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The de Havilland Dragon was the forerunner of the later Dragon Rapide, and this example is one that was built in Australia during the war years.
After the hostilities, it served with the Northern Territory Aerial Medical Service and later did missionary work. It was imported into Scotland to be part as the Strathallan Collection but when that disbanded, the machine passed to the Museum of Flight, which is a Scottish Government organisation and is located in East Fortune, a few miles south of Edinburgh.
East Fortune, Scotland
6th September 2013
20130906 IMG_4477 VHSNB DH84
11 сентября 2014, Литургия в день памяти Усекновения главы Пророка, Предтечи и Крестителя Господня Иоанна / 11 September 2014, Liturgy on the Beheading of the Glorious Prophet, Forerunner, and Baptist John
10-11 сентября 2022. Усекновение главы Пророка, Предтечи и Крестителя Господня Иоанна в Геленджике / 10-11 September 2022. The Beheading of the Glorious Prophet, Forerunner, and Baptist John in Gelendzhik.
An early forerunner of the encyclopedia, De Proprietatibus Rerum dates from the 13th century and is often described as a bestiary although its focus encompasses theology and astrology as well as the natural sciences (as understood in 1240).
2016 S 2575 Riga2f MuzVlak The Latvian Railway history Museum
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Railway is the forerunner of civilisation and a life artery, as well as a friend to adventurers, offering people a way to attain their dreams. The importance of railway is inestimable, and the smell of railway is unmistakable. The Latvian Railway history Museum, established in 1990, invites you to explore the world of railways. An interesting feature of the museum is that it is situated near a functioning railway line.
In the White Hall of the museum, exhibition "History of Rolling Stock in Latvia, 1858–1940" informs about the beginnings of steam locomotives in England at the start of the 19th century and presents a cross-section of a steam engine. This part of the exhibition also informs about the construction of first railways in Latvia from 1858. The other part of the exhibition deals with locomotives in the Republic of Latvia (1919–1940), especially locomotives and motorised cars designed and built by Latvian engineers. Some of the locomotives were of unique design and were being written about by prestigious railway publications.
Exhibition "Train Station from Staff Entrance" begins in the rolling stock depot and proceeds to an improvised railway platform. From there, visitors are taken to the station's waiting room with old train schedules and tickets, information about tourist trains at the end of 1930s, the Riga Railway Station and the history of railway bridges.
There is also a scale model of Latvian train stations, featuring scale models of freighters as well as passenger trains.
Yet it is the open-air exhibition of rolling stock that makes visitors really feel the spirit of railway.
There are locomotives from various history periods parked next to each other on four railway tracks, as well as train cars and railway maintenance machinery. There are mechanical and electrical railway signals, and a bench where one may sit for a while to watch the busy life of a railway station. You may want to take a guided tour of the diesel locomotive's cabin, accumulator railcar and steam locomotive, as well as a lounge car of the 1930s. A visit to the locomotive cabin may help you realise how railway workers used to live and work at that time.
On the other hand, a locomotive depot of the 1880s has been transformed into a venue for various events, concerts, exhibitions and performances.
2016 S 2575 Riga2f MuzVlak_00
Ralph Lauren was a fashion forerunner of the QR code trend. In 2008, the clothing line’s brand-wide integration of the QR codes inspired Esquire to run its first feature on the marketing technology. Ralph Lauren imprints the codes on their clothing tags, catalogs, billboards, and in-store signage. Customers who scan the squares are granted access to more colors, sizes and recommendations via RalphLauren.com.
6-7 июля 2021, Рождество пророка Предтечи и Крестителя Господня Иоанна / 6-7 July 2021, The Nativity of the Prophet Forerunner and Baptist of the Lord John
(further informations you can see by clicking on the link at the end of page, even in English!)
History of the applied
From the Imperial School of Applied Arts to present "Applied"
In the center of Vienna, in the capital of the Hapsburg Dynasty, was founded in 1867 the forerunner of today's University of Applied Arts, the Imperial School of Applied Arts. It was (today's MAK) affiliated to the Austrian Museum of Art and Industry (today's MAK), the first Museum of Decorative Arts on the European continent. This was in 1863 brought into being based on the model of the South Kensington Museum in London, today's Victoria & Albert Museum and should serve as role models collection for artists, industrialists and the public. The early industrialized England was then playing a pioneer role in the promotion of a reformed arts and crafts, to counteract the decline in the "machine age". Within the meaning of historicism one should, in Vienna, too, being enabled to study the great styles of the past on applied arts objects in the museum and art school, a training and education center for designers and craftsmen. The Vienna School of Applied Arts was to train artists and teachers alike to serve the requirements of the "art industry".
Heinrich von Ferstel, who had already built the museum, was commissioned to design a separate building for the school. 1877 could the until today used main building of the University in a prominent position at the Vienna Ringstraße officially being opened. Students (female ones, if somebody was to ask!) were admitted in contrast to the Academy of Fine Arts from the beginning on. As one of the numerous graduates of that era only Gustav Klimt here should be mentioned.
With the artistic development toward nature observation and toward free design also at the School of Arts and Crafts in the late 19th Century set in a detachment from work according to historical styles. Felician of Myrbach, a member of the newly founded Vienna artists' association Secession, was in 1899 appointed director of the school, which was dissolved out the following year from the administration of the museum. In Myrbachs term fall numerous reforms and callings making of the School of Art one of the cradles of the Austrian Art Nouveau and founding its reputation as the spirit of modernism committed institution. Otto Wagner had as a board member of the school major influence on whose reform implementations. The former faculty reads like a Who's Who of today's much acclaimed "Vienna around 1900" with names like Kolo Moser, Josef Hoffmann, Alfred Roller - in 1909 beginning his formative directorate time - and students such as Oskar Kokoschka.
The end of the monarchy also meant the end of the "kk" Arts and Crafts School, although the long time director Roller (until 1934) ensured the continuity of the high standards of artistic quality. An educational reform program Franz Cizek in his widely acclaimed youth art classes put into practise. From Cizeks' course for Ornamental morphology emerged the Viennese Kinetism, only recently (again) finding its international art-historical recognition, and where for the first time artists (female ones) - as Erika Giovanna Klien - were dominant. Architects such as Josef Frank, Oskar Strnad and Oswald Haerdtl continued the great tradition of the Viennese art space and transformed it. Margarete Schütte-Lihotzky, a graduate of the School of Applied Arts, became the inventor of the first produced in large series, so-called "Frankfurt Kitchen (Frankfurter Küche)" which had a lasting effect in social housing.
(The Frankfurt kitchen was a milestone in domestic architecture, considered the forerunner of modern fitted kitchens, for it realised for the first time a kitchen built after a unified concept, designed to enable efficient work and to be built at low cost. It was designed in 1926 by Austrian architect Margarete Schütte-Lihotzky for architect Ernst May's social housing project New Frankfurt in Frankfurt, Germany.[1] Some 10,000 units were built in the late 1920s in Frankfurt. - Wikipedia)
In the era of National Socialism, the Vienna School of Applied Arts was the "Reich Chamber of Fine Arts" subordinated, many teachers and students excluded from the school, threatened and persecuted, the teaching brought into line. In particular, the graphics class under their manager Paul Kirnig supplied visualized propaganda for the objectives of the "Third Reich" contributing to the elevation of the School of Applied Arts to "Empire Academy of Applied Arts in Vienna (Reichshochschule für Angewandte Kunst)".
