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Albertina
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
Dear Sirs & Mdms,
_*Oxley BizHub 2 Preview Phase (Final Week)*_
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Non-motorized boating pilot program comes to an end
LOS ANGELES — When the U.S. Army Corps of Engineers, Los Angeles District, granted a license in July for a seven week non-motorized boating pilot program on the Los Angeles River, the Los Angeles Conservation Corps quickly booked the allotted tours.
“It took about 10 minutes for the 280 tickets to sell, once we posted the announcement on line,” said Yasmin Mero-Corona, program coordinator, Los Angeles Conservation Corps. “We had another 300 on a waiting list to fill any no-shows. One gentleman stood by with his check every weekend until we had a cancellation for him to fill,” Mero-Corona added.
The test program allowed for no more than two trips per day on Friday, Saturday and Sunday beginning August 12 and ending September 25. The program was as much about education as it was access, with many of the tours featuring guest speakers, including Corps personnel, talking about the history of the river and plans for its revitalization.
The Mountains Recreation and Conservation Authority supervised the two-hour canoe and kayak trips covering a 1.5-mile stretch of the river. While most of the trip is a leisurely ride the 'Cattail Shoot' provides a bit of excitement as the staff helps participants and their vessels through a narrow, shallow shoot and one portage point, 'Rocky Rapids,' that requires boaters to exit their crafts and navigate the rocks on foot.
“A mentor of mine when I was a biologist at New York District was fond of saying, touch the resource. That's what accessing the river is to so many urban dwellers in Los Angeles,” said Josephine Axt, Chief, Planning Division, Los Angeles District, during her tour September 16.
“Even though there are nearby mountains where people can enjoy the outdoors, their day to day experience doesn't usually encourage or encompass much of a non-urban environment. Accessing the river is symbolic of a shared vision many LA residents have of the city embracing a more sustainable future,” added Axt.
For many boaters these trips represented their first access to the river and their enthusiasm was not tied to their skill level.
“The participants were nervous at first because for many adults, this was the first time on a canoe or kayak,” said Supervising Ranger III, Fernando Gomez. “However, at the end of the trip, they wanted more and some even said they were going to go out and buy a kayak to continue their experience, not on the LA River of course. For the skilled kayakers, they walked away with the surprise of how beautiful and calming the trip was,” Gomez added.
The Corps is an active partner in revitalizing and preserving the Los Angeles River, however, an important primary mission remains.
“I must be clear, nothing we do can jeopardize human safety or reduce the flood carrying capacity of this river,” said Col. Mark Toy, Los Angeles District Commander, during his opening remarks for the inaugural tour Aug. 8.
Now that the non-motorized boating pilot program has ended, no boating is authorized on the Los Angeles River. The river can, very quickly, become extremely dangerous, especially during the general winter storm season.
The Corps will review trip reports and lessons learned from staff and participants. Working with the stakeholders the Corps will carefully consider all options for boating on the Los Angeles River in future years.
The 1867 Māori Representation Act established four Māori Members of the Lower House of Parliament, elected in four Māori-only electorates – three in the North Island and one covering the entire South Island.
The Māori seats were elected on the basis of manhood franchise. Under the terms of the 1852 Constitution Act, the male franchise appeared almost universal but although there was no racial distinction and a very low property qualification, Māori were in effect disenfranchised because of their communal system of landholding. Māori possessed their land as iwi, hapū or whānau groups, rather than under individual title.
The Act granted Māori men universal suffrage twelve years before Pākehā men who faced property qualifications until 1879. However, the seats gave Māori far less representation in Parliament than the general seats gave Pākehā. Based on population Māori should have had fourteen to sixteen seats (Pākehā had 72 at the time).
The Act was passed during the New Zealand Wars, which had fuelled debate about Māori representation. It was hoped that establishing the Māori seats would reduce conflict between Māori and Pākehā in future. The seats were also seen as a way to reward iwi who had fought alongside the Crown.
It was intended that the Māori electorates would be temporary, lasting just five years. Many politicians expected that Māori would quickly adopt European customs of land ownership. However this was not the case and the Māori seats were extended in 1872 and made permanent in 1876.
The first four Māori MPs took office in 1868. They were Frederick Nene Russell (Northern Māori), Mete Kingi Te Rangi Paetahi (Western Māori), Tareha Te Moananui (Eastern Māori) and John Patterson (Southern Māori). All four were from iwi that fought alongside the Crown or remained neutral during the New Zealand Wars.
The image above shows a copy of the Mete Kingi Paetahi Election Act 1868. Mete Kingi (Te Āti Haunui-a-Pāpārangi) worked as a Native Land Court assessor and without the passing of this act he would have been ineligible to become an MP. Dated 16 July 1868, the letter on the left is from the Speaker of the Legislative Council, John Richardson, to Governor Sir George Bowen.
The Archives New Zealand reference for this record is ACGO 8333 IA1 303/[67] 1868/2064. It is part of the IA1 record group, which contains Internal Affairs inwards correspondence.
Material from Archives New Zealand Te Rua Mahara o Te Kāwanatanga
To enquire about this record, please email research.archives@dia.govt.nz
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
Cultural performance of the Pokot people.
The Pokot people are categorized under the larger Kalenjin tribes grouping of Kenyan Nilotic speakers because they have oral traditions of a similar origin. They speak the Pokot language. The Pokot people live in the Baringo and Western Pokot districts of Kenya and also in the Eastern Karamoja region of Uganda. The Pokots are dived into two main sub-groups depending of their location and way of life. The two groups are the Hill Pokot who practice both farming and pastoralism, and live in the rainy highlands in the west and in the central south. The second group is made up of the Plains Pokot who living in dry and infertile plains, herd cows, goats and sheep.
As a result of their nomadic lifestyle, adopted by most of the Pokot, they have interacted with different peoples in their history and therefore incorporated social customs of neighbors into their life. The Turkana and the Karamojong of Uganda, who they neighbor, appear to have had the most influence on the Pokot. Those who are cultivators mainly grow corn/maize. Nevertheless, whether a pastoralist or a farmer, wealth among the Pokot is measured by the number of cattle one has. The other major uses of cows are in bride price and barter trade. As long as a Pokot man has enough wealth in terms of cows to offer, marrying more than one wife is allowed.
Dairy products like milk are an important part of the diet of the Pokot. Porridge made from wild fruits boiled with a mixture of milk and blood, a repast rich in nutrients and iron is the staple of the Pokot diet. Using a special arrow, it's shot into the neck of a cow to drain blood without permanently causing harm to the animal.
The Tororot being the utmost god according to the Pokot, prayers and sacrifices are made to him during ethnic festivals and dances that are organized by their elders. Also, the Pokot have diviners who are in charge for maintaining the spiritual balance within their society. Being superstitious and believing in sorcery and sometimes calling on various forms of shielding lucky charms to ward off the ill will of any sorcerers is a part of their tradition. They also worship other deities like the sun, moon and believe in the spirit of death.
Governing within the Pokot community, is through a number of age-sets and association with any particular set is be determined by the age during which a Pokot goes through their initiation into that set group or society. It is typically between the ages of fifteen and twenty for the men while, it is around twelve, for the women. Matrimonial binds for the youngsters are allowed, once the initiation has been accomplished. As well, they begin taking part in the local economic functions. The bonds formed within the initiation groups, are close and are functional in future political ties as they progress through the positions in the tribal organization. At old age, they get a certain degree of status and the esteem that goes with it. Presiding over important tribal decisions, festivals and religious celebrations are the duties among others that elders are in charge of.
The Pokot are quite proud of their culture are bound to hold on to it in the future. Generally, Pokot women wear colorful necklaces and beaded headgears, brass jewelry and big loop type earrings whereas men wear just a few wrap garments and cowhide capes and shirts. They use beaded skirts to distinguish those females who have been initiated from those who haven't. Pokot warriors wear red clay on their hair, special headgears of feathers. Dances are an important aspect of their culture especially during social-cultural events.
Senior Ugandan general meets with U.S. Army Africa leaders; continues cooperative partnership
VICENZA, Italy – When Ugandan Brig. Gen. Silver Kayemba arrived at U.S. Army Africa headquarters on April 27, he was met by familiar faces.
Kayemba, 53, the chief of training and operations for the Ugandan People’s Defense Force, was a key player during Natural Fire 10, a humanitarian assistance and disaster relief exercise co-led by the UPDF and U.S. Army Africa, held in Uganda in Oct. 2009.
“This visit strengthens our relationship with the U.S. Armed Forces, particularly with U.S. Army Africa,” Kayemba said. “We are looking forward to even closer cooperation in the future.”
One of the first people Kayemba met was Maj. Gen. William B. Garrett III, commander of U.S. Army Africa.
“As part of our engagement strategy, U.S. Army Africa invites senior military leaders from partner land forces to see how our command operates,” Garrett said. “We create opportunities to discuss the way forward, as the U.S. Army continues to work with Ugandan land forces to strengthen their capacity to support security missions in Africa.”
U.S. Army Africa leaders briefed Kayemba on the command’s mission, its ongoing partnerships with African land forces to foster securing, stability and peace on the African continent. During his two-day visit, Kayemba also toured Caserma Ederle, stopping first at training simulators used by Soldiers prior to deploying.
In 2006, Kayemba visited several military sites in the United States, to include the Pentagon, National Defense University, and a U.S. Marine Corps base. As a junior officer then, Kayemba also attended the basic transportation officer course in the United States.
During Natural Fire, Kayemba served as exercise deputy director and worked closely with Garrett.
“We’ve been reviewing lessons learned from Natural Fire,” Kayemba said. “We are going to benefit from what I’ve seen here and I look forward to working with U.S. Army Africa in future.”
U.S. Army Photo - Cleared for public release.
Swanage is a coastal town and civil parish in the south east of Dorset, England. It is situated at the eastern end of the Isle of Purbeck, about 10 km south of Poole and 40 km east of Dorchester. The parish has a population of 10,124 (2001). Nearby are Ballard Down and Old Harry Rocks, with Studland Bay and Poole Harbour to the north. Within the parish are Durlston Bay and Durlston Country Park to the south of the town. The parish also includes the areas of Herston, just to the west of the town, and Durlston, just to the south. During the peak summer season many people are drawn by the town's beautiful setting, the beach and other attractions. The town has many hotels and guest rooms though the number ( particularly of hotels ) has reduced slightly in recent years. Besides the beach, there are other local attractions including the restored Swanage steam railway and the Victorian pier. The town may also be used a base from which to visit other nearby areas of interest, such as Corfe Castle. Swanage's Victorian pier is over 100 years old and is one of two built, although it is the only one that survives complete today. The pier extends into the southern end of Swanage Bay near Swanage. The original Swanage Pier was built between 1859 and 1861 for use primarily by the local stone quarrying industry, and included a tramway which ran the length of the pier and some way along the seafront. The old tracks can be seen to this day, inset into the seafront walkways.
The town, originally a small port and fishing village flourished in the Victorian era, when it first became a significant quarrying port and later a seaside resort for the rich of the day. Today the town remains a popular tourist resort, this being the town's primary industry, with many thousands of visitors coming to the town during the peak summer season, drawn by the bay's sandy beaches and other attractions. During its history the bay was listed variously as Swanawic, Swanwich, Sandwich, and only in more recent history as Swanage.
The Jurassic Coast World Heritage Site ~ this wonderful coast line which stretches from Orcombe Point in East Devon to The Old Harry Rocks near Swanage, is a beautiful part of this area. Swanage Tourist Information Centre (T.I.C.) is an excellent point of reference for all visitors to the area and our friendly staff will be delighted to help you plan your holiday and find out more about the area. By carefully assessing your requirements and interests the staff will ensure you have the very best information to make your holiday a real success.
While fishing is likely the town's oldest industry, quarrying has been important to the town and the local area since at least the 1st century AD. During the time of the Roman occupation this industry grew, with the distinctive Purbeck marble being used for decorative purposes in buildings as far away as London. When the Romans left Britain, quarrying largely ceased until the 12th century. The town is first mentioned in historical texts in the Anglo-Saxon Chronicle of 877 AD. It is stated as being the scene of a great naval victory by King Alfred over the Danes: ~ This year came the Danish army into Exeter from Wareham; while the navy sailed west about, until they met with a great mist at sea, and there perished 120 ships at Swanwich. A hundred Danish ships which had survived the battle, were driven by a storm onto Peveril Point, a shallow rocky reef outcropping from the southern end of Swanage bay. In the 12th century demand for Purbeck Marble grew once again. While Purbeck marble is not suited to external use, as it does not weather well, it is however strong and suitably decorative for use as internal columns. As such the stone was used in the construction of many large churches and cathedrals being built as the time.
In contrast to the decorative Purbeck marble, Purbeck limestone, or more commonly 'Purbeck stone', has been used in construction locally since the early days of quarrying in Purbeck. Its use is less well documented as it was taken for granted as the default construction materials in the area. However, the arrival of more modern quarrying techniques in the 17th century resulted in an increase in production. The Great Fire of London in 1666 led to a period of large scale reconstruction in the city, and Purbeck stone was extensively used for paving. It was in this time that stone first started being loaded on ships directly from the Swanage seafront; before this time quarried stone had been first transported to Poole for shipping. The idea that Swanage could become a tourist destination was first encouraged by a local MP William Morton Pitt in the early 19th century, who converted a mansion in the town into a luxury hotel. The hotel is noted for having been visited in 1833 by the ( then ) Princess Victoria, later to become queen. The building was later renamed the Royal Victoria Hotel, now the building has been converted into flats and a bar and nightclub in the left and right wings respectively.
The main bus services are provided by Wilts & Dorset. Numbers 40 and 44 which run between Swanage and Poole, and the number 50 which runs between Swanage and Bournemouth via the chain ferry between Studland and Sandbanks. Double-deck open top buses are used on the Poole/Bournemouth to Swanage routes in the summer months. The buses on these routes are branded as Purbeck Breezers. Swanage has a heritage restored steam railway which operates for most of the year, though at the moment this only goes as far as Norden. Recent developments on the railway have seen the physical connection between the Swanage Railway and the mainline restored. The first passenger service in more than 40 years from London Victoria and returning to London Waterloo took place on 1 April 2009. It is hoped that regular passenger services connecting to the mainline will begin in the future. Limited ferry services also run between Poole Quay and Swanage Pier. These are used by Swanage residents for shopping trips to Poole's large shopping centre, and also by tourists in Poole for day trips into Swanage. The nearest mainline railway station to Swanage is Wareham, where connections can be made for South West Trains services westward to Dorchester South and Weymouth. Services also travel eastwards towards Poole, Bournemouth, Southampton Central and London Waterloo. Services to and from Weymouth and London Waterloo can be either fast or stopping services.
The news was that Jools' cough was little better. She got a mail back from the surgery on Friday saying her (non-urgent) appointment with the doctor was on December 14th. But as we were going to Tesco, she would have a chat with the pharmasist and see about some of the behind the counter stuff.
Winter has arrived, though no snow as yet, but the wind is set in the east, its cloudy and feels raw outside.
I would spend part of the day churchcrawling.
After shopping.
We go to Tesco, Jools really only coming so she could get something for her cough.
With a few bottles of tripel and cider we managed to spend £140. A bag of rice, not white easy cook rice I'll admit, but that's £4.50 now.
Wow.
Back home with the shopping and a bottle of serious cough syrup, we put the shopping away and have breakfast.
No surprise then that Jools wasn't coming out with me, she wanted to get the cough under control, would only take the new syrup when needed as it can make you drowsy.
I had a list of churches, and first up was our local one, St Margaret.
They were having a craft day. I thought it might be a fayre, but was a kid's craft day. Anyway, the church would be open and I could take shots of the memorials and windows.
There were pagan heads at the top of each column, and as corbel stones. The more I looked, the more pagan heads, even at the top of two of the columns, but not all.
No real ancient glass, but good quality Victorian.
The church itself is the triumph, being an early Norman and well preserved.
Although, sadly, the tower is in poor repair and needs reroofing, which is why it is currently encased in scaffolding.
I am sure when we called in at Barham last week, a sign said there was a craft fayre on, so would be open. I would go back, and get some shots, I thought.
Its a half hour drive, if that out of Dover down the A2 and off at the Wingham turning, down the valley and parking outside the church, its spire pointing to heaven.
Inside the church there was no fayre again, just a warden showing a lady round. We all said "hello", and I went about getting shots.
I have been here at least three times, but now take the big lens to get details of the windows and memorials high up, so there are always new details to reveal.
Star item is the window of St George and the dragon, though is hidden in the north-west corner, and best viewed from the stairs to the belltower.
After 20 minutes, the visitor left and the warden turned off the lights, forgetting I was there, but I had my shots.
From Barham its a short drive to Bridge, then along the Nailbourne to Patrixbourne, where I see the door was open, but I had another target: Bekesbourne, the next village along, crossing the dry bed of the bourne, stopping on the lane outside the church. I look left to the Old Palace, but there were no cars parked there, so no point of even knocking, I drove on.
Instead of turning left back to Bridge, I turn right towards Littlebourne, no real idea where I was going.
Littlebourne could wait for another time, I only went back there in 2020, I went to Wingham, driving on towards Sandwich.
I thought, it's a long time since I was at Woodnesborough, I could cut through Ash and go there.
Which is what I did.
I could have stopped at Ash too, that's usually open, but there'll be other times. I have been there twice and got good shots last time for sure.
From Ash, the road climbs, leading to Woodnesborough, Woden's Hill, where there was a hill fort in antiquity. The church is on the highest point, overlooking the marshes of the old Wantsum Channel, and on to Sandwich which when the Channel was still flooded, was on a spit of land.
The church is a marker for miles around due to its cupola, something is shares with Ringwould near to home.
Inside it was so dark, I thought I would need to find the lights, but I could not find them. So, I hoped the camera would cope without.
It did.
But again, I was here really to record the windows, which were rich in detail. I took 215 shots here, 560 in a morning at three churches.
Not bad.
But I was done, what light there was, was fading, even though it was only just after one. I would go home.
Once home I got busy.
I have a taste for beans. Not baked beans, but Boston Beans. I had a recipe, and we got the ingredients that morning, so went about making a huge panful. Three tins of haricot beans, tomatoes, stock, spices, bacon, pork belly, mustard, and black treacle.
Cooked on the hob for an hour, then cooked long and low in the oven for four hours.
What came out looked and tasted like fine Boston Beans. We will be eating these for weeks.
At the same time I make fritters.
The plan was to be all cooked and eaten before the football began at three.
I did it with half an hour to spare, the leftover wine drunk too, meaning I would struggle to stay awake for Holland v USA game. Netherlands win pretty comfortably.
And in the evening, with a soundtrack of funk and soul thanks to Craig, I watch Argentine v Australia, which was a stunning game.
Even better, I sat on the sofa to watch, Cleo eyed me as if to say how dare you take my chosen sleeping place. But she came over, paced around, then lay between the arm of the sofa and my leg. Scully lay on the other side. I had 50% of the household cats.
Happier than I have been for ages.
Best of all was that the syrup worked, stopped the coughing, and Jools fell asleep right off.
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A morning out, revisiting some familiar fairly local churches.
Final visit was to Woodnesborough, aka Woden's Hill, near to Sandwich.
It was open, but no light switch that could be found meant that the church was dark, but the camera coped well.
Woodnesborough sits on the highest point near to the coast, its cupola marking the spot, and visible for miles in all directions.
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The tower makes this church one of the easiest in Kent to identify. It is capped by a little cupola and wooden balustrade of eighteenth-century date that replaced a medieval spire. During the Middle Ages the church was owned by Leeds Priory which invested heavily in the structure, and was no doubt responsible for the excellent sedilia built in about 1350. The canopy is supported by a quadripartite vault in turn supported by angry little heads. Above the sedilia is the cut-off end of a prickett beam. The east window, of Decorated style stonework, has a thirteenth-century hangover in the form of a shafted rere-arch. There are two excellent modern stained glass windows designed by F.W Cole, which show the Creation (1980) and St Francis (1992). The good altar rails are of Queen Anne's reign, as are the splendid Royal Arms.
www.kentchurches.info/church.asp?p=Woodnesborough
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WOODNESBOROUGH,
¶OR Winsborough, as it is usually called, lies the next parish northward from Eastry, being written in the survey of Domesday, Wanesberge. It took its name according to Verstegan, from the Saxon idol Woden, (and it is spelt by some Wodensborough) whose place of worship was in it; however that may be, the termination of the word berge, or borough, shews it to be of high antiquity.
art of this parish, over which the manor of Boxley claims, is within the jurisdiction of the justices of the town and port of Sandwich, and liberty of the cinque ports; and the residue is in the hundred of Eastry, and jurisdiction of the county of Kent.
There are three boroughs in this parish, viz. Cold Friday, Hamwold, and Marshborough; the borsholders of which are chosen at the petty sessions of the justices, acting at Wingham, for the east division of the lath of St. Augustine.
THIS PARISH is large, being two miles and an half one way, and upwards of a mile and an half the other. The church stands nearly in the centre of it, on high ground. At a small distance from the church is Woodnesborough hill, both of which are sea marks. This hill is a very high mount, seemingly thrown up by art, and consisting of a sandy earth, it has been thought by some to have been the place on which the idol Woden from whom this place is supposed to have taken its name) was worshipped in the time of the Saxons; by others to be the burial place of Vortimer, the Saxon king, who died in 457, whilst others suppose this mount was raised over those who fell in the battle fought between Ceoldred, king of Mercia, and Ina, king of the West Saxons, in the year 715, at Woodnesbeorb, according to the Saxon chronicle, which name Dr. Plot supposes to be Woodnesborough. Vortimer, as our historians tell us, at his death, desired to be buried near the place where the Saxons used to land, being persuaded that his bones would deter them from any attempt in future. Though authors differ much on the place of his burial, yet this mount at Woodnesborough is as probable, or more so, perhaps, than any other, for it was near to, and was cast up so high as to be plainly seen from the Portus Rutupinus, which at that time was the general landing place of the Saxon fleets. Some years ago there were found upon the top of it sundry sepulchral remains, viz. a glass vessel (engraved by the Rev. Mr. Douglas, in his Nænia;) a fibula, (engraved by Mr. Eoys, in his collections for Sandwich;) the head of a spear, and some fragments of Roman vessels. Much of the earth of sand has been lately removed round the sides of it, but nothing further has been found.
At a small distance northward from hence, at the bottom of a short steep hill, lies the village called Woodnesborough-street, and sometimes Cold Fridaystreet, containing thirty four houses. The vicaragehouse is situated in the middle of it, being a new handsome building; almost contiguous to it is a handsome sashed house, belonging to the Jull family, now made use of as a poor-house; through this street the road leads to Sandwich. West ward of the street stands the parsonage-house, late the seat of Oliver Stephens, esq. deceased, and now of his window, as will be further noticed hereafter. Besides the manors and estates in this parish, particularly described, in the western parts of it there are several hamlets, as Somerfield, Barnsole, Coombe, with New-street, Great and Little Flemings, Ringlemere, and the farm of Christians Court.
In the north east part of the parish, the road from Eastry, by the parsonage of Woodnesborough northwestward, divides; one road, which in antient deeds is called Lovekys-street, going towards Ash-street; the other through the hamlet of Marshborough, formerly called Marshborough, alias Stipins, to Each End and Sandwich, the two windmills close to the entrance of which are with in the bounds of this parish. Each, Upper Each, called antiently Upriche, and Each End, antiently called Netheriche, were both formerly accounted manors, and are mentioned as such in the marriage settlement of Henry Whyte, esq. in the beginning of queen Elizabeth's reign. After the Whytes, these manors passed in like manner as Grove, in this parish, to the James's. Upper Each, or Upriche, has for many years belonged to the family of Abbot, of Ramsgate, and is now the property of John Abbot, esq. of Canterbury. Each End, or Netheriche, belongs, one moiety to the heirs or devisees of the late earl of Strafford, and the other moiety to John Matson, esq. of Sandwich.
¶It cannot but occur to the reader how much this parish abounds with Saxon names, besides the name of Wodens borough, the street of Cold Friday, mentioned before, is certainly derived from the Saxon words, Cola, and Friga, which latter was the name of a goddess, worshipped by the Saxons, and her day Frige-deag, from whence our day of Friday is derived; other places in this parish, mentioned before likewise, claim, surely, their original from the same language.
This parish contains about 3000 acres, the whole rents of it being about 3373l. yearly value. It is very bare of coppice wood; the Old Wood, so called, in Ringleton, being the only one in it. The soil of this parish is very rich and fertile, equal to those the most so in this neighbourhood, particularly as to the plantations of hops, which have much increased within these few years past. The middle of the parish is high ground, and is in general a flat open country of arable common fields. West and south-westward the lands are more inclosed with hedges. North and north-westward of the parsonage, towards Sandwich, they are low and wet, consisting of a large level of marsh land, the nearness of which makes the other parts of this parish rather unhealthy, which is not otherwise very pleasant in any part of it. There was a fair held here yearly, on Holy Thursday, but it has been for some time disused.
In Ringleton field, in this parish, there was found about the year 1514, a fine gold coin, weighing about twelve shillings, with a loop of the same metal to hang it by; on one side was the figure of a young man in armour, a helmet on his head, and a spear over his right shoulder; on the reverse, the figure of Victory, with a sword in her hand, the point downwards.
