Thursday morning, and all I had to do was get back to Kent. Hopefully before five so I could hand the hire car back, but getting back safe and sound would do, really.

 

I woke at six so I could be dressed for breakfast at half six when it started, and as usual when in a hotel, I had fruit followed by sausage and bacon sarnies. And lots of coffee.

 

Outside it had snowed. OK, it might only be an inch of the stuff, but that's more than an inch needed to cause chaos on the roads.

 

Back to the room to pack, one last look round and back to reception to check out, then out into the dawn to find that about a quarter of the cars were having snow and ice cleared off them before being able to be driven.

 

I joined them, scraping the soft snow then the ice. Bracing stuff at seven in the morning.

 

Now able to see out, I inched out of the car park and out to the exit and onto the untreated roads.

 

It was a picturesque scene, but not one I wanted to stop to snap. My first road south had only been gritted on one side, thankfully the side I was travelling down, but was still just compacted snow.

 

After negotiating two roundabouts, I was on the on ramp to the M6, and a 60 mile or so drive south. The motorway was clear of snow, but huge amounts of spray was thrown up, and the traffic was only doing 45mph, or the inside lane was, and that was quite fast and safe enough for me.

 

More snow fell as I neared Stoke, just to add to the danger of the journey, and then the rising sun glinted off the road, something which I had most of the drive home.

 

I went down the toll road, it costs eight quid, but is quick and easy. And safe too with so little traffic on it. I think for the first time, I didn't stop at the services, as it was only about half nine, and only three hours since breakfast.

 

And by the time I was on the old M6, there was just about no snow on the ground, and the road was beginning to dry out.

 

My phone played the tunes from my apple music store. Loudly. So the miles slipped by.

 

After posting some shots from Fotheringhay online, a friend, Simon, suggested others nearby that were worth a visit, and I also realised that I hadn't taken wide angle shots looking east and west, so I could drop in there, then go to the others suggested.

 

And stopping here was about the half way point in the journey so was a good break in the drive, and by then the clouds had thinned and a weak sin shone down.

 

Fotheringhay is as wonderful as always, it really is a fine church, easy to stop there first, where I had it to myself, and this time even climbed into the richly decorated pulpit to snap the details.

 

A short drive away was Apethorpe, where there was no monkey business. The village was built of all the same buttery yellow sandstone, looking fine in the weak sunshine.

 

Churches in this part of Northamptonshire are always open, Simon said.

 

Not at Apethorpe. So I made do with snapping the church and the village stocks and whipping post opposite.

 

A short drive up the hill was King's Cliffe. Another buttery yellow village and a fine church, which I guessed would be open.

 

Though it took some finding, as driving up the narrow high street I failed to find the church. I checked the sat nav and I had driven right past it, but being down a short lane it was partially hidden behind a row of houses.

 

The church was open, and was surrounded by hundreds of fine stone gravestones, some of designs I have not seen before, but it was the huge numbers of them that was impressive.

 

Inside the church was fine, if cold. I record what I could, but my compact camera's batter had died the day before, and I had no charger, so just with the nifty fifty and the wide angle, still did a good job of recording it.

 

Back to the car, I program the sat nav for home, and set off back to Fotheringhay and the A14 beyond.

 

No messing around now, just press on trying to make good time so to be home before dark, and time to go home, drop my bags, feed the cats before returning the car.

 

No real pleasure, but I made good time, despite encountering several bad drivers, who were clearly out only to ruin my mood.

 

Even the M25 was clear, I raced to the bridge, over the river and into Kent.

 

Nearly home.

 

I drive back down the A2, stopping at Medway services for a sandwich and a huge coffee on the company's credit card.

 

And that was that, just a blast down to Faversham, round onto the A2 and past Canterbury and to home, getting back at just after three, time to fill up the bird feeders, feed the cats, unpack and have a brew before going out at just gone four to return the car.

 

Jools would rescue me from the White Horse on her way home, so after being told the car was fine, walked to the pub and ordered two pints of Harvey's Best.

 

There was a guy from Essex and his American girlfriend, who were asking about all sorts of questions about Dover's history, and I was the right person to answer them.

 

I was told by a guide from the Castle I did a good job.

 

Yay me.

 

Jools arrived, so I went out and she took me home. Where the cats insisted they had not been fed.

 

Lies, all lies.

 

Dinner was teriyaki coated salmon, roasted sprouts and back, defrosted from before Christmas, and noodles.

 

Yummy.

 

Not much else to tell, just lighting the fire, so Scully and I would be toast warm watch the exciting Citeh v Spurs game, where Spurs were very Spursy indeed.

 

-------------------------------------------

 

From Easton-on-the-Hill I cycled on through Collyweston, passing the church with the eccentric keyholder who I had met the previous July, and then turned off through the fields. This led me to a short stretch of the A47, which thankfully wasn't terribly busy, and then I turned off on a long, winding road down from the top of the ridge through the forest until I reached Kingscliffe, one of the loveliest villages in Northamptonshire.

   

I had visited the church here before, in May 2016, but on that occasion a wedding had just started and so I wasn't able to see inside. The village is large, and had once been served by the railway, and it still has a busy feel. As I headed down the village high street, an ancient Skoda passed me, and I wondered if it was much more likely for such a thing to survive out here in remote Northamptonshire than in the busy towns and cities. When I got to the church, the Skoda was parked outside, and as I leaned my bike against the wall an elderly man came out of the churchyard, got in the car and drove off. It was just before nine o'clock. Thus, I had witnessed the church-opener going about his business.