After 1945, the now "College of Applied Arts" under the directorate of Maximilian Fellerer had a difficult start. Its orientation on the model of an art academy was also reflected in the name "Academy of Applied Arts"(1948-1971, then again "University"). The extension of the curriculum, increasing student numbers and a large annex after plans of Karl Schwanzer on the side of Vienna channel (moved into in 1965 ) are signs of expansion in the era of economic boom.
In 1980s and 1990s, the Applied developed under the long management of rector Oswald Oberhuber and Rudolf Burger, who headed the university from 1995 to 1999, to a progress-oriented institution. Into this period of time fall appointments of professors who briefly gave impetus or had long-lasting effects for generations of students. Among the teachers in the fields of architecture, design, visual art and theory of these decades are included personalities such as Friedrich Achleitner, Christian Ludwig Attersee, Carl Auböck, Wander Bertoni, Joseph Beuys (as visiting lecturer), Rudolf Burger, Jean-Charles de Castelbajac, Tino Erben, Adolf Frohner, Peter Gorsen, Hans Hollein, Wilhelm Holzbauer, Alfred Hrdlicka , Wolfgang Hutter, Karl Lagerfeld, Maria Lassnig, Bernhard Leitner, Walter Luerzer, Axel Manthey, Paolo Piva, Wolf Prix, Christian Reder, Jil Sander, Sigbert Schenk, Kurt Schwarz, Johannes Spalt, Mario Terzic, Peter Weibel, Manfred Wagner - just to name a few.
Since 2000, Gerald Bast heads as rector the University of Applied Arts Vienna, after the year before new legislation had made the Austrian Art colleges to universities. His ambitious program for a both growing arts university in content as well as in student numbers in the age of globalization and complex political and economic upheavals, among other things is reflected in the establishment of new degree programs and the appointment of many new lecturer".
Patrick Werkner
www.dieangewandte.at/jart/prj3/angewandte/main.jart?rel=d...
Possibly the forerunner of off-road vehicles, the Kégresse system is a half track using a rubber track at the rear designed by French engineer Adolphe Kégresse for use by Tsar Nicholas II of Russia before the First World War. In 1920, Citroën acquired the rights for the invention and created a company allowing Kégresse to develop the idea. In WW2 the German Armed Forces used many captured Kegresse vehicles, armouring them for their use. In the USA, licence production of the system led to the M2 and M3 Half Tracks used by the US and allied forces.
A carriage is a two- or four-wheeled horse-drawn vehicle for passengers. Second-hand private carriages were common public transport, the equivalent of modern cars used as taxis. Carriage suspensions are by leather strapping or, on those made in recent centuries, steel springs. Two-wheeled carriages are usually owner-driven.
Coaches are a special category within carriages. They are carriages with four corner posts and a fixed roof. Two-wheeled war chariots and transport vehicles such as four-wheeled wagons and two-wheeled carts were forerunners of carriages.
In the 21st century, horse-drawn carriages are occasionally used for public parades by royalty and for traditional formal ceremonies. Simplified modern versions are made for tourist transport in warm countries and for those cities where tourists expect open horse-drawn carriages to be provided. Simple metal sporting versions are still made for the sport known as competitive driving.
The word carriage (abbreviated carr or cge) is from Old Northern French cariage, to carry in a vehicle.[3] The word car, then meaning a kind of two-wheeled cart for goods, also came from Old Northern French about the beginning of the 14th century (probably derived from the Late Latin carro, a car); it is also used for railway carriages and in the US around the end of the 19th century, early cars (automobiles) were briefly called horseless carriages.
Some horse carts found in Celtic graves show hints that their platforms were suspended elastically. Four-wheeled wagons were used in Bronze Age Europe, and their form known from excavations suggests that the basic construction techniques of wheel and undercarriage (that survived until the age of the motor car) were established then.
First prototyped in the 3rd millennium BC, a bullock cart is a large two-wheeled cart pulled by oxen or buffalo. It includes a sturdy wooden pole between the oxen, a yoke connecting a pair of oxen, a wooden platform for passengers or cargo, and large steel rimmed wooden wheels.
Two-wheeled carriage models have been discovered from the Indus valley civilization including twin horse drawn covered carriages resembling ekka from various sites such as Harappa, Mohenjo Daro and Chanhu Daro. The earliest recorded sort of carriage was the chariot, reaching Mesopotamia as early as 1900 BC. Used typically for warfare by Egyptians, the Near Easterners and Europeans, it was essentially a two-wheeled light basin carrying one or two standing passengers, drawn by one to two horses. The chariot was revolutionary and effective because it delivered fresh warriors to crucial areas of battle with swiftness.
One of the great innovations in carriage history was the invention of the suspended carriage or the chariot branlant (though whether this was a Roman or medieval innovation remains uncertain). The "chariot branlant" of medieval illustrations was suspended by chains rather than leather straps as had been believed. Suspension, whether on chains or leather, might provide a smoother ride since the carriage body no longer rested on the axles, but could not prevent swinging (branlant) in all directions. It is clear from illustrations (and surviving examples) that the medieval suspended carriage with a round tilt was a widespread European type, referred to by any number of names (car, currus, char, chariot).
In 14th century England carriages, like the one illustrated in the Luttrell Psalter, would still have been a quite rare means of aristocratic transport, and they would have been very costly until the end of the century. They would have had four six-spoke six-foot high wheels that were linked by greased axles under the body of the coach, and did not necessarily have any suspension. The chassis was made from oak beam and the barrel shaped roof was covered in brightly painted leather or cloth. The interior would include seats, beds, cushions, tapestries and even rugs. They would be pulled by four to five horses.
Under King Mathias Corvinus (1458–90), who enjoyed fast travel, the Hungarians developed fast road transport, and the town of Kocs between Budapest and Vienna became an important post-town, and gave its name to the new vehicle type. The earliest illustrations of the Hungarian "Kochi-wagon" do not indicate any suspension, a body with high sides of lightweight wickerwork, and typically drawn by three horses in harness. Later models were considerably lighter and famous for a single horse being able to draw many passengers.
The Hungarian coach spread across Europe, initially rather slowly, in part due to Ippolito d'Este of Ferrara (1479–1529), nephew of Mathias' queen Beatrix of Aragon, who as a very junior Archbishopric of Esztergom developed a taste for Hungarian riding and took his carriage and driver back to Italy. Then rather suddenly, in around 1550, the "coach" made its appearance throughout the major cities of Europe, and the new word entered the vocabulary of all their languages. However, the new "coach" seems to have been a fashionable concept (fast road travel for men) as much as any particular type of vehicle, and there is no obvious technological change that accompanied the innovation, either in the use of suspension (which came earlier), or the adoption of springs (which came later). As its use spread throughout Europe in the late 16th century, the coach's body structure was ultimately changed, from a round-topped tilt to the "four-poster" carriages that became standard everywhere by c.1600.
The coach had doors in the side, with an iron step protected by leather that became the "boot" in which servants might ride. The driver sat on a seat at the front, and the most important occupant sat in the back facing forwards. The earliest coaches can be seen at Veste Coburg, Lisbon, and the Moscow Kremlin, and they become a commonplace in European art. It was not until the 17th century that further innovations with steel springs and glazing took place, and only in the 18th century, with better road surfaces, was there a major innovation with the introduction of the steel C-spring.
Many innovations were proposed, and some patented, for new types of suspension or other features. It was only from the 18th century that changes to steering systems were suggested, including the use of the 'fifth wheel' substituted for the pivoting fore-axle, and on which the carriage turned. Another proposal came from Erasmus Darwin, a young English doctor who was driving a carriage about 10,000 miles a year to visit patients all over England. Darwin found two essential problems or shortcomings of the commonly used light carriage or Hungarian carriage. First, the front wheels were turned by a pivoting front axle, which had been used for years, but these wheels were often quite small and hence the rider, carriage and horse felt the brunt of every bump on the road. Secondly, he recognized the danger of overturning.
