decision on the establishment of taxes for the award of Hoftiteln (court titels). With the collected amounts the local art industry can be promoted. / / The new building of the School of Arts and Crafts, adjoining the museum, Stubenring 3, also designed by Heinrich von Ferstel, is opened.
1878 / participation of the Museum of Art and Industry as well as of the School of Arts and Crafts at the Paris World Exhibition.
1884 / founding of the Vienna Arts and Crafts Association with seat in the museum. Many well-known companies and workshops (led by J. & L. Lobmeyr), personalities and professors of the School of Arts and Crafts join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and craft since the 1860s has obtained. For this reason are organized various times changing, open to the public exhibitions at the Imperial Austrian Museum for Art and Industry. The exhibits can also be purchased. These new, generously carried out exhibitions give the club the necessary national and international resonance.
1885 / After the death of Rudolf von Eitelberger, Jacob von Falke, his longtime deputy, is appointed manager. Falke plans all collection areas al well as publications to develop newly and systematically. With his popular publications he influences significantly the interior design style of the historicism in Vienna.
1888 / The Empress Maria Theresa exhibition revives the contemporary discussion with the high Baroque in the history of art and in applied arts in particular.
1895 / end of directorate of Jacob von Falke. Bruno Bucher, longtime curator of the Museum of metal, ceramic and glass, and since 1885 deputy director, is appointed director.
1896 / The Vienna Congress exhibition launches the confrontation with the Empire and Biedermeier style, the sources of inspiration of Viennese Modernism.
1897 / end of the directorate of Bruno Bucher. Arthur von Scala, director of the Imperial Oriental Museum in Vienna since its founding in 1875 (renamed Imperial Austrian Trade Museum 1887), takes over the management of the Museum of Art and Industry. / / Scala wins Otto Wagner, Felician of Myrbach, Koloman Moser, Josef Hoffmann and Alfred Roller to work at the museum and School of Arts and Crafts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagates the example of the Arts and Crafts Movement and makes appropriate acquisitions for the museum's collection.
1898 / Due to differences between Scala and the Arts and Crafts Association, which sees its influence on the Museum wane, archduke Rainer puts down his function as protector. / / New statutes are written.
1898-1921 / The Museum magazine Art and Crafts replaces the Mittheilungen (Communications) and soon gaines international reputation.
1900 / The administration of Museum and Arts and Crafts School is disconnected.
1904 / The Exhibition of Old Vienna porcelain, the to this day most comprehensive presentation on this topic, brings with the by the Museum in 1867 definitely taken over estate of the "k.u.k. Aerarial Porcelain Manufactory" (Vienna Porcelain Manufactory) important pieces of collectors from all parts of the Habsburg monarchy together.
1907 / The Museum of Art and Industry takes over the majority of the inventories of the Imperial Austrian Trade Museum, including the by Arthur von Scala founded Asia collection and the extensive East Asian collection of Heinrich von Siebold .
1908 / Integration of the Museum of Art and Industry in the Imperial and Royal Ministry of Public Works.
1909 / separation of Museum and Arts and Crafts School, the latter remains subordinated to the Ministry of Culture and Education. / / After three years of construction, the according to plans of Ludwig Baumann extension building of the museum (now Weiskirchnerstraße 3, Wien 1) is opened. The museum thereby receives rooms for special and permanent exhibitions. / / Arthur von Scala retires, Eduard Leisching follows him as director. / / Revision of the statutes.
1909 / Archduke Carl exhibition. For the centenary of the Battle of Aspern. / / The Biedermeier style is discussed in exhibitions and art and arts and crafts.
1914 / Exhibition of works by the Austrian Art Industry from 1850 to 1914, a competitive exhibition that highlights, among other things, the role model of the museum for arts and crafts in the fifty years of its existence.
1919 / After the founding of the First Republic it comes to assignments of former imperial possession to the museum, for example, of oriental carpets that are shown in an exhibition in 1920. The Museum now has one of the finest collections of oriental carpets worldwide.
1920 / As part of the reform of museums of the First Republic, the collection areas are delimited. The Antiquities Collection of the Museum of Art and Industry is given away to the Museum of Art History.
1922 / The exhibition of glasses of classicism, the Empire and Biedermeier time offers with precious objects from the museum and private collections an overview of the art of glassmaking from the former Austro-Hungarian Empire. / / Biedermeier glass serves as a model for contemporary glass production and designs, such as of Josef Hoffmann.
1922 / affiliation of the museal inventory of the royal table and silver collection to the museum. Until the institutional separation the former imperial household and table decoration is co-managed by the Museum of Art and Industry and is inventoried for the first time by Richard Ernst.
1925 / After the end of the directorate of Eduard Leisching, Hermann Trenkwald is appointed director.
1926 / The exhibition Gothic in Austria gives a first comprehensive overview of the Austrian panel painting and of arts and crafts of the 12th to 16th Century.
1927 / August Schestag succeeds Hermann Trenkwald as director.
1930 / The Werkbund (artists' organization) Exhibition Vienna, a first comprehensive presentation of the Austrian Werkbund, takes place on the occasion of the meeting of the Deutscher (German) Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.
1931 / August Schestag concludes his directorate.
1932 / Richard Ernst is new director.
1936 and 1940 / In exchange with the Kunsthistorisches Museum (Museum of Art History), the museum at Stubenring gives away part of the sculptures and takes over arts and crafts inventories of the collection Albert Figdor and the Kunsthistorisches Museum.
1937 / The Collection of the Museum of Art and Industry is newly set up by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.
1938 / After the "Anschluss" (annexation) of Austria by Nazi Germany, the museum is renamed into "National Museum of Arts and Crafts in Vienna".
1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Arts and Crafts in Vienna" in this way also is enlarged.
1945 / Partial destruction of the museum building by impact of war. / / War losses on collection objects, even in the places of rescue of objects.
1946 / The return of the outsourced objects of art begins. A portion of the during the Nazi time expropriated objects is returned in the following years.
1947 / The "State Museum of Arts and Crafts in Vienna" is renamed into "Austrian Museum of Applied Arts".
1948 / The "Cathedral and Metropolitan Church of St. Stephen" organizes the exhibition The St. Stephen's Cathedral in the Museum of Applied Arts. History, monuments, reconstruction.
1949 / The Museum is reopened after repair of the war damages.
1950 / As last exhibition under director Richard Ernst takes place Great art from Austria's monasteries (Middle Ages).
1951 / Ignaz Schlosser is appointed manager.
1952 / The exhibition Social home decor, designed by Franz Schuster, makes the development of social housing in Vienna again the topic of the Museum of Applied Arts.
1955 / The comprehensive archive of the Wiener Werkstätte (workshop) is acquired.
1955-1985 / The Museum publishes the periodical ancient and modern art .
1956 / Exhibition New Form from Denmark, modern design from Scandinavia becomes topic of the museum and model.
1957 / On the occasion of the exhibition Venini Murano glass, the first presentation of Venini glass in Austria, there are significant purchases and donations for the collection of glass.
1958 / End of the directorate of Ignaz Schlosser
1959 / Viktor Griesmaier is appointed as new director.
1960 / Exhibition Artistic creation and mass production of Gustavsberg, Sweden. Role model of Swedish design for the Austrian art and crafts.
1963 / For the first time in Europe, in the context of a comprehensive exhibition art treasures from Iran are shown.
1964 / The exhibition Vienna around 1900 (organised by the Cultural Department of the City of Vienna) presents for the frist time after the Second World War, inter alia, arts and crafts of Art Nouveau. / / It is started with the systematic work off of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary offers the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.
1965 / The Geymüllerschlössel (small castle) is as a branch of the Museum angegliedert (annexed). Simultaneously with the building came the important collection of Franz Sobek - old Viennese clocks, made between 1760 and the second half of the 19th Century - and furniture from the years 1800 to 1840 in the possession of the MAK.
1966 / In the exhibition Selection 66 selected items of modern Austrian interior designers (male and female ones) are brought together.
1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues until today of Austria's most important design project in the 20th Century.
1968 / To Viktor Griesmaier follows Wilhelm Mrazek as director.
1969 / The exhibition Sitting 69 shows at the international modernism oriented positions of Austrian designers, inter alia by Hans Hollein.
1974 / For the first time outside of China Archaeological Finds of the People's Republic of China are shown in a traveling exhibition in the so-called Western world.
1979 / Gerhart Egger is appointed director.
1980 / The exhibition New Living. Viennese interior design 1918-1938 provides the first comprehensive presentation of the spatial art in Vienna during the interwar period.
1981 / Herbert Fux follows Gerhart Egger as director.
1984 / Ludwig Neustift is appointed interim director. / / Exhibition Achille Castiglioni: designer. First exhibition of the Italian designer in Austria
1986 / Peter Noever is appointed director and starts with the building up of the collection contemporary art.
1987 / Josef Hoffmann. Ornament between hope and crime is the first comprehensive exhibition on the work of the architect and designer.
1989-1993 / General renovation of the old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for the collection and additional exhibit spaces arise.
1989 / Exhibition Carlo Scarpa. The other city, the first comprehensive exhibition on the work of the architect outside Italy.
1990 / exhibition Hidden impressions. Japonisme in Vienna 1870-1930, first exhibition on the theme of the Japanese influence on the Viennese Modernism.
1991 / exhibition Donald Judd Architecture, first major presentation of the artist in Austria.
1992 / Magdalena Jetelová domestication of a pyramid (installation in the MAK portico).
1993 / The permanent collection is newly put up, interventions of internationally recognized artists (Barbara Bloom, Eichinger oder Knechtl, Günther Förg, GANGART, Franz Graf, Jenny Holzer, Donald Judd, Peter Noever, Manfred Wakolbinger and Heimo Zobernig) update the prospects, in the sense of "Tradition and Experiment". The halls on Stubenring accommodate furthermore the study collection and the temporary exhibitions of contemporary artists reserved gallery. The building in the Weiskirchner street is dedicated to changing exhibitions. / / The opening exhibition Vito Acconci. The City Inside Us shows a room installation by New York artist.
1994 / The Gefechtsturm (defence tower) Arenbergpark becomes branch of the MAK. / / Start of the cooperation MAK/MUAR - Schusev State Museum of Architecture Moscow. / / Ilya Kabakov: The Red Wagon (installation on MAK terrace plateau).
1995 / The MAK founds the branch of MAK Center for Art and Architecture in Los Angeles, in the Schindler House and at the Mackey Apartments, MAK Artists and Architects-in-Residence Program starts in October 1995. / / Exhibition Sergei Bugaev Africa: Krimania.
