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BOX DATE: 1978
MANUFACTURER: Mattel
DOLLS IN LINE: Barbie; Ken; Skipper; P.J. Christie
IMPORTANT NOTES: The decal on Barbie's bottoms peeled off with age.
PERSONAL FUN FACT: Whenever I look at this swimsuit top, I always feel a pang of deep regret. Back in 2003, Dad bought me two cases of old 70s and 80s Barbie dolls at the Salvation Army. Inside the cases, were many scruffy looking outfits. This top, and it's coordinating bag were included in one of the cases. Back then, I didn't own any Barbie books, and we didn't have the internet at home. So I had no way of verifying what contents from the cases were in fact authentic Barbie. My twelve year old self was smart--I opted to keep everything that came in the cases, since I had little knowledge and familiarity with older Barbie items. But as an adult, I lacked that common sense. Right before I started collecting dolls again in 2011, I went through all of my doll stuff and made piles. One pile was "keep," one was for "donate/yard sale," and the last was for "trash." One of the best pieces of advice that I can give to anyone who has taken a long break from any sort of collecting hobby is this: NEVER get rid of ANYTHING when you first start getting back into your hobby. Your preferences, taste, and knowledge will develop more as you start to get back into the hobby, and later, you will probably want whatever you got rid of. That is precisely what I did, and Sun Lovin' Malibu Barbie's bag was just one of the many casualties. I still remember the day I went through my Barbie purses/bags tin, pulled it out, looked at it with a feeling of apprehension, and promptly tossed it in the trash. Yes, I threw it out...and it eventually ended up at my town dump, in the compactor, and later it went to the incinerator. It's a disturbing thought. I had no idea that the bag I threw out was real Barbie, but several months later, when I identified this top, I was mortified by the realization that I had thrown away Barbie's bag. But rather than mourning the loss of this bag and the other items I carelessly discarded, I've taken from this mistake a lesson. These days, I put much more thought into any item that I want to get rid of. And above all I NEVER throw away anything that is still usable, because it's just plain wasteful and what with all the pollution and trash in this world, it's far better to donate whatever I don't want.
So you are probably wondering where the bag in this photo came from, since obviously I got rid of my first. I was fortunate enough to find the bottoms, sunglasses, and bag all in a case with two Starr dolls in 2019. I didn't realize there were as many accessories in the case when I first bought it. There was a small change purse stuffed with tiny pieces, which I did not spot until I was sorting through the case at home. Inside, I found loads of goodies, such as cardboard Barbie accessories from the 70s, Starr and friends pieces, and Sun Lovin' Malibu Barbies fixings! These swimsuits bottoms are a slightly different color than my childhood top, because the two items aged differently. But nonetheless, it felt like a momentous occasion being able to dress one of my Sun Lovin' Malibu gals up in a complete bikini! Furthermore, my day was made when this backpack turned up in the lot too!
The mills are an important feature of Maynard's development. The earliest saw and grist mills were built in the early 18th century. Two of the earliest mills were the Puffer Mill and the Asa Smith's Mill, which were located on Taylor Brook and Mill Street, respectively. These were the first mills to use the Assabet River for power; therefore, they were very slow and sluggish. The grist and saw mill were then followed by paper mills, which were built starting in 1820.
The Mill is easily Maynard's most prominent feature. The complex takes up 11 acres in the middleof what we call downtown. The Mill complex began in 1847 as set of wooden buildings used to manufacture carpets and carpet yarn. Amory Maynard helped construct this mill. His partner, William H. Knight, helped him build a dam across the Assabet and dug a canal channeling a portion of the river into what is called Mill Pond. The Mill changed hands a few times but it would eventually become the largest woolen factory in the world till the 1930s.
The 1950's ushered in a change from textiles to businesses like computer manufacturing. With the start of the final decade of the century the Mill is on the cusp of being transformed again.
It is said that "as the Mill goes, so goes Maynard". While the town isn't as dependent on the Mill as it was in 19th century it continues to play an important role in shaping the character of the town.
We hope you enjoy this historical perspective of the Mill. It has been pieced together from a variety of sources and continues to be enriched as we discover new materials to include, increase the number of hyperlinks and add pictures, diagrams, and sound..
The Mill from 1847 to 1977
The site of the mill was once part of the town of Sudbury, while the opposite bank of the Assabet River belonged to Stow. The present town, formed in 1871, was named for the man most responsible for its development, Amory Maynard.
Born in 1804, Maynard was running his own sawmill business at the age of sixteen. In the 1840's, he went into partnership with a carpet manufacturer for whom he'd done contracting. They dammed up the Assabet and diverted water into a millpond to provide power for a new mill, which opened in 1847, producing carpet yarn and carpets. Only one of the original mill buildings survives: it was moved across Main Street and now is an apartment house.
Amory Maynard's carpet firm failed in the business panic of 1857. But the Civil War allowed the Assabet Manufacturing Company, organized in 1862 with Maynard as the managing "agent", to prosper by producing woolens, flannels and blankets for the army. This work was carried on in new brick mill buildings.
Expansion of the mill over many years is evidenced by the variations in the architecture of the structures still standing.
The oldest portion of Building 3 dates from 1859, making it the oldest part of the mill in existence today, but several additions were made afterwards. Buildings constructed in the late 1800's frequently featured brick arches over the windows, and at times new additions were made to match neighboring structures.
The best-known feature is the clock donated in memory of Amory Maynard by his son Lorenzo in 1892. Its four faces, each nine feet in diameter, are mechanically controlled by a small timer inside the tower. Neither the timer nor the bell mechanism has ever been electrified; custodians still climb 120 steps to wind the clock every week- 90 turns for the timer and 330 turns for the striker.
Amory Maynard died in 1890, but his son and grandson still held high positions in the mill's management. The family's local popularity plummeted, however, when the Assabet Manufacturing Company failed late in 1898. Workers lost nearly half of their savings which they had deposited with the company, since there were no banks in town. Their disillusionment nearly resulted in changing the town's name from Maynard to Assabet.
Prosperity returned in 1899 when the American Woolen Company, an industrial giant, bought the Assabet Mills and began to expand them, adding most of the structures now standing. The biggest new unit was Building 5, 610 feet long which contained more looms than any other woolen mill in the world. Building 1, completed in 1918, is the newest; the mill pond had been drained to permit construction of its foundation. These buildings have little decoration, but their massiveness is emphasized by the buttress-like brick columns between their windows.
The turn of the century saw a changeover from gas to electric lights at the mill. Until the 1930's the mill generated not only its own power but also electricity for Maynard and several other towns. For years the mill used 40-cycle current. Into the late 1960's power produced by a water wheel was used for outdoor lighting, including the Christmas tree near Main Street. The complex system of shafts and belts once used to distribute power from a central source was rendered obsolete by more efficient small electric motors, just as inexpensive minicomputers have often replaced terminals tied to one large processor.
As the mill grew, so did the town. Even in 1871, the nearly 2,000 people who became Maynard's first citizens outnumbered the people left in either Sudbury or Stow. Maynard's first population almost doubled in the decade between 1895 and 1905, when reached nearly 7,000 people. Most of the workers lived in houses owned by the company, many of which have been refurbished and are used today. The trains that served th town and the mill, however, are long gone - the depot site is now occupied by a gas station.
Most of the original mill workers had been local Yankees and Irish immigrants. But by the early 1900's, the Assabet Mills were employing large numbers of newcomers from Finland, Poland, Russia and Italy. The latest arrivals were often escorted to their relatives or friends by obliging post office workers. The immigrants made Maynard a bustling, multi-ethnic community while Stow, Sudbury and Acton remained small, rural villages. Farmers and their families rode the trolley to Maynard to shop and to visit urban attractions then unknown in their own towns, including barrooms and movie houses.
Wages were low and the hours were long. Early payrolls show wages of four cents an hour for a sixty hour week. Ralph Sheridan of the Maynard Historical Society confirmed that in 1889 his eldest brother was making 5 1/2 cents an hour in the mill's rag shop at the age of fourteen, while their father was earning 16 1/2 cents per hour in the boiler room. (As of 1891 one-eighth of the workers were less than 16 years old, and one-quarter were women.)
Sheridan's own first job at the mill, in the summer of 1915, paid $6.35 for a work week limited to 48 hours by child labor laws. The indestructible "bullseye" safe still remains in the old Office Building.
Sheridan remembers the bell that was perched on top of Building 3:
"...the whistle on the engine room gave one blast at quarter of the hour, and then at about five minutes of the hour the gave one blast again. And everyone was supposed to be inside the gate when that second whistle blew. And then at one minute of the hour this bell rang just once, a quick ring- and we referred to it as "The Tick" because of that..... everybody was supposed to start work at that time, at that moment."
A worker was sent home if he'd forgotten to wear his employee's button, marked "A.W.Co.,Assabet".
The millhands really had to work, too. Sheridan recalls one winter evening when there was such a rush to get out an order of cloth for Henry Ford that the men were ordered to invoice it from the warehouse, now Building 21, instead of from the usual shipping room:
"There was no heat in the building, never had been. And it was so cold that I remember that I had to cut the forefinger and the thumb from the glove that I was wearing in order to handle the pencil to do the invoicing....the yard superintendant at the time brought in some kerosene lanterns and put 'em under our chairs to keep our feet warm."
Building 21, built out over the pond, remained unheated until DIGITAL took it over.
As in most Northern mill towns, labor relations were often troubled. In 1911 the company used Poles to break the strike of Finnish workers. When no longer able to play off one nationality against another, management for years took advantage of rivalries between different unions. The Great Depression hit the company hard, however. In 1934 it sold all the houses it owned, mostly to the employees who lived in them; and New Deal labor laws encouraged the workers to form a single industrial union, which joined the C.I.O.
World War II brought a final few years of good times to the woolens industry. The mill in Maynard operated around the clock with over two thousand employees producing such items as blankets and cloth for overcoats for the armed forces. But when peace returned, the long-term trends resumed their downward drift, and in 1950 the American Woolen Company shut down its Assabet Mills entirely. Like many New England mills, Maynard's had succumbed to a combination of Southern and foreign competition, relatively high costs and low productivity, and the growing use of synthetic fibers.
'Til then a one-industry town, Maynard was in trouble. In 1953, however, ten Worcester businessmen bought the mill and began leasing space to tenants, some of which were established firms, while others were just getting started. One of the new companies which found the low cost of Maynard Industries' space appealing was Digital Equipment Corporation, which started operations in 8,680 square feet in the mill in 1957.
A Mill Chronology
1846 Amory Maynard and William Knight form Assabet Mills.
1847 Maynard and Knight install a water wheel and build a new factory on the banks of the Assabet River.
1848 The Assabet Mills business is valued at $150,000.
The Lowell and Framingham Railroad carries passengers over branch road.
1855 The Mill now has three buildings on the site. Massachusetts is producing one-third of the textiles in the United States.
1857 Assabet Mills collapses after a business panic. The Mill complex is sold at an auction.
1862 The Mills are reorganized as Assabet Manufacturing Company. This involve replacing wooden buildings with brick, and the installation of new machinery. To fulfill contracts to the government during the Civil War production is switched from carpets to woolen cloth, blankets, and flannel.
The first tenement for employees are also constructed.
1869 Millhands peition President Ulysses S. Grant for a shorter work week ... 55 hours.
1871 The Town of Maynard incorporates. The population stands at 2,000
1888 A reservoir is installed for $70,000 to supply a growing population.
1890 The Assabet Manufacturing Company is valued at $1,500,000.
1892 Lorenzo Maynard donates clock in his father's name.
The Mill Complex contains seven buildings.
1898 Assabet Manufacturing Company declares bankruptcy. Many people in town lose much of their savings as banks have not yet been established.
1899 American Woolen Company purchases the Mill complex for $400,000. This company would eventually control 20% of the woolen textile market in the U.S. Wool was shipped all over the country to keep up with demand.
1901 160 additional tenements are constructed with their own sewage system. The streets are named after U.S. presidents.
The first electric trolley in Maynard begins service.
Building Number 5, the Mill complex's largest, is built in nine months. Electric power is introduced with the addition of dynamos on site.
1906 The Mill complex now has 13 buildings.
1910 The Mill complex grows to 25 buildings. Floor space is at 421,711 square feet. The property takes up 75 acres.
1918 With the addition of three new buildings the American Wollen Company and the Mill are in their heyday. The fortunes of the industry begin to decline over the next 30 years.
1947 After a brief spell of prosperity during World War II, the Mill phases out production as demand for woolen goods declines.
1950 Mill closes. 1,200 employees lose their jobs.
1953 Maynard Industries, Inc. purchases the Mill for $200,000. Space is rented to business and industrial tenants.
1957 Three engineers set up shop on the second floor of Building 12. With $70,000 and 8,600 square feet of rented space Digital Equipment Corporation is formed.
1960 Over thirty firms are located within the Mill complex.
1974 Digital Equipment Corporation purchases the entire Mill complex for $2.2 million. The Mill has over 1 million square feet in 19 buildings residing on 11 acres.
1992 The 100th anniversary of the Mill Clock is celebrated.
1993 Digital Equipment Corporation announces that it plans to leave the Mill complex. A search for a new tenant is started.
1995 Franklin Life Care purchases the Mill. Digital continues to rent space in Building 5.
1998 Mill purchased by Clock Tower Place.
Sources
* "Digital's Mill 1847-1977", a brochure published by Digital Equipment Corporation in 1977.
* "A Walk Through the Mill...", published by Digital Equipment Corporation for the Mill Clock Centennial.
Seven years ago on July 27, 2011, a Traveling Blythe made history by declaring the day Blythe and Human Pantie/knickers Day after receiving two pairs of underwear from Jen (@brasscupcake). The Blythe was Amelia a Gbaby custom, who was traveling without underwear. Every year since we ask that you post a photo of your Blythe girls or boys on July 27 and a few days later to commemorate this great day!!! You are invited to do the same.
Auf der Tasse haben die sich leider verschrieben - müsste eigentlich VIB heißen (very important bärchen) … und kein Kuchen soll ja auch keine Lösung sein, also gibt es warmen Apfelkuchen
Antonio Allegri, dit le Corrège, 1489/94-1534,
travailla à Parme et Corrège
Jupiter et Io, environ 1530
Jupiter est tombé amoureux avec Io, la belle fille du dieu de fleuve. La nymphe timide voulut fuir, mais le Dieu répandit brouillards sombres sur le pays, inhibant l'évasion de la jeune fille - et s'unit avec elle. Dans étreinte de l'amour de la figure nue passionnée avec l'atmosphère que avait été compacté en figure physique, un grand souci de la Renaissance, l'union idéale de l'homme et la nature, a trouvé sa plus belle expression. Contrepartie de l'«Enlèvement de Ganymède" (numéro d'inventaire 276 GG).
Antonio Allegri, genannt Correggio, 1489/94-1534,
tätig in Parma und Correggio
Jupiter und Io, um 1530
Jupiter verliebte sich in die Io, die schöne Tochter des Flussgottes. Die scheue Nymphe wollte fliehen, doch der Gott breitete dunkle Nebel über das Land, hemmte des Mädchens Flucht - und vereinigte sich mit ihm. In der Liebesumarmung der hingebungsvollen Aktfigur mit der zu einem körperlichen Gebilde verdichteten Atmosphäre hat ein großes Anliegen der Renaissance, die ideale Vereinigung von Mensch und Natur, ihren schönsten Ausdruck gefunden. Gegenstück zur "Entführung des Ganymed" (Inventarnummer GG 276).
Austria Kunsthistorisches Museum
Federal Museum
Logo KHM
Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture
Founded 17 October 1891
Headquartered Castle Ring (Burgring), Vienna 1, Austria
Management Sabine Haag
www.khm.at website
Main building of the Kunsthistorisches Museum at Maria-Theresa-Square
The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.
The museum
The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.
History
Archduke Leopold Wilhelm in his Gallery
The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building .
Architectural History
The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währingerstraße/ Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the opera ring, and Ludwig Zettl the southeast side of the grain market (Getreidemarkt).
From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience with of Joseph Semper at the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.
Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.
Construction of the two museums began without ceremony on 27 November 1871 instead. Semper moved to Vienna in the sequence. From the beginning, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, built in 1878, the first windows installed in 1879, the Attica and the balustrade from 1880 to 1881 and built the dome and the Tabernacle. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.
The lighting and air conditioning concept with double glazing of the ceilings made the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times .
Kuppelhalle
Entrance (by clicking the link at the end of the side you can see all the pictures here indicated!)
Grand staircase
Hall
Empire
The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891 , the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol will need another two years.
189, the farm museum was organized in seven collections with three directorates:
Directorate of coins, medals and antiquities collection
The Egyptian Collection
The Antique Collection
The coins and medals collection
Management of the collection of weapons, art and industrial objects
Weapons collection
Collection of industrial art objects
Directorate of Art Gallery and Restaurieranstalt (Restoration Office)
Collection of watercolors, drawings, sketches, etc.
Restoration Office
Library
Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.
1914, after the assassination of Franz Ferdinand, heir to the throne, his " Estonian Forensic Collection " passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d' Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.
The First World War went by, apart from the oppressive economic situation without loss. The farm museum remained during the five years of war regularly open to the public.
Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.
First Republic
The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.
It was not until the Treaty of Saint-Germain of 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.
On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House" , by the Republic. Of 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.
Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.
With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the
Egyptian and Near Eastern Collection (with the Oriental coins)
Collection of Classical Antiquities
Collection of ancient coins
Collection of modern coins and medals
Weapons collection
Collection of sculptures and crafts with the Collection of Ancient Musical Instruments
Picture Gallery
The Museum 1938-1945
Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.
With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the empire.
After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to perform certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.
The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. This was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.
The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.
The museum today
Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).
The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.
In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.
Management
1919-1923: Gustav Glück as the first chairman of the College of science officials
1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director
1933: Arpad Weixlgärtner first director
1934-1938: Alfred Stix first director
1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief in 1941 as first director
1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections in 1949 as general director of the historical collections of the Federation
1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections in 1949 as general director of art historical collections of the Federation
1949-1950: Hans Demel as administrative director
1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation
1951-1952: Fritz Eichler as administrative director
1953-1954: Ernst H. Buschbeck as administrative director
1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director
1967: Edward Holzmair as managing director
1968-1972: Erwin Auer first director
1973-1981: Friderike Klauner first director
1982-1990: Hermann Fillitz first director
1990: George Kugler as interim first director
1990-2008: Wilfried Seipel as general director
Since 2009: Sabine Haag as general director
Collections
To the Kunsthistorisches Museum are also belonging the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.
Kunsthistorisches Museum (main building)
Picture Gallery
Egyptian and Near Eastern Collection
Collection of Classical Antiquities
Vienna Chamber of Art
Numismatic Collection
Library
New Castle
Ephesus Museum
Collection of Ancient Musical Instruments
Arms and Armour
Archive
Hofburg
The imperial crown in the Treasury
Imperial Treasury of Vienna
Insignia of the Austrian Hereditary Homage
Insignia of imperial Austria
Insignia of the Holy Roman Empire
Burgundian Inheritance and the Order of the Golden Fleece
Habsburg-Lorraine Household Treasure
Ecclesiastical Treasury
Schönbrunn Palace
Imperial Carriage Museum Vienna
Armory in Ambras Castle
Ambras Castle
Collections of Ambras Castle
Major exhibits
Among the most important exhibits of the Art Gallery rank inter alia:
Jan van Eyck: Cardinal Niccolò Albergati, 1438
Martin Schongauer: Holy Family, 1475-80
Albrecht Dürer : Trinity Altar, 1509-16
Portrait Johann Kleeberger, 1526
Parmigianino: Self Portrait in Convex Mirror, 1523/24
Giuseppe Arcimboldo: Summer 1563
Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07
Caravaggio: Madonna of the Rosary (1606-1607)
Titian: Nymph and Shepherd to 1570-75
Portrait of Jacopo de Strada, 1567/68
Raffaello Santi: Madonna of the Meadow, 1505 /06
Lorenzo Lotto: Portrait of a young man against white curtain, 1508
Peter Paul Rubens: The altar of St. Ildefonso, 1630-32
The Little Fur, about 1638
Jan Vermeer: The Art of Painting, 1665/66
Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559
Kids, 1560
Tower of Babel, 1563
Christ Carrying the Cross, 1564
Gloomy Day (Early Spring), 1565
Return of the Herd (Autumn), 1565
Hunters in the Snow (Winter) 1565
Bauer and bird thief, 1568
Peasant Wedding, 1568/69
Peasant Dance, 1568/69
Paul's conversion (Conversion of St Paul), 1567
Cabinet of Curiosities:
Saliera from Benvenuto Cellini 1539-1543
Egyptian-Oriental Collection:
Mastaba of Ka Ni Nisut
Collection of Classical Antiquities:
Gemma Augustea
Treasure of Nagyszentmiklós
Gallery: Major exhibits
Important legal note.
All images are copyright and must not be re posted or water marks removed, anyone found reposting or removing water marks are liable to prosecution.
Important legal note.
All images are copyright and must not be re posted or water marks removed, anyone found reposting is liaIble to prosecution.
Important legal note.
All images are copyright and must not be re posted or water marks removed, anyone found reposting is liaIble to prosecution.
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Prague's Old Jewish Cemetery is the largest Jewish cemetery in Europe and one of the most important Jewish historical monuments in Prague. Burials occurred here from the first half of 15th century until 1786. when Emperor Josef II banned burials inside the city walls for hygienic reasons in consideration of the plague. About 20 000 gravestones stand back to back with many variously inclined. Because of the lack of space in the Old Jewish Cemetery over the centuries the graves were placed one on another reaching twelve layers in some places.
My visit to the cemetery was very sobering, especially since the exit to Pinkas Synagogue (where the names of 70,000 Prague Jews who were killed during the holocaust are posted with birth and death dates) leads directly into the burial grounds. Those who follow my photostream may become bored with my posts of the cemetery but I found the site very photogenic and I did take many, many photos.
Krak des Chevaliers
Krak des Chevaliers, also Crac des Chevaliers, is a Crusader castle in Syria and one of the most important preserved medieval castles in the world. The site was first inhabited in the 11th century by a settlement of Kurds; as a result it was known as Hisn al Akrad, meaning the "Castle of the Kurds". In 1142 it was given by Raymond II, Count of Tripoli, to the Knights Hospitaller. It remained in their possession until it fell in 1271. It became known as Crac de l'Ospital; the name Krak des Chevaliers was coined in the 19th century.
The Hospitallers began rebuilding the castle in the 1140s and were finished by 1170 when an earthquake damaged the castle. The order controlled a number of castles along the border of the County of Tripoli, a state founded after the First Crusade. Krak des Chevaliers was amongst the most important and acted as a centre of administration as well as a military base. After a second phase of building was undertaken in the 13th century, Krak des Chevaliers became a concentric castle. This phase created the outer wall and gave the castle its current appearance. The first half of the century has been described as Krak des Chevaliers' "golden age". At its peak, Krak des Chevaliers housed a garrison of around 2,000. Such a large garrison allowed the Hospitallers to extract tribute from a wide area. From the 1250s the fortunes of the Knights Hospitaller took a turn for the worse and in 1271 Mamluk Sultan Baibars captured Krak des Chevaliers after a siege lasting 36 days, supposedly by way of a forged letter purportedly from the Hospitallers' Grand Master that caused the Knights to surrender.
Renewed interest in Crusader castles in the 19th century led to the investigation of Krak des Chevaliers, and architectural plans were drawn up. In the late 19th or early 20th century a settlement had been created within the castle, causing damage to its fabric. The 500 inhabitants were moved in 1933 and the castle was given over to the French state, which carried out a programme of clearing and restoration. When Syria declared independence in 1946, it assumed control. Today, a village called al-Husn exists around the castle and has a population of nearly 9,000. Since 2006, the castles of Krak des Chevaliers and Qal'at Salah El-Din have been recognised by UNESCO as a World Heritage Site. it was partially damaged in the Syrian civil war from shelling, although the full extent of the damage is unknown.
Important legal note.
All images are copyright and must not be re posted or water marks removed, anyone found reposting is liaIble to prosecution.
Important legal note.
All images are copyright and must not be re posted or water marks removed, anyone found reposting is liable to prosecution.
The church in Biberach is an important station of the Baroque street in Upper Swabia and the history of the city, located in the center of the medieval old town.
The church is a simultaneum mixtum, which means that two Christian confessions are holding their worship here. In 1524 there was the first Simultankirche in Bautzen (Saxony), in 1548 this happened with the town church of St. Martin in Biberach. This is due to the fact that at that time the great majority of the population in Biberach was Protestant. The chorus remained in Catholic hands.
History and architecture of the city church of St. Martin in Biberach, Upper Swabia
Even before this monumental church was built, a church or chapel, presumably already in the 7th century, stood at this point.
Already around 1100 there was a church in the Romanesque style. But the church is mentioned in the records of the Middle Ages only in 1265. While in 1329 it was still dedicated to Saint Martin, the dedication to Mary was extended in 1369. It is unclear whether this was due to the donation of Emperor Ludwig the Bavarian to the Cistercian monastery of Eberbach in 1339, which it incorporated ten years later.
Inside, the changes have already begun in 1320. The exterior also changed in the Gothic style in the 14th century. The reconstruction work on the roof of the choir began in 1337 and the roof was decorated with gables. In addition, the church became a basilica with three ships next to each other completed in 1366 under the direction of Heinrich Kadeli. In this construction phase the tower has been moved to the front. The Cistercians were anxious not to show too much pompony to the outside. The town church of St. Martin is the oldest church in Biberach, at that time already a Reichsstadt (Imperial City/Free City) and it remained as such until the year 1802. The external form of the church has hardly changed today.
In the fifteenth century, the apse closed with a round ceiling. The final stages of the construction are shown by the church saints. One of them, the so-called Beaver-Keystone, stands in a museum in Biberach. In addition, the church was connected to three side chapels:
Lady chapel (equipped with a Baroque Madonna from around 1660)
Brandenburg chapel (donated by the patricians Eberhard II of Brandenburg and Martin Weißhaupt)
Pflummern chapel (donated by a patrician family from Pflummern - an extinct noble family)/Riedlingen.
In the early 16th century, the Reformation reached Biberach and Protestantism entered. As early as 1529, the rich patricians, who were on the side of the Catholic emperor, had been driven out of office. In the same year the term Protestants came up for the reformists, for they protested at the Diet of Speyer. There were also protests in Biberach that became palpable: the so-called "picture tower", in which many ecclesiastical, or Catholic, works of art were destroyed in several churches in Upper Swabia. During the unrest in Biberach, the peasants stormed the House of God and destroyed the altars in June 1531, including the main altar - then fabricated by Niklaus Weckmann. The Catholic Mass was forbidden for 17 years.
On the occasion of the Catholic Emperor Charles V (Habsburg), in the Interstate of Augsburg in 1548, the re-establishment of the Catholic clergy was disposed. It was precisely in Biberach that they were not delighted, but also the Catholic clergy were not enthusiastic. Thus, there was partly a wave of emigrants of pastors. The Emperor wanted to sit it out and reintegrate the reformers, so the plan was ...
The Jews were sent out of the city in 1589, which changed again only in 1792. Yet since the 13th century there have always been Jewish Biberach families.
By the end of the 16th century a lightning bolt struck the church and triggered a fire. The fire destroyed the tower, which was rebuilt in 1587, as well as the organ and the clock. At that time a panel with the history of the fire was created and hung up in the church, which still tells of the disaster. Another lightning strike in 1775 damaged the church again. This happened more often in Biberach, and even the well-known Upper Swabian robber, the Black Veri, was slain by a lightning strike when he was in chains in prison.
Die Kirche in Biberach ist eine bedeutende Station der Barockstraße in Oberschwaben und der Geschichte der Stadt, gelegen im Zentrum der mittelalterlichen Altstadt.
Die Kirche ist eine Simultankirche, was bedeutet, dass hier zwei christliche Konfessionen ihren Gottesdienst abhalten. Im Jahr 1524 gab es die erste Simultankirche in Bauzen, 1548 geschah dies mit der Stadtkirche St. Martin in Biberach. Das liegt an der Tatsache, dass damals die große Mehrheit der Bevölkerung in Biberach protestantisch war. Der Chor blieb in katholischer Hand.
Geschichte und Architektur der Stadtkirche St. Martin in Biberach | Oberschwaben
Schon bevor diese monumentale Kirche erbaut wurde, stand an dieser Stelle eine Kirche oder Kapelle, vermutlich schon im 7. Jahrhundert.
Bereits um 1100 gab es eine Kirche im romanischen Stil. Aber erwähnt wird die Kirche in den Urkunden des Mittelalters erst im Jahr 1265. Während sie 1329 noch dem Heiligen Martin gewidmet war, wurde die Weihung um Maria im Jahr 1369 erweitert. Unklar ist, ob das mit der Schenkung von Kaiser Ludwig der Bayer an das Zisterzienserkloster Eberbach im Jahr 1339 zu tun hat, welche es zehn Jahre später inkorporiert haben.
Im Inneren hat man bereits ab 1320 mit den Änderungen begonnen. Auch das Äußere veränderte sich im 14. Jahrhundert im Stil der Gotik. Die Umbauarbeiten am Dach des Chors begannen ab dem Jahr 1337 und das Dach wird mit Giebeln verziert. Zudem wurde die Kirche eine Basilika mit fortan drei Schiffen nebeneinander im Jahr 1366 unter Leitung von Heinrich Kädeli fertig. In diesem Bauabschnitt hat man den Turm zur Front gerückt. Die Zisterzienser waren darauf bedacht, nicht zu viel Prunk nach außen zu zeigen. Die Stadtkirche St. Martin ist die älteste Kirche in Biberach, damals schon eine Reichsstadt und blieb es noch bis ins Jahr 1802. Die äußere Gestalt der Kirche hat sich bin heute kaum geändert.
Im 15. Jahrhundert schloss die Apsis nach oben mit einer runden Decke ab. Die Schlusssteine des Baus zeigen die Kirchenheiligen. Einer davon, der sogenannte Biber-Schlussstein, steht in einem Museum in Biberach. Zudem wurden der Kirche drei Nebenkapellen angeschlossen:
Marienkapelle (ausgestattet mit einer barocken Madonna von um 1660)
Brandenburgische Kapelle (gestiftet von den Patriziern Eberhard II von Brandenburg und Martin Weißhaupt)
Pflummernkapelle (gestiftet von einer Patrizierfamilie aus Pflummern)
Im frühen 16. Jahrhundert erreichte die Reformation Biberach und der Protestantismus hielt Einzug. Schon 1529, hatte man die reichen Patrizier, die auf der Seite des katholischen Kaisers standen, aus den Ämtern vertrieben. Im selben Jahr kommt der Begriff Protestanten für die Reformisten auf, denn sie protestierten auf dem Reichstag von Speyer. Auch in Biberach kam es zu Protesten, die handgreiflich wurden: Der sogenannte „Bildersturm“, bei dem viele kirchliche, respektive katholische, Kunstwerke in etlichen Kirchen in Oberschwaben zerstört wurden. Bei den Unruhen in Biberach stürmen die Bauern das Gotteshaus und zerstörten im Juni 1531 die Altäre, so auch den Hochaltar – damals von Niklaus Weckmann gefertigt. Für 17 Jahre wurde die katholische Messe verboten.
Auf Anlass des katholischen Kaisers Karl V. (Habsburger), im Augsburger Interim von 1548, wird die Wiedereinsetzung der katholischen Geistlichen verfügt. Gerade in Biberach war man davon wenig entzückt, aber auch die katholischen Geistlichen waren nicht begeistert. So kam es teils zu einer Auswanderungswelle von Seelsorgern. Der Kaiser wollte es aussitzen und die Reformer wieder eingliedern, so war der Plan…
Die Juden wurden im Jahr 1589 aus der Stadt geschickt, was sich erst 1792 wieder änderte. Schon seit dem 13. Jahrhundert gab es immer wieder jüdische biberacher Familien.