A pivoting front axle changes a carriage's base from a rectangle to a triangle because the wheel on the inside of the turn is able to turn more sharply than the outside front wheel. Darwin suggested a fix for these insufficiencies by proposing a principle in which the two front wheels turn (independently of the front axle) about a centre that lies on the extended line of the back axle. This idea was later patented in 1818 as Ackermann steering. Darwin argued that carriages would then be easier to pull and less likely to overturn.
Carriage use in North America came with the establishment of European settlers. Early colonial horse tracks quickly grew into roads especially as the colonists extended their territories southwest. Colonists began using carts as these roads and trading increased between the north and south. Eventually, carriages or coaches were sought to transport goods as well as people. As in Europe, chariots, coaches and/or carriages were a mark of status. The tobacco planters of the South were some of the first Americans to use the carriage as a form of human transportation. As the tobacco farming industry grew in the southern colonies so did the frequency of carriages, coaches and wagons. Upon the turn of the 18th century, wheeled vehicle use in the colonies was at an all-time high. Carriages, coaches and wagons were being taxed based on the number of wheels they had. These taxes were implemented in the South primarily as the South had superior numbers of horses and wheeled vehicles when compared to the North. Europe, however, still used carriage transportation far more often and on a much larger scale than anywhere else in the world.
Today, carriages are still used for day-to-day transport in the United States by some minority groups such as the Amish. They are also still used in tourism as vehicles for sightseeing in cities such as Bruges, Vienna, New Orleans, and Little Rock, Arkansas.
The most complete working collection of carriages can be seen at the Royal Mews in London where a large selection of vehicles is in regular use. These are supported by a staff of liveried coachmen, footmen and postillions. The horses earn their keep by supporting the work of the Royal Household, particularly during ceremonial events. Horses pulling a large carriage known as a "covered brake" collect the Yeoman of the Guard in their distinctive red uniforms from St James's Palace for Investitures at Buckingham Palace; High Commissioners or Ambassadors are driven to their audiences with the King and Queen in landaus; visiting heads of state are transported to and from official arrival ceremonies and members of the Royal Family are driven in Royal Mews coaches during Trooping the Colour, the Order of the Garter service at Windsor Castle and carriage processions at the beginning of each day of Royal Ascot.
Its forerunner under the name Golden Eagle was founded in the 17th century, 1623. Its contemporary furniture was prepared in the 1880s. Its facade is decorated with a majolica manufactured in the Zsolnay factory in Pécs.
A gyógyszertárat 1623-ban alapította Pralich Péter és a Várkerület 31. szám alatt működött Arany Sas Patika néven. Néhány év múlva, 1635-ben kapta az Oroszlán nevet. Jelenlegi helyére, a Várkerület 29.sz alá 1724-ben került. A patika egyedülállóan érdekes és szép majolika portálja a pécsi Zsolnay kerámiagyárban készült.
First and Summerfield United Methodist Church traces its roots to June 21, 1789, when young Jesse Lee preached a sermon in the Court (or State) House, launching Methodism in New Haven. By the time the first building was erected on its current site, the Methodist Society had endured 60 years of persecution, dislocation, disruption and disaster. The church they built on the northwest corner of the New Haven Green, across from the present structure, had blown down in a great storm of 1821, just prior to completion. Not a prestigious structure, it did house the John Lovell Lancasterian School, the forerunner of public education in New Haven.
In a move to clear the Green of unnecessary structures, Yale and the City helped the church secure its present lot, which was fitted for an edifice by noted local architect, Henry Austin that was dedicated on April 12, 1849. In 1876, the entire sanctuary floor was raised and a chancel recess was added to the northwisde. The ornate cast-iron columns in the lower level, what is now Trinity Hall, are survivors of the renovation. Structural problems lead to the removal of the steeple in 1890, and a substantial renovation, led by Federal Judge and Dean Henry W. Rogers of the Yale Law School, of the interior and southern external facade followed in 1904 resulting in Charles Haight's hybrid Federal and Eastern Orthodox design with a large central dome, which due to an optical illusion created with horizontal arcing ribs, appeared concave, while actually flat. A 1987 4-alarm fire damaged the roof, but the stained glass windows were spared. The roof, trusses and sanctuary ceiling were subsequently removed and architect Peter Kosinsk reworked the interior while the roof and steeple were restored to their pre-fire design.
Bot N Life (www.botnlife.com) - Wearable Hi-tech Devices & Electronics Items Online Shop in Bangkok, Thailand
Smart Watch, Fitbit Flex, Blood Pressure Monitor, Geopalzi Bitz KidsTracker , Sony Smart Watch, Body-Media Link Armband, Meta Watch Strata, Martian Watches, Connecte Device Cookoo, Adidas Smart Run, Suunto Ambit, Polar RCX5, Garmin Forerunner 110 GPS, Pebble Smartwatch
Stena Forerunner and Brittania Seaways at Maas Entrance, which is actually the mouth of the Rhine into the North Sea, and the entry to Europe's biggest port, Europoort Rotterdam.
(further informations you can see by clicking on the link at the end of page, even in English!)
History of the applied
From the Imperial School of Applied Arts to present "Applied"
In the center of Vienna, in the capital of the Hapsburg Dynasty, was founded in 1867 the forerunner of today's University of Applied Arts, the Imperial School of Applied Arts. It was (today's MAK) affiliated to the Austrian Museum of Art and Industry (today's MAK), the first Museum of Decorative Arts on the European continent. This was in 1863 brought into being based on the model of the South Kensington Museum in London, today's Victoria & Albert Museum and should serve as role models collection for artists, industrialists and the public. The early industrialized England was then playing a pioneer role in the promotion of a reformed arts and crafts, to counteract the decline in the "machine age". Within the meaning of historicism one should, in Vienna, too, being enabled to study the great styles of the past on applied arts objects in the museum and art school, a training and education center for designers and craftsmen. The Vienna School of Applied Arts was to train artists and teachers alike to serve the requirements of the "art industry".
Heinrich von Ferstel, who had already built the museum, was commissioned to design a separate building for the school. 1877 could the until today used main building of the University in a prominent position at the Vienna Ringstraße officially being opened. Students (female ones, if somebody was to ask!) were admitted in contrast to the Academy of Fine Arts from the beginning on. As one of the numerous graduates of that era only Gustav Klimt here should be mentioned.
With the artistic development toward nature observation and toward free design also at the School of Arts and Crafts in the late 19th Century set in a detachment from work according to historical styles. Felician of Myrbach, a member of the newly founded Vienna artists' association Secession, was in 1899 appointed director of the school, which was dissolved out the following year from the administration of the museum. In Myrbachs term fall numerous reforms and callings making of the School of Art one of the cradles of the Austrian Art Nouveau and founding its reputation as the spirit of modernism committed institution. Otto Wagner had as a board member of the school major influence on whose reform implementations. The former faculty reads like a Who's Who of today's much acclaimed "Vienna around 1900" with names like Kolo Moser, Josef Hoffmann, Alfred Roller - in 1909 beginning his formative directorate time - and students such as Oskar Kokoschka.