The church, which is dedicated to St. Mary, consists of a nave, and two isles, having a square tower steeple at the west end, with a modern wooden turret and vane at the top of it, in which are five bells, made in 1676. It had a high spire on the tower, which was taken down some years ago. At the east end of the chancel is a marble tablet for John Cason, esq. of this place, justice of the peace, obt. 1718; John Cason, esq. his son, obt. 1755; arms,Argent, a chevron, sable, between three wolves heads, erased, gules, on an escutcheon of pretence, sable, a chevron, between three fleurs de lis, of the field; another for Thomas Blechenden, of the antient family of that name, of Aldington, in Kent, obt. 1661; arms, Azure, a fess nebulee, argent, between three lions heads erased, or, attired, gules, impalingBoys. On the south side, an antient altar monument with gothic pillars and arches, having had shields and arms, now obliterated. Against the wall, under the canopy, two brass plates, which have been removed to this place, from two grave-stones in the chancel; the first for Sir John Parcar, late vicar of this church, who died the v.day of May, a°o dni m° v° xiij° on the second are Latin verses to the memory of Nichs Spencer, esq. obt. 1593. In the middle of the chancel, a gravestone for William Docksey, esq. of Snellston, in Derbyshire, a justice of the peace, obt. 1760; Sarah his wife, youngest daughter of John Cason, esq. obt. 1774; arms,Or, a lion rampant, azure, surmounted of a bend, argent. On a gravestone on the north side of the chancel, on a brass plate, On a chevron, three quatersoils, between three annulets, quartering other coats, now obliterated, for Master Myghell Heyre, sumtyme vicar of this churche, who dyed the xxii day of July, m° v° xxviii. In the north isle are several memorials for the family of Gillow, arms, A lion rampant, in chief, three fleurs de lis. At the entrance into the chancel, on a grave-stone, on a brass plate, John Hill, gent. of the parish of Nassall, in Staffordshire, obt. 1605. A mural monument for William Gibbs, of this parish, obt. 1777; arms,Argent, three battle axes, in fess, sable. In the church-yard are altar tombs to the memory of the Julls, and for Sladden; one for John Verall, gent. sometime mayor of Sandwich, obt. 1610; and another for John Benchkin, of Pouton, obt. 1639.
There were formerly painted in the windows of this church,Or, a chief indented, azure, for John de Sandwich. Several coats of arms, among which were those of Valence and St. Leger,Argent, three leaves in sinster bend, their points downward, proper.— On a canton, azure, three crescents, or, for Grove.— Argent, three escallops in chief, or, in base a crescent, gules, for Helpestone, usually called Hilpurton, bailiff of Sandwich, in 1299. A shield, being Helpeston's badge, another On a fess engrailed, three cinquefoils, between three garbs, for John Hill, of Nasall, in Staffordshire, who lies buried in this church. —A fess engrailed, three lions rampant, in chief, on the fess, a crescent for difference, for Spencer, customer, of Sandwich. — Quarterly, four coats; first, On a chevron, three quaterfoils; second, Per pale, ermine and argent; third, A cross, between four pomegranates, slipped; sourth,Three bars, wavy, for Michael Heyre, vicar here in 1520.
The church of Woodnesborough was given, in the reign of king Henry I. by a religious woman, one Ascelina de Wodensberg, to the priory of Ledes, soon after the foundation of it; to which deed was witness Robert de Crevequer, founder of the priory, Elias his son, and others; which gift was confirmed by the said Robert, who by his charter, released to the priory all his right and title to it. It was likewise confirmed by archbishop Theobald, and several of his successors, and by king Henry III. by his charter of inspeximus in his 41st year.
Archbishop William Corboil, who came to the see of Canterbury, three years after the foundation of Ledes priory, at the instance and petition of Ascelina above mentioned, who resigned this church into his hands for this purpose, appropriated it to the prior and convent, for the finding of necessary cloaths, for the canons there; and a vicarage was accordingly endowed in it.
There was a controversy between the prior and convent, and Adam, vicar of this church, in 1627, anno 14 Henry II. concerning the great tithes arising from the crofts and curtilages within this parish, which was referred to the prior of Rochester, who was the pope's delegate for this purpose, who determined that the prior and convent of Ledes, as rectors of this church, should receive, without any exception, all the great tithes of wheat, barley, oats, beans, peas, and of every fort of corn arising, or to arise from all lands, crofts, curtilages, or other places whatever, situated within the bounds, of this parish; and that the prior and convent should yearly pay to the said vicar, and his successors, half a seam of barley, and half a seam of beans, at the nativity of our Lord. (fn. 10)
¶After which, this parsonage appropriate,(which appears to have been esteemed as a manor) together with the advowson of the vicarage, remained with the prior and convent of Ledes, till its dissolution in the 31st year of king Henry VIII. when it was, with all its lands and possessions, surrendered into the king's hands, who by his dotation charter, in his 33d year, settled both parsonage and advowson on his new-founded dean and chapter of Rochester, with whom they remain at this time. On the dissolution of deans and chapters, after the death of king Charles I. this parsonage was surveyed in 1649, when is appeared that the manor or parsonage of Woodnesborough, with the scite thereof, and all manner of tithes belonging to it, with a garden and orchard of one acre, was valued all together at 300l. that the lessee was to repair the premises, and the chancel of the church; that the vicarage was worth fifty pounds per annum. The then incumbent was under sequestration, and there was none to serve the cure; and that the church was then quite ruinated, and in great decay. (fn. 11)
A return to Bredgar,
I was here in November, and found the fine looking church locked.
We were going fairly nearby to another church, so give it a try?
And good job we did, as I saw as we approached the porch I saw the padlock open and the hasp hanging down.
Yay.
Jools went to the glass shop the other side of the road, and I go to snap the church.
Despite looking large and grand from the outside, inside it was a bit of a disappointment. Tough a large and fine wall mounted monument made up for it somewhat.
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BREDGAR.
OR Bradgare, as it was sometimes spelt, is the next parish southward from Tunstall.
ALTHOUGH the road from Sittingborne to Hollingborne-hill, and thence to Maidstone, passes through it and the village of Bredgar, it is rather an unfrequented place, lying obscurely among the hills, and bounding eastward to the woods. It contains near 1300 acres of land, of which one hundred are wood-grounds. The village, which stands on high ground, nearly in the centre of the parish, having the church and college, or chantry in it, is a healthy and not unpleasant situation, being surrounded mostly by pasture grounds, but the remaining part of the parish is very hilly, the soil poor and chalky, and much covered with flints, being rather a dreary country. At the entrance of the village there is a good house, inhabited for many years by the Beales, the last of whom, Mr. John Beale, of Bredgar, dying s. p. in 1769, gave this among his other estates, among his relations, and this house is now owned by his sister's son, Mr. Pattison; a little distance from hence is a modern fronted house, belonging to the Rev. Mr. Marsh, rector of Bicknor, who resides in it.
The plant Dentaria Major Metthiolo, or the greater toothwort, is mentioned by Mr. Ray, as found by him in this parish.
THE PARAMOUNT MANOR of Milton claims over this parish, as do the subordinate manors of Tunstall and Bobbing likewise over some part of it.
IT APPEARS by antient records, that there was a family resident in this parish, who took their name from it. Robert de Bredgar, resided here in the reign of king Henry III. whose name appears in an antient roll of the benefactors to the monastery of Davington, and bore for their arms, Argent, a bend, gules, fretty, azure, between two lions rampant of the second; and in the reign of king Richard II. Robert de Bredgar, clerk, parson of this parish, founded a chantry or college in the church here, as will be further mentioned hereafter.
BEXON, or Baxton, is a manor, situated in the southern part of this parish, which gives name both to a borough and street in it.
It was antiently in the possession of a family, which assumed its surname from it; one of whom, John de Bexon, was residen there in the reigns of Edward II. and III. whose effigies was formerly painted in the windows of this church, with a scroll underneath. But in the next reign of king Richard II. this manor was become the property of the family of Tong, who were of some account in different parts of East-Kent, as well as in this neighbourhood; for it appears by some antient deeds, that Semanus de Tong, in the 16th year of that reign, was tenant to the Maison Dieu, in Ospringe, for lands at Lorinden, in Challock, and sealed with a bend cotized, argent, between six martlets, gules, in which name this estate continued down to John Tonge, gent. who about the latter end of the reign of king Charles I. alienated it to Mr. Thomas Fearne, who bore for his arms, Per bend, gules, and or, two leopards heads, counterchanged. One of his descendants, Mr. John Fearne, passed it away by sale to Mr. Thomas Best, of Chatham, whose grandson, Thomas Best, esq. of Chilston, dying in 1795. s. p. gave it by his will, among his other estates, to his youngest nephew, George Best, esq. now of Chilston, who is the present possessor of it. (fn. 1)
SWANTON-COURT, now vulgarly called Swan court, is a manor likewise in the southern part of this parish, adjoining to Bicknor, which was formerly part of the possessions of the eminent family of Leyborne, of Leyborne, in this county, in which it continued till Juliana, daughter of Thomas, and heir of her grandfather William de Leyborne, dying s. p. by any of her husbands, all of whom she survived, this estate in the 41st year of king Edward III. escheated to the crown, there being no one found, who could claim it, as heir to her; and it remained there till the king, in his 50th year granted it, among other premises, to the abbey of St. Mary Graces, on Tower-hill, then founded by him, part of the possessions of which it remained till the dissolution of that monastery, in the 30th year of king Henry VIII. when it was surrendered up into the king's hands, together with all the lands and revenues belonging to it.
Soon after which, the king granted this manor to Ralph Fane, esq. who as quickly afterwards parted with it to Sir Thomas Wyatt, who in the 33d year of that reign passed it away to the king, in exchange for other estates, pursuant to an act passed for that purpose the year before.
This manor thus coming into the king's hands, he granted in his 38th year, to Christopher Sampson, esq. to hold in capite by knight's service, who in the 5th year of king Edward VI. alienated it to Thomas Reader, of Bredgar, yeoman, and he having levied a fine of it in the 16th year of queen Elizabeth, afterwards sold it to William Terrey, who in the reign of king James I. partly by sale, and partly on account of alliance, settled it on Mr. William Aldersey, descended from an antient family of that name settled at Aldersey, in Cheshire, who bore for their arms, Gules, on a bend, argent, three leopards heads, vert, between two cinquefoils, or; in chief, a crescent, within a crescent, for disference. (fn. 2) He married Thomasine, daughter of Mr. Roger Terrey, and their descendants continued to reside here, till at length Hugh Aldersey, esq. dying in 1762, s. p. his heirs-at-law alienated it about the year 1767, to John Toke, esq. late of Goddington, in Great Chart, but now of Canterbury, who continues at this time the owner of it.
MANNS is an estate in this parish, which was formerly accounted a manor, and took its name from a family who were possessors of it; one of whom, John Mann, died possessed of it in the 50th year of Edward III. when it was found by inquisition, that he held it of the king, in capite, by knight's service, and that Joane was his daughter and next heir. How it passed afterwards I have not found; but the next that I find it in the possession of, is the family, of Isley, one of whom, Thomas Isley, possessor of this manor, left five daughters and coheirs, viz. Mary, married to Francis Spelman; Frances, to William Boys, esq. Elizabeth, to Anthony Mason, esq. Anne, to George Delves, esq. and Jane, to Francis Haute, esq. After which, Francis Spelman, and Mary his wife, in 1583, alienated their fifth part to Robert and Thomas Whytfield, and their heirs male.
In the reign of king James I. William Hales, esq. of Nackington, was possessed of the principal messuage called Manns, with the lands belonging to it, and in 1640, together with his son William Hales the younger, passed it away by sale to Tho. Godfrey the younger, of Lid, esq. who seems to have parted with it to Clarke, whose family was possessed of lands here some time before this, for Humphry Clarke, alias Woodchurch, of Bredgar, esq. grandson of Humphry Clarke, of Kingsnoth, resided here in the reign of king James I. and dying in 1608, was buried in the north isle of this church, bearing for his arms, Paly, wavy of six pieces, ermine, and gules. (fn. 3) He alienated it to Reader, who bore for his arms, Three crescents, on a canton, a lion's head erased, all within a bordure, ermine, in whose descendants it continued down to Mr. John Reader, who died possessed of it, and his heir-at-law alienated it to Mr. James Chapman, gent. of Milton, the youngest son of Edward Chapman, esq. of Molash, and his grandson James Chapman, esq. is the present possessor of it.
In the 16th year of king Richard II. Robert de Bradgare, rector of this church, John Burbache, clerk, and others, founded, with the king's licence, A CHANTRY or SMALL COLLEGE in this church of Bredgar, in honor of the Holy Trinity, which consisted of a chaplain or secular priest, in holy orders, and two scholar clerks or confreers, who were to govern it, and celebrate divine officers, continually there in future, excepting at those times when the scholars should be employed in their studies: and they endowed it with different houses, rents, and lands, in this and the adjoining parishes, to hold to them and their successors for ever; and in 1398 the above-mentioned Robert de Bradagare, with the consent of archbishop Arundel, who then confirmed this foundation, gave them, under his seal, rules and statutes, for the better government of it. At which time there appears to have been a building already erected, called the college, for them to reside in, almost adjoining to the church of Bredgar.
In which situation this chantry or hospital continued, till the reign of king Henry VIII. when it was surrendered up with all its possessions, into the king's hands. Soon after which the scite of it, by the name of the chantry house of Bredgar, with sundry premises belonging to it, in Bredgar, Borden, and Bicknor, was granted by the king to George Harpur, esq. who afterwards, in the 33d year of that reign, exchanged it with the king for other estates in this and other counties. After which it seems to have remained in the hands of the crown, till queen Elizabeth, in her third year, having taken into her hands several manors, lands, &c. parcel of the see of Canterbury, by her letters patent that year, granted to archbishop Parker, and his successors, several rectories, parsonages, and other premises, in lieu of them, among which was this dissolved college of Bredgar, then valued at 13l. 6s. 8d. Since which it has continued parcel of the possessions of the archbishopric, and remains so at this time. The tenths payable to the crown receiver from this dissolved chantry are 1l. 17s. 7¾d.
William Sherman, esq. was lessee in 1643, at the yearly rent of 13l. 6s. 8d. Edward Jeffrey is the present lessee, he new fronted and much improved the chantry-house, in which he resides.
Charities.
THREE TENEMENTS and sixty-five perches of land, at the Bush, in Silver-street, in Bredgar, let to the overseers at 20s. per annum. was given for the repair of the church. One acre and an half of land in Hinkins crost, let at 12s. was given for the like purpose. A small piece of land, called the Playstool, let at 2s. 6d. per annum, was given for the like purpose.
AN ANNUITY of 10s. per annum was given for the use of the poor, to be paid out of a field called Whitebread, at Deanshill, which now belongs to Messrs, Thomas and William May.
AN ANNUITY of 20s. was given by Mr. Humphry Clarks, for the use of the poor, payable out of a house in Bredgarstreet, belonging now to the heirs of Edward Chapman, gent.
WILLIAM TERRY, gent. by deed anno 17 James I. granted to Francis Clarke, and others, 31. per annum out of a house called Black-end, and an orchard belonging to it, and a piece of land called Mascalls, all in Bredgar-street, in trust, to be distributed among the poor inhabitants.
MR. THATCHER, citizen of London, in 1718 gave by deed 100l. which with that of 30l. added to it by the parishioners, was laid out in lands at Torry-hill, containing twenty-eight acres, lying in Milsted and Lenham, which were purchased in trust, for the minister and churchwardens to pay from thence 5l. per annum, for a master or mistress to reach eight poor children of this parish to read, and to instruct them in the church catechism; the overplus to be distributed to the poor of the parish. The children to be appointed by the minister; now of the annual produce of 6l. 10s. 4d.
The poor relieved constantly are about twenty-five; casually forty.
BREDGAR is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Sittingborne.
The church is dedicated to St. John Baptist. It consists of three isles and one chancel, and has a square beacon tower at the west end, in which hang five bells. On the west side of the tower there is a fine Saxon door-case, with zig-zag ornaments; on the capitals of the pillars are carved two heads of a very ludicrous from. By the injudicious digging of a vault for Mrs. Murton of this parish, in 1791, two of the columns gave way, and the main arch between the body and chancel came down, but this damage has been since repaired.
In this church there are several memorials for the Tongs, and Fearnes of Bexon, particularly of John Fearne, obt. 1713; of the Readers, as late as 1705. In the north isle a monument for Humphry Clarke, alias Woodchurch, esq. obt. 1608. Memorials of the Alderseys, of Swanton, particularly of Hugh Aldersey, obt. 1762, and Mary Thurston his wife. In the church yard, at the east end of it, are several tomb-stones of the Beales and Thurstons. There is a very antient tomb-stone near the south porch, on which was once a portrait in brass, on the east end of the stone there is carved a cross in relief.
King Henry III. gave this church in pure and perpetual alms, to the leprous women of the hospital of St. James, alias St. Jacob, at the end of Wincheap, near Canterbury, so that Mr. Firman, then master of it, should enjoy it for his life, but there was no vicarage endowed in it till archbishop Courtney, in the 15th year of king Richard II. endowed one in it.
After which this church appropriate, as well as the advowson, continued part of the possessions of the hospital, till the surrendry of it in 1551, anno 5 king Edward VI. at which time there appeared to be a manor called
FILCHER, alias FILTER, belonging to the rectory of Bredgar appropriate; all which, together with the advowson, seem to have remained in the hands of the hands of the crown, till queen Elizabeth granted them to Thomas Reader, who possessed them in 1578. He afterwards sold them to Mr. William Terrey, who in the reign of king James I. passed them away to his kinsman, William Aldersey, of Swanton-court, in whose descendants they continued till Hugh Aldersey, esq. of Bredgar, about the beginning of George II.'s reign, alienated them to Mr. John Tappenden, whose son, of the same name, sold them to Sir Edward Dering, bart. of Surrenden, whose son Sir Edward Dering, bart. is the present owner of this manor and rectory, with the advowson of the vicarage of the church of Bredgar.
In 1578, the communicants here were one hundred and fifty-five. Houses in this parish fifty. In the reign of queen Anne, the vicarage was worth thirty pounds per annum.
It is now a discharged living in the king's books, of the clear yearly certified valued of thirty-six pounds, the yearly tenths of which are eighteen shillings.
¶John atte-Vyse, one of the founders of the college, in 1398, ordained, that each year in future for ever, after his death, on the feast of the Holy Cross, there should be paid to the vicar of Bradgare, for the oblations of that day, six-pence; to the keeper to the goods of the church here, six-pence; to the parishclerk and sacrist, four-pence, and 5s. 4d. to the poor parishioners of Bredgar.
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
With all coaches coupled up, H2 departs. IMHO this purple colour scheme was the worst that H2 ever wore, the blue being only marginally better, mind. Sadly with money tight I have no doubt that it was better to have H2 operational in purple (Cadbury sponsorship & support at Claremont) than not running at all. Who knows when she may run again? I hope that she will see service on the Derwent Valley Line in future. Check out www.dvr.org.au/ to see how you can help her and other heritage trains get back on the rails.
{These photographs show some of th e kundalini meditation spiritual treatments we have done
— at Vishwaprani Spiritual Healing Center,No139 Alakeshwara Rd,Ethul kotte,kotte, sri lnka.}
Vishwa Prani Foundation is formed by group of erudite scholars who have strong will power, selfdiscipline and meditation practices. This organization started with the objective to heal the human mind & body, without giving meditation when they suffer from ailments.
These photographs show some of the spiritual treatments we have done. We have been treating thousands of helpless patients for nearby one year. The patients we treat are the ones who had been receiving treatments from doctors for a long period. But they were not been cured and the cause of sickness was not diagnosed.
The Types of Patients We Treat
1. E.N.T. Patients
2. Patients who suffer from bone diseases.
3. Cancer Patients
4. Brain and Neurotic disorders
5. Mental disorders
6. Depression
7. Eye problems
8. Disorders in the digesting system in the stomach
9. Mental and physical harm caused by dead spirits to the living persons ( Specially fear and mental imbalance)
These treatments are being done on two principles.
1. Human Energy helps to up-root the bacteria which causes the disease.
We use Buddhist Meditation methods and the Kundalini Yoga Meditation to enhance the healing power.
We use our mental energy so that the divine eye will activate and guide us to identify the energy rays parallel against the human body. Then we extract the roots of the diseases.
2. Cosmic Rays are being sent to human energy.
The Pranic healing power of the universal will be sent to weaker human bodies through high level mental energy. This process will help the patients to calm down (Soothing feeling) from their suffering.
Sometimes we may have to use the assistance of the high spiritual beings who live in the good realms like celestial beings to heal aggrieved patients. We invite the celestial beings to invoke them with cosmic power. Mostly we invoke the blessings of Maithreeya Bodhisathwa.
Also we communicate with the spirits who trouble their relations and make them pain and suffering. We come to know what they want from their relations and we help them to release from their bad (low) status and send them away through our high mental energy.
We do not treat all the patients who come to us. We examine the present life and previous births of that person, and reason for his or her suffocation. The bad karma that accumulated in a person of previous births and the present life may have caused his or her disease or illness. So we advise to get rid of all bad things (habits) he does, and do good merits to cut off his past karma.
Then only we start treatments. We do this service free of charge. Once a week we carryout this great service at my residence, under the name of “ Vishwa Prani Healing Centre “ My family members and my friends assist me in this voluntarily. We hope to propagate this noble service worldwide in future.
We invite all, with great respect to join hands with us to expand this noble service to all suffering human beings and treat them physically and spiritually by spreading our loving kindness throughout the universe.
• Let all be blessed by Wisdom of universal compassion.
• May all beings on earth be healed.
• May all beings on earth be cured.
• May all beings on earth overcome sansara
• May all being on earth attain nibbana.
KASUN THISARA NAGODAVITHANA
Spiritual Healer
Vishwaprani Foundation In srilanka
ktnagodavithana@yahoo.com
WO Megrez 90, WO MkIII reducer, SXVF-H16
L: 20x450s
R,G,B: 16x120s 2x2 bin
The binned colour was hard work - I intend to use unbinned in future
Emil Nolde (1867-1956), Noche de Luna/Mondnacht/Moonlit Night, 1914 (Albertina - Sammlung Batliner)
Weary of the metropolis, Nolde joined a scientific expedition to the South Seas in 1913, which inspired him to compose several impressive landscapes. During the crossing to Papua New Guinea he noted down: "Hoisting anchor, we headed once more for the vast, silent ocean, for the infinitely wide sea, which can be so furiously wild and then, for months, so uncannily still, so oppressively still..." Such impressions captivated his senses and gave him the feeling to experience the "world in its original state". In autumn 1914, after hin return to the island of Alsen in the Baltic Sea, his memories motivated him to paint such paintings as Moonlit Night. The magically gloomy evocation of silence has been achieved by a clearly structured organisation of the composition and a two-dimensional manner of painting on the one hand and by a peculiarly restrained use of colour entirely based on the accord of ultramarine and pale yellow on the other.
Großstadtmüde nimmt Nolde 1913 an einer wissenschaftlichen Expedition in die Südsee teil, die ihn zu beeindruckenden Seelandschaften inspiriert. Während der Überfahrt nach Neuguinea notiert er: "Als wir den Anker lichteten, ging es nochmals in den großen stillen Ozean hinaus, in das unendlich weit Meer, das so rasend wild sein kann und auch monatelang so unheimlich still, so erdrückend still..." Eindrücke wie diese fesseln seine Sinne und lassen ihn die "Welt im Urzustand" empfinden. Im Herbst 1914, nach seiner Rückkehr auf die Ostsee-Insel Alsen, regen sie ihn zu Gemälden wie der Mondnacht an. Die magisch düstere Evokation von Stille wird einerseits durch den klaren Bildaufbau und eine flächige Malweise und andererseits durch eine eigenartig verhaltene Farbgebung erreicht, die ganz auf dem Zusammenklang von Ultramarinblau und Blassgelb beruht.
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
Marriages are one of the most celebrated events in ones life. The most important even in a Hindu marriage is the point of tying the nuptial knot. The bride, bride groom and their children in future can only witness through a recorded photograph/ video. People express in different ways at the point of tying the thaali. I love this shot for the expression on the brides face. Many wedding photographers esp. in TN ask the bride and groom to pose for a moment and kill their divine expression besides killing a lovely photograph.
Have a look a the expressions here.. Its that moment captured... A second less, a second more, things would have been different... An Appeal to all wedding photographers: "Capture the expressions"
View it in Large Size
Camera: Canon EOS 5 (film camera)
Lens: EF 28 mm -135 mm IS
Film : Kodak Gold (400 ISO)
Light : Strobe bounced from ceil + ambient light
Kota is in the Hadoti region of Rajasthan. It is located on the south-eastern side of the state. The Chambal river flows through the town, because of which the place is unlike the arid climate prevalent in the state.
HISTORY
The history of the city dates back to the 12th century A.D. when the Hada Chieftain, Rao Deva, conquered the territory and founded Bundi and Hadoti. Later, in the early 17th century AD during the reign of the Mughal Emperor Jahangir, the ruler of Bundi -Rao Ratan Singh, gave the smaller principality of Kota to his son, Madho Singh. Since then Kota became a hallmark of the Rajput gallantry and culture. The south eastern region of Rajasthan known as Hadoti comprises of Bundi, Baran, Jhalawar and Kota is a treasure of history dating back to several centuries. Prehistoric caves, paintings, formidable forts and the mighty chambal river hurtling from the Vindhyas are dotted in the region. When Jait Singh of Bundi defeated the Bhil Chieftain Koteya in a battle, he raised the first battlement or the 'Garh'(fort) over his severead head. The Independant state of Kota became a reality in 1631 when Rao Madho Singh, the second son of Rao Ratan of Bundi was made the ruler, by the Mughal Emperor Shah Jahan. Soon Kota outgrew its parent state to become bigger in area, richer in revenue and more powerful. Maharao Bhim Singh played a pivotal role in Kota's history, having held a 'Mansab' of five thousand and being the first in his dynasty to have the title of Maharao.
Kota is situated on the banks of chambal river and is fastly emerging as an important industrial centre. It boasts of Asia's largest fertilizer plant (CFCL), precision instrument unit and atomic power station nearby. Surprisingly unexplored, the Kota region of Rajasthan has some splendid treasures for the tourist to take home memories of. Its impregnable fortresses, sprawling palaces, exquisitely wrought palaces and lovely waterways act as a magnificent foil to its exotic wildlife and delicate fresco Paintings.