   

This is a tremendous building, a great cruciform church with a central tower set four-square on a rise surrounded by hundreds of unreset Ketton stone headstones. You step into a wide open space that swallows sound, and I was immediately put in mind of the great churches of south Lincolnshire, which after all is only a few miles off. The star of the show here is a good collection of medieval glass, including some angels which are so similar to those in one of the Stamford churches that they must be the same workshop, and possibly even from the same collection. The rest of the glass is mostly by Kempe and not bad (as you know, I am not a huge fan), and the overall feel of the Anglo-catholic tradition, only slightly faded and diluted, is delicious. One curiosity is an elaborate spiral staircase set below the central tower.

   

I eventually tugged myself away, and headed off in the direction of Blatherwycke, through gentle fields and eventually past the stone walls of the Blatherwycke estate.

 

www.flickr.com/photos/norfolkodyssey/42383511784/in/photo...

 

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Ecclesiastical

¶(1) The Parish Church of All Saints (Fig. 115; Plate 8) stands in a large churchyard on the S. side of the village. It consists of a Chancel, Central Tower, North and South Transepts, Nave with Aisles, and North and South Porches. The walls are built in coursed limestone rubble; the tower has Barnack quoins and the spire is in freestone. The roofs of the chancel and porches are steep-pitched and stone-slated and the remainder are flat-pitched. The earliest part is the central tower which belongs to the first half of the 12th century as indicated by the style of the windows in the second stage. However, the tower has projecting corners, except on the N.E. where the chancel and N. transept have been widened and its plan is irregular; these characteristics are usually associated with pre-Conquest buildings. It is not possible to say whether or not the first church had transepts. Since the 12th century much of the church has been rebuilt. In the 13th century the spire was added, the N. wall of the chancel was rebuilt slightly to the N. of its former line and the E. and W. tower arches were remodelled. In this operation the new E. tower arch was set off-centre to conform with the widened chancel; the original axis of the chancel is indicated by a 12th-century window in the E. wall of the tower above the E. arch. Also at this time a chapel N. of the chancel was proposed, and possibly built, as demonstrated by a respond of an arch against the N.E. corner of the tower. Early features in the W. walls of the nave and the N. aisle show that the 13th-century nave and N. aisle were the same length as at present. The existence of a N. aisle implies that there was a transept N. of the tower at this time. Except for two 14th-century windows inserted in these 13th-century W. walls, the nave, most of the W. wall of the N. transept, the S. transept, the S. aisle and both porches, belong to the early 15th century. In the late 15th century the chancel was rebuilt, on the lines of the former walls, and the E. and N. walls of the N. transept were rebuilt, the E. wall about one metre further to the E. A diagonal passage was formed at the junction of the N. wall of the chancel and the E. wall of the transept. Also in the 15th century, the N. and S. tower arches were remodelled.

 

A major restoration by Browning of Stamford took place in 1862 when galleries and the old pews were removed (NRO, Faculty, 16 Aug. 1862; Peterborough Advertiser, 6 June 1863).

 

The church is notable for its early origin and for its dominating appearance.

 

Architectural Description – The Chancel has a freestone ogee-moulded plinth and two-stage weathered buttresses, those on the E. being set diagonally but not exactly on the diagonal axis. The eaves are plain and the E. wall has a parapeted gable which carries a lozenge-shaped panel inscribed '1648'; this date presumably refers to the rebuilding of the upper part of the walling which is of smaller stones than the lower. An offset, visible internally, indicates a former low-pitched roof. The E. window of the 15th-century has vertical tracery and a quatrefoil in the head. In the side walls 15th-century windows have vertical tracery and triangular heads. A priest's door in the N. wall has a four-centred head. At the N.W. corner is a diagonal passage to the N. transept; it has a flat ceiling supported on a 13th-century respond with fillets on the shafts, water-holding base and roll-moulded capital.

 

The Central Tower of two external stages was built in the first half of the 12th century if not earlier; the upper part and the broach spire belong to the 13th century. The S.E. external angle has quoins of Barnack stone and no plinth. Some quoins at a high level are set upright; two survive on the S.E., and one on the S.W. The E. arch of two chamfered orders supported on semi-octagonal responds has a label with mask stops; it is probably late 13th-century. The N. and S. arches have two-centred heads of two chamfered orders, the inner carried on semi-octagonal capitals and half-round shafts with wave-moulded bases; these 15th-century arches are not set centrally in the tower walls. The W. arch has two chamfered orders carried on semi-octagonal capitals and half-round shafts with water-holding bases. In the E. wall above the arch is a small round-headed 12th-century window, with deeply splayed jambs, which opens into the chancel. In the second stage on all four faces and above the level of the small window, are round-headed windows of the same date, those on the E., N. and S. with two recessed inner lights separated by a circular shaft with a scroll-decorated base, capital with primitive volutes and square abacus (Plate 5). The window on the W. is without a recessed containing arch; each of the two lights have straight unmoulded jambs, and are separated by two shafts set across the wall to carry a through-stone instead of a square abacus. Although the window is blocked internally the two shafts are visible on the nave side (Fig. 116). The sill, forming part of a double-chamfered string-course which continues round the tower, has been cut in two places to receive the steep gable of a former nave roof. The third stage of the tower is mostly 13th-century; the centre parts of the walls at this level are recessed. On each face is a tall belfry window the upper half of which becomes a gabled lucarne against the spire; they are of two lights with circular shafts, pierced central spandrels, and nail-head enrichment. The broach spire, with eaves supported on mask-stop corbels, has four small lucarnes of two lights and a blunt pyramidal finial. In the spandrel of the W. tower arch is a square-headed doorway, now blocked, which probably led to the rood loft; it is perhaps late-medieval.