The end of the monarchy also meant the end of the "kk" Arts and Crafts School, although the long time director Roller (until 1934) ensured the continuity of the high standards of artistic quality. An educational reform program Franz Cizek in his widely acclaimed youth art classes put into practise. From Cizeks' course for Ornamental morphology emerged the Viennese Kinetism, only recently (again) finding its international art-historical recognition, and where for the first time artists (female ones) - as Erika Giovanna Klien - were dominant. Architects such as Josef Frank, Oskar Strnad and Oswald Haerdtl continued the great tradition of the Viennese art space and transformed it. Margarete Schütte-Lihotzky, a graduate of the School of Applied Arts, became the inventor of the first produced in large series, so-called "Frankfurt Kitchen (Frankfurter Küche)" which had a lasting effect in social housing.
(The Frankfurt kitchen was a milestone in domestic architecture, considered the forerunner of modern fitted kitchens, for it realised for the first time a kitchen built after a unified concept, designed to enable efficient work and to be built at low cost. It was designed in 1926 by Austrian architect Margarete Schütte-Lihotzky for architect Ernst May's social housing project New Frankfurt in Frankfurt, Germany.[1] Some 10,000 units were built in the late 1920s in Frankfurt. - Wikipedia)
In the era of National Socialism, the Vienna School of Applied Arts was the "Reich Chamber of Fine Arts" subordinated, many teachers and students excluded from the school, threatened and persecuted, the teaching brought into line. In particular, the graphics class under their manager Paul Kirnig supplied visualized propaganda for the objectives of the "Third Reich" contributing to the elevation of the School of Applied Arts to "Empire Academy of Applied Arts in Vienna (Reichshochschule für Angewandte Kunst)".
After 1945, the now "College of Applied Arts" under the directorate of Maximilian Fellerer had a difficult start. Its orientation on the model of an art academy was also reflected in the name "Academy of Applied Arts"(1948-1971, then again "University"). The extension of the curriculum, increasing student numbers and a large annex after plans of Karl Schwanzer on the side of Vienna channel (moved into in 1965 ) are signs of expansion in the era of economic boom.
In 1980s and 1990s, the Applied developed under the long management of rector Oswald Oberhuber and Rudolf Burger, who headed the university from 1995 to 1999, to a progress-oriented institution. Into this period of time fall appointments of professors who briefly gave impetus or had long-lasting effects for generations of students. Among the teachers in the fields of architecture, design, visual art and theory of these decades are included personalities such as Friedrich Achleitner, Christian Ludwig Attersee, Carl Auböck, Wander Bertoni, Joseph Beuys (as visiting lecturer), Rudolf Burger, Jean-Charles de Castelbajac, Tino Erben, Adolf Frohner, Peter Gorsen, Hans Hollein, Wilhelm Holzbauer, Alfred Hrdlicka , Wolfgang Hutter, Karl Lagerfeld, Maria Lassnig, Bernhard Leitner, Walter Luerzer, Axel Manthey, Paolo Piva, Wolf Prix, Christian Reder, Jil Sander, Sigbert Schenk, Kurt Schwarz, Johannes Spalt, Mario Terzic, Peter Weibel, Manfred Wagner - just to name a few.
Since 2000, Gerald Bast heads as rector the University of Applied Arts Vienna, after the year before new legislation had made the Austrian Art colleges to universities. His ambitious program for a both growing arts university in content as well as in student numbers in the age of globalization and complex political and economic upheavals, among other things is reflected in the establishment of new degree programs and the appointment of many new lecturer".
Patrick Werkner
www.dieangewandte.at/jart/prj3/angewandte/main.jart?rel=d...
11 сентября 2014, Литургия в день памяти Усекновения главы Пророка, Предтечи и Крестителя Господня Иоанна / 11 September 2014, Liturgy on the Beheading of the Glorious Prophet, Forerunner, and Baptist John
11 сентября 2014, Литургия в день памяти Усекновения главы Пророка, Предтечи и Крестителя Господня Иоанна / 11 September 2014, Liturgy on the Beheading of the Glorious Prophet, Forerunner, and Baptist John
Scottish Constabulary crest - Scottish Police Cap Badge (King's or Imperial Crown - worn until 1975)
Originally produced in white-metal and later in chromed finish
At the request of the Chief Constables (Scotland) Association - forerunner of ACPOS - this badge was designed in 1928 by Mr Cairns, Art Teacher at Dumfries Academy.
There had been a number of mergers of police forces, each of which had their own distinctive cap badge and/or helmet plate, and of course each amalgamation thus necessitated a completely new badge.
This expense could well be done without, and it was envisaged that mergers would continue - as indeed they have done, to the extent that on 1st April 2013 a single National police force was created..
There was also a clear need for a corporate identity, which the Scottish Police Service of course now has, since all police officers in Scotland have for many years received their basic training at the Scottish Police College at Tulliallan Castle, Kincardine-on Forth, Fife (which is now the HQ of Police Scotland).
The badge, as originally designed by Mr Cairns, consists of a Scottish Thistle flanked by thistle leaves, topped by an Imperial Crown (or "Tudor Crown", or King's Crown as it is more commonly called since it is associated with the reign of every King since 1901 when Queen Victoria died).
The whole sits upon a scroll bearing the Latin phrase "Semper Vigilo" - ALWAYS ALERT - which has become known as the Scottish Police motto.
The badge (known affectionately as the "bottle top" as it is a pressing of metal) was originally produced in white metal, but later appeared in chrome-plated finish.
While many forces adopted it immediately as their cap badge, and the City of Dundee Police actually wore it as their helmet badge, other forces were more reluctant to give up their distinctive badges, although it was generally used on official police notepaper and on police buildings the length and breadth of the country.
The City of Glasgow Police used it as the Centrepiece to their helmet plate to replace the City crest, and a number of forces also used the design as a door decal on their marked vehicles.
Officers of Inspector rank and above wore the same design but embroidered in coloured wire-thread.
Although the last King died in 1952, and another crown (the St Edward or "Queen's Crown") was introduced in 1953, this badge with the Imperial Crown continued in use in Scotland until 1975.
The forerunner of La-5. I = Fighter. A total of 6528 of this WW2 fighter were built in 1941 - 1944. Marked Soviet Air Force White 24 in Victory Park (Park Pobedy) Moscow, Russia 2. July 2013.
(further information you can see by clicking on the link at the end of page, even in English!)
History of the applied
From the Imperial School of Applied Arts to present "Applied"
In the center of Vienna, in the capital of the Hapsburg Dynasty, was founded in 1867 the forerunner of today's University of Applied Arts, the Imperial School of Applied Arts. It was (today's MAK) affiliated to the Austrian Museum of Art and Industry (today's MAK), the first Museum of Decorative Arts on the European continent. This was in 1863 brought into being based on the model of the South Kensington Museum in London, today's Victoria & Albert Museum and should serve as role models collection for artists, industrialists and the public. The early industrialized England was then playing a pioneer role in the promotion of a reformed arts and crafts, to counteract the decline in the "machine age". Within the meaning of historicism one should, in Vienna, too, being enabled to study the great styles of the past on applied arts objects in the museum and art school, a training and education center for designers and craftsmen. The Vienna School of Applied Arts was to train artists and teachers alike to serve the requirements of the "art industry".
Heinrich von Ferstel, who had already built the museum, was commissioned to design a separate building for the school. 1877 could the until today used main building of the University in a prominent position at the Vienna Ringstraße officially being opened. Students (female ones, if somebody was to ask!) were admitted in contrast to the Academy of Fine Arts from the beginning on. As one of the numerous graduates of that era only Gustav Klimt here should be mentioned.
