View allAll Photos Tagged important
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).
An important species to keep in mind this time of year if you are in Northern Australia. Photo by @daviddoubilet. Box jellyfish feeding on shrimp. Box jellyfish (Chironex fleckeri) are one if the worlds most venomous creatures. Each tentacle has 500,000 (+\-) explosive cells called nematocysts with a microscopic harpoon that injects venom into prey. Encounters with larger specimens can lead to human death while others are extremely painful but treatable. These guys have 24 primitive eyes that detect light and help them navigate and avoid obstacles. They are active hunters reaching swimming speeds of 4 + mph. Northern Australia uses nets to protect and enclose some swimming beaches during "stinger season". We wear full body lycra suits, gloves and hoods as defense against stings. With @natgeo @natgeocreative #ocean #life #death #australia #jellyfish #picoftheday for #moreocean follow @jenniferhayesig with @daviddoubilet #justsnorkel #Repost @natgeo
11 Likes on Instagram
Sbusi Zulu Umemulo Coming of Age Ceremony Reception Umlazi Durban KwaZulu-Natal South Africa November 2019
Umemulo also known as the Coming of Age is an important Zulu ritual that celebrates a young girl's journey into womanhood. The ceremony indicates that the young girl has transitioned from a child and into an adult woman who can now get married
Important legal note.
All images are copyright and must not be re posted or water marks removed, anyone found reposting is liaIble to prosecution.
The Church of Saint Sava is a Serbian Orthodox church located on the Vračar plateau, Belgrade, Serbia. It is the largest Orthodox church in the world and ranks amongst the ten largest church buildings in the world.
The church is dedicated to Saint Sava, the founder of the Serbian Orthodox Church and an important figure in medieval Serbia. It is built on the Vračar plateau, on the location where his remains were burned in 1595 by Ottoman Prime Minister Sinan Pasha. From its location, it dominates Belgrade's cityscape, and is perhaps the most monumental building in the city.
The building of the church structure is being financed exclusively by donations. The parish home is nearby, as will be the planned patriarchal building.
Planning
In 1895, three hundred years after the burning of Saint Sava's remains, the Society for the Construction of the Church of Saint Sava on Vračar was founded in Belgrade. Its goal was to build a cathedral on the place of the burning. A small church was built at the future place of the Cathedral, and it was later moved so the construction of the Cathedral could begin. In 1905, a public contest was launched to design the church; all five applications received were rejected as not being good enough. Soon, the breakout of the First Balkan War in 1912, and subsequent Second Balkan War and First World War stopped all activities on the construction of the church. After the war, in 1919, the Society was re-established. New appeals for designs were made in 1926; this time, it received 22 submissions. Though the first and third prize were not awarded, the second-place project, made by architect Aleksandar Deroko, was chosen for the building of the Cathedral.
Building
Forty years after the initial idea, construction of the church began on May 10, 1935, 340 years after the burning of Saint Sava's remains. The project was designed by Aleksandar Deroko and Bogdan Nestorović, aided by civil engineer Vojislav Zađina. The work lasted until Second World War Axis invasion of Yugoslavia in 1941. The church's foundation had been completed, and the walls erected to the height of 7 and 11 meters. After the 1941 bombing of Belgrade, work ceased altogether. The occupying German army used the unfinished church as a parking lot, while in 1944 the partisans and the Red Army used it with the same purpose. Later, it was used for storage by various companies.
The Society for Building of the Cathedral ceased to exist and has not been revived.
In 1958, Patriarch German renewed the idea of building the church. After 88 requests for continuation of the building—and as many refusals, permission for finishing the building was granted in 1984, and Branko Pešić was chosen as new architect of the church. He remade the original projects to make better use of new materials and building techniques.
Construction of the building began again on August 12, 1985. The walls were erected to full height of 40 meters.
The greatest achievement of the construction process was lifting of the 4,000 ton central dome, which was built on the ground, together with the copper plate and the cross, and later lifted onto the walls. The lifting, which took forty days, was finished on June 26, 1989.
As of 2009, the church is mostly complete. The bells and windows had been installed, and the facade completed. However, work on the internal decoration of the building still remains largely unfinished.
Architecture
The church is centrally planned, having the form of a Greek Cross. It has a large central dome supported on four pendentives and buttressed on each side by a lower semi-dome over an apse. Beneath each semi-dome is a gallery supported on an arcade.
The dome is 70 m (230 ft) high, while the main gold plated cross is another 12 m (39 ft) high, which gives a total of 82 m (269 ft) to the height Cathedral of Saint Sava. The peak is 134 m (440 ft) above the sea level (64 m (210 ft) above the Sava river); therefore the church holds a dominant position in Belgrade's cityscape and is visible from all approaches to the city.
The church is 91 m (299 ft) long from east to west, and 81 m (266 ft) from north to south. It is 70 m (230 ft) tall, with the main gold-plated cross extending for 12 m (39 ft) more. Its domes have 18 more gold-plated crosses of various sizes, while the bell towers have 49 bells of the Austrian Bell Foundry Grassmayr.
It has a surface area of 3,500 m2 (37,674 sq ft) on the ground floor, with three galleries of 1,500 m2 (16,146 sq ft) on the first level, and a 120 m2 (1,292 sq ft) gallery on the second level. The Cathedral can receive 10,000 faithful at any one time. The choir gallery seats 800 singers. The basement contains a crypt, the treasury of Saint Sava, and the grave church of Saint Lazar the Hieromartyr, with a total surface of 1,800 m2 (19,375 sq ft) .
The facade is in white marble and granite and, when finished, the inner decorations will be of mosaics. The central dome will contain a mosaic of Christ Pantocrator. To give a sense of the monumental scale, the eyes will each be about 4 meters wide [Wikipedia.org]
Me.
.
.
.
#footfetish #transmilf #curvy #cougar #transcougar #footmodel #transmodel #SugarBaby #hijrah #transsexual #genderfluid #nailsonfleek #instanails #transgender #transpride #SoccerMom #wife #bride #wifey #secretary #sissy #sissygirl
Nobody knew I masqueraded as a woman and went to bars to pickup men. My girlfriend caught me walking down the street dressed as a woman. There I stood, in little black dress, in front of a busy restaurant, confronted by my girlfriend. I was humiliated as she pointed out my hot pink pedicure and toe ring visible through the black pantyhose I was wearing with my high heeled sandals. She was freaked out how I had deep cleavage and great legs. Ugh.
soft girl
bimbo
For a blog I am working on.
When I started this journey I never thought I would loose my past so completely.
I became a woman.
It's important to me to put 100% off my energy into claiming the power of the feminine by adhering to the feminine gender. Now, I state plainly, for the record: I am an airhead, no lie, an attractive unintelligent woman who loves clothes and shoes. I am sooooo on board with my women's subordinate status that it's scary. I am compliant and submissive because that is what my job requires. I am perfectly fine standing in the shadow of a man as long as I look cute and can do my nails.
I am a model. It's a thing. Don't judge.
My coworkers and I do what we can to look and feel our best. The girls helped me see I am a soft girl and being a model brought forward my hotness with a polished new hyper feminine identity. I'm a girl. A girly girl. Like, work only requires a plain mani, but my coworkers decided I should really go above and beyond in my femininity with the coffin nails look and I have had at least 1 1/2 inch fingernails since. So swish and perfect for my girly style. I'm such a follower and don't have to make my own style decisions lately. Why think when you're getting waxed and long pink glittery fingernails attached?
When work made me model exclusively strappy heels or wedges because of my soft and girly feet, the girls took that decision and we extended it to my personal life. I won't go anywhere without wearing pantyhose, short dresses or skirts showcasing my toned feminine legs and sky high heels that show off my foot model pedicure with toe rings and ankle bracelets on display. I've got nice feet.
In my work success is partiay determined by maintaining a romantic relationship with a man, and I found my sexuality can be used to maintain the relationship. My work uses sexual objectification of women and I am a willing cog in that machine. I have no choice. I have a contract. I'm just a woman. I use my assets to make a living. I'm just a girl, what difference can I make.
Even while grocery shopping I'm fully made up. Men are nice to a pretty woman. They help me, hold doors open, carry my groceries, and I just bat my eyelashes, bend my leg at the knee and bite my lip. I see them checking out my seamed stockings or staring at my bosom or watch my butt wiggle as I walk heel toe heel toe down the magazine isle in my 5 inch spikes and pink leather mini.
Oh em gee I had to go to home depot one day after work, wearing a sheer diaphanous red dress and strappy Manolo Blahnik's, red lipstick, red nails, silk stockings, dressed to the nines, and every man there wanted to help and I didn't have to do a thing. I sat at the front on a bench with my legs crossed, clicked through my social media, refreshed my lipstick and just looked pretty.
The girls and I are all like that. A fem pack of fashion conscious women in the city. I am a part of it. I fit in. I certainly look the part now.
The girls helped me discover that pinks and their various hues are definitely my color, like, I am totes a fem woman so I should breathe it in. I have pink heels, pink skirts, pink jewelry, pink lipstick, pink nails and pink nose ring. I am a pink girl. Also I am one of the bimbo girls. A high heeled glorfied secretary with sexy legs oozing sexiness with my plump pink lips and low cut dress in the office, walking around in designer pumps looking gorgeous, organizing racks of nylons, smiling at the men coz they can't keep their eyes off me.
After modeling? I will be hawt a buxom beautician doing hair and gossiping with long designer nails in a coral frock with heavy makeup, a pierced nose and tongue, dangly earrings, bangle bracelets, kissable pink lips, deep cleavage in my sundress, shapely legs in sheer nude pantyhose with shocking hot pink toenails showing from my strappy heeled sandals drawing admiring glances from men wherever I go. Me. I'm cool with that. It's why I became a woman. I am living my dream to have transformed from man to basically a painted up Barbie. I get to dress up and play with makeup and shoes.
forced femme force feminization femdom
And sell a little pantyhose in the process.
Nobody knew I masqueraded as a woman and went to bars to pickup men. My girlfriend caught me walking down the street dressed as a woman. There I stood, in little black dress, in front of a busy restaurant, confronted by my girlfriend. I was humiliated as she pointed out my hot pink pedicure and toe ring visible through the black pantyhose I was wearing with my high heeled sandals. She was freaked out how I had deep cleavage and great legs. Ugh.
soft girl
bimbo
When I started this journey I never thought I would loose my past so completely.
It's important to me to put 100% off my energy into claiming the power of the feminine by adhering to the feminine gender. Now, I state plainly: I am an airhead, no lie, an attractive unintelligent woman. I am sooooo on board with my women's subordinate status that it's scary. I am compliant and submissive because that is what my job requires. I am a model. It's a thing. Don't judge.
My coworkers and I do what we can to look and feel our best. The girls helped me see I am a soft girl and being a model brought forward my hotness with a polished new hyper feminine identity. I'm a girl. A girly girl. Like, work only requires a plain mani, but my coworkers decided I should really go for the coffin nails look and I have had at least 1 1/2 inch fingernails since. So swish and perfect for my girly style. I'm such a follower and don't have to make my own style decisions lately. Why think when you've got pink and glittery fingernails?
When work made me model exclusively strappy heels or wedges because of my soft and girly feet, the girls took that decision and we extended it to my personal life so I won't go any where without wearing pantyhose, short dresses or skirts showcasing my toned feminine legs and sky high heels that show off my foot model pedicure with toe rings and ankle bracelets on display.
In my work success is partiay determined by maintaining a romantic relationship with a man, and I found my sexuality can be used to maintain the relationship. My work uses sexual objectification of women and I am a willing cog in that machine. I have no choice. I have a contract. I'm just a woman. I use my assets to make a living. I'm just a girl, what difference can I make.
Even while grocery shopping I'm fully made up. Men are nice to a pretty woman. They help me, hold doors open, carry my groceries, and I just bat my eyelashes, bend my leg at the knee and bite my lip. I see them checking out my legs or staring at my bosom or watch my butt wiggle as I walk heel toe heel toe down the magazine isle in my 5 inch spikes.
Oh em gee I had to go to home depot one day after work, wearing a sheer diaphanous red dress and strappy Manolo Blahnik's, red lipstick, red nails, silk stockings, dressed to the nines, and every man there wanted to help and I didn't have to do a thing. I sat at the front on a bench with my legs crossed, clicked through my social media, refreshed my lipstick and just looked pretty.
The girls and I are all like that. A fem pack of fashion conscious women in the city. I am a part of it. I fit in. I certainly look the part now.