Zum Ende des 16. Jahrhunderts schlug ein Blitz in die Kirche ein und löste einen Brand aus. Der Brand zerstörte den Turm, der 1587 neu erbaut wurde, sowie die Orgel und die Uhr. Damals hat man eine Tafel mit der Geschichte des Brandes erstellt und in der Kirche aufgehängt, das noch heute von dem Unheil erzählt. Ein weiterer Blitzschlag im Jahr 1775 beschädigte die Kirche erneut. Das geschah in Biberach ja öfter, auch der bekannte oberschwäbische Räuber, der Schwarzer Veri, wurde von einem Blitzschlag erschlagen als er in Ketten im Gefängnis saß.
www.oberschwaben-tipps.de/kirche-biberach-stadtpfarrkirch...
Important hockey (and life!) advice from the dad of The Great One, stitched as a gift for Kevin Smith, a Gretzky superfan.
Smith's coming back for the third time in a matter of a few months-- this time for SModcast #200, with Mosier in tow! I've been meaning to add to the collection of gifts that people have been bringing him. I thought, hey, what's more original than a box of Timbits? Or what is more likely a Timbits box with weed inside it? And then this happened.
It's not exactly a labour-intensive project, it was a three-sitting stitch (I did the majority of it at a bar), but I think he'll like it.
UPDATE: He loves it! :D
The Old Railroad Bridge dates back over 140 years as an important crossing of the Tennessee River between Florence and Sheffield in The Shoals area of Alabama.
Back in 1840, the first bridge at this location opened. It significantly damaged by tornadoes and storms all through the 1850's and eventually that bridge was destroyed during the Civil War.
In 1870, the Memphis & Charleston Railroad decide to build another bridge at this spot. Over the next 120 years, there is quite a lengthy history about who got to use the bridge and changes to the bridges configuration. I'll hit some of the highlights, but below I'll link to a thorough history.
Originally, there was not a method for tall ships to go through, so a drawbridge was installed in 1872 along the northern end. A new drawbridge was installed in 1906. In 1948, the drawbridge was replaced with a turn span was installed. (When the bridge was open to tall ship, this span pivoted or rotated counter-clockwise and had stone piers to rest upon.) In 1962, this segment was changed again to a lift bridge, raising to 350 feet of clearance over the water. In 1988, all railroads abandoned the bridge and the lift section was completely removed.
This bridge not only carried railroads on the top, but also had a lower deck for vehicular traffic. This closed in 1939 with the opening of the O'Neal Bridge.
Other railroads that used this bridge were Virginia & Georgia; Nashville, Florence & Sheffield; L&N; Southern; Around 1903, a streetcar service also used the rails to get passengers from one side to the other and it lasted until 1933.
The complete history is here:
www.oldrailroadbridge.org/index.php?option=com_content&am...
In 1990, a preservation society began in an effort to restore the bridge. The old railroad bed leading to the upper portion of the bridge now has a large gate in front of it, so you can look across it, but go no further. Down below, the access area was cleaned up and the wood that had been rotting for over 50 years was replaced. Today, this lower deck is a pedestrian bridge where you can walk about 1500 feet to where the segment is missing, and then you have to turn around.
Finally, the Library of Congress has some photos of this bridge dating back to 1976
IMPORTANT
All my 2015 pictures of Nepal are taken shortly before the heavy earthquake in April 2015! Most of these buildings are now damaged!
To me this is the real tragedy of this year!
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Bhaktapur (Nepali: भक्तपुर), literally translates to Place of devotees. Also known as Bhadgaon or Khwopa (Newar: ख्वप Khwopa), it is an ancient Newar city in the east corner of the Kathmandu Valley, Nepal, about 13 km from the capital city, Kathmandu. It is located in Bhaktapur District in the Bagmati Zone.
Bhaktapur was the largest of the three Newar kingdoms of the Kathmandu Valley, and was the capital of Nepal during the great 'Malla Kingdom' until the second half of the 15th century. Today it is the third largest city in the Kathmandu Valley, with a population of more than 80,000, of which the vast majority are still Newars. Historically more isolated than the other two kingdoms, Kathmandu and Patan, Bhaktapur has a distinctly different form of Nepal Bhasa language.
Bhaktapur has the best preserved palace courtyards and old city center in Nepal, and is listed as a World Heritage Site by UNESCO for its rich culture, temples, and wood, metal and stone artworks. This is supported by the restoration and preservation efforts of German-funded Bhaktapur Development Project (BDP).
The city is famous for special type of curd called "Ju Ju(king) dhau(curd). It is experienced by the curd makers that the taste of curd prepared in this location cannot be found elsewhere all over Nepal.
ETYMOLOGY
KHWOPA is the ancient name of Bhaktapur. The term "Bhaktapur" (Sanskrit/Nepali: भक्तपुर) refers to "The City Of Devotees". This Bhaktapur City is also known as "Khwopa" (Nepal Bhasa: ख्वप) or "Bhadgaon" (Nepali:भादगाँउ) or "Ancient Newari Town" throughout the Kathmandu Valley. "Kh0apa" actually refers to the masks which are believed to have been worn by gods and goddesses. Bhaktapur is popular for different forms of mask dances based on lives of different deities and therefore, it was named "Khwapa" which later came to become just "Khwopa," which is also near to meaning masks.
HISTORY
It is the home of traditional art and architecture, historical monuments and craft works, magnificent windows, pottery and weaving industries, excellent temples, beautiful ponds, rich local customs, culture, religion, festivals, musical mystic and so on. Bhaktapur is still an untouched as well as preserved ancient city that is itself a world to explore for tourists.
From time immemorial it lay on the trade route between Tibet and India. This position on the main caravan route made the town rich and prosperous.
DEMOGRAPHICS
At the time of the 2001 Nepal census it had a population of 72,543. The male inhabitants of this city wear a special type of cap called the Bhadgaunle Topi Nyatapola.
LANDMARKS
LAYAKU (DURBAR SQUARE)
Bhaktapur Durbar Square is a conglomeration of pagoda and shikhara-style temples, mostly dedicated to Hindu gods and goddesses grouped around a 55-window palace of brick and wood. The square is one of the most charming architectural showpieces of the valley as it highlights the ancient arts of Nepal. The golden effigies of the kings perched on the top of stone monoliths, the guardian deities looking out from their sanctuaries, the wood carvings in every place — struts, lintels, uprights, tympanums, gateways and windows — all seem to form a well-orchestrated symphony.
The royal palace was originally situated at Dattaraya square and was only later moved to the Durbar square location. The square in Bhaktapur was severely damaged by an earthquake in 1934 and hence appears more spacious than the ones at Kathmandu and Patan.
NYATAPOLA TEMPLE
Nyatapola Temple is a 5-story pagoda located in Bhaktapur, Nepal. The temple was erected by Nepali King Bhupatindra Malla during a 5-month period from late 1701 into 1702. It is the temple of Siddha Laxmi, the Hindu goddess of prosperity.
BHAIRAB NATH TEMPLE
This is another pagoda temple of lord Bhairab, the dreadful aspect of Lord Shiva. It stands a short distance away from the temple of Nyatapola and was originally constructed by King Jagat Jyoti Malla on a modest scale. It was later remodelled by King Bhupatindra Malla, a zealous lover of the arts, into what it is now a three-storeyed temple.
DATTATRAYA TEMPLE
The temple of Dattatraya is as old as the Palace of Fifty-five Windows. Consecrated by King Yakshya Malla in 1427 AD, this temple, according to popular belief, was built out of the trunk of a single tree. It was subsequently repaired and renovated by King Vishwa Malla in 1458 AD.
Just beside temple is a monastery (Math) with exquisitely carved peacock windows. These famous windows were carved during the reign of King Vishwa Malla. The monastery is full of artistic facades of latticed windows and engraved columns.
CHANGU NARAYAN TEMPLE
Changu Narayan is an ancient Hindu temple located near the village of Changunarayan in the Kathmandu Valley on top of a hill at the eastern end of the valley. It is 6 kilometres to the north of Bhakathapur and 22 kilometres from Kathmandu. The temple is one of the oldest Hindu temples of the valley, and is believed to have been constructed first in the 4th century. Changu Narayan is the name of Vishnu, and the temple is dedicated to him. A stone slab discovered in the vicinity of the temple dates to the 5th century, and is the oldest such stone inscription discovered in Nepal. It was rebuilt after the old temple was devastated. Many stone sculptures here date to the Licchavi period. Changu Narayan Temple is listed by UNESCO as a World Heritage Site.
The temple is a double-roofed structure where the idol of Lord Vishnu in his incarnation as Narayana is deified. The exquisitely built temple has intricate roof struts showing multi-armed Tantric deities. A kneeling image of Garuda (dated to the 5th century), the vahana or vehicle of Vishnu with a snake around its neck, faces the temple. The gilded door depicts stone lions guarding the temple. Gilded windows also flank the door. A conch and a disc, symbols of Vishnu, are carved on the two pillars at the entrance. Non-Hindus are not allowed inside the temple.
TA PUKHA (SIDDHA POKHARI)
Ta Pukhu (Siddha Pokhari) is a big rectangular water pond near the main city gate. It was built during the reign of King Yakshya Malla in the early 15th century and is associated with a number of myths. From this spot a wide range of snowy peaks are visible on clear days.
KAILASHNATH MAHADEV STATUE
Kailashnath Mahadev is the World's Tallest Lord Shiva statue. The height of this statue is 143 feet high and is situated 20 km from Kathmandu, epal. The statues construction work was started in 2004 and was completed in 2012. The statue's inauguration took place on the 21st of June '12. This statue stands on the 32nd position in the list of all statues by height in the whole world. It has been made of copper, cement, zinc, and steel. To make this gigantic structure possible there were many professional workers and statue makers from India.
FESTIVAL
Bhaktapur is also known as city of festivals and celebrations. The city celebrates festivals each month starting from new year festival to the Holi puni at the end of the year.
- Bisket Jatra (New year festival)
This ancient annual festival of bhaktapur takes place at the New Year of the Bikram Sambat calendar. A few days before the New Year, usually at Chaitra 27 or Chaitra 28, if 31 days in month, the goddess 'bhadrakali' and the god 'bhairab' are enshrined in their raths, or immense chariots & pulled through the narrow streets of Bhaktapur by crowds of young men.
The chariots rest at certain time-honored places in the city and people come out to throw offerings of flower, rice, coins and red sindur powder. On the last day of the old year a towering wooden pole known as ' lyesing dha: or lingo' is erected at the edge of town. Long banners hang from the pole, symbolizing snakes - Nag and nagini. On new year's day, the erected pole is brought down symbolizing victory over evil! People enjoy New year day along with victory over evils. On baisakh 5, the chariot is again pulled to narrow street of bhaktapur and brought to its origin place, Taumadhi square marking end of Bisket Jatra.
- Kumar Khasti (Sithi Nakha)
Before modern piping system, wells and kuwas were the basis for water supply in bhaktapur. In this auspicious day, people clean wells and worship Naag favoring good fall in monsoon. They celebrate by eating delicious delicacy like bara and chatamari.
- Gathamaga charya
Gathamaga is made up of straw that symbols a devil. Locals make gathamaga in their locality and burn fire to remove devils of their locality. It is also said that mosquitos loses its one leg in this day.
- Sa: Paaru (Gai Jatra)
The celebration of Gai Jatra Bhaktapur is interesting among Kathmandu and Lalitpur. In this day, Tall bamboo poles wrapped in cloth and topped horn of straw and an umbrella is carried around the town in memory of dead. The photo of dead is hung in this pole called Ta macha.
Also a colorful procession known as Ghing tang gishi is main attraction of this festival. People enjoy and dance in beats of music and play with stick in accordance to the beat. People decorate themselves in mask, paints and even in female outfits.
GUNLA
Gunla is the name of 10th month of Nepal Era calendar. It is sacred month dedicated to Lord Buddha celebrated in Kathmandu, Patan and Bhaktapur.
But In Bhaktapur, last day of Gunla Panchadan is celebrated differently. The Five Buddhas are brought to Taumadhi square accompanied with Gunla Baja, a special musical instrument played only in Gunla and Buddhas are rounded around bhaktapur town.
- Pulu Kisi (Indra Jatra)
The son of Lord of heaven, is believed to have been kidnapped by a devil named Maisasur who then tied Indra's son in a pole and killed. Indra was shocked to hear his son's death and sent an elephant, pulukisi to find and kill Maisasur. But legend says Pulukisi couldn't find maisur till date. This jatra is a play to that legendary story where pulu kisi is rounded the town to search for Maisasur.
- Sithi Nakha
In Bhaktapur a palanquin with an image of the hindu goddess Bhagawati is carried in colorful procession through Nyatapol square this day.
- Dhanya purnima (Yomari purnima)
In this day Farmers of Kathmandu valley worship to Annapurna, the Goddess of grains, for good rice harvest and enjoy feast after all the hard work of the season. Yomari is the chief item on the menu in this day. So is called Yomari puni.
- Maghe sankranti (Ghya-chaku sankranti) (Makar Sankranti)
This festival marks the winter solstice and Newars partake of a feast. The days special menu include butter (ghyu), molasses (chaku) and yam.
In Bhaktapur, on this auspicious day samyak Dan is performed by Buddhist. The shakyas and Bajracharya gather in a samyak ground near Napukhu pond accompanied with panchabuddhas and samyak buddhas. They are offered chaku balls and rice. Bhaktapur is the only one in valley that conducts samyak Dan once in a year.
SHREE PANCHAMI
People regard this day as propitious day for starting new enterprise. Devotee throng Devi shrine to seek blessing. In Bhaktapur, People visit Sashwo:dega in this auspicious day where the idol of Buddhist deity Mahamanjushree is kept. Hindus regard it as saraswoti and worship whereas Buddhist worship it as Manjushree.
IN POPULARE CULTURE
Portions of the movie Little Buddha starring Keanu Reeves and Bridget Fonda were filmed in the Bhaktapur Durbar Square.
2015 EARTHQUAKE
The Magnitude 7.8 2015 Nepal earthquake that struck on 25 April 2015 damaged 116 heritages in the historic town of Bhaktapur. Of them, 67 were completely damaged while 49 suffered from partial damages. The quake has badly damaged the Durbar square, a significant heritage site included in the UNESCO world heritage list. The main premises of Taleju Temple here also witnessed damages in the disaster.
The building of the municipality office, temples of Rameshwor, Batsala, Narayan, Siddilaxmi, Biswaroopa, Siddiganesh, Sweetbhairav, Siva Mahadev, Degaina, sattal, pati and pujari mathas were damaged by the quake.
The reconstruction and new construction of the damaged heritages will cost over Rs 293 million, underlining the need of starting the renovation soon.
The Magnitude 8.4 (1934 Nepal–Bihar earthquake) demolished several buildings that were never rebuilt, however they can be seen in the earlier drawings. Chyasilin Mandap has been rebuilt.
WIKIPEDIA
we cant move the 4 color printer now because these guys might need a hardcopy of their powerpoint presentation of nothing.
The Chapel Royal
A beautiful chapel in continuous use for over 450 years. Everyone is welcome to attend religious services in The Chapel Royal at Hampton Court Palace.
Sumptuous Ceiling and Important Historic Site
Outstandingly rich, colorful and layered with history, the chapel’s ceiling is the grand culmination of the Tudor interiors at Hampton Court.
Kings and queens used the private pew which looks down upon the main body of the chapel.
It was here in the chapel, in 1540, that Archbishop Cranmer handed Henry VIII a letter outlining various accusations against the King’s young new wife, Catherine Howard.
She was accused of unchaste behavior before her marriage. Henry VIII had been besotted with his young wife, which is why he turned against her all the more viciously. She was executed at the Tower of London soon afterwards.
Henry VIII’s Crown, an accurate replica of the crown worn by Henry VIII, is on display in the Royal Pew of the Chapel Royal where Henry himself would have sat wearing it.
Her Majesty’s Chapel
“Her Majesty provides this beautiful place of worship and its establishment of a Chaplain, a full-time Choir, and a Verger, for all who may wish to attend its services or visit it.”
—Denis Mulliner, Canon of The Chapel Royal
Hampton Court’s royal chapel remains in active use today. In fact, it has been in continuous use ever since Thomas Wolsey built it almost 500 years ago. It was Cardinal Wolsey who had the Chapel extended to its current size. Henry VIII installed the magnificent vaulted ceiling here in 1535. There are clear signs that the ceiling was built by a Tudor monarch. The red and white rose of the house of Tudor as well as Margaret Beaufort’s portcullis—which Henry had chosen to take over after his grandmother’s death—have been carved out at the very top of the walls.
The East end of the chapel once contained a great double window filled with stained glass: Henry VIII’s patron saint—Saint Henry the Emperor—was joined by Saint Catherine, Saint Thomas Becket and Saint Anne. The royal family itself is also featured—Henry VIII, his wife Catherine of Aragon, and Cardinal Thomas Wolsey are kneeling in prayer. It was originally created for Wolsey by Erhard Schön of Nürnberg but he fell from favor before he could enjoy it. The glass was destroyed in the Commonwealth and the window eventually bricked up. It is now completely hidden by the large oak reredos carved by Grinling Gibbons for Queen Anne in the early 1700s. The monarch and his family would sit in the Royal Pew above the rest of the congregation.
The Chapel at Hampton Court Palace witnessed many important events during the Tudor time. Among other things, it was here that Archbishop Cranmer secretly handed Henry VIII a letter containing all the details of Katherine Howard’s affairs. Prince Edward was baptized here shortly after his birth in 1537.
A History of the Chapel Royal
One feature of Wolsey’s house, distinguishing it from the houses of other courtiers, was the Chapel and the grand procession route to it. In a king’s or cardinal’s household, the stately procession from his own chambers to Chapel to hear mass on feast days was an important ritual. Passing along the gallery, accompanied by his officers, the king or grandee could see and be seen by the throngs of courtiers and visitors. At Hampton Court, Wolsey constructed a magnificent double-height chapel, with an estoppel window at its east end filled with stained glass. Remains of this great double window survive behind Queen Anne’s eighteenth-century reredos, which dominates the east end of the chapel today. The stained-glass windows, designed by Erhard Schön from Nuremberg, included figures of a king and queen praying. Wolsey’s Chapel choir was excellent, so fine that in 1519, Henry VIII insisted that some of its members transferred to the King’s own singers; the choristers who still practice in the chapel today are their successors.
It is possible to work out that the Royal lodgings, Wolsey’s own lodgings, and the Chapel were built in one campaign because they share similar bricks. The soft red brick of Wolsey’s building was enhanced by patterns in “diaper-work”. Diamond -shaped designs picked out in black or over burnt bricks. This subtle decoration once covered most of the Palace, although later repairs have erased or spoiled much of it. However, on the external east wall of the chapel, one patch of what appears to be diaper-work survives in good condition because it has been sheltered from the elements by later buildings constructed against it. Here, the builders tried to deceive the eye by continuing the diaper pattern in black paint rather than by using actual blackened bricks.
On feast or holy days, the King would hear mass from the Holyday Closet, a room overlooking the Chapel. On other days, he was often keen to leave the palace early to reach the hunting field and would hear mass at seven o’clock in his Privy Closet within his own lodgings, sometimes reading state papers throughout the service. On feast-days, the Kingwood process in a stately manner to the Chapel, as Wolsey had done, along what is today known as the Haunted Gallery. The most important procession took place at Epiphany, the 12th day of Christmas, for which Henry would wear his crown and ropes. By 1535, the Holyday Closet and Chapel itself were now far superior to the simpler structure that Wolsey had built.
The Chapel, Henry’s last great building project at the Palace, was begun in 1535. The most important change was the addition of the fantastical ceiling, which still survives. The designer was probably William Clement, and its virtuosity clearly demonstrates his qualifications for his next task, which was to create another new Palace for Henry not far from Hampton Court: the largely wooden structure of Nonsuch. Although little remains Nonsuch Palace today, we can imagine its complexity and flamboyance from Hampton Court’s Chapel ceiling. Like the great Hall roof, the ceiling has many decorative flourishes on trusses, vaults, and pendants decorated with angels blasting their trumpets. The craftsman John Hethe and Henry Blankston added color and gilding.
At the same time, the Royal Pew was refitted to create the Holyday Closets at the west end of the chapel. Previously, there had been one large room for the King’s use; now two were created, with a painted screen incorporating stained-glass separating the King’s private pew from the Queen’s. Here it was that Henry first received the fateful news of Catherine Howard’s adultery. Henry VIII married his sixth and last wife in the Queen’s Closet. Catherine Parr was a good mother to Henry’s three children; she outlived her husband.
In 1643, the Parliamentarian forces seized Hampton Court. Motivated by the radical Puritanism that sought to strip the church of its frivolous trappings, they removed all the fine fittings from the Chapel: “the Altar was taken down … the Rails pulled down, the steps leveled; and the Popish pictures and superstitious Images that were in the glass windows were also demolished”. Only the elaborate ceiling remained above a white-painted room for preaching, with twelve long hard forms laid out for the congregation.
The greatest impact the Queen Anne had upon the fabric of the Palace was in the remodeling of the Chapel Royal is a firm upholder of the Anglican feet and royal tradition, she maintained a full complement of chapel musicians. As a sick woman who did not care for the elaborate etiquette of the Bedchamber, she saw her daily attendance at Chapel as her main opportunity to make a public appearance. In 1710, Sir Christopher Wren and Nicholas Hawksmoor successfully presented schemes for remodeling the body of the Chapel; these included a grand timber reredos at the east end with a painted scene by Sir James Thornhill above, the removal of the Tudor window tracery and the addition of paneling, box pews, an organ, and new sanctuary fittings. The Tudor windows were replaced with large casement windows. A trompe l’œil window painted by Thornhill on the south wall of the chapel, next to the organ, preserves the appearance of the eighteenth-century windows. A staircase was added leading down from the Royal Pew, where Thornhill also painted the central ceiling with a playful scene of cherubs in the heavens holding aloft a crown and a sword. The work was completed in 1712.
In the Grace and Favor Period, there was continuing rancor over the seating arrangements with the Chapel Royal. Seating for the worshipers was strictly by rank and social standing, policed by the resident housekeeper. There was sometimes unseemly behavior when elderly ladies tried to pull rank over their neighbors or over the visitors who tried to come into the Chapel. The problem seating had become so urgent that in 1866, the architect Anthony Salvin reordered the pews and added a block of box pews in the center. Even with these enhancements, the disputes continued, until the Lord Chamberlain decreed that no longer were those attending services in the Chapel to sit by rank.
Queen Anne’s casement windows were replaced with copies of the original Tudor windows in 1894.
During the Grace and Favor Period, famous Antarctic explorer Sir Robert falcon Scott was married in the Chapel Royal in 1908; his bride, Kathleen Bruce, a famous sculptor in her own right, was living in the grace-and-favor apartment at the time with her aunt, Mrs. Zoë Thomson.
Under the supervision of Edward Jesse, Itinerant Deputy Surveyor in the Office of Woods, Forests and Land Revenues, the ceiling of the Chapel Royal was repainted in its original rich blue coloring and gilded with gold stars. (The ceiling had been painted white in the reign of Queen Anne.) The design was further enhanced with mottos.
In the 1920s, the roof of the Chapel Royal was found to be in a decayed and dangerous state. Here new structural supports were introduced to bear the weight of the Tudor timber ceiling.
The Cloister
The cloister outside the main doors of the Chapel Royal has remained much as it was in Cardinal Wolsey’s time. He had the present Chapel built on the site of the thirteenth century chapel of the Knights Hospitaller of St. John of Jerusalem. The traces of a doorway opposite the entrance to the Chapel suggest that there was access at one time to the courtyard on the west side. Wolsey’s Chapel was taken over as a Chapel Royal with the Palace by King Henry VIII, and has been much altered since the sixteenth century, but its dimensions are still those of the Chapel which Wolsey built. The coats-of-arms flanking the doors of the Chapel Royal contain the heraldic achievements of King Henry VIII and his third Queen, Jane Seymour. The supporters are angels, and it has been suggested because of their religious subject that they may have belonged to Wolsey’s coat-of-arms; but it is more likely that they were integral to the Royal Arms of King Henry VIII and his Queen.
IMPORTANT
All my 2015 pictures of Nepal are taken shortly before the heavy earthquake in April 2015! Most of these buildings are now damaged!
To me this is the real tragedy of this year!
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Bhaktapur (Nepali: भक्तपुर), literally translates to Place of devotees. Also known as Bhadgaon or Khwopa (Newar: ख्वप Khwopa), it is an ancient Newar city in the east corner of the Kathmandu Valley, Nepal, about 13 km from the capital city, Kathmandu. It is located in Bhaktapur District in the Bagmati Zone.
Bhaktapur was the largest of the three Newar kingdoms of the Kathmandu Valley, and was the capital of Nepal during the great 'Malla Kingdom' until the second half of the 15th century. Today it is the third largest city in the Kathmandu Valley, with a population of more than 80,000, of which the vast majority are still Newars. Historically more isolated than the other two kingdoms, Kathmandu and Patan, Bhaktapur has a distinctly different form of Nepal Bhasa language.
Bhaktapur has the best preserved palace courtyards and old city center in Nepal, and is listed as a World Heritage Site by UNESCO for its rich culture, temples, and wood, metal and stone artworks. This is supported by the restoration and preservation efforts of German-funded Bhaktapur Development Project (BDP).
The city is famous for special type of curd called "Ju Ju(king) dhau(curd). It is experienced by the curd makers that the taste of curd prepared in this location cannot be found elsewhere all over Nepal.
ETYMOLOGY
KHWOPA is the ancient name of Bhaktapur. The term "Bhaktapur" (Sanskrit/Nepali: भक्तपुर) refers to "The City Of Devotees". This Bhaktapur City is also known as "Khwopa" (Nepal Bhasa: ख्वप) or "Bhadgaon" (Nepali:भादगाँउ) or "Ancient Newari Town" throughout the Kathmandu Valley. "Kh0apa" actually refers to the masks which are believed to have been worn by gods and goddesses. Bhaktapur is popular for different forms of mask dances based on lives of different deities and therefore, it was named "Khwapa" which later came to become just "Khwopa," which is also near to meaning masks.
HISTORY
It is the home of traditional art and architecture, historical monuments and craft works, magnificent windows, pottery and weaving industries, excellent temples, beautiful ponds, rich local customs, culture, religion, festivals, musical mystic and so on. Bhaktapur is still an untouched as well as preserved ancient city that is itself a world to explore for tourists.
From time immemorial it lay on the trade route between Tibet and India. This position on the main caravan route made the town rich and prosperous.
DEMOGRAPHICS
At the time of the 2001 Nepal census it had a population of 72,543. The male inhabitants of this city wear a special type of cap called the Bhadgaunle Topi Nyatapola.
LANDMARKS
LAYAKU (DURBAR SQUARE)
Bhaktapur Durbar Square is a conglomeration of pagoda and shikhara-style temples, mostly dedicated to Hindu gods and goddesses grouped around a 55-window palace of brick and wood. The square is one of the most charming architectural showpieces of the valley as it highlights the ancient arts of Nepal. The golden effigies of the kings perched on the top of stone monoliths, the guardian deities looking out from their sanctuaries, the wood carvings in every place — struts, lintels, uprights, tympanums, gateways and windows — all seem to form a well-orchestrated symphony.
The royal palace was originally situated at Dattaraya square and was only later moved to the Durbar square location. The square in Bhaktapur was severely damaged by an earthquake in 1934 and hence appears more spacious than the ones at Kathmandu and Patan.
NYATAPOLA TEMPLE
Nyatapola Temple is a 5-story pagoda located in Bhaktapur, Nepal. The temple was erected by Nepali King Bhupatindra Malla during a 5-month period from late 1701 into 1702. It is the temple of Siddha Laxmi, the Hindu goddess of prosperity.
BHAIRAB NATH TEMPLE
This is another pagoda temple of lord Bhairab, the dreadful aspect of Lord Shiva. It stands a short distance away from the temple of Nyatapola and was originally constructed by King Jagat Jyoti Malla on a modest scale. It was later remodelled by King Bhupatindra Malla, a zealous lover of the arts, into what it is now a three-storeyed temple.
DATTATRAYA TEMPLE
The temple of Dattatraya is as old as the Palace of Fifty-five Windows. Consecrated by King Yakshya Malla in 1427 AD, this temple, according to popular belief, was built out of the trunk of a single tree. It was subsequently repaired and renovated by King Vishwa Malla in 1458 AD.
Just beside temple is a monastery (Math) with exquisitely carved peacock windows. These famous windows were carved during the reign of King Vishwa Malla. The monastery is full of artistic facades of latticed windows and engraved columns.
CHANGU NARAYAN TEMPLE
Changu Narayan is an ancient Hindu temple located near the village of Changunarayan in the Kathmandu Valley on top of a hill at the eastern end of the valley. It is 6 kilometres to the north of Bhakathapur and 22 kilometres from Kathmandu. The temple is one of the oldest Hindu temples of the valley, and is believed to have been constructed first in the 4th century. Changu Narayan is the name of Vishnu, and the temple is dedicated to him. A stone slab discovered in the vicinity of the temple dates to the 5th century, and is the oldest such stone inscription discovered in Nepal. It was rebuilt after the old temple was devastated. Many stone sculptures here date to the Licchavi period. Changu Narayan Temple is listed by UNESCO as a World Heritage Site.
The temple is a double-roofed structure where the idol of Lord Vishnu in his incarnation as Narayana is deified. The exquisitely built temple has intricate roof struts showing multi-armed Tantric deities. A kneeling image of Garuda (dated to the 5th century), the vahana or vehicle of Vishnu with a snake around its neck, faces the temple. The gilded door depicts stone lions guarding the temple. Gilded windows also flank the door. A conch and a disc, symbols of Vishnu, are carved on the two pillars at the entrance. Non-Hindus are not allowed inside the temple.
TA PUKHA (SIDDHA POKHARI)
Ta Pukhu (Siddha Pokhari) is a big rectangular water pond near the main city gate. It was built during the reign of King Yakshya Malla in the early 15th century and is associated with a number of myths. From this spot a wide range of snowy peaks are visible on clear days.
KAILASHNATH MAHADEV STATUE
Kailashnath Mahadev is the World's Tallest Lord Shiva statue. The height of this statue is 143 feet high and is situated 20 km from Kathmandu, epal. The statues construction work was started in 2004 and was completed in 2012. The statue's inauguration took place on the 21st of June '12. This statue stands on the 32nd position in the list of all statues by height in the whole world. It has been made of copper, cement, zinc, and steel. To make this gigantic structure possible there were many professional workers and statue makers from India.
FESTIVAL
Bhaktapur is also known as city of festivals and celebrations. The city celebrates festivals each month starting from new year festival to the Holi puni at the end of the year.
- Bisket Jatra (New year festival)
This ancient annual festival of bhaktapur takes place at the New Year of the Bikram Sambat calendar. A few days before the New Year, usually at Chaitra 27 or Chaitra 28, if 31 days in month, the goddess 'bhadrakali' and the god 'bhairab' are enshrined in their raths, or immense chariots & pulled through the narrow streets of Bhaktapur by crowds of young men.
The chariots rest at certain time-honored places in the city and people come out to throw offerings of flower, rice, coins and red sindur powder. On the last day of the old year a towering wooden pole known as ' lyesing dha: or lingo' is erected at the edge of town. Long banners hang from the pole, symbolizing snakes - Nag and nagini. On new year's day, the erected pole is brought down symbolizing victory over evil! People enjoy New year day along with victory over evils. On baisakh 5, the chariot is again pulled to narrow street of bhaktapur and brought to its origin place, Taumadhi square marking end of Bisket Jatra.