1996 / For the exhibition Philip Johnson: Turning Point designs the American doyen of architectural designing the sculpture "Viennese Trio", which is located since 1998 at the Franz-Josefs-Kai/Schottenring.
1998 / The for the exhibition James Turrell. The other Horizon designed Skyspace today stands in the garden of MAK Expositur Geymüllerschlössel. / / Overcoming the utility. Dagobert Peche and the Wiener Werkstätte, the first comprehensive biography of the work of the designer of Wiener Werkstätte after the Second World War.
1999 / Due to the Restitution Act and the Provenance Research from now on numerous during the Nazi time confiscated objects are returned.
2000 / Outsourcing of Federal Museums, transformation of the museum into a "scientific institution under public law". / / The exhibition Art and Industry. The beginnings of the Austrian Museum of Applied Arts in Vienna is dealing with the founding history of the house and the collection.
2001 / In the course of the exhibition Franz West: No Mercy, for which the sculptor and installation artist developed his hitherto most extensive work, the "Four lemurs heads" are placed at the bridge Stubenbrücke, located next to the MAK. / / Dennis Hopper: A System of Moments.
2001-2002 / The CAT Project - Contemporary Art Tower after New York, Los Angeles, Moscow and Berlin is presented in Vienna.
2002 / Exhibition Nodes. symmetrical-asymmetrical. The historical Oriental Carpets of the MAK presents the extensive rug collection.
2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, takes place the exhibition The Price of Beauty. 100 years Wiener Werkstätte. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.
2004 / James Turrell's MAKlite is since November 2004 permanently on the facade of the building installed. / / Exhibition Peter Eisenmann. Barefoot on White-Hot Walls, large-scaled architectural installation on the work of the influential American architect and theorist.
2005 / Atelier Van Lieshout: The Disciplinator / / The exhibition Ukiyo-e Reloaded presents for the first time the collection of Japanese woodblock prints of the MAK on a large scale.
2006 / Since the beginning of the year, the birthplace of Josef Hoffmann in Brtnice of the Moravian Gallery in Brno and the MAK Vienna as a joint branch is run and presents annually special exhibitions. / / The exhibition The Price of Beauty. The Wiener Werkstätte and the Stoclet House brings the objects of the Wiener Werkstätte to Brussels. / / Exhibition Jenny Holzer: XX.
2007/2008 / Exhibition Coop Himmelb(l)au. Beyond the Blue, is the hitherto largest and most comprehensive museal presentation of the global team of architects.
2008 / The 1936 according to plans of Rudolph M. Schindler built Fitzpatrick-Leland House, a generous gift from Russ Leland to the MAK Center LA, becomes with the aid of a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, center of the MAK UFI project - MAK Urban Future Initiative. / / Julian Opie: Recent Works / / The exhibition Recollecting. Looting and Restitution examines the status of efforts to restitute expropriated objects from Jewish property from museums in Vienna.
2009 / The permanent exhibition Josef Hoffmann: Inspiration is in the Josef Hoffmann Museum, Brtnice opened. / / Exhibition Anish Kapoor. Shooting into the Corner / / The museum sees itself as a promoter of Cultural Interchange and discusses in the exhibition Global:lab Art as a message. Asia and Europe 1500-1700 the intercultural as well as the intercontinental cultural exchange based on objects from the MAK and from international collections.
2011 / After Peter Noever's resignation, Martina Kandeler-Fritsch takes over temporarily the management. / /
Since 1 September Christoph Thun-Hohenstein is director of the MAK and declares "change through applied art" as the new theme of the museum.
2012 / With future-oriented examples of mobility, health, education, communication, work and leisure, shows the exhibition MADE4YOU. Designing for Change, the new commitment to positive change in our society through applied art. // Exhibition series MAK DESIGN SALON opens the MAK branch Geymüllerschlössel for contemporary design positions.
2012/2013 / opening of the newly designed MAK Collection Vienna 1900. Design / Decorative Arts from 1890 to 1938 in two stages as a prelude to the gradual transformation of the permanent collection under director Christoph Thun-Hohenstein
2013 / SIGNS, CAUGHT IN WONDER. Looking for Istanbul today shows a unique, current snapshot of contemporary art production in the context of Istanbul. // The potential of East Asian countries as catalysts for a socially and ecologically oriented, visionary architecture explores the architecture exhibition EASTERN PROMISES. Contemporary Architecture and production of space in East Asia. // With a focus on the field of furniture design NOMADIC FURNITURE 3.0. examines new living without bounds? the between subculture and mainstream to locate "do-it-yourself" (DIY) movement for the first time in a historical context.
2014 / Anniversary year 150 years MAK // opening of the permanent exhibition of the MAK Asia. China - Japan - Korea // Opening of the MAK permanent exhibition rugs // As central anniversary project opens the dynamic MAK DESIGN LABORATORY (redesign of the MAK Study Collection) exactly on the 150th anniversary of the museum on May 12, 2014 // Other major projects for the anniversary: ROLE MODELS. MAK 150 years: from arts and crafts to design // // HOLLEIN WAYS OF MODERN AGE. Josef Hoffmann, Adolf Loos and the consequences.
October 17, 2018
Two people were arrested this morning after the Niagara County Sheriffs Department executed a search warrant at a home in the 500 block of 23rd Street
Following the modest success of the post-WWII Ralston Tigre MkII, the Ralston company looked to a more ambitious and glamorous execution with the Tigre MkIII, released in 1961.
The basis for the new car, again came from the General Motors' premium division - Cadillac - for the architectural hardware.
The Frame & Underbody was developed from the 1959/60 GM 'C' Bodies - a short-lived production run for GM, hence the availability to the Ralston Company. Wheelbase was set at 130 in (3,302 mm) for the standard sedan, and all the specialty 2-door cars. The long-wheelbase Limousine, Town Car and Specialty models sharing the GM 'D' Body 150 in (3,805 mm) with the Cadillac Series 75 / Fleetwood.
Powertrain was also Cadillac derived, incluing the 390 CID (6.4 Litre) V8 engine. Power was rated the same 345 bhp (257 kW). Cadillac was to retire this engine, with the development of a new engine of the same capacity for 1961. For the MkIII-C of 1967 the V8 engine was enlarged to 429 CID (7.0 litre) with the new OHV Cadillac engine, but power remained the same as the 1961-67 models, while torque rose to 480 lb.ft (650 Nm).
One notable characteristic of all Ralston Tigre MkIII models are the reverse-opening doors. On all two-door cars, the doors operated on special hinges to move backwards along the body, offering easier ingress and egress for all passengers. For the four-door models, the front doors were conventionally hinged, per the originating GM 'C' and 'D' body vehicles, whilst the rear doors adopted the special hinged mechanism to allow rear passengers easier access. The adoption of GM's body-on-frame chassis permitted the omission of a conventional B-pillar on the four-door cars. A rarity at the time, but shared with the contemporary Lincoln saloons.
The real party trick appeared in 1964, with the introduction of the MkIII B. This model, though visually little changed from the MkIII of 1961, incorporated the first (and only) reintroduction of the V12 engine to the US-based motor industry.
Once more, the engine was based on that of a Cadillac.
www.thetruthaboutcars.com/2010/04/the-ohc-v12-that-cadill...
The prototype engines were produced in 7.4 and 8.2 litre forms, originally to support the fitment of the V12 to the upcoming Cadillac Eldorado - Cadillac's first front-wheel-drive vehicle. Ultimately the V12 installation in the Eldorado was cancelled, as the engineering team considered the engine to be transversely installed, until late in the development, where the V12 length would have been a significant disadvantage in terms of installing a matching transmission. Cadillac instead, continued with V8 development at the same swept capacities, even when the Eldorado was ultimately launched with the longitudinal engine installation with the gearbox alongside. As the Eldorado was to be the most premium of premium Cadillacs, the large capacity V8s filtered across to the RWD BOF models, but the V12 was not fitted to any of the division's cars.
This opened the possibility of offering the V12 to another luxury vehicle manufacturer who did not have the funding to develop such an engine on their own.
Ralston, wishing to also continue the production of the V8 models launched in 1961, renamed the V8 as the E I G H T, and offered the V12 engined as a premium model above this. In truth, the engine was the only key difference, as there were very few restriction on the use of either engine in combination with the low-volume bodystyles on offer.
Ralston remained (relatively) conservative on the engine specification, choosing not to lift the power from the original Cadillac specification, nonetheless choosing the larger 8.2 litre capacity engine at a rated 394 hp (296 kW) and 506 lb.ft (686 Nm).
Externally there was noting to differentiate between the fitment of the V8 and V12 engines to the cars, other than the subtle text spelling out or on the side engine vent ahead of the doors. The 1964 introduction coincided with a minor external facelift, key change being the fitment of a third 'X' feature in the front grille, replacing the '5th' headlamp feature fitted on 1961-early 1964 vehicles. Additionally, the modest tailfins were trimmed smaller again, and a more conservative rear licence plate treatment used in place of the 3rd rocket pod in the rear facia.
In 1967, the Tigre MkIII-C underwent further revisions. There were new front fenders, eliminating the large, round double stacked headlamps, replacing them with small corner bumperettes and small double-stacked corner lamps. the headlamps were now hidden behind louvres in the new grille. There was now a single 'X' form at the front of the grille, centrally mounted. At the rear, the existing rocket pod tail lamps were retained. The 1967 MkIII-C reverted to the MkIII 1961-64 trunklid and bumper, but with the central '+' rocket feature supplanted by the licence plate. For all SWB body styles. there were new tapered fender tops (barely fins), recalling the Tigre MkII C & D. Long wheelbase 4-door cars retained the MkIII-B rear fenders as they suited the overall vehicle lines better.
Minor changes to the side of the vehicle included deeper opening doors, and a more open front wheelarch taper. A chrome trim feature led from the front fender vent to the rear rocket pod.
The model shown here is the commonly ordered Hardtop Coupe - a very sharp looking car, despite the origins dating back eight years to 1959 for the basic architecture. The model is one of the 7.0 litre V8s, despite there being little differentiation externally to vehicles fitted with the V12.
A very similar car was used as the prototype vehicle fitted with early versions of the extremely rare V16. These cars were development mules for the proposed Ralston Centaur - to be termed , though ultimately no completed customer cars were ordered, the 21 prototype engines fitted to various Tigre MkIII vehicles were either completed as un-homologated show cars for use by the Ralston family on their various estates, later restored from their mule conditions to rare collector cars, or unfortunately, destroyed. It has been long rumoured that the 13 crushed cars all had their engines removed, so potentially there is a small pool of functioning 10 litre V16s waiting for re-fitment to Ralston chassis.