The girls helped me discover that pinks and their various hues are definitely my color, like, I am totes a fem woman so I should breathe it in. I am just one of the bimbo girls.
Transgender bride
Sissy bride
Transsexual wife
Sissy wife
Trans Sissy
Housewife
June cleaver
1950s vintage housewife
House husband
Sissy husband
Black men love my transsexual sissy sexy secretary housewife curvy trans self. My pretty feet and toes turn them on. When I caress them with my long painted fingernails they love it. Indian men from India love me also. Especially when I wear a burka burqa.
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.
Sbusi Zulu Umemulo Coming of Age Ceremony Reception Umlazi Durban KwaZulu-Natal South Africa November 2019
Umemulo also known as the Coming of Age is an important Zulu ritual that celebrates a young girl's journey into womanhood. The ceremony indicates that the young girl has transitioned from a child and into an adult woman who can now get married
In english
Located at 15 km from Blois the Cheverny Castle belongs with Chambord, Chenonceau and hundreds of other castles to the beautiful region « Pays de la Loire ». The Loire Castles, traditions and landscapes were classified in 2000 by UNESCO as "World Heritage", which is one of its 837 world important cultural sites. The Loire Valley is the longest and most complex site of the ranked European cultural heritage, with more than 250 km long and covering more than 85,000 ha.
The current area of Cheverny covers about 100 ha including parks, gardens, forests and rivers. Construction of the castle began in 1620 on the site of an ancient fortified medieval castle. The architectural style of the building is a mix between the classicism of the main façade and the secondary façade (Louis XIII style). Classicism, still in its origins, will develop in France under the reign of Louis XIV and XV in construction such as the Louvre, Versailles and the Pantheon in Paris.
The Louis XIII style is characterized by the harmonious combination of stone and brick, stone being used mainly at the corner of the building to give strength and stability and brick used as filler (especially in different belts and ornaments). Place des Vosges in Paris is the absolute reference to that style named "Louis XIII style."
The main facade consists of a single element: the band, which by its repetition generate another element the boss. The ornaments that animate the facade are 12 nests as medallions housing the busts of 12 Roman emperors. The roof with two slopes “à la française” have a hight inclination and is refined by the use of skylights, it also is covered with slate, a noble material (also used in Versailles)
Cheverny is the only castle still inhabited since its construction and still the only one who keeps the original furniture of the eighteenth and nineteenth centuries, it is open to the public as a museum since 1922. As the number of visitors it ranks fourth with 400,000 visitors Chambord (1,000,000 most visited), Chenonceau and Blois (750-600000). Note that this is the only private castle, never having belonged to the kings of France.
The stables and other annex buildings are located close to the castle, they now house the tourist shop, comics devoted exposure (Tintin), horses and dogs trained for hunting. The hunting season starts in September, is set in the woods hunting area like in the past with trumpets, horses and dogs without any firearm. The holding also is traditional with red garments, leather boots and black helmets.
The castle is known to have served as inspiration for the home model (Moulinsart castle) of the character comic Tintin and Milou, which he has a permanent exhibition dedicated to them.
En français
Situé à 15 km de Blois le château de Cheverny fait parti à côtés de Chambord, Chenonceaux et des centaines d'autres châteaux de la magnifique région Pays de la Loire. Les Châteaux de la Loire, les traditions et les paysages ont été classés en 2000 par l'UNESCO comme "patrimoine mondial de l'humanité", ce qui représente l'un des ses 837 sites culturels d'importance mondiale. La Vallée de la Loire est le site le plus long et le plus complexe site classé patrimoine culturel européen, avec plus de 250 km de long et couvrant plus de 85.000 hectares.
L'actuel domaine de Cheverny couvre environ 100 ha comprenant des parcs, jardins, forêts et des cours d'eau. La construction du château a commencé en 1620 sur l'emplacement d'une ancienne enceinte médiévale fortifiée. Le style architectural du bâtiment est un mélange entre le classicisme de la façade principale et l'éclectisme de type Louis XIII de la façade secondaire. Le classicisme, encore à ses débuts, atteindra son apogée en France sous le règne de Louis XIV et XV dans des construction tels que le Louvre, Versailles et le Panthéon de Paris.
Le style Louis XIII se caractérise par la combinaison harmonieuse entre la pierre et la brique, la pierre étant utilisée surtout à l'angle du bâtiment pour donner de la force et stabilité et la brique utilisée comme élément de remplissage et décoration (en particulier dans différentes ceintures et ornements). La Place des Vosges à Paris est la référence absolue à ce style nommé « style Louis XIII ».
La façade principale se compose d'un élément simple: la bande, qui, en raison de sa répétition forme un autre motif le bossage. Les ornements qui animent la façade principale sont 12 médaillons de type niche qui logement les bustes de 12 empereurs romains. La toiture à deux peinte à la française avec des rampants hauts ayant des lucarnes est couvert d'ardoise, un matériau noble (utilisé également à Versailles)
Cheverny est le seul château toujours habité depuis sa construction et toujours le seul qui conserve l'ameublement du XVIIIe et XIXe siècles, il est ouvert au public comme un musée depuis 1922. En tant que nombre de visiteurs il se classe à la quatrième place avec 400.000 visiteurs après Chambord (1.000.000 le plus visité), Chenonceau et Blois (750-600000). Il faut remarquer que c'est le seul château privé, n'ayant jamais appartenu aux rois de France.
Les écuries et d'autres constructions annexes sont situés à proximité du château, elles abritent aujourd'hui la boutique touristique, une exposition consacrée bandes dessinées (Tintin et Milou), des chevaux et des chiens spécialement formés pour la chasse. La saison de chasse commence en septembre, se déroule dans les bois la zone de chasse comme à l'ancienne avec des trompettes, chevaux et les chiens sans aucune arme à feu. La tenue elle aussi est traditionnelle avec des habits rouge, botte en cuir et des casques noir.
Le château est connu pour avoir servi comme modèle d'inspiration à la maison (le château Moulinsart) du personnage des bandes dessinées Tintin et Milou, dont il abrite une exposition permanente qui leur est consacrée.
Auf Deutsch
15 km von Blois das Schloss Cheverny gehört mit Chambord, Chenonceau und hunderte von anderen Burgen auf der schönen Region «Pays de la Loire». Die Loire-Schlösser, die Landschaft und Traditionen wurden im Jahr 2000 von der UNESCO als "Weltkulturerbe", die eine ihrer 837 weltweit wichtigsten Kulturstätten ist klassifiziert. Das Loire-Tal ist das längste und komplexeste Standort der Platz des europäischen Kulturerbes, mit mehr als 250 km lang und die mehr als 85.000 ha.
Der aktuelle Bereich Cheverny erstreckt sich über ca. 100 ha einschließlich Parks, Gärten, Wälder und Flüsse. Der Bau des Schlosses begann im Jahre 1620 auf dem Gelände einer alten mittelalterlichen Festung. Der architektonische Stil des Gebäudes ist eine Mischung zwischen dem Klassizismus der Hauptfassade und der Sekundärfassade (Louis XIII-Stil). Klassizismus, noch in seinen Ursprung, in Frankreich unter der Herrschaft von Louis XIV und XV im Bau wie dem Louvre, Versailles und dem Pantheon in Paris zu entwickeln.
Der Stil Louis XIII wird durch die harmonische Kombination aus Stein und Ziegel ist, wobei Stein hauptsächlich an der Ecke des Gebäudes verwendet werden, um Festigkeit und Stabilität und Ziegel als Füllstoff (vor allem in verschiedenen Gürtel und Schmuck) verwendet zu geben. Place des Vosges in Paris ist der absolute Verweis auf diese Art mit dem Namen "Louis XIII-Stil."
Die Hauptfassade besteht aus einem einzigen Element: die Band, die durch ihre Wiederholung erzeugen ein weiteres Element der Chef. Die Verzierungen, die die Fassade beleben gibt 12 Nester wie Medaillons Unterbringung der Büsten von 12 römischen Kaiser. Das Dach mit zwei Pisten "à la française" haben eine Höhe und Neigung wird durch die Verwendung von Dachfenstern raffiniert, aber auch mit Schiefer gedeckt, ein edles Material (auch in Versailles verwendet)
Cheverny ist die einzige Burg noch seit dem Bau bewohnt und immer noch der einzige, der die originale Möbel aus dem achtzehnten und neunzehnten Jahrhundert hält, ist es offen für die Öffentlichkeit als Museum seit 1922. Da die Zahl der Besucher ist an vierter Stelle mit 400.000 Besuchern Chambord (1.000.000 am meisten besuchte), Chenonceau und Blois (750-600.000). Beachten Sie, dass dies die einzige Privatschloss, ohne jemals im Besitz der französischen Könige.
Die Ställe und Nebengebäude sind in der Nähe der Burg, jetzt sind sie beherbergen das touristische Geschäft, Comics gewidmet Exposition (Tim und Struppi), Pferde und Hunde für die Jagd ausgebildet. Die Jagdsaison beginnt im September, wird in den Wäldern jagen Bereich wie in der Vergangenheit mit Trompeten, Pferde und Hunde ohne Schusswaffe gesetzt. Die Halte auch ist traditionell mit roten Kleidungsstücke, Lederschuhe und schwarzen Helmen.
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
www.cadillacforums.com/threads/puttin-on-the-ritz-1984-el...
This installment begins back, way way back,back into time. In the days we could have large gatherings, touch our faces, eat inside restaurants, and lived perilously close to the edge of running out of toilet paper. Picture it, Thanksgiving weekend, 2019…Oh wait, back a bit further…August, 1983.
Some dunderhead salesman in southern California takes an order from a buyer with great taste, a beautifully optioned 1984 Eldorado Biarritz in the ultimate color combination of Black/Black/Red. Said dunderhead gets everything right on the order-except for one tiny detail. The desire for a CF5 Astroroof is lost in translation from the prospective buyer and never makes it into the POS.
Car arrives in September. No sunroof. What gives? Our apologies sir, we’ll get that taken care of right away. Car is driven to an ASC installer. Another dunderhead gets out a jigsaw and cuts a hole thru the roof. A 38” (the biggest you can fit in an Eldorado with roof-mounted seatbelts) ASC sunroof is installed. Car is returned to dealership, buyer eagerly accepts delivery, none the wiser about factory vs aftermarket sunroofs.
For those who don’t know, when you order a car with a sunroof, the car is born with a hole in the roof. Mounts are cast into the roof panel, and the sunroof assembly seats in them and the glass panel has a channel for a nice rubber gasket that seals everything up nice. Then a vacuum formed headliner backing board is cast to perfectly hide everything. When you get an aftermarket sunroof, someone gets a stencil and a jigsaw, and cuts your roof panel and headliner open, pops a trim ring in the hole, and hangs a sunroof pan on the trim ring. If you’re lucky they will drill additional reinforcements to marry the pan to the roof structure. Then they get a bunch of headliner material, pull it taught from the corners of the car to the opening in the roof, and send you on down the road.
Anyway, back to Thanksgiving 2019, and the jigsaw dunderhead’s work starts to come undone.
When I had purchased this car, it needed headliner help. The material was loose, but not sagging appreciably. Additionally, someone had tried to superglue the material all around the perimeter. The material was kind of floating in place, which I thought was weird. I ended up getting some super strong neodymium magnets to hold it taught-which worked ok until it was humid out, or driving on the highway with the windows down as the liner would look something like a sailboat in the wind.
My fix was simple-find a factory sunroof equipped car and get the headliner board out of it and pop it into my car. Found out that that was easier said than done, and after a lot of junkyard expedition, kept coming up empty handed. Finally after years, I came into someone parting a factory sunroof Eldo on ebay and after a lot of trouble was able to get it shipped to me
The board needed some help, and after getting all the old foam off of it and some repairs made to restore the structure (the sunroof headliner board is really thin and flimsy, even compared to the stock non-sunroof board) I tore the interior apart to facilitate getting it in and out as I knew I would have to make “some” tweaks to reconcile the aftermarket hole location to the factory one. The sunroof assembly would also need to come out to recover the sunshade; as well as reseal the panel.
We can see here how the trim ring supports the pan assembly from the center. I have to say though, this was about as clean an install as an aftermarket sunroof can come with lots of extra bracing and no factory roof reinforcements cut. We can also see a very chintzy felt seal stuck to the trim ring
Got the sunshade recovered quickly. I later removed the black plastic covered jute that was glued to the pan-factory did not have this and it would have made the board sit too low when installed in the car. The gray rubbery stuff at the front of the pan was also stripped off for the same reason. I also swapped to the factory grab handle that was included with the board.