- Kumar Khasti (Sithi Nakha)
Before modern piping system, wells and kuwas were the basis for water supply in bhaktapur. In this auspicious day, people clean wells and worship Naag favoring good fall in monsoon. They celebrate by eating delicious delicacy like bara and chatamari.
- Gathamaga charya
Gathamaga is made up of straw that symbols a devil. Locals make gathamaga in their locality and burn fire to remove devils of their locality. It is also said that mosquitos loses its one leg in this day.
- Sa: Paaru (Gai Jatra)
The celebration of Gai Jatra Bhaktapur is interesting among Kathmandu and Lalitpur. In this day, Tall bamboo poles wrapped in cloth and topped horn of straw and an umbrella is carried around the town in memory of dead. The photo of dead is hung in this pole called Ta macha.
Also a colorful procession known as Ghing tang gishi is main attraction of this festival. People enjoy and dance in beats of music and play with stick in accordance to the beat. People decorate themselves in mask, paints and even in female outfits.
GUNLA
Gunla is the name of 10th month of Nepal Era calendar. It is sacred month dedicated to Lord Buddha celebrated in Kathmandu, Patan and Bhaktapur.
But In Bhaktapur, last day of Gunla Panchadan is celebrated differently. The Five Buddhas are brought to Taumadhi square accompanied with Gunla Baja, a special musical instrument played only in Gunla and Buddhas are rounded around bhaktapur town.
- Pulu Kisi (Indra Jatra)
The son of Lord of heaven, is believed to have been kidnapped by a devil named Maisasur who then tied Indra's son in a pole and killed. Indra was shocked to hear his son's death and sent an elephant, pulukisi to find and kill Maisasur. But legend says Pulukisi couldn't find maisur till date. This jatra is a play to that legendary story where pulu kisi is rounded the town to search for Maisasur.
- Sithi Nakha
In Bhaktapur a palanquin with an image of the hindu goddess Bhagawati is carried in colorful procession through Nyatapol square this day.
- Dhanya purnima (Yomari purnima)
In this day Farmers of Kathmandu valley worship to Annapurna, the Goddess of grains, for good rice harvest and enjoy feast after all the hard work of the season. Yomari is the chief item on the menu in this day. So is called Yomari puni.
- Maghe sankranti (Ghya-chaku sankranti) (Makar Sankranti)
This festival marks the winter solstice and Newars partake of a feast. The days special menu include butter (ghyu), molasses (chaku) and yam.
In Bhaktapur, on this auspicious day samyak Dan is performed by Buddhist. The shakyas and Bajracharya gather in a samyak ground near Napukhu pond accompanied with panchabuddhas and samyak buddhas. They are offered chaku balls and rice. Bhaktapur is the only one in valley that conducts samyak Dan once in a year.
SHREE PANCHAMI
People regard this day as propitious day for starting new enterprise. Devotee throng Devi shrine to seek blessing. In Bhaktapur, People visit Sashwo:dega in this auspicious day where the idol of Buddhist deity Mahamanjushree is kept. Hindus regard it as saraswoti and worship whereas Buddhist worship it as Manjushree.
IN POPULARE CULTURE
Portions of the movie Little Buddha starring Keanu Reeves and Bridget Fonda were filmed in the Bhaktapur Durbar Square.
2015 EARTHQUAKE
The Magnitude 7.8 2015 Nepal earthquake that struck on 25 April 2015 damaged 116 heritages in the historic town of Bhaktapur. Of them, 67 were completely damaged while 49 suffered from partial damages. The quake has badly damaged the Durbar square, a significant heritage site included in the UNESCO world heritage list. The main premises of Taleju Temple here also witnessed damages in the disaster.
The building of the municipality office, temples of Rameshwor, Batsala, Narayan, Siddilaxmi, Biswaroopa, Siddiganesh, Sweetbhairav, Siva Mahadev, Degaina, sattal, pati and pujari mathas were damaged by the quake.
The reconstruction and new construction of the damaged heritages will cost over Rs 293 million, underlining the need of starting the renovation soon.
The Magnitude 8.4 (1934 Nepal–Bihar earthquake) demolished several buildings that were never rebuilt, however they can be seen in the earlier drawings. Chyasilin Mandap has been rebuilt.
WIKIPEDIA
Important legal note.
All images are copyright and must not be re posted or water marks removed, anyone found reposting is liaIble to prosecution.
Important legal note.
All images are copyright and must not be re posted or water marks removed, anyone found reposting is liable to prosecution.
The is a photograph from the third running of the Athlone Flatline Half Marathon ("The Flatline") which was held at Athlone, Co. Westmeath, Ireland on Saturday 13th September 2014 at 11:00. There was beautiful weather for the event which started and finished at St. Aloysius College near the Canal Banks area of the town just slightly west of the River Shannon. This event was professionally organised and the very flat course meant that many runners both seasoned and new to the scene achieved season or personal bests. Almost 1,000 participants successfully completed the event in the beautiful September sunshine. Everyone involved must be congratulated for the flawless running of the event. This event is sure to go from strength to strength over the coming years. The event has grown from just over 600 in 2012, to over 900 in 2013 with around the same number finishing in 2014. Entry to the race closed weeks in advance.
This is a photograph which is part of a larger set of photographs taken at the start and finish of "The Flatline" 2014. The URL of the main set is www.flickr.com/photos/peterm7/sets/72157647516503901. This photoset contains photographs of the start (at the 600 meter mark) and then of the finish (at the 400 meter mark to go) up to a finish time of about 1:45.
Reading on a Smartphone or tablet? Don't forget to scroll down further to read more about this race and see important Internet links to other information about the race! You can also find out how to access and download these photographs.
Timing and event management was provided by Precision Timing. Results are available on their website at www.precisiontiming.net/result.aspx?v=2100 with additional material available on their Facebook page (www.facebook.com/davidprecisiontiming?fref=ts) See their promotional video on YouTube: www.youtube.com/watch?v=c-7_TUVwJ6Q
For reference the satellite navigation Coordinates to the event HQ are (Longitude: -7.948153, Latitude: 53.420575)
Overall Race Summary
Participants: Such is the popularity of the race this year that registration closed for the race in mid-August 2013. There were well over 850 participants who took to the start line.
Weather: The weather on the day was almost too warm for running which is a very rare complaint in Ireland. The runners were bathed in hot September sunshine for the duration of the race and into the early afternoon. In the sections of the race out towards Clonown and around the Bord na Mona areas there was a cooling.
Course: "The Flatline" ceratinly lived up to its name. It is as flat a course as one is likely to find. A garmin connect gps trace of the route is provided here [connect.garmin.com/activity/199678412] Geographically the course spends much of the race in County Roscommon with only the first and last kilometers actually in County Westmeath. This gives geographically inclined runners the novel opportunity to race in two Irish provinces in one race. The course had distance markers at every kilometre and mile along the way. There were official pacers provided by the race organisers.
Location Map: Start/finish area and registration etc on Google StreetView [goo.gl/maps/8qCes] - Ample parking was supplied with some over-flow car-parking options also available.
Refreshments: An Alkohol Frei bottle of Erdinger was provided to every finisher as they crossed the line. Light refreshments were served.
Some Useful Links
Our photographs on Flickr from the 2013 Flatline Half Marathon: www.flickr.com/photos/peterm7/sets/72157635495089498/
Jimmy Mac's Photography Services on Facebook www.facebook.com/JimmyMacsPics
Precision Timing Results Page 2014: www.precisiontiming.net/result.aspx?v=2175
Precision Timing Results Page 2013: www.precisiontiming.net/result.aspx?v=1489
Precision Timing Results Page 2012: www.precisiontiming.net/result.aspx?v=1014
Facebook Event Page for the 2013 www.facebook.com/events/495900447163378/ (Facebook logon required)
Boards.ie Athletics Discussion Thread about the 2014 race: www.boards.ie/vbulletin/showthread.php?t=2057148781
Boards.ie Athletics Discussion Thread about the 2013 race: www.boards.ie/vbulletin/showthread.php?t=2056984967
Boards.ie Athletics Discussion Thread about the 2012 race: www.boards.ie/vbulletin/showthread.php?p=80049447
GARMIN GPS Trace of the Route for 2013: connect.garmin.com/activity/199678412
Race HQ Venue in 2014: St.Aloysius College Athlone : staloysiuscollege.ie/
Race photographs from 2012's Flatline - supplied by PIXELS PROMOTIONS: pixelspromotions.zenfolio.com/p126168889 (on route) and at the Finish line pixelspromotions.zenfolio.com/p31872670 - please note these are not our photographs (see www.pixelspromotions.com/).
Can I use these photographs directly from Flickr on my social media account(s)?
Yes - of course you can! Flickr provides several ways to share this and other photographs in this Flickr set. You can share to: email, Facebook, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile, tablet, or desktop device will also offer you several different options for sharing this photo page on your social media outlets.
We take these photographs as a hobby and as a contribution to the running community in Ireland. Our only "cost" is our request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us.
This also extends the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.
I want to download these pictures to my computer or device?
You can download the photographic image here direct to your computer or device. This version is the low resolution web-quality image. How to download will vary slight from device to device and from browser to browser. However - look for a symbol with three dots 'ooo' or the link to 'View/Download' all sizes. When you click on either of these you will be presented with the option to download the image. Remember just doing a right-click and "save target as" will not work on Flickr.
I want get full resolution, print-quality, copies of these photographs?
If you just need these photographs for online usage then they can be used directly once you respect their Creative Commons license and provide a link back to our Flickr set if you use them. For offline usage and printing all of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution.
Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.
In summary please remember when requesting photographs from us - If you are using the photographs online all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting does take a significant effort and time. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc. If you are using the photographs in newspapers or magazines we ask that you mention where the original photograph came from.
I would like to contribute something for your photograph(s)?
Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers or in other circumstances we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.
We use Creative Commons Licensing for these photographs
We use the Creative Commons Attribution-ShareAlike License for all our photographs here in this photograph set. What does this mean in reality?
The explaination is very simple.
Attribution- anyone using our photographs gives us an appropriate credit for it. This ensures that people aren't taking our photographs and passing them off as their own. This usually just mean putting a link to our photographs somewhere on your website, blog, or Facebook where other people can see it.
ShareAlike – anyone can use these photographs, and make changes if they like, or incorporate them into a bigger project, but they must make those changes available back to the community under the same terms.
Creative Commons aims to encourage creative sharing. See some examples of Creative Commons photographs on Flickr: www.flickr.com/creativecommons/
I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
►You were hidden behind another participant as you passed our camera
►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
►We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
Don't like your photograph here?
That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.
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The Burgtheater at Dr.-Karl -Lueger-Ring (from now on, Universitätsring) in Vienna is an Austrian Federal Theatre. It is one of the most important stages in Europe and after the Comédie-Française, the second oldest European one, as well as the greatest German speaking theater. The original 'old' Burgtheater at Saint Michael's square was utilized from 1748 until the opening of the new building at the ring in October, 1888. The new house in 1945 burnt down completely as a result of bomb attacks, until the re-opening on 14 October 1955 was the Ronacher serving as temporary quarters. The Burgtheater is considered as Austrian National Theatre.
Throughout its history, the theater was bearing different names, first Imperial-Royal Theater next to the Castle, then to 1918 Imperial-Royal Court-Burgtheater and since then Burgtheater (Castle Theater). Especially in Vienna it is often referred to as "The Castle (Die Burg)", the ensemble members are known as Castle actors (Burgschauspieler).
History
St. Michael's Square with the old K.K. Theatre beside the castle (right) and the Winter Riding School of the Hofburg (left)
The interior of the Old Burgtheater, painted by Gustav Klimt. The people are represented in such detail that the identification is possible.
The 'old' Burgtheater at St. Michael's Square
The original castle theater was set up in a ball house that was built in the lower pleasure gardens of the Imperial Palace of the Roman-German King and later Emperor Ferdinand I in 1540, after the old house 1525 fell victim to a fire. Until the beginning of the 18th Century was played there the Jeu de Paume, a precursor of tennis. On 14 March 1741 finally gave the Empress Maria Theresa, ruling after the death of her father, which had ordered a general suspension of the theater, the "Entrepreneur of the Royal Court Opera" and lessees of 1708 built theater at Kärntnertor (Carinthian gate), Joseph Karl Selliers, permission to change the ballroom into a theater. Simultaneously, a new ball house was built in the immediate vicinity, which todays Ballhausplatz is bearing its name.
In 1748, the newly designed "theater next to the castle" was opened. 1756 major renovations were made, inter alia, a new rear wall was built. The Auditorium of the Old Burgtheater was still a solid timber construction and took about 1200 guests. The imperial family could reach her royal box directly from the imperial quarters, the Burgtheater structurally being connected with them. At the old venue at Saint Michael's place were, inter alia, several works of Christoph Willibald Gluck, Ludwig van Beethoven, Wolfgang Amadeus Mozart as well as Franz Grillparzer premiered .
On 17 February 1776, Emperor Joseph II declared the theater to the German National Theatre (Teutsches Nationaltheater). It was he who ordered by decree that the stage plays should not deal with sad events for not bring the Imperial audience in a bad mood. Many theater plays for this reason had to be changed and provided with a Vienna Final (Happy End), such as Romeo and Juliet or Hamlet. From 1794 on, the theater was bearing the name K.K. Court Theatre next to the castle.
1798 the poet August von Kotzebue was appointed as head of the Burgtheater, but after discussions with the actors he left Vienna in 1799. Under German director Joseph Schreyvogel was introduced German instead of French and Italian as a new stage language.
On 12 October 1888 took place the last performance in the old house. The Burgtheater ensemble moved to the new venue at the Ring. The Old Burgtheater had to give way to the completion of Saint Michael's tract of Hofburg. The plans to this end had been drawn almost 200 years before the demolition of the old Burgtheater by Joseph Emanuel Fischer von Erlach.
The "new" K.K. Court Theatre (as the inscription reads today) at the Ring opposite the Town Hall, opened on 14 October 1888 with Grillparzer's Esther and Schiller's Wallenstein's Camp, was designed in neo-Baroque style by Gottfried Semper (plan) and Karl Freiherr von Hasenauer (facade), who had already designed the Imperial Forum in Vienna together. Construction began on 16 December 1874 and followed through 14 years, in which the architects quarreled. Already in 1876 Semper withdrew due to health problems to Rome and had Hasenauer realized his ideas alone, who in the dispute of the architects stood up for a mainly splendid designed grand lodges theater.
However, created the famous Viennese painter Gustav Klimt and his brother Ernst Klimt and Franz Matsch 1886-1888 the ceiling paintings in the two stairwells of the new theater. The three took over this task after similar commissioned work in the city theaters of Fiume and Karlovy Vary and in the Bucharest National Theatre. In the grand staircase on the side facing the café Landtmann of the Burgtheater (Archduke stairs) reproduced Gustav Klimt the artists of the ancient theater in Taormina on Sicily, in the stairwell on the "People's Garden"-side (Kaiserstiege, because it was reserved for the emperor) the London Globe Theatre and the final scene from William Shakespeare's "Romeo and Juliet". Above the entrance to the auditorium is Molière's The Imaginary Invalid to discover. In the background the painter immortalized himself in the company of his two colleagues. Emperor Franz Joseph I liked the ceiling paintings so much that he gave the members of the company of artists of Klimt the Golden Cross of Merit.
The new building resembles externally the Dresden Semper Opera, but even more, due to the for the two theaters absolutely atypical cross wing with the ceremonial stairs, Semper's Munich project from the years 1865/1866 for a Richard Wagner Festspielhaus above the Isar. Above the middle section there is a loggia, which is framed by two side wings, and is divided from a stage house with a gable roof and auditorium with a tent roof. Above the center house there decorates a statue of Apollo the facade, throning between the Muses of drama and tragedy. Above the main entrances are located friezes with Bacchus and Ariadne. At the exterior facade round about, portrait busts of the poets Calderon, Shakespeare, Moliere, Schiller, Goethe, Lessing, Halm, Grillparzer, and Hebbel can be seen. The masks which also can be seen here are indicating the ancient theater, furthermore adorn allegorical representations the side wings: love, hate, humility, lust, selfishness, and heroism. Although the theater since 1919 is bearing the name of Burgtheater, the old inscription KK Hofburgtheater over the main entrance still exists. Some pictures of the old gallery of portraits have been hung up in the new building and can be seen still today - but these images were originally smaller, they had to be "extended" to make them work better in high space. The points of these "supplements" are visible as fine lines on the canvas.
The Burgtheater was initially well received by Viennese people due to its magnificent appearance and technical innovations such as electric lighting, but soon criticism because of the poor acoustics was increasing. Finally, in 1897 the auditorium was rebuilt to reduce the acoustic problems. The new theater was an important meeting place of social life and soon it was situated among the "sanctuaries" of Viennese people. In November 1918, the supervision over the theater was transferred from the High Steward of the emperor to the new state of German Austria.
1922/1923 the Academy Theatre was opened as a chamber play stage of the Burgtheater. On 8th May 1925, the Burgtheater went into Austria's criminal history, as here Mentscha Karnitschewa perpetrated a revolver assassination on Todor Panitza.
The Burgtheater in time of National Socialism
The National Socialist ideas also left traces in the history of the Burgtheater. In 1939 appeared in Adolf Luser Verlag the strongly anti-Semitic characterized book of theater scientist Heinz Kindermann "The Burgtheater. Heritage and mission of a national theater", in which he, among other things, analyzed the "Jewish influence "on the Burgtheater. On 14 October 1938 was on the occasion of the 50th anniversary of the opening of the Burgtheater a Don Carlos production of Karl-Heinz Stroux shown that served Hitler's ideology. The role of the Marquis of Posa played the same Ewald Balser, who in a different Don Carlos production a year earlier (by Heinz Hilpert) at the Deutsches Theater in the same role with the sentence in direction of Joseph Goebbels box vociferated: "just give freedom of thought". The actor and director Lothar Müthel, who was director of the Burgtheater between 1939 and 1945, staged 1943 the Merchant of Venice, in which Werner Kraus the Jew Shylock clearly anti-Semitic represented. The same director staged after the war Lessing's parable Nathan the Wise. Adolf Hitler himself visited during the Nazi regime the Burgtheater only once (1938), and later he refused in pure fear of an assassination.
For actors and theater staff who were classified according to the Reich Citizenship Law of 1935 as "Jews ", were quickly imposed stage bans, within a few days, they were on leave, fired or arrested. The Burgtheater ensemble between 1938 and 1945 did not put up significant resistance against the Nazi ideology, the repertoire was heavily censored, only a few joined the Resistance, as Judith Holzmeister (then also at the People's Theatre engaged) or the actor Fritz Lehmann. Although Jewish members of the ensemble indeed have been helped to emigrate, was still an actor, Fritz Strassny, taken to a concentration camp and murdered there.
The Burgtheater at the end of the war and after the Second World War
In summer 1944, the Burgtheater had to be closed because of the decreed general theater suspension. From 1 April 1945, as the Red Army approached Vienna, camped a military unit in the house, a portion was used as an arsenal. In a bomb attack the house at the Ring was damaged and burned down on 12th April 1945 completely. Auditorium and stage were useless, only the steel structure remained. The ceiling paintings and part of the lobby were almost undamaged.
The Soviet occupying power expected from Viennese City Councillor Viktor Matejka to launch Vienna's cultural life as soon as possible again. The council summoned on 23 April (a state government did not yet exist) a meeting of all Viennese cultural workers into the Town Hall. Result of the discussions was that in late April 1945 eight cinemas and four theaters took up the operation again, including the Burgtheater. The house took over the Ronacher Theater, which was understood by many castle actors as "exile" as a temporary home (and remained there to 1955). This venue chose the newly appointed director Raoul Aslan, who championed particularly active.
The first performance after the Second World War was on 30 April 1945 Sappho by Franz Grillparzer directed by Adolf Rott from 1943 with Maria Eis in the title role. Also other productions from the Nazi era were resumed. With Paul Hoerbiger, a few days ago as Nazi prisoner still in mortal danger, was shown the play of Nestroy Mädl (Girlie) from the suburbs. The Academy Theatre could be played (the first performance was on 19 April 1945 Hedda Gabler, a production of Rott from the year 1941) and also in the ball room (Redoutensaal) at the Imperial Palace took place performances. Aslan the Ronacher in the summer had rebuilt because the stage was too small for classical performances. On 25 September 1945, Schiller's Maid of Orleans could be played on the enlarged stage.
The first new productions are associated with the name of Lothar Müthel: Everyone and Nathan the Wise, in both Raoul Aslan played the main role. The staging of The Merchant of Venice by Müthel in Nazi times seemed to have been fallen into oblivion.
Great pleasure gave the public the return of the in 1938 from the ensemble expelled Else Wohlgemuth on stage. She performaed after seven years in exile in December 1945 in Clare Biharys The other mother in the Academy Theater. 1951 opened the Burgtheater its doors for the first time, but only the left wing, where the celebrations on the 175th anniversary of the theater took place.
1948, a competition for the reconstruction was tendered: Josef Gielen, who was then director, first tended to support the design of ex aequo-ranked Otto Niedermoser, according to which the house was to be rebuilt into a modern gallery theater. Finally, he agreed but then for the project by Michael Engelhardt, whose plan was conservative but also cost effective. The character of the lodges theater was largely taken into account and maintained, the central royal box but has been replaced by two balconies, and with a new slanted ceiling construction in the audience was the acoustics, the shortcoming of the house, improved significantly.
On 14 October 1955 was happening under Adolf Rott the reopening of the restored house at the Ring. For this occasion Mozart's A Little Night Music was played. On 15 and on 16 October it was followed by the first performance (for reasons of space as a double premiere) in the restored theater: King Ottokar's Fortune and End of Franz Grillparzer, staged by Adolf Rott. A few months after the signing of the Austrian State Treaty was the choice of this play, which the beginning of Habsburg rule in Austria makes a subject of discussion and Ottokar of Horneck's eulogy on Austria (... it's a good country / Well worth that a prince bow to it! / where have you yet seen the same?... ) contains highly symbolic. Rott and under his successors Ernst Haeusserman and Gerhard Klingenberg the classic Burgtheater style and the Burgtheater German for German theaters were finally pointing the way .
In the 1950s and 1960s, the Burgtheater participated (with other well-known theaters in Vienna) on the so-called Brecht boycott.
Gerhard Klingenberg internationalized the Burgtheater, he invited renowned stage directors such as Dieter Dorn, Peter Hall, Luca Ronconi, Giorgio Strehler, Roberto Guicciardini and Otomar Krejča. Klingenberg also enabled the castle debuts of Claus Peymann and Thomas Bernhard (1974 world premiere of The Hunting Party). Bernhard was as a successor of Klingenberg mentioned, but eventually was appointed Achim Benning, whereupon the writer with the text "The theatrical shack on the ring (how I should become the director of the Burgtheater)" answered.
Benning, the first ensemble representative of the Burgtheater which was appointed director, continued Klingenberg's way of Europeanization by other means, brought directors such as Adolf Dresen, Manfred Wekwerth or Thomas Langhoff to Vienna, looked with performances of plays of Vaclav Havel to the then politically separated East and took the the public taste more into consideration.
Directorate Claus Peymann 1986-1999
Under the by short-term Minister of Education Helmut Zilk brought to Vienna Claus Peymann, director from 1986 to 1999, there was further modernization of the programme and staging styles. Moreover Peymann was never at a loss for critical contributions in the public, a hitherto unusual attitude for Burgtheater directors. Therefore, he and his program within sections of the audience met with rejection. The greatest theater scandal in Vienna since 1945 occurred in 1988 concerning the premiere of Thomas Bernhard's Heldenplatz (Place of the Heroes) drama which was fiercly fought by conservative politicians and zealots. The play deals with the Vergangenheitsbewältigung (process of coming to terms with the past) and illuminates the present management in Austria - with attacks on the then ruling Social Democratic Party - critically. Together with Claus Peymann Bernhard after the premiere dared to face on the stage applause and boos.
Bernard, to his home country bound in love-hate relationship, prohibited the performance of his plays in Austria before his death in 1989 by will. Peymann, to Bernhard bound in a difficult friendship (see Bernhard's play Claus Peymann buys a pair of pants and goes eating with me) feared harm for the author's work, should his plays precisely in his homeland not being shown. First, it was through permission of the executor Peter Fabjan - Bernhard's half-brother - after all, possible the already in the schedule of the Burgtheater included productions to continue. Finally, shortly before the tenth anniversary of the death of Bernard it came to the revival of the Bernhard play Before retirement by the first performance director Peymann. The plays by Bernhard are since then continued on the programme of the Burgtheater and they are regularly newly produced.
In 1993, the rehearsal stage of the Castle theater was opened in the arsenal (architect Gustav Peichl). Since 1999, the Burgtheater has the operation form of a limited corporation.
Directorate Klaus Bachler 1999-2009
Peymann was followed in 1999 by Klaus Bachler as director. He is a trained actor, but was mostly as a cultural manager (director of the Vienna Festival) active. Bachler moved the theater as a cultural event in the foreground and he engaged for this purpose directors such as Luc Bondy, Andrea Breth, Peter Zadek and Martin Kušej.
Were among the unusual "events" of the directorate Bachler
* The Theatre of Orgies and Mysteries by Hermann Nitsch with the performance of 122 Action (2005 )
* The recording of the MTV Unplugged concert with Die Toten Hosen for the music channel MTV (2005, under the title available)
* John Irving's reading from his book at the Burgtheater Until I find you (2006)
* The 431 animatographische (animatographical) Expedition by Christoph Schlingensief and a big event of him under the title of Area 7 - Matthew Sadochrist - An expedition by Christoph Schlingensief (2006).
* Daniel Hoevels cut in Schiller's Mary Stuart accidentally his throat (December 2008). Outpatient care is enough.
Jubilee Year 2005
In October 2005, the Burgtheater celebrated the 50th Anniversary of its reopening with a gala evening and the performance of Grillparzer's King Ottokar's Fortune and End, directed by Martin Kušej that had been performed in August 2005 at the Salzburg Festival as a great success. Michael Maertens (in the role of Rudolf of Habsburg) received the Nestroy Theatre Award for Best Actor for his role in this play. Actor Tobias Moretti was awarded in 2006 for this role with the Gertrude Eysoldt Ring.
Furthermore, there were on 16th October 2005 the open day on which the 82-minute film "burg/private. 82 miniatures" of Sepp Dreissinger was shown for the first time. The film contains one-minute film "Stand portraits" of Castle actors and guest actors who, without saying a word, try to present themselves with a as natural as possible facial expression. Klaus Dermutz wrote a work on the history of the Burgtheater. As a motto of this season served a quotation from Lessing's Minna von Barnhelm: "It's so sad to be happy alone."
The Burgtheater on the Mozart Year 2006
Also the Mozart Year 2006 was at the Burgtheater was remembered. As Mozart's Singspiel Die Entführung aus dem Serail in 1782 in the courtyard of Castle Theatre was premiered came in cooperation with the Vienna State Opera on the occasion of the Vienna Festival in May 2006 a new production (directed by Karin Beier) of this opera on stage.
Directorate Matthias Hartmann since 2009
From September 2009 to 2014, Matthias Hartmann was Artistic Director of the Burgtheater. A native of Osnabrück, he directed the stage houses of Bochum and Zurich. With his directors like Alvis Hermanis, Roland Schimmelpfennig, David Bösch, Stefan Bachmann, Stefan Pucher, Michael Thalheimer, came actresses like Dorte Lyssweski, Katharina Lorenz, Sarah Viktoria Frick, Mavie Hoerbiger, Lucas Gregorowicz and Martin Wuttke came permanently to the Burg. Matthias Hartmann himself staged around three premieres per season, about once a year, he staged at the major opera houses. For more internationality and "cross-over", he won the Belgian artist Jan Lauwers and his Need Company as "Artists in Residence" for the Castle, the New York group Nature Theater of Oklahoma show their great episode drama Live and Times of an annual continuation. For the new look - the Burgtheater presents itself without a solid logo with word games around the BURG - the Burgtheater in 2011 was awarded the Cultural Brand of the Year .
Since 2014, Karin Bergmann is the commander in chief.
The Brihadeshwara Temple at Thanjavur in the Indian state of Tamil Nadu, is a Hindu temple dedicated to Shiva. It is an important example of Tamil architecture achieved during the Chola dynasty. The temple is part of the UNESCO World Heritage Site known as the "Great Living Chola Temples".
This is one of the largest temples in India and one of India's most prized architectural sites. Built by emperor Raja Raja Chola I and completed in 1010 AD. Brihadeshwara Temple, also popularly known as the 'Big Temple', turned 1000 years old in 2010.
Thanjavur Periya Kovil stands amidst fortified walls that were probably added in the 16th century. The vimana (or temple tower) is 66 m high and is among the tallest of its kind in the world. The Kumbam (Kalasha or Chikharam, the apex or the bulbous structure on the top) of the temple is carved out of a single rock and it weighs around 80 tons. There is a big statue of Nandi (sacred bull), carved out of a single rock, at the entrance measuring about 16 feet long and 13 feet high. The entire temple structure is made out of granite, the nearest sources of which are close to Tiruchirappalli, about 60 km to the west of Thanjavur.
HISTORY
The temple had its foundations laid out by the Tamil emperor Arulmozhivarman, popularly called Rajaraja Chola I,
in 1002 CE, as the first of the great Tamil Chola building projects.
The Brihadeshwarar Temple was built to grace the throne of the Chola empire in compliance to a command given to him in his dream. The scale and grandeur is in the Chola tradition. An axial and symmetrical geometry rules the temple layout. Temples from this period and the following two centuries are an expression of the Tamils (Chola) wealth, power and artistic expertise. The emergence of such features as the multifaceted columns with projecting square capitals signal the arrival of the new Chola style.
The Brihadeshwarar Temple was built to be the royal temple to display the emperor's vision of his power and his relationship to the universal order. The temple was the site of the major royal ceremonies such as anointing the emperor and linking him with its deity, Shiva, and the daily rituals of the deities were mirrored by those of the king. It is an architectural example showcasing the pure form of the Dravida type of temple architecture and representative of the Chola Empire ideology and the Tamil civilisation in Southern India. The temple "testify to the brilliant achievements of the Chola in architecture, sculpture, painting and bronze casting."
CONSTRUCTION
The wish to build a mammoth temple like this is said to have occurred to Raja Raja while he stayed at Sri Lanka as an emperor.
The esteemed architect and engineer of the temple was Kunjara Mallan Raja Raja Perunthachan as stated in inscriptions found at the temple. The temple was built per ancient texts called Vaastu Shastras and Agamas. He is the ancient ancestor of the doyan of Vaastu Vedic architecture, the late Dr. V. Ganapti Sthapati of Chennai and Mahabalipurim (architect of the 133' granite Thiruvalluvar statue at the tip of south India). Members of his family still live and practice the ancient art and science. The American University of Mayonic Science and Technology was initiated by Dr. V. Ganapati Sthapati to perpetuate the same form of architectural principles used by Kunjara Mallan Raja Raja Perunthachan to build the Brihadeeswarar temple. The temple was built using a measure of 1 3/8-inch called an angula (24 units equalling 33 inches called a hasta, muzam, or kishku). This is the same measure found in ancient Lothal and other sites in the Indus Valley dating back 4000 - 6000 years. This same measure is used to build structures compliant with the Vaastu Shastras and Agamas today. While some builders use a different measure this is considered a standard due to its antiquity.