 

The North Transept has a high ogee-moulded plinth on the E. and N., diagonal buttresses of two weathered stages and a wide projection in the angle between the chancel and the transept, fashioned as a buttress to accommodate the diagonal passage. On the E. and N. is a roll-moulded continuous sill-course, below which the walling is mostly of reused material. The parapets are plain, but below them on the W. the string-course is enriched with mask stops, possibly reused, and a carved boss. Most of the W. wall is of earlier date than those on the E. and N.; it sets back at the point where the aisle meets the transept, conforming with the arch below. The late 15th-century E. window has a four-centred head and trefoil-headed lights. The N. window of the same date has a square head, three lights with flat, cusped heads, and a label with head stops, one a female with square head-dress the other a male with forked beard. In the W. wall is a small 17th-century rectangular window with ovolo-moulded jambs and head.

 

¶The South Transept, of the early 15th century, has an ogee-moulded plinth, diagonal buttresses, and embattled parapets. In the E. wall is a small 16th-century doorway with a four-centred head; above it is the head of a single-light 13th-century window or recess, probably reset. The E. and S. windows have pointed segmental heads, trefoil-headed lights and quatrefoils; the tracery in the S. window has been renewed as a result of a flue, since removed, being built against the window.

 

The W. wall has two 15th-century four-stage buttresses with cusped and gabled tops. The W. window has splayed jambs with keel-moulded arrises and a roll-moulded internal sill of the 13th century; within the splays is a 14th-century window with curvilinear tracery having a central octofoil and mouchettes. Above, the line of an earlier steep-pitched -roof which matches that on the tower is visible externally. The 15th-century clearstorey has an embattled parapet and windows all with two trefoil-headed lights and labels with head stops; at the W. end, over the aisles, are small pilasters with gabled tops. Gargoyles, three on each side, are carved as grotesque heads, mostly of animals.

 

The North Aisle has a N. wall with an ogee-moulded plinth and gargoyles carved as a crowned head and a muzzled beast. At the E. end is an arch with wave-and-hollow mouldings which die into the side walls. The side windows have pointed segmental heads, ogee-headed lights and twin quatrefoils in the tracery. The N. doorway has a four-centred head and continuous moulded jambs. In the W. wall a hollow-moulded jamb with a roll stop, and part of a chamfered sill, remain from the 13th century. Above, is a late 14th-century window of three graduated and cusped lights. The South Aisle is uniform with the N. aisle and wholly of the 15th century. The first window has a label with head stops. Two gargoyles survive carved with grotesque human heads.

 

The North Porch, of the 15th century, has an archway with a four-centred head of two chamfered orders, the outer continuous, the inner carried on half-round responds. In the parapeted gable is a panel inscribed '1663 LT TR' which may refer to a rebuilding of part of the porch. On the E. and W. are single-light windows and inside are stone benches. The South Porch is similar to that on the N. but lacks side windows. On the exterior, E. of the entrance arch is an indent for a brass of a kneeling male figure with inscription plate, 15th-century (Fig. 117).

 

The Roof of the S. transept is low-pitched with cambered tie beams, wall posts and stone corbels carved with male and female heads. The nave roof, of four bays has cambered tie beams, arched braces resting on stone head corbels, and intermediate principals terminating on wooden angels with shields. At the junction of the principals and the purlins are foliated bosses; 15th-century.

 

Fittings – Bells: six; 1st, inscribed 'Iohn Nebon Esq gave Henry Penn made me 1714'; 2nd, inscribed 'Mistris Maria Hartleie widdo casthis bell, 1619. Richard Bardon Nicholas Baili Gardian. Mvlt ivocati pauci electi 1619'; 3rd, by T. Mears, 1832; 4th, modern; 5th, inscribed 'William Eywood Henrie Thorpe 1592'; 6th, inscribed 'IHS Nazarenus Rex Iudeorum Fili Dei miserere mei. Tho Eayre A.D. 1738'; recast 1917. Brasses and Indents. Brasses (Plate 68): in chancel (1), on N. wall, of Richard Wildbore, 1688; (2), of Samuel Wyman, woolstapler, 1700; both are small rectangular plates. Indent: see S. porch. Font: rounded limestone bowl with four circular cusped panels and smaller blank roundels between, 13th-century; beneath the latter are moulded capitals which now rest on modern detached shafts grouped round a central stem. Paley (Baptismal Fonts (1844) ) shows the bowl on a stout octagonal stem, the top of which now forms the base. In 1862 it was moved from the N. aisle where it stood on a foot-pace (faculty in NRO), and was again dismantled and reassembled in 1897 (NRO, Messrs. Roberts' account, of Stamford).