Also recovered the sail panels. I chose to leave the foam backing on these as it is not the usual headliner stuff that turns to jelly, its more like a sponge material and seemed to be holding up just fine.
I also added PED connectors to the sail panel interior lights that the factory curiously left out. Not sure how they installed these as the harness is one giant piece, but it means that you can’t take the sail panels out without having the lights dangling in the back. This will become important later.
I then devised a new seal. I threw away all the felt and used some 3M Adhesive remover to get rid of the stuff they had glued it with. Nasty stuff but did a good job. The new seal was the first part of this that took a LONG time. Aftermarket roofs from this time use some kind of felt tape to cut down on wind noise and slow water ingress into the pan, and while still available, there is way better out there today. (In spite of how it looked on my car though, it never leaked?!?! Wind noise was an issue with the shade open though) I decided on a rubber seal, and after getting a whole bunch of samples, the stuff I had initially ended up trying was pretty thin, but rigid strip of rubber. After gluing it on with 3M yellow weatherstrip adhesive (which does NOT work as good as the adhesive remover), I put the pan back in the car to see how it would work.
No photos of the failure here, but no good. The material was too rigid and too grippy, and would cause the roof to bind midway thru its travel. Then it tore off in the corners. Ugh! Pan back out, strip off the remaining seal and glue and go back to the drawing board. I ended up buying this
www.austinhardware.com/rubber-seal-single-500-rolls.htm
Which is a hollow piece of rubber that lets the panel travel without binding, and still squishes into a really tight seal. Looks like its out of stock now, but something with close to those measurements in a D-shape is a possibility for someone looking to reseal their ASC aftermarket sunroof. It was another 3M product, that was just a peel and stick affair-way easier than the yellow goopy adhesive route. Seems like a really strong bond, and seals fantastically against wind and water. 0 wind noise now, and no leaks in a downpour when parked, or cruising at highway speeds. Roof moves without binding now
I also decided to put the new seal onto the glass panel itself as it seems like that’s the easier life for it-if I put it around the opening, the pop rivets from the panel would abrade it. Super happy with this.
Next task was of course the headliner. With the pan now back in the car, I could take measurements and properly scribe/cut/fill the board as needed. Again, easier said than done. This was a weeks long ordeal between cutting the board, fiberglassing new material in, more cutting, more filling, coronavirus insanity, etc. Long story short, my roof was installed a few inches more aft than a factory roof would have been, which meant a lot of tweaking to get the kick-up over the rear passengers head in the right spot. Additionally, I needed to build out the map light drop down to accommodate the motor.
Here is the mess I ended up with
I also affixed strips of 3M dual-lock (it is like a heavy duty version of the stuff that holds in an Ezpass) to the back of the board and the pan to hold it tightly-the factory had attempted this with a similar product in the non-sunroof car headliner board. I was super skeptical that my fudgery would cover well at all, but I have to say that foam backed headliner material must be some of the most forgiving stuff around. This took me months to complete, working off and on from November thru April. Ultimately though, I’m happy with it.
While the interior was out, there was another thing I wanted to do. About a year ago, I was following a buddy as he took his Eldorado to drop off at a shop-couldn’t help but notice how small the brake lights (and the rest of the car) seemed compared to all the bulbous modern cars surrounding it. Then I had a couple of SUV’s roll up way too close for comfort on the back of the car-one was close enough that I launched the Eldorado up and to the side to avoid getting hit. Knowing that getting rear ended by a careless driver would probably result in my untimely incarceration, I set out to do something about rear visibility.
The federal government mandated 3rd brake lights for passenger cars for model year 1986. Cadillac was slightly ahead of the curve with this with the 1985 Deville/Fleetwoods which got these in the fall of ’84. Apparently the science is behind them and they do result in fewer rear end collisions. So I decided to add one of them to the Eldo.
There were a few different versions of these things made, with short, medium and long necks to mate with the rear window-one for a Fleetwood Brougham has the tall one, and one for an 80s Buick Riviera like the one seen above is short. The short one is the best size for the Eldo, any taller and it would look pretty bad. Then the gasket that seals it to the window is different for each different model. Fortunately a potato peeler does a great job of cutting things down to size to match the Eldos vertical rear window, and the material can be easily sanded to get out any little imperfections to make it seal nicely and not leak light. An ideal donor for one would be one an 86-91 Eldo or Seville without a factory vinyl or carriage roof.
A quick mockup
All of these lights mount the same way, with this little bracket cutting into the package shelf and screwing in to the metal underneath. This is not possible on the Eldo as the package shelf reinforcement under the center won’t let this happen. So I had to modify the bracket to sit flush on the package shelf, and add two holes to the shelf to get the screws through. They screw right into the package shelf reinforcement.
The next step was wiring. It is not as simple as tapping a brake light wire and running across the package shelf to the light. Since the Eldos tail lights do everything- brake, signal and hazard, just tapping a wire would cause the center light to flash with the signals or hazard. GM rectified this by using a different brake switch to prevent backfeeding. See the original gray switch, with an in and out, and the new beige one, with a supply, and two isolated outputs. This puts the 3rd brake light (acronym: CHMSL “Center High Mount Stoplight) on its own branch-but also means that you have to home run a wire all the way to it. The wire chase made quick work of this however. I had a pretty long link of 3rd brake light harness, but not quite enough to make it to the front of the car. I put another PED connector of the same kind that I used on the sail panels to join this blue wire I ran from the switch underneath the drivers side rear seat arm rest, which is accessible by removing the ash tray if need be. The stock package shelf reinforcement actually ended up being drilled for the wiring, so I’m not sure if this was something that was in the works for the Eldo.
The version of the brake switch I used allowed me to keep the cruise control connector, and only change the brake light connector itself (part 12117354). I wanted to keep this as non-invasive as possible as I hate being upside down under the dash (though I see to find myself in that position a lot…) I will search around for the part number for the brake light switch itself.
The last trick I wanted to pull before I put the interior back together was to replace the horrible rearview mirror. I forgot how bad these things were (or more like, no one ever noticed before there were LED headlights on other people’s cars that are tall enough to be flush with your back window) but it seems like the mirror was good for one thing; blindness. They have two settings-blindingly bright where others headlights fry your retinas at night, or completely blind, where you can’t see a thing behind you.
My daily driver has a great auto dimming mirror that still lets you see everything without blinding you, made by Gentex. About the same size as the Eldo rearview. I was casually browsing their offerings to see what kind of money we were talking, when I noticed they offered an upgraded unit as compared to the one installed on my car-one with an LED compass feature that was *drumroll* amber colored! Just like the center stack on the Eldorado! So needless to say, the project was underway quickly.
Wired it in cleanly to an existing ignition power on the fuse box
I had to buy a new button to mount it, stock Eldo one was too small to hold it. Check out the dashboard illustration on the glue I bought to stick it on with!
And here it is mounted up!
I am super happy with the mirror. It works great and is a really close match to the amber on the center stack. They even have the same segment check timing when you turn the ignition on Unfortunately it does not dim with the rest of the dash panel, so that’s a letdown, but if desired you can turn the compass off if you wanted to dim everything all the way as I like to do when I’m out of the city on a dark road.
Now, you may notice that the visors are all kinds of messed up. Progress has a price I guess. My long-fought for 1988 Deville visors are NG with the new headliner board-they’re just too big and interfere with the bump out for the map light. I wish I would have known as I could have easily shrunk this bump out when I was doing surgery on the board but its too late now. I’m at a crossroads of reinstalling my old red Eldo visors with known good arms swapped into them (which are probably super faded next to the new material but are impossible to reupholster right) or finding another late 80s more robust GM visor and reupholstering/swapping them in.
I still have more stuff to add to this which may come tomorrow as my fingers are about to fall off!
Important legal note.
All images are copyright and must not be re posted or water marks removed, anyone found reposting is liaIble to prosecution.
The Basilica of Santa Maria in Trastevere (Italian: Basilica di Santa Maria in Trastevere); English: Our Lady in Trastevere) is a titular minor basilica in the Trastevere district of Rome, and one of the oldest churches of Rome. The basic floor plan and wall structure of the church date back to the 340s, and much of the structure to 1140-43. The first sanctuary was built in 221 and 227 by Pope Callixtus I and later completed by Pope Julius I. The church has large areas of important mosaics from the late 13th century by Pietro Cavallini.
-
Photograph taken by
Jos van der Heiden (2016)
“Rupertswood” in Sunbury on the outskirts of Melbourne is one of Australia's most important mansions, both historically and architecturally. Built as a residence for Sir William John Clarke (1831 – 1897), the first Australian born Baronet, in 1874 – 1876 it became a power seat in the great English tradition. The property covered an area of 31,000 acres. Today the estate has been greatly reduced due to subdivision to a more modest 1,100 acres.
Designed by local architect George L. Browne, "Rupertswood" is a 50 room bluestone mansion built for Sir William John Clarke by contractors George Sumner & Co. Designed in the Victorian Italianate style, the two storey mansion is surmounted by a 100 foot tower with a Mansard roof and widow's walk. The foundation stone for “Rupertswood” was laid on 29 August 1874 with some 1000 people in attendance. The house was completed in 1876. The grand entrance is paved with Victorian tessellated tiles and the house is flanked by splendid wide and shady verandahs on three sides. The ballroom was added in late 1881 or 1882. Interior decorations were carried out by Schemmel and Shilton. There are six magnificent stained glass panels made by Urie and Fergeson in 1874-76, considered some of the finest examples in the world. The elaborate mansion with its large estate demonstrates the important status of Clarke whose prominence as a colonist was recognised in 1882 by his appointment as a baronet.
William Sangster designed the gardens at “Rupertswood” originally covering an area of 99 acres, and once boasted tennis courts, croquet lawns and an underground fernery. “Rupertswood” also had its own private railway station where hundreds of guests to grand balls would arrive from Spencer Street. Balls, hunt meets and weekend house parties were frequent. Anyone of note, in Victorian and Edwardian society, was entertained by Sir John and Lady Eliza Clarke. Many historical figures visited “Rupertswood” during its history, including the then Duke and Duchess of York, (later to become King George V and Queen Mary), Australian opera singer Dame Nellie Melba and several Governors of Victoria. The estate also had its own half battery of horse artillery when Sir William John Clarke formed a small permanent force in 1885.
“Rupertswood” holds a place in the great sporting rivalry between Australia and England, as it was on a field at “Rupertswood” that the “Ashes” were created. On Christmas Eve of 1882, after a congenial lunch, Sir William Clarke suggested a social game between the English Cricket team and a local side, made up largely of “Rupertswood” staff. By all accounts, it was an enjoyable game with no one really keeping score, however, it was generally agreed that the English won. Pat Lyons, a worker at “Rupertswood”, clearly remembered the afternoon many years later. It was his understanding that Lady Clarke, at dinner that evening, had presented Ivo Bligh with a pottery urn. It was purported to contain the ashes of a burnt bail. This was a light hearted gesture to commemorate England's win at “Rupertswood”.
By 1922, “Rupertswood” had passed from the Clarke family into the possession of Hugh Victor McKay (1865 – 1926), a self-made millionaire, industrialist and inventor of “Sunshine Harvester”. His dream of owning “Rupertswood” had been realised, if however, a little short lived. He died at “Rupertswood” only four years after acquiring it. A short time later one of Australia's greatest pastoralist, Queenslander William Naughton acquired the property. One year later he sold the mansion and 1,100 acres to the Roman Catholic Salesian Order. The mansion then became a school for under privileged boys.
Today “Rupertswood” is open to the public. The mansion has undergone extensive restoration, with the help of interior designer and Victorian architecture specialist Jacqui Robertson, reinstating elaborate Victorian colour and decorative schemes, and operating as a boutique hotel.
7:27 am
Twenty minutes after grabbing the prey, breakfast is finished.
This encounter was very significant to me for a few reasons, not least of which was the close interaction I felt with the bird. Indeed, rather than flying off to the side when he finished, he flew right toward me. I even felt the need to duck; it was so close. It was as if he was saying, OK - I let you watch this but stay alert! Another amazing thing was how long I spent with the bird - almost an hour from the time I first caught up with him on the high snag.
Finally, this occurred about two weeks before I was diagnosed with acute leukemia. I have been battling the disease since early June 2015 and my time with the birds in the park has been very limited. I have reached the point now where further treatment is no longer viable so I will let nature take its course over the next period of time, probably weeks, maybe months. Through all the difficult days, this encounter with the Red-tailed Hawk has played through my mind. In many ways it symbolizes all the fabulous hours I have spent with the birds in the park over these past few years.