This temple is the first building fully built by granite and finished within 5yrs [1004AD – 1009AD]. The solid base of the temple raises about 5 metres, above which stone deities and representatives of Shiva dance. The huge kalasam or Vimanam (top portion of the shrine) is believed to weigh 81.28 tonnes of single stone block and was raised to its present height by dragging on an inclined plane of 6.44 km. The big Nandi (bull), weighing about 20 tonnes is made of a single stone and is about 2 m in height, 6 m in length and 2.5 m in width. The presiding deity of lingam is 3.7m tall. The prakaram (outer precincts of the temple) measures 240m by 125m. The outer wall of the upper storey is carved with 81 dance karanas – postures of Bharathanatyam, the classical dance of Tamil Nadu. The shrine of Goddess was added by Pandyas during the 13th century, Subramanya Shrine by Vijayanagara rulers and the Vinayaka shrine was renovated by Maratha rulers.
TEMPLE COMPLEX
The temple complex sits on the banks of a river that was channelled to make a moat around the complex's outer walls, the walls being built like a fortress. The complex is made up of many structures that are aligned axially. The complex can be entered either on one axis through a five-story gopuram or with a second access directly to the huge main quadrangle through a smaller free-standing gopuram. The massive size of the main Vimanam (Shikhara) is ca. 60 meters high, with 16 elaborately articulated stories, and dominates the main quadrangle. Pilaster, piers, and attached columns are placed rhythmically covering every surface of the Vimanam.
The gopuram of the main entrance is 30 m high, smaller than the vimana. It is unusual in the dravidian architecture where the gopurams are generally the main towers and taller than the vimana.
MAIN TEMPLE
A first rectangular surrounding wall, 270 m by 140 m, marks the outer boundary. The main temple is in the center of the spacious quadrangle composed of a sanctuary, a Nandi, a pillared hall and an assembly hall (mandapas), and many sub-shrines. The most important part of the temple is the inner mandapa which is surrounded by massive walls that are divided into levels by sharply cut sculptures and pilasters providing deep bays and recesses. Each side of the sanctuary has a bay emphasising the principle cult icons. The karuvarai, a Tamil word meaning the interior of the sanctum sanctorum, is the inner most sanctum and focus of the temple where an image of the primary deity, Shiva, resides. Inside is a huge stone linga. The word Karuvarai means "womb chamber" from Tamil word karu for foetus. Only priests are allowed to enter this inner-most chamber.
In the Dravida style, the Karuvarai takes the form of a miniature vimana with other features exclusive to southern Indian temple architecture such as the inner wall together with the outer wall creating a pradakshina around the garbhagriha for circumambulation (pradakshina). The entrance is highly decorated. The inside chamber housing the image of the god is the sanctum sanctorum, the garbhagriha. The garbhagriha is square and sits on a plinth, its location calculated to be a point of total equilibrium and harmony as it is representative of a microcosm of the universe. In the center is placed the image of the deity. The royal bathing-hall where Rajaraja the great gave gifts is to the east of the hall of Irumudi-Soran.
The circumambulation winds around the massive lingam in the garbhagriha and is repeated in an upper story, presenting the idea that Chola Empire freely offered access to the gods.
The inner mandapa leads out to a rectangular mandapa and then to a twenty-columned porch with three staircases leading down. Sharing the same stone plinth is a small open mandapa dedicated to Nandi, Shiva's sacred bull mount.
TEMPLE DEITIES
The "moolavar" or prime deity of the Brihadeeswarar Temple is Shiva. All deities, particularly those placed in the niches of the outer wall (Koshta Moorthigal) like Dakshinamurthy, Surya, Chandra are of huge size. The Brihadiswarar temple is one of the rare temples which has idols for "Ashta-dikpaalakas" (Guardians of the directions) – Indra, Agni, Yama, Nirṛti, Varuṇa, Vāyu, Kubera, Īśāna – each of whom was originally represented by a life-sized statue, approximately 6 feet tall, enshrined in a separate temple located in the respective direction. (Only Agni, Varuṇa, Vāyu and Īśāna are preserved in situ.)
ADJOINING STRUCTURES
Surrounding the main temple are two walled enclosures. The outer wall is high, defining the temple complex area. Here is the massive gopuram or gateway mentioned above. Within this a portico, a barrel vaulted gorpuram with over 400 pillars, is enclosed by a high wall interspersed with huge gopurams axially lined up to the main temple.
FEATURES
Another widely held belief is that the shadow of the gopuram (pyramidal tower usually over the gateway of a temple) never falls on the ground. The temple is said to be made up of about 130,000 tons of granite. The Kumbam itself, a 60 ton granite stone carved in one piece, on top of the main gopuram is believed to have been taken to the top by creating an inclined slope to the height of 66m to the top of the gopuram. The prevailing belief is that a mud-slope, which starts at about three miles from the temple site, from Thirukoilore (birthplace of Raja raja's mother) near Sri Virateshvara swamy temple. Elephants might have been used to drag the stone up the slope. This was claimed to be the only part of the gopuram, which does not cast a shadow that fall on the ground, at least not within the temple premises.
MURALS
The temple has Chola frescoes on the walls around the sanctum sanctorum potryaing Shiva in action, destroying demonic forts, dancing and sending a white elephant to transport a devotee to heaven. These frescoes were discovered in the 1940s and portray the mythological episodes of the journey of Saint Sundarar and the Chera King to heaven, the battle scene of Tripurantaka (Lord Siva) with Asuras (demons). The Chola artists have proved their mettle by portraying even the Asura women with a sense of beauty. Some of the paintings in the sanctum sanctorum and the walls in the passage had been damaged because of the soot that had deposited on them. Owing to the continuous exposure to smoke and soot from the lamps and burning of camphor in the sanctum sanctorum over a period of centuries certain parts of the Chola paintings on the circumambulatory passage walls had been badly damaged. The Tanjore Nayak kings replaced them with a few paintings of their own, about 400 years ago. The Archaeological Survey of India, for the first time in the world, used its unique de-stucco process to restore 16 Nayak paintings, which were superimposed on 1000-year-old Chola frescoes. These 400-year-old paintings have been mounted on fibre glass boards, displayed at a separate pavilion.
TEMPLE PERSONNEL
The temple was consecrated in 1010 CE by Raja Raja Chola I & in 2010 a celebration commemorated the temple's thousandth anniversary. The temple maintained a staff of 1000 people in various capacities with 400 being temple dancers Besides the Brahmin priests, these included record-keepers, musicians, scholars, and craftsman of every type as well as housekeeping staff. In those days the temple was a hub of business activities for the flower, milk, oil, and ghee merchants, all of whom made a regular supply of their respective goods for the temple for its poojas and during festival seasons. Moreover as evidenced by the inscriptions that found in the compound wall of this temple, the temple had always been serving as a platform for the dancers who excelled in the traditional dance form of Bharatnatyam. vallamuthu minnadi generation worshipped this temple.
MILLENNIUM CELEBRATIONS
Built in the year 1010 CE by Raja Raja Chola in Thanjavur, Brihadeeswarar Temple popularly known as the 'Big Temple' turned 1000 years old in September 2010. To celebrate the 1000th year of the grand structure, the state government and the town held many cultural events. It was to recall the 275th day of his 25th regal year (1010 CE) when Raja Raja Chola (985–1014 CE) handed over a gold-plated kalasam (copper pot or finial) for the final consecration to crown the vimana, the 59.82-metre tall tower above the sanctum.
BHARATHANATYAM YAJNA
To mark the occasion, the state government organised a Bharathanatyam Yajna, classical dance show under noted dancer Padma Subramaniam. It was jointly organised by the Association of Bharatanatyam Artistes of India (ABHAI) and the Brhan Natyanjali Trust, Thanjavur. To mark the 1000th year anniversary of the building, 1000 dancers from New Delhi, Mumbai, Pune, Tamil Nadu, Andhra Pradesh, Karnataka, Kerala, Singapore, Malaysia and the US danced in concert to the recorded 11 verses of divine music Thiruvichaippa (ninth of Thirumurai) composed by Karuvur Thevar (the guru of Raja Raja Chola) named Tiruvisaippa. The small town turned into a cultural hub for two days beginning 26 September 2010 as street performers and dancers performed throughout the town.
WIKIPEDIA
The mills are an important feature of Maynard's development. The earliest saw and grist mills were built in the early 18th century. Two of the earliest mills were the Puffer Mill and the Asa Smith's Mill, which were located on Taylor Brook and Mill Street, respectively. These were the first mills to use the Assabet River for power; therefore, they were very slow and sluggish. The grist and saw mill were then followed by paper mills, which were built starting in 1820.
The Mill is easily Maynard's most prominent feature. The complex takes up 11 acres in the middleof what we call downtown. The Mill complex began in 1847 as set of wooden buildings used to manufacture carpets and carpet yarn. Amory Maynard helped construct this mill. His partner, William H. Knight, helped him build a dam across the Assabet and dug a canal channeling a portion of the river into what is called Mill Pond. The Mill changed hands a few times but it would eventually become the largest woolen factory in the world till the 1930s.
The 1950's ushered in a change from textiles to businesses like computer manufacturing. With the start of the final decade of the century the Mill is on the cusp of being transformed again.
It is said that "as the Mill goes, so goes Maynard". While the town isn't as dependent on the Mill as it was in 19th century it continues to play an important role in shaping the character of the town.
We hope you enjoy this historical perspective of the Mill. It has been pieced together from a variety of sources and continues to be enriched as we discover new materials to include, increase the number of hyperlinks and add pictures, diagrams, and sound..
The Mill from 1847 to 1977
The site of the mill was once part of the town of Sudbury, while the opposite bank of the Assabet River belonged to Stow. The present town, formed in 1871, was named for the man most responsible for its development, Amory Maynard.
Born in 1804, Maynard was running his own sawmill business at the age of sixteen. In the 1840's, he went into partnership with a carpet manufacturer for whom he'd done contracting. They dammed up the Assabet and diverted water into a millpond to provide power for a new mill, which opened in 1847, producing carpet yarn and carpets. Only one of the original mill buildings survives: it was moved across Main Street and now is an apartment house.
Amory Maynard's carpet firm failed in the business panic of 1857. But the Civil War allowed the Assabet Manufacturing Company, organized in 1862 with Maynard as the managing "agent", to prosper by producing woolens, flannels and blankets for the army. This work was carried on in new brick mill buildings.
Expansion of the mill over many years is evidenced by the variations in the architecture of the structures still standing.
The oldest portion of Building 3 dates from 1859, making it the oldest part of the mill in existence today, but several additions were made afterwards. Buildings constructed in the late 1800's frequently featured brick arches over the windows, and at times new additions were made to match neighboring structures.
The best-known feature is the clock donated in memory of Amory Maynard by his son Lorenzo in 1892. Its four faces, each nine feet in diameter, are mechanically controlled by a small timer inside the tower. Neither the timer nor the bell mechanism has ever been electrified; custodians still climb 120 steps to wind the clock every week- 90 turns for the timer and 330 turns for the striker.
Amory Maynard died in 1890, but his son and grandson still held high positions in the mill's management. The family's local popularity plummeted, however, when the Assabet Manufacturing Company failed late in 1898. Workers lost nearly half of their savings which they had deposited with the company, since there were no banks in town. Their disillusionment nearly resulted in changing the town's name from Maynard to Assabet.
Prosperity returned in 1899 when the American Woolen Company, an industrial giant, bought the Assabet Mills and began to expand them, adding most of the structures now standing. The biggest new unit was Building 5, 610 feet long which contained more looms than any other woolen mill in the world. Building 1, completed in 1918, is the newest; the mill pond had been drained to permit construction of its foundation. These buildings have little decoration, but their massiveness is emphasized by the buttress-like brick columns between their windows.
The turn of the century saw a changeover from gas to electric lights at the mill. Until the 1930's the mill generated not only its own power but also electricity for Maynard and several other towns. For years the mill used 40-cycle current. Into the late 1960's power produced by a water wheel was used for outdoor lighting, including the Christmas tree near Main Street. The complex system of shafts and belts once used to distribute power from a central source was rendered obsolete by more efficient small electric motors, just as inexpensive minicomputers have often replaced terminals tied to one large processor.
As the mill grew, so did the town. Even in 1871, the nearly 2,000 people who became Maynard's first citizens outnumbered the people left in either Sudbury or Stow. Maynard's first population almost doubled in the decade between 1895 and 1905, when reached nearly 7,000 people. Most of the workers lived in houses owned by the company, many of which have been refurbished and are used today. The trains that served th town and the mill, however, are long gone - the depot site is now occupied by a gas station.
Most of the original mill workers had been local Yankees and Irish immigrants. But by the early 1900's, the Assabet Mills were employing large numbers of newcomers from Finland, Poland, Russia and Italy. The latest arrivals were often escorted to their relatives or friends by obliging post office workers. The immigrants made Maynard a bustling, multi-ethnic community while Stow, Sudbury and Acton remained small, rural villages. Farmers and their families rode the trolley to Maynard to shop and to visit urban attractions then unknown in their own towns, including barrooms and movie houses.
Wages were low and the hours were long. Early payrolls show wages of four cents an hour for a sixty hour week. Ralph Sheridan of the Maynard Historical Society confirmed that in 1889 his eldest brother was making 5 1/2 cents an hour in the mill's rag shop at the age of fourteen, while their father was earning 16 1/2 cents per hour in the boiler room. (As of 1891 one-eighth of the workers were less than 16 years old, and one-quarter were women.)
Sheridan's own first job at the mill, in the summer of 1915, paid $6.35 for a work week limited to 48 hours by child labor laws. The indestructible "bullseye" safe still remains in the old Office Building.
Sheridan remembers the bell that was perched on top of Building 3:
"...the whistle on the engine room gave one blast at quarter of the hour, and then at about five minutes of the hour the gave one blast again. And everyone was supposed to be inside the gate when that second whistle blew. And then at one minute of the hour this bell rang just once, a quick ring- and we referred to it as "The Tick" because of that..... everybody was supposed to start work at that time, at that moment."
A worker was sent home if he'd forgotten to wear his employee's button, marked "A.W.Co.,Assabet".
The millhands really had to work, too. Sheridan recalls one winter evening when there was such a rush to get out an order of cloth for Henry Ford that the men were ordered to invoice it from the warehouse, now Building 21, instead of from the usual shipping room:
"There was no heat in the building, never had been. And it was so cold that I remember that I had to cut the forefinger and the thumb from the glove that I was wearing in order to handle the pencil to do the invoicing....the yard superintendant at the time brought in some kerosene lanterns and put 'em under our chairs to keep our feet warm."
Building 21, built out over the pond, remained unheated until DIGITAL took it over.
As in most Northern mill towns, labor relations were often troubled. In 1911 the company used Poles to break the strike of Finnish workers. When no longer able to play off one nationality against another, management for years took advantage of rivalries between different unions. The Great Depression hit the company hard, however. In 1934 it sold all the houses it owned, mostly to the employees who lived in them; and New Deal labor laws encouraged the workers to form a single industrial union, which joined the C.I.O.
World War II brought a final few years of good times to the woolens industry. The mill in Maynard operated around the clock with over two thousand employees producing such items as blankets and cloth for overcoats for the armed forces. But when peace returned, the long-term trends resumed their downward drift, and in 1950 the American Woolen Company shut down its Assabet Mills entirely. Like many New England mills, Maynard's had succumbed to a combination of Southern and foreign competition, relatively high costs and low productivity, and the growing use of synthetic fibers.
'Til then a one-industry town, Maynard was in trouble. In 1953, however, ten Worcester businessmen bought the mill and began leasing space to tenants, some of which were established firms, while others were just getting started. One of the new companies which found the low cost of Maynard Industries' space appealing was Digital Equipment Corporation, which started operations in 8,680 square feet in the mill in 1957.
A Mill Chronology
1846 Amory Maynard and William Knight form Assabet Mills.
1847 Maynard and Knight install a water wheel and build a new factory on the banks of the Assabet River.
1848 The Assabet Mills business is valued at $150,000.
The Lowell and Framingham Railroad carries passengers over branch road.
1855 The Mill now has three buildings on the site. Massachusetts is producing one-third of the textiles in the United States.
1857 Assabet Mills collapses after a business panic. The Mill complex is sold at an auction.
1862 The Mills are reorganized as Assabet Manufacturing Company. This involve replacing wooden buildings with brick, and the installation of new machinery. To fulfill contracts to the government during the Civil War production is switched from carpets to woolen cloth, blankets, and flannel.
The first tenement for employees are also constructed.
1869 Millhands peition President Ulysses S. Grant for a shorter work week ... 55 hours.
1871 The Town of Maynard incorporates. The population stands at 2,000
1888 A reservoir is installed for $70,000 to supply a growing population.
1890 The Assabet Manufacturing Company is valued at $1,500,000.
1892 Lorenzo Maynard donates clock in his father's name.
The Mill Complex contains seven buildings.
1898 Assabet Manufacturing Company declares bankruptcy. Many people in town lose much of their savings as banks have not yet been established.
1899 American Woolen Company purchases the Mill complex for $400,000. This company would eventually control 20% of the woolen textile market in the U.S. Wool was shipped all over the country to keep up with demand.
1901 160 additional tenements are constructed with their own sewage system. The streets are named after U.S. presidents.
The first electric trolley in Maynard begins service.
Building Number 5, the Mill complex's largest, is built in nine months. Electric power is introduced with the addition of dynamos on site.
1906 The Mill complex now has 13 buildings.
1910 The Mill complex grows to 25 buildings. Floor space is at 421,711 square feet. The property takes up 75 acres.
1918 With the addition of three new buildings the American Wollen Company and the Mill are in their heyday. The fortunes of the industry begin to decline over the next 30 years.
1947 After a brief spell of prosperity during World War II, the Mill phases out production as demand for woolen goods declines.
1950 Mill closes. 1,200 employees lose their jobs.
1953 Maynard Industries, Inc. purchases the Mill for $200,000. Space is rented to business and industrial tenants.
1957 Three engineers set up shop on the second floor of Building 12. With $70,000 and 8,600 square feet of rented space Digital Equipment Corporation is formed.
1960 Over thirty firms are located within the Mill complex.
1974 Digital Equipment Corporation purchases the entire Mill complex for $2.2 million. The Mill has over 1 million square feet in 19 buildings residing on 11 acres.
1992 The 100th anniversary of the Mill Clock is celebrated.
1993 Digital Equipment Corporation announces that it plans to leave the Mill complex. A search for a new tenant is started.
1995 Franklin Life Care purchases the Mill. Digital continues to rent space in Building 5.
1998 Mill purchased by Clock Tower Place.
Sources
* "Digital's Mill 1847-1977", a brochure published by Digital Equipment Corporation in 1977.
* "A Walk Through the Mill...", published by Digital Equipment Corporation for the Mill Clock Centennial.
IMPORTANT: image intended for institutional use and distribution. Commercial use is prohibited unconditionally by its author and Cruzeiro Esporte Clube.
Austria Kunsthistorisches Museum
Federal Museum
Logo KHM
Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture
Founded 17 October 1891
Headquartered Castle Ring (Burgring), Vienna 1, Austria
Management Sabine Haag
www.khm.at website
Main building of the Kunsthistorisches Museum at Maria-Theresa-Square
The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.
The museum
The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.
History
Archduke Leopold Wilhelm in his Gallery
The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building .
Architectural History
The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währingerstraße/ Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the opera ring, and Ludwig Zettl the southeast side of the grain market (Getreidemarkt).
From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience with of Joseph Semper at the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.
Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.
Construction of the two museums began without ceremony on 27 November 1871 instead. Semper moved to Vienna in the sequence. From the beginning, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, built in 1878, the first windows installed in 1879, the Attica and the balustrade from 1880 to 1881 and built the dome and the Tabernacle. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.
The lighting and air conditioning concept with double glazing of the ceilings made the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times .
Kuppelhalle
Entrance (by clicking the link at the end of the side you can see all the pictures here indicated!)
Grand staircase
Hall
Empire
The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891 , the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol will need another two years.
189, the farm museum was organized in seven collections with three directorates:
Directorate of coins, medals and antiquities collection
The Egyptian Collection
The Antique Collection
The coins and medals collection
Management of the collection of weapons, art and industrial objects
Weapons collection
Collection of industrial art objects
Directorate of Art Gallery and Restaurieranstalt (Restoration Office)
Collection of watercolors, drawings, sketches, etc.
Restoration Office
Library
Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.
1914, after the assassination of Franz Ferdinand, heir to the throne, his " Estonian Forensic Collection " passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d' Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.
The First World War went by, apart from the oppressive economic situation without loss. The farm museum remained during the five years of war regularly open to the public.
Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.
First Republic
The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.
It was not until the Treaty of Saint-Germain of 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.
On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House" , by the Republic. Of 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.
Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.
With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the
Egyptian and Near Eastern Collection (with the Oriental coins)
Collection of Classical Antiquities
Collection of ancient coins
Collection of modern coins and medals
Weapons collection
Collection of sculptures and crafts with the Collection of Ancient Musical Instruments
Picture Gallery
The Museum 1938-1945
Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.
With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the empire.
After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to perform certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.
The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. This was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.
The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.
The museum today
Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).
The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.
In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.
Management
1919-1923: Gustav Glück as the first chairman of the College of science officials
1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director
1933: Arpad Weixlgärtner first director
1934-1938: Alfred Stix first director
1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief in 1941 as first director
1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections in 1949 as general director of the historical collections of the Federation
1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections in 1949 as general director of art historical collections of the Federation
1949-1950: Hans Demel as administrative director
1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation
1951-1952: Fritz Eichler as administrative director
1953-1954: Ernst H. Buschbeck as administrative director
1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director
1967: Edward Holzmair as managing director
1968-1972: Erwin Auer first director
1973-1981: Friderike Klauner first director
1982-1990: Hermann Fillitz first director
1990: George Kugler as interim first director
1990-2008: Wilfried Seipel as general director
Since 2009: Sabine Haag as general director
Collections
To the Kunsthistorisches Museum are also belonging the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.
Kunsthistorisches Museum (main building)
Picture Gallery
Egyptian and Near Eastern Collection
Collection of Classical Antiquities
Vienna Chamber of Art
Numismatic Collection
Library
New Castle
Ephesus Museum
Collection of Ancient Musical Instruments
Arms and Armour
Archive
Hofburg
The imperial crown in the Treasury
Imperial Treasury of Vienna
Insignia of the Austrian Hereditary Homage
Insignia of imperial Austria
Insignia of the Holy Roman Empire
Burgundian Inheritance and the Order of the Golden Fleece
Habsburg-Lorraine Household Treasure
Ecclesiastical Treasury
Schönbrunn Palace
Imperial Carriage Museum Vienna
Armory in Ambras Castle
Ambras Castle
Collections of Ambras Castle
Major exhibits
Among the most important exhibits of the Art Gallery rank inter alia:
Jan van Eyck: Cardinal Niccolò Albergati, 1438
Martin Schongauer: Holy Family, 1475-80
Albrecht Dürer : Trinity Altar, 1509-16
Portrait Johann Kleeberger, 1526
Parmigianino: Self Portrait in Convex Mirror, 1523/24
Giuseppe Arcimboldo: Summer 1563
Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07
Caravaggio: Madonna of the Rosary (1606-1607)
Titian: Nymph and Shepherd to 1570-75
Portrait of Jacopo de Strada, 1567/68
Raffaello Santi: Madonna of the Meadow, 1505 /06
Lorenzo Lotto: Portrait of a young man against white curtain, 1508
Peter Paul Rubens: The altar of St. Ildefonso, 1630-32
The Little Fur, about 1638
Jan Vermeer: The Art of Painting, 1665/66
Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559
Kids, 1560
Tower of Babel, 1563
Christ Carrying the Cross, 1564
Gloomy Day (Early Spring), 1565
Return of the Herd (Autumn), 1565
Hunters in the Snow (Winter) 1565
Bauer and bird thief, 1568
Peasant Wedding, 1568/69
Peasant Dance, 1568/69
Paul's conversion (Conversion of St Paul), 1567
Cabinet of Curiosities:
Saliera from Benvenuto Cellini 1539-1543
Egyptian-Oriental Collection:
Mastaba of Ka Ni Nisut
Collection of Classical Antiquities:
Gemma Augustea
Treasure of Nagyszentmiklós
Gallery: Major exhibits
I seek refuge in Allah from Satan, the outcast.
In the name of Allah, the Beneficent, the Merciful.
Allah’s peace be upon Prophet Muhammad (S.A.W), the glorious Prophet of Islam, and on his Companions and his followers.
TASAWWUF
"There is no doubt that Tasawwuf is an important branch of Islam. The word itself may have been derived form the Arabic word "Soof" (Wool) or from "Safa" (cleanliness), but its foundation lies in one’s personal sincerity in seeking Allah’s nearness and trying to live a life pleasing to Him. Study of the Quran, the Hadith, and the practical life of the holy Prophet Muhammad (S.A.W) and his faithful Companions provide unmistakable support to this reality." (Hazrat Moulana Allah Yar Khan (R.A)
SUFISM, AN ESSENTIAL PART OF ISLAM
Doubts exist not only in the minds of the Muslim faithful but also among the Ulema, notably the exoteric about Tasawwuf and its votaries. Often they lead to misunderstanding, as if Shariah and Tariqah were two separate entries, or that Tasawwuf was some obscure discipline foreign to Islam, or that it was altogether above the established laws and injunctions of our Religion. To help remove these misgivings and to reassure seekers, as well as scholars, our Sheikh Hazrat Moulana Allah Yar Khan (R.A), Sheikh Silsila Naqshbandia Awaisia, wrote Al-Jamal Wal Kamal, Aqaid-O-Kamalaat Ulmai-e-Deoband, Binat-e-Rasool (S.A.W), Daamad-e-Ali (R.A), Dalael-us-Salook, Ejaad-e-Mazhab Shia, Hayat-un-Nabi (S.A.W), Hayat Barzakhia, Ilm-o-Irfan, Niffaz-e-Shariat Aur Fiqah-e-Jaferia, Saif-e-Owaisi, Shikast-e-Ahdai Hussain and Tahkeek Halal Haram books.
BIOGRAPHY
Sheikh Allah Yar Khan was born in Chakrala, a remote village of Mianwali District of Pakistan, in 1904. He completed his religious education in 1934. The very year, he met Shaykh Abdul Rahim, who took him to the shrine of Shaykh Allah Deen Madni. By Divine Will his spiritual connection was right away established with the saint of the 10th century Hijra (sixteenth century) and he started receiving spiritual beneficence. His sublime education in Sufism, signifying progressive spiritual growth and advancement, continued for about twenty-five years. In 1962 he was directed to carry out the propagation of Prophetic blessings - a noble mission that he accomplished with singular enthusiasm and devotion for a period spanning half a century. Anybody who visited him was duly rewarded with a share of spiritual bliss as per his/her sincerity and capacity. Shaykh Allah Yar Khan's mission produced men and women of deep spiritual vision and distinction.
Although Hazrat Moulana Allah Yar Khan (R.A) have lived a major portion of his life as a scholar, with the avowed mission of illuminating the truth of Islam and the negation of fallacious sects, and this would appear quite removed from Tasawwuf, yet the only practical difference between the two, namely the use of the former as a media to expound the truth, and the latter to imbue people with positive faith. Nevertheless, people are amazed that a man, who until the other day, was known as a dialectician and a preacher of Islam, is not only talking of Mystic Path, but is also claiming spiritual bonds with the veteran Sufi Masters of the Past. This amazement is obviously out of place in the view of Quranic injunction: This is the bounty of Allah which He gives to whom He wills. (62:4)
THE PURIFICATION OF THE SOUL
The purification of the soul always formed part of the main mission of the Prophets; that is, the dissemination and propagation of the Devine Message. This responsibility later fell directly on the shoulders of the true Ulema in the Ummah of the last Prophet Muhammad (S.A.W), who, as his genuine successors, have continued to shed brave light in every Dark Age of materialism and sacrilege. In the present age of ruinous confusion, the importance of this responsibility has increased manifold; of the utter neglect of Islam by Muslims has not only driven them to misery, but also grievously weakened their bonds of faith in Allah and His Prophet Muhammad (S.A.W). The decay in their belief and consequent perversion in their conduct has reached a stage that any attempt to pull them out of the depth of ignominy and the heedless chaos of faithlessness, attracts grave uncertainties and apprehensions rather than a encouraging will to follow the Shariah, to purify the soul and to reform within. The Quranic Verse: Layers upon layers of darkness… (24:40) provides the nearest expression of their present state.
SHARIAH & SUFISM
Any action against the Sunnah (Prophet’s way of life) cannot be called Sufism. Singing and dancing, and the prostration on tombs are not part of Sufism. Nor is predicting the future and predicting the outcome of cases in the courts of law, a part of Sufism. Sufis are not required to abandon their worldly possessions or live in the wilderness far from the practical world. In fact these absurdities are just its opposites. It is an established fact that Tazkiyah (soul purification) stands for that inner purity which inspires a person’s spirit to obey the holy Prophet Muhammad (S.A.W). If a false claimant of Sufism teaches tricks and jugglery, ignoring religious obligations, he is an impostor. A true Sheikh will lead a believer to the august spiritual audience of the holy Prophet Muhammad (S.A.W). If you are fortunate enough to be blessed with the company of an accomplished spiritual guide and Sheikh of Sufism, and if you follow his instructions, you will observe a positive change in yourself, transferring you from vice to virtue.
ISLAM, AS A COMPLETE CODE OF LIFE
Islam, as a complete code of life or Deen, was perfected during the life of the Holy Prophet Muhammad (S.A.W). He was the sole teacher and his mosque was the core institution for the community. Although Islam in its entirety was practiced during that blessed era, the classification and compilation of its knowledge into distinct branches like ‘Tafsir’ (interpretation of the Quran), Hadith (traditions or sayings of the holy Prophet- SAWS), Fiqh (Islamic law), and Sufism (the soul purification) were undertaken subsequently. This Deen of Allah passed from the holy Prophet Muhammad (S.A.W) to his illustrious Companions in two ways: the outward and the inward. The former comprised the knowledge defined by speech and conduct, i.e., the Quran and Sunnah. The latter comprised the invisible blessings or the Prophetic lights transmitted by his blessed self. These blessings purified the hearts and instilled in them a passionate desire to follow Islam with utmost love, honesty and loyalty.
WHAT’S SUFISM
Sufism is the attempt to attain these Barakah (Blessings). The Companions handed down Prophet Muhammad (S.A.W) teachings as well as blessings to the Taba’een. Their strong hearts were capable of infusing these blessings into the hearts of their followers. Both aspects of Islam were similarly passed on by the Taba’een to the Taba Taba’een. The compilation of knowledge and its interpretation led to the establishment of many schools of religious thought; famous four being the Hanafi, the Hanbali, the Maliki, and the Shafa'i, all named after their founders. Similarly, in order to acquire, safeguard and distribute his blessings, an organized effort was initiated by four schools of Sufism: The Naqshbandia, the Qadria, the Chishtia, and the Suharwardia. These schools were also named after their organizers and came to be known as Sufi Orders. All these Orders intend to purify the hearts of sincere Muslims with Prophetic lights. These Sufi Orders also grew into many branches with the passage of time and are known by other names as well. The holy Quran has linked success in this life and the Hereafter with Tazkiyah (soul purification). He, who purified, is successful. (87: 14) Sufi Orders of Islam are the institutions where the basics of Tazkiyah (soul purification) and its practical application are taught. They have graded programs in which every new seeker is instructed in Zikr-e Lisani (oral Zikr) and is finally taught the Zikr-e Qalbi (Remembrance in heart).