Situated on the banks of the Chambal River,at an important juncture of the trade route between Delhi and Gujrat, Kota is Rajasthan's third Largest City with Polulation of 1,001,365. This Bustling, sprawling city is also called the industrial capital of the state. The tentacles of the modern world have the city in its grip with the Chambal Valley Project giving it a major position on the state's industrial map. Chemicals, fertilizers, synthetic fibres, tyrecord and sophisticated instruments, industry's mainstay, have helped in pushing this ancient city into the forefront of modernisation. Yet memories of its ancient links linger strongly. Present Day Kota owes its foundations to a Kotya Bhil warrior who 800 years ago built a small fortification at akelgarh and put up a protective mud-wall around it all the way to Retwali. In 1580, Rao Madho Singh strenghtened both the fortification and the wall. In time to come, Kota acquired the Hallmark of rajput power as well as culture.
CLIMATE
Kota has a mix of hot and pleasant climate. Summers start from March and last till June. The season is very hot with maximum temperature is between 32 °C to 45 °C. it is better to avoid the city at this time of the year. From July to September is the monsoon season. The city gets adequate rain during this season. The season is humid and temperate. Winters prevails from October to February. The season is very cool and the temperature ranges between 8 to 31 degrees Celsius. It is the best season to visit Kota.
SEE
- Garh Palace (in city) - This palace has one of the biggest fort complexes in the State of Rajasthan. City Fort Palace in Kota has rugged bastion and ramparts, which is adorned with delicate domes as well as balustrades. The Hathi Pol is this fort's beautiful entrance.
- Jag Mandir - Right in the center of the artificial Kishore Sagar tank stands the beautiful red sandstone monument, Jagmandir. Great architecture and location amidst waterplace which looks nice. The new 7 wonders park makes the visit more beautiful and amazing. The lighting at park and the concept adds beauty. Tank had a floating fountain screen with plays on Musical theme.
- Kota Barrage - A dam as part of the irrigation canal system on the river Chambal, this is a popular spot especially when the flood gates are let open to allow extra water to flow off.
- Maharao Madho SIngh Museum - Named after Kota's first ruler, the museum has a spell-binding collection of miniature paintings, armory and sculptures. The fresco paintings inside are fine and worthy to be visited. It remains closed on Fridays.
- Chambal Garden - This garden stretches along the banks of the river Chambal upsream of Kota Baraj. It houses a pond with rare gharial and crocodiles, which can be crossed via a teetering suspension bridge. It also has enclosures for birds, rabbits and such. Vast area has been covered to make it nice place for Picnic/family/friendship gathering etc. People can enjoy by playing some group games etc. Right next to it is the unique Yatayat(traffic) park. It is a theme park; with miniature flyovers, speedbreakers, tunnels, buildings and such all used to showcase traffic rules.
- Seven Wonder Park - This park houses the famous wonders of the world in miniature form. Situated in Ballabhbari, bordering Sarovar, Seven Wonders of the world are being raised in a single park in Kota. A single visit to this park will give you a glimpse of the Seven Wonders of the world at one place. Replicas of Seven Wonder in Kota (Rajasthan)1. Taj Mahal. 2. Great Pyramid of Giza 3. Brazil's Christ the Redeemer. 4. Eiffel Tower of Paris. 5. Leaning Tower of Pisa 6. New York's Statue of Liberty 7. Rome's Colosseum.
- Khade Ganesh Ji Temple - Its ganesh temple situated in the south part of the city. The thing make this place famous is that this sort of temple where GANESH is standing is nowhere else in India. you can also visit Rangbadi Balaji temple on the way.
- City Mall - Situated on Jhalawar Road (NH-12), It has many showrooms such as BIBA, Fahrenheit, Gini & Jonny, Lee, Levi's, Monte carlo, Pepe Jeans, Tantra, US Polo & Benetton. It had food court, Mc Donalds, Cafe Coffee Day, Baskin-Robbins, etc. for refreshment. It also had Fun Cinema (Zee Group) for entertainment.
- Karneshawar Temple - A Shiv Temple, situated on Jhalawar Road (NH-12).
- Godawari Dham - It is a Hanuman temple at few km from Chambal garden.
- Aalnia Dam (25 km) Beautiful rock paintings adorn the bank of the River Alaniya.
- Mukundara Tiger Reserve (40 Km) - Tigers will be relocated from Ranthambore reserve so as to provide optimum space to the big cats in future. It had a core area of 417 sq km and a buffer zone covering 342.82 sq km.
- Sawan Phuhar Waterpark - Being Hadoti's only waterpark ,this place is a good attraction for people from all age groups.Besides Housing 5 fibreglass sides ,a water playground & the city's Biggest Pool it also has a Fastfood bistro named 'RIPPLES
- Haryali Resort cum Restaurant - Its a resort with a Rajasthani setting.Being Kota's first Resort,it offers a diverse range of cuisines. Its Sizzlers are the best!!
- Garadia Mahadev Temple - One can see the Grand View of River Chambal. Situated on Dabi Road (NH-76) this site has an view of little wild. It had great scenic beauty . This site looks great in Monsoon . A good Picnic Spot.
- Kansua Temple - This is one of the most beautiful and oldest temple of Kota. Even Archeological Department has endorsed this site. It also had a small Pond. The temple of Lord Shiva is said to be build by Pandavas during their exile. Gardens are well maintained and the inner area of the temple is very well maintained.
- Mathuradheesh Mandir - This is one of the oldest Temple of Lord Krishna, know as Mathradish ji. Situated at Nandgram near Patanpole . This temple has same significance as Shriath Ji (Nathdwara).
Pierluigi Praturlon - Das süße Leben/La dolce vita/The Sweet Life, 1959 (Regie/Director: Federico Fellini, IT/FR, 1960), Privatsammlung
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
Kota is in the Hadoti region of Rajasthan. It is located on the south-eastern side of the state. The Chambal river flows through the town, because of which the place is unlike the arid climate prevalent in the state.
HISTORY
The history of the city dates back to the 12th century A.D. when the Hada Chieftain, Rao Deva, conquered the territory and founded Bundi and Hadoti. Later, in the early 17th century AD during the reign of the Mughal Emperor Jahangir, the ruler of Bundi -Rao Ratan Singh, gave the smaller principality of Kota to his son, Madho Singh. Since then Kota became a hallmark of the Rajput gallantry and culture. The south eastern region of Rajasthan known as Hadoti comprises of Bundi, Baran, Jhalawar and Kota is a treasure of history dating back to several centuries. Prehistoric caves, paintings, formidable forts and the mighty chambal river hurtling from the Vindhyas are dotted in the region. When Jait Singh of Bundi defeated the Bhil Chieftain Koteya in a battle, he raised the first battlement or the 'Garh'(fort) over his severead head. The Independant state of Kota became a reality in 1631 when Rao Madho Singh, the second son of Rao Ratan of Bundi was made the ruler, by the Mughal Emperor Shah Jahan. Soon Kota outgrew its parent state to become bigger in area, richer in revenue and more powerful. Maharao Bhim Singh played a pivotal role in Kota's history, having held a 'Mansab' of five thousand and being the first in his dynasty to have the title of Maharao.
Kota is situated on the banks of chambal river and is fastly emerging as an important industrial centre. It boasts of Asia's largest fertilizer plant (CFCL), precision instrument unit and atomic power station nearby. Surprisingly unexplored, the Kota region of Rajasthan has some splendid treasures for the tourist to take home memories of. Its impregnable fortresses, sprawling palaces, exquisitely wrought palaces and lovely waterways act as a magnificent foil to its exotic wildlife and delicate fresco Paintings.
Situated on the banks of the Chambal River,at an important juncture of the trade route between Delhi and Gujrat, Kota is Rajasthan's third Largest City with Polulation of 1,001,365. This Bustling, sprawling city is also called the industrial capital of the state. The tentacles of the modern world have the city in its grip with the Chambal Valley Project giving it a major position on the state's industrial map. Chemicals, fertilizers, synthetic fibres, tyrecord and sophisticated instruments, industry's mainstay, have helped in pushing this ancient city into the forefront of modernisation. Yet memories of its ancient links linger strongly. Present Day Kota owes its foundations to a Kotya Bhil warrior who 800 years ago built a small fortification at akelgarh and put up a protective mud-wall around it all the way to Retwali. In 1580, Rao Madho Singh strenghtened both the fortification and the wall. In time to come, Kota acquired the Hallmark of rajput power as well as culture.
CLIMATE
Kota has a mix of hot and pleasant climate. Summers start from March and last till June. The season is very hot with maximum temperature is between 32 °C to 45 °C. it is better to avoid the city at this time of the year. From July to September is the monsoon season. The city gets adequate rain during this season. The season is humid and temperate. Winters prevails from October to February. The season is very cool and the temperature ranges between 8 to 31 degrees Celsius. It is the best season to visit Kota.
SEE
- Garh Palace (in city) - This palace has one of the biggest fort complexes in the State of Rajasthan. City Fort Palace in Kota has rugged bastion and ramparts, which is adorned with delicate domes as well as balustrades. The Hathi Pol is this fort's beautiful entrance.
- Jag Mandir - Right in the center of the artificial Kishore Sagar tank stands the beautiful red sandstone monument, Jagmandir. Great architecture and location amidst waterplace which looks nice. The new 7 wonders park makes the visit more beautiful and amazing. The lighting at park and the concept adds beauty. Tank had a floating fountain screen with plays on Musical theme.
- Kota Barrage - A dam as part of the irrigation canal system on the river Chambal, this is a popular spot especially when the flood gates are let open to allow extra water to flow off.
- Maharao Madho SIngh Museum - Named after Kota's first ruler, the museum has a spell-binding collection of miniature paintings, armory and sculptures. The fresco paintings inside are fine and worthy to be visited. It remains closed on Fridays.
- Chambal Garden - This garden stretches along the banks of the river Chambal upsream of Kota Baraj. It houses a pond with rare gharial and crocodiles, which can be crossed via a teetering suspension bridge. It also has enclosures for birds, rabbits and such. Vast area has been covered to make it nice place for Picnic/family/friendship gathering etc. People can enjoy by playing some group games etc. Right next to it is the unique Yatayat(traffic) park. It is a theme park; with miniature flyovers, speedbreakers, tunnels, buildings and such all used to showcase traffic rules.
- Seven Wonder Park - This park houses the famous wonders of the world in miniature form. Situated in Ballabhbari, bordering Sarovar, Seven Wonders of the world are being raised in a single park in Kota. A single visit to this park will give you a glimpse of the Seven Wonders of the world at one place. Replicas of Seven Wonder in Kota (Rajasthan)1. Taj Mahal. 2. Great Pyramid of Giza 3. Brazil's Christ the Redeemer. 4. Eiffel Tower of Paris. 5. Leaning Tower of Pisa 6. New York's Statue of Liberty 7. Rome's Colosseum.
- Khade Ganesh Ji Temple - Its ganesh temple situated in the south part of the city. The thing make this place famous is that this sort of temple where GANESH is standing is nowhere else in India. you can also visit Rangbadi Balaji temple on the way.
- City Mall - Situated on Jhalawar Road (NH-12), It has many showrooms such as BIBA, Fahrenheit, Gini & Jonny, Lee, Levi's, Monte carlo, Pepe Jeans, Tantra, US Polo & Benetton. It had food court, Mc Donalds, Cafe Coffee Day, Baskin-Robbins, etc. for refreshment. It also had Fun Cinema (Zee Group) for entertainment.
- Karneshawar Temple - A Shiv Temple, situated on Jhalawar Road (NH-12).
- Godawari Dham - It is a Hanuman temple at few km from Chambal garden.
- Aalnia Dam (25 km) Beautiful rock paintings adorn the bank of the River Alaniya.
- Mukundara Tiger Reserve (40 Km) - Tigers will be relocated from Ranthambore reserve so as to provide optimum space to the big cats in future. It had a core area of 417 sq km and a buffer zone covering 342.82 sq km.
- Sawan Phuhar Waterpark - Being Hadoti's only waterpark ,this place is a good attraction for people from all age groups.Besides Housing 5 fibreglass sides ,a water playground & the city's Biggest Pool it also has a Fastfood bistro named 'RIPPLES
- Haryali Resort cum Restaurant - Its a resort with a Rajasthani setting.Being Kota's first Resort,it offers a diverse range of cuisines. Its Sizzlers are the best!!
- Garadia Mahadev Temple - One can see the Grand View of River Chambal. Situated on Dabi Road (NH-76) this site has an view of little wild. It had great scenic beauty . This site looks great in Monsoon . A good Picnic Spot.
- Kansua Temple - This is one of the most beautiful and oldest temple of Kota. Even Archeological Department has endorsed this site. It also had a small Pond. The temple of Lord Shiva is said to be build by Pandavas during their exile. Gardens are well maintained and the inner area of the temple is very well maintained.
- Mathuradheesh Mandir - This is one of the oldest Temple of Lord Krishna, know as Mathradish ji. Situated at Nandgram near Patanpole . This temple has same significance as Shriath Ji (Nathdwara).
Swanage is a coastal town and civil parish in the south east of Dorset, England. It is situated at the eastern end of the Isle of Purbeck, about 10 km south of Poole and 40 km east of Dorchester. The parish has a population of 10,124 (2001). Nearby are Ballard Down and Old Harry Rocks, with Studland Bay and Poole Harbour to the north. Within the parish are Durlston Bay and Durlston Country Park to the south of the town. The parish also includes the areas of Herston, just to the west of the town, and Durlston, just to the south. During the peak summer season many people are drawn by the town's beautiful setting, the beach and other attractions. The town has many hotels and guest rooms though the number ( particularly of hotels ) has reduced slightly in recent years. Besides the beach, there are other local attractions including the restored Swanage steam railway and the Victorian pier. The town may also be used a base from which to visit other nearby areas of interest, such as Corfe Castle. Swanage's Victorian pier is over 100 years old and is one of two built, although it is the only one that survives complete today. The pier extends into the southern end of Swanage Bay near Swanage. The original Swanage Pier was built between 1859 and 1861 for use primarily by the local stone quarrying industry, and included a tramway which ran the length of the pier and some way along the seafront. The old tracks can be seen to this day, inset into the seafront walkways.
The town, originally a small port and fishing village flourished in the Victorian era, when it first became a significant quarrying port and later a seaside resort for the rich of the day. Today the town remains a popular tourist resort, this being the town's primary industry, with many thousands of visitors coming to the town during the peak summer season, drawn by the bay's sandy beaches and other attractions. During its history the bay was listed variously as Swanawic, Swanwich, Sandwich, and only in more recent history as Swanage.
The Jurassic Coast World Heritage Site ~ this wonderful coast line which stretches from Orcombe Point in East Devon to The Old Harry Rocks near Swanage, is a beautiful part of this area. Swanage Tourist Information Centre (T.I.C.) is an excellent point of reference for all visitors to the area and our friendly staff will be delighted to help you plan your holiday and find out more about the area. By carefully assessing your requirements and interests the staff will ensure you have the very best information to make your holiday a real success.
While fishing is likely the town's oldest industry, quarrying has been important to the town and the local area since at least the 1st century AD. During the time of the Roman occupation this industry grew, with the distinctive Purbeck marble being used for decorative purposes in buildings as far away as London. When the Romans left Britain, quarrying largely ceased until the 12th century. The town is first mentioned in historical texts in the Anglo-Saxon Chronicle of 877 AD. It is stated as being the scene of a great naval victory by King Alfred over the Danes: ~ This year came the Danish army into Exeter from Wareham; while the navy sailed west about, until they met with a great mist at sea, and there perished 120 ships at Swanwich. A hundred Danish ships which had survived the battle, were driven by a storm onto Peveril Point, a shallow rocky reef outcropping from the southern end of Swanage bay. In the 12th century demand for Purbeck Marble grew once again. While Purbeck marble is not suited to external use, as it does not weather well, it is however strong and suitably decorative for use as internal columns. As such the stone was used in the construction of many large churches and cathedrals being built as the time.
In contrast to the decorative Purbeck marble, Purbeck limestone, or more commonly 'Purbeck stone', has been used in construction locally since the early days of quarrying in Purbeck. Its use is less well documented as it was taken for granted as the default construction materials in the area. However, the arrival of more modern quarrying techniques in the 17th century resulted in an increase in production. The Great Fire of London in 1666 led to a period of large scale reconstruction in the city, and Purbeck stone was extensively used for paving. It was in this time that stone first started being loaded on ships directly from the Swanage seafront; before this time quarried stone had been first transported to Poole for shipping. The idea that Swanage could become a tourist destination was first encouraged by a local MP William Morton Pitt in the early 19th century, who converted a mansion in the town into a luxury hotel. The hotel is noted for having been visited in 1833 by the ( then ) Princess Victoria, later to become queen. The building was later renamed the Royal Victoria Hotel, now the building has been converted into flats and a bar and nightclub in the left and right wings respectively.
The main bus services are provided by Wilts & Dorset. Numbers 40 and 44 which run between Swanage and Poole, and the number 50 which runs between Swanage and Bournemouth via the chain ferry between Studland and Sandbanks. Double-deck open top buses are used on the Poole/Bournemouth to Swanage routes in the summer months. The buses on these routes are branded as Purbeck Breezers. Swanage has a heritage restored steam railway which operates for most of the year, though at the moment this only goes as far as Norden. Recent developments on the railway have seen the physical connection between the Swanage Railway and the mainline restored. The first passenger service in more than 40 years from London Victoria and returning to London Waterloo took place on 1 April 2009. It is hoped that regular passenger services connecting to the mainline will begin in the future. Limited ferry services also run between Poole Quay and Swanage Pier. These are used by Swanage residents for shopping trips to Poole's large shopping centre, and also by tourists in Poole for day trips into Swanage. The nearest mainline railway station to Swanage is Wareham, where connections can be made for South West Trains services westward to Dorchester South and Weymouth. Services also travel eastwards towards Poole, Bournemouth, Southampton Central and London Waterloo. Services to and from Weymouth and London Waterloo can be either fast or stopping services.
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
Thomas Ender (Wien 1793 - 1875 Wien)
Slaves at Work
Sklaven bei der Arbeit, 1817/18
Bleistift, Aquarell
Pencil, watercolour
Kupferstichkabinett der Akademie der bildenden Künste Wien
Gallery of prints of the Academy of Fine Arts Vienna
The Art of the Viennese Watercolor
Till 13. May 2018
Transparent lightness, brilliant colours, and a generally atmospheric impression are the special qualities of 19th-century Viennese watercolor painting. Virtuosic city views and landscapes, detail-rich portraits, genre paintings, and floral works comprise the rich motivic repertoire featured in this glorious blossoming of Austrian art.
The Viennese watercolor’s heyday was the Biedermeier era: Jakob Alt, Matthäus Loder, Thomas Ender, and Peter Fendi number among its most important artistic figures.
Likewise outstanding are the exquisite works by Rudolf von Alt from his over 70-year career. His masterful watercolours run from the Biedermeier era all the way to the rise of the Secession movement around 1900.
This exhibition presents a veritable parade of exceptionally beautiful pictures, including the ALBERTINA’s own treasures as well as important loan works, all of which pay impressive tribute to the high standing of the Viennese watercolor in the context of 19th century art.
www.albertina.at/en/exhibitions/viennese_watercolour/
On view from 16 February until 13 May 2018.
The Albertina
The architectural history of the Palais
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
<a href="http://www.wien-vienna.at/albertinabaugeschichte.php"
In spring of 2007, the Albertina also received the previously based in Salzburg "Batliner Collection" as unrestricted permanent loan. The collection of Rita and Herbert Batliner includes important works by modern masters, from French impressionism to German expressionism of the "Blue Rider" and the "bridge" to works of the Fauvist or the Russian avant-garde from Chagall to Malevich.
de.wikipedia.org / wiki / Albertina_ (Vienna)
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
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Everest trekking region, although fairly effortless compare to some of other trek, takes you high along trails to Tengboche monastery Everest Solu Khumbu is the district south and west of Mount Everest. It is inhabited by sherpa, cultural group that has achieve fame because of the develop of its men on climbing expeditions. Khumbu is the name of the northern half of this region above Namche, includes highest mountain (Mt. Everest 8848m.) in the world. Khumbu is in part of Sagarmatha National Park. This is a short trek but very scenic trek offers really superb view of the world's highest peaks, including Mt. Everest, Mt. Lhotse, Mt. Thamserku, Mt. Amadablam and other many snowy peaks. Fly from Kathmandu to Lukla it is in the Khumbu region and trek up to Namche Bazzar, Tyangboche and into the Khumjung village, a very nice settlement of Sherpas people. This trek introduction to Everest and Sherpa culture with great mountain views, a very popular destination for first time trekkers in Nepal. Justifiably well-known world uppermost mountain (8848m.) and also for its Sherpa villages and monasteries. Few days trek from Lukla on the highland, takes you to the entry to Sagarmatha National Park and town of Namche Bazaar is entrance of Everest Trek. Environment of the towering Himalayas is a very delicate eco-system that is effortlessly put out of balance.
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Everest Base Camp Trek well noon its spectacular mountain peaks and the devotion and openness of its inhabitants, the Everest region is one of the most popular destination for tourists in Nepal. While numerous of the routes through the mountains are difficult, there are plenty places to rest and enjoy a meal along the way. Additionally, don't worry about receiving lost. Just ask a local the way to the next village on your route, and they will direct you. Most Sherpas under the age of fifty can at least understand basic English, and many speak it fluently.
Annapurna Base Camp Trek is the major peaks of the western portion of the great Annapurna Himalaya, Annapurna South, Fang, Annapurna, Ganagapurna, Annapurna 3 and Machhapuchhare and including Annapurna first 8091 meters are arranged almost exactly in a circle about 10 miles in diameter with a deep glacier enclosed field at the center. From this glacier basin, known as the Annapurna base camp trek (Annapurna sanctuary trek), the Modi Khola way south in a narrow ravine fully 12 thousand ft. deep. Further south, the ravine opens up into a wide and fruitful valley, the domain of the Gurungs. The center and upper portions of Modi Khola offer some of the best short routes for trekking in Nepal and the valley is situated so that these treks can be easily joint with treks into the Kali Gandaki (Kali Gandaki is name of the river in Nepal) region to the west.
Upper Mustang Trekking name Make an escapade beginning from world deepest gorge Kaligandaki valley into world's highest area of Lo-Mangthang valley that passes through an almost tree-less barren landscape, a steep stony trail up and down hill and panorama views of high Annapurna Himalaya including Nilgiri, Annapurna, Dhaulagiri and numerous other peaks. The trek passes through high peaks, passes, glaciers, and alpine valleys. The thousands years of seclusion has kept the society, lifestyle and heritage remain unaffected for centuries and to this date.
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Kathmandu Pokhra Tour is an exclusive tour package specially designed for all level travelers. Kathmandu Pokhara tour package is effortless tour alternative for Nepal visitors. This tour package vacation the historically significant and ethnically rich capital (Kathmandu ) of Nepal and the most stunning city of world by the nature, Pokhara. Mountain museum and world peace stupa are another charming of Pokhara tour. Pokhara is the center of escapade tourism in Nepal. Package tour to Kathmandu Pokhara is design to discover highlighted areas of Kathmandu and Pokhara valley. Nepal is the country which is socially and geographically different that’s why we powerfully recommend you discover Nepal to visit once in life time. It is hard to explore all Nepal in one Nepal tours trip in this way we design this trip to show you the highlights of Nepal especially in Kathmandu and Pokhara.
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On cold, cloudy, windy days, its easy to think Spring is weeks, if not months away. But for those of us who know what and where to look, signs of Spring are all around. On day day of some churchcrawling I would see carpets of snowdrops, winter aconites among others, and trees, shrubs with buds ready to burst forth with new leaves. Birds are more vocal, and with other matters on their minds.
The start of the orchid season might be just six weeks away, last year the first Kentish orchid was seen in flower on March 19th, who knows what this season will bring, but in the woods and up on the downs, orchids are stirring, waking up, creating rosettes, and some thinking about putting forth spikes.
Its all about to happen.
So, I asked the two mods from the orchid group if they would like to meet up with a chat, and discuss trips for the new season. Last year we met near Ian's house on the banks of the Medway, this year it was near to Terry's, near Gravesend in Cobham. I chose Cobham as I wanted to revisit the church, the the local pub, one of the local puns, The Leather Bottle is opposite the church.
So that was the plan.
Jools wasn't going to come, as she wanted to work in the garden, so once the shopping was done and we had eaten breakfast, I would be off.
Tesco has empty shelves; washing up liquid seems to still be an issue, and there was a huge gap in the fresh meat section. Of course, it might be nothing.
Back home for breakfast and then time to go out. Of course I could have stayed and watched Norwich on the tellybox against Arsenal, but 90 minutes of shouting at the TV didn't sound like a good idea, so churches and a pub lunch it was! Norwich were playing top of the table, Burnley, and despite winning the last two games having scored 8 goals, lets just says I wasn't confident. Which was well placed, as Norwich defended like, well, Norwich, gifting Burnley two goals.
But of this I was unaware. For now.
An easy drive up the M20 to Maidstone, turning off at the services, but doubling back under the motorway into Hollingbourne. We had tried to get here before Christmas, but the only road through the villages was closed. In two places! Which the church in the middle. But back now, with no issues other than the 21st century traffic trying to get through the 17th century streets.
The church sits beside a small green, with a row of cottages to one side, I could see from the car the door of the porch open, so good news. I grabbed my camera and made my way through the lych gate and into the church, which I had to myself.
On the way to Cobham, I went via the M20 so I could call in at Hollingbourne to revisit the church, now that the roadworks seemed to be over.
I had the church to myself, which is always good.
All Saints is really the Cullpeper's mausoleum, it is fill with memorials and tombs to generations of them.
Until the line died out.