With the artistic development toward nature observation and toward free design also at the School of Arts and Crafts in the late 19th Century set in a detachment from work according to historical styles. Felician of Myrbach, a member of the newly founded Vienna artists' association Secession, was in 1899 appointed director of the school, which was dissolved out the following year from the administration of the museum. In Myrbachs term fall numerous reforms and callings making of the School of Art one of the cradles of the Austrian Art Nouveau and founding its reputation as the spirit of modernism committed institution. Otto Wagner had as a board member of the school major influence on whose reform implementations. The former faculty reads like a Who's Who of today's much acclaimed "Vienna around 1900" with names like Kolo Moser, Josef Hoffmann, Alfred Roller - in 1909 beginning his formative directorate time - and students such as Oskar Kokoschka.
The end of the monarchy also meant the end of the "kk" Arts and Crafts School, although the long time director Roller (until 1934) ensured the continuity of the high standards of artistic quality. An educational reform program Franz Cizek in his widely acclaimed youth art classes put into practise. From Cizeks' course for Ornamental morphology emerged the Viennese Kinetism, only recently (again) finding its international art-historical recognition, and where for the first time artists (female ones) - as Erika Giovanna Klien - were dominant. Architects such as Josef Frank, Oskar Strnad and Oswald Haerdtl continued the great tradition of the Viennese art space and transformed it. Margarete Schütte-Lihotzky, a graduate of the School of Applied Arts, became the inventor of the first produced in large series, so-called "Frankfurt Kitchen (Frankfurter Küche)" which had a lasting effect in social housing.
(The Frankfurt kitchen was a milestone in domestic architecture, considered the forerunner of modern fitted kitchens, for it realised for the first time a kitchen built after a unified concept, designed to enable efficient work and to be built at low cost. It was designed in 1926 by Austrian architect Margarete Schütte-Lihotzky for architect Ernst May's social housing project New Frankfurt in Frankfurt, Germany.[1] Some 10,000 units were built in the late 1920s in Frankfurt. - Wikipedia)
In the era of National Socialism, the Vienna School of Applied Arts was the "Reich Chamber of Fine Arts" subordinated, many teachers and students excluded from the school, threatened and persecuted, the teaching brought into line. In particular, the graphics class under their manager Paul Kirnig supplied visualized propaganda for the objectives of the "Third Reich" contributing to the elevation of the School of Applied Arts to "Empire Academy of Applied Arts in Vienna (Reichshochschule für Angewandte Kunst)".
After 1945, the now "College of Applied Arts" under the directorate of Maximilian Fellerer had a difficult start. Its orientation on the model of an art academy was also reflected in the name "Academy of Applied Arts"(1948-1971, then again "University"). The extension of the curriculum, increasing student numbers and a large annex after plans of Karl Schwanzer on the side of Vienna channel (moved into in 1965 ) are signs of expansion in the era of economic boom.
In 1980s and 1990s, the Applied developed under the long management of rector Oswald Oberhuber and Rudolf Burger, who headed the university from 1995 to 1999, to a progress-oriented institution. Into this period of time fall appointments of professors who briefly gave impetus or had long-lasting effects for generations of students. Among the teachers in the fields of architecture, design, visual art and theory of these decades are included personalities such as Friedrich Achleitner, Christian Ludwig Attersee, Carl Auböck, Wander Bertoni, Joseph Beuys (as visiting lecturer), Rudolf Burger, Jean-Charles de Castelbajac, Tino Erben, Adolf Frohner, Peter Gorsen, Hans Hollein, Wilhelm Holzbauer, Alfred Hrdlicka , Wolfgang Hutter, Karl Lagerfeld, Maria Lassnig, Bernhard Leitner, Walter Luerzer, Axel Manthey, Paolo Piva, Wolf Prix, Christian Reder, Jil Sander, Sigbert Schenk, Kurt Schwarz, Johannes Spalt, Mario Terzic, Peter Weibel, Manfred Wagner - just to name a few.
Since 2000, Gerald Bast heads as rector the University of Applied Arts Vienna, after the year before new legislation had made the Austrian Art colleges to universities. His ambitious program for a both growing arts university in content as well as in student numbers in the age of globalization and complex political and economic upheavals, among other things is reflected in the establishment of new degree programs and the appointment of many new lecturer".
Patrick Werkner
www.dieangewandte.at/jart/prj3/angewandte/main.jart?rel=d...
(further informations you can see by clicking on the link at the end of page, even in English!)
History of the applied
From the Imperial School of Applied Arts to present "Applied"
In the center of Vienna, in the capital of the Hapsburg Dynasty, was founded in 1867 the forerunner of today's University of Applied Arts, the Imperial School of Applied Arts. It was (today's MAK) affiliated to the Austrian Museum of Art and Industry (today's MAK), the first Museum of Decorative Arts on the European continent. This was in 1863 brought into being based on the model of the South Kensington Museum in London, today's Victoria & Albert Museum and should serve as role models collection for artists, industrialists and the public. The early industrialized England was then playing a pioneer role in the promotion of a reformed arts and crafts, to counteract the decline in the "machine age". Within the meaning of historicism one should, in Vienna, too, being enabled to study the great styles of the past on applied arts objects in the museum and art school, a training and education center for designers and craftsmen. The Vienna School of Applied Arts was to train artists and teachers alike to serve the requirements of the "art industry".
Heinrich von Ferstel, who had already built the museum, was commissioned to design a separate building for the school. 1877 could the until today used main building of the University in a prominent position at the Vienna Ringstraße officially being opened. Students (female ones, if somebody was to ask!) were admitted in contrast to the Academy of Fine Arts from the beginning on. As one of the numerous graduates of that era only Gustav Klimt here should be mentioned.
With the artistic development toward nature observation and toward free design also at the School of Arts and Crafts in the late 19th Century set in a detachment from work according to historical styles. Felician of Myrbach, a member of the newly founded Vienna artists' association Secession, was in 1899 appointed director of the school, which was dissolved out the following year from the administration of the museum. In Myrbachs term fall numerous reforms and callings making of the School of Art one of the cradles of the Austrian Art Nouveau and founding its reputation as the spirit of modernism committed institution. Otto Wagner had as a board member of the school major influence on whose reform implementations. The former faculty reads like a Who's Who of today's much acclaimed "Vienna around 1900" with names like Kolo Moser, Josef Hoffmann, Alfred Roller - in 1909 beginning his formative directorate time - and students such as Oskar Kokoschka.
The end of the monarchy also meant the end of the "kk" Arts and Crafts School, although the long time director Roller (until 1934) ensured the continuity of the high standards of artistic quality. An educational reform program Franz Cizek in his widely acclaimed youth art classes put into practise. From Cizeks' course for Ornamental morphology emerged the Viennese Kinetism, only recently (again) finding its international art-historical recognition, and where for the first time artists (female ones) - as Erika Giovanna Klien - were dominant. Architects such as Josef Frank, Oskar Strnad and Oswald Haerdtl continued the great tradition of the Viennese art space and transformed it. Margarete Schütte-Lihotzky, a graduate of the School of Applied Arts, became the inventor of the first produced in large series, so-called "Frankfurt Kitchen (Frankfurter Küche)" which had a lasting effect in social housing.
(The Frankfurt kitchen was a milestone in domestic architecture, considered the forerunner of modern fitted kitchens, for it realised for the first time a kitchen built after a unified concept, designed to enable efficient work and to be built at low cost. It was designed in 1926 by Austrian architect Margarete Schütte-Lihotzky for architect Ernst May's social housing project New Frankfurt in Frankfurt, Germany.[1] Some 10,000 units were built in the late 1920s in Frankfurt. - Wikipedia)
In the era of National Socialism, the Vienna School of Applied Arts was the "Reich Chamber of Fine Arts" subordinated, many teachers and students excluded from the school, threatened and persecuted, the teaching brought into line. In particular, the graphics class under their manager Paul Kirnig supplied visualized propaganda for the objectives of the "Third Reich" contributing to the elevation of the School of Applied Arts to "Empire Academy of Applied Arts in Vienna (Reichshochschule für Angewandte Kunst)".