This Lego miniland-scale Ralston Tigre MkIII C Hardtop Coupe (1967) has been created for Flickr LUGNuts' 108th Build Challenge, - 'LUGNuts Turn Nine' - where all previous Challenge themes are available to chose to build from - to the theme of the 95th Build Challenge - "Designing the Ralston Legacy", - for the design of vehicles under the fictional 'Ralston' company. The models must include a 'X' design feature on the car or bike. A number of Ralston challenge vehicle concepts are possible in this challenge.
[Cadillac V12 engine information taken from 'thetruthaboutcars.com']
www.thetruthaboutcars.com/2010/04/the-ohc-v12-that-cadill...
Late 20th century folk art mural, now sadly faded, on a gable end at the junction of Main Street and Chapel Street/Barrack Hill.
The left-hand part of the mural shows Fr Sweeney as prisoner, being driven into town in his own cart on the morning of his execution, on Fair Day, 8 June 1799. The right-hand side of the mural depicts him standing on a low table under the Market Crane or derrick from which he was about to be hanged.
Fr Manus Sweeney was executed by the British roughly a year after the abortive rising by the United Irishmen in 1798. It seems that he, as a Catholic priest who had received part of his religious education at the Irish College in France in the 1780s, supported the aims of the rebels as well as acting as interpreter for officers in General Humbert's small French invasion force. Around 1100 French army regulars had landed at Kilcummin near Killala in late August 1798 and, swelled by local Irish recruits, went on to inflict defeats on the Anglo-Irish forces at Castlebar and Collooney before being routed by a far stronger force at Ballinamuck, Co Longford, less than three weeks later. By late September 1798 the Rising was suppressed throughout Ireland and 'mopping up' operations were underway to round up those who had fought with or supported the rebels.
Fr Sweeney went on the run when the British returned to re-take key rebel towns in Co Mayo; he was not apprehended until May 1799, when betrayal by a former friend appears to have led to his capture on Achill Island. He was put on trial in Castlebar, where testimony from a local landowner and an influential Church of Ireland cleric helped to condemn him on the capital charge of treason during the 'year of the French'.
After his execution, Fr Sweeney's body was supposed to have been taken back to his native Achill for burial. However folk history relates that the horses drawing the cart with his body stopped dead a short distance outside Newport, near Burrishoole Abbey, and refused to go further. The carter decided to stop for the night, and by a strange coincidence a newly dug grave was discovered in the nave of the abandoned abbey. Taking this as a sign that Fr Sweeney was to be honoured with an abbey burial, local people duly interred him there. A memorial was later erected to him on the spot; there are several shots of this on Flickr.
Series of 6 postcards illustrating the death of Edith Cavell during World War 1.
Edith Louisa Cavell (4 December 1865 – 12 October 1915) was a British nurse. She is celebrated for saving the lives of soldiers from both sides without discrimination and in helping some 200 Allied soldiers escape from German-occupied Belgium during the First World War, for which she was arrested. She was subsequently court-martialled, found guilty of treason and sentenced to death. Despite international pressure for mercy, she was shot by a German firing squad. Her execution received worldwide condemnation and extensive press coverage.
Stefan Wewerka
Küchenbaum
Deutschland, 1984
Ausführung: Tecta
Stahl, diverse Materialien
Kitchen Tree
Germany, 1984
Execution: Tecta
Steel, div. materials
The history of the Austrian Museum of Applied Art/Contemporary Art
1863 / After many years of efforts by Rudolf Eitelberger decides emperor Franz Joseph I on 7 March on the initiative of his uncle archduke Rainer, following the model of the in 1852 founded South Kensington Museum (now the Victoria and Albert Museum, London) the establishment of the "k.u.k. Austrian Museum for Art and Industry" and appoints Rudolf von Eitelberger, the first professor of art history at the University of Vienna director. The museum should be serving as a specimen collection for artists, industrialists, and public and as a training and education center for designers and craftsmen.
1864/ on 12th of May, opened the museum - provisionally in premises of the ball house next to the Vienna Hofburg, the architect Heinrich von Ferstel for museum purposes had adapted. First exhibited objects are loans and donations from the imperial collections, monasteries, private property and from the k.u.k. Polytechnic in Vienna. Reproductions, masters and plaster casts are standing value-neutral next originals.
1865-1897 / The Museum of Art and Industry publishes the journal Communications of Imperial (k.u.k.) Austrian Museum for Art and Industry .
1866 / Due to the lack of space in the ballroom the erection of an own museum building is accelerated. A first project of Rudolf von Eitelberger and Heinrich von Ferstel provides the integration of the museum in the project of imperial museums in front of the Hofburg Imperial Forum. Only after the failure of this project, the site of the former Exerzierfelds (parade ground) of the defense barracks before Stubentor the museum here is assigned, next to the newly created city park at the still being under development Rind Road.
1867 / Theoretical and practical training are combined with the establishment of the School of Applied Arts. This will initially be housed in the old gun factory, Währinger street 11-13/Schwarzspanier street 17, Vienna 9.
1868 / With the construction of the building at Stubenring is started as soon as it is approved by emperor Franz Joseph I. the second draft of Heinrich Ferstel.
1871 / The opening of the building at Stubering takes place after three years of construction, 15 November. Designed according to plans by Heinrich von Ferstel in the Renaissance style, it is the first built museum building at the Ring. Objects from now on could be placed permanently and arranged according to main materials. / / The School of Arts and Crafts (Kunstgewerbeschule) moves into the house at Stubenring. / / Opening of Austrian arts and crafts exhibition.
1873 / Vienna World Exhibition. / / The Museum of Art and Industry and the Vienna School of Arts and Crafts are exhibiting together at Stubenring. / / Rudolf von Eitelberger organizes in the framework of the World Exhibition the worldwide first international art scientific congress in Vienna, thus emphasizing the orientation of the Museum on teaching and research. / / During the World Exhibition major purchases for the museum from funds of the Ministry are made, eg 60 pages of Indo-Persian Journal Mughal manuscript Hamzanama.
1877 / decision on the establishment of taxes for the award of Hoftiteln (court titels). With the collected amounts the local art industry can be promoted. / / The new building of the School of Arts and Crafts, adjoining the museum, Stubenring 3, also designed by Heinrich von Ferstel, is opened.
1878 / participation of the Museum of Art and Industry as well as of the School of Arts and Crafts at the Paris World Exhibition.
1884 / founding of the Vienna Arts and Crafts Association with seat in the museum. Many well-known companies and workshops (led by J. & L. Lobmeyr), personalities and professors of the School of Arts and Crafts join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and craft since the 1860s has obtained. For this reason are organized various times changing, open to the public exhibitions at the Imperial Austrian Museum for Art and Industry. The exhibits can also be purchased. These new, generously carried out exhibitions give the club the necessary national and international resonance.
1885 / After the death of Rudolf von Eitelberger, Jacob von Falke, his longtime deputy, is appointed manager. Falke plans all collection areas al well as publications to develop newly and systematically. With his popular publications he influences significantly the interior design style of the historicism in Vienna.
1888 / The Empress Maria Theresa exhibition revives the contemporary discussion with the high Baroque in the history of art and in applied arts in particular.
1895 / end of directorate of Jacob von Falke. Bruno Bucher, longtime curator of the Museum of metal, ceramic and glass, and since 1885 deputy director, is appointed director.
1896 / The Vienna Congress exhibition launches the confrontation with the Empire and Biedermeier style, the sources of inspiration of Viennese Modernism.
1897 / end of the directorate of Bruno Bucher. Arthur von Scala, director of the Imperial Oriental Museum in Vienna since its founding in 1875 (renamed Imperial Austrian Trade Museum 1887), takes over the management of the Museum of Art and Industry. / / Scala wins Otto Wagner, Felician of Myrbach, Koloman Moser, Josef Hoffmann and Alfred Roller to work at the museum and School of Arts and Crafts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagates the example of the Arts and Crafts Movement and makes appropriate acquisitions for the museum's collection.
1898 / Due to differences between Scala and the Arts and Crafts Association, which sees its influence on the Museum wane, archduke Rainer puts down his function as protector. / / New statutes are written.
1898-1921 / The Museum magazine Art and Crafts replaces the Mittheilungen (Communications) and soon gaines international reputation.
1900 / The administration of Museum and Arts and Crafts School is disconnected.
1904 / The Exhibition of Old Vienna porcelain, the to this day most comprehensive presentation on this topic, brings with the by the Museum in 1867 definitely taken over estate of the "k.u.k. Aerarial Porcelain Manufactory" (Vienna Porcelain Manufactory) important pieces of collectors from all parts of the Habsburg monarchy together.
1907 / The Museum of Art and Industry takes over the majority of the inventories of the Imperial Austrian Trade Museum, including the by Arthur von Scala founded Asia collection and the extensive East Asian collection of Heinrich von Siebold .
1908 / Integration of the Museum of Art and Industry in the Imperial and Royal Ministry of Public Works.
1909 / separation of Museum and Arts and Crafts School, the latter remains subordinated to the Ministry of Culture and Education. / / After three years of construction, the according to plans of Ludwig Baumann extension building of the museum (now Weiskirchnerstraße 3, Wien 1) is opened. The museum thereby receives rooms for special and permanent exhibitions. / / Arthur von Scala retires, Eduard Leisching follows him as director. / / Revision of the statutes.
1909 / Archduke Carl exhibition. For the centenary of the Battle of Aspern. / / The Biedermeier style is discussed in exhibitions and art and arts and crafts.
1914 / Exhibition of works by the Austrian Art Industry from 1850 to 1914, a competitive exhibition that highlights, among other things, the role model of the museum for arts and crafts in the fifty years of its existence.
1919 / After the founding of the First Republic it comes to assignments of former imperial possession to the museum, for example, of oriental carpets that are shown in an exhibition in 1920. The Museum now has one of the finest collections of oriental carpets worldwide.
1920 / As part of the reform of museums of the First Republic, the collection areas are delimited. The Antiquities Collection of the Museum of Art and Industry is given away to the Museum of Art History.
1922 / The exhibition of glasses of classicism, the Empire and Biedermeier time offers with precious objects from the museum and private collections an overview of the art of glassmaking from the former Austro-Hungarian Empire. / / Biedermeier glass serves as a model for contemporary glass production and designs, such as of Josef Hoffmann.