I can't remember why I didn't finish photographing it last time, but I knew I had to go back with the big lens, so did today, recording mostly the glass, but found much more too.
I snapped all the glass, some of which was very good, but others, not so.
And so onto the short drive up the A229 to the M2, across the Medway then up to Cobham, across the fields to the village, parking outside the village hall and once collecting my camera gear, a short walk to the church.
It too was open. And as wonderful as before. Having my big lens, I wanted to snap the 19 brass plates marking the tombs of the great family. This is the best collection of medieval brass plates not just in Kent, but in all of England. That and the tomb in the Chancel making this such a special church, with so much of interest. Not least the remains of a spiral staircase in the south east corner of the chancel which lead to a very unusual gallery, now long since gone.
I snap much, some of it redoing what I had recorded before, but most new, including the windows.
I walked out of the church and down to the pub, Terry pulled up beside me in his ancient Audi, greeting me warmly. Ian was waiting in the car park, so we went in, bagged a table and we all decided to have lunch.
I thought I would be good and have something light, like tapas, while they both had the suet pudding of the day(!): steak and ale, in which they chose well. The tapas was bland, sadly, especially the creamy chicken dish, but the pint of local best ale was very good indeed.
We talked of plans for the new year and of the group, and eat well when the food is brought. The suet puddings looked fabulous.
On the tellybox I saw Norwich were 1-0 down at half tie, and by the time I got to the car to drive back home, were 3-0 and falling apart.
I drove in silence.
3-0 was the final score, but we have a run of what should be winable games, while Burnley will cruise to promotion with few worries.
I go to see jen, but she has gone for a walk, so I got no answer at the door, so drive home where Jools was just finishing in the garden.
We have a brew and some chocolate while I listen to yet more football, and review the 535 shots of the two churches I had taken.
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There was considerable damage caused to this church in an earthquake of 1382. The medieval accounts survive so we know that 48s 2d was spent on the rebuilding. Little can have changed to the structure since that time, except for the construction of a north chapel in 1638. This chapel has a charming pattern of flint flushwork triangles in a horizontal course below the battlements. It contains one of the most interesting seventeenth-century monuments in Kent - to commemorate Lady Elizabeth Culpepper (d. 1638), carved and signed by the Court Sculptor Edward Marshall. The detail is amazing and the cord that connects her ring and wrist is always pointed out to visitors. The rest of the church was restored early in the career of George Gilbert Scott Jr in 1876 (see also Frinsted) and retains its patina of age unimaginable in a restoration by Scott Sr. The pulpit is early seventeenth century and dates from a few years after the much crocketed font cover. There are three signed monuments by Rysbrack and a tall crownpost roof of good construction in the nave.
www.kentchurches.info/church.asp?p=Hollingbourne
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HOLLINGBORNE.
THE next parish north-westward from Harrietsham is Hollingborne, called in Domesday, Hoilingeborde, and in later records, Holingburnan and Holingeburne. It probably took its name from the spring which rises in the vale underneath the hill, in this parish.
THE PARISH of Hollingborne is situated much the same as that of Harrietsham last described, close to the great ridge of chalk hills, at the foot of which is the village called Hollingborne-street, in which at the south end of it stands the church and vicarage, and near them a well-looking brick mansion, of the time of queen Elizabeth, which by its appearance must have had owners of good condition in former times, but what is remarkable the rector of Hollingborne claims some rooms in this house in right of his rectory at this time. The road through Newnhambottom from Ospringe and Canterbury passes through Hollingborne-street, and thence through Eyhorne, commonly called Iron-street, in this parish, where there are two good houses, one belonging to Robert Salmon, esq. who resides in it, and the other built not many years since by Mr. John Weeks, who died possessed of it in 1785. Hence the road leads on, and joins the Ashford high road through Bersted to Maidstone. The southern part of this parish consists mostly of a deep sand, the whole of it below the hill is well watered by some small streams, which running southward join the Lenham rivulet in its way to Maidstone. Nearer the street the soil becomes a chalk, which continues to the summit of the hill, at the edge of which stands Mr. Duppa's house, whence the remaining part of this parish northward, situated on high ground, and exposed to the cold bleak winds, is but a wild and dreary country, with thick hedgerows, and frequent coppices of wood, mostly of hazel and oak, and small unthriving trees of the latter dispersed among them; the soil a deep tillage land, wet and very poor, being a red cludgy earth, covered with quantities of flint stones. On Eyhorne green, or as it is commonly called Broad-street, in this parish, in October yearly, two constables are chosen, one for the upper, the other for the lower half hundred of Eyhorne, each of which district consists of the twelve adjoining parishes, the borsholders in which, and the several boroughs in them, except such as are chosen at the different court leets, are chosen here likewise.
This parish, with the manor of Elnothington in it, together with the rest of the hundred of Eyhorne, was antiently bound to contribute to the repair of the sixth pier of Rochester bridge.
ÆTHELSTAN ETHELING, son of Ethelred II. gave by his will in 1015, to Christ-church, in Canterbury, his lands at Hollingborne, with their appurtenances, excepting one plough-land, which he had given to Siserth. In the MSS. in Bennet college library, Cambridge, of the evidences of Christ-church, Canterbury, intitled Thorn, printed in Decim. Script. f. 2221, this gift is said to have been made in 980; a very improbable circumstance, the king, his elder brother, at that time being but fourteen years of age.
These lands he had bought of his father, and gave them, with his consent, to Christ-church, L. S. A. that is, free from all secular service, excepting the trinoda necessitas, in like manner as Adisham had been given to it.
The manor of Hollingborne remained part of the possessions of the church of Canterbury at the time of the conquest, when the revenues of it were enjoyed as one common estate by the archbishop and his convent; but archbishop Lanfranc, after the example of foreign churches, separating them, in the partition Hollingborne fell to the share of the monks, and was allotted for their subsistence, (or ad Cibum, as it was usually termed) and it is accordingly thus entered in the book of Domesday, under the general title of Terra Monachorum Archiepi, i. e. the land of the monks of the archbishop.
The archbishop himself holds Hoilingeborde. It was taxed at six sulings. The arable land is twenty-four carucates. In demesne there are two, and sixty-one villeins, with sixteen borderers, having twenty-three carucates. There is a church, twelve servants, and two mills, and eight acres of meadow. Wood for the pannage of forty hogs. In the whole, in the time of king Edward the Confessor, and afterwards, it was worth twenty pounds, and now it is worth thirty pounds. To this manor there adjoins half a suling, which never paid scot, this the bishop of Baieux rents of the archbishop.
At this time, the whole of the above premises seems to have been valued at thirty pounds.
King Henry II. granted to the monks of Christchurch a charter for their lands at Hollingborne upon the Hills. In the 10th year of king Edward II. the prior obtained a charter of free-warren for his manor of Hollingborne, among others; about which time it was, with its appurtenances, valued at 46l. 9s. 8d. King Henry VI. by his letters patent, in his 25th and 26th year, granted to the prior a market, to be held at this place weekly on a Wednesday, and a fair yearly on the feast of St. Anne. (fn. 1)
William Selling, who was elected prior in the next reign of king Edward IV. anno 1472, during the time of his holding that dignity, greatly improved the prior's apartments here. After which, it seems to have undergone no material alteration till the dissolution of the priory, which was surrendered into the hands of king Henry VIII. in the 31st year of his reign.
The manor of Hollingborne did not remain long in the hands of the crown; for the king settled it, by his dotation charter, in his 33d year, on his newerected dean and chapter of Canterbury, part of whose possessions it now remains.
There is a court-leet and court baron regularly held by the dean and chapter for this manor, which extends likewise into the adjoining parishes of Hucking, Bredhurst, and Harrietsham, the quit-rents of it called Beadle-rents, being about forty-two pounds per annum.
¶BUT THE DEMESNE LANDS of this manor have been from time to time leased out by the dean and chapter at a reserved rent of 10l. 9s. The year after the grant of it to them, they demised them by lease to I. Reynolde, as they did anno 19 Elizabeth to William Puresoy, in whose family they remained till the beginning of king James I.'s reign. After which the Fludds held them in lease, and continued so to do, till their interest in them was passed away to W. Alabaster, D. D. After which these premises were held in succession by Bargrave, Boys, Farewell, and Gookin, till the year 1684, when Sir Thomas Culpeper, had a lease of them, in whose family they continued till John Spencer Colepeper, of the Charterhouse, passed away his interest in them to the Hon. Robert Fairfax, who held them in 1758, and then alienated his lease to Francis Child, esq. banker in London, whose brother Robert Child, esq. of London, banker, dying in 1782, the trustees of his will, Robert Dent and John Keysel, esqrs. are now in the possession of his interest in the lease of these demesnes, under the dean and chapter, besides which the dean and chapter have several other lands and woods here leased out by them to different persons.
HOLLINGBORNE is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deaury of Sutton; and is exempt from the jurisdiction of the archdeacon.
The church, which is dedicated to All Saints, is a handsome building, consisting of three large isles, with a chancel at the end of the middle one, and a square tower at the west end. The chancel is much enriched with the monuments of the family of Culpeper, of Greenway-court, and for two of the lords Culpeper, one of them by Rysbrack; on the north side is one for Sir Martin Barnham and his two wives, in 1610, their three figures kneeling at a desk, and underneath their children. At the east end of the north isle there is a small neat chapel, raised up several steps to give room for a vault underneath, in which lie the remains of all this branch of the Culpeper family. The sides of the chapel are filled with black escutcheons, and square tablets of black marble alternately, only two of these among the numbers of them are filled up, and those with younger branches of the family settled elsewhere, a proof of the disappointment of the vain endeavours of the builder to transmit the memory of his descendants to posterity. On the middle of the pavement is a beautiful raised monument of white marble, and the figure of a lady, lying at full length, in the habit of the times, of exceeding good sculpture, in memory of Elizabeth, lady of Sir Thomas Culpeper, daughter of John Cheney, esq. of Sussex, obt. 1638. In the isle a monument for Nich. Chaloner, esq. obt. 1706. Against the north wall of the north isle for two of the family of Duppa, and at the lower end of the church, for the Plummers, Collins's and Dykes. In the middle isle a stone, on which have been the figures of a man and woman in brass, but two shields of arms remain, being quarterly, first and fourth, A chevron, engrailed on a chief, three sleurs de lis; second and third, Three fishes, wavy, sessways, in pale.
There is belonging to this church, a most superb altar-cloth, and a pulpit-cloth and cushion, of purple velvet, ornamented with different figures of fruits of pomegranets and grapes, wrought in gold, the needlework of the daughters of Sir John Colepeper, afterwards created lord Colepeper, who employed themselves for almost the space of twelve years in the working of them, during their father's absence abroad with king Charles II.
The communion plate is very handsome, and an swerable to the above-mentioned furniture, being mostly the gift of the family of Colepeper, and some of it of Baldwin Duppa, esq.
John Eweyn, by his will proved in 1527, gave a table of alabaster, to stand upon the altar of St. John the Baptist in this church; and money to the repair of St. John's chapel in it. John Aleff, parson of Hollingborne, as appears by his will in 1537, was buried in the way beside the porch-door, on the right hand, and that there was set in the wall, nigh his grave, a stone with a plate of sculpture, mentioning where and when he was buried. He had before been vicar of Little Chart, and of St. Laurence Wolton, as he was then of St. John's Sherburne, in Hampshire.
The church of Hollingborne, to which the chapels of Hucking and Bredhurst were antiently annexed, is a sinecure rectory, with a vicarage endowed. The rector of Hollingborne is at this time patron of the perpetual curacy of the chapel of Bredhurst. The archbishop is patron both of the rectory and of the vicarage of Hollingborne, the vicar of which is collated to this vicarage, with the chapel of Hucking annexed.
The vicarage was endowed before the year 1407, in which year Arthur Sentleger, the rector, granted to William Maunby, vicar of this church, a messuage, with its appurtenances in this parish, for the habitation of himself and his successors for ever. (fn. 5) In archbishop Chichele's register, at Lambeth, there is an unauthenticated writing of a composition, made about the year 1441, for it is without date, between William Lyeff, then rector here, and John Fsylde, vicar, upon the assignation of a proper portion for the endowment of this vicarage in future times.
The rectory of Hollingborne is valued in the king's books at 28l. 15s. 5d. and the tenths at 2l. 17s. 6 1/7d. The vicarage is valued in them at 7l. 6s. 8d. and the yearly tenths at 14s. 8d. The vicarage in 1640 was valued at eighty-six pounds, and the communicants were then 271. It is now of the yearly certified value of 70l. 16s. 8d.
The vicarage was augmented twenty pounds per annum, by lease between Ralph Staunton, rector, and Sir Thomas Culpeper, of this parish.
¶The name of Culpeper, or Colepeper, is so variously spelt in different deeds and records, that it is impossible to keep with any rule to either spelling; on all the monuments, and in the parish register, (excepting in two instances in the last) it is spelt Culpeper.
Posting shots of churches we have visited has shown me that my photography has improved now I don't use the ultrawide angle lenses, so many churches need a revisit.
And with the orchid season now at an end, nearly, it is time to turn to churchcrawling.
And the easiest non-Kent church to revisit was Winchelsea, just over the border in East Sussex, also gave us the chance to call in at the fishmongers in Rye for some smoked haddock.
After the early morning coffee and then the rush round Tesco, back home to pack it all away and for me to make bacon butties and another brew.
And then: go west.
Traffic is not so mad now, so it was easy to drive to Folkestone then up the motorway to Ashford, before turning off, past the inland border facility, then out onto the Marsh past Hamstreet.
West of Brookland, the road meanders about, bend after bend, crossing and recrossing the railway until we reach Rye.
We stop to buy the fish, then round the river, over the bridge and out the other side, five miles to Winchelsea, turning off to go up the hill under the old town gate, parking near the village shop.
Whereas Rye was already busy, Winchelsea was quiet, and just past ten meaning the church had just opened.
We walk across the large churchyard through the ruins of the tower and into the church, where the triple wide nave was lines on the north and south walls with fine wall tombs.
I photograph each on in turn, and the corbel heads on each too.
I rephotograph the fine windows too, as despite being modern, they really are on another level.
One or two people come in, a family of three last 30 seconds before the mother and teenage son leave.
After completing the shots, I go out to meet up with Jools so we can walk to the shop to have ice cream, and sit to eat them on a bench looking at the north wall of the church.
After we had finished our ice creams, we climbed back in the car. It wasn't yet half ten. Time for some more churches!
So, after driving back through Rye and into Kent, we call into Brookland so I could check if the tower was open, as I have never found it open. The church was, but the candlesnuff tower was locked.
No worries, there's always New Romney.
I first came here with my friend, Simon, in 2014 when there was a formal dinner being prepared, and a year ago, we arrived just after one to find the building being locked for the day.
We parked opposite and I see the sign advertising a craft and record fair, along with refreshments.
Inside there were stall set up, and people in the Chancel drinking tea and eating cake.
I was able to get shots of some of the memorials and details, which is why I came back, really.
The fair happens on only one Saturday per month, just my luck to pick a day when it was on.
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The font as two tiers:
Top tier depicts the zodiac and the lower tiew shows the months.
January: Two faced Janus.
February: A man seated warming himself by a fire out of doors.
March: A man pruning a vine.
April: A bareheaded figure in a long robe, holding in each hand a sprouting branch.
May: A knight on a palfrey with a hawk on his left arm.
June: A man mowing with a long-bladed scythe.
July: A man working with a rake.
August: A man reaping with a sickle.
September: A man threshing corn with a flail.
October: Wine pressing.
November: A swineherd holding aloft a hooked stick.
December: A man with uplifted axe killing a pig, no doubt for Christmas cheer.
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A long low church with the most famous spire in Kent. This three-stage 'candle-snuffer' erection which stand son the ground instead of on a tower is the result of several enlargements of a thirteenth-century bell cage and its subsequent weatherproofing with cedar shingles. It contains a peal of six bells, the oldest of which is mid-fifteenth century in date. The spire is surmounted by a winged dragon weathervane, dating from 1797. The monster has a prominent forked tongue. The reason for the bells being hung in a cage rather than a tower is shown inside the church where the pillars of the nave have sunk into the soft ground and splayed out to north and south. The tie-beams of the roof came away from the walls and have had to be lengthened by the addition of new timber supports. The outstanding Norman font in cast lead has been fully described in Part 1. To the south of the church is a headstone incorporating the only 'Harmer Plaque' in Kent - a terracotta panel made in East Sussex where they are a common feature.
www.kentchurches.info/church.asp?p=Brookland
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BROOKLAND,
SO called from the several brooks and waterings within the bounds of it, lies the next parish southeastward, mostly within the level of Walland Marsh, and within the jurisdiction of the justices of the county; but there are some lands, which are reputed to be within this parish, containing altogether about 124 acres, which lie in detached pieces at some distance south-eastward from the rest of it, mostly near Ivychurch, some other parishes intervening, which lands are within the level of Romney Marsh, and within the liberty and jurisdiction of the justices of it.
The PARISH of Brookland lies on higher ground than either Snargate or Fairfield last described, and consequently much drier. It is more sheltered with trees, and inclosed with hedges, than any of the neighbouring parishes. The village is neat and rather pleasant, considering the situation, and the houses, as well as inhabitants, of a better sort than are usually seen in the Marsh. The church stands in the middle of it. The lands towards the south are by far the most fertile, for towards Snargate they are very poor and wet, and much covered with rushes and thistles. It consists in general of marsh-land, there not being above thirty acres of land ploughed throughout the parish, which altogether contains about 1730 acres of land.
A fair is held here yearly on the feast of St. Peter ad Vincula, or Lammas-day, being August I, for toys and pedlary.
The MANORS of Fairfield, Apledore, Bilsington, and Court at Wick, extend over this parish, subordinate to which is THE MANOR OF BROOKLAND, which has long since lost even the reputation of having been a manor. It was in early times the patrimony of the family of Passele, or Pashley, as they were afterwards called, whose seat was at Evegate, in Smeeth, (fn. 1) of whom Edward de Passeley is the first that is discovered in public records to have been possessed of this manor, and this appears by the inquisition taken after his death, anno 19 Edward II. Soon after which it was alienated to Reginald de Cobham, a younger branch of the Cobhams, of Cobham, whose descendants were seated at Sterborough castle, in Surry, whence they were called Cobhams, of Sterborough, and they had afterwards summons to parliament among the barons of this realm. At length Sir Thomas Cobham died possessed of it in the 11th year of king Edward IV. leaving an only daughter and sole heir, who carried it in marriage to Sir Edward Borough, of Gainsborough, in Lincolnshire, whose son and heir Thomas was summoned to parliament as lord Burgh, or as it is usually pronounced, Borough, anno 21 king Henry VIII. and left a son and heir Thomas, lord Burgh, whose lands were disgavelled by the act anno 31 Henry VIII. His son William, lord Burgh, about the 12th year of queen Elizabeth's reign, passed it away to Eversfield, of Suffex, from whom it was alienated soon afterwards to Godfrey, of Lid, at which time this estate seems to have lost its name of having been a manor. He, before the end of that reign, sold it to Wood, by whom it was again alienated in the beginning of king James I.'s reign to Mr. John Fagge, of Rye, whose descendant John Fagge, esq. of Wiston, in Suffex, was created a baronet in 1660. He had a numerous issue, of which only three sons and two daughters survived. Of the former, Sir Robert, the eldest, was his successor in title; Charles was ancestor of the present baronet, the Rev. Sir John Fagge, of Chartham; and the third son Thomas Fagge, esq. succeeded by his father's will to this estate at Brookland. His son John Meres Fagge, esq. of Glynely, in Sussex, left surviving an only daughter Elizabeth, who on his death in 1769, entitled her husband Sir John Peachy, bart-of West Dean, in Sussex, to the possession of it. He died s. p. and she surviving him, again became entitled to it in her own right, and is at this time the present owner of it.
There are noparochial charities.
BROOKLAND is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Limne.
The church, which is dedicated to St. Augustine, is a very large handsome building, consisting of three isles and three chancels. The steeple stands on the north side, and at some small distance from it, in which are five bells. The church is kept exceedingly neat and clean. It is cieled throughout, and handsomely pewed. In the high chancel there is a confessionary, and a nich for holy water within the altar-rails. There are several memorials in it, but none of any account worth mentioning. At the west end is a gallery, lately erected at the charge of the parish. The font is very curious, made of cast lead, having on it two ranges of emblematical figures, twenty in each range. The steeple is framed of remarkable large timber. It is built entirely of wood, of an octagon form, perpendicular about five feet from the bottom, and from thence leffening to a spire at top, in which it has three different copartments or stories, the two uppermost larger at the bottom, and projecting over those underneath them. Although there are but five bells in it, yet it has frames for several more. The whole is much out of the perpendicular leaning towards the church. In the church-yard are several tombs and gravestones for the Reads.
¶The church of Brookland was part of the antient possessions of the monastery of St. Augustine, to which it was appropriated by pope Clement V. at the request of Ralph Bourne, the abbot of it, in king Edward II.'s reign, but the abbot declined putting the bull for this purpose in force, till a more favourable opportunity. At length John, abbot of St. Augustine, in 1347, obtained another bull from pope Clement VI for the appropriation of it, and having three years afterwards obtained the king's licence for this purpose, (fn. 2) the same was confirmed by archbishop Islip in 1359, who next year endowed the vicarage of this church by his decree, by which he assigned, with the consent of the abbot and convent, and of the vicar, of the rents and profits of the church, to John de Hoghton, priest, then admitted perpetual vicar to the vicarage of it, and canonically instituted, and to his successors in future in it, a fit portion from which they might be fitly maintained and support the undermentioned burthens. In the first place he decreed and ordained, that the religious should build on the soil of the endowment of the church, at their own costs and expences, a competent mansion, with a sufficient close and garden, for the vicar and his successors, free from all rent and secular service, to be repaired and maintained from that time by the vicar for the time being; who on the presentation of the religious to be admitted and instituted by him or his successors, into the vicarage, should likewise have the great tithes of the lands lying on the other side of le Re, towards Dover, viz. beyond the bridge called Brynsete, and towards the parish churches of Brynsete, Snaves, and Ivercherche, belonging to the church of Brokelande, and likewise the tithes arising from the sheaves of gardens or orchards dug with the foot, and also all oblations made in the church or parish, and all tithes of hay, calves, chicken, lambs, pigs, geese, hens, eggs, ducks, pidgeons, bees, honey, wax, swans, wool, milkmeats, pasture, flax, hemp, garden-herbs, apples, vetches, merchandizes, fishings, fowlings, and all manner of small tithes arising from all things whatsoever. And he taxed and estimated the said portion at the annual value of eight marcs sterling, at which sum he decreed the vicar ought to contribute in future, to the payment of the tenth and all other impositions happening, of whatsoever sort. Not intending that the vicar of this church should be entitled to, or take of the issues and rents of it, any thing further than is expressed before, but that he should undergo the burthen of officiating in the same, either by himself or some other sit priest, in divine offices, and in the finding of lights in the chancel, and of bread and wine for the celebration of masses, the washing of vestments, and the reparation of the books of the church, and should nevertheless pay the procuration due to the archbishop, on his visitation. But the rest of the burthens incumbent on the church, and no ways here expressed, should belong to the abbot and convent, &c. (fn. 3) After this, the church and advowson of the vicarage of Brookland remained part of the possessions of the above monastery till the final dissolution of it, anno 30 Henry VIII. when it was, with all its revenues, surrendered into the king's hands, where this rectory and advowson staid but a short time, for the king, by his dotation charter, settled them on his newerected dean and chapter of Canterbury, part of whose possessions they continue at this time.
On the abolition of deans and chapters, after the death of king Charles I. this parsonage was surveyed in 1650, when it appeared that it consisted of a close of land of one acre, on which stood the parsonage barne, and other outhouses, with the tithe of corn and other profits belonging to it, estimated coibs annis at twenty four pounds, all which were by indenture, in 1635, demised for twenty-one years, at the yearly rent of eight pounds, but were worth, over and above the said rent, sixteen pounds per annum, and that the lessee was to repair the premises, and the chancel of the parish church.
In 1384 this church or rectory appropriate was valued at 13l. 6s. 8d. but anno 31 Henry VIII. it was demised to ferme at only 8l. 3s. 4d. It is now demised on a beneficial lease by the dean and chapter, at the yearly rent of eight pounds to Mrs. Woodman, the present lessee of it. The vicarage of this church is valued in the king's books at 17l. 12s. 8½d. and the yearly tenths at 1l. 15s. 3¼d. In 1587 it was valued at sixty pounds, communicants one hundred and sixtysix, and in 1640 the same, and it is now of about the same value.
There is a modus of one shilling per acre on all the grass-lands in this parish. The vicar is entitled to all the small tithes, subject to this modus, throughout the parish, and to the tithes of corn of those lands, being one hundred and twenty-four acres, which lie in detached pieces beyond Brenset bridge, in Romney Marsh, as mentioned before, in the endowment of this vicarage.
There is a school here, for teaching reading and writing, supported by contribution, at which fifty children are usually taught.
The refurbishment of the parish hall of St Paul and St Barnabas in York Street, Belfast, means the church’s extensive range of outreach activities can continue to grow, benefiting the entire community.
The Bishop of Connor, the Rt Rev George Davison, rededicated the hall when he preached at the parish Harvest Thanksgiving Service on Sunday October 18. The Bishop also dedicated a number of new windows.
The Rev Dr Isobel (Isy) Hawthorne–Steele, priest–in–charge, said the hall, based in the old St Paul’s Schoolhouse at the back of the church in the Tiger’s Bay area, is extensively used by the community. The building is 186 years old and a famous past pupil is the flautist James Galway.
The hall was in serious need to refurbishment to make it fit for purpose, and shortly before lockdown in March this year, a number of the groups moved their activities into the main church, and work got underway.