 

Glass: most of the early glass in the church is said to have come from Fotheringhay and been installed by the Rev. H. K. Bonney in 1862, but Bridges, writing before 1724, recorded ancient glass in the S. aisle and this probably survives incorporated in the present arrangement. Other early pieces were added in 1897 to the N. and S. aisle windows (Messrs. Roberts' account, of Stamford). Those pieces bearing the heraldic badges of the House of York, for example the fetterlock and the sun in splendour, presumably came from Fotheringhay. Unless otherwise stated the glass is 15th-century. In S. transept, in E. window (1), set in quatrefoils: unidentified shield, probably 18th-century, and four quarries showing a white rose in a sun in splendour, an oak tree, oak leaves, and a rose and fetterlock; 18th-century heraldic lion, and four quarries showing seated animals, foliage and a black-letter U entwined with cords; in S. window (2), in quatrefoils: fragment of figure possibly playing bagpipes, and four quarries with oak leaves; roundel with eagle of St. John inscribed 'iohannes', and four quarries depicting a sun in splendour and oak leaves. In nave in W. window (3), random fragments include figures playing stringed instruments, a crown, fetterlocks and oak trees. In N. aisle in W. window (4), angel playing trumpet, roundel with lion of St. Mark and inscribed scroll, angel playing lute. Locker: in chancel, small recess, medieval.

 

¶Monuments and Floor slabs. Monuments: in chancel – on N. wall (1), of John Neabon, 1713, and Susanna his wife who erected tablet, 1748; (2), of Thomas Law, 1714, freestone, with broken pediment enclosing skull, wide pilasters decorated with foliage, and large monogram on apron; (3), of Charlotte Bonney, 1850, by R. Brown, 58 Great Russell Street, London. On S. wall (4), of Sarah Browne (Butler), 1681, and Mary Butler, 1683, round-headed inscription panel, segmental broken pediment, side scrolls, lozenge of arms of Butler on base flanked by palm branches. In N. transept – on E. wall (5), of William Walker, 1823; (6), to three generations of the Thorpe family, masons, dated 1623, freestone, with broken pediment enclosing obelisk and painted shield of arms of Thorpe, shaped apron inscribed 'Thomas' three times, and remains of painted inscription recorded fully by Bridges (II, 432); the youngest Thomas was father of John Thorpe, the architect (Plate 65). On S. wall (7), of Thomas Boughton, 1658, with steep pediment, shield of arms of Boughton in the tympanum impaling an unidentified quartered coat; (8), of Emma Mason, 1837, by Smith of Stamford; on W. wall (9), of Rev. Henry Bonney, rector, 1810, and (10), of Bridget Bonney his wife, 1824. In N. aisle – on N. wall (11), of Jane Maddock, 1835. In S. aisle – on S. wall (12), of Francis Mason, 1818, Elizabeth his wife, 1844, and Scott Secker their grandson, 1842, by Fearn of Stamford; (13), of Elizabeth Cunnington, 1827, lozenge-shaped panel by Gilbert of Stamford; (14), of Eleanor Dafforn, 1847; (15), of Emma Law, 1829, by Gilbert of Stamford; (16), of Elizabeth Carrington, 1825; (17), of Thomas Law, 1739, and (18), of Martha Law (Forde), 1725, a pair of freestone tablets with segmental pediments, bolection-moulded surrounds, gadrooned sills and shaped aprons with shields of arms of Law impaling Forde, flanked by branches (Plate 72). In N. porch – on E. wall (19), of Ann Wood, 1796, and others, surmounted by urn; (20), of Roger Wood, 1818, and Elizabeth his wife, 1814, freestone, by Stevens. On S. wall (21), of Charles Attkins, 1802, and Ann, 1783, freestone oval tablets; (22), of Ann Attkins, 1781, freestone eared tablet with shaped panels above and below decorated with cherub's head and flowers. In S. porch – on W. wall (23), of Elizabeth Carrington, 1798, by Glithero; (24), of James Carrington, 1822, by Stephens. Monuments listed without full descriptions are of simple design. Floor slabs: in chancel – (1), of Rev. H. K. Bonney, rector, 1810, and Bridget his wife, 1824; (2), of Rev. W. Pyemont, an 'Allways Resident Rector', 1751, freestone with pitch-filled foliage decoration. In N. transept – (3), of John Walker, 1809.

 

www.british-history.ac.uk/rchme/northants/vol6/pp91-106#:....

成都川信大厦美美力诚百货Ralph lauren试衣间

Banbury Plastic Fittings (BPF) produces and markets plastic components, with over 2,000 standard product lines and 75 million off-the-shelf components, BPF was founded in 2000.

We have designed and produced the product catalogue for BPF for 8 years.

 

Fittings for very old Higginson syringes

Jacobs technicians, on the Test and Operations Support Contract, check bolt fittings as they practice crane operations with an inert booster rocket segment in the Rotation, Processing and Surge Facility on June 22, 2018, at NASA's Kennedy Space Center in Florida. Dual cranes are being used to move the segment from vertical to horizontal, a maneuver known as a "breakover rotation." As part of routine processing operations for the agency's Space Launch System (SS) rocket, the RPSF team will receive all of the solid rocket fuel segments for inspection and preparation prior to transporting them to the Vehicle Assembly Building for stacking on the mobile launcher. Many pathfinding operations are being done to prepare for launch of the SLS and Orion spacecraft on Exploration Mission-1 and deep space missions. Photo credit: NASA/Ben Smegelsky

NASA image use policy.