1922 / affiliation of the museal inventory of the royal table and silver collection to the museum. Until the institutional separation the former imperial household and table decoration is co-managed by the Museum of Art and Industry and is inventoried for the first time by Richard Ernst.
1925 / After the end of the directorate of Eduard Leisching, Hermann Trenkwald is appointed director.
1926 / The exhibition Gothic in Austria gives a first comprehensive overview of the Austrian panel painting and of arts and crafts of the 12th to 16th Century.
1927 / August Schestag succeeds Hermann Trenkwald as director.
1930 / The Werkbund (artists' organization) Exhibition Vienna, a first comprehensive presentation of the Austrian Werkbund, takes place on the occasion of the meeting of the Deutscher (German) Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.
1931 / August Schestag concludes his directorate.
1932 / Richard Ernst is new director.
1936 and 1940 / In exchange with the Kunsthistorisches Museum (Museum of Art History), the museum at Stubenring gives away part of the sculptures and takes over arts and crafts inventories of the collection Albert Figdor and the Kunsthistorisches Museum.
1937 / The Collection of the Museum of Art and Industry is newly set up by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.
1938 / After the "Anschluss" (annexation) of Austria by Nazi Germany, the museum is renamed into "National Museum of Arts and Crafts in Vienna".
1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Arts and Crafts in Vienna" in this way also is enlarged.
1945 / Partial destruction of the museum building by impact of war. / / War losses on collection objects, even in the places of rescue of objects.
1946 / The return of the outsourced objects of art begins. A portion of the during the Nazi time expropriated objects is returned in the following years.
1947 / The "State Museum of Arts and Crafts in Vienna" is renamed into "Austrian Museum of Applied Arts".
1948 / The "Cathedral and Metropolitan Church of St. Stephen" organizes the exhibition The St. Stephen's Cathedral in the Museum of Applied Arts. History, monuments, reconstruction.
1949 / The Museum is reopened after repair of the war damages.
1950 / As last exhibition under director Richard Ernst takes place Great art from Austria's monasteries (Middle Ages).
1951 / Ignaz Schlosser is appointed manager.
1952 / The exhibition Social home decor, designed by Franz Schuster, makes the development of social housing in Vienna again the topic of the Museum of Applied Arts.
1955 / The comprehensive archive of the Wiener Werkstätte (workshop) is acquired.
1955-1985 / The Museum publishes the periodical ancient and modern art .
1956 / Exhibition New Form from Denmark, modern design from Scandinavia becomes topic of the museum and model.
1957 / On the occasion of the exhibition Venini Murano glass, the first presentation of Venini glass in Austria, there are significant purchases and donations for the collection of glass.
1958 / End of the directorate of Ignaz Schlosser
1959 / Viktor Griesmaier is appointed as new director.
1960 / Exhibition Artistic creation and mass production of Gustavsberg, Sweden. Role model of Swedish design for the Austrian art and crafts.
1963 / For the first time in Europe, in the context of a comprehensive exhibition art treasures from Iran are shown.
1964 / The exhibition Vienna around 1900 (organised by the Cultural Department of the City of Vienna) presents for the frist time after the Second World War, inter alia, arts and crafts of Art Nouveau. / / It is started with the systematic work off of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary offers the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.
1965 / The Geymüllerschlössel (small castle) is as a branch of the Museum angegliedert (annexed). Simultaneously with the building came the important collection of Franz Sobek - old Viennese clocks, made between 1760 and the second half of the 19th Century - and furniture from the years 1800 to 1840 in the possession of the MAK.
1966 / In the exhibition Selection 66 selected items of modern Austrian interior designers (male and female ones) are brought together.
1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues until today of Austria's most important design project in the 20th Century.
1968 / To Viktor Griesmaier follows Wilhelm Mrazek as director.
1969 / The exhibition Sitting 69 shows at the international modernism oriented positions of Austrian designers, inter alia by Hans Hollein.
1974 / For the first time outside of China Archaeological Finds of the People's Republic of China are shown in a traveling exhibition in the so-called Western world.
1979 / Gerhart Egger is appointed director.
1980 / The exhibition New Living. Viennese interior design 1918-1938 provides the first comprehensive presentation of the spatial art in Vienna during the interwar period.
1981 / Herbert Fux follows Gerhart Egger as director.
1984 / Ludwig Neustift is appointed interim director. / / Exhibition Achille Castiglioni: designer. First exhibition of the Italian designer in Austria
1986 / Peter Noever is appointed director and starts with the building up of the collection contemporary art.
1987 / Josef Hoffmann. Ornament between hope and crime is the first comprehensive exhibition on the work of the architect and designer.
1989-1993 / General renovation of the old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for the collection and additional exhibit spaces arise.
1989 / Exhibition Carlo Scarpa. The other city, the first comprehensive exhibition on the work of the architect outside Italy.
1990 / exhibition Hidden impressions. Japonisme in Vienna 1870-1930, first exhibition on the theme of the Japanese influence on the Viennese Modernism.
1991 / exhibition Donald Judd Architecture, first major presentation of the artist in Austria.
1992 / Magdalena Jetelová domestication of a pyramid (installation in the MAK portico).
1993 / The permanent collection is newly put up, interventions of internationally recognized artists (Barbara Bloom, Eichinger oder Knechtl, Günther Förg, GANGART, Franz Graf, Jenny Holzer, Donald Judd, Peter Noever, Manfred Wakolbinger and Heimo Zobernig) update the prospects, in the sense of "Tradition and Experiment". The halls on Stubenring accommodate furthermore the study collection and the temporary exhibitions of contemporary artists reserved gallery. The building in the Weiskirchner street is dedicated to changing exhibitions. / / The opening exhibition Vito Acconci. The City Inside Us shows a room installation by New York artist.
1994 / The Gefechtsturm (defence tower) Arenbergpark becomes branch of the MAK. / / Start of the cooperation MAK/MUAR - Schusev State Museum of Architecture Moscow. / / Ilya Kabakov: The Red Wagon (installation on MAK terrace plateau).
1995 / The MAK founds the branch of MAK Center for Art and Architecture in Los Angeles, in the Schindler House and at the Mackey Apartments, MAK Artists and Architects-in-Residence Program starts in October 1995. / / Exhibition Sergei Bugaev Africa: Krimania.
1996 / For the exhibition Philip Johnson: Turning Point designs the American doyen of architectural designing the sculpture "Viennese Trio", which is located since 1998 at the Franz-Josefs-Kai/Schottenring.
1998 / The for the exhibition James Turrell. The other Horizon designed Skyspace today stands in the garden of MAK Expositur Geymüllerschlössel. / / Overcoming the utility. Dagobert Peche and the Wiener Werkstätte, the first comprehensive biography of the work of the designer of Wiener Werkstätte after the Second World War.
1999 / Due to the Restitution Act and the Provenance Research from now on numerous during the Nazi time confiscated objects are returned.
2000 / Outsourcing of Federal Museums, transformation of the museum into a "scientific institution under public law". / / The exhibition Art and Industry. The beginnings of the Austrian Museum of Applied Arts in Vienna is dealing with the founding history of the house and the collection.
2001 / In the course of the exhibition Franz West: No Mercy, for which the sculptor and installation artist developed his hitherto most extensive work, the "Four lemurs heads" are placed at the bridge Stubenbrücke, located next to the MAK. / / Dennis Hopper: A System of Moments.
2001-2002 / The CAT Project - Contemporary Art Tower after New York, Los Angeles, Moscow and Berlin is presented in Vienna.
2002 / Exhibition Nodes. symmetrical-asymmetrical. The historical Oriental Carpets of the MAK presents the extensive rug collection.
2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, takes place the exhibition The Price of Beauty. 100 years Wiener Werkstätte. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.
2004 / James Turrell's MAKlite is since November 2004 permanently on the facade of the building installed. / / Exhibition Peter Eisenmann. Barefoot on White-Hot Walls, large-scaled architectural installation on the work of the influential American architect and theorist.
2005 / Atelier Van Lieshout: The Disciplinator / / The exhibition Ukiyo-e Reloaded presents for the first time the collection of Japanese woodblock prints of the MAK on a large scale.
2006 / Since the beginning of the year, the birthplace of Josef Hoffmann in Brtnice of the Moravian Gallery in Brno and the MAK Vienna as a joint branch is run and presents annually special exhibitions. / / The exhibition The Price of Beauty. The Wiener Werkstätte and the Stoclet House brings the objects of the Wiener Werkstätte to Brussels. / / Exhibition Jenny Holzer: XX.
2007/2008 / Exhibition Coop Himmelb(l)au. Beyond the Blue, is the hitherto largest and most comprehensive museal presentation of the global team of architects.
2008 / The 1936 according to plans of Rudolph M. Schindler built Fitzpatrick-Leland House, a generous gift from Russ Leland to the MAK Center LA, becomes with the aid of a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, center of the MAK UFI project - MAK Urban Future Initiative. / / Julian Opie: Recent Works / / The exhibition Recollecting. Looting and Restitution examines the status of efforts to restitute expropriated objects from Jewish property from museums in Vienna.
2009 / The permanent exhibition Josef Hoffmann: Inspiration is in the Josef Hoffmann Museum, Brtnice opened. / / Exhibition Anish Kapoor. Shooting into the Corner / / The museum sees itself as a promoter of Cultural Interchange and discusses in the exhibition Global:lab Art as a message. Asia and Europe 1500-1700 the intercultural as well as the intercontinental cultural exchange based on objects from the MAK and from international collections.
2011 / After Peter Noever's resignation, Martina Kandeler-Fritsch takes over temporarily the management. / /
Since 1 September Christoph Thun-Hohenstein is director of the MAK and declares "change through applied art" as the new theme of the museum.
2012 / With future-oriented examples of mobility, health, education, communication, work and leisure, shows the exhibition MADE4YOU. Designing for Change, the new commitment to positive change in our society through applied art. // Exhibition series MAK DESIGN SALON opens the MAK branch Geymüllerschlössel for contemporary design positions.