Isy said the refurbishment had been a tremendous success. “The facilities we can now offer include a high standard of health and safety provision; a place where all ages can meet in comfort in properly heated and ventilated spaces; an excellent hygienic kitchen facility with comfortable seating areas for small group work; a very large fully functioning sports hall; and a large conference style room that can easily be adapted to suits the needs of breakout groups or café symposiums.”
She added that during the work, nine windows were exposed fully and were found to be arched. The parish decided it wished to keep these, and the windows, all sponsored by parishioners in memory of loved ones, were dedicated by Bishop George when he visited.
OUTREACH
A range of groups have applied to use the hall in future. “This will not only fulfil our priority aim of outreach into the local community, but will provide an income in order to maintain the parish hall to a high standard of upkeep,” said Isy. “It will also help us with future plans such as fundraising towards the installation of a lift, expanding storage space, and a breakthrough to join the church premises with the hall.”
Isy said that according to NISRA statistics, the church is located in an area of high deprivation and is therefore a much–needed facility.
Outreach activities already established at St Paul and St Barnabas include the Blaze Project which works with local schools, sharing the gospel with children through the medium of drama.
The project encourages all primary schools in the area to have a more proactive role in its programme of social cohesion, and plays a lead role in promoting the development of spiritual understanding and supporting curriculum themes, including Learning about Church. It brought primary school children into the church to fulfil their curriculum aims.
“This provided us with an opportunity to show children each aspect of worship in the church building, explaining function and purpose,” said Isy. “This was supported by the Ulster University Widening Access Community Development Programme which provided learning packs. Many members of our congregation are involved in this project, preparing fun and interesting activities, and manning each aspect of the church, ie baptismal font, pulpit, lectern, etc, teaching the children what we do and why we do it.
WELCOMING
“Often this is the only opportunity these children have to come inside church. Our aim is to make it less of an imposing building in their community, and a friendly, welcoming, fun and interesting learning place to be, to encounter Jesus.”
St Paul and St Barnabas has also being running an AQE tuition project which has had an 80 per cent success rate. “This is a service for children that is based upon the ethos of an inclusive educational access for all children, particularly those who are economically disadvantaged,” said Isy. “This is widely recognised throughout the community and schools as being a highly valued educational project, servicing a real need to disadvantaged children.”
Children and families in the area have also enjoyed Messy Church at St Paul and St Barnabas, organised by members of the church. “The response was very encouraging as we had a full capacity turnout of young people each session, and the fun, fellowship and teaching biblical truths proved very worthwhile,” said Isy.
The church and hall is used by the church’s HOPE professional counselling project, which receives referrals from clergy and other professional counselling agencies and organisations.
“This project is in need of expansion and indeed discussions have taken place with local MPs and councillors, and funding applications sought in order to keep this very valuable project afloat,” Isy said. “The current extremely high rates of mental health problems, and specifically, the very high of suicide and suicide attempts in this demographic region, indicate a high level of need.”
The parish has also formed a strong partnership with All Nations Ministry, and this has grown considerably since the church’s first cultural diversity celebration two years ago, and now a recurring event. Activities have taken place both on site and off site, and the project has established a drop–in centre which is open to everyone in the community. It is attended primarily by asylum seekers, refugees and migrants and their families and operates a foodbank and clothes bank for this group.
RELATIONSHIPS
Isy said the parish has cultivated good relationships with the community PSNI, who provide weekly sports activities for young people. “This has been offered to the wider community and initially has been with the All Nations Group,” she said. “This has been very successful with spin–off trips organised. This partnership is the beginning of a relationship that we hope to further promote and extend.”
The parish also has a collaborative relationship with Ulster University’s Widening Access Community Development Programme which aims to raise the self–confidence and self–esteem of participants by exploring barriers to formal learning and looking at various learning styles and techniques.
“The exercises and assignments are aimed at giving students an opportunity to learn academic writing skills and prepare them for advanced learning with an access route to university degree level four,” said Isy.
This programme was offered firstly to migrants, refugees and asylum seekers, and it the subject of an article: ‘Breaking the Cultural Silence Imposed upon Refugees, Asylum Seekers and Migrants: A Snapshot of the Current Faith–Based Project in Tiger’s Bay (North Belfast),’ The authors of this article were students from the BScHons Community Development Programme at Ulster University who worked on the project with Isy, and it was published in Adult Learner: The Irish Journal of Adult and Community Education in 2018.
The parish’s Storyboards and Drama Project was formed specifically to help asylum seekers, refugees and migrants to infuse into local community life. Around 16 participants worked through storyboards, telling their story of leaving their home country, the experience they lived through travelling to this country, and their experience of trying to begin a new life within the local community. The stories were recorded and dramatized.
POWERFUL
Isy said this ‘powerful project’ was therapeutic, and in many cases provided a much–needed ‘sounding board’ for traumatic experiences to be shared and support and help sought.
“The next phase of this project is planned with young people, and the idea is to bring this into youth forums in schools, youth clubs and churches to share,” she said. “Hopefully, those listening will engage with these young people and recognise the added pressure of adolescences coping with their transition into adulthood, with the additional pressures of being in an alien and often hostile environment.”
St Paul and St Barnabas has developed a logo – incorporating the five windows of the church and the cross to illustrate Christ at the centre of worship and activities – and its strapline – TLC (Transforming, Loving, Caring) – was drawn from the parish mission statement.
The parish employed a children and family worker who worked closely with local primary schools and initiated the parent and toddler group ‘Little Lambs.’ A project manager was appointed, whose role included securing further funding to renovate hall to make it fit for purpose. The parish also employed a family visitor who made further intergenerational connections within local area.
FOOTFALL
“The impact of the projects has been realised in the increased footfall and new partnerships forged with schools and local groups such as the migrant, asylum seekers and refugees,” said Isy.
“We are currently seeking other funds to progress to the next stage. The current Covid–19 restrictions have affected our roll–out, however we continue to support our HOPE counselling project which is a vital resource for the local community during this pandemic.”
The re–dedication of the parish hall and dedication of the windows by Bishop George took place just weeks before Isy steps down from her role as curate–in–charge of St Paul and St Barnabas on November 1.
“I feel I have taken this project as far as I can,” said Isy. “As a leader, I think it is really important to listen to the Holy Spirit and to know when it’s time to make way for God’s chosen leader/s to continue to work out his plan.
“There is so much potential here, the members of the church are loving and full of God’s grace. They are a praying people and that is the key to any missional work. I know God has a great plan of revival in this area.”
The projects run by St Paul and St Barnabas Parish Church have received funding from the following:
- Church of Ireland Priorities Fund;
- Church of Ireland Children & Orphans Society;
- St James’ Endownment Fund;
- BIFFA (grant scheme for ‘community hub’ project refurbishment).
New America's Future of War Conference
Gen. Stephen W. Wilson, Vice Chief of Staff, U.S. Air Force
Photo by: Eric Gibson/ New America
The Albertina
The architectural history of the Palais
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
Surajkund Crafts Mela was privileged once again to have Assam as its Theme State. The State earlier participated in 1998 along with other sister States of North-East India. Soaked in rich and exotic tapestry of Indian heritage, Assam has been a meeting ground for various diverse cultures. The Mela this year was dipped into a spectrum of colours from Assam. Each one was unique in its tradition, culture and exotic way of life. The décor and the ambience was especially designed and crafted to create an ethereal environment which reflected the magnificence of the State. Traditionally rich handlooms, handicrafts and some of the mouth watering cuisines of Assam formed the hallmark of this year’s Mela. The special enclosure made for the Theme State had artisans specializing in handicrafts, handlooms, metal ware and other crafts. The Mela epitomized the beauty of rural India within the gamut of suburban serenity and made it an ideal getaway for people.
The pastoral setup of the Mela with a medieval flavour was recreated to relive the culture of Assam. Miniature paintings, statues and frescoes promoting their art created an exuberant aura in the Mela. A replica of ‘Rang Ghar’ was adorned to reflect the historic grandeur of the State which dates back to 13th Century AD. In addition to this, ‘Naam Ghar’, a prayer hall was specially created by the Theme State to depict the spiritual and devotional aspect of Assamese culture. The divine structure added to the majestic essence of the Mela and also reflected the rich traditions and customs of Assam. Another highlight of 26th Surajkund Crafts Mela was the ‘Apna Ghar’ of Assam. The structure was an instant hit with the visitors who were eager to take a glimpse of the Assamese family living over there. The family reflected the every-day life of traditional Assam which involved weaving, animal husbandry, cooking etc. The structure which was made up of bamboo, cane and palm leaves was elaborate in reflecting the traditional architecture of Assam. The ‘Apna Ghar’ also had a special shelter for animals and the ‘ghoda gaadi’ was a major attraction for the kids.
Stall no. 106 and 107 of Dr. Azirur Rehman, who is PhD in Muga Silk from Assam University, displayed a live weaving of silk into different products. Sponsored by the Sericulture Department of Assam, the stall arrayed a wide variety of products like stoles, sarees and scarves. Dr. Rehman stated that the visitors here were inquisitive to know about silk weaving and he was more than happy to inform about a variety of silk being produced in Assam. He further added that the Muga Silk was produced from the lava of the caterpillars and was known for its strength and durability. The silk became more glossy and white after every wash and retained its texture throughout its lifetime. Similarly, Stall no. 154 of the Theme State enclosure displayed a wide variety of products made up from silk. An exquisite display of colourful sarees, shawls, stoles and dress materials served as a bright contrast to the rustic and rural ambience of the Mela. Stall no. 142 of Shri Hemant Adhikari exhibited a wide variety of bed covers, bed sheets, ties, kurtas, churidars and even chappals dipped in the golden colour of the silk and a distinctive use of bright colours on them. These intricately designed fabrics had become quite popular with the visitors and one could see his stall packed with the buyers most of the time. Another facet of the Assamese handlooms was the tribal textile at Stall no. 141. A National Merit and State awardee, Smt. Chenimai Daley, arrayed an extensive range of embroidered woolen fabrics. She stated that weaving was an integral part of Assamese household and she has been doing this since her childhood days. Smt. Daley has exported her products to South Africa, Egypt and Dubai and plans to expand the list in future. She further added that the visitors of the Mela were quite receptive to her crafts and it was always encouraging to sell her products here.
Assam is known for its wide variety of handicrafts made up of bamboo, cane and metals. Many such stalls in the Mela arrayed such unique crafts. Stall no. 145 of Shri BR Mandal exhibited the art of ‘Sheetalpati’. These handicrafts were made from murta plants which grow around water bodies. These are known for their softness and glossiness. Shri Mandal has been bestowed with National Award in 2003, National Merit Award and District Award. His products ranged from purses, bags to mats and carpets. Similarly, Shri Madhav Biswas of Stall no. 147 provided with an exclusive range of bamboo products. Beautiful handicrafts, artefacts and decorative items were displayed. Nonetheless, his stall swelled with the swarm of visitors in the Mela.
Traditional dances like Satriya, Bodo, Mising, Bhortal, Deodhani, Tiwa, Rabha and Bihu & of Assam have been performed on Choupal, the open air stage. These dance numbers lit up the faces of the visitors and enlivened the atmosphere at the Mela. The pulsating wafts of their musical notes created an ambience of festivity and offered a visitor to the Mela a heady blend of craft, music and dance. The Food Court of Surajkund Crafts Mela offered a wide variety of cuisine from Assam this year. The traditional dishes were savoured by children and adults alike.
The presence of such artists and craftspersons not only added to the cultural relevance of the Surajkund Crafts Mela but also tremendously increased the footfall of visitors which, in turn, meant more sales for craftspersons. The overwhelming response has encouraged both craftspersons and performers. The Mela truly provides an opportunity for artists to perform at the international level and is fast emerging as a custodian of the dying folk art.
The results of Mehandi Competition for Junior Classes (Upto 8th standard), held on 2nd February were: first prize was won by Gita Bal Niketan Sr. Sec School and the second prize was won by Govt. Sr. Sec. School, Gaunchi. Gita Bal Niketan Sr. Sec School and Govt. School, Sarai Khawaja participated in cultural activities also.
On cold, cloudy, windy days, its easy to think Spring is weeks, if not months away. But for those of us who know what and where to look, signs of Spring are all around. On day day of some churchcrawling I would see carpets of snowdrops, winter aconites among others, and trees, shrubs with buds ready to burst forth with new leaves. Birds are more vocal, and with other matters on their minds.
The start of the orchid season might be just six weeks away, last year the first Kentish orchid was seen in flower on March 19th, who knows what this season will bring, but in the woods and up on the downs, orchids are stirring, waking up, creating rosettes, and some thinking about putting forth spikes.
Its all about to happen.
So, I asked the two mods from the orchid group if they would like to meet up with a chat, and discuss trips for the new season. Last year we met near Ian's house on the banks of the Medway, this year it was near to Terry's, near Gravesend in Cobham. I chose Cobham as I wanted to revisit the church, the the local pub, one of the local puns, The Leather Bottle is opposite the church.
So that was the plan.
Jools wasn't going to come, as she wanted to work in the garden, so once the shopping was done and we had eaten breakfast, I would be off.
Tesco has empty shelves; washing up liquid seems to still be an issue, and there was a huge gap in the fresh meat section. Of course, it might be nothing.
Back home for breakfast and then time to go out. Of course I could have stayed and watched Norwich on the tellybox against Arsenal, but 90 minutes of shouting at the TV didn't sound like a good idea, so churches and a pub lunch it was! Norwich were playing top of the table, Burnley, and despite winning the last two games having scored 8 goals, lets just says I wasn't confident. Which was well placed, as Norwich defended like, well, Norwich, gifting Burnley two goals.
But of this I was unaware. For now.
An easy drive up the M20 to Maidstone, turning off at the services, but doubling back under the motorway into Hollingbourne. We had tried to get here before Christmas, but the only road through the villages was closed. In two places! Which the church in the middle. But back now, with no issues other than the 21st century traffic trying to get through the 17th century streets.
The church sits beside a small green, with a row of cottages to one side, I could see from the car the door of the porch open, so good news. I grabbed my camera and made my way through the lych gate and into the church, which I had to myself.
On the way to Cobham, I went via the M20 so I could call in at Hollingbourne to revisit the church, now that the roadworks seemed to be over.
I had the church to myself, which is always good.
All Saints is really the Cullpeper's mausoleum, it is fill with memorials and tombs to generations of them.
Until the line died out.
I can't remember why I didn't finish photographing it last time, but I knew I had to go back with the big lens, so did today, recording mostly the glass, but found much more too.
I snapped all the glass, some of which was very good, but others, not so.
And so onto the short drive up the A229 to the M2, across the Medway then up to Cobham, across the fields to the village, parking outside the village hall and once collecting my camera gear, a short walk to the church.
It too was open. And as wonderful as before. Having my big lens, I wanted to snap the 19 brass plates marking the tombs of the great family. This is the best collection of medieval brass plates not just in Kent, but in all of England. That and the tomb in the Chancel making this such a special church, with so much of interest. Not least the remains of a spiral staircase in the south east corner of the chancel which lead to a very unusual gallery, now long since gone.
I snap much, some of it redoing what I had recorded before, but most new, including the windows.
I walked out of the church and down to the pub, Terry pulled up beside me in his ancient Audi, greeting me warmly. Ian was waiting in the car park, so we went in, bagged a table and we all decided to have lunch.
I thought I would be good and have something light, like tapas, while they both had the suet pudding of the day(!): steak and ale, in which they chose well. The tapas was bland, sadly, especially the creamy chicken dish, but the pint of local best ale was very good indeed.
We talked of plans for the new year and of the group, and eat well when the food is brought. The suet puddings looked fabulous.
On the tellybox I saw Norwich were 1-0 down at half tie, and by the time I got to the car to drive back home, were 3-0 and falling apart.
I drove in silence.
3-0 was the final score, but we have a run of what should be winable games, while Burnley will cruise to promotion with few worries.
I go to see jen, but she has gone for a walk, so I got no answer at the door, so drive home where Jools was just finishing in the garden.
We have a brew and some chocolate while I listen to yet more football, and review the 535 shots of the two churches I had taken.
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There was considerable damage caused to this church in an earthquake of 1382. The medieval accounts survive so we know that 48s 2d was spent on the rebuilding. Little can have changed to the structure since that time, except for the construction of a north chapel in 1638. This chapel has a charming pattern of flint flushwork triangles in a horizontal course below the battlements. It contains one of the most interesting seventeenth-century monuments in Kent - to commemorate Lady Elizabeth Culpepper (d. 1638), carved and signed by the Court Sculptor Edward Marshall. The detail is amazing and the cord that connects her ring and wrist is always pointed out to visitors. The rest of the church was restored early in the career of George Gilbert Scott Jr in 1876 (see also Frinsted) and retains its patina of age unimaginable in a restoration by Scott Sr. The pulpit is early seventeenth century and dates from a few years after the much crocketed font cover. There are three signed monuments by Rysbrack and a tall crownpost roof of good construction in the nave.
www.kentchurches.info/church.asp?p=Hollingbourne
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HOLLINGBORNE.
THE next parish north-westward from Harrietsham is Hollingborne, called in Domesday, Hoilingeborde, and in later records, Holingburnan and Holingeburne. It probably took its name from the spring which rises in the vale underneath the hill, in this parish.
THE PARISH of Hollingborne is situated much the same as that of Harrietsham last described, close to the great ridge of chalk hills, at the foot of which is the village called Hollingborne-street, in which at the south end of it stands the church and vicarage, and near them a well-looking brick mansion, of the time of queen Elizabeth, which by its appearance must have had owners of good condition in former times, but what is remarkable the rector of Hollingborne claims some rooms in this house in right of his rectory at this time. The road through Newnhambottom from Ospringe and Canterbury passes through Hollingborne-street, and thence through Eyhorne, commonly called Iron-street, in this parish, where there are two good houses, one belonging to Robert Salmon, esq. who resides in it, and the other built not many years since by Mr. John Weeks, who died possessed of it in 1785. Hence the road leads on, and joins the Ashford high road through Bersted to Maidstone. The southern part of this parish consists mostly of a deep sand, the whole of it below the hill is well watered by some small streams, which running southward join the Lenham rivulet in its way to Maidstone. Nearer the street the soil becomes a chalk, which continues to the summit of the hill, at the edge of which stands Mr. Duppa's house, whence the remaining part of this parish northward, situated on high ground, and exposed to the cold bleak winds, is but a wild and dreary country, with thick hedgerows, and frequent coppices of wood, mostly of hazel and oak, and small unthriving trees of the latter dispersed among them; the soil a deep tillage land, wet and very poor, being a red cludgy earth, covered with quantities of flint stones. On Eyhorne green, or as it is commonly called Broad-street, in this parish, in October yearly, two constables are chosen, one for the upper, the other for the lower half hundred of Eyhorne, each of which district consists of the twelve adjoining parishes, the borsholders in which, and the several boroughs in them, except such as are chosen at the different court leets, are chosen here likewise.
This parish, with the manor of Elnothington in it, together with the rest of the hundred of Eyhorne, was antiently bound to contribute to the repair of the sixth pier of Rochester bridge.
ÆTHELSTAN ETHELING, son of Ethelred II. gave by his will in 1015, to Christ-church, in Canterbury, his lands at Hollingborne, with their appurtenances, excepting one plough-land, which he had given to Siserth. In the MSS. in Bennet college library, Cambridge, of the evidences of Christ-church, Canterbury, intitled Thorn, printed in Decim. Script. f. 2221, this gift is said to have been made in 980; a very improbable circumstance, the king, his elder brother, at that time being but fourteen years of age.
These lands he had bought of his father, and gave them, with his consent, to Christ-church, L. S. A. that is, free from all secular service, excepting the trinoda necessitas, in like manner as Adisham had been given to it.
The manor of Hollingborne remained part of the possessions of the church of Canterbury at the time of the conquest, when the revenues of it were enjoyed as one common estate by the archbishop and his convent; but archbishop Lanfranc, after the example of foreign churches, separating them, in the partition Hollingborne fell to the share of the monks, and was allotted for their subsistence, (or ad Cibum, as it was usually termed) and it is accordingly thus entered in the book of Domesday, under the general title of Terra Monachorum Archiepi, i. e. the land of the monks of the archbishop.
The archbishop himself holds Hoilingeborde. It was taxed at six sulings. The arable land is twenty-four carucates. In demesne there are two, and sixty-one villeins, with sixteen borderers, having twenty-three carucates. There is a church, twelve servants, and two mills, and eight acres of meadow. Wood for the pannage of forty hogs. In the whole, in the time of king Edward the Confessor, and afterwards, it was worth twenty pounds, and now it is worth thirty pounds. To this manor there adjoins half a suling, which never paid scot, this the bishop of Baieux rents of the archbishop.
At this time, the whole of the above premises seems to have been valued at thirty pounds.
King Henry II. granted to the monks of Christchurch a charter for their lands at Hollingborne upon the Hills. In the 10th year of king Edward II. the prior obtained a charter of free-warren for his manor of Hollingborne, among others; about which time it was, with its appurtenances, valued at 46l. 9s. 8d. King Henry VI. by his letters patent, in his 25th and 26th year, granted to the prior a market, to be held at this place weekly on a Wednesday, and a fair yearly on the feast of St. Anne. (fn. 1)
William Selling, who was elected prior in the next reign of king Edward IV. anno 1472, during the time of his holding that dignity, greatly improved the prior's apartments here. After which, it seems to have undergone no material alteration till the dissolution of the priory, which was surrendered into the hands of king Henry VIII. in the 31st year of his reign.
The manor of Hollingborne did not remain long in the hands of the crown; for the king settled it, by his dotation charter, in his 33d year, on his newerected dean and chapter of Canterbury, part of whose possessions it now remains.
There is a court-leet and court baron regularly held by the dean and chapter for this manor, which extends likewise into the adjoining parishes of Hucking, Bredhurst, and Harrietsham, the quit-rents of it called Beadle-rents, being about forty-two pounds per annum.
¶BUT THE DEMESNE LANDS of this manor have been from time to time leased out by the dean and chapter at a reserved rent of 10l. 9s. The year after the grant of it to them, they demised them by lease to I. Reynolde, as they did anno 19 Elizabeth to William Puresoy, in whose family they remained till the beginning of king James I.'s reign. After which the Fludds held them in lease, and continued so to do, till their interest in them was passed away to W. Alabaster, D. D. After which these premises were held in succession by Bargrave, Boys, Farewell, and Gookin, till the year 1684, when Sir Thomas Culpeper, had a lease of them, in whose family they continued till John Spencer Colepeper, of the Charterhouse, passed away his interest in them to the Hon. Robert Fairfax, who held them in 1758, and then alienated his lease to Francis Child, esq. banker in London, whose brother Robert Child, esq. of London, banker, dying in 1782, the trustees of his will, Robert Dent and John Keysel, esqrs. are now in the possession of his interest in the lease of these demesnes, under the dean and chapter, besides which the dean and chapter have several other lands and woods here leased out by them to different persons.
HOLLINGBORNE is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deaury of Sutton; and is exempt from the jurisdiction of the archdeacon.
The church, which is dedicated to All Saints, is a handsome building, consisting of three large isles, with a chancel at the end of the middle one, and a square tower at the west end. The chancel is much enriched with the monuments of the family of Culpeper, of Greenway-court, and for two of the lords Culpeper, one of them by Rysbrack; on the north side is one for Sir Martin Barnham and his two wives, in 1610, their three figures kneeling at a desk, and underneath their children. At the east end of the north isle there is a small neat chapel, raised up several steps to give room for a vault underneath, in which lie the remains of all this branch of the Culpeper family. The sides of the chapel are filled with black escutcheons, and square tablets of black marble alternately, only two of these among the numbers of them are filled up, and those with younger branches of the family settled elsewhere, a proof of the disappointment of the vain endeavours of the builder to transmit the memory of his descendants to posterity. On the middle of the pavement is a beautiful raised monument of white marble, and the figure of a lady, lying at full length, in the habit of the times, of exceeding good sculpture, in memory of Elizabeth, lady of Sir Thomas Culpeper, daughter of John Cheney, esq. of Sussex, obt. 1638. In the isle a monument for Nich. Chaloner, esq. obt. 1706. Against the north wall of the north isle for two of the family of Duppa, and at the lower end of the church, for the Plummers, Collins's and Dykes. In the middle isle a stone, on which have been the figures of a man and woman in brass, but two shields of arms remain, being quarterly, first and fourth, A chevron, engrailed on a chief, three sleurs de lis; second and third, Three fishes, wavy, sessways, in pale.
There is belonging to this church, a most superb altar-cloth, and a pulpit-cloth and cushion, of purple velvet, ornamented with different figures of fruits of pomegranets and grapes, wrought in gold, the needlework of the daughters of Sir John Colepeper, afterwards created lord Colepeper, who employed themselves for almost the space of twelve years in the working of them, during their father's absence abroad with king Charles II.
The communion plate is very handsome, and an swerable to the above-mentioned furniture, being mostly the gift of the family of Colepeper, and some of it of Baldwin Duppa, esq.
John Eweyn, by his will proved in 1527, gave a table of alabaster, to stand upon the altar of St. John the Baptist in this church; and money to the repair of St. John's chapel in it. John Aleff, parson of Hollingborne, as appears by his will in 1537, was buried in the way beside the porch-door, on the right hand, and that there was set in the wall, nigh his grave, a stone with a plate of sculpture, mentioning where and when he was buried. He had before been vicar of Little Chart, and of St. Laurence Wolton, as he was then of St. John's Sherburne, in Hampshire.
The church of Hollingborne, to which the chapels of Hucking and Bredhurst were antiently annexed, is a sinecure rectory, with a vicarage endowed. The rector of Hollingborne is at this time patron of the perpetual curacy of the chapel of Bredhurst. The archbishop is patron both of the rectory and of the vicarage of Hollingborne, the vicar of which is collated to this vicarage, with the chapel of Hucking annexed.