ZIKR-E QALBI
However, in the Naqshbandia Order, Zikr-e Qalbi is practiced from the very beginning. Adherence to the Sunnah (Prophet’s way of life) is greatly emphasized in this Order, because the seeker achieves greater and quicker progress through its blessings. The essence of Zikr is that the Qalb should sincerely accept Islamic beliefs and gain the strength to follow the Sunnah with even greater devotion. ‘If the heart is acquainted with Allah and is engaged in His Zikr; then it is filled with Barakaat-e Nabuwwat (Prophetic blessings) which infuse their purity in the mind and body. This not only helps in controlling sensual drives but also removes traces of abhorrence, voracity, envy and insecurity from human soul. The person therefore becomes an embodiment of love, both for the Divine and the corporeal. This is the meaning of a Hadith, “There is a lump of flesh in the human body; if it goes astray the entire body is misguided, and if it is reformed the entire body is reformed. Know that this lump is the Qalb”.’
PAS ANFAS
Recent History Khawajah Naqshband (d. 1389 CE) organized the Naqshbandia Order at Bukhara (Central Asia). This Order has two main branches – the Mujaddidia and the Owaisiah. The former is identified with Sheikh Ahmed Sirhindi, known as Mujaddid Alif Sani (literally: reviver of the second Muslim millennium), a successor to Khawajah Baqi Billah, who introduced the Order to the Indo- Pakistan sub-continent. The Owaisiah Order employs a similar method of Zikr but acquires the Prophetic blessings in the manner of Khawajah Owais Qarni, who received this beneficence from the Holy Prophet Muhammad (S.A.W) without a formal physical meeting. The Zikr employed by the Naqshbandia is ‘Zikr-e Khafi Qalbi’ (remembrance of Allah’s Name within the heart) and the method is termed ‘Pas Anfas’, which (in Persian) means guarding every breath. The Chain of Transmission of these Barakah, of course, emanates from the holy Prophet- SAWS.
SPIRITUAL BAI’AT (OATH OF ALLEGIANCE
It is necessary in all Sufi Orders that the Sheikh and the seekers must be contemporaries and must physically meet each other for the transfer of these blessings. However, the Naqshbandia Owaisiah Order goes beyond this requirement and Sufis of this Order receive these Barakah regardless of physical meeting with their Sheikh or even when the Sheikh is not their contemporary. Yet, it must be underscored that physical meeting with the Sheikh of this Order still holds great importance in dissemination of these Barakah. Sheikh Sirhindi writes about the Owaisiah Order in his book ‘Tazkirah’: ‘It is the most sublime, the most exalted, and the most effective…and the highest station of all others is only its stepping stone.’ By far the greatest singular distinction of the Naqshbandia Owaisiah Order is the honor of Spiritual Bai’at (Oath of Allegiance) directly at the blessed hands of the holy Prophet Muhammad (S.A.W).
SHEIKH HAZRAT MOULANA ALLAH YAR KHAN (R.A)
The Reviver Sheikh Allah Yar Khan was born in Chikrala, a remote village of Mianwali District of Pakistan, in 1904. He completed his religious education in 1934. The same year, he met Sheikh ‘Abdul Rahim, who took him to the shrine of Sheikh Allah Deen Madni. By Divine Will his spiritual connection was immediately established with the saint of the 10th century Hijra (sixteenth century CE) and he started receiving spiritual beneficence. His sublime education in Sufism, signifying progressive spiritual growth and advancement, continued for about twenty-five years, after which he was directed to undertake the propagation of Prophetic blessings - a noble mission that he accomplished with singular zeal and dedication for a period spanning half a century. Anybody who visited him was duly rewarded with a share of spiritual bliss commensurate with his/her sincerity and capacity. Sheikh Allah Yar Khan’s mission produced men and women of deep spiritual vision and eminence. He authored eighteen books, the most distinguished being Dalael us-Sulook (Sufism - An Objective Appraisal), Hayat-e Barzakhiah (Life Beyond Life) and Israr ul- Haramain (Secrets of the two holy Mosques). He was undoubtedly one of the most distinguished Sufi saints of the Muslim Ummah and a reviver of the Naqshbandia Owaisiah Order. He passed away on 18 February 1984 in Islamabad at the age of eighty.
THE CHAIN OF TRANSMISSION OF NAQSHBANDIA OWAISIAH
1. Hazrat Muhammad ur-Rasool Allah (Sall Allah-o Alaihi wa Sallam), 2. Hazrat Abu Bakr Siddiq (Radhi Allah-o Unho), 3. Hazrat Imam Hassan Basri (Rahmat Ullah Alaihi), 4. Hazrat Daud Tai (Rahmat Ullah Alaihi), 5. Hazrat Junaid Baghdadi (Rahmat Ullah Alaihi), 6. Hazrat Ubaid Ullah Ahrar (Rahmat Ullah Alaihi), 7. Hazrat Abdur Rahman Jami (Rahmat Ullah Alaihi), 8. Hazrat Abu Ayub Muhammad Salih (Rahmat Ullah Alaihi), 9. Hazrat Allah Deen Madni (Rahmat Ullah Alaihi), 10. Hazrat Moulana Allah Yar Khan (Rahmat Ullah Alaihi).
THE SPIRIT OR RUH
The spirit or Ruh of every person is a created reflection of the Divine Attributes and it originates in Alam-e Amar (Realm of Command). Its food is the Light of Allah or the Divine Refulgence, which it acquires from the Realm of Command through the holy Prophet Muhammad (may Allah’s choicest favors and peace be upon him), whose status in the spiritual world is like that of the sun in the solar system. The Quran refers to him as the ‘bright lamp’. Indeed, he is the divinely selected channel of all Barakah. All Exalted Messengers themselves receive these Barakah from him.
LATAIF
The human Ruh also possesses vital organs like the physical body; through which it acquires its knowledge, food and energy. These are called Lataif (singular Latifah: subtlety). Scholars of various Sufi Orders have associated them with specific areas of the human body. The Naqshbandia Owaisiah Order identifies these Lataif as follows. First - Qalb: This spiritual faculty is located within the physical heart. Its function is Zikr. Its strength increases one’s capacity for Allah’s Zikr. Second – Ruh: The site of this Latifah, which is a distinct faculty of the human Ruh, is on the right side of the chest at the level of Qalb. Its primary function is concentration towards Allah. Third – Sirri: This is located above the Qalb and functions to make possible Kashf. Forth – Khaffi: This is located above the Ruh and functions to perceive the omnipresence of Allah. Fifth – Akhfa: This is located in the middle of chest, at the centre of the first four Lataif and makes it possible for the Ruh to perceive the closeness of Allah, Who is closer to us than our own selves. Sixth – Nafs: This Latifah is located at the forehead and functions to purify the human soul. Seventh – Sultan al-Azkar: This Latifah is located at the top centre of the head and serves to absorb the Barakah of Allah into the entire body, so that every cell resonates with Zikr.
FIVE EXALTED MESSENGERS OF GOD
There are Five Exalted Messengers among the many known and unknown Messengers of Allah. They are Hazrat Muhammad, Hazrat Nuh (Noah), Hazrat Ibrahim (Abraham), Hazrat Musa (Moses), and Hazrat Esa (Jesus), peace be upon them all. Hazrat Adam is the first Prophet of Allah and the father of mankind. Each Latifah is associated with a particular Prophet. The Barakah and lights from Hazrat Adam (peace be upon him), descend on the first Latifah Qalb; its lights are reflected from the first heaven and are yellowish. The second Latifah is associated with Hazrat Nuh and Hazrat Ibrahim (peace be upon them). Its lights descend from the second heaven and appear as golden red. The lights descending upon the third Latifah are from Hazrat Musa (peace be upon him) and are white. One the fourth Latifah, the lights of Hazrat Esa (peace be upon him) descend from the fourth heaven and are deep blue. The fifth Latifah receives its Barakah directly from the holy Prophet Muhammad (may Allah’s choicest favors and peace be upon him). The lights associated with this Latifah are green, descend from the fifth heaven, and overwhelm all the first four Lataif. The Lights descending upon the sixth and seventh Lataif are the Divine Lights, whose color and condition cannot be determined. These are like flashes of lightening that defy comprehension. If Allah blesses a seeker with Kashf, he can observe all of this. The vision is slightly diffused in the beginning, but gradually the clarity improves.
SULOOK
Stages of the Path After all seven Lataif of a seeker have been illuminated with Divine Lights through Tawajjuh of the Sheikh and his Ruh has acquired the ability to fly, the Sheikh initiates its journey on the sublime Path of Divine nearness. The Path is known as Sulook, and its stages are not hypothetical imaginations but real and actually existing stations on the spiritual Path. These are also referred to as Meditations, because a seeker mentally meditates about a station while his/her Ruh actually ascends towards it. The first three stations that form the base of whole Sulook are described as; Ahadiyyat, a station of Absolute Unity of Divinity. It is above and beyond the seven heavens. It is so vast a station that the seven heavens and all that they encompass are lost within Ahadiyyat as a ring is lost in a vast desert. Its lights are white in color. Maiyyat station denotes Divine Company, ‘He is with you, wherever you might be.’ This station is so vast that Ahadiyyat along with the seven heavens beneath are lost within it as a ring is lost in a desert. Its lights are green in color. Aqrabiyyat station denotes Divine Nearness, ‘He is nearer to you than your life- vein.’ Again, Aqrabiyyat is vast as compared to Maiyyat in the same proportion. Its lights are golden red and are reflected from the Divine Throne. It is indeed the greatest favor of Almighty Allah that He blesses a seeker with an accomplished Sheikh, who takes him to these sublime stations. The final station that a seeker attains to during his/her lifetime becomes his/her Iliyyeen (blessed abode) in Barzakh and his/her Ruh stays at this station after death.
ZIKR
Why is Zikr Necessary for Everyone? Allah ordains every soul in the Quran to Perform Zikr. This not only means reciting the Quran and Tasbeeh but also Zikr-e Qalb. It is only through Zikr-e Qalbi that Prophetic Lights reach the depths of human soul and purify it from all vice and evil. Zikr infuses a realization of constant Divine Presence and a seeker feels great improvement in the level of sincerity and love towards Allah and the holy Prophet- SAWS. Such levels of sincerity, love and feelings of Divine Presence can never be obtained without Zikr. It would be a mistake to believe that Zikr may be a requirement only for the very pious and virtuous people. Zikr provides the Prophetic blessings which are in effect the life line of every human soul. It transforms even the most corrupted humans into virtuous souls by bringing out the best in them. The fact is that Zikr is the only way to achieve true contentment and satisfaction in life. The holy Quran has pointed to this eternal fact that it is only through Zikr Allah that hearts can find satisfaction. Such satisfaction and peace are the ultimate requirements of every person, regardless of religion, race and ethnicity. Practicing Zikr regularly removes all traces of anxiety and restlessness, and guides the human soul to eternal bliss and peace.
KHALIFA MAJAZEEN
Hazrat Moulana Allah Yar Khan (R.A), during his life time in 1974, presented a nomination list to Prophet Muhammad (S.A.W), during Maraqba, of expected Khalifa Majazeen for Silsila Naqshbandia Awaisia. Prophet Muhammad (S.A.W) approved some names, deleted some of the names, and added down the name of Major Ghulam Muhammad as also Khalifa Majaaz of Silsila Naqshbandia Awaisia (which was not previously included in the list)
The approved names at that time included:
1. Mr. Muhammad Akram Awan Sahib,
2. Mr. Sayed Bunyad Hussain Shah Sahib,
3. Mr. Major Ahsan Baig Sahib,
4. Mr. Col. Matloob Hussain Sahib,
5. Mr. Major Ghulam Muhammad Sahib of Wan Bhachran Mianwali,
6. Mr. Molvi Abdul Haq Sahib,
7. Mr. Hafiz Abdul Razzaq Sahib,
8. Mr. Hafiz Ghulam Qadri Sahib,
9. Mr. Khan Muhammad Irani Sahib,
10. Mr. Maolana Abdul Ghafoor Sahib,
11. Mr. Syed Muhammad Hassan Sahib of Zohb.
These Majazeen were authorized to; held Majalis of Zikar (Pas Anfas) in their respective areas, arrange Majalis of Zikar in neighboring areas, train them on the way of Sulook, prepare them for Spiritual Bai’at (Oath of Allegiance), and present them to Sheikh Hazrat Moulana Allah Yar Khan for Spiritual Bai’at at the Hand of Prophet Muhammad (S.A.W), in the life of Hazrat Moulana Allah Yar Khan (R.A), and were all equal in status as Khalifa Majaaz of Hazrat Moulana Allah Yar Khan (R.A).
Presently we are following Hazrat Major ® Ghulam Muhammad Sahib, Khalifa Majaaz of Hazrat Moulana Allah Yar Khan (R.A).
Anselm Feuerbach (1829 - 1880; active in Karlsruhe, Venice, Castel Toblino, Rome, Vienna, Nuremberg
Flower Girl, 1854)
Taken over 1907 from grand-ducal private ownership, inventory in 1031
Anselm Feuerbach (1829 - 1880; tätig in Karlsruhe, Venedig, Castel Toblino, Rom, Wien, Nürnberg
Blumenmädchen, 1854)
Übernommen 1907 aus großherzoglichem Besitz, Inventar 1031
Collection
The foundation of the collection consists of 205 mostly French and Dutch paintings from the 17th and 18th centuries which Margravine Karoline Luise acquired 1759-1776. From this collection originate significant works, such as The portrait of a young man by Frans van Mieris the Elder, The winter landscape with lime kiln of Nicolaes Pieterszoon Berchem, The Lacemaker by Gerard Dou, the Still Life with hunting equipment and dead partridge of Willem van Aelst, The Peace in the Chicken yard by Melchior de Hondecoeter as well as a self-portrait by Rembrandt van Rijn. In addition, four still lifes of Jean Siméon Chardin and two pastoral scenes by François Boucher, having been commissioned directly by the Marchioness from artists.
A first significant expansion the museum received in 1858 by the collection of canon Johann Baptist von Hirscher (1788-1865) with works of religious art of the 15th and 16th centuries. This group includes works such as two tablets of the Sterzinger altar and the wing fragment The sacramental blessing of Bartholomew Zeitblom. From 1899 to 1920, the native of Baden painter Hans Thoma held the position of Director of the Kunsthalle. He acquired old masterly paintings as the tauberbischofsheim altarpiece by Matthias Grünewald and drove the expansion of the collection with art of the 19th century forward. Only his successors expanded the holdings of the Art Gallery with works of Impressionism and the following generations of artists.
The permanent exhibition in the main building includes approximately 800 paintings and sculptures. Among the outstanding works of art of the Department German painters of the late Gothic and Renaissance are the Christ as Man of Sorrows by Albrecht Dürer, the Carrying of the Cross and the Crucifixion by Matthias Grünewald, Maria with the Child by Lucas Cranach the Elder, the portrait of Sebastian Brant by Hans Burgkmair the elder and The Nativity of Hans Baldung. Whose Margrave panel due to property disputes in 2006 made it in the headlines and also led to political conflicts. One of the biggest buying successes which a German museum in the postwar period was able to land concerns the successive acquisition of six of the seven known pieces of a Passion altar in 1450 - the notname of the artist after this work "Master of the Karlsruhe Passion" - a seventh piece is located in German public ownership (Wallraf-Richartz Museum, Cologne).
In the department of Dutch and Flemish paintings of the 16th century can be found, in addition to the aforementioned works, the portrait of the Marchesa Veronica Spinola Doria by Peter Paul Rubens, Moses strikes the rock and water flows for the thirsty people of Israel of Jacob Jordaens, the still life with kitchen tools and foods of Frans Snyders, the village festival of David Teniers the younger, the still life with lemon, oranges and filled clay pot by Willem Kalf, a Young couple having breakfast by Gabriel Metsu, in the bedroom of Pieter de Hooch, the great group of trees at the waterfront of Jacob Izaaksoon van Ruisdael, a river landscape with a milkmaid of Aelbert Jacobsz. Cuyp as well as a trompe-l'œil still life of Samuel van Hoogstraten.
Further examples of French paintings of the 17th and 18th centuries are, the adoration of the golden calf of Claude Lorrain, preparations for dance class of the Le Nain brothers, the portrait of Marshal Charles-Auguste de Matignon by Hyacinthe Rigaud, the portrait of a young nobleman in hunting costume of Nicolas de Largillière, The storm of Claude Joseph Vernet and The minuet of Nicolas Lancret. From the 19th century can be found with Rocky wooded valley at Civita Castellana by Gustave Courbet, The Lamentation of Eugène Delacroix, the children portrait Le petit Lange of Édouard Manet, the portrait of Madame Jeantaud by Edgar Degas, the landscape June morning near Pontoise by Camille Pissarro, homes in Le Pouldu Paul Gauguin and views to the sea at L'Estaque by Paul Cézanne further works of French artists at Kunsthalle.
One focus of the collection is the German painting and sculpture of the 19th century. From Joseph Anton Koch, the Kunsthalle possesses a Heroic landscape with rainbow, from Georg Friedrich Kersting the painting The painter Gerhard Kügelgen in his studio, from Caspar David Friedrich the landscape rocky reef on the sea beach and from Karl Blechen view to the Monastery of Santa Scolastica. Other important works of this department are the disruption of Adolph Menzel as well as the young self-portrait, the portrait Nanna Risi and The Banquet of Plato of Anselm Feuerbach.
For the presentation of the complex of oeuvres by Hans Thoma, a whole wing in 1909 at the Kunsthalle was installed. Main oeuvres of the arts are, for example, the genre picture The siblings as well as, created on behalf of the grand-ducal family, Thoma Chapel with its religious themes.
Of the German contemporaries of Hans Thoma, Max Liebermann on the beach of Noordwijk and Lovis Corinth with a portrait of his wife in the museum are represented. Furthermore the Kunsthalle owns works by Ferdinand Georg Waldmüller, Carl Spitzweg, Arnold Böcklin, Hans von Marées, Wilhelm Leibl, Fritz von Uhde, Wilhelm Trübner and Max Klinger.
In the building of the adjacent Orangerie works of the collection and new acquisitions from the years after 1952 can be seen. In two integrated graphics cabinets the Kupferstichkabinett (gallery of prints) gives insight into its inventory of contemporary art on paper. From the period after 1945, the works Arabs with footprints by Jean Dubuffet, Sponge Relief RE 48; Sol. 1960 by Yves Klein, Honoring the square: Yellow center of Josef Albers, the cityscape F by Gerhard Richter and the Fixe idea by Georg Baselitz in the Kunsthalle. The collection of classical modernism wandered into the main building. Examples of paintings from the period to 1945 are The Eiffel Tower by Robert Delaunay, the Improvisation 13 by Wassily Kandinsky, Deers in the Forest II by Franz Marc, People at the Blue lake of August Macke, the self-portrait The painter of Ernst Ludwig Kirchner, the Merzpicture 21b by Kurt Schwitters, the forest of Max Ernst, Tower gate II by Lyonel Feininger, the Seven Deadly Sins of Otto Dix and the removal of the Sphinxes by Max Beckmann. In addition, the museum regularly shows special exhibitions.
Sammlung
Den Grundstock der Sammlung bilden 205 meist französische und niederländische Gemälde des 17. und 18. Jahrhunderts, welche Markgräfin Karoline Luise zwischen 1759 und 1776 erwarb. Aus dieser Sammlung stammen bedeutende Arbeiten, wie das Bildnis eines jungen Mannes von Frans van Mieris der Ältere, die Winterlandschaft mit Kalkofen von Nicolaes Pieterszoon Berchem, Die Spitzenklöpplerin von Gerard Dou, das Stillleben mit Jagdgeräten und totem Rebhuhn von Willem van Aelst, Der Friede im Hühnerhof von Melchior de Hondecoeter sowie ein Selbstbildnis von Rembrandt van Rijn. Hinzu kommen vier Stillleben von Jean Siméon Chardin und zwei Schäferszenen von François Boucher, die die Markgräfin bei Künstlern direkt in Auftrag gegeben hatte.
Eine erste wesentliche Erweiterung erhielt das Museum 1858 durch die Sammlung des Domkapitulars Johann Baptist von Hirscher (1788–1865) mit Werken religiöser Kunst des 15. und 16. Jahrhunderts. Zu dieser Gruppe gehören Werke wie zwei Tafeln des Sterzinger Altars und das Flügelfragment Der sakramentale Segen von Bartholomäus Zeitblom. Von 1899 bis 1920 bekleidete der aus Baden stammende Maler Hans Thoma die Position des Direktors der Kunsthalle. Er erwarb altmeisterliche Gemälde wie den Tauberbischofsheimer Altar von Matthias Grünewald und trieb den Ausbau der Sammlung mit Kunst des 19. Jahrhunderts voran. Erst seine Nachfolger erweiterten die Bestände der Kunsthalle um Werke des Impressionismus und der folgenden Künstlergenerationen.
Die Dauerausstellung im Hauptgebäude umfasst rund 800 Gemälde und Skulpturen. Zu den herausragenden Kunstwerken der Abteilung deutsche Maler der Spätgotik und Renaissance gehören der Christus als Schmerzensmann von Albrecht Dürer, die Kreuztragung und Kreuzigung von Matthias Grünewald, Maria mit dem Kinde von Lucas Cranach der Ältere, das Bildnis Sebastian Brants von Hans Burgkmair der Ältere und die Die Geburt Christi von Hans Baldung. Dessen Markgrafentafel geriet durch Eigentumsstreitigkeiten 2006 in die Schlagzeilen und führte auch zu politischen Auseinandersetzungen. Einer der größten Ankaufserfolge, welche ein deutsches Museum in der Nachkriegszeit verbuchen konnte, betrifft den sukzessiven Erwerb von sechs der sieben bekannten Tafeln eines Passionsaltars um 1450 – der Notname des Malers nach diesem Werk „Meister der Karlsruher Passion“ – eine siebte Tafel befindet sich in deutschem öffentlichen Besitz (Wallraf-Richartz Museum, Köln).
In der Abteilung niederländischer und flämischer Malerei des 16. Jahrhunderts finden sich, neben den erwähnten Werken, das Bildnis der Marchesa Veronica Spinola Doria von Peter Paul Rubens, Moses schlägt Wasser aus dem Felsen von Jacob Jordaens, das Stillleben mit Küchengeräten und Lebensmitteln von Frans Snyders, das Dorffest von David Teniers dem Jüngeren, das Stillleben mit Zitrone, Orangen und gefülltem Römer von Willem Kalf, ein Junges Paar beim Frühstück von Gabriel Metsu, Im Schlafzimmer von Pieter de Hooch, die Große Baumgruppe am Wasser von Jacob Izaaksoon van Ruisdael, eine Flusslandschaft mit Melkerin von Aelbert Jacobsz. Cuyp sowie ein Augenbetrüger-Stillleben von Samuel van Hoogstraten.
Weitere Beispiele französischer Malerei des 17. bzw. 18. Jahrhunderts sind Die Anbetung des Goldeen Kalbes von Claude Lorrain, die Vorbereitung zur Tanzstunde der Brüder Le Nain, das Bildnis des Marschalls Charles-Auguste de Matignon von Hyacinthe Rigaud, das Bildnis eines jungen Edelmannes im Jagdkostüm von Nicolas de Largillière, Der Sturm von Claude Joseph Vernet und Das Menuett von Nicolas Lancret. Aus dem 19. Jahrhundert finden sich mit Felsiges Waldtal bei Cività Castellana von Gustave Courbet, Die Beweinung Christi von Eugène Delacroix, dem Kinderbildnis Le petit Lange von Édouard Manet, dem Bildnis der Madame Jeantaud von Edgar Degas, dem Landschaftsbild Junimorgen bei Pontoise von Camille Pissarro, Häuser in Le Pouldu von Paul Gauguin und Blick auf das Meer bei L’Estaque von Paul Cézanne weitere Arbeiten französischer Künstler in der Kunsthalle.
Einen Schwerpunkt der Sammlung bildet die deutsche Malerei und Skulptur des 19. Jahrhunderts. Von Joseph Anton Koch besitzt die Kunsthalle eine Heroische Landschaft mit Regenbogen, von Georg Friedrich Kersting das Gemälde Der Maler Gerhard Kügelgen in seinem Atelier, von Caspar David Friedrich das Landschaftsbild Felsenriff am Meeresstrand und von Karl Blechen den Blick auf das Kloster Santa Scolastica. Weitere bedeutende Werke dieser Abteilung sind Die Störung von Adolph Menzel sowie das Jugendliche Selbstbildnis, das Bildnis Nanna Risi und Das Gastmahl des Plato von Anselm Feuerbach.
Für die Präsentation des Werkkomplexes von Hans Thoma wurde 1909 in der Kunsthalle ein ganzer Gebäudetrakt errichtet. Hauptwerke des Künstlers sind etwa das Genrebild Die Geschwister sowie die, im Auftrag der großherzöglichen Familie geschaffene, Thoma-Kapelle mit ihren religiösen Themen.
Von den deutschen Zeitgenossen Hans Thomas sind Max Liebermann mit Am Strand von Noordwijk und Lovis Corinth mit einem Bildnis seiner Frau im Museum vertreten. Darüber hinaus besitzt die Kunsthalle Werke von Ferdinand Georg Waldmüller, Carl Spitzweg, Arnold Böcklin, Hans von Marées, Wilhelm Leibl, Fritz von Uhde, Wilhelm Trübner und Max Klinger.
Im Gebäude der benachbarten Orangerie sind Werke der Sammlung und Neuankäufe aus den Jahren nach 1952 zu sehen. In zwei integrierten Grafikkabinetten gibt das Kupferstichkabinett Einblick in seinen Bestand zeitgenössischer Kunst auf Papier. Aus der Zeit nach 1945 finden sich die Arbeiten Araber mit Fußspuren von Jean Dubuffet, Schwammrelief >RE 48:Sol.1960< von Yves Klein, Ehrung des Quadrates: Gelbes Zentrum von Josef Albers, das Stadtbild F von Gerhard Richter und die Fixe Idee von Georg Baselitz in der Kunsthalle. Die Sammlung der Klassischen Moderne wanderte in das Hauptgebäude. Beispiele für Gemälde aus der Zeit bis 1945 sind Der Eiffelturm von Robert Delaunay, die Improvisation 13 von Wassily Kandinsky, Rehe im Wald II von Franz Marc, Leute am blauen See von August Macke, das Selbstbildnis Der Maler von Ernst Ludwig Kirchner, das Merzbild 21b von Kurt Schwitters, Der Wald von Max Ernst, Torturm II von Lyonel Feininger, Die Sieben Todsünden von Otto Dix und der Abtransport der Sphinxe von Max Beckmann. Darüber hinaus zeigt das Museum regelmäßig Sonderausstellungen.
de.wikipedia.org/wiki/Staatliche_Kunsthalle_Karlsruhe
Last night I didn't sleep because the house seemed haunted.
Today I drove in the mountains and took pictures and played the violin and fixed my 1938 LC Smith typewriter and then made collages with poems and pictures on my floor.
Now, I sleep.
Out of Chaos - further information from the Laing Art Gallery website:-
"Introduction
Out of Chaos showcases outstanding sculpture, paintings and prints by artists such as Frank Auerbach, David Bomberg, Marc Chagall, Edith Kiss, Chaïm Soutine and Alfred Wolmark. Together, they demonstrate the contribution of artists from around the world to Britain’s cultural heritage. The artworks span more than a century, and include examples of important movements and styles ranging from figuration to abstraction.
The exhibition themes encompass issues of identity and belonging connected with migration. Many of the artists or their families had to make forced journeys as the result of upheavals in their homelands.
The artworks have been selected from the collection of the Ben Uri Gallery, London, featuring artists primarily of Jewish descent. They are augmented by works by contemporary artists from migrant communities who have exhibited with Ben Uri. Some paintings from the Laing and Hatton Gallery collections are also included.
Identity and Migration
A wave of emigration to Britain from Eastern Europe took place over several decades from the 1880s, especially following increasing persecution of Jews. The main destination was London, and the new arrivals continued their distinct traditions in their new host cities. In contrast, longer established Jewish communities often mirrored the aspirations of mainstream British society. These differences in identity were reflected by artists of the time.
In the early Victorian period, Solomon Hart achieved success with scripture subjects, painted in a style entirely in tune with establishment taste. In contrast, Alfred Wolmark’s pictures focussed on the daily lives of the immigrant Polish-Jewish community in London at the beginning of the 20th century. His pictures differed considerably from Solomon J Solomon’s choice of subjects, which mirrored his family’s integration into Edwardian middle-class society. For Simeon Solomon, however, personal identity led to disaster as he was rejected by society for his homosexual lifestyle, despite considerable earlier success as a Pre-Raphaelite artist.
The Whitechapel Boys
These artists’ innovative approach to colour and form made an important contribution to British modernism in the period just before and after the First World War. All were from migrant Jewish backgrounds, with shared feelings of cultural identity. They were open to influences from Europe as well as new artistic developments in Britain. The group was closely associated with the Whitechapel area of London, and included experimental writers.
The artists’ friendships and interests developed from the overlapping periods they spent at the Slade School of Art, London. They were also encouraged by Alfred Wolmark (pictures also on display). Two of the leading figures in the group of artists were David Bomberg and Jacob Epstein. In 1914, they curated the ‘Jewish section’ of the Whitechapel Art Gallery’s important exhibition ‘Twentieth Century Art: A Review of Modern Movements’, featuring artwork by members of the group.
Modernism and Turmoil
Paris was also a magnet for Jewish artists who left Russia and neighbouring countries in the early twentieth century, escaping oppression and poverty. Many artists, including Marc Chagall and Chaïm Soutine, lived and worked in the collection of studios known as La Ruche (the Beehive), in Montparnasse. These painters had a powerful influence on modernist figurative art.
Other Jewish artists, such as Ludwig Meidner, Martin Bloch and Arthur Segal, contributed to experimental art developments in Germany, including Expressionism and optical-effect painting.
Following the rise of Nazism in the 1930s, modernist art was denounced as degenerate. Jewish artists in Europe were particularly at risk. Soutine lived in hiding in France, while Chagall fled to America. Meidner, Bloch, and Segal escaped to Britain.
Many artists were among the German-speaking émigrés who were interned in Britain in 1940-41, during the Second World War. Making art, sometimes using improvised materials, provided an escape for many from the depressing experience of internment.
Fleeing Destruction
Polish artist Josef Herman’s painting of refugees captures the universal plight of all those who had to flee destruction or persecution in their homeland. A scene with the backdrop of a traditional village represents the settled life that many lost through devastating events.
The artworks in this section are related to the terrible destruction of the Holocaust unleashed in Nazi-controlled Europe during the Second World War. Jews were targeted for annihilation, and millions of other people also lost their lives because of their nationality, ethnic group, skin colour, religion, political beliefs, sexual orientation or disability.
Both Marc Chagall and Emmanuel Levy used traditional Christian imagery of crucifixion as a powerful symbol of the massacre of Jewish people. German-American satirist George Grosz showed the violent persecution of individuals. Art came out of tragic circumstances, and Leo Haas risked his life to make sketches of life in a concentration camp. Edith Kiss’s later sculpture was influenced by her experience of forced labour and imprisonment.
Post-War Britain
Artists who fled Nazism in Germany introduced new styles to Britain. However, some, like Erich Kahn and Else Meidner, suffered considerably from the traumatic disruption to their lives. Clara Klinghoffer fled to London from Amsterdam, having previously established a successful career painting striking portraits. From a younger generation, Eva Frankfurther and Frank Auerbach came to Britain as child refugees in 1939. Despite very different styles, they both identified with individual areas of London in their art.
Pictures by Frank Auerbach, Leon Kossoff and Ronald B Kitaj show how they adopted expressive styles to represent the identity and emotional character of a person, a place, or an experience. Contemporary painter Ansel Krut, from South Africa, also adopted an expressive style for his symbolic scene of impending sacrifice.
Recent Art
In these works, artists explore issues of group and individual identity through film, installation, photography and paintings. The artworks reflect the wide variety of the artists’ backgrounds and experiences. Coming right up to date, a specially commissioned film confronts the issue of migrant workers in London.