2012/2013 / opening of the newly designed MAK Collection Vienna 1900. Design / Decorative Arts from 1890 to 1938 in two stages as a prelude to the gradual transformation of the permanent collection under director Christoph Thun-Hohenstein
2013 / SIGNS, CAUGHT IN WONDER. Looking for Istanbul today shows a unique, current snapshot of contemporary art production in the context of Istanbul. // The potential of East Asian countries as catalysts for a socially and ecologically oriented, visionary architecture explores the architecture exhibition EASTERN PROMISES. Contemporary Architecture and production of space in East Asia. // With a focus on the field of furniture design NOMADIC FURNITURE 3.0. examines new living without bounds? the between subculture and mainstream to locate "do-it-yourself" (DIY) movement for the first time in a historical context.
2014 / Anniversary year 150 years MAK // opening of the permanent exhibition of the MAK Asia. China - Japan - Korea // Opening of the MAK permanent exhibition rugs // As central anniversary project opens the dynamic MAK DESIGN LABORATORY (redesign of the MAK Study Collection) exactly on the 150th anniversary of the museum on May 12, 2014 // Other major projects for the anniversary: ROLE MODELS. MAK 150 years: from arts and crafts to design // // HOLLEIN WAYS OF MODERN AGE. Josef Hoffmann, Adolf Loos and the consequences.
Series of 6 postcards illustrating the death of Edith Cavell during World War 1.
Edith Louisa Cavell (4 December 1865 – 12 October 1915) was a British nurse. She is celebrated for saving the lives of soldiers from both sides without discrimination and in helping some 200 Allied soldiers escape from German-occupied Belgium during the First World War, for which she was arrested. She was subsequently court-martialled, found guilty of treason and sentenced to death. Despite international pressure for mercy, she was shot by a German firing squad. Her execution received worldwide condemnation and extensive press coverage.
In his journal (published by Baron R. Portalis, see Literature), Danloux described in remarkable detail his meeting with the present sitter’s mother, Sophia Lambert (née Whyte; d.1839) as well as the commissioning and execution of not only the present portrait, but also that of Mrs. Lambert (sold Paris, Sotheby's, 19 June 2006, lot 79):
“I have had a visit from M. Dellon, who tells me he had dined the previous evening with Mme. Lambert, daughter-in-law of Chevalier Lambert, the Paris banker, at the home of the Margrave (Prince) of Anspach. A rendezvous was made at my home [June 15, 1795], because she wanted to see my works. She arrived just after, recognized all the portraits of her acquaintances, asked my price and said she would present her husband to me.”
Danloux also records the step by step process of the creation of this beautiful portrait, in eighteen seperate entries dating from 14 June to 3 August 1800, commenting not only on its progress, but also on the character of the young boy himself. Danloux’s day-by-day accounts of the execution of this work are less fully articulated, but no less informative, and even show his artistic process as he works through the painting of the hand:
"le 14 juin 1800 : J’ai ébauché Lady Lambert et son fils.
Le 18 juin 1800 : Mme Lambert m’envoie son fils par son mari. Je travaille à son portrait. L’enfant est fort bien élevé. Elle vient elle-même à deux heures. L’après diner j’ébauche le fond du tableau.
Le 24 juin 1800 : Revenu chez moi, j’y trouve Sir Honble Lambert avec son fils. J’y travaille à peine, l’enfant ne se tenant pas. La mère arrive ensuite, mais je suis fatigué et je travaille à son portrait avec le même déplaisir…
Le 28 juin 1800 : Sir Honble Lambert vient avec son fils pour prendre séance. L’enfant ne se tient pas ; Lady Lambert arrive et ne reste qu’une demie heure.
Le 1er juillet 1800 : Sir honble Lambert est venu, je finis l’habit de son fils. Je ne fais rien qui vaille et le recommencerai.
Le portrait du jeune Lambert a été retrouvé chez le révérend W.H. Lambert, à Santon House près d’Hertford. Henry John Lambert, 5e Baronnet, né en Aout 1792, avait alors 8 ans. La veste est gris français, la ceinture bleu clair, le col à jabot. S. H. Lambert-Grey, Enville Hall, Stourbridge, possède plusieurs portraits de la famille de la main de Danloux. Celui de Lady Lambert est au pastel.
Le 5 juillet 1800 : J’ai travaillé au petit Lambert ; je l’ai fini quant à la tête.
Le 7 juillet 1800 : Lady Lambert vient. Je la recommence et je la finis dans la matinée. Elle en est contente…
Le 8 juillet 1800 : Je retouche au petit Lambert.
Le 10 juillet 1800 : Je travaille au fond du petit Lambert.
Le 17 juillet 1800 : J’ébauche le corps de Lady Lambert.
Le 19 juillet 1800 : Je travaille encore au portrait du petit Lambert que son père m’amène, voulant toujours voir si il y a quelque chose à y faire. Il me donne deux billets d’opéra.
Le 3 aout 1800 : Je peins la main du petit Lambert d’après Jules : Je ne sais ce que je fais."
Danloux studied with both Joseph-Marie Vien and Nicolas-Bernard Lépicié and met Jacques-Louis David during a trip to Rome in the late 1770s. The influence of these artists, encountered in his formative years, remained palpable on Danloux for the rest of his career; it is particularly evident in his expressive faces and capacity for conveying human emotion. Danloux soon established himself as a talented genre painter and portraitist, spending time in both Italy and France. In 1785 he moved to Paris where he met the Baronne d'Etigny, who helped him obtain a number of importrant portrait commissions and two years later he married the Baronne's adopted daughter Marie-Pierrerre-Antoinette de Saint Redan. After eighteen months in Italy, the couple settled in Paris but were forced to flee to London in 1791 to escape the Revolution. By then, Danloux was at the height of his career; adapting to life in London with ease, he swiftly became renowned in the city's artistic and collecting circles alike, and this elegant portrait is a testament to his popularity among the English aristocracy at the turn of the century.
Ticket To The Execution of Victor Forunier & Edward LaBelle YUKON TERRITORY, CANADA 1903.
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From Wiki:
Marie Antoinette's execution on 16 October 1793.
King Louis XVI was executed on 21 January 1793, at the age of thirty-eight. The result was that Marie Antoinette, as the former queen, plunged into deep mourning; she refused to eat or do any exercise. There is no knowledge of her proclaiming her son as Louis XVII; however, the comte de Provence, in exile, recognised his nephew as the new king of France and took the title of Regent. Marie-Antoinette's health rapidly deteriorated in the following months. By this time she suffered from tuberculosis and possibly uterine cancer, which caused her to hemorrhage frequently.
Despite her condition, the debate as to her fate was the central question of the National Convention after Louis's death. There were those who had been advocating her death for some time, while some had the idea of exchanging her for French prisoners of war or for a ransom from the Holy Roman Emperor. Thomas Paine advocated exile to America. Starting in April, however, a Committee of Public Safety was formed, and men such as Jacques Hébert were beginning to call for Antoinette's trial; by the end of May, the Girondins had been chased out of power and arrested.Other calls were made to "retrain" the Dauphin, to make him more pliant to revolutionary ideas. This was carried out when the eight year old boy Louis Charles was separated from Antoinette on 3 July, and given to the care of a cobbler. On 1 August, she herself was taken out of the Tower and entered into the Conciergerie as Prisoner No. 280. Despite various attempts to get her out, such as the Carnation Plot in September, Marie Antoinette refused when the plots for her escape were brought to her attention. While in the Conciergerie, she was attended by her last servant, Rosalie Lamorlière.
She was finally tried by the Revolutionary Tribunal on 14 October. Unlike the king, who had been given time to prepare a defence, the queen's trial was far more of a sham, considering the time she was given (less than one day). Among the things she was accused of (most, if not all, of the accusations were untrue and probably lifted from rumours begun by libelles) were orchestrating orgies in Versailles, sending millions of livres of treasury money to Austria, plotting to kill the Duke of Orléans, incest with her son, declaring her son to be the new king of France and orchestrating the massacre of the Swiss Guards in 1792.
The most infamous charge was that she sexually abused her son. This was according to Louis Charles, who, through his coaching by Hébert and his guardian, accused his mother. After being reminded that she had not answered the charge of incest, Marie Antoinette protested emotionally to the accusation, and the women present in the courtroom – the market women who had stormed the palace for her entrails in 1789 – ironically began to support her. She had been composed throughout the trial until this accusation was made, to which she finally answered, "If I have not replied it is because Nature itself refuses to respond to such a charge laid against a mother."
However, in reality the outcome of the trial had already been decided by the Committee of Public Safety around the time the Carnation Plot was uncovered, and she was declared guilty of treason in the early morning of 16 October, after two days of proceedings. Back in her cell, she composed a moving letter to her sister-in-law Madame Élisabeth, affirming her clear conscience, her Catholic faith and her feelings for her children. The letter did not reach Élisabeth.
On the same day, her hair was cut off and she was driven through Paris in an open cart, wearing a simple white dress. At 12:15 pm, two and a half weeks before her thirty-eighth birthday, she was executed at the Place de la Révolution (present-day Place de la Concorde). Her last words were "Pardon me sir, I meant not to do it", to Henri Sanson the executioner, whose foot she had accidentally stepped on after climbing the scaffold. Her body was thrown into an unmarked grave in the Madeleine cemetery, rue d'Anjou, (which was closed the following year).
Her sister-in-law Élisabeth was executed in 1794 and her son died in prison in 1795. Her daughter returned to Austria in a prisoner exchange, married and died childless in 1851.
Both her body and that of Louis XVI were exhumed on 18 January 1815, during the Bourbon Restoration, when the comte de Provence had become King Louis XVIII. Christian burial of the royal remains took place three days later, on 21 January, in the necropolis of French Kings at the Basilica of St Denis.
taken with Nokia N73 during international festival of programmes for children and youth - Prix Danube 2007 - that took place in the art museum Danubiana
The parish church
Design and construction
Machegg is documented have been founded in 1268 by Bohemian King Ottokar. Only ten years later, he fell in the battle against Rudolf of Habsburg in Dürnkrut. The city was therefore never fully developed. The Gothic parish church, dedicated to the Holy Margaretha, was not completed. To execution came just the choir - and as georradar measurments in 1998 resulted - the foundations of the long house. It was also determined by this deep investigations, that the portapoint (line between the portal) of the planned nave is over 7 meters outside the entrance of today's church (tower). The choir meets in the floor plan to that of the Dome of Wiener Neustadt, a mighty cathedral was Ottokar's plan!
This portalpoint (after DI . Dr. E. Reidinger) is als urban planning point of reference. The church is in the axle geometry of the city involved, and therefore the key to the entire system concept and founding date .
At that time, living and belief are a unit, such as state and church. The planning of the city is closely linked with that of the church. Eastern to Marchegg is the holy day, by which the town was entrusted to the divine protection and blessings.