 

Challenger 13 fitting skin panels

Top fittigs are HA 4017, 54mm on the rudder blade and HA 4020 on the transom pad

 

The width of the fitting has to match the width of the rudder stock, here it is 3 ply of 18mm, total 54mm.

 

These fittings are available in widths of

 

23, 35, 42, 45, 51 and 54mm

Anthony van Dyck (1599-1641), active in Antwerp and London

Thetis and Hephaestus, 1630/1632

The sea goddess Thetis persuaded Hephaestus to make a suit of armor for her son Achilles. Once the weapons were ready - the moment of the "fitting" is shown here - Thetis hurried away and Hephaestus was left without the promised reward of love. Van Dyck as so often proves to be a master in the representation of ambivalent feelings: the half-hesitant, half greedy gestures of Hephaestus, the posturing goddess and the eagerly laying hands on blacksmith journeyman tell a failed love story.

 

Anthonis van Dyck (1599-1641), tätig in Antwerpen und London

Thetis und Hephaistos, 1630/1632

Die Meeresgöttin Thetis überredete Hephaistos, eine Rüstung für ihren Sohn Achill anzufertigen. Sobald die Waffen fertig waren - der Moment der "Anprobe" ist hier dargestellt - eilte Thetis davon und Hephaistos blieb ohne den versprochenen Liebeslohn zurück. Van Dyck erweist sich wie so oft als Meister in der Darstellung zwiespältiger Gefühle: die halb zögerlichen, halb gierigen Gesten des Hephaistos, die posierende Göttin und der eifrig handanlegende Schmiedegeselle erzählen eine missglückte Liebesgeschichte.

 

Austria Kunsthistorisches Museum

Federal Museum

Logo KHM

Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture

Founded 17 October 1891

Headquartered Castle Ring (Burgring), Vienna 1, Austria

Management Sabine Haag

www.khm.at website

Main building of the Kunsthistorisches Museum at Maria-Theresa-Square

The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.

The museum

The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.

History

Archduke Leopold Wilhelm in his Gallery

The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building.

Architectural History

The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währinger street/Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the Opera ring, and Ludwig Zettl the southeast side of the Grain market (Getreidemarkt).

From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience of Joseph Semper with the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.

Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.

Construction of the two museums began without ceremony on 27 November 1871 instead. Semper subsequently moved to Vienna. From the beginning on, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, in 1878, the first windows installed, in 1879, the Attica and the balustrade finished, and from 1880 to 1881 the dome and the Tabernacle built. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.

The lighting and air conditioning concept with double glazing of the ceilings made ​​the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times.

Dome hall

Entrance (by clicking on the link at the end of the side you can see all the pictures here indicated!)

Grand staircase

Hall

Empire

The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891, the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol needs another two years.

1891, the Court museum was organized in seven collections with three directorates:

Directorate of coins, medals and antiquities collection

The Egyptian Collection

The Antique Collection

The coins and medals collection

Management of the collection of weapons, art and industrial objects

Weapons collection

Collection of industrial art objects

Directorate of Art Gallery and Restaurieranstalt (Restoration Office)

Collection of watercolors, drawings, sketches, etc.

Restoration Office

Library

Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.

1914, after the assassination of Franz Ferdinand, heir to the throne, his "Estensische Sammlung (Collection)" passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d'Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.

The First World War went by, apart from the oppressive economic situation without loss. The Court museum remained during the five years of war regularly open to the public.

Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.

First Republic

The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.

It was not until the Treaty of Saint-Germain on 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.

On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House", by the Republic. On 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.

Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.

With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the

Egyptian and Near Eastern Collection (with the Oriental coins)

Collection of Classical Antiquities

Collection of Ancient Coins

Collection of modern Coins and Medals

Weapons collection

Collection of Sculptures and Crafts with the Collection of Ancient Musical Instruments

Picture gallery

The Museum 1938-1945

Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.

With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the German Reich.

After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to bring certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.

The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. To this end was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.

The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.

The museum today

Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).

The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.

In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.

Management

1919-1923: Gustav Glück as the first chairman of the College of science officials

1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director

1933: Arpad Weixlgärtner first director

1934-1938: Alfred Stix first director

1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief, in 1941 as first director

1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections, in 1949 as general director of the historical collections of the Federation

1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections, in 1949 as general director of art historical collections of the Federation

1949-1950: Hans Demel as administrative director

1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation

1951-1952: Fritz Eichler as administrative director

1953-1954: Ernst H. Buschbeck as administrative director

1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director

1967: Edward Holzmair as managing director

1968-1972: Erwin Auer first director

1973-1981: Friderike Klauner first director

1982-1990: Hermann Fillitz first director

1990: George Kugler as interim first director

1990-2008: Wilfried Seipel as general director

Since 2009: Sabine Haag as general director

Collections

To the Kunsthistorisches Museum also belon the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.