The vicarage was endowed before the year 1407, in which year Arthur Sentleger, the rector, granted to William Maunby, vicar of this church, a messuage, with its appurtenances in this parish, for the habitation of himself and his successors for ever. (fn. 5) In archbishop Chichele's register, at Lambeth, there is an unauthenticated writing of a composition, made about the year 1441, for it is without date, between William Lyeff, then rector here, and John Fsylde, vicar, upon the assignation of a proper portion for the endowment of this vicarage in future times.
The rectory of Hollingborne is valued in the king's books at 28l. 15s. 5d. and the tenths at 2l. 17s. 6 1/7d. The vicarage is valued in them at 7l. 6s. 8d. and the yearly tenths at 14s. 8d. The vicarage in 1640 was valued at eighty-six pounds, and the communicants were then 271. It is now of the yearly certified value of 70l. 16s. 8d.
The vicarage was augmented twenty pounds per annum, by lease between Ralph Staunton, rector, and Sir Thomas Culpeper, of this parish.
¶The name of Culpeper, or Colepeper, is so variously spelt in different deeds and records, that it is impossible to keep with any rule to either spelling; on all the monuments, and in the parish register, (excepting in two instances in the last) it is spelt Culpeper.
On cold, cloudy, windy days, its easy to think Spring is weeks, if not months away. But for those of us who know what and where to look, signs of Spring are all around. On day day of some churchcrawling I would see carpets of snowdrops, winter aconites among others, and trees, shrubs with buds ready to burst forth with new leaves. Birds are more vocal, and with other matters on their minds.
The start of the orchid season might be just six weeks away, last year the first Kentish orchid was seen in flower on March 19th, who knows what this season will bring, but in the woods and up on the downs, orchids are stirring, waking up, creating rosettes, and some thinking about putting forth spikes.
Its all about to happen.
So, I asked the two mods from the orchid group if they would like to meet up with a chat, and discuss trips for the new season. Last year we met near Ian's house on the banks of the Medway, this year it was near to Terry's, near Gravesend in Cobham. I chose Cobham as I wanted to revisit the church, the the local pub, one of the local puns, The Leather Bottle is opposite the church.
So that was the plan.
Jools wasn't going to come, as she wanted to work in the garden, so once the shopping was done and we had eaten breakfast, I would be off.
Tesco has empty shelves; washing up liquid seems to still be an issue, and there was a huge gap in the fresh meat section. Of course, it might be nothing.
Back home for breakfast and then time to go out. Of course I could have stayed and watched Norwich on the tellybox against Arsenal, but 90 minutes of shouting at the TV didn't sound like a good idea, so churches and a pub lunch it was! Norwich were playing top of the table, Burnley, and despite winning the last two games having scored 8 goals, lets just says I wasn't confident. Which was well placed, as Norwich defended like, well, Norwich, gifting Burnley two goals.
But of this I was unaware. For now.
An easy drive up the M20 to Maidstone, turning off at the services, but doubling back under the motorway into Hollingbourne. We had tried to get here before Christmas, but the only road through the villages was closed. In two places! Which the church in the middle. But back now, with no issues other than the 21st century traffic trying to get through the 17th century streets.
The church sits beside a small green, with a row of cottages to one side, I could see from the car the door of the porch open, so good news. I grabbed my camera and made my way through the lych gate and into the church, which I had to myself.
On the way to Cobham, I went via the M20 so I could call in at Hollingbourne to revisit the church, now that the roadworks seemed to be over.
I had the church to myself, which is always good.
All Saints is really the Cullpeper's mausoleum, it is fill with memorials and tombs to generations of them.
Until the line died out.
I can't remember why I didn't finish photographing it last time, but I knew I had to go back with the big lens, so did today, recording mostly the glass, but found much more too.
I snapped all the glass, some of which was very good, but others, not so.
And so onto the short drive up the A229 to the M2, across the Medway then up to Cobham, across the fields to the village, parking outside the village hall and once collecting my camera gear, a short walk to the church.
It too was open. And as wonderful as before. Having my big lens, I wanted to snap the 19 brass plates marking the tombs of the great family. This is the best collection of medieval brass plates not just in Kent, but in all of England. That and the tomb in the Chancel making this such a special church, with so much of interest. Not least the remains of a spiral staircase in the south east corner of the chancel which lead to a very unusual gallery, now long since gone.
I snap much, some of it redoing what I had recorded before, but most new, including the windows.
I walked out of the church and down to the pub, Terry pulled up beside me in his ancient Audi, greeting me warmly. Ian was waiting in the car park, so we went in, bagged a table and we all decided to have lunch.
I thought I would be good and have something light, like tapas, while they both had the suet pudding of the day(!): steak and ale, in which they chose well. The tapas was bland, sadly, especially the creamy chicken dish, but the pint of local best ale was very good indeed.
We talked of plans for the new year and of the group, and eat well when the food is brought. The suet puddings looked fabulous.
On the tellybox I saw Norwich were 1-0 down at half tie, and by the time I got to the car to drive back home, were 3-0 and falling apart.
I drove in silence.
3-0 was the final score, but we have a run of what should be winable games, while Burnley will cruise to promotion with few worries.
I go to see jen, but she has gone for a walk, so I got no answer at the door, so drive home where Jools was just finishing in the garden.
We have a brew and some chocolate while I listen to yet more football, and review the 535 shots of the two churches I had taken.
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There was considerable damage caused to this church in an earthquake of 1382. The medieval accounts survive so we know that 48s 2d was spent on the rebuilding. Little can have changed to the structure since that time, except for the construction of a north chapel in 1638. This chapel has a charming pattern of flint flushwork triangles in a horizontal course below the battlements. It contains one of the most interesting seventeenth-century monuments in Kent - to commemorate Lady Elizabeth Culpepper (d. 1638), carved and signed by the Court Sculptor Edward Marshall. The detail is amazing and the cord that connects her ring and wrist is always pointed out to visitors. The rest of the church was restored early in the career of George Gilbert Scott Jr in 1876 (see also Frinsted) and retains its patina of age unimaginable in a restoration by Scott Sr. The pulpit is early seventeenth century and dates from a few years after the much crocketed font cover. There are three signed monuments by Rysbrack and a tall crownpost roof of good construction in the nave.
www.kentchurches.info/church.asp?p=Hollingbourne
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HOLLINGBORNE.
THE next parish north-westward from Harrietsham is Hollingborne, called in Domesday, Hoilingeborde, and in later records, Holingburnan and Holingeburne. It probably took its name from the spring which rises in the vale underneath the hill, in this parish.
THE PARISH of Hollingborne is situated much the same as that of Harrietsham last described, close to the great ridge of chalk hills, at the foot of which is the village called Hollingborne-street, in which at the south end of it stands the church and vicarage, and near them a well-looking brick mansion, of the time of queen Elizabeth, which by its appearance must have had owners of good condition in former times, but what is remarkable the rector of Hollingborne claims some rooms in this house in right of his rectory at this time. The road through Newnhambottom from Ospringe and Canterbury passes through Hollingborne-street, and thence through Eyhorne, commonly called Iron-street, in this parish, where there are two good houses, one belonging to Robert Salmon, esq. who resides in it, and the other built not many years since by Mr. John Weeks, who died possessed of it in 1785. Hence the road leads on, and joins the Ashford high road through Bersted to Maidstone. The southern part of this parish consists mostly of a deep sand, the whole of it below the hill is well watered by some small streams, which running southward join the Lenham rivulet in its way to Maidstone. Nearer the street the soil becomes a chalk, which continues to the summit of the hill, at the edge of which stands Mr. Duppa's house, whence the remaining part of this parish northward, situated on high ground, and exposed to the cold bleak winds, is but a wild and dreary country, with thick hedgerows, and frequent coppices of wood, mostly of hazel and oak, and small unthriving trees of the latter dispersed among them; the soil a deep tillage land, wet and very poor, being a red cludgy earth, covered with quantities of flint stones. On Eyhorne green, or as it is commonly called Broad-street, in this parish, in October yearly, two constables are chosen, one for the upper, the other for the lower half hundred of Eyhorne, each of which district consists of the twelve adjoining parishes, the borsholders in which, and the several boroughs in them, except such as are chosen at the different court leets, are chosen here likewise.
This parish, with the manor of Elnothington in it, together with the rest of the hundred of Eyhorne, was antiently bound to contribute to the repair of the sixth pier of Rochester bridge.
ÆTHELSTAN ETHELING, son of Ethelred II. gave by his will in 1015, to Christ-church, in Canterbury, his lands at Hollingborne, with their appurtenances, excepting one plough-land, which he had given to Siserth. In the MSS. in Bennet college library, Cambridge, of the evidences of Christ-church, Canterbury, intitled Thorn, printed in Decim. Script. f. 2221, this gift is said to have been made in 980; a very improbable circumstance, the king, his elder brother, at that time being but fourteen years of age.
These lands he had bought of his father, and gave them, with his consent, to Christ-church, L. S. A. that is, free from all secular service, excepting the trinoda necessitas, in like manner as Adisham had been given to it.
The manor of Hollingborne remained part of the possessions of the church of Canterbury at the time of the conquest, when the revenues of it were enjoyed as one common estate by the archbishop and his convent; but archbishop Lanfranc, after the example of foreign churches, separating them, in the partition Hollingborne fell to the share of the monks, and was allotted for their subsistence, (or ad Cibum, as it was usually termed) and it is accordingly thus entered in the book of Domesday, under the general title of Terra Monachorum Archiepi, i. e. the land of the monks of the archbishop.
The archbishop himself holds Hoilingeborde. It was taxed at six sulings. The arable land is twenty-four carucates. In demesne there are two, and sixty-one villeins, with sixteen borderers, having twenty-three carucates. There is a church, twelve servants, and two mills, and eight acres of meadow. Wood for the pannage of forty hogs. In the whole, in the time of king Edward the Confessor, and afterwards, it was worth twenty pounds, and now it is worth thirty pounds. To this manor there adjoins half a suling, which never paid scot, this the bishop of Baieux rents of the archbishop.
At this time, the whole of the above premises seems to have been valued at thirty pounds.
King Henry II. granted to the monks of Christchurch a charter for their lands at Hollingborne upon the Hills. In the 10th year of king Edward II. the prior obtained a charter of free-warren for his manor of Hollingborne, among others; about which time it was, with its appurtenances, valued at 46l. 9s. 8d. King Henry VI. by his letters patent, in his 25th and 26th year, granted to the prior a market, to be held at this place weekly on a Wednesday, and a fair yearly on the feast of St. Anne. (fn. 1)
William Selling, who was elected prior in the next reign of king Edward IV. anno 1472, during the time of his holding that dignity, greatly improved the prior's apartments here. After which, it seems to have undergone no material alteration till the dissolution of the priory, which was surrendered into the hands of king Henry VIII. in the 31st year of his reign.
The manor of Hollingborne did not remain long in the hands of the crown; for the king settled it, by his dotation charter, in his 33d year, on his newerected dean and chapter of Canterbury, part of whose possessions it now remains.
There is a court-leet and court baron regularly held by the dean and chapter for this manor, which extends likewise into the adjoining parishes of Hucking, Bredhurst, and Harrietsham, the quit-rents of it called Beadle-rents, being about forty-two pounds per annum.
¶BUT THE DEMESNE LANDS of this manor have been from time to time leased out by the dean and chapter at a reserved rent of 10l. 9s. The year after the grant of it to them, they demised them by lease to I. Reynolde, as they did anno 19 Elizabeth to William Puresoy, in whose family they remained till the beginning of king James I.'s reign. After which the Fludds held them in lease, and continued so to do, till their interest in them was passed away to W. Alabaster, D. D. After which these premises were held in succession by Bargrave, Boys, Farewell, and Gookin, till the year 1684, when Sir Thomas Culpeper, had a lease of them, in whose family they continued till John Spencer Colepeper, of the Charterhouse, passed away his interest in them to the Hon. Robert Fairfax, who held them in 1758, and then alienated his lease to Francis Child, esq. banker in London, whose brother Robert Child, esq. of London, banker, dying in 1782, the trustees of his will, Robert Dent and John Keysel, esqrs. are now in the possession of his interest in the lease of these demesnes, under the dean and chapter, besides which the dean and chapter have several other lands and woods here leased out by them to different persons.
HOLLINGBORNE is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deaury of Sutton; and is exempt from the jurisdiction of the archdeacon.
The church, which is dedicated to All Saints, is a handsome building, consisting of three large isles, with a chancel at the end of the middle one, and a square tower at the west end. The chancel is much enriched with the monuments of the family of Culpeper, of Greenway-court, and for two of the lords Culpeper, one of them by Rysbrack; on the north side is one for Sir Martin Barnham and his two wives, in 1610, their three figures kneeling at a desk, and underneath their children. At the east end of the north isle there is a small neat chapel, raised up several steps to give room for a vault underneath, in which lie the remains of all this branch of the Culpeper family. The sides of the chapel are filled with black escutcheons, and square tablets of black marble alternately, only two of these among the numbers of them are filled up, and those with younger branches of the family settled elsewhere, a proof of the disappointment of the vain endeavours of the builder to transmit the memory of his descendants to posterity. On the middle of the pavement is a beautiful raised monument of white marble, and the figure of a lady, lying at full length, in the habit of the times, of exceeding good sculpture, in memory of Elizabeth, lady of Sir Thomas Culpeper, daughter of John Cheney, esq. of Sussex, obt. 1638. In the isle a monument for Nich. Chaloner, esq. obt. 1706. Against the north wall of the north isle for two of the family of Duppa, and at the lower end of the church, for the Plummers, Collins's and Dykes. In the middle isle a stone, on which have been the figures of a man and woman in brass, but two shields of arms remain, being quarterly, first and fourth, A chevron, engrailed on a chief, three sleurs de lis; second and third, Three fishes, wavy, sessways, in pale.
There is belonging to this church, a most superb altar-cloth, and a pulpit-cloth and cushion, of purple velvet, ornamented with different figures of fruits of pomegranets and grapes, wrought in gold, the needlework of the daughters of Sir John Colepeper, afterwards created lord Colepeper, who employed themselves for almost the space of twelve years in the working of them, during their father's absence abroad with king Charles II.
The communion plate is very handsome, and an swerable to the above-mentioned furniture, being mostly the gift of the family of Colepeper, and some of it of Baldwin Duppa, esq.
John Eweyn, by his will proved in 1527, gave a table of alabaster, to stand upon the altar of St. John the Baptist in this church; and money to the repair of St. John's chapel in it. John Aleff, parson of Hollingborne, as appears by his will in 1537, was buried in the way beside the porch-door, on the right hand, and that there was set in the wall, nigh his grave, a stone with a plate of sculpture, mentioning where and when he was buried. He had before been vicar of Little Chart, and of St. Laurence Wolton, as he was then of St. John's Sherburne, in Hampshire.
The church of Hollingborne, to which the chapels of Hucking and Bredhurst were antiently annexed, is a sinecure rectory, with a vicarage endowed. The rector of Hollingborne is at this time patron of the perpetual curacy of the chapel of Bredhurst. The archbishop is patron both of the rectory and of the vicarage of Hollingborne, the vicar of which is collated to this vicarage, with the chapel of Hucking annexed.
The vicarage was endowed before the year 1407, in which year Arthur Sentleger, the rector, granted to William Maunby, vicar of this church, a messuage, with its appurtenances in this parish, for the habitation of himself and his successors for ever. (fn. 5) In archbishop Chichele's register, at Lambeth, there is an unauthenticated writing of a composition, made about the year 1441, for it is without date, between William Lyeff, then rector here, and John Fsylde, vicar, upon the assignation of a proper portion for the endowment of this vicarage in future times.
The rectory of Hollingborne is valued in the king's books at 28l. 15s. 5d. and the tenths at 2l. 17s. 6 1/7d. The vicarage is valued in them at 7l. 6s. 8d. and the yearly tenths at 14s. 8d. The vicarage in 1640 was valued at eighty-six pounds, and the communicants were then 271. It is now of the yearly certified value of 70l. 16s. 8d.
The vicarage was augmented twenty pounds per annum, by lease between Ralph Staunton, rector, and Sir Thomas Culpeper, of this parish.
¶The name of Culpeper, or Colepeper, is so variously spelt in different deeds and records, that it is impossible to keep with any rule to either spelling; on all the monuments, and in the parish register, (excepting in two instances in the last) it is spelt Culpeper.
In the past people doesn’t know about this. According to the #doctors research tongue ties is the common disease amongst children’s. The major cause of this problem is #oral #health.
Initially there were few patients who know about it but due to the increase in number of patients Alcoa dentist and orthodontists configure out the myofunctional therapy for the tongue tie treatment.
Tongue tie treatment will be done as soon as possible otherwise it will create trouble for the affected person in future.
Let us discuss the causes and the effects of Tongue Tie.
Tongue Tie?
It is not just a figure of speech. It can affect the oral and #facialdevelopment and headings towards serious health issues.
Why Tongue Tie matters?
It plays a vital role in speaking otherwise a person cannot speak properly it is very painful and leads to headaches, breathing issue and body pain as well.
What are the major causes of tongue tie?
A research shows that tongue tie linked to the mutation in the gene.
It can inherit from one of the parent either mother or father basically genetic issue.
Either Tongue tie affect breast feeding?
It is the first thing to be noticed while #breastfeeding because mother is getting trouble in it.
Tongue Tie Affect the speech?
Not in many cases but it will affect the speech but the #jaw and #teeth will impacted by tongue tie.
Especially the children who suffer from tongue tie has unable to speak R and I. If you think that the children have this issue straightaway go to the doctor to examine his/her to sort out the issue as soon as possible.
How Tongue Tie will be treated?
In majority of the cases the tongue tie will be treated and cure by the minor surgery to resolve the problem of an individual.
This surgery only takes few minutes. They often treated in the doctor’s office no operation theatre is required for it.
But make sure that the doctor must be qualified as specialist.
It is very important for the person who is suffering this problem must take the #myofunctional #therapy for at least three weeks.
Why therapy is needed?
It is needed because that the tongue will work properly as normal or to refunctioning of tongue which was treated.
If Tongue Tie will not be treat or delay the treatment?
It will affect the growth of a mouth and as well as jaw it affects the whole facial development and it causes the severe jaw pain, headache, and a sleep apnea.
What is lip tie?
You can co relate this to a tongue tie.
The mid line between lip and our gum are too thick and small and it affects the lip movement as well.
It can be treated as same as tongue tie by a small surgery and mandatory part is that myofunctional therapy is required for this too otherwise it also affects your speaking power.
End Result?
Basically the main perspective of writing this information is to aware people to know about this disease and how they get rid of, but the major part is this that the treatment will be done at early stages otherwise it creates major issues for the individual who is suffering from it.
Those who know about this at later stage they will suffer from severe body pains headache, sleep apnea and other problems as well.
Basically parents were fully aware of this problem if might their children have this issue specially mothers check carefully while breast feeding theirs childrens and the most important thing is this specially check their oral health as well otherwise your children might suffer from this problem throughout their life.
On cold, cloudy, windy days, its easy to think Spring is weeks, if not months away. But for those of us who know what and where to look, signs of Spring are all around. On day day of some churchcrawling I would see carpets of snowdrops, winter aconites among others, and trees, shrubs with buds ready to burst forth with new leaves. Birds are more vocal, and with other matters on their minds.
The start of the orchid season might be just six weeks away, last year the first Kentish orchid was seen in flower on March 19th, who knows what this season will bring, but in the woods and up on the downs, orchids are stirring, waking up, creating rosettes, and some thinking about putting forth spikes.
Its all about to happen.
So, I asked the two mods from the orchid group if they would like to meet up with a chat, and discuss trips for the new season. Last year we met near Ian's house on the banks of the Medway, this year it was near to Terry's, near Gravesend in Cobham. I chose Cobham as I wanted to revisit the church, the the local pub, one of the local puns, The Leather Bottle is opposite the church.
So that was the plan.
Jools wasn't going to come, as she wanted to work in the garden, so once the shopping was done and we had eaten breakfast, I would be off.
Tesco has empty shelves; washing up liquid seems to still be an issue, and there was a huge gap in the fresh meat section. Of course, it might be nothing.
Back home for breakfast and then time to go out. Of course I could have stayed and watched Norwich on the tellybox against Arsenal, but 90 minutes of shouting at the TV didn't sound like a good idea, so churches and a pub lunch it was! Norwich were playing top of the table, Burnley, and despite winning the last two games having scored 8 goals, lets just says I wasn't confident. Which was well placed, as Norwich defended like, well, Norwich, gifting Burnley two goals.
But of this I was unaware. For now.
An easy drive up the M20 to Maidstone, turning off at the services, but doubling back under the motorway into Hollingbourne. We had tried to get here before Christmas, but the only road through the villages was closed. In two places! Which the church in the middle. But back now, with no issues other than the 21st century traffic trying to get through the 17th century streets.
The church sits beside a small green, with a row of cottages to one side, I could see from the car the door of the porch open, so good news. I grabbed my camera and made my way through the lych gate and into the church, which I had to myself.
On the way to Cobham, I went via the M20 so I could call in at Hollingbourne to revisit the church, now that the roadworks seemed to be over.
I had the church to myself, which is always good.
All Saints is really the Cullpeper's mausoleum, it is fill with memorials and tombs to generations of them.
Until the line died out.
I can't remember why I didn't finish photographing it last time, but I knew I had to go back with the big lens, so did today, recording mostly the glass, but found much more too.
I snapped all the glass, some of which was very good, but others, not so.
And so onto the short drive up the A229 to the M2, across the Medway then up to Cobham, across the fields to the village, parking outside the village hall and once collecting my camera gear, a short walk to the church.
It too was open. And as wonderful as before. Having my big lens, I wanted to snap the 19 brass plates marking the tombs of the great family. This is the best collection of medieval brass plates not just in Kent, but in all of England. That and the tomb in the Chancel making this such a special church, with so much of interest. Not least the remains of a spiral staircase in the south east corner of the chancel which lead to a very unusual gallery, now long since gone.
I snap much, some of it redoing what I had recorded before, but most new, including the windows.
I walked out of the church and down to the pub, Terry pulled up beside me in his ancient Audi, greeting me warmly. Ian was waiting in the car park, so we went in, bagged a table and we all decided to have lunch.
I thought I would be good and have something light, like tapas, while they both had the suet pudding of the day(!): steak and ale, in which they chose well. The tapas was bland, sadly, especially the creamy chicken dish, but the pint of local best ale was very good indeed.
We talked of plans for the new year and of the group, and eat well when the food is brought. The suet puddings looked fabulous.
On the tellybox I saw Norwich were 1-0 down at half tie, and by the time I got to the car to drive back home, were 3-0 and falling apart.
I drove in silence.
3-0 was the final score, but we have a run of what should be winable games, while Burnley will cruise to promotion with few worries.
I go to see jen, but she has gone for a walk, so I got no answer at the door, so drive home where Jools was just finishing in the garden.
We have a brew and some chocolate while I listen to yet more football, and review the 535 shots of the two churches I had taken.
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There was considerable damage caused to this church in an earthquake of 1382. The medieval accounts survive so we know that 48s 2d was spent on the rebuilding. Little can have changed to the structure since that time, except for the construction of a north chapel in 1638. This chapel has a charming pattern of flint flushwork triangles in a horizontal course below the battlements. It contains one of the most interesting seventeenth-century monuments in Kent - to commemorate Lady Elizabeth Culpepper (d. 1638), carved and signed by the Court Sculptor Edward Marshall. The detail is amazing and the cord that connects her ring and wrist is always pointed out to visitors. The rest of the church was restored early in the career of George Gilbert Scott Jr in 1876 (see also Frinsted) and retains its patina of age unimaginable in a restoration by Scott Sr. The pulpit is early seventeenth century and dates from a few years after the much crocketed font cover. There are three signed monuments by Rysbrack and a tall crownpost roof of good construction in the nave.
www.kentchurches.info/church.asp?p=Hollingbourne
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HOLLINGBORNE.
THE next parish north-westward from Harrietsham is Hollingborne, called in Domesday, Hoilingeborde, and in later records, Holingburnan and Holingeburne. It probably took its name from the spring which rises in the vale underneath the hill, in this parish.
THE PARISH of Hollingborne is situated much the same as that of Harrietsham last described, close to the great ridge of chalk hills, at the foot of which is the village called Hollingborne-street, in which at the south end of it stands the church and vicarage, and near them a well-looking brick mansion, of the time of queen Elizabeth, which by its appearance must have had owners of good condition in former times, but what is remarkable the rector of Hollingborne claims some rooms in this house in right of his rectory at this time. The road through Newnhambottom from Ospringe and Canterbury passes through Hollingborne-street, and thence through Eyhorne, commonly called Iron-street, in this parish, where there are two good houses, one belonging to Robert Salmon, esq. who resides in it, and the other built not many years since by Mr. John Weeks, who died possessed of it in 1785. Hence the road leads on, and joins the Ashford high road through Bersted to Maidstone. The southern part of this parish consists mostly of a deep sand, the whole of it below the hill is well watered by some small streams, which running southward join the Lenham rivulet in its way to Maidstone. Nearer the street the soil becomes a chalk, which continues to the summit of the hill, at the edge of which stands Mr. Duppa's house, whence the remaining part of this parish northward, situated on high ground, and exposed to the cold bleak winds, is but a wild and dreary country, with thick hedgerows, and frequent coppices of wood, mostly of hazel and oak, and small unthriving trees of the latter dispersed among them; the soil a deep tillage land, wet and very poor, being a red cludgy earth, covered with quantities of flint stones. On Eyhorne green, or as it is commonly called Broad-street, in this parish, in October yearly, two constables are chosen, one for the upper, the other for the lower half hundred of Eyhorne, each of which district consists of the twelve adjoining parishes, the borsholders in which, and the several boroughs in them, except such as are chosen at the different court leets, are chosen here likewise.