After 1945, the now "College of Applied Arts" under the directorate of Maximilian Fellerer had a difficult start. Its orientation on the model of an art academy was also reflected in the name "Academy of Applied Arts"(1948-1971, then again "University"). The extension of the curriculum, increasing student numbers and a large annex after plans of Karl Schwanzer on the side of Vienna channel (moved into in 1965 ) are signs of expansion in the era of economic boom.
In 1980s and 1990s, the Applied developed under the long management of rector Oswald Oberhuber and Rudolf Burger, who headed the university from 1995 to 1999, to a progress-oriented institution. Into this period of time fall appointments of professors who briefly gave impetus or had long-lasting effects for generations of students. Among the teachers in the fields of architecture, design, visual art and theory of these decades are included personalities such as Friedrich Achleitner, Christian Ludwig Attersee, Carl Auböck, Wander Bertoni, Joseph Beuys (as visiting lecturer), Rudolf Burger, Jean-Charles de Castelbajac, Tino Erben, Adolf Frohner, Peter Gorsen, Hans Hollein, Wilhelm Holzbauer, Alfred Hrdlicka , Wolfgang Hutter, Karl Lagerfeld, Maria Lassnig, Bernhard Leitner, Walter Luerzer, Axel Manthey, Paolo Piva, Wolf Prix, Christian Reder, Jil Sander, Sigbert Schenk, Kurt Schwarz, Johannes Spalt, Mario Terzic, Peter Weibel, Manfred Wagner - just to name a few.
Since 2000, Gerald Bast heads as rector the University of Applied Arts Vienna, after the year before new legislation had made the Austrian Art colleges to universities. His ambitious program for a both growing arts university in content as well as in student numbers in the age of globalization and complex political and economic upheavals, among other things is reflected in the establishment of new degree programs and the appointment of many new lecturer".
Patrick Werkner
www.dieangewandte.at/jart/prj3/angewandte/main.jart?rel=d...
These were the forerunner of the BR Mk1 coaches. Note the characteristic Bulleid window and toplight in the door. That malachite green is just my favourite colour. I remember as a child seeing the occasional rake of these with a blood and custard carriage included, or maybe a Pullman in the centre, used as a restaurant car.
6-7 июля 2021, Рождество пророка Предтечи и Крестителя Господня Иоанна / 6-7 July 2021, The Nativity of the Prophet Forerunner and Baptist of the Lord John
Manufacturer: Integrated Design Bureau
User: Zodiac Alliance of Freedom Treaty
Unit type: prototype commander type mobile suit
Rollout: Cosmic Era 73
First Deployment: Cosmic Era 73
Overall height: 19.2 meters
Weight: 72.13 metric tons
Special equipment: none
Powerplant: ultracompact energy battery
Armament: MA-M757 "Slayer Whip" heat rod x2, M181SE "Draupnir" 4-barrel beam gun x2, MMI-558 "Tempest" beam sword x1, shield x1
Pilot: Heine Westenfluss
(further informations you can see by clicking on the link at the end of page, even in English!)
History of the applied
From the Imperial School of Applied Arts to present "Applied"
In the center of Vienna, in the capital of the Hapsburg Dynasty, was founded in 1867 the forerunner of today's University of Applied Arts, the Imperial School of Applied Arts. It was (today's MAK) affiliated to the Austrian Museum of Art and Industry (today's MAK), the first Museum of Decorative Arts on the European continent. This was in 1863 brought into being based on the model of the South Kensington Museum in London, today's Victoria & Albert Museum and should serve as role models collection for artists, industrialists and the public. The early industrialized England was then playing a pioneer role in the promotion of a reformed arts and crafts, to counteract the decline in the "machine age". Within the meaning of historicism one should, in Vienna, too, being enabled to study the great styles of the past on applied arts objects in the museum and art school, a training and education center for designers and craftsmen. The Vienna School of Applied Arts was to train artists and teachers alike to serve the requirements of the "art industry".
Heinrich von Ferstel, who had already built the museum, was commissioned to design a separate building for the school. 1877 could the until today used main building of the University in a prominent position at the Vienna Ringstraße officially being opened. Students (female ones, if somebody was to ask!) were admitted in contrast to the Academy of Fine Arts from the beginning on. As one of the numerous graduates of that era only Gustav Klimt here should be mentioned.
With the artistic development toward nature observation and toward free design also at the School of Arts and Crafts in the late 19th Century set in a detachment from work according to historical styles. Felician of Myrbach, a member of the newly founded Vienna artists' association Secession, was in 1899 appointed director of the school, which was dissolved out the following year from the administration of the museum. In Myrbachs term fall numerous reforms and callings making of the School of Art one of the cradles of the Austrian Art Nouveau and founding its reputation as the spirit of modernism committed institution. Otto Wagner had as a board member of the school major influence on whose reform implementations. The former faculty reads like a Who's Who of today's much acclaimed "Vienna around 1900" with names like Kolo Moser, Josef Hoffmann, Alfred Roller - in 1909 beginning his formative directorate time - and students such as Oskar Kokoschka.
The end of the monarchy also meant the end of the "kk" Arts and Crafts School, although the long time director Roller (until 1934) ensured the continuity of the high standards of artistic quality. An educational reform program Franz Cizek in his widely acclaimed youth art classes put into practise. From Cizeks' course for Ornamental morphology emerged the Viennese Kinetism, only recently (again) finding its international art-historical recognition, and where for the first time artists (female ones) - as Erika Giovanna Klien - were dominant. Architects such as Josef Frank, Oskar Strnad and Oswald Haerdtl continued the great tradition of the Viennese art space and transformed it. Margarete Schütte-Lihotzky, a graduate of the School of Applied Arts, became the inventor of the first produced in large series, so-called "Frankfurt Kitchen (Frankfurter Küche)" which had a lasting effect in social housing.
(The Frankfurt kitchen was a milestone in domestic architecture, considered the forerunner of modern fitted kitchens, for it realised for the first time a kitchen built after a unified concept, designed to enable efficient work and to be built at low cost. It was designed in 1926 by Austrian architect Margarete Schütte-Lihotzky for architect Ernst May's social housing project New Frankfurt in Frankfurt, Germany.[1] Some 10,000 units were built in the late 1920s in Frankfurt. - Wikipedia)
In the era of National Socialism, the Vienna School of Applied Arts was the "Reich Chamber of Fine Arts" subordinated, many teachers and students excluded from the school, threatened and persecuted, the teaching brought into line. In particular, the graphics class under their manager Paul Kirnig supplied visualized propaganda for the objectives of the "Third Reich" contributing to the elevation of the School of Applied Arts to "Empire Academy of Applied Arts in Vienna (Reichshochschule für Angewandte Kunst)".
After 1945, the now "College of Applied Arts" under the directorate of Maximilian Fellerer had a difficult start. Its orientation on the model of an art academy was also reflected in the name "Academy of Applied Arts"(1948-1971, then again "University"). The extension of the curriculum, increasing student numbers and a large annex after plans of Karl Schwanzer on the side of Vienna channel (moved into in 1965 ) are signs of expansion in the era of economic boom.