The themes include the clashing viewpoints of different communities and the conflict that can arise from passionate beliefs. The disorientation of refugee experience is strikingly illustrated in an image of a robed figure dragging a symbolic house in a Brazilian city. Similarly, massive portraits of asylum seekers in a style mimicking identity cards raise issues of self and individuality.
Aspects of female identity are also explored, while a photographic work celebrates the individual affirmation of a happy gay relationship. The concept of religion as an aspect of personal identity also features.
Ben Uri Gallery
The Ben Uri Art Society was founded in 1915 in London’s East End. Its original aim was to encourage Jewish artists who were struggling to gain acceptance by the art establishment of the time. Today, the Ben Uri Gallery has a wider focus, concentrating on art with the themes of migration and identity. It works with varied immigrant communities and artists of diverse backgrounds.
From its early days, Ben Uri purchased works of art, and held art classes, exhibitions, lectures, and concerts. Even during the Second World War, activities carried on, though the collection was stored in a basement for safety. Since then, Ben Uri has added innovative learning, well-being and outreach programmes, publications and a website to its exhibitions and acquisitions. During its history, Ben Uri Gallery has occupied a variety of tiny premises. In 2015, it began a major project to move to a new home.
In all its activities, Ben Uri Gallery explores the ways in which Britain’s rich cultural life has been enhanced and broadened by outsiders. It promotes the visual arts as a universal language that can encourage understanding in difficult and troubled times.
Watch a series of films with Chairman and Chief Executive David Glasser discussing the history of Ben Uri
Watch video about Ben Uri created for the 2015 Centenary celebrations
Visit the Ben Uri collection website
Blogs for further reading
Read about David Bomberg, Picasso and the Whitechapel boys in this informative blog by curator Sarah Richardson.
Another blog by Sarah tells the story of Chaïm Soutine, misfit artistic genius in 1930s Paris.
Out of Chaos - art that makes you think is Sarah's third blog, revealing background stories to some of the impressive contemporary and historical art in the exhibition.
Read about Marc Chagall’s ‘Apocalypse in Lilac’ with reference to Holocaust Memorial Day."
APPROXIMATE RELEASE DATE: 2025-
HEAD MOLD: "Josefina"
IMPORTANT NOTES: This doll is a simplified version of the 2023 Collector Belle. She has a different outfit and accessories, and does not have the same gold glitter makeup seen on the collector edition.
PERSONAL FUN FACT written by my sister: There aren't many Disney movies that I don't like. In fact, I simply LOVE most Disney movies--ones older than me, ones that came out WAY after I grew up...all of them. At some point, 101 Dalmatians was my favorite. At some point before that, it was Bambi. (Why, Colleen, why?) We watched Aladdin so many times that we destroyed multiple copies of it from over watching, and I feel that if the Princess and the Frog had been out in our youth, it would've met the same fate. However, I think my true favorite Disney movie out of them all is Beauty and the Beast. I AM Belle--an odd girl, lost in a book (or five books all at once), who doesn't fit in. A dazed dreamer walking through regular life, but thinking she's somewhere else. Emma Watson truly got to live out my fantasy--not of being Hermione Granger, because I pretty much did live that out in real life (bobbing up and down, hand in the air to answer ever question), but to play Belle on screen! My "favorite" Disney movie has changed (though Beauty and the Beast never left the top five, and Belle has always been my favorite princess) from time to time, but you can't change what your FIRST Disney movie was--and Beauty and the Beast was the first Disney movie we owned on VHS! The two cartoons I remember owning farthest back (though we rented plenty when I was little too) were Beauty and the Beast and a Little Mermaid VHS from the TV series. I know for a fact that we had to have gotten Beauty and the Beast first and, when I say "we" I mean me, because I don't think Shelly was even born yet. I remember when/where we got the Little Mermaid VHS--it was from my Pepere, Shelly was already born, and he gave me the charm bracelet that went with it (it's on Shelly's Forever Hair Ariel doll as a decorative sash). But I don't remember when or where we got Beauty and the Beast, it just WAS. In fact, I had it so long that, as far back as I remember, the beginning was so fuzzy it looked like it was raining. (And because I can't recall a time when it wasn't messed up, I thought it WAS raining, you can imagine my shock when I put in the DVD for the first time as an adult to discover, "It's not raining!") I watched it ALL the time when I was little! In fact, I remember being five, six, and seven, being on the playground or at the grocery store, trying to sing like Belle. I think I was convinced that, if I channeled Belle often enough, that it would manifest and I would BECOME Belle. I also had a fantasy of getting to do Belle's voice for the movie. I didn't have a full understanding of how home video worked back then, but I did know someone drew the pictures. I thought that whoever voiced a character also drew that character's pictures and that, whenever you put the tape in, the voice actor would basically be summoned to perform. (Not sure why I thought that would work--what if the voice actor was in bed or in the shower?) So, I greatly envy Emma Watson for getting to BE Belle for real! And it says something that I saw Beauty and the Beast as a very small child for the first time and that it STILL resonates with me like it did over 30 years ago! (The same can't be said of Bambi--which frankly I now find depressing. Or the Fox and the Hound--also depressing. Or 101 Dalmatians, which I still find cute, but I don't get why I liked it so much between fourth grade and sixth.) I may have enjoyed Aladdin more at times, but, as much as I loved Jasmine, I could never pretend that she was the princess I was most like.
I can relate 100% to how Belle felt when Gaston proposed. He's this gross, overly macho guy, with two many muscles, and a giant ego. He'd be bad enough if he was your stereotypical 21st century jock, but he's worse because he's a hunter, not a football player. There's nothing less attractive to me than someone hanging dead animals on the wall! Yuck. But he didn't take away from the movie. He's so objectionable that I love to hate him and my favorite song has to be "Gaston!" ("Le Fou I'm afraid I've been thinking..." "A dangerous past time" "I know.") The only thing that could make Beauty and the Beast even better is if she never got married to a prince and just stayed in the enchanted castle with the living objects forever! I mean, she'd never have to cook and clean. Shelly likes princesses who cook and clean for a hobby. I like the idea of letting the enchanted kitchen do the cooking and cleaning for me better.
In 2023, American Girl did their first collab with Disney, releasing Belle, Rapunzel, and Jasmine as 18 inch collector dolls. Like some of the holiday collector dolls, these were limited edition dolls bedazzled with swarovski crystals and a three hundred dollar price tag. I thought Rapunzel was really cool and looked most like the movie character. I thought Jasmine was also cool, but looked less like the movie character. Naturally, the one that spoke to me was Belle! However, I couldn't justify spending three hundred dollars on one doll. I'm not saying it's wrong for everyone, but it was just more than I felt comfortable spending. In 2024, they issued three more Disney girls--Tiana, Cinderella, and Ariel. They each were marketed with two separate fashions and weren't much more money than a regular American Girl. I was struck by two things the minute I found out about the second wave of Disney AG: One, Shelly would LOVE Tiana. Two, the price and separately marketed Disney fashions were PERFECT and I was really sad that Belle had launched with the earlier, more expensive dolls with less incentive to purchase them (I see extra fashions as a huge incentive). While Shelly was ordering Tiana (because we lucked out with a HUGE rewards certificate shortly after her release), I felt a pang of regret that Belle would never be.
However, shortly after Shelly purchased Tiana, hope rose anew: I noticed that Rapunzel was reissued as a simplified version, sans swarovski crystals and for a more affordable price tag! If Rapunzel was issued as a playline doll, could it mean that someday...I had to hope, and Shelly said that she read rumors that Belle would indeed be issued as a playline doll too. Rapunzel was issued with two accessories sets sold separately, rather than fashions, but still...so much fun for play. I was disappointed, however, when Moana was released because I was afraid that maybe they weren't going to get to Belle after all. Belle continued to be a pipe dream...a fantasy. Seeing another princess getting released who was NOT Belle? Huge disappointment. We didn't film our American Girl collection video in 2024 because, once Shelly purchased Nicki Hoffman, I had to have her twin, Isabel. It seemed pointless to film without one of the Hoffman twins, when we knew I'd get Isabel. I got Isabel as a "Christmas present" for myself in 2024 and we planned to film our American Girl collection shortly thereafter. But then...BELLE WAS RELEASED!
Shelly was happy for me, but also exasperated that this would put our plans to film our collection on hold yet again. I couldn't WAIT to get Belle. I thought it might take an ETERNITY for her to go on sale. The $70 we had in rewards points that we put toward Tiana was a fluke, unlikely to happen ever again. However, I knew Belle would eventually go on sale. It is so hard to be patient for things one really wants. Belle didn't qualify for a sale they ran over my February break, but Summer Mckinny did and Shelly really liked Summer, so we ordered Summer. It didn't make sense to buy Belle when she'd eventually go on sale, even though I was wildly impatient to finally possess my favorite Disney princess and Shelly wanted to be able to film our AG collection.
Toward the end of March, they ran another sale. I saw an ad for it in my email while I was on lunch at work. (American Girl probably emails me five times a day...Desperation is such an attractive quality in a retailer.) I highly doubted that Belle would qualify, but I hoped! That night, I checked and discovered that, to my delight, Belle qualified! Why she qualified for the sale but Lila, who was the Girl of the Year from the previous year, did not, I don't know! Also, Summer's clothes qualified! We felt really guilty contemplating it, what with buying Summer so recently AND some other outfits we caught on a sale (if we'd known Belle would be on a later sale, we wouldn't have done the other sale, but who'd have thought they'd run TWO consecutive 20% off sales!?). We said we'd think about it...but of course Shelly ordered Belle for me the next day when I was at work! She also snagged one of Summer's fashions and Belle's blue dress so that we'd qualify for free shipping (which is every shopaholics favorite excuse in the world). The end of March 2025 was very much like the end of March 2024--I spent a lot of time eagerly waiting for someone very special to come in the mail, a princess. "A princess is coming to my house!" The 2024 "princess" who arrived was Megan Ryder, my first Magic Attic doll. She is not a princess in the traditional sense, but she will always be as much a princess as Belle to me! I didn't think it would be possible to top the arrival of Megan...but BELLE! Not just a princess, but the first princess I adored.
Shelly ordered Belle on the last Thursday of March. She was supposed to arrive the following Tuesday, the first day of April, but she was two days late! She missed a scan, so I was starting to worry that she'd been lost in the mail--until Shelly texted me and said Belle had arrived! It was also a Thursday, a week after we ordered her. When I moved some things around in the shipping box to prepare to open her on camera, I accidentally saw her lovely face for the first time (I forgot that her box had a window). She took my breath away! So pretty! I love that she uses the Josefina sculpt, just like my Rebecca. It is the perfect look for Belle--very heart shaped, great for her hairline, and very full lips. Her eyes are similar to Rebecca's too, also perfect. Her eyebrows are really unique and I love her extra lashes! She did not disappoint! She is truly a work of art. Her hair is gorgeous too. The color is so perfect. It was a mess though--the lower half of the style was very dry. The bun part...they put it in a separate hairnet which was impossible to safely remove without messing up the style. Shelly thinks they put the bobby pins in after they put the net over it, which is probably true (how else were the pins outside of the net?). So, she had to attend Shelly's Salon for a restyle and conditioning, but she is perfect in every way. I love that she came with her ears already pierced. Shelly could have pierced them, but it was one less step. I love the earrings Shelly made to go with this dress--the flowers she put on the bottom under the yellow ones are PERFECT! They are similar to the ones she made for Tiana's dress.
Getting Belle was a really big deal for me. Back when I was a kid, American Girl didn't do collabs with big companies like Disney. I'm not saying that girls like Molly and Addy aren't just as famous as Belle to me, because they are, but it's really cool that they've expanded to make dolls of our favorite Disney characters. It might not be the traditional way that Pleasant Rowland started the company in the 80s. However, I read in one of our collector books that she wanted to focus on girls and things that mattered to girls. Belle mattered so much to me as a little girl, and I never stopped loving her or forgot about her, even in my late 30s. Belle still resonates with children today and I think she's a good role model. (She uses her brain and she knows that you don't have to marry the best looking man in town if he's a total jerk, even if everyone else thinks you should.) Characters like Moana, Tiana, Rapunzel, Ana, and Elsa may be "after my time," but they are impacting the lives of children (and even adults--I love all of them too) and some of them have already been around long enough that children who grew up with them the way I did with Belle are already grown and might love to have one of them (or more than one of them) as a keepsake. I will cherish Belle--I love her so much! It is still completely surreal to me that American Girl has released Disney princesses, the right size to play with Molly!
The Burgtheater at Dr.-Karl -Lueger-Ring (from now on, Universitätsring) in Vienna is an Austrian Federal Theatre. It is one of the most important stages in Europe and after the Comédie-Française, the second oldest European one, as well as the greatest German speaking theater. The original 'old' Burgtheater at Saint Michael's square was utilized from 1748 until the opening of the new building at the ring in October, 1888. The new house in 1945 burnt down completely as a result of bomb attacks, until the re-opening on 14 October 1955 was the Ronacher serving as temporary quarters. The Burgtheater is considered as Austrian National Theatre.
Throughout its history, the theater was bearing different names, first Imperial-Royal Theater next to the Castle, then to 1918 Imperial-Royal Court-Burgtheater and since then Burgtheater (Castle Theater). Especially in Vienna it is often referred to as "The Castle (Die Burg)", the ensemble members are known as Castle actors (Burgschauspieler).
History
St. Michael's Square with the old K.K. Theatre beside the castle (right) and the Winter Riding School of the Hofburg (left)
The interior of the Old Burgtheater, painted by Gustav Klimt. The people are represented in such detail that the identification is possible.
The 'old' Burgtheater at St. Michael's Square
The original castle theater was set up in a ball house that was built in the lower pleasure gardens of the Imperial Palace of the Roman-German King and later Emperor Ferdinand I in 1540, after the old house 1525 fell victim to a fire. Until the beginning of the 18th Century was played there the Jeu de Paume, a precursor of tennis. On 14 March 1741 finally gave the Empress Maria Theresa, ruling after the death of her father, which had ordered a general suspension of the theater, the "Entrepreneur of the Royal Court Opera" and lessees of 1708 built theater at Kärntnertor (Carinthian gate), Joseph Karl Selliers, permission to change the ballroom into a theater. Simultaneously, a new ball house was built in the immediate vicinity, which todays Ballhausplatz is bearing its name.
In 1748, the newly designed "theater next to the castle" was opened. 1756 major renovations were made, inter alia, a new rear wall was built. The Auditorium of the Old Burgtheater was still a solid timber construction and took about 1200 guests. The imperial family could reach her royal box directly from the imperial quarters, the Burgtheater structurally being connected with them. At the old venue at Saint Michael's place were, inter alia, several works of Christoph Willibald Gluck, Ludwig van Beethoven, Wolfgang Amadeus Mozart as well as Franz Grillparzer premiered .
On 17 February 1776, Emperor Joseph II declared the theater to the German National Theatre (Teutsches Nationaltheater). It was he who ordered by decree that the stage plays should not deal with sad events for not bring the Imperial audience in a bad mood. Many theater plays for this reason had to be changed and provided with a Vienna Final (Happy End), such as Romeo and Juliet or Hamlet. From 1794 on, the theater was bearing the name K.K. Court Theatre next to the castle.
1798 the poet August von Kotzebue was appointed as head of the Burgtheater, but after discussions with the actors he left Vienna in 1799. Under German director Joseph Schreyvogel was introduced German instead of French and Italian as a new stage language.
On 12 October 1888 took place the last performance in the old house. The Burgtheater ensemble moved to the new venue at the Ring. The Old Burgtheater had to give way to the completion of Saint Michael's tract of Hofburg. The plans to this end had been drawn almost 200 years before the demolition of the old Burgtheater by Joseph Emanuel Fischer von Erlach.
The "new" K.K. Court Theatre (as the inscription reads today) at the Ring opposite the Town Hall, opened on 14 October 1888 with Grillparzer's Esther and Schiller's Wallenstein's Camp, was designed in neo-Baroque style by Gottfried Semper (plan) and Karl Freiherr von Hasenauer (facade), who had already designed the Imperial Forum in Vienna together. Construction began on 16 December 1874 and followed through 14 years, in which the architects quarreled. Already in 1876 Semper withdrew due to health problems to Rome and had Hasenauer realized his ideas alone, who in the dispute of the architects stood up for a mainly splendid designed grand lodges theater.
However, created the famous Viennese painter Gustav Klimt and his brother Ernst Klimt and Franz Matsch 1886-1888 the ceiling paintings in the two stairwells of the new theater. The three took over this task after similar commissioned work in the city theaters of Fiume and Karlovy Vary and in the Bucharest National Theatre. In the grand staircase on the side facing the café Landtmann of the Burgtheater (Archduke stairs) reproduced Gustav Klimt the artists of the ancient theater in Taormina on Sicily, in the stairwell on the "People's Garden"-side (Kaiserstiege, because it was reserved for the emperor) the London Globe Theatre and the final scene from William Shakespeare's "Romeo and Juliet". Above the entrance to the auditorium is Molière's The Imaginary Invalid to discover. In the background the painter immortalized himself in the company of his two colleagues. Emperor Franz Joseph I liked the ceiling paintings so much that he gave the members of the company of artists of Klimt the Golden Cross of Merit.
The new building resembles externally the Dresden Semper Opera, but even more, due to the for the two theaters absolutely atypical cross wing with the ceremonial stairs, Semper's Munich project from the years 1865/1866 for a Richard Wagner Festspielhaus above the Isar. Above the middle section there is a loggia, which is framed by two side wings, and is divided from a stage house with a gable roof and auditorium with a tent roof. Above the center house there decorates a statue of Apollo the facade, throning between the Muses of drama and tragedy. Above the main entrances are located friezes with Bacchus and Ariadne. At the exterior facade round about, portrait busts of the poets Calderon, Shakespeare, Moliere, Schiller, Goethe, Lessing, Halm, Grillparzer, and Hebbel can be seen. The masks which also can be seen here are indicating the ancient theater, furthermore adorn allegorical representations the side wings: love, hate, humility, lust, selfishness, and heroism. Although the theater since 1919 is bearing the name of Burgtheater, the old inscription KK Hofburgtheater over the main entrance still exists. Some pictures of the old gallery of portraits have been hung up in the new building and can be seen still today - but these images were originally smaller, they had to be "extended" to make them work better in high space. The points of these "supplements" are visible as fine lines on the canvas.
The Burgtheater was initially well received by Viennese people due to its magnificent appearance and technical innovations such as electric lighting, but soon criticism because of the poor acoustics was increasing. Finally, in 1897 the auditorium was rebuilt to reduce the acoustic problems. The new theater was an important meeting place of social life and soon it was situated among the "sanctuaries" of Viennese people. In November 1918, the supervision over the theater was transferred from the High Steward of the emperor to the new state of German Austria.
1922/1923 the Academy Theatre was opened as a chamber play stage of the Burgtheater. On 8th May 1925, the Burgtheater went into Austria's criminal history, as here Mentscha Karnitschewa perpetrated a revolver assassination on Todor Panitza.
The Burgtheater in time of National Socialism
The National Socialist ideas also left traces in the history of the Burgtheater. In 1939 appeared in Adolf Luser Verlag the strongly anti-Semitic characterized book of theater scientist Heinz Kindermann "The Burgtheater. Heritage and mission of a national theater", in which he, among other things, analyzed the "Jewish influence "on the Burgtheater. On 14 October 1938 was on the occasion of the 50th anniversary of the opening of the Burgtheater a Don Carlos production of Karl-Heinz Stroux shown that served Hitler's ideology. The role of the Marquis of Posa played the same Ewald Balser, who in a different Don Carlos production a year earlier (by Heinz Hilpert) at the Deutsches Theater in the same role with the sentence in direction of Joseph Goebbels box vociferated: "just give freedom of thought". The actor and director Lothar Müthel, who was director of the Burgtheater between 1939 and 1945, staged 1943 the Merchant of Venice, in which Werner Kraus the Jew Shylock clearly anti-Semitic represented. The same director staged after the war Lessing's parable Nathan the Wise. Adolf Hitler himself visited during the Nazi regime the Burgtheater only once (1938), and later he refused in pure fear of an assassination.
For actors and theater staff who were classified according to the Reich Citizenship Law of 1935 as "Jews ", were quickly imposed stage bans, within a few days, they were on leave, fired or arrested. The Burgtheater ensemble between 1938 and 1945 did not put up significant resistance against the Nazi ideology, the repertoire was heavily censored, only a few joined the Resistance, as Judith Holzmeister (then also at the People's Theatre engaged) or the actor Fritz Lehmann. Although Jewish members of the ensemble indeed have been helped to emigrate, was still an actor, Fritz Strassny, taken to a concentration camp and murdered there.
The Burgtheater at the end of the war and after the Second World War
In summer 1944, the Burgtheater had to be closed because of the decreed general theater suspension. From 1 April 1945, as the Red Army approached Vienna, camped a military unit in the house, a portion was used as an arsenal. In a bomb attack the house at the Ring was damaged and burned down on 12th April 1945 completely. Auditorium and stage were useless, only the steel structure remained. The ceiling paintings and part of the lobby were almost undamaged.
The Soviet occupying power expected from Viennese City Councillor Viktor Matejka to launch Vienna's cultural life as soon as possible again. The council summoned on 23 April (a state government did not yet exist) a meeting of all Viennese cultural workers into the Town Hall. Result of the discussions was that in late April 1945 eight cinemas and four theaters took up the operation again, including the Burgtheater. The house took over the Ronacher Theater, which was understood by many castle actors as "exile" as a temporary home (and remained there to 1955). This venue chose the newly appointed director Raoul Aslan, who championed particularly active.
The first performance after the Second World War was on 30 April 1945 Sappho by Franz Grillparzer directed by Adolf Rott from 1943 with Maria Eis in the title role. Also other productions from the Nazi era were resumed. With Paul Hoerbiger, a few days ago as Nazi prisoner still in mortal danger, was shown the play of Nestroy Mädl (Girlie) from the suburbs. The Academy Theatre could be played (the first performance was on 19 April 1945 Hedda Gabler, a production of Rott from the year 1941) and also in the ball room (Redoutensaal) at the Imperial Palace took place performances. Aslan the Ronacher in the summer had rebuilt because the stage was too small for classical performances. On 25 September 1945, Schiller's Maid of Orleans could be played on the enlarged stage.
The first new productions are associated with the name of Lothar Müthel: Everyone and Nathan the Wise, in both Raoul Aslan played the main role. The staging of The Merchant of Venice by Müthel in Nazi times seemed to have been fallen into oblivion.
Great pleasure gave the public the return of the in 1938 from the ensemble expelled Else Wohlgemuth on stage. She performaed after seven years in exile in December 1945 in Clare Biharys The other mother in the Academy Theater. 1951 opened the Burgtheater its doors for the first time, but only the left wing, where the celebrations on the 175th anniversary of the theater took place.
1948, a competition for the reconstruction was tendered: Josef Gielen, who was then director, first tended to support the design of ex aequo-ranked Otto Niedermoser, according to which the house was to be rebuilt into a modern gallery theater. Finally, he agreed but then for the project by Michael Engelhardt, whose plan was conservative but also cost effective. The character of the lodges theater was largely taken into account and maintained, the central royal box but has been replaced by two balconies, and with a new slanted ceiling construction in the audience was the acoustics, the shortcoming of the house, improved significantly.
On 14 October 1955 was happening under Adolf Rott the reopening of the restored house at the Ring. For this occasion Mozart's A Little Night Music was played. On 15 and on 16 October it was followed by the first performance (for reasons of space as a double premiere) in the restored theater: King Ottokar's Fortune and End of Franz Grillparzer, staged by Adolf Rott. A few months after the signing of the Austrian State Treaty was the choice of this play, which the beginning of Habsburg rule in Austria makes a subject of discussion and Ottokar of Horneck's eulogy on Austria (... it's a good country / Well worth that a prince bow to it! / where have you yet seen the same?... ) contains highly symbolic. Rott and under his successors Ernst Haeusserman and Gerhard Klingenberg the classic Burgtheater style and the Burgtheater German for German theaters were finally pointing the way .
In the 1950s and 1960s, the Burgtheater participated (with other well-known theaters in Vienna) on the so-called Brecht boycott.
Gerhard Klingenberg internationalized the Burgtheater, he invited renowned stage directors such as Dieter Dorn, Peter Hall, Luca Ronconi, Giorgio Strehler, Roberto Guicciardini and Otomar Krejča. Klingenberg also enabled the castle debuts of Claus Peymann and Thomas Bernhard (1974 world premiere of The Hunting Party). Bernhard was as a successor of Klingenberg mentioned, but eventually was appointed Achim Benning, whereupon the writer with the text "The theatrical shack on the ring (how I should become the director of the Burgtheater)" answered.
Benning, the first ensemble representative of the Burgtheater which was appointed director, continued Klingenberg's way of Europeanization by other means, brought directors such as Adolf Dresen, Manfred Wekwerth or Thomas Langhoff to Vienna, looked with performances of plays of Vaclav Havel to the then politically separated East and took the the public taste more into consideration.
Directorate Claus Peymann 1986-1999
Under the by short-term Minister of Education Helmut Zilk brought to Vienna Claus Peymann, director from 1986 to 1999, there was further modernization of the programme and staging styles. Moreover Peymann was never at a loss for critical contributions in the public, a hitherto unusual attitude for Burgtheater directors. Therefore, he and his program within sections of the audience met with rejection. The greatest theater scandal in Vienna since 1945 occurred in 1988 concerning the premiere of Thomas Bernhard's Heldenplatz (Place of the Heroes) drama which was fiercly fought by conservative politicians and zealots. The play deals with the Vergangenheitsbewältigung (process of coming to terms with the past) and illuminates the present management in Austria - with attacks on the then ruling Social Democratic Party - critically. Together with Claus Peymann Bernhard after the premiere dared to face on the stage applause and boos.
Bernard, to his home country bound in love-hate relationship, prohibited the performance of his plays in Austria before his death in 1989 by will. Peymann, to Bernhard bound in a difficult friendship (see Bernhard's play Claus Peymann buys a pair of pants and goes eating with me) feared harm for the author's work, should his plays precisely in his homeland not being shown. First, it was through permission of the executor Peter Fabjan - Bernhard's half-brother - after all, possible the already in the schedule of the Burgtheater included productions to continue. Finally, shortly before the tenth anniversary of the death of Bernard it came to the revival of the Bernhard play Before retirement by the first performance director Peymann. The plays by Bernhard are since then continued on the programme of the Burgtheater and they are regularly newly produced.
In 1993, the rehearsal stage of the Castle theater was opened in the arsenal (architect Gustav Peichl). Since 1999, the Burgtheater has the operation form of a limited corporation.
Directorate Klaus Bachler 1999-2009
Peymann was followed in 1999 by Klaus Bachler as director. He is a trained actor, but was mostly as a cultural manager (director of the Vienna Festival) active. Bachler moved the theater as a cultural event in the foreground and he engaged for this purpose directors such as Luc Bondy, Andrea Breth, Peter Zadek and Martin Kušej.
Were among the unusual "events" of the directorate Bachler
* The Theatre of Orgies and Mysteries by Hermann Nitsch with the performance of 122 Action (2005 )
* The recording of the MTV Unplugged concert with Die Toten Hosen for the music channel MTV (2005, under the title available)
* John Irving's reading from his book at the Burgtheater Until I find you (2006)
* The 431 animatographische (animatographical) Expedition by Christoph Schlingensief and a big event of him under the title of Area 7 - Matthew Sadochrist - An expedition by Christoph Schlingensief (2006).
* Daniel Hoevels cut in Schiller's Mary Stuart accidentally his throat (December 2008). Outpatient care is enough.
Jubilee Year 2005
In October 2005, the Burgtheater celebrated the 50th Anniversary of its reopening with a gala evening and the performance of Grillparzer's King Ottokar's Fortune and End, directed by Martin Kušej that had been performed in August 2005 at the Salzburg Festival as a great success. Michael Maertens (in the role of Rudolf of Habsburg) received the Nestroy Theatre Award for Best Actor for his role in this play. Actor Tobias Moretti was awarded in 2006 for this role with the Gertrude Eysoldt Ring.
Furthermore, there were on 16th October 2005 the open day on which the 82-minute film "burg/private. 82 miniatures" of Sepp Dreissinger was shown for the first time. The film contains one-minute film "Stand portraits" of Castle actors and guest actors who, without saying a word, try to present themselves with a as natural as possible facial expression. Klaus Dermutz wrote a work on the history of the Burgtheater. As a motto of this season served a quotation from Lessing's Minna von Barnhelm: "It's so sad to be happy alone."
The Burgtheater on the Mozart Year 2006
Also the Mozart Year 2006 was at the Burgtheater was remembered. As Mozart's Singspiel Die Entführung aus dem Serail in 1782 in the courtyard of Castle Theatre was premiered came in cooperation with the Vienna State Opera on the occasion of the Vienna Festival in May 2006 a new production (directed by Karin Beier) of this opera on stage.
Directorate Matthias Hartmann since 2009
From September 2009 to 2014, Matthias Hartmann was Artistic Director of the Burgtheater. A native of Osnabrück, he directed the stage houses of Bochum and Zurich. With his directors like Alvis Hermanis, Roland Schimmelpfennig, David Bösch, Stefan Bachmann, Stefan Pucher, Michael Thalheimer, came actresses like Dorte Lyssweski, Katharina Lorenz, Sarah Viktoria Frick, Mavie Hoerbiger, Lucas Gregorowicz and Martin Wuttke came permanently to the Burg. Matthias Hartmann himself staged around three premieres per season, about once a year, he staged at the major opera houses. For more internationality and "cross-over", he won the Belgian artist Jan Lauwers and his Need Company as "Artists in Residence" for the Castle, the New York group Nature Theater of Oklahoma show their great episode drama Live and Times of an annual continuation. For the new look - the Burgtheater presents itself without a solid logo with word games around the BURG - the Burgtheater in 2011 was awarded the Cultural Brand of the Year .
Since 2014, Karin Bergmann is the commander in chief.
Important legal note.
All images are copyright and must not be re posted or water marks removed, anyone found reposting or removing water marks are liable to prosecution.
Important legal note.
All images are copyright and must not be re posted or water marks removed, anyone found reposting is liaIble to prosecution.
Important legal note.
All images are copyright and must not be re posted or water marks removed, anyone found reposting or removing water marks are liable to prosecution.
The Victory Monument (Italian Monumento alla Vittoria) on the Victory Square (Italian Piazza della Vittoria) in Bolzano (South Tyrol, Italy) is one of the most important monuments from the time of fascism in South Tyrol. It was built with the participation of important contemporary artists as a symbol of fascism and Italianity in the 1919/1920 annexed by the Kingdom of Italy southern Tyrol and as a memorial to the Italian dead of the First World War. For decades, the Victory Monument, inaugurated in 1928, was the subject of fierce debates between the various sections of the population in South Tyrol due to the transported image of history and its political significance. After being inaccessible for more than 30 years, the building, which belongs to the Italian State, was set up in 2014 as a documentation center for the history of Bolzano and South Tyrol during the fascist and National Socialist rule in the underground premises of the monument.
History
After the annexation of South Tyrol in 1919-1920 by Italy following the First World War and the seizure of power by dictator Mussolini in 1922, the regime began to relocate or destroy Austrian monuments in the new provinces. On February 10, 1926, Benito Mussolini's personal initiative was taken in the Chamber of Deputies, with a foreign policy thrust, to establish a fascist monument in Bolzano, which had already been exposed to the repressive measures of Italianization.