I thank the birds for bringing me abundant joy and I thank all of you in the Flickr world for sharing that joy with me.
I hope to post more photos as I am able. Joan
Tucson, Arizona
Vatican Museums
From Wikipedia, the free encyclopedia
vte
The Vatican Museums (Italian: Musei Vaticani; Latin: Musea Vaticana) are Christian and art museums located within the city boundaries of the Vatican City. They display works from the immense collection amassed by popes throughout the centuries including several of the most renowned Roman sculptures and most important masterpieces of Renaissance art in the world. The museums contain roughly 70,000 works, of which 20,000 are on display,[3] and currently employ 640 people who work in 40 different administrative, scholarly, and restoration departments.[4]
Pope Julius II founded the museums in the early 16th century.[5] The Sistine Chapel, with its ceiling decorated by Michelangelo and the Stanze di Raffaello decorated by Raphael, are on the visitor route through the Vatican Museums. In 2017, they were visited by 6 million people, which combined makes it the 4th most visited art museum in the world.[6][7]
There are 54 galleries, or sale, in total,[citation needed] with the Sistine Chapel, notably, being the very last sala within the Museum. It is one of the largest museums in the world.
In 2017, the Museum's official website and social media presence was completely redone, in accord with current standards and appearances for modern websites.[8]
History
The Vatican Museums trace their origin to one marble sculpture, purchased in the 16th century: Laocoön and His Sons was discovered on 14 January 1506, in a vineyard near the basilica of Santa Maria Maggiore in Rome. Pope Julius II sent Giuliano da Sangallo and Michelangelo Buonarroti, who were working at the Vatican, to examine the discovery. On their recommendation, the pope immediately purchased the sculpture from the vineyard owner. The pope put the sculpture, which depicts the Trojan priest Laocoön and his two sons being attacked by giant serpents, on public display at the Vatican exactly one month after its discovery.
Benedict XIV founded the Museum Christianum, and some of the Vatican collections formed the Lateran Museum, which Pius IX founded by decree in 1854.[9]
The Museums celebrated their 500th anniversary in October 2006 by permanently opening the excavations of a Vatican Hill necropolis to the public.[10]
On 1 January 2017, Barbara Jatta became the Director of the Vatican Museums, replacing Antonio Paolucci who had been director since 2007.
Pinacoteca Vaticana
The art gallery was housed in the Borgia Apartment until Pope Pius XI ordered construction of a proper building. The new building, designed by Luca Beltrami, was inaugurated on 27 October 1932.[13] The museum has paintings including:
•Giotto's Stefaneschi Triptych
•Olivuccio di Ciccarello, Opere di Misericordia
•Raphael's Madonna of Foligno, Oddi Altarpiece and Transfiguration
•Leonardo da Vinci's St. Jerome in the Wilderness
•Caravaggio's Entombment
•Perugino's Madonna and Child with Saints and San Francesco al Prato Resurrection
•Filippo Lippi's Marsuppini Coronation
•Jan Matejko's Sobieski at Vienna
Collection of Modern Religious Art
The Collection of Modern Religious Art was added in 1973 and houses paintings and sculptures from artists like Carlo Carrà, Giorgio de Chirico, Vincent van Gogh, Paul Gauguin, Marc Chagall, Paul Klee, Salvador Dalí, and Pablo Picasso.[14]
Sculpture museums
The group of museums includes several sculpture museums surrounding the Cortile del Belvedere. These are the Gregoriano Profano Museum, with classical sculpture, and others as below:
Museo Pio-Clementino
A Roman naval bireme depicted in a relief from the Temple of Fortuna Primigenia in Praeneste (Palestrina),[15] constructed c. 120 BC;[16] exhibited in the Pius-Clementine Museum (Museo Pio-Clementino) of the Vatican.
The museum takes its name from two popes; Clement XIV, who established the museum, and Pius VI, the pope who brought the museum to completion. Clement XIV came up with the idea of creating a new museum in Innocent VIII's Belvedere Palace and started the refurbishment work.[17]
Pope Clement XIV founded the Pio-Clementino museum in 1771, and originally it contained the Renaissance and antique works. The museum and collection were enlarged by Clement's successor Pius VI. Today, the museum houses works of Greek and Roman sculpture. Some notable galleries are:
•Greek Cross Gallery: (Sala a Croce Greca): with the porphyri sarcophagi of Constance and Saint Helen, daughter and mother of Constantine the Great.
•Sala Rotonda: shaped like a miniature Pantheon, the room has impressive ancient mosaics on the floors, and ancient statues lining the perimeter, including a gilded bronze statue of Hercules.
•Gallery of the Statues (Galleria delle Statue): as its name implies, holds various important statues, including Sleeping Ariadne and the bust of Menander. It also contains the Barberini Candelabra.
•Gallery of the Busts (Galleria dei Busti): Many ancient busts are displayed.
•Cabinet of the Masks (Gabinetto delle Maschere): The name comes from the mosaic on the floor of the gallery, found in Villa Adriana, which shows ancient theater masks. Statues are displayed along the walls, including the Three Graces.
•Sala delle Muse: Houses the statue group of Apollo and the nine muses, uncovered in a Roman villa near Tivoli in 1774, as well as statues by important ancient Greek or Roman sculptors. The centerpiece is the Belvedere Torso, revered by Michelangelo and other Renaissance men.[18]
•Sala degli Animali: So named because of the many ancient statues of animals.
Museo Chiaramonti
This museum was founded in the early 19th century by Pope Pius VII, whose surname before his election as pope was Chiaramonti. The museum consists of a large arched gallery in which are exhibited several statues, sarcophagi and friezes. The New Wing, Braccio Nuovo, built by Raffaele Stern, houses statues including the Augustus of Prima Porta, the Doryphoros, and The River Nile. The Galeria Lapidaria forms part of the Museo Chiaramonti, and contains over 3,000 stone tablets and inscriptions. It is accessible only with special permission, usually for the purpose of academic study.
Museo Gregoriano Etrusco[edit]
Founded by Pope Gregory XVI in 1836, this museum has eight galleries and houses important Etruscan pieces, coming from archaeological excavations.[19] The pieces include: vases, sarcophagus, bronzes and the Guglielmi Collection.
Museo Gregoriano Egiziano
This museum houses a large collection of artifacts from Ancient Egypt.[20] Such material includes papyruses, the Grassi Collection, animal mummies, and reproductions of the Book of the Dead.[21]
History
The Museo Gregoriano Egiziano was inaugurated on 2 February 1839 to commemorate the anniversary of Gregory XVI's accession to the papacy. The creation of the Museo Gregoriano Egiziano was particularly close to the pope's heart as he believed the understanding of ancient Egyptian civilisation was vital in terms of its scientific importance as well as its value in understanding the Old Testament. This feeling was expressed in a paper by the museum's first curator, the physiologist and Barnabite, Father Luigi Maria Ungarelli.[17]
Vatican Historical Museum
The Vatican Historical Museum (Italian: Museo storico vaticano) was founded in 1973 at the behest of Pope Paul VI,[22] and was initially hosted in environments under the Square Garden. In 1987, it moved to the main floor of the Apostolic Palace of the Lateran where it opened in March 1991.
The Vatican Historical Museum has a unique collection of portraits of the Popes from the 16th century to date, the memorable items of the Papal Military Corps of the 16–17th centuries and old religious paraphernalia related to rituals of the papacy. Also on display on the lower floor are the papamobili (Popemobiles); carriages and motorcars of Popes and Cardinals, including the first cars used by Popes.[23]
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.
A Highly Important and Extremely Rare Bronze Ritual Ram-Form Wine Vessel, Gong
Late Shang Dynasty, Anyang, 13th-11th Century BC
The animal is cast standing foursquare and fitted with an elongated cover ending in a ram's head with prominent C-shaped horns. The top of the cover is decorated with a pair of kui dragons and a taotie mask and is set with a standing kui dragon with curling tail and a small standing bird at the center. The body is cast on each side with a large crested bird, its clawed foot extending downward onto the legs of the ram and its elongated tail curling around the ram's haunch. The chest of the ram is further decorated with a pair of crouching tigers. All of the decoration is cast in shallow relief and reserved on leiwen grounds. The patina is of yellowish-brown color.
22 cm long, Japanese double wood box.
www.christies.com/lotfinder/lot_details.aspx?sc_lang=en&a...
Estimate : USD 6,000,000 - USD 8,000,000
Price realised : USD 27,127,500
Christie's
Important Chinese Art from the Fujita Museum
15 March 2017, New York
Rapid strata formation in soft sand (field evidence).
Photo of strata formation in soft sand on a beach, created by tidal action of the sea.
Formed in a single, high tidal event. Stunning evidence which displays multiple strata/layers.
Why this is so important ....
It has long been assumed, ever since the 17th century, that layers/strata observed in sedimentary rocks were built up gradually, layer upon layer, over many years. It certainly seemed logical at the time, from just looking at rocks, that lower layers would always be older than the layers above them, i.e. that lower layers were always laid down first followed, in time, by successive layers on top.
This was assumed to be true and became known as the superposition principle.
It was also assumed that a layer comprising a different material from a previous layer, represented a change in environmental conditions/factors.
These changes in composition of layers or strata were considered to represent different, geological eras on a global scale, spanning millions of years. This formed the basis for the Geologic Column, which is used to date rocks and also fossils. The evolutionary, 'fossil record' was based on the vast ages and assumed geological eras of the Geologic Column.
There was also circular reasoning applied with the assumed age of 'index' fossils (based on evolutionary preconceptions) used to date strata in the Geologic Column.
We now know that, although these assumptions seemed logical, they are not supported by the evidence.
At the time, the mechanics of stratification were not properly known or studied.
An additional factor was that this assumed superposition and uniformitarian model became essential, with the wide acceptance of Darwinism, for the long ages required for progressive microbes-to-human evolution. There was no incentive to question or challenge the superposition, uniformitarian model, because the presumed, fossil 'record' had become dependant on it, and any change in the accepted model would present devastating implications for Darwinism.
This had the unfortunate effect of linking the study of geology so closely to Darwinism, that any study independent of Darwinian considerations was effectively stymied. This link of geology with Darwinian preconceptions is known as biostratigraphy.
Some of the wealth of evidence can be observed here: www.flickr.com/photos/101536517@N06/sets/72157635944904973/
and also in the links to stunning, experimental evidence, carried out by sedimentologists, given later.
_______________________________________________
GEOLOGIC PRINCIPLES (established by Nicholas Steno in the 17th Century):
What Nicolas Steno believed about strata formation is the basis of the principle of Superposition and the principle of Original Horizontality.
dictionary.sensagent.com/Law_of_superposition/en-en/
“Assuming that all rocks and minerals had once been fluid, Nicolas Steno reasoned that rock strata were formed when particles in a fluid such as water fell to the bottom. This process would leave horizontal layers. Thus Steno's principle of original horizontality states that rock layers form in the horizontal position, and any deviations from this horizontal position are due to the rocks being disturbed later.”)
BEDDING PLANES.
'Bedding plane' describes the surface in between each stratum which are formed during sediment deposition.
science.jrank.org/pages/6533/Strata.html
“Strata form during sediment deposition, that is, the laying down of sediment. Meanwhile, if a change in current speed or sediment grain size occurs or perhaps the sediment supply is cut off, a bedding plane forms. Bedding planes are surfaces that separate one stratum from another. Bedding planes can also form when the upper part of a sediment layer is eroded away before the next episode of deposition. Strata separated by a bedding plane may have different grain sizes, grain compositions, or colours. Sometimes these other traits are better indicators of stratification as bedding planes may be very subtle.”
______________________________________________
Several catastrophic events, flash floods, volcanic eruptions etc. have forced Darwinian influenced geologists to admit to rapid stratification in some instances. However they claim it is a rare phenomenon, which they known about for many years, and which does nothing to invalidate the Geologic Column, the fossil record, evotuionary timescale, or any of the old assumptions regarding strata formation, sedimentation and the superposition principle. They fail to face up to the fact that rapid stratification is not an extraordinary phenonemon, but rather the prevailing and normal mechanism of sedimantary deposition whenever and wherever there is moving, sediment-laden water. The experimental evidence demonstrates the mechanism and a mass of field evidence in normal (non-catastrophic) conditions shows it is a normal everyday occurrence.