Kunsthistorisches Museum (main building)

Picture Gallery

Egyptian and Near Eastern Collection

Collection of Classical Antiquities

Vienna Chamber of Art

Numismatic Collection

Library

New Castle

Ephesus Museum

Collection of Ancient Musical Instruments

Arms and Armour

Archive

Hofburg

The imperial crown in the Treasury

Imperial Treasury of Vienna

Insignia of the Austrian Hereditary Homage

Insignia of imperial Austria

Insignia of the Holy Roman Empire

Burgundian Inheritance and the Order of the Golden Fleece

Habsburg-Lorraine Household Treasure

Ecclesiastical Treasury

Schönbrunn Palace

Imperial Carriage Museum Vienna

Armory in Ambras Castle

Ambras Castle

Collections of Ambras Castle

Major exhibits

Among the most important exhibits of the Art Gallery rank inter alia:

Jan van Eyck: Cardinal Niccolò Albergati, 1438

Martin Schongauer: Holy Family, 1475-80

Albrecht Dürer : Trinity Altar, 1509-16

Portrait Johann Kleeberger, 1526

Parmigianino: Self Portrait in Convex Mirror, 1523/24

Giuseppe Arcimboldo: Summer 1563

Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07

Caravaggio: Madonna of the Rosary (1606-1607)

Titian: Nymph and Shepherd to 1570-75

Portrait of Jacopo de Strada, 1567/68

Raffaello Santi: Madonna of the Meadow, 1505 /06

Lorenzo Lotto: Portrait of a young man against white curtain, 1508

Peter Paul Rubens: The altar of St. Ildefonso, 1630-32

The Little Fur, about 1638

Jan Vermeer: The Art of Painting, 1665/66

Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559

Kids, 1560

Tower of Babel, 1563

Christ Carrying the Cross, 1564

Gloomy Day (Early Spring), 1565

Return of the Herd (Autumn), 1565

Hunters in the Snow (Winter) 1565

Bauer and bird thief, 1568

Peasant Wedding, 1568/69

Peasant Dance, 1568/69

Paul's conversion (Conversion of St Paul), 1567

Cabinet of Curiosities:

Saliera from Benvenuto Cellini 1539-1543

Egyptian-Oriental Collection:

Mastaba of Ka Ni Nisut

Collection of Classical Antiquities:

Gemma Augustea

Treasure of Nagyszentmiklós

Gallery: Major exhibits

de.wikipedia.org/wiki/Kunsthistorisches_Museum

www.WinterBicycles.com

Side by side my first Washi and my second. Made quite a few pattern adjustments to my second.

Blogged here: www.zaaberry.blogspot.com/2013/01/another-washi-dress.html

blogged here: www.thingsforboys.com/2013/09/my-colette-sorbetto-muslin....

Shrike Too

cnckayaks.com

From Jennette's Bras

SSgt Madeline Conley, Aircrew Flight Equipment, giving media flying Charles Atkeison an extensive briefing on his safety gear for his upcoming media flight.

Isolated Pipe Fitting, Studio Shot, White Background

 

I ran out of the house with some dolls, didn't realize I had 4 in my bag! LOL My friend was nice enough to let the dolls peruse through the books!

 

This is an awesome minature book collection that a friend of mine has in her posession. The books were printed in by her great-grandfather in 1902 if my memory serves me correctly. The hardwood book case itself is in impeccable condition, complete with those double door stopper thingies in one of the photos, brass fittings, hinges etc. The case itself is worth more than the books apparently.

 

The dollies had a fun time reading them, they brushed up on their poetry, English-French and English-German, the New Testament, among others... even a Cyrillic text printed in gold foil! whoo hoo!

The Tuxedo Fitting. Temecula, California. June 21, 2008. © Copyright G Dan Mitchell - all rights reserved.

 

This photograph is not in the public domain. It may not be used on websites, blogs, or in any other media without explicit advance permission from G Dan Mitchell.

 

I'm not going to explain this photo except to say that I like it a lot.

Using the masking tape to keep from messin up the polished finish during fit up.

Alicia en el País de las Maravillas - Alice in Wonderland

Using the pattern with the minimum wearing ease I made the muslin. Pretty good! Some miner adjustments are needed to the neck edge. ( I haven't got around to doing that yet!)

Bishop Edward King chapel, Rippon College, Cuddesdon, Oxfordshire; Niall McLaughlin Architects.

 

Taken on an Oxford Flickr group First Friday meetup

Top fitting HA 4020

Nikon D600

Sigma 15-30mm f/3.5-4.5 EX DG

 

random | tumblr

Day 3, bag 112 discovered on 7 July 2009

Sword fitting with garnets

outfit: i love 13 "Faithkiller" dress (out soon)

skin: MIASNOW Rainbow goth

poses: pda

Another shot from Lye Brook Falls. As I was just packing up to leave, I got a call from our realtor telling us that the open house on Sunday went well.

 

After I hung up, the clouds cleared and the sun came out. I thought it only fitting after a 2.3 mile hike (and before the same return trip) that I should get a few more "blue sky waterfall" shots.

 

PS - no bites on the house yet, but people seem interested.

I copied the slopers with wearing ease onto plastic so I can compare them to commercial patterns.

Day 4, bag 199 discovered on 9 July 2009

Sword fitting

As part of the mechanized phase of the CSS Georgia’s recovery, archaeologists are using a five-finger style grapple to raise large clumps of the remaining artifacts from the bottom of the Savannah River.

Photo courtesy of Paul Hankins, Donjon Marine Services

 

Day 4, bag 196 discovered on 9 July 2009

Sword fitting

Day 4, bag 197 discovered on 9 July 2009

Sword fitting

Or, 'Portrait of the artist as an old git with a tummy'.

Pentax Auto 110, Lomo Metropolis.