This parish, with the manor of Elnothington in it, together with the rest of the hundred of Eyhorne, was antiently bound to contribute to the repair of the sixth pier of Rochester bridge.
ÆTHELSTAN ETHELING, son of Ethelred II. gave by his will in 1015, to Christ-church, in Canterbury, his lands at Hollingborne, with their appurtenances, excepting one plough-land, which he had given to Siserth. In the MSS. in Bennet college library, Cambridge, of the evidences of Christ-church, Canterbury, intitled Thorn, printed in Decim. Script. f. 2221, this gift is said to have been made in 980; a very improbable circumstance, the king, his elder brother, at that time being but fourteen years of age.
These lands he had bought of his father, and gave them, with his consent, to Christ-church, L. S. A. that is, free from all secular service, excepting the trinoda necessitas, in like manner as Adisham had been given to it.
The manor of Hollingborne remained part of the possessions of the church of Canterbury at the time of the conquest, when the revenues of it were enjoyed as one common estate by the archbishop and his convent; but archbishop Lanfranc, after the example of foreign churches, separating them, in the partition Hollingborne fell to the share of the monks, and was allotted for their subsistence, (or ad Cibum, as it was usually termed) and it is accordingly thus entered in the book of Domesday, under the general title of Terra Monachorum Archiepi, i. e. the land of the monks of the archbishop.
The archbishop himself holds Hoilingeborde. It was taxed at six sulings. The arable land is twenty-four carucates. In demesne there are two, and sixty-one villeins, with sixteen borderers, having twenty-three carucates. There is a church, twelve servants, and two mills, and eight acres of meadow. Wood for the pannage of forty hogs. In the whole, in the time of king Edward the Confessor, and afterwards, it was worth twenty pounds, and now it is worth thirty pounds. To this manor there adjoins half a suling, which never paid scot, this the bishop of Baieux rents of the archbishop.
At this time, the whole of the above premises seems to have been valued at thirty pounds.
King Henry II. granted to the monks of Christchurch a charter for their lands at Hollingborne upon the Hills. In the 10th year of king Edward II. the prior obtained a charter of free-warren for his manor of Hollingborne, among others; about which time it was, with its appurtenances, valued at 46l. 9s. 8d. King Henry VI. by his letters patent, in his 25th and 26th year, granted to the prior a market, to be held at this place weekly on a Wednesday, and a fair yearly on the feast of St. Anne. (fn. 1)
William Selling, who was elected prior in the next reign of king Edward IV. anno 1472, during the time of his holding that dignity, greatly improved the prior's apartments here. After which, it seems to have undergone no material alteration till the dissolution of the priory, which was surrendered into the hands of king Henry VIII. in the 31st year of his reign.
The manor of Hollingborne did not remain long in the hands of the crown; for the king settled it, by his dotation charter, in his 33d year, on his newerected dean and chapter of Canterbury, part of whose possessions it now remains.
There is a court-leet and court baron regularly held by the dean and chapter for this manor, which extends likewise into the adjoining parishes of Hucking, Bredhurst, and Harrietsham, the quit-rents of it called Beadle-rents, being about forty-two pounds per annum.
¶BUT THE DEMESNE LANDS of this manor have been from time to time leased out by the dean and chapter at a reserved rent of 10l. 9s. The year after the grant of it to them, they demised them by lease to I. Reynolde, as they did anno 19 Elizabeth to William Puresoy, in whose family they remained till the beginning of king James I.'s reign. After which the Fludds held them in lease, and continued so to do, till their interest in them was passed away to W. Alabaster, D. D. After which these premises were held in succession by Bargrave, Boys, Farewell, and Gookin, till the year 1684, when Sir Thomas Culpeper, had a lease of them, in whose family they continued till John Spencer Colepeper, of the Charterhouse, passed away his interest in them to the Hon. Robert Fairfax, who held them in 1758, and then alienated his lease to Francis Child, esq. banker in London, whose brother Robert Child, esq. of London, banker, dying in 1782, the trustees of his will, Robert Dent and John Keysel, esqrs. are now in the possession of his interest in the lease of these demesnes, under the dean and chapter, besides which the dean and chapter have several other lands and woods here leased out by them to different persons.
HOLLINGBORNE is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deaury of Sutton; and is exempt from the jurisdiction of the archdeacon.
The church, which is dedicated to All Saints, is a handsome building, consisting of three large isles, with a chancel at the end of the middle one, and a square tower at the west end. The chancel is much enriched with the monuments of the family of Culpeper, of Greenway-court, and for two of the lords Culpeper, one of them by Rysbrack; on the north side is one for Sir Martin Barnham and his two wives, in 1610, their three figures kneeling at a desk, and underneath their children. At the east end of the north isle there is a small neat chapel, raised up several steps to give room for a vault underneath, in which lie the remains of all this branch of the Culpeper family. The sides of the chapel are filled with black escutcheons, and square tablets of black marble alternately, only two of these among the numbers of them are filled up, and those with younger branches of the family settled elsewhere, a proof of the disappointment of the vain endeavours of the builder to transmit the memory of his descendants to posterity. On the middle of the pavement is a beautiful raised monument of white marble, and the figure of a lady, lying at full length, in the habit of the times, of exceeding good sculpture, in memory of Elizabeth, lady of Sir Thomas Culpeper, daughter of John Cheney, esq. of Sussex, obt. 1638. In the isle a monument for Nich. Chaloner, esq. obt. 1706. Against the north wall of the north isle for two of the family of Duppa, and at the lower end of the church, for the Plummers, Collins's and Dykes. In the middle isle a stone, on which have been the figures of a man and woman in brass, but two shields of arms remain, being quarterly, first and fourth, A chevron, engrailed on a chief, three sleurs de lis; second and third, Three fishes, wavy, sessways, in pale.
There is belonging to this church, a most superb altar-cloth, and a pulpit-cloth and cushion, of purple velvet, ornamented with different figures of fruits of pomegranets and grapes, wrought in gold, the needlework of the daughters of Sir John Colepeper, afterwards created lord Colepeper, who employed themselves for almost the space of twelve years in the working of them, during their father's absence abroad with king Charles II.
The communion plate is very handsome, and an swerable to the above-mentioned furniture, being mostly the gift of the family of Colepeper, and some of it of Baldwin Duppa, esq.
John Eweyn, by his will proved in 1527, gave a table of alabaster, to stand upon the altar of St. John the Baptist in this church; and money to the repair of St. John's chapel in it. John Aleff, parson of Hollingborne, as appears by his will in 1537, was buried in the way beside the porch-door, on the right hand, and that there was set in the wall, nigh his grave, a stone with a plate of sculpture, mentioning where and when he was buried. He had before been vicar of Little Chart, and of St. Laurence Wolton, as he was then of St. John's Sherburne, in Hampshire.
The church of Hollingborne, to which the chapels of Hucking and Bredhurst were antiently annexed, is a sinecure rectory, with a vicarage endowed. The rector of Hollingborne is at this time patron of the perpetual curacy of the chapel of Bredhurst. The archbishop is patron both of the rectory and of the vicarage of Hollingborne, the vicar of which is collated to this vicarage, with the chapel of Hucking annexed.
The vicarage was endowed before the year 1407, in which year Arthur Sentleger, the rector, granted to William Maunby, vicar of this church, a messuage, with its appurtenances in this parish, for the habitation of himself and his successors for ever. (fn. 5) In archbishop Chichele's register, at Lambeth, there is an unauthenticated writing of a composition, made about the year 1441, for it is without date, between William Lyeff, then rector here, and John Fsylde, vicar, upon the assignation of a proper portion for the endowment of this vicarage in future times.
The rectory of Hollingborne is valued in the king's books at 28l. 15s. 5d. and the tenths at 2l. 17s. 6 1/7d. The vicarage is valued in them at 7l. 6s. 8d. and the yearly tenths at 14s. 8d. The vicarage in 1640 was valued at eighty-six pounds, and the communicants were then 271. It is now of the yearly certified value of 70l. 16s. 8d.
The vicarage was augmented twenty pounds per annum, by lease between Ralph Staunton, rector, and Sir Thomas Culpeper, of this parish.
¶The name of Culpeper, or Colepeper, is so variously spelt in different deeds and records, that it is impossible to keep with any rule to either spelling; on all the monuments, and in the parish register, (excepting in two instances in the last) it is spelt Culpeper.
William Reed Hounslow acquired land 1885, cottage built, property sold 1890 to Sarah, wife of Henry Yorke Sparks, house enlarged. After her husband’s death 1900, Sarah ran a poultry farm. Converted to flats 1930s, later guest house, private hospital, now nursing home. Waterworth was the maiden name of Henry Yorke Sparks’ mother.
“Sale. . . Part Lot 7. . . Splendidly situated, close to sea, opposite R. C. Andrews's Mansion, and just west of Mr. Jones, and known as W. R. Hounslow's.” [Advertiser 4 Aug 1886 advert]
“Wanted, twenty two horse loads rotten Manure. Apply Mr. Sparks, Pier street, Glenelg.” [Advertiser 16 Nov 1891 advert]
Sparks, H. Y., J.P., manager of Mortgage Co of SA, Pier St, New Glenelg. [Sands & McDougall’s Directory 1892]
“General Servant, with best references; must cook well; wages, 15s. Apply Mrs. Sparks, Glenelg.” [Evening Journal 15 Oct 1894 advert]
“the good ship Buffalo, which brought. Captain Hindmarsh, the first Governor of South Australia, and his party to this colony in 1836, lies stranded at the mouth of a New Zealand river. She sank down firmly in the sand, and some of her stout planks of British oak are still standing to mark the scene of the disaster. At the official luncheon at Glenelg on Commemoration Day on Wednesday the Mayor of the seaside town, Mr. H. Y. Sparks, announced, amid cheers, that he had commissioned two friends to endeavour to get from the Buffalo sufficient wood to construct a Mayoral chair for the town.” [Register 29 Dec 1898]
“the timber from the old historic vessel, the Buffalo, has arrived. . . all the timber procurable has been got out, and has been shipped to your address, together with a cannon ball and manacles, also got from the wreck; freight prepaid here right through to Adelaide. The wreck is now out of sight, and it will be impossible to get any more timber out.” [Register 25 Feb 1899]
“wood of H.M.S. Buffalo. . . the chair has now been made, and will be on view at Messrs. Mayfield & Sons' establishment in Rundle-street. Great trouble was experienced in working the teak, on account of it having been at the bottom of the sea for so long, and in consequence of the nail holes and bolts, but the work has been done so well by Messrs. Mayfield that the piece of furniture is distinctly elegant. It forms a capacious armchair with a high back. The fine carving was done at the Glenelg railway works, and the upholstering at Messrs. Mayfields'. The seat is a movable one, and underneath is placed some of the original wood, which certainly bears the appearance of having been exposed to the sea for many years. On the back is a plate with the following inscription:— 'H.M.S. Buffalo, Captain John Hindmarsh, R.N., December 28, 1836. This chair, made from her timbers, was presented to the town of Glenelg, by H. Y. Sparks, J.P., Mayor, 1899.' The chair will in future be used by the Mayors of Glenelg.” [Register 24 Oct 1899]
“Holdfast Bay Yacht Club at Glenelg. . . the Waterworth Cup, a pretty and serviceable trophy, presented to the Bay club by Mr. H. Y. Sparks, one of the quietest, least ostentatious, but most solid supporters of sport that South Australia possesses.” [Express & Telegraph 17 Feb 1900]
“SPARKS.— [Died] On the 21st October, at Waterworth, Glenelg (suddenly), Henry Yorke Sparks, in his 56th year.” [Register 22 Oct 1900]
“A fair and sale of goods in connection with the Glenelg branch of the Ministering Children's League. . . The arrangements were in the hands of Mrs. H. Y. Sparks, and the fair proved a success. . . The proceeds are to be devoted to the Walkerville and Carrington-street Orphanages.” [Advertiser 9 Dec 1901]
“Mrs. H. Y. Sparks has returned to Waterworth Glenelg.” [Critic, Adelaide 11 Apr 1903]
“the poultry yards at 'Waterworth', Glenelg. . . Mrs. H. Y. Sparks, the owner, has already made a great name for herself. . . the commercial aspect of poultry-breeding. Originally the owner of a fine flock of Pekin ducks. . . and invested in a substantial number of Buff Orpington duck stock. . . Fowls are also largely bred, among them being White Leghorns, White Orpingtons, and Black Orpingtons.” [Chronicle 6 Jan 1906]
“Mrs. H. Y. Sparks, of the Waterworth Poultry Yards, Glenelg, is an enthusiastic poultry-breeder. She has made it her hobby for some years, and now has several pens of very choice birds. Pekin and Buff Orpington ducks. . . Mrs. Sparks finds a ready sale of eggs and ducklings. . . Turning to the hens we find Black Orpingtons. . . White Leghorns. . . White Orpingtons have been lately added to the .list, and were procured from Glenthorne, the home of the White Orpington in this State.” [Chronicle 30 Jun 1906]
“To Let, Furnished House, 7 rooms. Apply to Mrs. Sparks, Waterworth, Pier-st, Glenelg.” [Advertiser 23 Nov 1912 advert]
“list of subscribers who have been connected with telephones in the metropolitan and country areas during the week. . . Sparks, S. T., Mrs. 11 Pier street, Glenelg. . .” [News 31 Aug 1923]
“Glenelg South — Furnished Flat, close beach and tram. . . 11 Pier-st.” [Advertiser 23 Sep 1930 advert]
“Waterworth House, guest home, 11a Pier st., min. beach, vacancies. Mrs. Coonan.” [Advertiser 30 Dec 1935 advert]
“Waterworth. Show vis, sup. Accom., meals opt. Ideal posn. 11 Pier St.” [Advertiser 4 Sep 1937 advert]
“Auction. . . Waterworth. . . One of Glenelg's Largest and Best Constructed Single-storied Family Homes, containing 12 lovely rooms (including reception room. . . dining room. . . drawing room. . . many with blackwood or marble mantels — tiled porch and halls, conservatory, glass house, tiled covered way, etc. Garage and other outbuildings. Large, secluded grounds. . . Ideal for Family Home — Guest or Rest Home — and a Picked Site for Large Block of Flats.” [The Mail 30 Apr 1938 advert]
“Waterworth. Rest and Convalescent Home. 11 Pier St.. Glenelg. Special care elderly people, invalids; surroundings ideal; minute beach.” [Advertiser 24 Jan 1940 advert]
WILLIAM REED HOUNSLOW
“HOUNSLOW.— On the 28th November, at his residence, No. 15 Eton street, Malvern (suddenly). William Reeds, dearly beloved husband of Emily, and beloved father of Percy, Cliff, and Leslie, in his 60th .year.” [Register 29 Nov 1922]
“Mr. William R. Hounslow, who for six or seven years had been city and suburban traveller for Mr. John Walton, confectioner, of Twin-street. . . for many years has taken a deep interest in horses, and was well known as an exhibitor at city and country shows and at contests organised by horses-in-action societies. He frequently judged horse sections at country shows. . . connected with the South Australian Carrying Company, and with Messrs. Harford & Co., confectioners, subsequently conducting a business in Gawler-place. . . left a widow and three sons (Messrs. P., C, and L. Hounslow).” [Advertiser 30 Nov 1922]
HENRY YORKE SPARKS
“Mr. Henry Yorke Sparks was born of English parents in Monte Video during the prolonged blockade of that town. His father, a Liverpool merchant, settled in Monte Video, suffered from the disasters of that epoch, and chartered the Barnard to proceed to South Australia with his young family. Mr. Sparks arrived in Adelaide as a boy in 1852, and joined the school which had just been opened by Mr. John Whinham. . . he entered the office of Sir John Morphett, and in time those of the Bank of South Australia, Eldcr, Smith, & Co., and the Mortgage Company of South Australia, in the latter of which he filled the office of manager since its foundation in 1880. On June 26, 1894, he was appointed manager of the .South Australian Company. . . In 1898 he was elected mayor of Glenelg. . . . He was an enthusiastic amateur gardener, Mr. Sparks was in 'his 56th year, and leaves a widow and five daughters.” [Advertiser 22 Oct 1900]
“SPARKS.— [Died] On the 17th May, at a private hospital, Sarah Thomas, of West terrace, Kensington Gardens, widow of Henry Yorke Sparks, of Glenelg, aged 79 years.” [Advertiser 18 May 1935]
“Mrs. H. Y. Sparks, a former Mayoress of the town.” [Glenelg Guardian 22 May 1935]
Picture above; The statue outside Uxbridge Underground Station, is called Anticipation, by Anita Lafford (2002)
Uxbridge is a London Underground station in Uxbridge in the London Borough of Hillingdon, north-west London. The station is the terminus of the Uxbridge branches of both the Metropolitan line and the Piccadilly line. The next station towards London is Hillingdon. The station is 15.5 miles (25 km) west of Charing Cross and is in Travelcard Zone 6. The closest station on the Chiltern Line and Central line is West Ruislip, accessible by the U1 and U10 buses. The closest station on the Great Western Main Line (in future Crossrail) is West Drayton, accessible by the U1, U3, U5 and 222 buses. Uxbridge was formerly the terminus of a branch of the District line which ran from Ealing Common; the Piccadilly line replaced the District line in 1933.
The Harrow and Uxbridge Railway (later merged into the Metropolitan Railway) first opened a station in Uxbridge on 4 July 1904 on Belmont Road, a short distance to the north of the existing station. The station was situated on a different track alignment, now used as sidings. The original service from central London was provided by steam-drawn trains but electrification took place the following year.
HISTORY
The Harrow and Uxbridge Railway (later merged into the Metropolitan Railway) first opened a station in Uxbridge on 4 July 1904 on Belmont Road, a short distance to the north of the existing station. The station was situated on a different track alignment, now used as sidings. The original service from central London was provided by steam-drawn trains but electrification took place the following year.
The London United Tramways extension from Shepherds Bush was opened a few weeks before the underground station. The manager, as reported in a local newspaper at the time, commented on the high prices of the underground journey: the tram journey however took well over an hour to reach Shepherds Bush.
On 1 March 1910, an extension of the District line from South Harrow to connect with the Metropolitan Railway at Rayners Lane was opened, enabling District line trains to serve stations between Rayners Lane and Uxbridge. The original Belmont Road station had two platforms, and after the introduction of shared operation one platform was used by each line.
On 23 October 1933 District line services to Uxbridge were replaced by Piccadilly line trains.
On 4 December 1938 the current station was opened on a new alignment.
On 12 January 1983, the station buildings were given Grade II listed status.
The London Borough of Hillingdon announced in June 2011 that it would be lobbying Transport for London to have the Central line diverted from West Ruislip station to Uxbridge. Such a project would require a business case approved by TfL and the completion of signal upgrade work on the Metropolitan line.
DESIGN
The station was designed by Charles Holden with L H Bucknell and features a red-brick facade with paired sculptures by Joseph Armitage over the entrance, representing stylised "winged wheels" with leaf springs.
A tall concrete canopy arches over the tracks with a row of clerestory windows above the platforms. The canopy at Uxbridge is similar to the one at Cockfosters, the terminus at the other end of the Piccadilly line. The station is below street level in a cutting.
The stained glass panels by Erwin Bossanyi at the booking hall end of the platforms reflect the area's heraldic associations. The crown and three seaxes on a red background are the arms of Middlesex County Council and the chained swan on a black and red background is associated with Buckinghamshire. The centre shield is possibly the arms of the local Basset family; a downward-pointing red triangle on a gold background was borrowed from the Bassett arms for use on the arms of Uxbridge Urban District Council in 1948.
The forecourt of the new station was originally laid out to provide a turning circle for trolleybuses, which replaced trams in 1936. Ticket barriers are in operation.
Image Credit; Phil Wood
Photograph Copyright; Digital Expression UK (2020)
Information supplied by Wikipedia
Our first church of a day cycling out into the countryside to the west of Ipswich with Simon who had planned a most enjoyable itinerary and was an excellent guide (and was very patient whenever I started flagging, which is usually at the merest sight of a hill, not something I was expecting too many of in this part of the world, so this trip taught me not to trust the stereotype that East Anglia is flat terrain!).
St Mary's at Bramford is designed to impress, its northern face greets the visitor and includes and array of carved ornament in the carved bestial figures standing proud upon the parapet (the less prominent southern side eschews the carved embellishments) It is a most handsome church, complete with the fine late lantern-like medieval clerestorey that always seems to be such a hallmark of larger East Anglian churches, thought the lead-covered needle-spire is a less typical feature, there being rather few churches with spires in this region (with the main building material being flint and therefore unsuitable for such structures, spires were either constructed of lead-covered wood, or avoided altogether. Many other timber spires have long since been removed).
Within the church is light and airy with the eye drawn immediately to an even more unusual feature, a stone rood screen formed by three arches spanning the chancel, a delicate 14th century structure with pierced quatrefoils (apparently inserted more recently during the Victorian restoration). The chancel beyond was furnished by W.D.Caroe at the turn of the last century and Kempe glass inserted in the east window. The most notable furnishing however is at the west end under the tower, a late medieval font surmounted by a beautiful 16th century wooden canopy (Gothic in form but with Renaissance detailing) which hinges open to give access to the holy water rather than require lifting or raising as so many others do. Another remarkable feature is the late 16th century poor box gouged into the side of a pillar on the south side of the nave, complete with carved inscription to serve as a reminder.
This is a great church to visit though it has usually been kept locked outside of services; fortunately Simon had made prior arrangements so the vicar met us at the church and opened up to show us around. She was also very good company and her welcome and time spent with us was hugely appreciated (there was talk of possibly opening the church more often in future though I think she may have since moved to another parish).
For a more complete impression of the church I couldn't recommend anyone more than my own travelling companion below:-
We stumbled upon All Saints en route to a different church, and as all those seen thus far on this day had been small and plain, not much was expected. But I saw the tower from along the main street, and looked impressive. and once parked we found it unlocked and welcoming.
Star of the show is the northern chapel, given over to the Culpepper family, with a fabulous tomb in the centre. On the walls, dozens of blank shields show what had been planned to be the family mausoleum for centuries, but things changed, the family moved away and the chapel has just three shields decorated.
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There was considerable damage caused to this church in an earthquake of 1382. The medieval accounts survive so we know that 48s 2d was spent on the rebuilding. Little can have changed to the structure since that time, except for the construction of a north chapel in 1638. This chapel has a charming pattern of flint flushwork triangles in a horizontal course below the battlements. It contains one of the most interesting seventeenth-century monuments in Kent - to commemorate Lady Elizabeth Culpepper (d. 1638), carved and signed by the Court Sculptor Edward Marshall. The detail is amazing and the cord that connects her ring and wrist is always pointed out to visitors. The rest of the church was restored early in the career of George Gilbert Scott Jr in 1876 (see also Frinsted) and retains its patina of age unimaginable in a restoration by Scott Sr. The pulpit is early seventeenth century and dates from a few years after the much crocketed font cover. There are three signed monuments by Rysbrack and a tall crownpost roof of good construction in the nave.
www.kentchurches.info/church.asp?p=Hollingbourne
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HOLLINGBORNE.
THE next parish north-westward from Harrietsham is Hollingborne, called in Domesday, Hoilingeborde, and in later records, Holingburnan and Holingeburne. It probably took its name from the spring which rises in the vale underneath the hill, in this parish.
THE PARISH of Hollingborne is situated much the same as that of Harrietsham last described, close to the great ridge of chalk hills, at the foot of which is the village called Hollingborne-street, in which at the south end of it stands the church and vicarage, and near them a well-looking brick mansion, of the time of queen Elizabeth, which by its appearance must have had owners of good condition in former times, but what is remarkable the rector of Hollingborne claims some rooms in this house in right of his rectory at this time. The road through Newnhambottom from Ospringe and Canterbury passes through Hollingborne-street, and thence through Eyhorne, commonly called Iron-street, in this parish, where there are two good houses, one belonging to Robert Salmon, esq. who resides in it, and the other built not many years since by Mr. John Weeks, who died possessed of it in 1785. Hence the road leads on, and joins the Ashford high road through Bersted to Maidstone. The southern part of this parish consists mostly of a deep sand, the whole of it below the hill is well watered by some small streams, which running southward join the Lenham rivulet in its way to Maidstone. Nearer the street the soil becomes a chalk, which continues to the summit of the hill, at the edge of which stands Mr. Duppa's house, whence the remaining part of this parish northward, situated on high ground, and exposed to the cold bleak winds, is but a wild and dreary country, with thick hedgerows, and frequent coppices of wood, mostly of hazel and oak, and small unthriving trees of the latter dispersed among them; the soil a deep tillage land, wet and very poor, being a red cludgy earth, covered with quantities of flint stones. On Eyhorne green, or as it is commonly called Broad-street, in this parish, in October yearly, two constables are chosen, one for the upper, the other for the lower half hundred of Eyhorne, each of which district consists of the twelve adjoining parishes, the borsholders in which, and the several boroughs in them, except such as are chosen at the different court leets, are chosen here likewise.
This parish, with the manor of Elnothington in it, together with the rest of the hundred of Eyhorne, was antiently bound to contribute to the repair of the sixth pier of Rochester bridge.
ÆTHELSTAN ETHELING, son of Ethelred II. gave by his will in 1015, to Christ-church, in Canterbury, his lands at Hollingborne, with their appurtenances, excepting one plough-land, which he had given to Siserth. In the MSS. in Bennet college library, Cambridge, of the evidences of Christ-church, Canterbury, intitled Thorn, printed in Decim. Script. f. 2221, this gift is said to have been made in 980; a very improbable circumstance, the king, his elder brother, at that time being but fourteen years of age.
These lands he had bought of his father, and gave them, with his consent, to Christ-church, L. S. A. that is, free from all secular service, excepting the trinoda necessitas, in like manner as Adisham had been given to it.