It is clear from the experimental evidence that the usual process of stratification is - that strata are not formed by horizontal layers being laid on top of each other in succession, as was assumed. But by sediment being sorted in the flowing water and laid down diagonally in the direction of flow.
Several catastrophic events, flash floods, volcanic eruptions etc. have forced Darwinian, influenced geologists to admit to rapid stratification in some instances. However they claim it is a rare phenomenon, which they have known about for many years, and which does nothing to invalidate the Geologic Column, the fossil record, evotuionary timescale, or any of the old assumptions regarding strata formation, sedimentation and the superposition principle. They fail to face up to the fact that rapid stratification is not an extraordinary phenonemon, but rather the prevailing and normal mechanism of sedimentary deposition whenever and wherever there is moving, sediment-laden water. The experimental evidence demonstrates the mechanism and a mass of field evidence in normal (non-catastrophic) conditions shows it is a normal everyday occurrence.
It is clear from the experimental evidence that the usual process of stratification is - that strata are not formed by horizontal layers being laid on top of each other in succession, as was assumed. But by sediment being sorted in the flowing water and laid down diagonally in the direction of flow. See diagram:
www.flickr.com/photos/truth-in-science/39821536092/in/dat...
The field evidence (in the image) presented here - of rapid, simultaneous stratification refutes the Superposition Principle, the Principle of Original Horizontality and the Principle of Lateral Continuity.
We now know, the Superposition Principle only applies on a rare occasion of sedimentary deposits in perfectly, still water. Superposition is required for the long evolutionary timescale, but the evidence shows it is not the general rule, as was once believed. Most sediment is laid down in moving water, where particle segregation is the general rule, resulting in the simultaneous deposition of strata/layers as shown in the photo.
See many other examples of rapid stratification with geological features: www.flickr.com/photos/101536517@N06/sets/72157635944904973/
Rapid, simultaneous formation of layers/strata, through particle segregation in moving water, is so easily created it has even been described by sedimentologists (working on flume experiments) as a law ...
"Upon filling the tank with water and pouring in sediments, we immediately saw what was to become the rule: The sediments sorted themselves out in very clear layers. This became so common that by the end of two weeks, we jokingly referred to Andrew's law as "It's difficult not to make layers," and Clark's law as "It's easy to make layers." Later on, I proposed the "law" that liquefaction destroys layers, as much to my surprise as that was." Ian Juby, www.ianjuby.org/sedimentation/
The example in the photo is the result of normal, everyday tidal action in a single incident. Where the water current or movement is more turbulent, violent, or catastrophic, great depths (many metres) of stratified sediment can be laid down in a short time. Certainly not the many millions of years assumed by evolutionists.
The composition of strata formed in any deposition event. is related to whatever materials are in the sediment mix, not to any particular timescale. Whatever is in the mix will be automatically sorted into strata/layers. It could be sand, or other material added from mud slides, erosion of chalk deposits, coastal erosion, volcanic ash etc. Any organic material (potential fossils), alive or dead, engulfed by, or swept into, a turbulent sediment mix, will also be sorted and buried within the rapidly, forming layers.
See many other examples of rapid stratification with geological features: www.flickr.com/photos/101536517@N06/sets/72157635944904973/
Stratified, soft sand deposit. demonstrates the rapid, stratification principle.
Important, field evidence which supports the work of the eminent, sedimentologist Dr Guy Berthault MIAS - Member of the International Association of Sedimentologists.
(Dr Berthault's experiments (www.sedimentology.fr/)
And also the experimental work of Dr M.E. Clark (Professor Emeritus, U of Illinois @ Urbana), Andrew Rodenbeck and Dr. Henry Voss, (www.ianjuby.org/sedimentation/)
Location: Sandown, Isle of Wight. Formed 17/01/2018, This field evidence demonstrates that multiple strata in sedimentary deposits do not need millions of years to form and can be formed rapidly. This natural example confirms the principle demonstrated by the sedimentation experiments carried out by Dr Guy Berthault and other sedimentologists. It calls into question the standard, multi-million year dating of sedimentary rocks, and the dating of fossils by depth of burial or position in the strata.
Mulltiple strata/layers are evident in this example.
Dr Berthault's experiments (www.sedimentology.fr/) and other experiments (www.ianjuby.org/sedimentation/) and field studies of floods and volcanic action show that, rather than being formed by gradual, slow deposition of sucessive layers superimposed upon previous layers, with the strata or layers representing a particular timescale, particle segregation in moving water or airborne particles can form strata or layers very quickly, frequently, in a single event.
And, most importantly, lower strata are not older than upper strata, they are the same age, having been created in the same sedimentary episode.
Such field studies confirm experiments which have shown that there is no longer any reason to conclude that strata/layers in sedimentary rocks relate to different geological eras and/or a multi-million year timescale. www.youtube.com/watch?v=5PVnBaqqQw8&feature=share&.... they also show that the relative position of fossils in rocks is not indicative of an order of evolutionary succession. Obviously, the uniformitarian principle, on which the geologic column is based, can no longer be considered valid. And the multi-million, year dating of sedimentary rocks and fossils needs to be reassessed. Rapid deposition of stratified sediments also explains the enigma of polystrate fossils, i.e. large fossils that intersect several strata. In some cases, tree trunk fossils are found which intersect the strata of sedimentary rock up to forty feet in depth. upload.wikimedia.org/wikipedia/commons/thumb/0/08/Lycopsi... They must have been buried in stratified sediment in a short time (certainly not millions, thousands, or even hundreds of years), or they would have rotted away. youtu.be/vnzHU9VsliQ
In fact, the vast majority of fossils are found in good, intact condition, which is testament to their rapid burial. You don't get good fossils from gradual burial, because they would be damaged or destroyed by decay, predation or erosion. The existence of so many fossils in sedimentary rock on a global scale is stunning evidence for the rapid depostion of sedimentary rock as the general rule. It is obvious that all rock containing good intact fossils was formed from sediment laid down in a very short time, not millions, or even thousands of years.
See set of photos of other examples of rapid stratification: www.flickr.com/photos/101536517@N06/sets/72157635944904973/
Carbon dating of coal should not be possible if it is millions of years old, yet significant amounts of Carbon 14 have been detected in coal and other fossil material, which indicates that it is less than 50,000 years old. www.ldolphin.org/sewell/c14dating.html
www.grisda.org/origins/51006.htm
Evolutionists confidently cite multi-million year ages for rocks and fossils, but what most people don't realise is that no one actually knows the age of sedimentary rocks or the fossils found within them. So how are evolutionists so sure of the ages they so confidently quote? The astonishing thing is they aren't. Sedimentary rocks cannot be dated by radiometric methods*, and fossils can only be dated to less than 50,000 years with Carbon 14 dating. The method evolutionists use is based entirely on assumptions. Unbelievably, fossils are dated by the assumed age of rocks, and rocks are dated by the assumed age of fossils, that's right ... it is known as circular reasoning.
* Regarding the radiometric dating of igneous rocks, which is claimed to be relevant to the dating of sedimentary rocks, in an occasional instance there is an igneous intrusion associated with a sedimentary deposit -
Prof. Aubouin says in his Précis de Géologie: "Each radioactive element disintegrates in a characteristic and constant manner, which depends neither on the physical state (no variation with pressure or temperature or any other external constraint) nor on the chemical state (identical for an oxide or a phosphate)."
"Rocks form when magma crystallizes. Crystallisation depends on pressure and temperature, from which radioactivity is independent. So, there is no relationship between radioactivity and crystallisation.
Consequently, radioactivity doesn't date the formation of rocks. Moreover, daughter elements contained in rocks result mainly from radioactivity in magma where gravity separates the heavier parent element, from the lighter daughter element. Thus radiometric dating has no chronological signification." Dr. Guy Berthault www.sciencevsevolution.org/Berthault.htm
Visit the fossil museum:
www.flickr.com/photos/101536517@N06/sets/72157641367196613/
Just how good are peer reviews of scientific papers?
www.sciencemag.org/content/342/6154/60.full
www.examiner.com/article/want-to-publish-science-paper-ju...
The neo-Darwinian idea that the human genome consists entirely of an accumulation of billions of mutations is, quite obviously, completely bonkers. Nevertheless, it is compulsorily taught in schools and universities as 'science'.
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.
If you'd like to see my private photos:
1) ADD me as a contact first (friend preferred since I will have to add you as a friend)
Important note: Please ASK before using my work. Permission is available by private message, tipping the balance in opposition to fair use without my permission. Violators will be reported.
46 Granite Street, Barre, Vermont USA • Located in the former Italian section of Barre, the Socialist Labor Party Hall is a two story flat-roofed brick structure with a gambrel-roofed single story rear hall. It is associated with Barre's rich ethnic heritage, specifically the vital Italian community that immigrated to Barre at the end of the 19th century. The building was constructed in 1900 by volunteers of the Italian community as a meeting hall for the Socialist Labor Party, a political group dedicated to social and labor reform. Its design reflects no particular architectural style, but its form does illustrate the building's function as an assembly hall. The exterior is simply ornamented with Barre granite details. The most important of these is a carved medallion depicting an arm bearing a hammer, the symbol of the Socialist Labor Party, and the initials SLP. – from the National Park Service's Travel Itinerary website.
The Socialist Labor Party Hall is significant for its association with socialist and anarchist politics, labor organizations, and Italian immigrant heritage in the early 20th century. Barre, Vermont played a central role in the history of Italian anarchism and militant unionism in the United States, and was the leading place were debates took place among anarchists, socialists, and union leaders over the future direction of the labor movement in America. The Socialist Labor Party Hall, as the primary site for these discussions, embodies the radical heritage and the strength of the union movement during the early 20th century. – from the National Park Service.
☞ On May 16, 2000, the National Park Service designated this structure a National Historic Landmark (#98001267).
National Historic Landmarks are nationally significant historic places designated by the Secretary of the Interior because they possess exceptional value or quality in illustrating or interpreting the heritage of the United States. Today, fewer than 2,500 historic places bear this national distinction. [And one of only 17 in Vermont.] Working with citizens throughout the nation, the National Historic Landmarks Program draws upon the expertise of National Park Service staff who work to nominate new landmarks and provide assistance to existing landmarks.
National Historic Landmarks are exceptional places. They form a common bond between all Americans. While there are many historic places across the nation, only a small number have meaning to all Americans--these we call our National Historic Landmarks. – from the National Park Service.
☞ This structure has also been listed on the National Register of Historic Places (#98001267), since 1998.
• More info: The GeoHack for 44.198419, -72.507428; and the Wikipedia summary.
= = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = =
In July, 2010, I started a project to visit and document all seventeen Landmarks in Vermont. Here they are (in order of designation by the National Park Service):
[01] 09/22/60 – JUSTIN S. MORRILL HOMESTEAD, Strafford, Orange County
[02] 01/28/64 – TICONDEROGA (Side-paddle-wheel Lakeboat), Shelburne, Chittenden County
[03] 06/23/65 – CALVIN COOLIDGE HOMESTEAD DISTRICT, Plymouth Notch, Windsor County
[04] 12/21/65 – EMMA WILLARD HOUSE, Middlebury, Addison County
[05] 11/13/66 – ROBBINS AND LAWRENCE ARMORY AND MACHINE SHOP, Windsor, Windsor County
[06] 06/11/67 – GEORGE PERKINS MARSH BOYHOOD HOME, Woodstock, Windsor County
[07] 05/23/68 – ROBERT FROST FARM, Addison County
[08] 12/30/70 – VERMONT STATEHOUSE, Montpelier, Washington County
[09] 11/28/72 – MOUNT INDEPENDENCE, Addison County
[10] 12/20/89 – STELLAFANE OBSERVATORY, Springfield, Windsor County
[11] 11/04/93 – NAULAKHA (Rudyard Kipling House), Dummerston, Windham County
[12] 06/19/96 – OLD ROUND CHURCH, Richmond, Chittenden County
[13] 06/19/96 – ST. JOHNSBURY ATHENAEUM, St. Johnsbury, Caledonia County
[14] 12/09/97 – ROKEBY, Ferrisburgh, Addison County
[15] 05/16/00 – ROCKINGHAM MEETING HOUSE, Windham County
[16] 05/16/00 – SOCIALIST LABOR PARTY HALL, Barre, Washington County
[17] 01/03/01 – SHELBURNE FARMS, Shelburne, Chittenden County
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.
Gurupurnima is the most important day in the year where we praise our Gurudev and thank him from the bottom of our hearts for everything that He is giving to us.