In 1268 fell the green thursday, standding at the beginning of the passion, death and finally the resurrection of jesus christ on the 5th april. On that day, so reveals the bent axis of our parish, the long house was oriented in the direction of sunrise. 8 april 1268 (Easter Sunday ) was then the orientation of the choir as part of a sacred act.
Reidinger: "The reconstructed construction plan of the city and the orientation of the church with the bent axis give the answer to the date of the founding of the city.
What great importance does this mean to the churchbuilding! in the resurrection liturgy (long time on Easter Sunday early in the morning hours celebrated) shines the rising sun through the middle window into the dark church interior! Christ is risen!
As Rudolf I in the year 1278 achieved the mighty victory over King Ottokar, he gave in grateful remembrance of the fact that God, "not far from the church to marche field (Marchfeld)e", him rescued from the deadly danger, including the space along with bridge in front of the mill. In the donation letter issued by him he takes the church with their possessions under his special protection.
Later, the exact date and reason on which legal situation is unknown, Marchegg figures as vicariate of the parish parish of melk Weikendorf and the abbey of melk was holding the patronage.
From the year 1410 is a legal decision is available that the parish priest of Marchegg, the then called Wernherus, as mother gift to the church of Weikendorf every year for pennies pound as sign of filial dependence has to pay.
In the year 1429 was Johann Ströbein from Grossenzersdorf rector of the filial church santa Margaret of Marchegg.
In the same year figures Marchegg in a directory of the parishes and benefices of the diocese of Passau.
On 23 July 1465 asked the owner of dominion of Marchegg, earl Rüdiger von Starhemberg, the abbot of melk to give the vacant parish church of Marchegg to the Mert Putner (Martinus Pertner).
In the year 1506 came the former parish priest of Stillfried, Johannes Syndel as pastor to Marchegg.
In the Protestant Reformation protestant estate owner salm and landau monopolized the patronage and put in preacher.
The transfer of the reign earl Paul Pálffy took place on 26 May 1621 and in the course of the Counter-Reformation the condition take care of the parish and abolish the preachers in said place. Pallfy vowed further only to allow the Catholic religion in Marchegg.
Probably the parish from the end of the fifteenth century has been administrated by the former P. Paulinern of Mariathal (marianka - Order of Saint Paul the First Hermit) in Slovakia. From there came a priest all months for pastoral work to Marchegg. Because due to the floods often no priest appeared, Pálffy 1632 war looking for a world-priest. However, because of the poor pay and the many damage to the church and the parsonage, he could not get one for some time until Pater Sebastian Kempf finally in the year 1634 here was delegated by by the order of Saint Paul.
Before 1663 the erection of John Chapel next to the church.
1689 the parish was robbed during the kuruc fightings.
On 10 March 1697 received in the local parish church a turkish woman the holy sacrament of baptism. Probably she was left behind from the entourage of the turkish war.
1748 Maria-Lauretta chapel was built next to the parish church on an old tomb.
1776 In the church was erected to the holy Leonhard and Wendelin a new constructed side altar.
1784 The branch site Breiteseen was separtend from the parish of Marchegg and raised to an independent "Lokalkaplay".
1784 The parish of Marchegg was incorporated into the archdiocese of Vienna.
1786 26the march was abandoned cemetery location around the church.
Because of the danger of collapsing bell tower (roof rider) was demolished in 1787 and the roof is covered the same.
1786 - 1789 church annex
1790 worship was once again celebrated in the church and the church bells newly transferred to the new tower.
1850, as the bell tower threatened to collapse, it was removed, the main entrance of the church locked and the ship supported.
1853 Prince Pálffy let begin the construction of the church tower. The tower rests on 170 oak trunks.
In 1855 the cross was placed on the newly constructed tower. The cross made of of iron has been galvanically gildened, was picked up in a solemn procession from the castle and consecrated by Dechant Simon Schwarz.
Renovation of the church interior: a woman from Vienna, Magdalena Schineder, a marcheggerin (born to Marchegg), gave 350 fl, mister notary dionys Klemer 40 fl, for acquisition of new altarpiece for the high altar, which dates from the school of the famous painter Kupelwieser. The remaining contributions came from the community, from Vienna, Prague, Brno, Malacka and Baumgarten.
Termination of the church renovation in 1856.
1878 600 year anniversary of the church.
1890 New stained glass windows. Donors. Prince Palffy, Earl Apponyi, Vicar Rohrwasser (born Marchegger):
1895 Prince Liechtenstein donated two stained glass windows
1897 Flood. Parsonage and church were under water. In the church, the water reached up to the kneeling benches.
1899 17th september round 5:15 early in the morning reached the high water church and main square. Church services took place till 23nd september in the castle chapel.
1899 Princess Palffy donated a white alb, which she had embroidered herself.
1910 12th november inserting of the figural windows was completed. In the night were broken parts and robbed the offertory. The pastor prompted to remove all offertories.
1911 King Ferdinand of Bulgaria visited the parish on the journey through.
1917 The copper and the skirts of the windows of the church tower were removed and replaced by zinc sheet.
In january 1918 the organ pipes were requisitioned for war purposes.
1930 18.9. Laying of the foundation stone of a makeshift church at the railway station.
1931 7.10. Construction of the temporary church and nursery was completed. Financing by pastor Kowanda and the club "Catholic action in Marchegg".
1938 On 15th march came SA-men from Marchegg and took money, cash book and passbook of Catholic young folk. Amount of 45 shillings. Catholic young folk was dissolved.
Since 7th april on the steeple blew the swastika flag.
In 1940 cardinal Innitzer came for visitation to Marchegg. Teenagers rampaged and scolded the cardinal.
1945 Shelling of Marchegg - city church received 7 strikes. Above the presbyterium in the stone window frames, front under the base of the church. 4 shots hit the tower and the roof of the new part of the church. Between church and kindergarten 2 strikes, 5 strikes in the parish garden.
In 1953, the statue of Holy Elisabeth was erected.
In 1954, the statue of Saints Michael, Barbara and Katharina that were destroyed in the bomb hit came back restored. 9th may blessing of the bells.
1958 Completion of the extention of the church Christ the King at Marchegg station.
1960 At the renovation of the ceiling several frescoes were found, two of which were saved.
Consecration the statue of St. Elizabeth, gift of the Federal Monuments Office.
1967 Lightning struck during a funeral in the church tower. Thanks to the lightning protection system, no damage has been produced.
In 1970 the albhon organ was blessed by archbishop Dr. Josef Schoiswohl. Donation of Kommerzialrat Josef Durry.
1989 Consecration of altar and organ of the church of Christ the King by auxiliary bishop DDr. Helmut Krätzl.
1992 Consecration ot the new altar of the city church by Bishop Florian Kuntner.
www.pfarremarchegg.at/wp-content/uploads/2011/03/Geschich...
Execution on the Old Town Square 21. 6. 1621
23-06-2001 | Olaf Barth, Katrin Bock
Olaf Barth and Katrin Bock now take a look at the events that took place on the Old Town Square 380 years ago.
Execution on the Old Town Square 21. 6. 1621
If you have ever been to Prague, you may have noticed the 27 crosses which have been embedded into the pavement at the foot of the Old Town Town Hall. Perhaps you have wondered about their origin. Well, in the following minutes you will learn more about the context of these crosses. First of all, listen to the Czech writer Alois Jirasek portraying the events at the end of the 19th century in one of his stories:
"In the night of 20 to 21 June 1621, fear and grief prevailed everywhere in Prague, and the roads had become like deserted, for on Prague restrictions had been imposed. Only the clash of the weapons and the heavy steps of foreign soldiers broke through the oppressive silence. On the Old Town Square there was a lot of activity, and boards and beams were unloaded from wagons and carried to the middle of the place, where a scaffold grew by the flickering light of numerous torches. By daybreak a gallows covered with red cloth was towering. At sunrise fulminated a cannon cracker showing that the execution had to begin. On the scaffold dark hooded people were visible, the assistents of the executioner and the gravedigger. Finally, the executioner, Jan Mydláø, also appeared. Immediately the imperial judges took their seats, and the names of the twenty-seven death-condemned noblemen were exclaimed. While foreign soldiers were drumming in the streets of Prague, in the houses people of Prague prayed for their faithful, the 27 men who were either beheaded or hanged at the same time. It is reported that once a year, always in the night from the 20th to the 21st of June, the noblemen and citizens appear on the Old Town Square. Silently they walk over the square to the church, where, kneeling before the altar, they receive the Last Supper in both forms. And as silently as they have come they disappear again."
The Hradschin 1618, in the year of the window-lintel (contemporary engraving)
So far the Czech writer Alois Jirasek about the events of that night 380 years ago, when the leaders of the insurrection of the Estates against the Catholic Habsburgs were judged. 27 nobles, gentlemen and citizens, Czechs and Germans, Protestants and a Catholic then left their lives. They were punished for having joined an uprising against the legal Habsburg emperor which had a religious background, for the Emperor had previously tried to restrict the freedom of religion which had been in force in the Bohemian lands since the middle of the fifteenth century. The revolt had begun on May 23, 1618, with the famous Prague defenestration, and ended with the battle Battle of White Mountain in November 1620, for the Czechs still today a national trauma. In that battle before the gates of Prague the army of the Catholic Habsburgs the Protestant Estates had utterly vanquished. What followed was a relentless persecution of all insurgents, regardless of their social position or nationality. Emperor Ferdinand II used his military victory to strengthen his position in the rebellious Bohemian lands, to suppress the Protestant faith and to break the power of the Estates once and for all.
Procession on the White Mountains (Josef Berka and A. Gustav, around 1800)
All persons who had somehow participated in the uprising of the Estates were punished. The worst punishment experienced three lords, seven knights and 17 citizens, who were executed in the early morning hours of June 21, 1621 on the Old Town Square. The execution took place conforming to the etiquette: first came the lords, then the knights, and finally the citizens. It is said the bloodthirsty torture to have lasted for four hours, while the executioner Jan Mydlar in the proces was to have beaten blunt four swords.