In 1980s and 1990s, the Applied developed under the long management of rector Oswald Oberhuber and Rudolf Burger, who headed the university from 1995 to 1999, to a progress-oriented institution. Into this period of time fall appointments of professors who briefly gave impetus or had long-lasting effects for generations of students. Among the teachers in the fields of architecture, design, visual art and theory of these decades are included personalities such as Friedrich Achleitner, Christian Ludwig Attersee, Carl Auböck, Wander Bertoni, Joseph Beuys (as visiting lecturer), Rudolf Burger, Jean-Charles de Castelbajac, Tino Erben, Adolf Frohner, Peter Gorsen, Hans Hollein, Wilhelm Holzbauer, Alfred Hrdlicka , Wolfgang Hutter, Karl Lagerfeld, Maria Lassnig, Bernhard Leitner, Walter Luerzer, Axel Manthey, Paolo Piva, Wolf Prix, Christian Reder, Jil Sander, Sigbert Schenk, Kurt Schwarz, Johannes Spalt, Mario Terzic, Peter Weibel, Manfred Wagner - just to name a few.
Since 2000, Gerald Bast heads as rector the University of Applied Arts Vienna, after the year before new legislation had made the Austrian Art colleges to universities. His ambitious program for a both growing arts university in content as well as in student numbers in the age of globalization and complex political and economic upheavals, among other things is reflected in the establishment of new degree programs and the appointment of many new lecturer".
Patrick Werkner
www.dieangewandte.at/jart/prj3/angewandte/main.jart?rel=d...
An early forerunner of the encyclopedia, De Proprietatibus Rerum dates from the 13th century and is often described as a bestiary although its focus encompasses theology and astrology as well as the natural sciences (as understood in 1240).
The forerunner of Lawn Tennis, Real or Royal Tennis is almost a cross between Squash ( racket ball ) and tennis, the walls and roof of hthe viewing gallery may be used to bounce the ball from.
This is said to be the oldest Tennis Court of any type in the world. Kings and Queens have played on this court since the 16th century.
Italian postcard. Photo Vettori, Bologna, No. 3067.
Renzo Ricci (1899-1978) was an Italian stage and screen actor and also stage director.
Renzo Ricci was born in Florence on 27 September 1899. The modern theater, faced so strongly to the introspection of the characters, found in Renzo Ricci one of its most careful forerunners. Trained at the Accademia dei Fidenti, he started working as a professional in 1915 at the famous Gramatica-Carini-Piperno company. He married the actress Margherita Bagni, daughter of Ambrogio Bagni and Ines Cristina. Their daughter, Nora Ricci, would also become an important prose actress and first wife of Vittorio Gassman. Ricci later remarried with Eva Magni, with whom he formed a stage company after World War II. Always attentive to modern problems of directing, he was directed by Guido Salvini (in La Nave by Gabriele d'Annunzio, which in 1928 opened the season of the Italian director's renewal) and by Renato Simoni (in his Adelchi by Alessandro Manzoni, 1940), as well as by Luchino Visconti (in his famous Troilus and Cressida staged in the Boboli Gardens in Florence in 1949). In 1946 he proposed to the young Giorgio Strehler to re-stage Caligula by Albert Camus (for which he presented the world premiere in Geneva, at the Théâtre de la Comédie). With Strehler Ricci would also be Richard III, at the Piccolo Teatro in 1950, Firs in The Cherry Orchard by Anton Chekhov (1972) and the Plenipotentiary in Jean Genet's Balcony, in May 1976, which would also be his last performance. Always looking for new and current experiences, he created a vast and committed repertory, which included the major authors: Shakespeare, Pirandello, Shaw, Ibsen, Bernstein, Coward, Guitry, Boudet, Anouilh, Albert Camus, Odets, Fabbri, Eliot, O'Neill. From the latter he proposed the Italian premiere of Long Day's Journey Into Night, for which he also did the direction, in collaboration with Virginio Puecher in 1957. Even if intermittently, Ricci also was active as voice actor since the mid-1930s to 1960's. He also did performances of stages plays on RAI radio in the 1950s, including The Fourposter by Jan de Hartog, directed by Ricci himself.
When sound cinema set in in Italy, Ricci started his career as film actor. His first part was in the court case drama Corte d’Assise (Guido Brignone 1930), the second Italian sound feature after La canzone dell’amore, and starring Elio Steiner, Lya Franca, Marcella Albani and Carlo Ninchi. Ricic reunited with Ninchi in the mountain drama La Wally (Guido Brignone 1932), starring Germana Paolieri, and with Ricci as her jealous suitor. After two more films in the early 1930s, the comedy Ninì Falpalà (Amleto Palermi, 1933) with Dina Galli and Ricci in the lead, and Aurora sul mare (Giorgio SImonelli, 1934), Ricci stopped acting in film until 1940, when he played ‘the great modern actor’ next to Ermete Zacconi, Irma Grammatica, Memo Benassi and other ‘monstres sacrés’ of the Italian stage in L’Orizzonte dipinto (Guido Salvini, 1940). Valentina Cortese had her debut in this film. After another film, Turbamento (Guido Brignone1941), Ricci stayed off the film set until 1953, when he acted as Petronius in Primo Zeglio’s Nerone e Messalina, with Gino Cervi and Yvonne Sanson in the title roles. In the biopic Casta Diva (Carmine Gallone, 1954) on the life of composer Vincenzo Bellini (played by Maurice Ronet), Ricci was the judge Fumaroli, with whose daughter Maddalena (Antonella Lualdi) Bellini falls in love. Perhaps most famous Ricci is for his supporting parts in films of the early 1960s. In L’Avventura (Michelangelo Antonioni, 1960) he was the father of Anna (Lea Massari), the girl who mysteriously disappears at the start of the film. In Viva l’Italia (Roberto Rossellini, 1961) Ricci played the legendary Giuseppe Garibaldi, leading his military campaign of volunteers, the Thousand (I Mille), who embarked for Sicily to free Southern Italy from the Bourbon rule. This was the film Rossellini stated he was proudest of. After the peplum Io, Semiramide (Primo Zeglio, 1962), starring Yvonne Furneaux, Ricci played in Luchino Visconti’s Vaghe stelle dell’Orsa (Sandra, 1965) the family lawyer Gilardini, stepfather of the protagonists Sandra (Claudia Cardinale) and Gianni (Jean Sorel). Particularly Sandra hates Gilardini, as she suspects that her mother (Marie Bell) and he are responsible for the death of her father, the Jewish scientist Wald-Luzzati, killed in a concentration camp. Instead Gilardini accuses Sandra and Gianni of incest. After this, Ricci quitted the film set but for one last performance, in Patrice Chéreau’s La chair de l’orchidée (1975), starring Charlotte Rampling. Renzo Ricci died in Milan on 20 October 1978.
Sources: Italian Wikipedia, IMDB.
The forerunner of La-5. I = Fighter. A total of 6528 of this WW2 fighter were built in 1941 - 1944. Marked Soviet Air Force White 24 in Victory Park (Park Pobedy) Moscow, Russia 2. July 2013.
A 1950's Claeys Combine Harvester at the Gloucestershire Steam Extravaganza 2012.
In 1906 Leon Claeys, a Belgian mechanic, started to build threshing machines. In 1909 he built his factory in Zedelgem, Belgium, to manufacture harvesting machines.
In 1952 Claeys produced the first European self-propelled combine harvester and by the 1960s, Claeys was one of the biggest combine manufacturers in Europe; In 1964 the majority of Claeys was acquired by Sperry New Holland. In 1967 the company changed the name to Clayson and in 1986 was merged with Ford. In 1991 Ford was acquired by Fiatagri and became New Holland.
(another pictures you can see by clicking on the link at the end of page!)