Devotees from all around the world gathered to celebrate this special day at the Shree Peetha Nilaya, Bhakti Marga Centre and Ashram, in Germany.
The Day started with Pada Puja followed by Guruji performing puja to His personal Deities. During the day we celebrated with Bhajan Mala, with all devotees from around the world singing 108 Bhajans devoted to Guruji.
In the evening there was Pada Abhishek to Gurujis feet where devotees could come and offer their love for Him.
Guruji ended the day with blessings and thanks, and a special request to all that the life of all living creatures is to be respected by living and promoting a life of pure vegetarianism.
Please visit our website www.bhaktimarga.org
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.
THE OPERA STUTTGART
ONE OF THE LEADING MUSIC THEATERS WORLDWIDE
The Stuttgart Opera is one of the most important European opera houses and at the same time part of Europe's largest multidisciplinary venue.
The Württembergische Staatstheater consists of the Stuttgart Opera, the Stuttgart Ballet and the Schauspiel Stuttgart, and has been successfully run in a unique leadership model throughout Germany since 1994: All three divisions work artistically and economically autonomously under the direction of their respective directors - Jossi Wieler for the opera, Reid Anderson for the ballet and with the beginning of the season 2013/14 Armin Petras for the acting -, while the management of the joint operation is in the hands of the Executive Intendant Marc-Oliver Hendriks.
The Stuttgart Opera continues to provide important impulses for today's music theater and is regarded as one of the leading houses worldwide. The ensemble theater is deliberately maintained in this house.
The opera alone counts around 230,000 visitors in the season, of which around 16,000 are permanent subscribers. The opera house has 1404 seats. Another venue with 200 seats is the Kammertheater in the Neue Staatsgalerie. All in all, the Stuttgart Opera has been voted "Opera House of the Year" six times. The Staatsopernchor Stuttgart is one of the best choirs of European music theater and has been awarded the title "Opera Chorus of the Year" nine times. The Stuttgart State Orchestra has also been voted "Orchestra of the Year".
With the "New Lusthaus" as the stage of the Württembergischer Hof, the history of the opera in Stuttgart reaches back to the 17th century. The Renaissance building on Schlossplatz (Palace square), which has been modernized several times over the years as a theater, was destroyed in a fire in 1902. Alone a staircase has been preserved, which can be seen today in the Middle Palace Gardens. The new Royal Court Theater was rebuilt 1909-1912 by the Munich architect Max Littmann as a double theater with opera house and theater. One of the first performances after the inauguration was the premiere of Richard Strauss' Ariadne auf Naxos, conducted by the composer himself. After the Second World War, only the Grand House decorated with classical columns remained for the Stuttgart Opera and the Stuttgart Ballet.
First performances of Handel's Toboggan, Hindemith's Mathis the Painter or the first German-language Falstaff production followed. The premiere was Oskar Schlemmer's Triadic Ballet. The first and premiere tradition with works by Hindemith, Orff, Penderecki, Glass, Zender, Riehm, Hölszky and Thomalla has been and continues to this day. A DVD series documents the highly regarded Ring of the Nibelungen from 1999 to 2000. Well-known bandmasters were active in Stuttgart like the Italian composer Niccolò Jommelli, who wrote 20 operas for the Stuttgart Opera, as well as Rudolf Zumsteeg, Johann Nepomuk Hummel, Peter von Lindpaintner and Carl Maria von Weber, more recently Carlos Kleiber, Vaclav Neumann, Silvio Varviso and Riccardo Chailly. In the 60s and 70s of the 20th century, the opera became "Winterbayreuth", influenced by directors such as Günther Rennert and Wieland Wagner. After the Second World War, Walter Erich Schäfer led the theater as general manager of the theaters until 1972. After the sudden death of opera director Wolfgang Windgassen, Wolfram Schwinger and finally Klaus Zehelein from 1992 to 2006 took over the command. Albrecht Puhlmann was the director from 2006 to 2011. Since the season 2011/12 Jossi Wieler is director of the Stuttgart Opera.
Every year, the Junge Oper of Stuttgart Opera offers two or three of its own opera productions for young audiences in the Kammertheater. In addition, the Staatsorchester Stuttgart organizes seven symphonies and seven chamber concerts per season in the Liederhalle, often with high-ranking soloists and guests.
DIE OPER STUTTGART
EINES DER FÜHRENDEN MUSIKTHEATER WELTWEIT
Die Oper Stuttgart zählt zu den bedeutendsten europäischen Opernhäusern und ist zugleich Teil des größten Mehrspartenhauses Europas.
Die Württembergischen Staatstheater bestehen aus der Oper Stuttgart, dem Stuttgarter Ballett sowie dem Schauspiel Stuttgart und werden seit 1994 erfolgreich in einem deutschlandweit einzigartigen Leitungsmodell geführt: Alle drei Sparten arbeiten künstlerisch und wirtschaftlich autonom unter Leitung ihrer jeweiligen Intendanten – Jossi Wieler für die Oper, Reid Anderson für das Ballett und mit Beginn der Spielzeit 2013/14 Armin Petras für das Schauspiel – , während die Geschäftsführung des gemeinschaftlichen Gesamtbetriebs in den Händen des Geschäftsführenden Intendanten Marc-Oliver Hendriks liegt.
Die Oper Stuttgart setzt bis heute immer wieder wichtige Impulse für das Musiktheater der Gegenwart und gilt als eines der führenden Häuser weltweit. Ganz bewusst wird in diesem Haus das Ensembletheater gepflegt.
Insgesamt rund 230.000 Besucher zählt allein die Oper in der Saison, davon bilden rund 16.000 einen festen Abonnentenstamm. Das Opernhaus verfügt über 1404 Plätze. Weitere Spielstätte mit 200 Plätzen ist das Kammertheater in der Neuen Staatsgalerie. Insgesamt wurde die Oper Stuttgart sechs Mal zum „Opernhaus des Jahres“ gewählt. Der Staatsopernchor Stuttgart zählt zu den besten Chören des europäischen Musiktheaters und wurde bereits neun Mal mit dem Titel „Opernchor des Jahres“ ausgezeichnet. Auch das Staatsorchester Stuttgart wurde bereits zum „Orchester des Jahres“ gewählt.
Mit dem „Neuen Lusthaus“ als Bühne des Württembergischen Hofes reicht die Geschichte der Oper in Stuttgart bis in das 17. Jahrhundert zurück. Der Renaissancebau am Schlossplatz, im Laufe der Zeit mehrfach als Theater modernisiert, wurde 1902 bei einem Brand zerstört. Allein eine Freitreppe blieb erhalten, die heute im Mittleren Schlossgarten zu sehen ist. Die neuen Königlichen Hoftheater wurden 1909 bis 1912 von dem Münchner Architekten Max Littmann als Doppeltheater mit Opern- und Schauspielhaus neu erbaut. Eine der ersten Aufführungen, die nach der Einweihung stattfand, war die Uraufführung von Richard Strauss' Ariadne auf Naxos, dirigiert vom Komponisten selbst. Nach dem zweiten Weltkrieg blieb nur das mit klassizistischen Säulen geschmückte Große Haus für die Oper Stuttgart und das Stuttgarter Ballett erhalten.
Erstaufführungen von Händels Rodelinde, Hindemiths Mathis der Maler oder die erste deutschsprachige Falstaff-Inszenierung folgten. Uraufgeführt wurde Oskar Schlemmers Triadisches Ballett. Die Erst- und Uraufführungstradition mit Werken von Hindemith, Orff, Penderecki, Glass, Zender, Riehm, Hölszky und Thomalla wurde und wird bis heute fortgesetzt. Eine DVD-Reihe dokumentiert den vielbeachteten Ring des Nibelungen von 1999 bis 2000. Namhafte Kapellmeister waren in Stuttgart tätig wie der italienische Komponist Niccolò Jommelli, der für die Stuttgarter Oper 20 Opern schrieb, außerdem Rudolf Zumsteeg, Johann Nepomuk Hummel, Peter von Lindpaintner und Carl Maria von Weber, in neuerer Zeit Carlos Kleiber, Vaclav Neumann, Silvio Varviso sowie Riccardo Chailly. In den 60er und 70er Jahren des 20. Jahrhunderts avancierte die Oper zum „Winterbayreuth“, geprägt durch Regisseure wie Günther Rennert und Wieland Wagner. Nach dem 2. Weltkrieg leitete Walter Erich Schäfer als Generalintendant die Theater bis 1972. Auf den plötzlichen Tod des Operndirektors Wolfgang Windgassen folgte zuerst Wolfram Schwinger und schließlich von 1992 bis 2006 Klaus Zehelein. Albrecht Puhlmann hatte die Intendanz von 2006 bis 2011 inne. Seit der Spielzeit 2011/12 ist Jossi Wieler Intendant der Oper Stuttgart.
Die Junge Oper der Oper Stuttgart bietet jährlich zwei bis drei eigene Opernproduktionen für junges Publikum im Kammertheater an. Außerdem gestaltet das Staatsorchester Stuttgart pro Saison sieben Sinfonie- sowie sieben Kammerkonzerte in der Liederhalle, oft mit hochrangigen Solisten und Gästen.
www.oper-stuttgart.de/service/geschichte_opernhaus_archit...
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 only time I have ever seen an Eastern Bluebird - and I got just a quick, distant view, sigh : )
AND I AM FINALLY FINISHED with photos from our two-week trip to Ontario and Quebec!!!! There are now 856 images in my album for these two areas - many are distant, low quality photos, but important to me as a record of where I have been and what I was lucky enough to see during that time. After my replacement Nikon B700 proved to have the same issue, I was left with two cameras with small zoom, unfortunately, which was very disappointing. The Panasonic FZ1000 with a 16x optical zoom and the FZ200 with a 24 optical zoom. Nowhere near enough zoom for so many of the birds we saw.
Many thanks to everyone for your patience while I have flooded my photostream over and over again. No more Snow Geese and no more tiny, mystery birds : ) For now, at least.
This was such an amazing holiday with four friends! I know how lucky I am, and appreciate so much being invited to go on this trip.
Four friends (four of the six friends with whom I went to Trinidad & Tobago in March 2017) and I left Calgary airport on 6 May 2018 and flew to Toronto, Ontario, Canada. There, we rented a van and did the long drive to Point Pelee for four whole days of birding. We stayed at the Best Western Hotel in Leamington, which is close to Point Pelee National Park. It fills up very quickly (with birders) and our rooms were booked months ago.
Our four days walking at Point Pelee were interesting and I, for sure, saw various things I had never seen before, including my very first Raccoon : ) Various friends had told me that the Warblers at Pelee were fantastic - so many and numerous species, and so close. Have to disagree with the "closeness" when we were there! I don't have binoculars as cameras are enough for me to carry around, so I know I missed all sorts of birds. Though my Warbler count was lower than my friends' counts, I was happy to at least get a few distant photos of some species. So many of my shots are awful, but I will still post some of them, just for the record of seeing them. Some photos are so bad that I doubt anyone can ID them.
We covered several different trails at Pelee, and also drove to a few places somewhat further afield, such as Hillman Marsh. If you are unfamiliar with this Conservation Area, just wait till you see a photo of the old barn that was there. I couldn't believe my eyes! I was in so much pain that I wasn't sure if I would be able to walk across a grassy area to take a few photos. However, it was so unusual and beautiful, that I reckoned I could try and move forward inch by inch - and crawl (ha, ha) if necessary. Another place we enjoyed was Rondeau National Park. One amazing and totally unexpected sighting just outside Pelee was a very distant male Snowy Owl sitting in a fieldl!!
We walked every single day that we were at Pelee and the areas mentioned above, seeing not just birds, but a frog/toad, snakes that we suspect were mating, several Painted turtles, a few plants (including both white and red Triliums, that I had never seen growing wild before, and a couple of Jack in the Pulpit plants).
The Friends of Point Pelee have food available at lunch time that one can buy. They also have a shuttle bus that one can take from the Visitor Centre all the way to the southern tip of Pelee, which is the most southern part of Canada. They also have birding walks with a guide each day (there is a charge). On 9 May, we spent the morning from 6:00 am to 11:00 am on a birding walk at Pelee with guide, Tom Hince, whom we had contacted while we were still in Calgary.