Joachim Andreas Graf Schlick was the first to be beheaded, whose family had grown rich thanks to the silver mines in the west Bohemian Jáchymov valley. Count Schlick had worked for many years at the Saxon court as an educator of the future ruler Johann Georg. During the Bohemian uprising of the Estates, Schlick had been quite active. Among other things, he was one of the participants of the famous 1618 defenestration. Next came Vaclav Budova from Budovec. Since the beginning of the 17th century, he had been strongly committed to the observance of the freedom of belief in the Bohemian lands and had been one of the spokesmen of the insurgents. As the third nobleman, Krystof Harant of Polzice and Bezdruzice lost his head. He had been court musician and companion of Rudolf at the court of Emperor Rudolf II. He was not very interested in politics, but he had been one of the military leaders of the insurgents, which now cost him his head. All three of them, without any doubt, belonged to the intellectual elite of the country, all three of them had been to many places, were well-educated, spoke several languages, and were Protestants.
Among the 7 knights was also the Catholic Divis Cernin of Chudenice. This one had made the fatal mistake of opening the gates of the castle to the representatives of the Estates on the 23rd of May, 1618, who then threw the three representatives of the Habsburg power out of a window in protest against the restriction of the rights of the Protestants.
Jan Jesensky
Jan Jessenius, the rector of the Charles University of Prague, was one of those who got the severest judgement. He was not only beheaded, his tongue had been cut off before, additionally he was also quartered after the execution. Emperor Ferdinand had expressed himself personally for this harsh judgment. The internationally respected scholar, who had carried out the first public autopsy in Prague in 1600, had aroused the wrath of the ruler as he had himself pronounced against the election of Ferdinand for the King of Bohemia as well as published a series of harsh writings against the Habsburgs.
The heads of twelve executed were hanged in iron baskets for deterrence and warning at the Old Town Bridge Tower. From there they were removed only 10 years later, when the Saxons 1631 occupied Prague for a short time.
Ferdinand II.
Emperor Ferdinand II took advantage of the victory over the rebellious Protestant estates, which had dethroned him, the legitimate heir, and elected another one, the "Winter King", Frederick of the Palatinate. 166 nobles Ferdinand had completely dispossessed, another 500 lost a large part of their estates. On the other hand, his faithful were rewarded. Those were given great lands in the Bohemian lands. In addition, monasteries were returned lands that they had lost during the Hussite wars in the 15th century.
The greatest winners were probably Albrecht von Waldstein, Karl von Liechtenstein, and Johann Ulrich von Eggenberg, who were now able to call great domains their own. But also other noble families then settled in the Bohemian lands, like the Trauttmansdorff, Thun, Metternich and Clary families.
Even ordinary citizens and peasants were affected: those who did not convert to the Catholic faith had to leave the country. In 1624 the Catholic faith became the only one recognized in the Bohemian lands - more and more subjects saw themselves forced to emigrate. Some 150,000 people are said to have left the Bohemian lands for religious reasons in the years after the defeat of the Protestant Estates. The probably most famous emigrant of that time is Jan Amos Komensky - Comenius. The pedagogue and bishop of the Unity of the Brotherhood settled down after a few journeys in Holland, where he died in 1670 at the age of 78.
Even in the eyes of most of today's Czechs, the "time of darkness" began with the defeat of the Protestant estates in the Battle of Weissenberg. As such, the almost 300 years of the unrestricted rule of the Habsburgs over the Bohemian countries were designated, which ended only with the independence of Czechoslovakia in 1918. The formerly proud kingdom of Bohemia had been degrated to a Habsburg province according to the new regional order of 1627, and had lost most of its rights, including the freedom of faith for which its inhabitants had fought since the death for heresy of Jan Hus in 1415. Today, not only the 27 crosses embedded on the Old Town Square, but also all the magnificent Baroque buildings in the country, are reminiscent of this historic epoch. With these the Catholic Habsburgs showed their Bohemian and Moravian subjects who is the boss in the country.
And so we are already at the end of our trip into the 17th century.
Hinrichtung auf dem Altstädter Ring 21. 6. 1621
23-06-2001 | Olaf Barth, Katrin Bock
Olaf Barth und Katrin Bock werfen heute einen Blick auf die Geschehnisse, die sich vor 380 Jahren auf dem Altstädter Ring ereigneten.
Hinrichtung auf dem Altstädter Ring 21. 6. 1621
Wer von Ihnen schon mal in Prag war, dem sind sie vielleicht aufgefallen, die 27 in das Pflaster eingelassenen Kreuze zu Füssen des Altstädter Rathausturmes. Vielleicht haben Sie sich über deren Ursprung gewundert. Nun in den folgenden Minuten erfahren Sie mehr über die Bewandtnis dieser Kreuze. Hören Sie zunächst einmal, wie der tschechische Schriftsteller Alois Jirasek die entsprechenden Ereignisse Ende des 19. Jahrhunderts in einer seiner Geschichten schilderte:
"In der Nacht vom 20. auf den 21. Juni 1621 herrschte überall in Prag Angst und Trauer. Die Strassen waren wie ausgestorben, denn über Prag war Ausgangsverbot verhängt worden. Nur das Klirren der Waffen und schwere Schritte fremder Soldaten durchbrachen die bedrückende Stille. Auf dem Altstädter Ring herrschte reger Betrieb. Bretter und Balken wurden von Wagen abgeladen und zur Platzmitte getragen, wo beim flackernden Licht zahlreicher Fackeln ein Gerüst wuchs. Als es zu dämmern begann, ragte da ein mit rotem Stoff überzogener Galgen empor. Beim Sonnenaufgang donnerte von der Prager Burg ein Kanonenschlag. Ein Zeichen dafür, dass die Exekution beginne. Auf dem Galgengerüst waren dunkle vermummte Gestalten zu sehen - die Henkershelfer und der Totengräber. Schliesslich erschien auch der Henker Jan Mydláø. Alsbald nahmen die kaiserlichen Richter ihre Sitze ein, und die Namen der 27 zum Tode verurteilten Standesherren wurden ausgerufen. Während in den Strassen Prags fremde Soldaten trommelten, beteten in den Häusern die Prager für ihre Getreuen, die 27 Herren, die zur selben Zeit geköpft oder gehängt wurden. Es wird berichtet, dass die hingerichteten Adeligen und Bürger einmal im Jahr, immer in der Nacht vom 20. auf den 21. Juni, auf dem Altstädter Ring erscheinen. Schweigend gehen sie über den Platz zur Kirche, wo sie, vor dem Altar knieend, das Abendmahl in beiderlei Gestalt empfangen. Und so lautlos wie sie gekommen verschwinden sie wieder."
Der Hradschin 1618, im Jahre des Fenstersturzes (Zeitgenössiger Stich)
Soweit der tschechische Schriftsteller Alois Jirasek über die Ereignisse jener Nacht vor 380 Jahren, als die Anführer des Ständeaufstandes gegen die katholischen Habsburger gerichtet wurden. 27 Adelige, Herren und Bürger, Tschechen und Deutsche, Protestanten und ein Katholik liessen damals ihr Leben. Bestraft wurden sie dafür, dass sie sich einem Aufstand gegen den rechtmässigen Habsburger Kaiser angeschlossen hatten, der einen religiösen Hintergrund hatte, denn der Kaiser hatte zuvor versucht, die seit Mitte des 15. Jahrhunderts in den Böhmischen Ländern geltende Religionsfreiheit einzuschränken. Der Aufstand hatte am 23. Mai 1618 mit dem berühmten Prager Fenstersturz begonnen und mit der für Tschechen noch heute ein nationales Trauma darstellenden Schlacht am Weissen Berg im November 1620 geendet. In jener Schlacht vor den Toren Prags hatte das Heer der katholischen Habsburger die protestantischen Stände vernichtend geschlagen. Was folgte war eine unbarmherzige Verfolgung aller Aufständischen, ungeachtet ihrer gesellschaftlichen Stellung oder Nationalität. Kaiser Ferdinand II. nutzte seinen militärischen Sieg, um seine Stellung in den aufständischen Böhmischen Ländern zu stärken, den protestantischen Glauben zurückzudrängen und die Macht der Stände ein für alle mal zu brechen.
Prozession am Weißen Berge (Josef Berka und A. Gustav, um 1800)
Alle Personen, die irgendwie an dem Ständeaufstand beteiligt gewesen waren, wurden bestraft. Am schlimmsten traf es dabei drei Herren, sieben Ritter und 17 Bürger, die in den frühen Morgenstunden des 21. Junis 1621 auf dem Altstädter Ring hingerichtet wurden. Bei der Hinrichtung wurde die Etike gewahrt: zuerst waren die Herren dran, dann die Ritter und schliesslich die Bürger. Vier Stunden lang soll die blutige Tortur gedauert haben, vier Schwerter soll der Henker Jan Mydlar dabei stumpf geschlagen haben.
Als erster wurde Joachim Andreas Graf Schlick geköpft, dessen Familie dank der Silberminen im westböhmischen Joachimsthal reich geworden war. Graf Schlick hatte jahrelang am sächsischen Hof als Erzieher des zukünftigen Herrschers Johann Georg gewirkt. Während des böhmischen Ständeaufstands war Schlick recht aktiv gewesen, unter anderem gehörte er zu den Teilnehmern des berühmten Fenstersturzes von 1618. Als nächstes kam Vaclav Budova von Budovec an die Reihe. Dieser hatte sich seit dem Beginn des 17. Jahrhunderts stark für die Einhaltung der Glaubensfreiheit in den Böhmischen Ländern eingesetzt und war einer der Wortführer der Aufständischen gewesen. Als dritter hochgestellter Adeliger verlor Krystof Harant von Polzice und Bezdruzice seinen Kopf. Dieser war am Hofe Kaiser Rudolfs II. Hofmusikant und Gesellschafter Rudolfs gewesen. Für Politik interessierte er sich nicht sehr, doch war er einer der Heerführer der Aufständischen gewesen, das kostete ihn nun seinen Kopf. Alle drei Herren gehörten ohne Zweifel zur geistigen Elite des Landes, alle drei waren weitgereist, hervorragend gebildet, sprachen mehrere Sprachen - und waren Protestanten.
Unter den 7 Rittern war auch der Katholik Divis Cernin von Chudenice. Dieser hatte den verhängnisvollen Fehler gemacht, am 23. Mai 1618 den Repräsentanten der Stände die Burgtore geöffnet zu haben, die dann die drei Vertreter der Habsburger Macht aus Protest gegen die Einschränkung der Rechte der Protestanten aus einem Fenster warfen.