The history of Vienna's Christmas market
The assumption, forerunners of the Viennese Christmas market had been held for more than 600 years ago, is not true. In the year 1382, to which these assumptions relate, renewed Duke Albrecht III only the market law of the City of Vienna. This allowed, among other things, the holding of fairs, which took place 14 days before and after Christ's ascension, and 14 days before and after St. Kathrein (November 25). These markets, however, were not related with the celebration of Christmas.
In medieval Vienna, there was no Christmas markets. The urban settlements from this period have no income and expenditure in such a context. The invoices from the 17th Century exist only patchy.
Therefore no reliable date can be specified for the first occurrence of Christmas markets. Records from 1600 show that cabins on the trench (Graben) and on the fire place (Brandstätte), ie before Sankt Stephan, on 9 January have been dismantled and on 16 and 17 December re-erected. This market bore the name "Thomas market". In these stalls Peckn (Baker), gingerbread maker and Zuggerpacher (confectioners) offered their goods. These stands were found around Christmas time in the area Graben - Stephansplatz to the year in 1761. Then, this market was closed.
First mentioned in 1722
Already in 1722 found a on Freyung held "St. Nicholas, Christmas and Nativity market" mention. Since at the same time was a regular market there, conflicts between the state holders of the one and the other market in 1842 led to the tentative relocation of Nicholas and Christmas market on the square Am Hof. This relocation was definitely 1843, each time on the 5th December, the 132 cribs market stalls were set up and remained standing until the New Year.
End of Fairs
Black and white photo of the Christmas market in the winter with snow 1917
The Christmas market am Hof (1917 )
1872 the old Viennese markets were closed by a decision of the council, as they had lost their original meaning in the modern city. The exception was the Christmas Market. 1903, the 128 stands were renewed and received first electric lighting.
First and Second World War
A difficult time for the now regular "Christkindlmarkt" named event began with the First World War. In 1923 it was held again on the Freyung, 1924-1928 modest extent before the Stephansdom. From 1929 on the Neubaugürtel - above the Hesserdenkmals (Monument) - relocated, the Christmas market came 1938 on the Am Hof square back. During the Christmas time of 1943 once again the Stephansplatz was its location. Then the fast to the city approaching and across moving war prevented its holding. At Christmas 1946, a new start on the square before the Trade Fair Palace was attempted.
Last Location Town Square
Black and white photo : Entrance to the Christmas Market with visitors and cottages 1950
The Christmas market at the Neubaugürtel (1950 )
1949 the Christmas Market moved back to the Neubaugürtel, where he remained until 1957. Then again held before the Trade Fair Palace, failed in 1963 an attempt to establish the Christkindlmarkt as a counterpart to fasting market in the Kalvarienberggasse in the 17th district. 1975 had to be found an alternative venue because of the construction of the underground car park in front of the Messepalast (trade fair palace). First, temporarily set up at the town hall square, soon the combination of the Christmas market and the "Magic of Advent" in both sides of the adjacent City Hall Park created such a moody atmosphere that this location for years to come seems certain for the Christmas market .
www.wien.gv.at/wirtschaft/marktamt/maerkte/geschichte/chr...
(another pictures you can see by clicking on the link at the end of page!)
The history of Vienna's Christmas market
The assumption, forerunners of the Viennese Christmas market had been held for more than 600 years ago, is not true. In the year 1382, to which these assumptions relate, renewed Duke Albrecht III only the market law of the City of Vienna. This allowed, among other things, the holding of fairs, which took place 14 days before and after Christ's ascension, and 14 days before and after St. Kathrein (November 25). These markets, however, were not related with the celebration of Christmas.
In medieval Vienna, there was no Christmas markets. The urban settlements from this period have no income and expenditure in such a context. The invoices from the 17th Century exist only patchy.
Therefore no reliable date can be specified for the first occurrence of Christmas markets. Records from 1600 show that cabins on the trench (Graben) and on the fire place (Brandstätte), ie before Sankt Stephan, on 9 January have been dismantled and on 16 and 17 December re-erected. This market bore the name "Thomas market". In these stalls Peckn (Baker), gingerbread maker and Zuggerpacher (confectioners) offered their goods. These stands were found around Christmas time in the area Graben - Stephansplatz to the year in 1761. Then, this market was closed.
First mentioned in 1722
Already in 1722 found a on Freyung held "St. Nicholas, Christmas and Nativity market" mention. Since at the same time was a regular market there, conflicts between the state holders of the one and the other market in 1842 led to the tentative relocation of Nicholas and Christmas market on the square Am Hof. This relocation was definitely 1843, each time on the 5th December, the 132 cribs market stalls were set up and remained standing until the New Year.
End of Fairs
Black and white photo of the Christmas market in the winter with snow 1917
The Christmas market am Hof (1917 )
1872 the old Viennese markets were closed by a decision of the council, as they had lost their original meaning in the modern city. The exception was the Christmas Market. 1903, the 128 stands were renewed and received first electric lighting.
First and Second World War
A difficult time for the now regular "Christkindlmarkt" named event began with the First World War. In 1923 it was held again on the Freyung, 1924-1928 modest extent before the Stephansdom. From 1929 on the Neubaugürtel - above the Hesserdenkmals (Monument) - relocated, the Christmas market came 1938 on the Am Hof square back. During the Christmas time of 1943 once again the Stephansplatz was its location. Then the fast to the city approaching and across moving war prevented its holding. At Christmas 1946, a new start on the square before the Trade Fair Palace was attempted.
Last Location Town Square
Black and white photo : Entrance to the Christmas Market with visitors and cottages 1950
The Christmas market at the Neubaugürtel (1950 )
1949 the Christmas Market moved back to the Neubaugürtel, where he remained until 1957. Then again held before the Trade Fair Palace, failed in 1963 an attempt to establish the Christkindlmarkt as a counterpart to fasting market in the Kalvarienberggasse in the 17th district. 1975 had to be found an alternative venue because of the construction of the underground car park in front of the Messepalast (trade fair palace). First, temporarily set up at the town hall square, soon the combination of the Christmas market and the "Magic of Advent" in both sides of the adjacent City Hall Park created such a moody atmosphere that this location for years to come seems certain for the Christmas market .
www.wien.gv.at/wirtschaft/marktamt/maerkte/geschichte/chr...
Forerunner to the cruise missle. The V-1 flying bomb (German: Vergeltungswaffe 1,[3] Fieseler Fi 103 by the RLM's airframe number) — also known as the Buzz Bomb or Doodlebug — was an early pulse-jet-powered predecessor of the cruise missile.
The V-1 was developed at Peenemünde Airfield by the German Luftwaffe during the Second World War. During initial development it was known by the codename "Cherry Stone". The first of the so-called Vergeltungswaffen series designed for terror bombing of London, the V-1 was fired from "ski" launch sites along the French (Pas-de-Calais) and Dutch coasts. The first V-1 was launched at London on 13 June 1944, one week after (and prompted by) the successful Allied landing in Europe. At its peak, more than one hundred V-1s a day were fired at southeast England, 9,521 in total, decreasing in number as sites were overrun until October 1944, when the last V-1 site in range of Britain was overrun by Allied forces. This caused the remaining V-1s to be directed at the port of Antwerp and other targets in Belgium, with 2,448 V-1s being launched. The attacks stopped when the last site was overrun on 29 March 1945. In total, the V-1 attacks caused 22,892 casualties (almost entirely civilians).
Its the forerunner of Nabisco. These were all the rage in the 1898 as bakery things that could be stored were just being perfected. It was the first item to bear the name:
NAtional BIScuit COmpany
freepages.rootsweb.ancestry.com/~bradytrilogy/memories/im...