At the end of our stay at Point Pelee, we had to drive all the way back to Toronto, from where we flew to Quebec airport. From there, we had a four-hour drive to Tadoussac on the coast of the St. Lawrence Seaway. This is such a delightful, small place and in a beautiful setting. One of our friends, Anne B, and her husband have a summer cabin further along the cliff from the few stores and port. She had invited the four of us to go with her from Pelee to spend a week at her beautiful home. What an absolute treat this was! We were able to meet some of her relatives, too, who also have built cabins out there. We were looked after so well, and we were able to see and photograph all sorts of birds and other things. We made several trips to see different places, including the Cap Tourmente National Wildlife Area, where we were able to see endless thousands of Snow Geese. Breathtaking!
We also had two boat trips from Tadoussac - one was a whaling trip in a Zodiac, where we saw very, very distant Beluga and Minke Whales. The Belugas looked almost like the white wave crests - but they were Belugas. The other boat trip was to Brandy Pot Island, inhabited by thousands of Razorbills and Common Murres, which were new birds for me, and Double-crested Cormorants that were nesting in tree tops. That long boat trip (in a tiny boat named Juno, piloted by Greg) started off in the rain and dark clouds and it was soooo cold! Thermal underwear, layers of fleece and toque and gloves were needed. This day was arranged through a contact of Anne's and it was so much enjoyed! Of course, we anchored a distance away from the island and sat there and ate our sandwiches and took endless photos. It is forbidden to land on the island at nesting time.
Anne B, I can't thank you enough for organizing this holiday for us all and for inviting us to spend a week at your cabin. You worked so hard and it was so much appreciated by each and every one of us. Thank you for doing all the many hours of driving, too! Janet and Anne, thank you so much for compiling the lists of birds seen each day at various locations, and posted to ebird. These entries will be a huge help while I try and sort out where we were and when, and what species we saw. Miss your cookies and muffins, Janet, that you kindly made for us in Tadoussac, to go along with the wonderful meals that Anne planned and made for us : )
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 Mobility Roadshow –
why visit?
Presenting the finest in mobility innovation for 30 years, the national Mobility Roadshow is the original hands-on mobility event, showcasing the best possible products and services for an independent lifestyle. Whether you want to test drive, have a go at sport, driving experiences, rock climbing or just find out what’s new in the mobility market – it’s all here!
Inspirational - be amazed at life-changing productsand new ideas for YOUR independent lifestyle
Informative - gain a wealth of expert help, information and advice
Interactive - test drive vehicles, wheelchairs, powerchairs, scooters, cycles; join in sport, watch demonstrations, activities for all the family
What is it?
The UK’s most comprehensive event of its kind, it is THE annual mobility and lifestyle consumer event, showcasing a huge variety of products and services to aid an independent lifestyle. The Mobility Roadshow aims to give anyone with a mobility problem - drivers, passengers, adults or children - the chance to assess what is available to help solve that problem and most importantly to try out and evaluate the options in a ‘no pressure’ environment
Whether you have a disability that affects your mobility, or you’re an older person who is finding mobility that little bit more restricted than it used to be, the Mobility Roadshow is your one-stop shop for independence and freedom. It offers, quite simply, the best possible showcase of mobility products and services anywhere in the UK.
When and where is the next show?
Telford International Centre, 27th-29th June 2013
Who organises it?
The Mobility Roadshow is organised by registered charity Mobility Choice.
How much does it cost to get in?
Admission, parking and showguide are free, as are all activities on site.
Is it just for people with disabilities?
Not at all - there are all kinds of devices that could help people of any age who may be experiencing mobility problems through something like arthritis or stiffening joints – swivel seats make getting in and out of a car much easier, while lightweight portable scooters that fit easily in the boot of a car can be a real help for shopping or leisure activities for the less mobile.
Who exhibits at the Roadshow?
Around 160 companies and organisations, including several of the major car companies, plus vehicle adaptation and conversion specialists, mobility aids manufacturers, scooter and wheelchair manufacturers, information and advice services, charities, mobility insurance specialists; sport, leisure and holiday companies; plus a range of equipment and services for an independent lifestyle.
What sort of products will I see?
Latest cars and converted vehicles fitted with adaptations; the widest range of wheelchair-accessible vehicles (WAVS); lightweight, sports, power and manual wheelchairs; hand controls; hoists; car seats; commercial vehicles; battery chargers; trikes and scooters; walkers; rotating car seats; specialist wheels and tyres; suspension systems; ramps; seat clamps; wheelchair restraints; independent living aids and numerous gizmos and gadgets to make life easier for anyone with a mobility problem.
Can I have a go on things?
Yes, this is the original ‘hands-on’ mobility event for consumers. There are opportunities to test drive adapted vehicles and specialist wheelchair-accessible conversions, scooters and wheelchairs and to try out products before you even think about buying, so you can compare all the available options. As well as test driving vehicles, you can try out wheelchairs and scooters on a dedicated Mobility Test Track, plus interactive Sports Arena, and our ever-popular accessible rock-climbing wall with experienced helpers to get you to the top!
You mean I actually get to test drive vehicles?
Yes – many of the major motor manufacturers and conversion specialists will have a range of adapted vehicles available to try out – make sure you bring your driving licence with you. For the first time in the Roadshow's 30-year history, test drives will take place on the public roads around the International Centre, accompanied by a professional driver at all times and dual controls fitted to each vehicle (full licence holders only). You can register to test drive in advance, either through the website or by post.
Is it just for Motability customers?
No. The Roadshow is for anyone who has a mobility problem, whether you have a vehicle through the Motability scheme or you own one privately.
Can I bring the kids?
Yes, it`s a fun day out for all the family. There’s a variety of entertainment such as jugglers, clowns, magicians, face painters or balloon sculptors – plenty to see and do for everyone.
What about sport?
The Roadshow’s interactive Sports Arena offers you a chance to really get involved in a range of sports such as basketball, rugby, sledge hockey, and find out about what’s available in your area.
Can I hire a wheelchair or scooter?
Yes. Wheelchairs and scooters can be pre-booked (subject to availability), and some will be available on the day.
Will I really get impartial advice?
Yes. The Roadshow is all about choice and opportunity. A large number of charitable organisations and information services will be offering impartial advice on a range of mobility issues.
Did you know?
* There are over 10 million disabled people in the UK, that’s over 15% of the population.
* There are 2.3 million blue badge holders in the UK, indicating that they have a significant mobility problem.
* Mobility vehicles represent around 20% of the UK car market.
* Over 5.5 million disabled people are of working age, which represents 16% of the working population. However only 50% of disabled people of working age are in employment compared to 87% of non-disabled people of working age.
*Around 40% of the UK population is over 45 - the age at which the incidence of disability begins to increase significantly.
* The estimated annual purchasing power of people with disabilities is £40-£50 billion
* Over half the population over 75 has some kind of disability – 70% have difficulty walking or climbing stairs.
* 85% of disabled people in the UK were not born disabled, but became so in later life through accident or illness.
* 66% of disabled people are older people. In the next 50 years the number of over 60s will double and the number of over 80s will treble.
The Postcard
A Frith's Series postcard bearing an image that is a glossy real photograph.
Stony Stratford
Stony Stratford is a constituent town of Milton Keynes, Buckinghamshire. Historically it was a market town on the important route from London to Chester (Watling Street, now the A5). The town borders Northamptonshire, and is separated from it (and Old Stratford) by the River Great Ouse.
History of Stony Stratford
Since at least Roman times, there has been a settlement at the ford of Watling Street over the Great Ouse. The town's market charter dates from 1194 and its status as a town from 1215.
The town name 'Stratford' is Anglo-Saxon in origin, and means 'Ford on a Roman Road'. The Roman road in this sense is Watling Street that runs through the middle of the town. The ford is the crossing of the River Ouse. The prefix 'Stony' refers to the stones on the bed of the ford, differentiating the town from nearby Fenny Stratford.
The Stony Stratford Hoard
In 1789, at Windmill Field near Stony Stratford, an urn was uncovered which contained three fibulae and two headdresses. Known as the Stony Stratford Hoard, it also contained around thirty fragments of silver plaques which were decorated with images of the Roman gods Mars, Apollo and Victory.
There were also inscriptions to Jupiter and Vulcan, leading to theories that this was a votive hoard at a Roman temple. The hoard is now kept at the British Museum.
Stony Stratford Market
There has been a market in Stony Stratford since 1194 (by charter of King Richard I). Until the early 1900's, livestock marts were still held in the market square, but in more recent times the square has become a car park, apart from a monthly farmers' market in one corner.
The weekly market has moved to Timor Court, and of course no longer deals in livestock. Stony Stratford formally became a town when it received letters patent from King John in 1215.
The Eleanor Cross
Stony Stratford was the location where, in 1290, an Eleanor cross was built in memory of the recently-deceased Queen Eleanor of Castile, as her funeral cortège had stopped overnight in the town en route to London. The cross was destroyed during the English Civil War.
The Rose and Crown
The former Rose and Crown Inn at Stony Stratford was reputedly where, in 1483, the boy-king Edward V stayed the night before he was taken to London to become one of the Princes in the Tower.
He was taken there by his uncle Richard, Duke of Gloucester, who soon became King Richard III. Edward had been returning from Ludlow Castle in the Welsh Marches to London to claim his crown on the death of his father, Edward IV, when he was met in Stony Stratford by his uncle, who later deposed him. The inn is now a private house, but a plaque on the front wall gives a disputed account of the event, asserting that Edward was murdered in the Tower of London.
Catherine of Aragon
Catherine of Aragon rode from London to address her troops assembling here for the Battle of Flodden, and went on to stay at Woburn Abbey in September 1513.
Fire
The town has twice become almost completely consumed by fire, the first time in 1736 and the second in 1742. The only building to escape the second fire was the tower of the chapel of ease of St Mary Magdalen.
Stony Stratford as a Way-stop
Since at least the 15th. century, Stony Stratford has been an important stop on the road to Ireland via Chester, becoming quite rich on the proceeds in the 16th. century.
In the stage coach era of the 17th. and early 18th. centuries, it was a major resting place and exchange point with the east/west route, with coaching inns being built to accommodate coach travellers. Traffic on Watling Street and the consequent wear and tear to it was such as to necessitate England's first turnpike trust, from Hockliffe to Stony Stratford, in 1707.
In the early 19th. century, over thirty mail coaches and stagecoaches a day stopped here. That traffic came to an abrupt end in 1838 when the London to Birmingham Railway was opened at Wolverton – ironically, just three years after the bridge over the Ouse had been rebuilt. Wolverton railway works provided an important source of employment in the town, with the Wolverton and Stony Stratford Tramway being built to serve the workers.
With the arrival of the motor car, the town's position on the original A5 road made it again an important stopping point for travellers.
Cock and Bull Story
Due to the juxtaposition of two hotels in the centre of town, The Cock and The Bull, (both originally coaching inns), it is claimed locally that the common phrase 'A Cock and Bull Story' originated here.
Stony Stratford in Film
Scenes from the 1987 cult film 'Withnail and I' were filmed in Stony Stratford. Cox and Robinsons chemist is the 'Penrith Tea Rooms' where Withnail demands "The finest wines known to humanity." The Crown pub became the 'King Henry pub' in the film. Both premises are on Market Square.
Destination of The Postcard
The postcard was posted in Wolverton, Milton Keynes on Friday the 11th. September 1964 to:
Mr. Mathews,
39, Church Road,
Southall,
Middlesex.
The message on the divided back of the card was as follows:
"Dear Mr. & Mrs. Mathews,
Having a nice time, weather
good. Will be back at Southall
Monday.
Will be in H. P. H. 8 o'clock.
All the best, Arthur."
Arthur is perhaps referring to the Hamborough Public House in the Broadway, Southall. Don't try and have a drink there today - it was was burnt down on Friday the 3rd. July 1981 during the first day of the Southall riots.
The Beatles
So what else happened on the day that Arthur posted the card?
Well, on the 11th. September 1964, the Beatles performed for the first time in the "Deep South" of America when they played a concert in Jacksonville, Florida at the Gator Bowl stadium as part of their 1964 North American tour.
When the concert had originally been booked, the stadium had separate sections for whites and blacks (and "Eastern Meadow-Golds" (Asians) were not allowed).
The group conditioned their appearance on being able to perform before a desegregated audience.
The Diada
Also on that day, in Barcelona, the Diada was celebrated for the first time since the end of the Spanish Civil War and the beginning of the dictatorship of Francisco Franco in Spain.
About 3,000 Catalan-speaking residents defied a ban against advocating Catalan nationalism. The Diada Nacional de Catalunya memorialises the day in 1714 when Catalonia lost its independence.
The protest was broken up, and seven of its organisers were arrested and given heavy fines.