Mussolini's original idea was to dedicate this monument to the Italian irredentist Cesare Battisti, who had been executed in 1916 by the Austrians. This proposal was well received by the fascist organizations throughout Italy and abroad, although Battisti had already spoken in 1915, together with various Italian politicians for a border with the Salurner Klause (a narrow section of the Adige Valley between the Fiemme Mountains and the Nonsberg Group, marks the southern border of the South Tyrolean Unterland. Since about 1600 a German-Italian language border solidified here, a circumstance which received a nationalist emphasis by the 19th century, as referred to in the Bozner Bergsteigerlied), ie against the connection of South Tyrol to Italy. In no time, the required 3 million lire were collected. The marble for the construction was donated by industrialists from Lucca.
On 17 March, the Commission met to approve the project. It consisted of Mussolini, Ettore Tolomei, the Secretary of State Giacomo Suardo and the Minister of Public Education Pietro Fedele, who contributed the idea to the inscription on the front page.
Mussolini's desire to build the monument near the Talferbrücke (bridge), where during the First World War the Austrian administration had commissioned the artist Franz Ehrenhöfer to build a monument to the fallen Kaiserjäger, was quickly put into action. The project was entrusted to the architect Marcello Piacentini, who then presented his plans in June.
The unveiling and inauguration of the monument to the "martyrs of the First World War" took place on July 12, 1928 in the presence of King Victor Emmanuel III and the Bishop of Trent Celestino Endrici. On this day, a counter-demonstration with 10,000 participants took place in Innsbruck at Bergisel.
Since neither Battisti's widow nor his daughter agreed to abuse the character of the Irredentist from Trento for propaganda purposes, Mussolini decided to dedicate the monument to victory. Battisti's widow was not present at the inauguration. However, a Fascist-style ceremony was staged, at which, also due to official urging, 23 official South Tyrolean music bands participated.
In the decades following the Second World War, the Victory Monument to prevent possible attacks - as happened in September 1978 - was guarded intensively by Carabinieri patrols and high fences, which prevented any access to the building.
Renovation of the monument in 2011
Between 2009 and 2014 various construction measures were carried out. First, the Victory Monument was completely renovated on behalf of the "Ministero per i Beni e le Attività Culturali". Subsequently, there were some redesigns, which served the establishment of a documentation center in the underground premises and the public accessibility of the above-ground area. The permanent exhibition BZ '18 -'45: a monument, a city, two dictatorships was worked out by a scientific commission, consisting of Ugo Soragni representing the state, Andrea Di Michele and Christine Roilo as representatives of the country of South Tyrol, Silvia Spada and Hannes Obermair as Representatives of the city of Bolzano. Thirteen subterranean rooms not only treat the history of the monument, but also illuminate the history of Bolzano and South Tyrol under fascist and National Socialist rule. Two LED scoreboards with marquees on and behind the monument indicate the permanent exhibition in the outdoor area. The exhibition is open year-round with free admission.
The opening of the new facility took place on 21 July 2014 in the presence of Governor Arno Kompatscher and Minister of Culture Dario Franceschini. Shortly before the end of his term of office, Austria's Federal President Heinz Fischer made an official visit to the Documentation Exhibition in June 2016.
Das Siegesdenkmal (italienisch Monumento alla Vittoria) auf dem Siegesplatz (italienisch Piazza della Vittoria) in Bozen (Südtirol, Italien) ist eines der bedeutendsten Monumente aus der Zeit des Faschismus in Südtirol. Errichtet wurde es unter Mitwirkung wichtiger zeitgenössischer Künstler als Symbol des Faschismus und der Italianität im 1919/1920 vom Königreich Italien annektierten südlichen Tirol sowie als Denkmal für die italienischen Toten des Ersten Weltkriegs. Jahrzehntelang war das 1928 eingeweihte Siegesdenkmal aufgrund des transportierten Geschichtsbilds und seiner politischen Aussagekraft Gegenstand erbitterter Debatten zwischen den verschiedenen Bevölkerungsgruppen in Südtirol. Nachdem das dem Italienischen Staat gehörende und unter Denkmalschutz stehende Bauwerk über dreißig Jahre lang nicht zugänglich gewesen war, wurde 2014 in den unterirdischen Räumlichkeiten des Denkmals ein Dokumentationszentrum zur Bozner und Südtiroler Geschichte während der faschistischen und nationalsozialistischen Herrschaft eingerichtet
Geschichte
Nach der Annexion Südtirols 1919/1920 durch Italien in Folge des Ersten Weltkriegs und der Machtübernahme von Diktator Mussolini 1922 begann das Regime damit, österreichische Monumente in den neuen Provinzen zu verschieben oder zu zerstören. Am 10. Februar 1926 wurde in der Abgeordnetenkammer auf Benito Mussolinis persönliche Initiative hin und mit außenpolitischer Stoßrichtung die Entscheidung getroffen, im damals bereits den repressiven Maßnahmen der Italianisierung ausgesetzten Bozen ein faschistisches Monument zu errichten.
Die ursprüngliche Idee Mussolinis war es, dem italienischen Irredentisten Cesare Battisti dieses Monument zu widmen, der 1916 von den Österreichern hingerichtet worden war. Dieser Vorschlag fand bei den faschistischen Organisationen in ganz Italien und im Ausland große Zustimmung, obwohl sich Battisti bereits 1915 zusammen mit verschiedenen italienischen Politikern für eine Grenze bei der Salurner Klause ausgesprochen hatte, also gegen den Anschluss Südtirols an Italien. In kürzester Zeit wurden die erforderlichen 3 Millionen Lire eingesammelt. Den Marmor für den Bau schenkten Industrielle aus Lucca.
Am 17. März trat die Kommission zusammen, die das Projekt genehmigen sollte. Sie bestand aus Mussolini, Ettore Tolomei, dem Staatssekretär Giacomo Suardo und dem Minister für den öffentlichen Unterricht Pietro Fedele, welcher die Idee zur Inschrift an der Stirnseite beisteuerte.
Mussolinis Wunsch, das Monument in der Nähe der Talferbrücke zu errichten, wo während des Ersten Weltkriegs die österreichische Administration den Künstler Franz Ehrenhöfer damit beauftragt hatte, ein Monument für die gefallenen Kaiserjäger zu bauen, wurde rasch in die Tat umgesetzt. Das Projekt wurde dem Architekten Marcello Piacentini anvertraut, der seine Planungen dann auch im Juni präsentierte.
Die Enthüllung und Einweihung des Denkmals für die „Märtyrer des Ersten Weltkrieges“ erfolgte am 12. Juli 1928 in Anwesenheit des Königs Viktor Emanuel III. und des Bischofs von Trient Celestino Endrici. An diesem Tag fand in Innsbruck am Bergisel eine Gegendemonstration mit 10.000 Teilnehmern statt.
Da weder Battistis Witwe noch seine Tochter sich einverstanden erklärten, die Figur des Irredentisten aus Trient für Propagandazwecke zu missbrauchen, entschloss sich Mussolini, das Denkmal dem Sieg zu widmen. Battistis Witwe war bei der Einweihung nicht dabei. Es wurde jedoch eine Zeremonie in faschistischem Stil inszeniert, an der auf offizielles Drängen hin auch 23 Südtiroler Musikkapellen teilnahmen.
In den Jahrzehnten nach dem Zweiten Weltkrieg wurde das Siegesdenkmal zur Verhinderung möglicher Anschläge – wie etwa im September 1978 geschehen – intensiv durch Carabinieri-Patrouillen und hohe Zäune bewacht, die jeglichen Zugang zum Bauwerk unterbanden.
Renovierungsarbeiten am Monument im Jahr 2011
Zwischen 2009 und 2014 erfolgten diverse bauliche Maßnahmen. Zunächst wurde das Siegesdenkmal im Auftrag des „Ministero per i Beni e le Attività Culturali“ von Grund auf renoviert. Anschließend kam es zu punktuellen Umgestaltungen, die der Errichtung eines Dokumentationszentrum in den unterirdischen Räumlichkeiten sowie der öffentlichen Zugänglichmachung des oberirdischen Bereichs dienten. Die Dauerausstellung BZ ’18–’45: ein Denkmal, eine Stadt, zwei Diktaturen wurde von einer wissenschaftlichen Kommission, bestehend aus Ugo Soragni als Vertreter des Staates, Andrea Di Michele und Christine Roilo als Vertreter des Landes Südtirol, Silvia Spada und Hannes Obermair als Vertreter der Stadt Bozen, erarbeitet. In dreizehn unterirdischen Räumen wird dabei nicht nur die Geschichte des Denkmals behandelt, sondern auch die Geschichte Bozens und Südtirols unter faschistischer und nationalsozialistischer Herrschaft beleuchtet. Zwei LED-Anzeigetafeln mit Laufschriften an und hinter dem Denkmal weisen im Außenbereich auf die Dauerausstellung hin. Die Ausstellung ist ganzjährig mit freiem Eintritt geöffnet.
Die Eröffnung der neuen Einrichtung erfolgte am 21. Juli 2014 im Beisein von Landeshauptmann Arno Kompatscher und Kultusminister Dario Franceschini. Kurz vor dem Ende seiner Amtszeit stattete Österreichs Bundespräsident Heinz Fischer der Dokumentationsausstellung im Juni 2016 einen offiziellen Besuch ab.
IMPORTANT
All my 2015 pictures of Nepal are taken shortly before the heavy earthquake in April 2015! Most of these buildings are now damaged!
To me this is the real tragedy of this year!
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Bhaktapur (Nepali: भक्तपुर), literally translates to Place of devotees. Also known as Bhadgaon or Khwopa (Newar: ख्वप Khwopa), it is an ancient Newar city in the east corner of the Kathmandu Valley, Nepal, about 13 km from the capital city, Kathmandu. It is located in Bhaktapur District in the Bagmati Zone.
Bhaktapur was the largest of the three Newar kingdoms of the Kathmandu Valley, and was the capital of Nepal during the great 'Malla Kingdom' until the second half of the 15th century. Today it is the third largest city in the Kathmandu Valley, with a population of more than 80,000, of which the vast majority are still Newars. Historically more isolated than the other two kingdoms, Kathmandu and Patan, Bhaktapur has a distinctly different form of Nepal Bhasa language.
Bhaktapur has the best preserved palace courtyards and old city center in Nepal, and is listed as a World Heritage Site by UNESCO for its rich culture, temples, and wood, metal and stone artworks. This is supported by the restoration and preservation efforts of German-funded Bhaktapur Development Project (BDP).
The city is famous for special type of curd called "Ju Ju(king) dhau(curd). It is experienced by the curd makers that the taste of curd prepared in this location cannot be found elsewhere all over Nepal.
ETYMOLOGY
KHWOPA is the ancient name of Bhaktapur. The term "Bhaktapur" (Sanskrit/Nepali: भक्तपुर) refers to "The City Of Devotees". This Bhaktapur City is also known as "Khwopa" (Nepal Bhasa: ख्वप) or "Bhadgaon" (Nepali:भादगाँउ) or "Ancient Newari Town" throughout the Kathmandu Valley. "Kh0apa" actually refers to the masks which are believed to have been worn by gods and goddesses. Bhaktapur is popular for different forms of mask dances based on lives of different deities and therefore, it was named "Khwapa" which later came to become just "Khwopa," which is also near to meaning masks.
HISTORY
It is the home of traditional art and architecture, historical monuments and craft works, magnificent windows, pottery and weaving industries, excellent temples, beautiful ponds, rich local customs, culture, religion, festivals, musical mystic and so on. Bhaktapur is still an untouched as well as preserved ancient city that is itself a world to explore for tourists.
From time immemorial it lay on the trade route between Tibet and India. This position on the main caravan route made the town rich and prosperous.
DEMOGRAPHICS
At the time of the 2001 Nepal census it had a population of 72,543. The male inhabitants of this city wear a special type of cap called the Bhadgaunle Topi Nyatapola.
LANDMARKS
LAYAKU (DURBAR SQUARE)
Bhaktapur Durbar Square is a conglomeration of pagoda and shikhara-style temples, mostly dedicated to Hindu gods and goddesses grouped around a 55-window palace of brick and wood. The square is one of the most charming architectural showpieces of the valley as it highlights the ancient arts of Nepal. The golden effigies of the kings perched on the top of stone monoliths, the guardian deities looking out from their sanctuaries, the wood carvings in every place — struts, lintels, uprights, tympanums, gateways and windows — all seem to form a well-orchestrated symphony.
The royal palace was originally situated at Dattaraya square and was only later moved to the Durbar square location. The square in Bhaktapur was severely damaged by an earthquake in 1934 and hence appears more spacious than the ones at Kathmandu and Patan.
NYATAPOLA TEMPLE
Nyatapola Temple is a 5-story pagoda located in Bhaktapur, Nepal. The temple was erected by Nepali King Bhupatindra Malla during a 5-month period from late 1701 into 1702. It is the temple of Siddha Laxmi, the Hindu goddess of prosperity.
BHAIRAB NATH TEMPLE
This is another pagoda temple of lord Bhairab, the dreadful aspect of Lord Shiva. It stands a short distance away from the temple of Nyatapola and was originally constructed by King Jagat Jyoti Malla on a modest scale. It was later remodelled by King Bhupatindra Malla, a zealous lover of the arts, into what it is now a three-storeyed temple.
DATTATRAYA TEMPLE
The temple of Dattatraya is as old as the Palace of Fifty-five Windows. Consecrated by King Yakshya Malla in 1427 AD, this temple, according to popular belief, was built out of the trunk of a single tree. It was subsequently repaired and renovated by King Vishwa Malla in 1458 AD.
Just beside temple is a monastery (Math) with exquisitely carved peacock windows. These famous windows were carved during the reign of King Vishwa Malla. The monastery is full of artistic facades of latticed windows and engraved columns.
CHANGU NARAYAN TEMPLE
Changu Narayan is an ancient Hindu temple located near the village of Changunarayan in the Kathmandu Valley on top of a hill at the eastern end of the valley. It is 6 kilometres to the north of Bhakathapur and 22 kilometres from Kathmandu. The temple is one of the oldest Hindu temples of the valley, and is believed to have been constructed first in the 4th century. Changu Narayan is the name of Vishnu, and the temple is dedicated to him. A stone slab discovered in the vicinity of the temple dates to the 5th century, and is the oldest such stone inscription discovered in Nepal. It was rebuilt after the old temple was devastated. Many stone sculptures here date to the Licchavi period. Changu Narayan Temple is listed by UNESCO as a World Heritage Site.
The temple is a double-roofed structure where the idol of Lord Vishnu in his incarnation as Narayana is deified. The exquisitely built temple has intricate roof struts showing multi-armed Tantric deities. A kneeling image of Garuda (dated to the 5th century), the vahana or vehicle of Vishnu with a snake around its neck, faces the temple. The gilded door depicts stone lions guarding the temple. Gilded windows also flank the door. A conch and a disc, symbols of Vishnu, are carved on the two pillars at the entrance. Non-Hindus are not allowed inside the temple.
TA PUKHA (SIDDHA POKHARI)
Ta Pukhu (Siddha Pokhari) is a big rectangular water pond near the main city gate. It was built during the reign of King Yakshya Malla in the early 15th century and is associated with a number of myths. From this spot a wide range of snowy peaks are visible on clear days.
KAILASHNATH MAHADEV STATUE
Kailashnath Mahadev is the World's Tallest Lord Shiva statue. The height of this statue is 143 feet high and is situated 20 km from Kathmandu, epal. The statues construction work was started in 2004 and was completed in 2012. The statue's inauguration took place on the 21st of June '12. This statue stands on the 32nd position in the list of all statues by height in the whole world. It has been made of copper, cement, zinc, and steel. To make this gigantic structure possible there were many professional workers and statue makers from India.
FESTIVAL
Bhaktapur is also known as city of festivals and celebrations. The city celebrates festivals each month starting from new year festival to the Holi puni at the end of the year.
- Bisket Jatra (New year festival)
This ancient annual festival of bhaktapur takes place at the New Year of the Bikram Sambat calendar. A few days before the New Year, usually at Chaitra 27 or Chaitra 28, if 31 days in month, the goddess 'bhadrakali' and the god 'bhairab' are enshrined in their raths, or immense chariots & pulled through the narrow streets of Bhaktapur by crowds of young men.
The chariots rest at certain time-honored places in the city and people come out to throw offerings of flower, rice, coins and red sindur powder. On the last day of the old year a towering wooden pole known as ' lyesing dha: or lingo' is erected at the edge of town. Long banners hang from the pole, symbolizing snakes - Nag and nagini. On new year's day, the erected pole is brought down symbolizing victory over evil! People enjoy New year day along with victory over evils. On baisakh 5, the chariot is again pulled to narrow street of bhaktapur and brought to its origin place, Taumadhi square marking end of Bisket Jatra.
- Kumar Khasti (Sithi Nakha)
Before modern piping system, wells and kuwas were the basis for water supply in bhaktapur. In this auspicious day, people clean wells and worship Naag favoring good fall in monsoon. They celebrate by eating delicious delicacy like bara and chatamari.
- Gathamaga charya
Gathamaga is made up of straw that symbols a devil. Locals make gathamaga in their locality and burn fire to remove devils of their locality. It is also said that mosquitos loses its one leg in this day.
- Sa: Paaru (Gai Jatra)
The celebration of Gai Jatra Bhaktapur is interesting among Kathmandu and Lalitpur. In this day, Tall bamboo poles wrapped in cloth and topped horn of straw and an umbrella is carried around the town in memory of dead. The photo of dead is hung in this pole called Ta macha.
Also a colorful procession known as Ghing tang gishi is main attraction of this festival. People enjoy and dance in beats of music and play with stick in accordance to the beat. People decorate themselves in mask, paints and even in female outfits.
GUNLA
Gunla is the name of 10th month of Nepal Era calendar. It is sacred month dedicated to Lord Buddha celebrated in Kathmandu, Patan and Bhaktapur.
But In Bhaktapur, last day of Gunla Panchadan is celebrated differently. The Five Buddhas are brought to Taumadhi square accompanied with Gunla Baja, a special musical instrument played only in Gunla and Buddhas are rounded around bhaktapur town.
- Pulu Kisi (Indra Jatra)
The son of Lord of heaven, is believed to have been kidnapped by a devil named Maisasur who then tied Indra's son in a pole and killed. Indra was shocked to hear his son's death and sent an elephant, pulukisi to find and kill Maisasur. But legend says Pulukisi couldn't find maisur till date. This jatra is a play to that legendary story where pulu kisi is rounded the town to search for Maisasur.
- Sithi Nakha
In Bhaktapur a palanquin with an image of the hindu goddess Bhagawati is carried in colorful procession through Nyatapol square this day.
- Dhanya purnima (Yomari purnima)
In this day Farmers of Kathmandu valley worship to Annapurna, the Goddess of grains, for good rice harvest and enjoy feast after all the hard work of the season. Yomari is the chief item on the menu in this day. So is called Yomari puni.
- Maghe sankranti (Ghya-chaku sankranti) (Makar Sankranti)
This festival marks the winter solstice and Newars partake of a feast. The days special menu include butter (ghyu), molasses (chaku) and yam.
In Bhaktapur, on this auspicious day samyak Dan is performed by Buddhist. The shakyas and Bajracharya gather in a samyak ground near Napukhu pond accompanied with panchabuddhas and samyak buddhas. They are offered chaku balls and rice. Bhaktapur is the only one in valley that conducts samyak Dan once in a year.
SHREE PANCHAMI
People regard this day as propitious day for starting new enterprise. Devotee throng Devi shrine to seek blessing. In Bhaktapur, People visit Sashwo:dega in this auspicious day where the idol of Buddhist deity Mahamanjushree is kept. Hindus regard it as saraswoti and worship whereas Buddhist worship it as Manjushree.
IN POPULARE CULTURE
Portions of the movie Little Buddha starring Keanu Reeves and Bridget Fonda were filmed in the Bhaktapur Durbar Square.
2015 EARTHQUAKE
The Magnitude 7.8 2015 Nepal earthquake that struck on 25 April 2015 damaged 116 heritages in the historic town of Bhaktapur. Of them, 67 were completely damaged while 49 suffered from partial damages. The quake has badly damaged the Durbar square, a significant heritage site included in the UNESCO world heritage list. The main premises of Taleju Temple here also witnessed damages in the disaster.
The building of the municipality office, temples of Rameshwor, Batsala, Narayan, Siddilaxmi, Biswaroopa, Siddiganesh, Sweetbhairav, Siva Mahadev, Degaina, sattal, pati and pujari mathas were damaged by the quake.
The reconstruction and new construction of the damaged heritages will cost over Rs 293 million, underlining the need of starting the renovation soon.
The Magnitude 8.4 (1934 Nepal–Bihar earthquake) demolished several buildings that were never rebuilt, however they can be seen in the earlier drawings. Chyasilin Mandap has been rebuilt.
WIKIPEDIA
Barnard Castle is a well-documented example of a ringwork which developed into a shell keep. It is one of the largest castles in the north of England and its importance lies not only in the good state of preservation of its standing remains but also in the wide range of ancillary features which survive as buried features within its four wards. Equally important are its associations with the Balliols and the Earls of Warwick, the former being one of the most important families in Scottish medieval history and the latter in later medieval English history.
The monument is situated on a cliff above the River Tees and includes an early 12th century ringwork, a 12th to 14th century shell keep castle with four wards or enclosures, a chapel and a dovecote. Formerly, an outer ditch enclosed the east side of the castle between the curtain wall and the Horse Market. Although the remains of this ditch will survive beneath later urban development, it is not included in the scheduling as the extent of the remains is not sufficiently understood. A series of partial excavations carried out within the later castle walls between 1974 and 1982 has shown that the earliest fortification dates to between c.1109 and 1125. It was constructed overlooking the river where the cliff turned eastwards into the mouth of a gully. A ditch was quarried in an arc from the north cliff to the west cliff, enclosing a roughly circular area with a diameter of c.50m. The upcast from the ditch was used to create a rampart along the inside of the ditch and this, together with the cliff edge, was surmounted by a timber palisade. Within this ringwork the remains of wooden outbuildings and a large timber hall have been found beneath the floors of later stone buildings. Access to the interior was via a bridge across the ditch which led through a timber gatehouse located at the junction of the ditch with the west cliff. This gatehouse was soon afterwards rebuilt in stone and was the earliest stone building of the castle. The main period of reconstruction came in two phases between c.1125 and 1170. During the first phase, 1125-1140, the ringwork was strengthened by the excavation of the Great Ditch, a substantial rock-cut feature along the line of the earlier ditch, and the palisade was replaced by a multi-angular curtain wall with a wall walk and an interval tower along the east side. The original entrance was blocked and a new entrance was built alongside it at the head of a wooden bridge across the Great Ditch. The stone gatehouse became incorporated into the larger Headlam Tower and a small rectangular keep was built at the north east angle of the enclosure. In addition, the rampart was widened to create a site for timber buildings along the inside of the east and south curtain. The resultant shell keep, occupying the site of the original ringwork, formed the Inner Ward of the castle. To the south and east were three more wards which originated at the same time as the ringwork though they were not fortified in stone until the second phase of rebuilding between 1140 and 1170. The smallest of these was the Middle Ward, situated south of the Inner Ward with the Great Ditch forming its north side and walls enclosing it on the south, west and east sides. The walls here have been heavily robbed but it is clear that this enclosure acted as a barbican or fortified entry for the Inner Ward. It controlled access to the Inner Ward by means of a gate beneath the Constable Tower, a three storey gate-tower on the south side of the Middle Ward. Little of the Constable Tower remains standing, but its foundations and those of other buildings, located by excavation in the south east corner of the ward, survive as buried remains. The approach to the gate was from the Outer Ward which lay to the south and was the largest of the four wards with an area of c.1.5ha. It was enclosed by a curtain wall on the south, west and east sides, and also by the outer ditch which lay outside the east curtain. On the north side another ditch ran from west to east, below the cross-curtain wall that separated the Outer Ward from the Middle and Town Wards and effectively divided the castle in two. The main route into the castle ran parallel with this ditch before turning north to pass beneath the Constable Tower. The Outer Ward has not been excavated but documentary evidence indicates that a chapel dedicated to St Margaret had been built on the east side by the mid-12th century and bestowed on St Mary's Abbey, York. The remains of this chapel survive incorporated into a later stable. Further remains which survive as buried features beneath the buildings, paddocks, yards and gardens that now occupy the Outer Ward, are the farm buildings belonging to the castle and the gate-tower in the east curtain which controlled the approach from the town. The fourth ward was the Town Ward, located in the north east quarter of the castle and enclosed on the north side by the outer curtain. On the east side it was bounded by the curtain and the outer ditch, on the south side by a cross-curtain wall and, on the west side, by the Great Ditch. Excavations inside the Town Ward have uncovered a number of buildings set against the curtain wall round at least one cobbled courtyard containing a pond and a well. Other buildings and yards occupied the open interior and also the wide bank extending round the inside of the walls. Incorporated into the curtain wall were at least three towers and also a postern or pedestrian gate, located in the east curtain. The east curtain does not survive well round the Town Ward, having in places been replaced by a modern wall. Towards the north angle, however, it survives sufficiently well to illustrate a typical defensive feature of the castle: arrow loops set inside recessed arches. In addition, it includes the remains of Brackenbury Tower, a large rectangular structure of two storeys which projects slightly beyond the wall. The upper storey contained a fireplace, two garderobes or privies, and a window with seats converted from one of three recessed arrow loops. Beneath was a barrel-vaulted basement which also contained a fireplace, a garderobe and cupboards. The arrangements on both floors indicate that the tower had a domestic or administrative function. The curtain wall round the north side of the Town Ward is unusual in that it is too narrow to have carried the usual wall walk. It also contains many nesting boxes for pigeons or doves. Included within it is the north gate, a two storey tower with a chamber above the gate passage and rooms flanking it. Though both ground floor rooms contain fireplaces, that to the right is less elaborate and would have been the guardroom while that to the left opened onto the ward and probably also had an administrative function. The third tower of the Town Ward is a small square structure in the north curtain, adjacent to the Great Ditch. It is known as the Dovecote Tower because the interior, from top to bottom, consists of tiers of nesting boxes. In construction the tower dates, like the rest of the ward, to the later 12th century but, before it was a dovecote, it may have had another function connected with a doorway which now opens into mid-air. The doorway led into another building set against the curtain wall, but nothing of this structure survives above ground. As yet, its buried remains have not been excavated, and so its function and relationship to the Dovecote Tower cannot yet be determined. Between 1170 and 1185, following the second building phase, there was a third period of reconstruction carried out only in the Inner Ward. The timber hall was rebuilt in stone and was connected to the gate-tower by a wall behind which lay kitchens and other ancillary buildings. The keep in the north east angle was replaced by the three-storey Round Tower which had both a military and a domestic function, and, between the tower and the new hall was built the Great Chamber: a three-storey residence for the lords of Barnard Castle. The wall round the Inner Ward was strengthened by the addition of the Postern Tower and the Prison Tower, the latter replacing the earlier projecting tower. A bakehouse was also constructed against the curtain. Following this, there were no further alterations until the 14th century when the hall and service buildings were rebuilt and enlarged by the addition of the Mortham Tower, and the access into the Inner Ward was changed to make it more secure. This was achieved by relocating the bridge over the Great Ditch, so that it now ran alongside the west curtain, and by building a demi-bastion, or semicircular tower, which extended from the original Headlam Tower to the edge of the ditch. The route from the bridge was then walled off so that the way into the Inner Ward was completely covered by the new defences even before it reached the gate under the demi-bastion. Also at this time, a portcullis was inserted into the curtain wall at the bottom of the Great Ditch so that the bridge over the Tees could be protected from the castle. During this period the Outer Ward went out of use and at least one building in the Town Ward was demolished. A wet moat was dug alongside the east wall of the Middle Ward and a tower was built to overlook the moat and protect the drawbridge across it. In this way, the castle was made smaller and more defensible, cheaper to run and also more comfortable for its residents. For the next hundred years no further changes were made, and then modifications were only of a minor and domestic kind, including the insertion of an oriel window into the Great Chamber and the addition of a turret onto the Mortham Tower. The first castle was built by Guy de Balliol to be the caput or chief centre of his estates in the north of England. At that time the site was defended not only by the cliffs alongside the Tees but by a steep gully to the north. This gully has since been infilled but, in the 12th century, it still carried the old Roman road between Bowes and Binchester, and the castle commanded the point where this road forded the river. Guy was succeeded by his nephew Barnard de Balliol who, together with his second son, also called Barnard, was responsible for the reconstruction of the castle and the creation of the borough which bears their name. Throughout the next hundred years, the Balliols grew in power and importance until, in 1290, John Balliol defeated the claim of Robert de Brus and became King of Scotland. In his bid for the Scottish throne, however, he had been dependent on the support of Edward I and, in the war which followed his subsequent refusal to do homage to the English king, he rapidly lost power, was taken prisoner by the English, and lost all his estates save the family lands in Picardy. Meanwhile, Barnard Castle was seized by Anthony Bek, Bishop of Durham, in response to a long-standing claim that the bishops had rights over the estates which included the castle. Edward I tolerated this for a time but, in 1306, confiscated the lordship of Barnard Castle and granted it in 1307 to Guy de Beauchamp, Earl of Warwick. From being a home and a stronghold, the castle became merely a source of revenue, and, though it was kept on a war-footing due to the ever-present threat from Scotland, the Beauchamps rarely visited it despite the domestic improvement carried out during their period of lordship. In 1445 the Nevilles succeeded to the Earldom of Warwick and, with the death of Richard Neville at the Battle of Barnet in 1471, the castle passed to Richard, Duke of Gloucester who in 1481 became King Richard III. Richard planned to found an ecclesiastical college within the castle, but these plans had not been realised by the time of his death in 1485.
Throughout the 15th and 16th centuries the castle gradually fell into disrepair, as illustrated by surveys done at the time. In 1569 it enjoyed a brief period of importance during the so-called Rising of the North when the Earls of Westmorland and Northumberland, together with the Scropes and Dacres, moved to release Mary, Queen of Scots from Castle Bolton, place her on the throne of England and restore the country to Catholicism. Their rebellion failed, in part due to the time bought by Sir George Bowes, a loyal supporter of Elizabeth I, who moved to Barnard Castle and managed to withstand a ten-day siege before surrendering the castle, thus giving the Earl of Sussex time to muster an army in support of the queen. Following this, the castle and its estate were rented out by the Crown to various tenants, including the Bowes family, until 1603 when James I granted it to Robert Carr, together with the lordship of Raby. By 1630, both Barnard Castle and Raby were in the possession of Sir Henry Vane who proceeded to dismantle the former to provide building material for his improvements to the latter. Since 1952, by a number of Deeds of Gift, the Inner, Middle and Town Wards have been brought into State care. The ruins are also a Grade I Listed Building. (Scheduling Report)
Some background:
The Rolls-Royce Griffon engine was designed in answer to Royal Navy specifications for an engine capable of generating good power at low altitudes. Concepts for adapting the Spitfire to take the new engine had begun as far back as October 1939; Joseph Smith felt that "The good big 'un will eventually beat the good little 'un." and Ernest Hives of Rolls-Royce thought that the Griffon would be "a second power string for the Spitfire". The first of the Griffon-engined Spitfires flew on 27 November 1941. Although the Griffon-powered Spitfires were never produced in the large numbers of the Merlin-engined variants they were an important part of the Spitfire family, and in their later versions kept the Spitfire at the forefront of piston-engined fighter development. The first Griffon-powered Spitfires suffered from poor high- altitude performance due to having only a single stage supercharged engine. By 1943, Rolls-Royce engineers had developed a new Griffon engine, the 61 series, with a two-stage supercharger. In the end it was a slightly modified engine, the 65 series, which was used in the Mk. XIV, the first Spitfire mark with a Griffon engine to enter service. The resulting aircraft provided a substantial performance increase over the Mk IX. Although initially based on the Mk VIII airframe, common improvements made in aircraft produced later included the cut-back fuselage and tear-drop canopies, and the E-Type wing with improved armament.