Second fitting, much more smoother in the front, I see now that the bottom line flares a bit in the back, that should be easy to fix.

the "s-curve" is not wanted in this era corset, but my curved back will make a slight curve in pretty much any corset.

 

We'll see, the final sturdier coutil and more (and sturdier boning) will do what can be done to make this figure even slightly "long and lean"

www.clockworkbikes.com

i pinned the calico toile, test garment, for the classic boxy jacket flic.kr/p/2qhgiKK as i wanted to do a fitting to make sure the size was ok and that i liked the design. all ok

 

i'll unpin and reassemble following the instructions. facings to go on with interfacing and seams to be finished with bias binding

once i'm happy i can make the toile i'll move onto making the actual garment

 

classic boxy jacket flic.kr/p/2qfSVVg

 

jacket

oatmeal wool with a muted fleck 2 metres @ £8 per metre

brown wool blend with a tiny fleck 2 metres @ £8 per metre

both fabrics 1.50 metres width

 

toile (test garment) calico width 2 metres 20cm

4 metres @ £4.50 per metre end of roll special price £13.50

(only 2 metres needed remainder for future projects)

 

i'll be following the pattern in this reference book flic.kr/p/2q55djV

'the dressmaking book' by alison smith mbe publisher dk

the classic boxy jacket

alongside the reference book i'll use you tube tutorials that i search for when more explanation is needed

 

new techniques to learn

a 'hong kong' finish to the inside seams using bias binding

decorative flap pockets

front edging

 

How to Sew Darts | Beginner & Advanced www.youtube.com/watch?v=m9x-i-txyfo

5 Tips on how sew non-pointy darts! www.youtube.com/watch?v=D8M_TLn_do4

 

How to Sew an Invisible Zipper

www.youtube.com/watch?v=yaza9t-CAiQ

How to Sew an Invisible Zipper - Updated

www.youtube.com/watch?v=cG8CSr11kjA

How To Sew Invisible Zipper On Shirt / Dress | Sewing Technique Tutorial

www.youtube.com/watch?v=ZHNrRoCSxaE

Invisible Zipper

www.youtube.com/shorts/npDSSAMzNNc

Super clever invisible zip trick

www.youtube.com/watch?v=2UyfKL5G-Bw

 

how to understitch www.youtube.com/watch?v=aFz4tsplENI

what is understitching?

www.youtube.com/watch?v=gnRDeKqKgto

ten top stitching tips www.youtube.com/watch?v=XDRXfYgkU4k

 

Top and Dress

Detailed Sewing Tutorial For A Beginner : Simple Linen Top, Bias Binding Neckline【Free Pattern】

www.youtube.com/watch?v=5cFiT8UcU54

Download the Pattern

www.madebysachi.com/2021/09/27/super-simple-top/

LINEN DRESS DIY【Free Pattern +Easy Draft】Step by Step Guide for Beginner /back opening /Skirt Pleats

www.youtube.com/watch?v=iDFRlF_yEtA&t=0s

Download the Pattern

www.madebysachi.com/2021/09/27/super-simple-top/

BASIC SEAM POCKET

www.madebysachi.com/2022/07/09/basic-seam-pocket/

 

How to Sew Pleats | Box Pleat, Knife Pleat, Inverted Box Pleat

www.youtube.com/watch?v=kRlHcPh38MY

Forming Box Pleats

www.youtube.com/watch?v=cNXJ_BIsb1E

Inverted Pleat

www.youtube.com/watch?v=EfdE3DlJdFQ

 

setting the sleeve www.youtube.com/watch?v=Nqo-SIy8MXY&t=178s

 

coat pattern pattern instructions www.sewmag.co.uk/free-sewing-patterns/serena-wool-coat#lo...

 

How to properly sew a shawl collar jacket/sewing techniques for beginners www.youtube.com/watch?v=DjeqgIfSt9c

Easy Way To Sewing shawl collar | Coat Collar Tutorial Cutting and Stitching | Sewing Tutorial www.youtube.com/watch?v=dsUZjA9JErI

 

my sewing machine JL220 flic.kr/p/2odruLA from john lewis www.johnlewis.com/john-lewis-jl220-sewing-machine-pepperm...

sewing machine maintenance flic.kr/p/2q9GVTh

How to Use your SEWING MACHINE (for Beginners)

www.youtube.com/watch?v=jmaZBTMzkoY

A Beginners' Guide To Using Your Sewing Machine

www.youtube.com/watch?v=imryOl_LNaw

Beginners Sewing Course - Day 1 - The Basics

www.youtube.com/watch?v=IGITrkYdjJs

 

Seam Finishes

10 SEAM FINISHES Without a Serger || Basic to Couture

www.youtube.com/watch?v=GYt7JxC_bIc&t=596s

7 Seam Types and How to Make it- Sewing Lesson for Beginner

www.youtube.com/watch?v=Ax6JDDP_6O8

 

French Seam Pockets

How to Add Pockets to a Side Seam using French Seams

www.youtube.com/watch?v=aatWJL_aAYY

 

Lining

How to add lining to ANY dress pattern | Sewing Tutorial

www.youtube.com/watch?v=ENKI3fSBQBo

How To Sew a Slip Stitch by Hand

www.youtube.com/watch?v=pjky55Cp1_I

 

Buttonholes

3 Sewing Tips to Make Buttonholes Neatly and Quickly

www.youtube.com/watch?v=6oOz28Ybk8I

How to Machine-Sew and Custom-sized Buttonhole

www.youtube.com/watch?v=A6P-TKK3tjg&t=135s

 

Place and Sew Hooks and Eyes Correctly

www.youtube.com/watch?v=_d06GhQx_Wg

 

How to Fix a Low Neckline

www.youtube.com/watch?v=3U-W6W5fh-4

Interfacing

How to fuse iron-on interfacing to fabric

www.youtube.com/watch?v=7idVbAkUBTU

 

reference books

flic.kr/p/2q55djV

 

i'm a complete beginner at dressmaking. posting photos of progress to encourage myself to continue www.flickr.com/photos/connect2012/albums/72177720305370633/ i'm not making any recommendations ...