The Kinks
Also on the 11th. September 1964, the Number One chart hit record in the UK was 'You Really Got Me' by the Kinks.
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.
O Copan é um dos mais importantes e emblemáticos edifícios da cidade de São Paulo, Brasil. Projetado por Oscar Niemeyer, localiza-se num dos pontos mais movimentados do centro da capital paulista. É bastante conhecido por sua geometria sinuosa, que lembra uma onda, e pelos números superlativos de suas estatísticas. Tem 140 metros de altura, 37 andares e cerca de cinco mil residentes, considerada a maior estrutura de concreto armado do Brasil.Possui 1.160 apartamentos distribuídos em seis blocos e também o Edifício Copan é mais populoso que 457 municípios do país, além de área comercial no térreo com 72 lojas e uma igreja evangélica, sendo considerado o maior edifício residencial da América Latina.
Edifício Copan (Copan Building) is a 140-metre, 38-story residential building in São Paulo, Brazil. It was constructed from 1957 to 1966. It is the largest structure built in Brazil and has the largest floor area of any residential building in the world. The building, despite popular belief, was not named after the Mayan temple in Honduras, but it is actually an acronym for its original developer company, Companhia Pan-Americana de Hotéis e Turismo. The building was designed by Oscar Niemeyer`s office in São Paulo, being himself the responsible for the famous sinuous facade drawing. It has an estimated 1,160 apartments and 5,000 residents. Due to the large number of residents, the São Paulo City Hall gave the building its own ZIP code. The condominium has 107 employees to serve and maintain the building. The ground floor is home to 70 businesses and establishments including, but not limited to, a church, a travel agency, a bookstore, and 4 restaurants. Its site is 10572.80 square meters.
It is very important to set up your workstation by taking into consideration the Ergonomic features of your chair because it is the one that directly affects health of your body. Lots of chair manufacturers claim that their chairs are the best in the market, but are they really that good?
SpinaliS chairs are designed to initiate the so called "Active Sitting" phenomena, which strengthens your core muscles while you are sitting. No extra effort is required, but sitting!
Check out SpinaliS Ergonomic series chairs:
www.spinalis-chairs.ca/spinalis-chairs/ergonomic/
SpinaliS Canada offers "Lease to Own" financing program starting at $39/month. Choose the chair of your liking and fill out the form:
www.spinalis-chairs.ca/pictures/Commercial%20Credit%20App...
Here is why you should consider purchasing of a SpinaliS chair:
Back injuries result from damage, wear, or trauma to the bones, muscles, or other tissues of the back. Common back injuries include sprains and strains, herniated disks, and fractured vertebrae. The lumbar is often the site of back pain. The area is susceptible because of its flexibility and the amount of body weight it regularly bears. It is estimated that low-back pain may affect as much as 80 to 90 percent of the general population in Canada.
Low-back pain is often the result of incorrect lifting methods and posture. Repetitive lifting, bending, and twisting motions of the torso affect both the degree of severity and frequency of low-back pain. In addition, low-back pain may also be the result of bad lifting habits. Sedentary lifestyles most often lead to weak abdominal muscles and hamstrings. This causes the stronger muscles which have remained strong to pull the body away from its optimal anatomical form. The imbalanced muscles cause people to continue to perform these repetitive actions. This results in misplaced force application within the spine, often resulting in hemorrhage of disks within the spinal column.
For more info call 844 777 0489
or drop by any of our six stores
SpinaliS Store in Vancouver, BC
3619 West 4th Ave
Vancouver, BC V6R 1P2
SpinaliS Store in Surrey, BC
Laser Health Solutions
Chiropractic Corp.
204-15230 Hwy 10
Surrey, BC V3S 5K7
SpinaliS Store in Victoria, BC
770 Spruce Avenue
Victoria, BC V8T 5A5
SpinaliS Store in Kelowna, BC
ALIGNED CHIROPRACTIC
105-2041 Harvey Avenue
Kelowna, BC V1Y 6G7
SpinaliS Store in Toronto, ON
CMCC Supply Centre & Bookstore
6100 Leslie Street, Toronto
Toronto, ON M2H 3J1
SpinaliS Store in Squamish, BC
Elaho Medical Clinic
Chieftain Centre
1337 Pemberton Ave
Squamish, BC M2H 3J1
Financing Available! Starting at $39/month
Get your SpinaliS chair now and pay later. Choose between 12 and 36 month installments starting at $39/month. "Lease to Own" program with G Direct Finance: Simple and Safe!
Medical Device
SpinaliS chairs were developed with a help of doctors and evaluated as a Class I medical device. Clinical evaluation of the medical device was processed by multiple clinics in Europe. However, in Canada, it is not possible to claim SpinaliS chairs to write your taxes off and they are not covered by any kind of medical insurance or health plan, yet.
Abs and Back Workout
Work out while sitting on any of the SpinaliS chairs and performing your daily tasks at the office or home.
Back Pain Relief
SpinaliS Chairs will work out your core muscles for you. Just sit, do your thing and leave everything else up to SpinaliS.
Stylish Office Chairs
Design of the SpinaliS Chairs is an eye candy â your customers will definitely notice them!
Yoga Ball Alternative
It is recommended not to sit longer than 2 hours on a yoga ball, but on the SpinaliS chairs you can sit all day long.
Standing Desk Alternative
SpinaliS chairs will actually make your body to work out and get you into a great shape without the hard task of standing or exercising.
Who does use SpinaliS?
Google, Dubai Airport, SONY, IBM, DELL, Skoda Auto, CSOB Bank, Unicredit Bank, Vodafone and many more.
SpinaliS Canada
ph: 778 989 0637
Chairs for Active Sitting to Eliminate Back Pain and Improve Posture
Financing available! Starting at $39/month
#active #activesitting #healthysitting #healthy #sitting #fit #health #canada #greatposture #goodposture #life #goodlife #goals #goal #resolution #spinaliscanada #spinalis #backpaintreatment #ergonomic #ergonomicchair #ergonomicchairs #workstation #ergonomicworkstation
The Palácio Nacional da Ajuda is a neoclassical monument in the city of Lisbon, in Portugal. The Palace was built during the 19th century to be a residence for the Kings of Portugal.
The site where the Palace stands, in the neighbourhood of Ajuda, was previously occupied by the Royal Tent (Real Barraca), a wooden structure that housed King José I after the Ribeira Palace was destroyed in the 1755 Lisbon Earthquake. After this wooden structure was destroyed by fire in 1794, during the reign of Queen Mary I and Prince John VI, a new Palace begun to be built by architect Manuel Caetano de Sousa, who planned a late baroque-rococo building. The lower storeys of the towers of the Palace, with typical rococo windows, date from this time.
In 1802, the project was entrusted to the Portuguese José da Costa e Silva and the Italian Francisco Xavier Fabri, who planned a magnificent building in the modern neoclassical style. In 1807 the Royal Family had to flee to Brazil, following the invasion of Portugal by French troops, and the works proceeded very slowly with Fabri taking charge of the project, later followed by António Francisco Rosa. Lack of financial resources would cause the project to be greatly reduced in scale.
The Palace became a permanent residence of the royal family during the reign of King Luis I (after 1861) and his wife, the Italian princess Maria Pia of Savoy. Their architect, Possidónio da Silva, introduced many aesthetic changes and turned one of the lateral façades into the main façade. After the death of her husband, Queen Maria Pia continued to live in the palace until a military coup overthrew the monarchy in 1910. It is now a museum.
The Ajuda National Palace is one of the earliest neoclassical buildings in Lisbon. The Palace is square-shaped with a central courtyard. The West wing of the palace is unfinished, while the East wing is now the main façade with two towers at the corners. The central part of the façade has a tympanum with the coat-of-arms of Portugal and an entrance hall with statues of the virtues by Joaquim Machado de Castro and his disciples dating from the early 19th century. The interiors were decorated by many important 19th century Portuguese artists.
The crown of St Wenceslas is the most important and oldest of the Bohemian crown jewels. It was commissioned by Charles IV in the 1340s and dedicated to St Wenceslas. The original crown is kept at Prague Castle. Unlike many European countries, this symbol of Czech autonomy and statehood is not permanently exhibited. By declaration of the Roman Emperor and King of Bohemia, Charles IV, it was deposited in a special chamber in St. Vitus’ Cathedral near the remains of the country’s patron saint and under his symbolic protection. The Bohemian coronation jewels would only be exhibited on special occasions and only on Prague Castle premises.
The Municipal House is situated next to the Powder Gate on the former grounds of the Royal Palace, the magnificent seat of the Bohemian kings from 1383 to 1484. The modern-day Municipal House, erected in 1906–1911, witnessed the proclamation of Czechoslovak independence on October 28, 1918.
It is thus symbolic that the Municipal House management decided to initiate the creation of a copy of the royal crown of St Wenceslas and exhibit it permanently in the Bohemian and Gentlemen’s Club, where important historical events marking the origin of the modern Czech statehood took place. The copy of the crown of St Wenceslas was commissioned by the Gold Coins – Numismatics company.
The copy of St Wenceslas crown was crafted by Jiří Urban, a famous goldsmith from Turnov. Painter Václav Zajíc, head of the department of precious stone cutting and engraving department of the Secondary School of Applied Arts in Trutnov, supplied the glass replicas and compositions of the precious stones.
The copy of the crown of St Wenceslas, a symbol of the Czech state’s independence, is also featured on the CZK 1 coin, which also represents the value as well as independence of the Czech currency. Both “crowns” symbolize the independence and sovereignty of the Czech state and its representatives.
The copy of crown of St Wenceslas, as well as a CZK 1 coin made of pure gold are on a permanent display in the Municipal House. Presented by the Municipal House and Gold Coins – Numismatics.
About the crown:
The crown of St Wenceslas – made of high fineness gold (21 – 22 carats), decorated with precious stones and pearls – is the oldest of the crown jewels. It weighs almost two and a half kilograms, it is 19 cm high, including the cross, 19 cm in diameter and each of the four parts of the crown is 14.5 cm long. It was commissioned by Charles IV for his coronation in 1347, who later dedicated it to the first patron saint of the Czech lands, St Wenceslas, and decreed that it become a state crown, used for coronation of further Bohemian kings, his successors to the Bohemian throne. Charles IV kept modifying it, having it fitted with the most precious stones he managed to acquire, almost until the end of his life (1378), gradually developing into its contemporary look.
Its shape follows the tradition of previous crowns of the Přemyslids as well as kings of France. It is a headdress consisting of four parts, each of which culminates with a large fleur-de-lis. The segments are linked by two bands arching over the top, mounted with ornaments from an older jewel (headdress or band). The apex of the crown, where the two bans cross, features a gold cross with a sapphire cameo, an engraved precious stone. The crown contains a total of 19 sapphires, 44 spinels, 1 ruby, 30 emeralds and 20 pearls.
Charles IV decreed that the new royal crown be permanently held in St Vitus’ Cathedral. Nevertheless, Charles’ very first successor, his son Wenceslas IV evidently at the beginning of the 15th century had the crown jewels transferred to the Karlštejn castle, where they were to be better secured during the tumultuous times of fighting for rule of the country. Since then, they have been kept in many different places, with the transfers happening mainly during political unrest, fights over the Bohemian throne and the threat of war. The turbulent 17th century prepared a dramatic fate for the crown jewels. The place where they were kept changed often, for a time returning to St Vitus’ Cathedral, then being transferred to the office of the Tables of the Province and later to Prague’s Old Town City Hall. During the periods when Prague was no longer safe, they were securely stored in České Budějovice. The ruling Habsburg dynasty designated a more permanent location in Vienna, where they stayed almost until the end of the 18th century. Irrespective of where they were stored, be it the Karlštejn Castle or Vienna, they were always brought for the royal coronation to the Czech lands, or more specifically to Prague Castle.
The official name of the medieval Bohemian state was also derived from the crown of St Wenceslas – the Crown of Bohemian Kingdom or Bohemian Crown (the union of crown lands, which were part of the Bohemian kingdom and were subject to the King of Bohemia).
The new copy of the crown of St Wenceslas is only the second copy to be made. The first replica was made fifty years ago for exhibition purposes and is owned by the Prague Castle Administration.
Last of all Wenceslas is of course the stern but fair monarch depicted in later verses of the famous carol "Good King Wenceslas". He died on September 20th, 929, in his early twenties.
Pay a visit to this website to see a close up image of the crown and Regalia.
Also try this link to Prague Castle for the history of all the regalia in close up
www.hrad.cz/en/prague-castle/the-bohemian-crown-jewels/in...