Jan Jesensky
Eines der härtesten Urteile traf Jan Jessenius, den Rektor der Prager Karlsuniversität, der als 16. an die Reihe kam: er wurde nicht nur geköpft, zuvor wurde ihm die Zunge abgeschnitten, ausserdem wurde er nach der Hinrichtung noch geviertelt. Für dieses harte Urteil hatte sich Kaiser Ferdinand persönlich ausgesprochen. Der international angesehene Gelehrte, der 1600 in Prag die erste öffentliche Obduktion durchgeführt hatte, hatte den Zorn des Herrschers erregt, da er sich auf verschiedenen Landtagen gegen die Wahl Ferdinands zum böhmischen König ausgesprochen sowie eine Reihe von scharfen Schriften gegen die Habsburger veröffentlicht hatte.
Die Köpfe von zwölf Hingerichteten wurden in Eisenkörben zur Abschreckung und Warnung an den Altstädter Brückenturm gehängt. Von dort wurden sie erst 10 Jahre später entfernt, als die Sachsen 1631 Prag für kurze Zeit besetzten.
Ferdinand II.
Kaiser Ferdinand II. nutzte seinen Sieg über die aufständischen protestantischen Stände, die ihn, den rechtmässigen Erben, entthront hatten und einen anderen, den "Winterkönig" Friedrich von der Pfalz, gewählt hatten. 166 Adelige liess Ferdinand vollkommen enteignen, weitere 500 verloren einen Grossteil ihrer Güter. Belohnt wurden dagegen seine Getreuen. Diese erhielten grosse Ländereien in den Böhmischen Ländern. Ausserdem bekamen Klöster Ländereien zurück, die sie zur Zeit der Hussitenkriege im 15. Jahrhundert verloren hatten.
Die grössten Gewinner waren wohl Albrecht von Waldstein, Karl von Liechtenstein sowie Johann Ulrich von Eggenberg, die nun grosse Herrschaften ihr Eigen nennen konnten. Aber auch andere Adelsdfamilien setzten damals in den Böhmischen Ländern ihren Fuss, wie die Familien Trauttmansdorff, Thun, Metternich und Clary.
Auch einfache Bürger und Bauern waren betroffen: wer nicht zum katholischen Glauben übertrat, musste das Land verlassen. 1624 wurde der katholische Glaube der einzig anerkannte in den Böhmischen Ländern - immer mehr Untertanen sahen sich gezwungen, zu emigrieren. Rund 150.000 Menschen sollen in den Jahren nach der Niederlage der protestantischen Stände die Böhmischen Länder aus religiösen Gründen verlassen haben. Der wohl bekannteste Emigrant jener Zeit ist Jan Amos Komensky - Comenius. Der Pädagoge und Bischof der Brüderunität liess sich nach einigen Reisen in Holland nieder, wo er 1670 im Alter von 78 Jahren verstarb.
Auch in den Augen der meisten heutigen Tschechen begann damals mit der Niederlage der protestantischen Stände in der Schlacht am Weissen Berg die "Zeit der Finsternis". Als solche werden die knapp 300 Jahre der uneingeschränkten Herrschaft der Habsburger über die Böhmischen Länder bezeichnet, die erst mit der Unabhängigkeit der Tschechoslowakei 1918 endeten. Das einstmals stolze Königreich Böhmen war nach der neuen Landesordnung von 1627 zu einer Habsburger Provinz degradiert worden und hatte die meisten seiner Rechte verloren - auch das der Glaubensfreiheit, für das seine Bewohner seit dem Ketzertod des Jan Hus 1415 gekämpft hatten. Heute erinnern an diese Geschichtsepoche nicht nur die 27 in das Strassenpflaster eingelassenen Kreuze auf dem Altstädter Ring, sondern auch all die prächtigen Barockbauten im Lande. Mit diesen zeigten die katholischen Habsburger ihren böhmischen und mährischen Untertanen, wer der Herr im Lande ist.
Und damit sind wir bereits am Ende unseres Ausfluges in das 17. Jahrhundert.
www.radio.cz/de/rubrik/geschichte/hinrichtung-auf-dem-alt...
Business Books That Matter is a new Book Club program co-organized by White & Lee and the Software Development Forum (SDForum) and sponsored by Microsoft.
The conversation centered on Execution: The Discipline of Getting Things Done by Larry Bossidy and Ram Charan.
Moderator:
Mark Cameron White
Partner, White & Lee LLP
Panelists:
J. Peter Herz
Former CEO of 3ware, Inc. and Board Chairman, IPextreme, Inc.
Bruce Lichorowic
CEO, Intalio, Inc.
General consensus was that the book was good for large company process execution with a Midwest mentality. But in the Silicon Valley, emphasis is on innovation and practice.
Alfred "Jake" Lingle was a reporter for the Chicago Tribune who liked to mingle with cops and gangsters alike. In June of 1930, Lingle had just walked down these subway steps when he was shot in the head from behind and killed. Despite the conviction of Leo Vincent Brothers for the murder it's probable that he was taking the rap for the real killer. Lingle had made enemies of Al Capone and had threatened Bugs Moran 2 weeks prior over his share of the Sheridan Wave nightclub. The hit could have been ordered by either side of the Beer War.
Located at the southwest corner of Michigan Ave. and Randolph St.
A "razakar", referring to the local militiamen accused of looting and committing murder and rape under Pakistani command during the past nine bloody months, pleads for mercy as Mukthi Bahini soldiers pummel him prior to bayoneting him to death at an execution of four men, Dec. 18, 1971, at a Dhaka, East Pakistan, race course (AP Photo/Michel Laurent/Horst Faas)
Bambari (RCA) 05 avril 2023: Des ex-combattants se font enregistrer à Bambari; une première pour l’Unité d’Exécution du Programme National du Désarmement, Démobilisation, Réintégration et Rapatriement (UEPNDDRR) dans cette localité. Ces ex-combattants avaient préalablement remis leurs armes aux autorités militaires qui ont procédé à leur vérification avant de les convoyer et entreposer à Bangui avec l’appui de la MINUSCA. La Mission apporte un soutien multiforme à ces opérations qui devraient se poursuivre jusqu’ au 9 avril 2023.
Bambari, CAR, April 5, 2023: Ex-combatants registered in Bambari, a first for the Unité d'Exécution du Programme National du Désarmement, Démobilisation, Réintégration et Rapatriement (UEPNDDRR) in this locality. These ex-combatants had previously handed over their weapons to the military authorities, who verified them before transporting them to Bangui with the support of MINUSCA. The Mission is providing multifaceted support to these operations, which are expected to continue until April 9, 2023.
I knelt to take this shot of a cross that commemorates the execution (by firing squad) of one of the leaders of the 1916 Easter Uprising in Kilmainham Gaol (Jail) in Dublin. As I did, a woman tripped over the base of that flagpole and fell.
Sure Roschler! Be the funny guy Roschler! But now you will see the wrath of Roschler in the first ever live televised Execution On Flickr!
On 29 December 1880 Tuhiata, the convicted murderer of artist Mary Dobie, was executed in Wellington gaol.
Tuhiata, usually known as Tuhi, had later said the he never intended Mary harm. The pair had a fatal meeting out in the countryside where she was sketching, and by his account his attempt to ask her where she was from was misunderstood as she spoke no Māori and he little English. But when he dismounted from his horse and came towards her she became frightened and tried to give him the coins in her pocket to make him go away. She then uttered the fatal words that would lead to her death, telling him she would tell the soldiers about him. Fearful of being charged with theft he grabbed her and committed the far greater crime of murder, cutting her throat and dragging her body behind a flax bush.
Blood stained trousers believed to be Tuhi’s were recovered from the scene and his bloody knife was also found. The day of Mary’s murder was fine and she had visited the local store to buy a carpenter’s pencil for her sketching. A gifted artist she had supplied sketches of New Zealand scenery which were published in the London Graphic magazine. As she made her purchase Tuhi was also in the store where he unsuccessfully tried to buy a pair of moleskin trousers on credit. The same day he was seen dancing in the tap room of the local pub before riding his black horse in the direction Mary had taken. Before the murder he had been well thought of and was described by one witness as “usually a quiet man. He is not quarrelsome.” He was arrested and tried in Wellington where the jury took only 20 minutes to unanimously decide on his guilt. He was hanged soon after and the newspapers reported that he had walked “firmly” onto the scaffold and that death was instantaneous
Shown here is the coroner’s certification of Tuhiata’s death. It includes the official cause of death by hanging and the names of all witnesses present at the execution.
ACGS 16211 J1/283/u 1881/9
collections.archives.govt.nz/web/arena/search#/?q=R24425793
More information can be found here:
paperspast.natlib.govt.nz/newspapers/NZTIM18801230.2.50?q...
nzhistory.govt.nz/hokianga-chief-patuone-arrives-in-sydne...
For updates on our On This Day series and news from Archives New Zealand, follow us on Twitter www.twitter.com/ArchivesNZ
Material supplied by Archives New Zealand Te Rua Mahara o te Kāwanatanga
Foggy, panoramic view of the Long Island Sound and Execution Rocks Lighthouse (1850) from Sands Point, Long Island, NY.
It is rumored that the lighthouse's site got its name before the American Revolutionary War when British colonial authorities executed people by chaining them to the rocks at low tide, allowing the rising water to drown them. This folklore has never been verified by any historical record. The name for this island was actually chosen to reflect the historically dangerous shipping area created by the rocks' exposure during low tides. On March 3, 1847, the United States Congress appropriated $25,000 for creation of Execution Rocks Lighthouse. Designed by Alexander Parris, construction was completed in 1849, although it was not lit until 1850. Over the years, it has survived both a fire and a shipwreck. [Wikipedia]
Not nearly as festive as Jibbitz, the gibbet was an execution device of sorts.
I couldn't make the sign any more readable, but it says: ""In the Middle Ages, criminals were locked into body cages called gibbets, hung from the sides of castles and left to die. Exposed to the elements and picked at by birds, the prisoner wouldn't last too long -- but the skeletal remains were often left on display for weeks in order to warn others of the fate of criminals."
Brutal justice indeed.
execution, torture.
cage, gibbet.
Ripley's Believe It Or Not!, museum, Ocean City, Maryland.
August 5, 2009.
Pic by Ryan Somma.
Originally posted at flickr.com/photo.gne?id=3795498726
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BACKSTORY: Ripley's Believe It Or Not! museums kick ass! Definitely worth the ~$13 admission. We spent several hours looking at things and photographing. And no two museums are alike -- I've been to at least 2, possibly 3. Sure, they may have some of the same wall prints and statues, but the actual items are often one-of-a-kind. Find the museum nearest to you with their official museum locator app.
Also, note that I did not repost every one of Vicky & Ryan's pictures. You might want to click through and check out some of their other pictures from the museum as well!