The Mk. XIV differed from its direct predecessor, the Mk XII, in that the longer, two-stage supercharged Griffon 65, producing 2,050 hp (1,528 kW), was mounted 10 inches (25.4 cm) further forward. The top section of the engine bulkhead was angled forward, creating a distinctive change of angle to the upper cowling's rear edge. A new five-bladed Rotol propeller of 10 ft 5 in (3.18 m) in diameter was used. The "fishtail" design of ejector exhaust stub gave way to ones of circular section. The increased cooling requirements of the Griffon engine meant that all radiators were much bigger, and the underwing housings were deeper than previous versions. The cowling fasteners were new, flush fitting "Amal" type and there were more of them. The oil tank (which had been moved from the lower cowling location of the Merlin engine variants to forward of the fuselage fuel tanks) was increased in capacity from 6 to 10 gal.
To help balance the new engine, the radio equipment was moved further back in the rear fuselage and the access hatch was moved from the left fuselage side to the right. Better VHF radio equipment allowed for the aerial mast to be removed and replaced by a "whip" aerial further aft on the fuselage spine. Because the longer nose and the increased slipstream of the big five-bladed propeller a new tail unit with a taller, broader fin and a rudder of increased area was adopted.
When the new fighter entered service with 610 Squadron in December 1943 it was a leap forward in the evolution of the Spitfire. The Mk. XIV could climb to 20,000 ft (6,100 m) in just over five minutes and its top speed, which was achieved at 25,400 ft (7,700 m), was 446 mph (718 km/h). In operational service many pilots initially found that the new fighter could be difficult to handle, particularly if they were used to earlier Spitfire marks. But in spite of the difficulties, pilots appreciated the performance increases.
F Mk. XIVs had a total of 109.5 gal of fuel consisting of 84 gal in two main tanks and a 12.5 imp gal fuel tank in each leading-edge wing tank; other 30, 45, 50 or 90 gal drop tanks could be carried. The fighter's maximum range was just a little over 460 miles (740 km) on internal fuel, since the new Griffon engine consumed much more fuel per hour than the original Merlin engine of earlier variants. By late 1944, Spitfire XIVs were fitted with an extra 33 gal in a rear fuselage fuel tank, extending the fighter's range to about 850 miles (1,370 km) on internal fuel and a 90 gal drop tank. Mk. XIVs with "tear-drop" canopies had 64 gal. As a result, F and FR Mk. XIVs had a range that was increased to over 610 miles (980 km), or 960 miles (1,540 km) with a 90 gal drop tank. The armament initially consisted of two 20 mm Hispano cannon and four light 0.303” machine guns (in a standard “C” wing configuration), but later builds had the latter replaced with a pair of heavier 0.5” machine guns that had better range and weight of fire (“E” wing configuration).
The first test of the aircraft was in intercepting V1 flying bombs and the Mk. XIV was the most successful of all Spitfire marks in this role. When 150 octane fuel was introduced in mid-1944 the "boost" of the Griffon engine was able to be increased to +25 lbs (80.7"), allowing the top speed to be increased by about 30 mph (26 kn; 48 km/h) to 400 mph (350 kn; 640 km/h) at 2,000 ft (610 m).
The Mk. XIV was used by the 2nd Tactical Air Force as their main high-altitude air superiority fighter in northern Europe with six squadrons operational by December 1944.
One problem which did arise in service was localized skin wrinkling on the wings and fuselage at load attachment points; although Supermarine advised that the Mk. XIVs had not been seriously weakened, nor were they on the point of failure, the RAF issued instructions in early 1945 that all F and FR Mk. XIVs were to be refitted with clipped wings. Spitfire XIVs began to arrive in the South-East Asian Theatre in June 1945, too late to operate against the Japanese. In total, 957 Mk. XIVs were built, over 430 of which were FR Mk. XIVs.
After the war, secondhand Mk. XIVs still in good shape were exported to a number of foreign air forces; 132 went to the Royal Belgian Air Force, 70 went to the Royal Indian Air Force and 30 of the reconnaissance version went to the Royal Thai Air Force. The Royal Iraqi Air Force (RIrAF) was another operator, even though only a small one.
In late 1946, five years after the Anglo-Iraqi War had left the RIrAF shattered, the Iraqis reached an agreement with the British under which they would return their surviving Avro Ansons in exchange for the authorization to order more modern and potent fighter aircraft from the UK, namely Supermarine Spitfires and Hawker Furies. The next year, three de Havilland Doves and three Bristol Freighters were ordered, too, and they arrived in early 1947 with a batch of ten refurbished ex-RAF Spitfire F Mk. XIVcs, some of them WWII survivors. All these machines received the original wing tips to better cope with the expected higher ambient temperatures in the Middle Eastern theatre of operations, reinforced aluminum skinning along the wing roots, and they were retrofitted with hardpoints under the wings and the fuselage to carry unguided missiles, bombs and drop tanks, what gave them an additional ground attack capability. The radio equipment was modernized, too, including a DF loop antenna as navigational aid. Despite these standardizations, though, the Spitfires were delivered with a mix of the different canopies.
The RIrAF was still recovering and re-structuring its assets when it joined in the war against the newly created state of Israel in the 1948 Arab-Israeli War. The RIrAF only played a small role in the first war against Israel, though. A few Spitfire F Mk. XIVs as well as Avro Anson training bombers operated from Transjordan airfields from where they flew several attacks against the Israelis. After a series of indiscriminate attacks on Arab capitals, flown by three Boeing B-17s that had been pressed into service by the Israeli Air Force, the governments of Transjordan and Syria demanded that the Iraqis take more offensive action and replace their Ansons with Hawker Furies. However, only six Furies were sent to Damascus to join the Spitfires in the region, and they never encountered any Israeli aircraft during their deployment.
Despite some effective attacks on ground targets by the Spitfires, limited amount of cannon ammunition, RPGs and suitable bombs heavily limited the Iraqi operations. The fighters were mostly used for armed reconnaissance, and three Spitfires were upgraded to FR Mk. XIV standard for this purpose. In 1949 a second batch of eight more Spitfire F Mk. XIVs was delivered from Britain, and in 1951 the RIrAF purchased 20 more Fury F.Mk.1s, for a total of 50 F.Mk.1s single-seaters and 2 two-seaters. They soon replaced the Spitfires in frontline units, even though the machines were still kept in service.
In the early Fifties, thanks to increased income from oil and agricultural exports, the RIrAF was thoroughly re-equipped. In 1951, 15 each of de Havilland Canada DHC-1 Chipmunks, Percival Provosts and North American T-6s were bought to replace obsolete de Havilland Tiger Moth trainers. With these new aircraft the RIrAF Flying School was expanded into the Air Force College. The training curriculum was improved, and the number of students graduating each year was increased. This allowed to form a solid basis for the RIrAF's long-term growth. Also in 1951, the RIrAF bought its first helicopters: three Westland Dragonflies. The RIrAF's first jet fighter was the de Havilland Vampire: 12 FB.Mk.52 fighters and 10 T.Mk.55 trainers were delivered from 1953 to 1955, and they fully replaced the Spitfires. The Vampires were quickly supplemented by 20 de Havilland Venoms, delivered between 1954 and 1956.
Following the formation of the Baghdad Pact, the United States donated at least six Stinson L-5 Sentinels and seven Cessna O-1 Bird Dogs to the RIrAF. The RAF also vacated Shaibah Air Base, and the RIrAF took over it as Wahda Air Base. In 1957, six Hawker Hunter F.Mk.6s were delivered. The next year, the United States agreed to provide 36 F-86F Sabres free of charge.
However, following the 14 July Revolution of 1958, which resulted in the end of monarchy in Iraq, the influence of the Iraqi Communist Party grew significantly. The first commander of the Iraqi Air Force (the "Royal" prefix was dropped after the revolution), Jalal Jaffar al-Awqati, was an outspoken communist, and encouraged prime minister Abd al-Karim Qasim to improve relations between Iraq and the USSR. The Soviets reacted quickly, and in the autumn of 1958 a series of arms contracts was passed between Iraq and the Soviet Union and Czechoslovakia. These stipulated the delivery of MiG-15UTI trainers, MiG-17F fighters, Ilyushin Il-28 bombers, and Antonov An-2 and An-12 transports. The first aircraft arrived in Iraq in January 1959; during the late Sixties and the early Seventies additional MiG-17s may have been purchased and then forwarded to either Syria or Egypt.
General characteristics
Crew: 1
Length: 32 ft 8 in (9.96 m)
Wingspan: 36 ft 10 in (11.23 m) with full span elliptical tips
Height: 10 ft 0 in (3.05 m)
Wing area: 242.1 sq ft (22.49 m²)
Airfoil: NACA 2213 (root), NACA 2209.4 (tip)
Empty weight: 6,578 lb (2,984 kg)
Gross weight: 7,923 lb (3,594 kg)
Max. takeoff weight: 8,400[53] lb (3,810 kg)
Powerplant:
1× Rolls-Royce Griffon 65 supercharged V12, 2,050 hp (1,530 kW) at 8,000 ft (2,438 m),
driving a 5-bladed Jablo-Rotol propeller
Performance:
Maximum speed: 441 mph (710 km/h, 383 kn) in FS supercharger gear at 29,500 ft.
391 mph in MS supercharger gear at 5,500 ft.
Combat range: 460 mi (740 km, 400 nmi)
Ferry range: 1,090 mi (1,760 km, 950 nmi)
Service ceiling: 43,500 ft (13,300 m)
Rate of climb: 5,040 ft/min (25.6 m/s) in MS supercharger gear at 2,100 ft.
3,550 ft/min in FS supercharger gear at 22,100 ft.
Time to altitude: 7 mins to 22,000 ft (at max weight)
Wing loading: 32.72 lb/sq ft (159.8 kg/m²)
Power/mass: 0.24
Armament:
2× 20 mm (0.787-in) Hispano Mk II cannon, 120 rpg
4× 0.303 in (7.7 mm) Browning machine guns, 350 rpg,
Underwing hard points for 8× 60 lb (27 kg) rockets, 2 x 250 lb (113 kg) bombs or slipper tanks,
1× ventral hardpoint for a 500 lb (227 kg) bomb or a drop tank
The kit and its assembly:
This was a rather spontaneous interim build. The Academy Spitfire was left over from a D-Day combo that contained a Hawker Typhoon, too, and I lacked an idea for the Spitfire for a long time) since I am not a big fan of the aircraft, at least what-if-inspiration-wise). However, when pondering about a potential operator from the very early pos-war period I remembered the Royal Iraqi Air Force and its later Hawker Hunters which retained their NATO-style camouflage (RAF green/grey) despite being primarily operated in a desert environment. This, on a Spitfire…?
From this idea the Academy Spitfire was built almost OOB. Because the kit offers them as an option and for the cool look, I gave the Spitfire four RPGs under each outer wing. The ventral drop tank was taken from a Special Hobby late Spitfire kit. The only other additions are the antenna mast and the non-standard DF loop antenna behind the cockpit, created from thin wire and mounted on a small, streamlined socket.
Painting and markings:
The upper surfaces were painted in standard RAF WWII colors, Dark Green and Ocean Grey, using a mix of Humbrol 163 and 30 for a slightly more bluish WWII-style green and a mix of 106 and 145 for a lightened grey tone, respectively. As an individual contrast and paint scheme variation the undersides and the spinner were painted in RAF Azure Blue (Humbrol 157, lightened up with 47), more appropriate than the standard WWII Medium Sea Grey from the European theatre of operations. The cockpit interior became RAF cockpit green (Humbro,78) while the inside surfaces of the landing gear were painted in Medium Sea Grey (Humbrol 165), reflecting the original undersides’ tone in former RAF service.
Other markings were minimal. The Iraqi triangles were taken from a Balkan Models Su-25 sheet, because their green was rather pale, for more contrast to the surrounding camouflage. RIrAF fin flash was taken from a PM Model Hawker Fury two-seater (a.k.a. “Bagdad Fury”). The tactical code came from an Airfix Hawker Hunter (from an optional Kuwaiti machine). This looked O.K. but somewhat bleak, so I added more markings. I could not find any evidence for special ID markings on Iraqi aircraft during the Arab-Israel war, but to add an eye-catcher I gave the aircraft white ID bands on the wings and on the fuselage – inspired by markings carried by Egyptian aircraft (e. g. Spitfires) during the conflict, but somewhat simplified, without black trim. They were created from generic white decal sheet material.
After some soot stains around the gun ports and the exhausts, the model was sealed with matt acrylic varnish.
A relatively simple project and just a fictional livery - but the Iraqi Spitfire looks pretty cool, especially the ID stripes add a special touch. The European RAF scheme looks a bit off on an aircraft that would be delivered to the Middel East, but the Iraqi Air Force operated British types like the Hunter in this guise, and later Su-22 fighter bombers carried a similarly murky camouflage in very dark green and earth brown.
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TOURS IN ITALIA
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TOURS NEL MONDO
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Perch non organizzi un viaggio di gruppo
richiedeteci il programma e preventivo dettagliato di uno dei seguenti tour
dal 1980 che facciamo viaggiare il mondo
ISOLA DELBA . prezzi sfida
GRATIS TRAGHETTO BUS a+r
INFRASETTIMANALE: DAL LUNEDI AL GIOVEDI (MINIMO 40 PERSONE)
mese: MARZO, APRILE, MAGGIO, OTTOBRE 2013 (3 GIORNI)
QUOTA A PERSONA EURO 68,00 HOTEL 3* BUONO
QUOTA A PERSONA EURO 78,00 HOTEL 3* SUPER
QUOTA A PERSONA EURO 88,00 HOTEL 4* BUONO
LA QUOTA COMPRENDE:
- un cocktail di benvenuto
- due pensioni complete in hotel;
- sistemazione in hotel 3 stelle in camere doppie con servizi;
- traghetto del Vostro pullman andata e ritorno;
- una degustazione vini in fattoria - un regalo a tutti i partecipanti del gruppo;
- materiale illustrativo dellisola + ns. assistenza al porto allarrivo del gruppo;
- i.v.a.
- 1 GRATUITA OGNI 25 PERSONE .
LA QUOTA NON COMPRENDE:
- nave persone a+r Euro 29,00 a pax,bevande,guida,ingressi
ISOLA DELBA . sapori marinari
infrasettimanale: marzo, aprile, maggio, giugno, settembre, ottobre 2013
supplemento week-end: Euro 15.00/20,00 a persona (minimo 42 persone) (dal pranzo del primo giorno, al pranzo del terzo giorno)
QUOTA A PERSONA EURO 130,00 HOTEL 3* SUPER
LA QUOTA COMPRENDE: - 1 cocktail di benvenuto in hotel; - 2 pensioni complete in hotel con i seguenti men tipo:
pranzo primo giorno: bucatini allamatriciana o minestrone del contadino, arista di
vitella al forno, patate al forno e verdura lessa saltata in padella, dolce della casa
---
cena primo giorno: bis di primi: penne in barca e risotto alla marinara, frittura mista
di pesce: calamari e gamberi o carne, insalata mista, macedonia di frutta con gelato
---
cena secondo giorno: fusilli alla puttanesca o passato di verdure, arista di maiale al
forno, contorni, frutta fresca
---
pranzo terzo giorno: bis di primi: penne allo scoglio e farfalle al salmone, pesce al
forno con patate, insalata mista, dolce della casa
---
- sistemazione in hotel 3 stelle super in camere doppie con bagno e telefono; ---
- 1 pranzo il secondo giorno in ristorante (durante il tour) con men tipico:
crostini rustici di mare, lasagnette al profumo di mare, trancia di pesce all'isolana,
patate al forno al rosmarino, dolce della casa e aleatico (vino dolce locale);
---
- traghetto Vostro pullman e persone andata e ritorno; - assistenza di un ns. incaricato che ricever il gruppo al porto di Portoferraio all'arrivo; --- - il nostro esclusivo "BENVENUTO" che Vi d diritto a: * una degustazione gratuita dei vini locali doc e prodotti tipici dell'isola in fattoria; * una confezione omaggio al capo gruppo che comprende: tre bottiglie di vini d.oc.
dell'Elba ed il dolce tipico elbano "schiaccia briaca", da ritirare presso l'Azienda
Sapere - Loc. Mola Porto Azzurro OPPURE al Cantinone di Marciana Marina; * 1 souvenir in minerale a tutti i partecipanti del gruppo da ritirare presso Giannini M. --- - assicurazione responsabilit civile ai sensi art. 14 L.R.T. 16/1994 - materiale illustrativo dell'Isola d'Elba al capo gruppo; - IVA - 1 gratuit in doppia ogni 25 persone paganti. LA QUOTA NON COMPRENDE: - extra, bevande, pullman, guide, ingressi e quanto non convenuto; 1 GIORNO: Arrivo della Vostra comitiva nella mattinata al porto di Piombino, ritiro della polizza di carico e dei biglietti
per i passeggeri presso la societ di Navigazione indicata sul voucher, imbarco e partenza. Dopo un'ora
circa di traversata, le imponenti fortezze di Portoferraio che incorniciano la vecchia Darsena a perfetta
forma di ferro di cavallo, Vi accoglieranno. Operazioni di sbarco e incontro con un nostro incaricato, il
quale consegner del materiali informativo. Sistemazione in hotel, pranzo. Pomeriggio visita consigliata: la
vecchia parte di Portoferraio con le sue viuzze in salita dove sembra che il tempo si sia fermato. Possibilit
di visitare la Palazzina dei Mulini, residenza invernale e pi importante di Napoleone. Anche le Fortezze
costruite nel 1548 da Cosimo de' Medici valgono una visita, non solo per ammirare l'imponenza e grandiosit,
ma anche la splendida vista della citt. Proseguimento per la visita della Chiesa della Misericordia nonch, di
notevole interesse il Museo Civico Archeologico. Rientro in hotel, cena e pernottamento. 2 GIORNO: Prima colazione in hotel. Mattina: ore 09.00 circa incontro con la guida, se prenotata e partenza per la visita
della Villa Napoleonica di S.Martino, residenza estiva dell'Imperatore in esilio, situata nell'omonima verde
vallata. Il giro prosegue verso la parte orientale dell'isola, dove si trovano le antiche miniere di ferro. Breve
sosta sul piazzale panoramico ' Le Grotte' per ammirare la splendida veduta di Portoferraio. A Porto Azzurro
visita della collezione di Minerali e pietre dure Giannini con piccolo laboratorio. Pranzo in ristorante. Nel
pomeriggio partenza per la visita della costa occidentale con il seguente percorso: Procchio, Marciana Marina
piccolo e graziosissimo porto turistico sulla costa nord, Marciana a 370 metri sul livello del mare, circondata
da boschi di castagni e lecci, offre un'indimenticabile vista sulla sottostante vallata. Si prosegue passando per
S.Andrea, Chiessi, Pomonte in mezzo ai vigneti a terrazza degradanti verso il mare, Fetovaia, Seccheto,
Cavoli fino a Marina di Campo. Questo oggi il centro balneare pi frequentato dell'isola, grazie alla sua
lunga e bianchissima spiaggia. Breve sosta per tempo libero. Si continua il giro passando per il Monumento
(panoramica dei 2 golfi) e Lacona. Durante il percorso sosta in una azienda agricola e degustazione gratuita
dei vini locali. Rientro in hotel, cena e pernottamento. 3 GIORNO: Mezza pensione in hotel. Visite consigliate: la vecchia parte di Portoferraio con le sue viuzze in salita dove
sembra che il tempo si sia fermato. Possibilit di visitare la Palazzina dei Mulini, residenza invernale e pi
importante di Napoleone. Anche le Fortezze costruite nel 1548 da Cosimo de' Medici valgono una visita, non
solo per ammirare l'imponenza e grandiosit, ma anche la splendida vista della citt. Proseguimento per la
visita della Chiesa della Misericordia nonch, di notevole interesse il Museo Civico Archeologico. Tempo a
disposizione permettendo potr inoltre essere visitato (facoltativamente) l'Orto Botanico il Giardino dell'Ottone
oppure la Pinacoteca "Foresiana", oppure le Terme di "San Giovanni" e l'erboristeria, importante per la
produzione esclusiva di decotti ed estratti di alghe e piante marine. Ancora in alternativa pu essere visitato
l' Acquario M2 in Marina di Campo: uno dei pi completi d'Europa nel settore degli acquari mediterranei che
ospita oltre 170 specie di pesci ed organismi marini vivi in circa 30 vasche. Oppure visita alla parte orientale
dell'isola Rio Marina e Rio Elba (parco minerario). Pomeriggio: trasferimento a Portoferraio, imbarco.
FESTA DELLUVA allISOLA DELBA
(grande festa popolare) 28.09 30.09 2013
un grande evento, sfilate folkloristiche, una grande festa popolare improntata
sui vini tipici dell'elba, sulla vendemmia e sull'enogastronomia,stand
enogastronomici, artigianato,balli e tanto divertimento .....
QUOTA A PERSONA EURO 115,00 HOTEL 3* BUONO
QUOTA A PERSONA EURO 120,00 HOTEL 3* SUPER
QUOTA A PERSONA EURO 130,00 HOTEL 4* BUONO
LA QUOTACOMPRENDE: - 1 cocktail di benvenuto in hotel; - 2 pensioni complete in hotel (DAL PRANZO PRIMO GIORNO AL PRANZO
ULTIMO GIORNO - escluso il pranzo 2giorno);
- sistemazione in hotel prescelto in camere doppie con bagno e telefono; - traghetto Vostro pullman e persone andata e ritorno; - assistenza di un nostro incaricato che ricever il gruppo al porto di Portoferraio solo all'arrivo; --- - il nostro esclusivo "BENVENUTO" che Vi d diritto a: * una degustazione gratuita dei vini locali doc e prodotti tipici dell'isola in fattoria; * una confezione omaggio al capo gruppo che comprende: tre bottiglie vini d.oc. dell'Elba ed il
dolce tipico elbano "schiaccia briaca", da ritirare presso l'Azienda Agricola Sapere - Loc. Mola
Porto Azzurro OPPURE al Cantinone di Marciana Marina; * 1 souvenir in minerale a tutti i partecipanti del gruppo da ritirare presso Giannini Minerali. --- - assicurazione responsabilit civile ai sensi art. 14 L.R.T. 16/1994- materiale illustrativo dell'Isola d'Elba al capo gruppo; - IVA - 1 gratuit in doppia ogni 25 persone paganti. LA QUOTA NONCOMPRENDE: - extra,bevande, pullman, guide, ingressi e quanto non convenuto;
- il pranzo del 2 giorno (Euro19,00) in ristorante tipico. 1 GIORNO: Arrivo della Vostra comitiva nella mattinata al porto di Piombino, ritiro della polizza di carico e dei biglietti
per i passeggeri presso la societ di Navigazione indicata sul voucher, imbarco e partenza. Dopo un'ora
circa di traversata, le imponenti fortezze di Portoferraio che incorniciano la vecchia Darsena a perfetta forma
di ferro di cavallo, Vi accoglieranno. Operazioni di sbarco e incontro con un nostro incaricato, il quale
consegner del materiali informativo. Sistemazione in hotel, pranzo. Pomeriggio visita consigliata: la vecchia
parte di Portoferraio con le sue viuzze in salita dove sembra che il tempo si sia fermato. Possibilit di visitare
la Palazzina dei Mulini, residenza invernale e pi importante di Napoleone. Anche le Fortezze costruite nel
1548 da Cosimo de' Medici valgono una visita, non solo per ammirare l'imponenza e grandiosit, ma
anche la splendida vista della citt. Proseguimento per la visita della Chiesa della Misericordia nonch, di
notevole interesse il Museo Civico Archeologico. Rientro in hotel, cena e pernottamento. 2 GIORNO: Prima colazione in hotel. Mattina: ore 09.00 circa incontro con la guida, se prenotata e partenza per la
visita della Villa Napoleonica di S.Martino,residenza estiva dell'Imperatore in esilio, situata nell'omonima
verde vallata .Il giro prosegue verso la parte orientale dell'isola,dove si trovano le antiche miniere di ferro.
Breve sosta sul piazzale panoramico 'Le Grotte' per ammirare la splendida veduta di Portoferraio. A Porto
Azzurro visita della collezione di Minerali e pietre dure Giannini con piccolo laboratorio. Pranzo libero.
Nella tarda mattinata trasferimento a Capoliveri per assistere alla manifestazione della FESTA DELL'UVA
A CAPOLIVERI (.... un grande evento, sfilate folkloristiche, una grande festa popolare improntata sui vini
tipici dell'elba, sulla vendemmia e sull'enogastronomia,stand enogastronomici, artigianato,balli e tanto
divertimento .....). Nel tardo pomeriggio rientro in hotel, cena e pernottamento. 3 GIORNO: Mezza pensione in hotel. Visite consigliate: nella mattina partenza per la visita della costa occidentale
con il seguente percorso: Procchio, Marciana Marina piccolo e graziosissimo porto turistico sulla costa
nord, Marciana a 370 metri sul livello del mare, circondata da boschi di castagni e lecci, offre
un'indimenticabile vista sulla sottostante vallata. Si prosegue passando per S.Andrea, Chiessi, Pomonte in
mezzo ai vigneti a terrazza degradanti verso il mare, Fetovaia, Seccheto, Cavoli fino a Marina di Campo.
Questo oggi il centro balneare pi frequentato dell'isola, grazie alla sua lunga e bianchissima spiaggia.
Breve sosta per tempo libero. Si continua il giro passando per il Monumento (panoramica dei 2 golfi) e
Lacona. Durante il percorso sosta in una azienda agricola e degustazione gratuita dei vini locali.
Pomeriggio: trasferimento a Portoferraio, e partenza.
LALTRA ELBA e le antiche miniere
Un viaggio a ritroso nel tempo attraverso le vecchie miniere ed i villaggi dei minatori.
Attraversando il cuore della parte orientale dellisola, la pi antica geologicamente, si
raggiunge la costa est dove vecchi terrazzamenti della miniera,oggi
parco minerario,si stagliano con i loro conturbanti colori di ocra e ossidi di ferro,contro
un cielo che ha vegliato per migliaia di anni sulla fatica della gente di qui.
Spiagge nere, laghetti rossi,vecchie case luccicanti per il pulviscolo di ferro, ghiaie dai
colori pi svariati, paesi dai vicoli angusti dove il tempo sembra essersi fermato;
LALTRA ELBA, quella che seppure inserita negli itinerari turistici con tutte le
proposte che questa nuova industria richiede, non ha cancellato la propria memoria
storica, le proprie tradizioni, la propria identit.
infrasettimanale: marzo, aprile,maggio, ottobre 2012
supplemento week-end: Euro15.00/20,00 a persona (minimo 42 persone) (dal pranzo del primo giorno, al pranzo del terzo giorno)
QUOTA A PERSONA EURO 125,00 HOTEL 3* BUONO
QUOTA A PERSONA EURO 135,00 HOTEL 3* SUPER
LA QUOTACOMPRENDE: - 1 SERATA IN MUSICA IN HOTEL (SOLO PERIODO INFRASETTIMANALE);
- 1 cocktail di benvenuto in hotel; - 2 pensioni complete in hotel allIsola dElba;
- sistemazione in hotel 3 stelle super in camere doppie con bagno e telefono; ---
- 1 pranzo in ristorante con il men del minatore:
due portate di primi tipici del minatore, un secondo del minatore, due contorni,
dolce della casa, caff;
---
- 1 visita ad una cantina con degustazione di tre tipi di vino dellelba, pane,
formaggio, affettati, schiaccia briaca;
---
- traghetto Vostro pullman e persone andata e ritorno; - assistenza del ns. incaricato che ricever il gruppo al porto di Portoferraio all'arrivo; --- - il nostro esclusivo "BENVENUTO" che Vi d diritto a: 1 souvenir in minerale a tutti i partecipanti del gruppo da ritirare presso Giannini M.. --- -assicurazione responsabilit civile ai sensi art. 14 L.R.T. 16/1994-materiale illustrativo dell'Isola d'Elba al capo gruppo; - IVA - 1 gratuit in doppia ogni 25 persone paganti. LA QUOTA NON COMPRENDE: - extra,bevande, pullman, guide, ingressi e quanto non convenuto; - ingresso al Parco minerario: Euro 5,00 a persona;
1 GIORNO: Arrivo della Vostra comitiva nella tarda mattinata al porto di Piombino, ritiro della polizza di carico e dei
biglietti per i passeggeri presso la societ di Navigazione indicata sul voucher, imbarco e partenza.
Dopo un'ora circa di traversata, le imponenti fortezze di Portoferraio che incorniciano la vecchia
Darsena a perfetta forma di ferro di cavallo, Vi accoglieranno. Operazioni di sbarco e incontro con un
nostro incaricato, il quale consegner del materiali informativo. Sistemazione in hotel,pranzo.
Pomeriggio visita consigliata della Villa Napoleonica di S.Martino, residenza estiva dell'Imperatore in
esilio, situata nell'omonima verde vallata. Si prosegue per il centro storico di Portoferraio con le sue
viuzze in salita dove sembra che il tempo si sia fermato. Possibilit di visitare la Palazzina dei Mulini,
residenza invernale e pi importante di Napoleone. Anche le fortezzec ostruite nel 1548 da Cosimo d
Medici valgono una visita , non solo per ammirare limponenza e grandiosit, ma anche la splendida
vista della citt. Proseguimento per la visita della Chiesa della Misericordia, nonch di notevole
interesse il Museo Civico Archeologico. Rientro in hotel, cena e pernottamento.
2 GIORNO: Prima colazione in hotel. Partenza per Rio Marina e visita al Parco Minerario (visita che dura circa due
ore SI CONSIGLIA LUSO DI SCARPE DA TEMPO LIBERO), si prosegue per la visita di una cantina
in Loc. Montefico con degustazione vini e piccolo spuntino. Pranzo in ristorante con men tipico del
minatore. Nel pomeriggio partenza per Rio Elba con i suoi vicoli e la Chiesa parrocchiale, interessante
la visita degli antichi lavatoi. Proseguimento per Porto Azzurro e sosta. Rientro in hotel, cena e
pernottamento.
3 GIORNO: Prima colazione in hotel. Nella mattina partenza per la visita della costa occidentale con il seguente
percorso: Procchio, Marciana Marina piccolo e graziosissimo porto turistico sulla costa nord, Marciana
a 370 metri sul livello del mare,circondata da boschi di castagni e lecci, offre un'indimenticabile vista
sulla sottostante vallata. Si prosegue passando per S.Andrea, Chiessi, Pomonte in mezzo ai vigneti a
terrazza degradanti verso il mare, Fetovaia, Seccheto, Cavoli fino a Marina di Campo. Questo oggi il
centro balneare pi frequentato dell'isola,
grazie alla sua lunga e bianchissima spiaggia. Breve sosta per tempo libero. Rientro in hotel e pranzo.
Pomeriggio: trasferimento a Portoferraio, imbarco e partenza.
affida i tuoi clienti a chi all'isola d'Elba di casa
L'invio della presente potrebbe non essere stato da Voi sollecitato. In tal caso Vi ricordiamo che la comunicazione Vi viene trasmessa ai sensi dell'articolo 9 del Decreto Legislativo 9 Aprile 2003 n. 70, che prevede la possibilit di inviare messaggi promozionali senza l'obbligo di ottenere il previo consenso del destinatario che non sia consumatore. Nell'ipotesi che l'iniziativa o le iniziative citate in questo messaggio non destino il Vostro interesse, Vi porgiamo le nostre pi sincere scuse per il tempo sottratto e Vi preghiamo di darcene comunicazione per essere immediatamente rimossi dalla mailing list specificando il vostro indirizzo da cancellare dal nostro database.