            

Treat Her Right at The Middle East, Cambridge, MA

 

www.myspace.com/treatherrightband

en.wikipedia.org/wiki/Treat_Her_Right

www.hindry.com/thr/

 

www.mideastclub.com/

 

Treat Her Right

OriginBoston, Massachusetts, United States

GenresBlues, Low rock

Years active1984-1991, 1995-1998, 2009-10

LabelsRCA Records, Rounder Records

  

Members

The late Mark Sandman

Dave Champagne

Jim Fitting

Billy Conway

 

Gust: Billy Beard

 

Treat Her Right brought the blues back to the Boston rock scene with a fresh new approach, one which rolled back the too-cool veneer to illuminate the blues-based origins of rock. The power and sheer joy in their sets made clear the reasons why Brian Jones and company sought an avenue for young, white class rebellion at the feet of blues revivalists like Alexis Horner- and later at the actual source: Muddy Waters, Little Walter, Robert Johnson, Lightning Hopkins. THR obtained a weekly residency in Cambridge's Plough and Stars, the tiny Irish pub on Mass Ave. The series of shows that they played at the Plough established the band almost immediately as the premier drinking and dancing outfit in the city. David Champagne remembers those shows, as early as they were in the band's history, as their creative high point." We took chances at those shows that we - that I - wouldn't later on, once we were established. Indeed the band would always excel in small club situations. They were just perfectly suited to sweaty, smoky rooms that were packed with bodies crammed against one another. Some of my favorite THR shows aside from the Plough gigs were a Providence R.I. performance that I attended at a sometimes strip club to shoot super-8 footage of the band, and a NYC show at a miniscule dive that featured the Maneaters as the opener. The Maneaters were an all-female blues-rock act I'd worked with at the Fort when their producer, Peter Halsapple of the DB's (later a key touring presence with REM, and Hootie and the Blowfish) brought them to Boston; they were a good match for THR. After that Manhattan road trip I got a bit closer to Mark Sandman. We got together whenever we could to go candlepin bowling at the alleys underneath the Middle East Restaurant. I liked Mark tremendously right from the start. His philosophy of songwriting was wonderful- less is more would be an understatement to describe it. Mark told me once that the best songs had only one verse and, if necessary, a single chorus. Mark is the kind of guy who always had something to play for you when you came by his house- some wild kind of Brazilian American music or an obscure delta blues tune, or a tape of a song written for one of his many ongoing projects. I remember going by there one day and realizing he was playing in five different bands, all of which with the exception of Treat Her Right he had started himself. It was hard to keep up...Sandman, Candy Bar, Morphine, plus side projects slipped between the regular bands. I thought of Mark as an extremely shrewd musical investor who had diversified his holdings to minimize the risks and maximize the potential for hitting the jackpot. As it turned out it was Morphine that Mark Sandman would take to the bank when THR became insolvent, and Morphine within which he would develop his songwriting formula to its' logical, hypnotic end. The Morphine article isn't too long, but there are a large number of Morphine pages on the web, both official and unofficial, so I know you won't starve for lack of data. There is also a page on this site dealing with harp player Jim Fittin's new band, the Coots. Very different stuff, a combination of blues, country swing and New Orleans-style funk and rock. Just take this link to the Coots page to check them out. As for Dave Champagne, he started a very cool band after THR called the Jazz Popes. I think Dave wrote some of his best material for that band. Although David's post-THR refinement of his songwriting style didn't meet with the immediate commercial success of Mark's Morphine catalogue, I felt the material was just as interesting and unique as the latter's... but with a few more lyrics thrown in. Dave and his wife Katie played the ocassional show together when they could get a good babysitter under the name the Heygoods. Their performances at Billy Ruane's Valentine's Day '98 show at Green St, Grill and at Skeggie's Spring '98 Plough and Stars gig were thouroughly enjoyable, and shows at the Toad in summer '98, and in September at Green Street Grille revealed an act that just kept getting better. Here's a few pictures, and the Heygoods article has a lot more. You can also find a link there to the new Heygoods

 

Discography

 

Treat Her Right (1986)

Tied to the Tracks (1989)

What's Good for You (1991)

The Anthology 1985-1990 (1998)

The Lost Album (2009)

  

Mr Kusaka fits a headset to the Rafael Geminiani frame in his workshop in Kyoto, Japan. How I wish I had a place like this.

Vintage Walworth industrial pipe fitting that contains inconspicuous and highly fibrous asbestos gaskets, which can be significantly damaged when disassembling the fitting's bolted flanges.

foodsnots.com

first fitting of my custom-made dress, 169/365

Design and development