The manor of Hollingborne remained part of the possessions of the church of Canterbury at the time of the conquest, when the revenues of it were enjoyed as one common estate by the archbishop and his convent; but archbishop Lanfranc, after the example of foreign churches, separating them, in the partition Hollingborne fell to the share of the monks, and was allotted for their subsistence, (or ad Cibum, as it was usually termed) and it is accordingly thus entered in the book of Domesday, under the general title of Terra Monachorum Archiepi, i. e. the land of the monks of the archbishop.
The archbishop himself holds Hoilingeborde. It was taxed at six sulings. The arable land is twenty-four carucates. In demesne there are two, and sixty-one villeins, with sixteen borderers, having twenty-three carucates. There is a church, twelve servants, and two mills, and eight acres of meadow. Wood for the pannage of forty hogs. In the whole, in the time of king Edward the Confessor, and afterwards, it was worth twenty pounds, and now it is worth thirty pounds. To this manor there adjoins half a suling, which never paid scot, this the bishop of Baieux rents of the archbishop.
At this time, the whole of the above premises seems to have been valued at thirty pounds.
King Henry II. granted to the monks of Christchurch a charter for their lands at Hollingborne upon the Hills. In the 10th year of king Edward II. the prior obtained a charter of free-warren for his manor of Hollingborne, among others; about which time it was, with its appurtenances, valued at 46l. 9s. 8d. King Henry VI. by his letters patent, in his 25th and 26th year, granted to the prior a market, to be held at this place weekly on a Wednesday, and a fair yearly on the feast of St. Anne. (fn. 1)
William Selling, who was elected prior in the next reign of king Edward IV. anno 1472, during the time of his holding that dignity, greatly improved the prior's apartments here. After which, it seems to have undergone no material alteration till the dissolution of the priory, which was surrendered into the hands of king Henry VIII. in the 31st year of his reign.
The manor of Hollingborne did not remain long in the hands of the crown; for the king settled it, by his dotation charter, in his 33d year, on his newerected dean and chapter of Canterbury, part of whose possessions it now remains.
There is a court-leet and court baron regularly held by the dean and chapter for this manor, which extends likewise into the adjoining parishes of Hucking, Bredhurst, and Harrietsham, the quit-rents of it called Beadle-rents, being about forty-two pounds per annum.
¶BUT THE DEMESNE LANDS of this manor have been from time to time leased out by the dean and chapter at a reserved rent of 10l. 9s. The year after the grant of it to them, they demised them by lease to I. Reynolde, as they did anno 19 Elizabeth to William Puresoy, in whose family they remained till the beginning of king James I.'s reign. After which the Fludds held them in lease, and continued so to do, till their interest in them was passed away to W. Alabaster, D. D. After which these premises were held in succession by Bargrave, Boys, Farewell, and Gookin, till the year 1684, when Sir Thomas Culpeper, had a lease of them, in whose family they continued till John Spencer Colepeper, of the Charterhouse, passed away his interest in them to the Hon. Robert Fairfax, who held them in 1758, and then alienated his lease to Francis Child, esq. banker in London, whose brother Robert Child, esq. of London, banker, dying in 1782, the trustees of his will, Robert Dent and John Keysel, esqrs. are now in the possession of his interest in the lease of these demesnes, under the dean and chapter, besides which the dean and chapter have several other lands and woods here leased out by them to different persons.
HOLLINGBORNE is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deaury of Sutton; and is exempt from the jurisdiction of the archdeacon.
The church, which is dedicated to All Saints, is a handsome building, consisting of three large isles, with a chancel at the end of the middle one, and a square tower at the west end. The chancel is much enriched with the monuments of the family of Culpeper, of Greenway-court, and for two of the lords Culpeper, one of them by Rysbrack; on the north side is one for Sir Martin Barnham and his two wives, in 1610, their three figures kneeling at a desk, and underneath their children. At the east end of the north isle there is a small neat chapel, raised up several steps to give room for a vault underneath, in which lie the remains of all this branch of the Culpeper family. The sides of the chapel are filled with black escutcheons, and square tablets of black marble alternately, only two of these among the numbers of them are filled up, and those with younger branches of the family settled elsewhere, a proof of the disappointment of the vain endeavours of the builder to transmit the memory of his descendants to posterity. On the middle of the pavement is a beautiful raised monument of white marble, and the figure of a lady, lying at full length, in the habit of the times, of exceeding good sculpture, in memory of Elizabeth, lady of Sir Thomas Culpeper, daughter of John Cheney, esq. of Sussex, obt. 1638. In the isle a monument for Nich. Chaloner, esq. obt. 1706. Against the north wall of the north isle for two of the family of Duppa, and at the lower end of the church, for the Plummers, Collins's and Dykes. In the middle isle a stone, on which have been the figures of a man and woman in brass, but two shields of arms remain, being quarterly, first and fourth, A chevron, engrailed on a chief, three sleurs de lis; second and third, Three fishes, wavy, sessways, in pale.
There is belonging to this church, a most superb altar-cloth, and a pulpit-cloth and cushion, of purple velvet, ornamented with different figures of fruits of pomegranets and grapes, wrought in gold, the needlework of the daughters of Sir John Colepeper, afterwards created lord Colepeper, who employed themselves for almost the space of twelve years in the working of them, during their father's absence abroad with king Charles II.
The communion plate is very handsome, and an swerable to the above-mentioned furniture, being mostly the gift of the family of Colepeper, and some of it of Baldwin Duppa, esq.
John Eweyn, by his will proved in 1527, gave a table of alabaster, to stand upon the altar of St. John the Baptist in this church; and money to the repair of St. John's chapel in it. John Aleff, parson of Hollingborne, as appears by his will in 1537, was buried in the way beside the porch-door, on the right hand, and that there was set in the wall, nigh his grave, a stone with a plate of sculpture, mentioning where and when he was buried. He had before been vicar of Little Chart, and of St. Laurence Wolton, as he was then of St. John's Sherburne, in Hampshire.
The church of Hollingborne, to which the chapels of Hucking and Bredhurst were antiently annexed, is a sinecure rectory, with a vicarage endowed. The rector of Hollingborne is at this time patron of the perpetual curacy of the chapel of Bredhurst. The archbishop is patron both of the rectory and of the vicarage of Hollingborne, the vicar of which is collated to this vicarage, with the chapel of Hucking annexed.
The vicarage was endowed before the year 1407, in which year Arthur Sentleger, the rector, granted to William Maunby, vicar of this church, a messuage, with its appurtenances in this parish, for the habitation of himself and his successors for ever. (fn. 5) In archbishop Chichele's register, at Lambeth, there is an unauthenticated writing of a composition, made about the year 1441, for it is without date, between William Lyeff, then rector here, and John Fsylde, vicar, upon the assignation of a proper portion for the endowment of this vicarage in future times.
The rectory of Hollingborne is valued in the king's books at 28l. 15s. 5d. and the tenths at 2l. 17s. 6 1/7d. The vicarage is valued in them at 7l. 6s. 8d. and the yearly tenths at 14s. 8d. The vicarage in 1640 was valued at eighty-six pounds, and the communicants were then 271. It is now of the yearly certified value of 70l. 16s. 8d.
The vicarage was augmented twenty pounds per annum, by lease between Ralph Staunton, rector, and Sir Thomas Culpeper, of this parish.
¶The name of Culpeper, or Colepeper, is so variously spelt in different deeds and records, that it is impossible to keep with any rule to either spelling; on all the monuments, and in the parish register, (excepting in two instances in the last) it is spelt Culpeper.
In 2014 one of my hopes was to see and photograph Swallowed-tail Kites soaring high in the sky. And all looked positive when we saw one as we drove across the bridge to Sanibel Island. With no place to stop we just assumed we would see more. Wrong! That was it for 2014. Then in 2015 I saw a kite on the drive from the airport to Punta Gorda. Again there was no place to stop. And again I saw no more kites during that entire trip. The Swallow-tailed Kite had become my nemesis bird.
In 2016, again, I saw one early during my trip when I had no way to stop to take a picture. But then it happened! Nearly everywhere I went I saw them soaring high in the sky. And finally I got a photo of this beautiful bird, well maybe more like 500 photos.
Swallow-tailed Kites are raptors that spends much of their lives in flight. They capture bugs and eat them while on the wing. Or they will pluck lizards, snakes or nesting birds out of treetops as they fly over. And they rarely need to flap their wings. While we watched we occasionally saw them flip in the air. And twice I saw them carrying nesting material to an unknown destination. In future trips I would really like a chance to see one closer, perched or skimming water as it takes a drink. But for now I'm happy to have had a chance to watch these beautiful birds soaring high against a bright blue sky. March 23, 2016
Gennady Ivanovich Padalka (Russian: Гeннадий Иванович Падалка; born 21 June 1958 in Krasnodar, Russia) is a Russian Air Force officer and an RKA cosmonaut. Padalka currently has the world record for the most time spent in space, having spent 879 days in space, more than any other person.[1][2][3] He worked on both Mir and the International Space Station.
Contents
1 Personal
2 Education and training
3 Awards
4 Cosmonaut career
4.1 Mir Mission
4.2 ISS Missions
4.2.1 Expedition 9
4.2.2 Expedition 19/20
4.2.3 Expedition 31/32
4.2.4 Expedition 43/44
4.3 Spacewalks
5 References
6 External links
Personal
Padalka is married to Irina Anatoliyevna Padalka (Ponomareva). They have three daughters: Yuliya, Yekaterina, and Sonya. He enjoys the theater, parachute sport and diving.[4][5][6][7]
Education and training
Padalka graduated from Yeysk Military Aviation College in 1979. After graduation, he served as a pilot and later a senior pilot in the Russian Air Force, eventually attaining the rank of colonel. He has logged 1500 flight hours in six types of aircraft as a First Class Pilot in the Russian Air Force. In addition, he has performed more than 300 parachute jumps as an Instructor of General Parachute Training. Padalka also worked as an engineer-ecologist at the UNESCO International Center of Instruction Systems until 1994.[8] He is an investigator for the Advanced Diagnostic Ultrasound in Microgravity Project, a US Government funded study investigating strategies for applying diagnostic telemedicine to space.
Awards
Padalka is a recipient of the Hero Star of the Russian Federation and the title of Russian Federation Test-Cosmonaut.[7] He is decorated with Fatherland Service Medal fourth class, Medals of the Russian Federation and also Medal of the International Fund of Cosmonautics support for Service to Cosmonautics. Padalka is a prize winner of the Russian Federation Government in the field of science and technology.[9]
Cosmonaut career
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Gennady Padalka was selected as a cosmonaut candidate to start training at the Gagarin Cosmonaut Training Center in 1989. From June 1989 to January 1991, he attended basic space training and in 1991 was qualified as a test-cosmonaut. In April 2017, it was announced that Padalka had filed his resignation from the Roscosmos cosmonaut corps. Padalka himself explained his decision by the fact that he has only a small chance to join any space mission in the near future. "I had to resign. I am tired of doing nothing. There are no prospects that I will fly [to the International Space Station (ISS)]," he told TASS, explaining his decision.
Mir Mission
On 13 August 1998 Gennady launched with Sergei Avdeyev aboard Soyuz TM-28 to become the crew of Mir Expedition 26, whose primary mission was to make repairs to life support systems and prepare the station for deorbit, which was to take place after Expedition 27. On 8 February 1999 at 11:23 GMT Padalka and Avdeyev undocked from Mir's -X port in Soyuz TM-28, and redocked at the +X Kvant port at 11:39 GMT, freeing up the front port for the Soyuz TM-29 docking.[10] He returned to Earth on board the Soyuz TM-28 capsule on 28 February 1999. The Soyuz TM-28 undocked from the Kvant rear docking port on 27 February at 22:52 GMT and landed in Kazakhstan on 28 February at 02:14 GMT. Padalka accumulated 198 days and 16 hours of space travel during the mission.
ISS Missions
Expedition 9 commander Gennady Padalka inside the Zvezda module of the ISS.
From June 1999 to July 2000, Padalka trained for a space flight on a Soyuz-TM transport vehicle as an ISS contingency crew commander. From August 2000 to November 2001, he trained for a space flight as the Expedition 4 back-up crew commander.
Expedition 9
In March 2002 Padalka was assigned as commander of the ISS Expedition 9 crew. Expedition 9 was launched from the Baikonur Cosmodrome, Kazakhstan aboard the Soyuz TMA-4 spacecraft, and docked with the ISS on 21 April 2004. Following a week of joint operations and handover briefings, they replaced the Expedition 8 crew who returned to Earth. In a six-month tour of duty aboard the station Padalka continued ISS science operations, maintained Station systems, and performed four spacewalks. The Expedition 9 mission concluded after undocking and landed back in Kazakhstan on 23 October 2004. In completing this mission, Padalka logged an additional 187 days, 21 minutes and 17 seconds in space, and 15 hours, 45 minutes and 22 seconds of EVA time.
Expedition 19/20
Expedition 20 commander Gennady Padalka inside the Pirs Docking Compartment of the Space Station with the PK-3 Plus laboratory.
Padalka returned to the ISS in 2009 to serve as commander of Expeditions 19 and 20.[11][12] He commanded the Soyuz TMA-14 spacecraft which was launched from Baikonur on 26 March 2009 and docked with the ISS two days later. Padalka also commanded the first six-person space station crew (Expedition 20), returning to Earth on 11 October 2009.[13]
Expedition 31/32
In May 2012 Padalka returned to the ISS for a third time. He served as a flight engineer as part of Expedition 31 before graduating to command Expedition 32.[14]
He launched to the ISS aboard Soyuz TMA-04M on 15 May 2012, along with fellow crew members Sergei Revin and Joseph Acaba[15] and arrived at the space station on 17 May at 4:36 UTC.[16] He, along with Revin and Acaba, returned to Earth on 17 September 2012.[17]
Expedition 43/44
Padalka returned to the ISS aboard Soyuz TMA-16M during Expedition 43 and Expedition 44, along with Mikhail Korniyenko and Scott Kelly. He landed on Soyuz TMA-16M on 12 September 2015. Padalka set the record for most time in space of anyone in history.
Spacewalks
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On 15 September 1998 Padalka performed the first spacewalk of his career during a stay aboard Mir along with Sergei Avdeyev. After donning spacesuits, the PKhO compartment of the Mir Core Module was depressurized and the spacewalkers entered the dead Spektr module at 20:00 GMT. The crew reconnected some cables for the solar panel steering mechanism and closed the hatch a half hour later. The PKhO was then repressurized after a spacewalk which lasted 30 minutes.
On 10 November 1998 Padalka and Avdeyev again ventured out into space. The two made the EVA from the Kvant-2 airlock on Mir. The starting time of the spacewalk was at 19:24 GMT. The two spacewalking cosmonauts installed a meteoroid detector in for the upcoming Leonid shower, and hand-launched the Sputnik-41 amateur-radio mini-satellite. The space walk concluded at 01:18 GMT on 11 November, clocking a total time of 5 hours and 54 minutes.
Padalka with his Orlan spacesuit in the Pirs Docking Compartment.
Padalka's third spacewalk was performed on 24 June 2004 from the ISS's Pirs Docking Compartment. The spacewalk was cut short due to a spacesuit malfunction of his fellow spacewalking partner, NASA astronaut Michael Fincke.[18] After Fincke egressed, within minutes flight controllers noticed a decrease in pressure in his primary oxygen tank. Although the spacewalk was planned for six hours, as a result of the problems it only lasted 14 minutes.
On 30 June 2004 Padalka performed his fourth spacewalk along with astronaut Michael Fincke. The duo successfully repaired a faulty circuit breaker on the space station an hour ahead of schedule.[19] During their repair job, the two spacewalkers replaced a failed device called a remote power control module (RPCM) that had cut off power to its gyroscope. The spacewalk lasted 5 hours and 40 minutes.
On 3 August 2004 Gennady Padalka and Mike Fincke again left the space station to install communications gear and replace space exposure experiments on the outside of the Zvezda Service Module.[20] The spacewalk was conducted from the Pirs Docking Compartment airlock and commenced when Padalka and Fincke opened the outer hatch of the airlock at 6:58 GMT. During the spacewalk the two spacewalkers removed six obsolete laser reflectors used for docking and replaced four of them with newer versions. The crew also installed two antennas to allow the Automated Transfer Vehicle (ATV) to communicate with the space station and removed a cable from a faulty television camera. The 4 hour 20 minute excursion out of the ISS marked Padalka's fifth career spacewalk.
Padalka completed his sixth career spacewalk on 3 September 2004 when he and Mike Fincke ventured out into space. The spacewalk took place outside the Zvezda module. Padalka and Fincke began the spacewalk at 16:43 GMT, after emerging from the Pirs airlock.[21] On the Zarya module, the two spacewalkers replaced a pump control panel that measures the module's coolant levels. They also installed three communications antennas at its aft end of the Zvezda module. The spacewalk lasted 5 hours and 21 minutes.
Gennady Padalka participates in a spacewalk to move the Strela-2 cargo boom from the Pirs docking compartment to the Zarya module in August 2012.
Padalka completed his seventh career spacewalk on 5 June 2009.[22] He and NASA astronaut Michael Barratt egressed outside the ISS beginning at 7:52 UTC to install docking system antennas and cabling to accommodate the Mini Research Module 2 (MRM-2). The spacewalk began at an hour behind schedule because of higher than expected carbon-dioxide levels in the spacesuits. The spacewalk ended when the two crew members returned to the Pirs Docking Compartment airlock at 12:46 GMT. The spacewalk lasted 4 hours and 54 minutes.
Gennady Padalka, Expedition 32 commander participates in a session of EVA on 20 August 2012.
On 10 June 2009 Gennady Padalka and Michael Barratt entered the transfer compartment in the Zvezda module.[23] The "internal spacewalk" began 10 minutes behind schedule because of initial problems with pressure inside the airlock, which did not fall as fast as expected. While they were not in open space outside the ISS, Padalka and Barratt had to wear space suits in the depressurized compartment. During the 12 minute spacewalk the two crew members moved a docking mechanism to accommodate the MRM-2. The event marked the eighth career spacewalk for Padalka.
On 20 August 2012 Padalka, together with cosmonaut Yuri Malenchenko, participated in his ninth career spacewalk.[24] Tasks assigned to the two cosmonauts included hardware relocations, installations, retrievals, and deployments. For the spacewalk, Malenchenko donned an Orlan spacesuit with the blue stripe. The duration of the spacewalk was 5 hours and 51 minutes. The spacewalk was delayed for about an hour due to a small leak between Space Station modules. The spacewalk started from the Pirs Docking Compartment Module at 15:37 GMT. The first task for Padalka and Malenchenko was to relocate the Strela-2 boom from the Pirs module to the forward end of the Zarya module. The relocation was needed since Pirs module will be detached from the Space Station in the future for the arrival of the new Multi-purpose Laboratory Module (MLM) Nauka. The next task completed by Padalka and Malenchenko was to deploy a 21-inch diameter spherical satellite. The two cosmonauts also retrieved five debris shields from the Pirs Module, prior to installing them on the Zvezda Module. They also completed several get-ahead tasks (since the both opted not to take rests during the night passes) as the duo were about an hour ahead of the timeline. They retrieved an external experiment called Biorisk from the Pirs Module for return to Earth, and for added stability installed two structural support struts between the Pirs Module and the EVA ladder. Padalka and Malenchenko then both ingressed the Pirs Module, prior to closing the hatch and beginning the re-pressurisation procedure, to end a successful spacewalk.
Kota is in the Hadoti region of Rajasthan. It is located on the south-eastern side of the state. The Chambal river flows through the town, because of which the place is unlike the arid climate prevalent in the state.
HISTORY
The history of the city dates back to the 12th century A.D. when the Hada Chieftain, Rao Deva, conquered the territory and founded Bundi and Hadoti. Later, in the early 17th century AD during the reign of the Mughal Emperor Jahangir, the ruler of Bundi -Rao Ratan Singh, gave the smaller principality of Kota to his son, Madho Singh. Since then Kota became a hallmark of the Rajput gallantry and culture. The south eastern region of Rajasthan known as Hadoti comprises of Bundi, Baran, Jhalawar and Kota is a treasure of history dating back to several centuries. Prehistoric caves, paintings, formidable forts and the mighty chambal river hurtling from the Vindhyas are dotted in the region. When Jait Singh of Bundi defeated the Bhil Chieftain Koteya in a battle, he raised the first battlement or the 'Garh'(fort) over his severead head. The Independant state of Kota became a reality in 1631 when Rao Madho Singh, the second son of Rao Ratan of Bundi was made the ruler, by the Mughal Emperor Shah Jahan. Soon Kota outgrew its parent state to become bigger in area, richer in revenue and more powerful. Maharao Bhim Singh played a pivotal role in Kota's history, having held a 'Mansab' of five thousand and being the first in his dynasty to have the title of Maharao.
Kota is situated on the banks of chambal river and is fastly emerging as an important industrial centre. It boasts of Asia's largest fertilizer plant (CFCL), precision instrument unit and atomic power station nearby. Surprisingly unexplored, the Kota region of Rajasthan has some splendid treasures for the tourist to take home memories of. Its impregnable fortresses, sprawling palaces, exquisitely wrought palaces and lovely waterways act as a magnificent foil to its exotic wildlife and delicate fresco Paintings.
Situated on the banks of the Chambal River,at an important juncture of the trade route between Delhi and Gujrat, Kota is Rajasthan's third Largest City with Polulation of 1,001,365. This Bustling, sprawling city is also called the industrial capital of the state. The tentacles of the modern world have the city in its grip with the Chambal Valley Project giving it a major position on the state's industrial map. Chemicals, fertilizers, synthetic fibres, tyrecord and sophisticated instruments, industry's mainstay, have helped in pushing this ancient city into the forefront of modernisation. Yet memories of its ancient links linger strongly. Present Day Kota owes its foundations to a Kotya Bhil warrior who 800 years ago built a small fortification at akelgarh and put up a protective mud-wall around it all the way to Retwali. In 1580, Rao Madho Singh strenghtened both the fortification and the wall. In time to come, Kota acquired the Hallmark of rajput power as well as culture.
CLIMATE
Kota has a mix of hot and pleasant climate. Summers start from March and last till June. The season is very hot with maximum temperature is between 32 °C to 45 °C. it is better to avoid the city at this time of the year. From July to September is the monsoon season. The city gets adequate rain during this season. The season is humid and temperate. Winters prevails from October to February. The season is very cool and the temperature ranges between 8 to 31 degrees Celsius. It is the best season to visit Kota.
SEE
- Garh Palace (in city) - This palace has one of the biggest fort complexes in the State of Rajasthan. City Fort Palace in Kota has rugged bastion and ramparts, which is adorned with delicate domes as well as balustrades. The Hathi Pol is this fort's beautiful entrance.
- Jag Mandir - Right in the center of the artificial Kishore Sagar tank stands the beautiful red sandstone monument, Jagmandir. Great architecture and location amidst waterplace which looks nice. The new 7 wonders park makes the visit more beautiful and amazing. The lighting at park and the concept adds beauty. Tank had a floating fountain screen with plays on Musical theme.
- Kota Barrage - A dam as part of the irrigation canal system on the river Chambal, this is a popular spot especially when the flood gates are let open to allow extra water to flow off.
- Maharao Madho SIngh Museum - Named after Kota's first ruler, the museum has a spell-binding collection of miniature paintings, armory and sculptures. The fresco paintings inside are fine and worthy to be visited. It remains closed on Fridays.
- Chambal Garden - This garden stretches along the banks of the river Chambal upsream of Kota Baraj. It houses a pond with rare gharial and crocodiles, which can be crossed via a teetering suspension bridge. It also has enclosures for birds, rabbits and such. Vast area has been covered to make it nice place for Picnic/family/friendship gathering etc. People can enjoy by playing some group games etc. Right next to it is the unique Yatayat(traffic) park. It is a theme park; with miniature flyovers, speedbreakers, tunnels, buildings and such all used to showcase traffic rules.
- Seven Wonder Park - This park houses the famous wonders of the world in miniature form. Situated in Ballabhbari, bordering Sarovar, Seven Wonders of the world are being raised in a single park in Kota. A single visit to this park will give you a glimpse of the Seven Wonders of the world at one place. Replicas of Seven Wonder in Kota (Rajasthan)1. Taj Mahal. 2. Great Pyramid of Giza 3. Brazil's Christ the Redeemer. 4. Eiffel Tower of Paris. 5. Leaning Tower of Pisa 6. New York's Statue of Liberty 7. Rome's Colosseum.
- Khade Ganesh Ji Temple - Its ganesh temple situated in the south part of the city. The thing make this place famous is that this sort of temple where GANESH is standing is nowhere else in India. you can also visit Rangbadi Balaji temple on the way.
- City Mall - Situated on Jhalawar Road (NH-12), It has many showrooms such as BIBA, Fahrenheit, Gini & Jonny, Lee, Levi's, Monte carlo, Pepe Jeans, Tantra, US Polo & Benetton. It had food court, Mc Donalds, Cafe Coffee Day, Baskin-Robbins, etc. for refreshment. It also had Fun Cinema (Zee Group) for entertainment.
- Karneshawar Temple - A Shiv Temple, situated on Jhalawar Road (NH-12).
- Godawari Dham - It is a Hanuman temple at few km from Chambal garden.
- Aalnia Dam (25 km) Beautiful rock paintings adorn the bank of the River Alaniya.
- Mukundara Tiger Reserve (40 Km) - Tigers will be relocated from Ranthambore reserve so as to provide optimum space to the big cats in future. It had a core area of 417 sq km and a buffer zone covering 342.82 sq km.
- Sawan Phuhar Waterpark - Being Hadoti's only waterpark ,this place is a good attraction for people from all age groups.Besides Housing 5 fibreglass sides ,a water playground & the city's Biggest Pool it also has a Fastfood bistro named 'RIPPLES
- Haryali Resort cum Restaurant - Its a resort with a Rajasthani setting.Being Kota's first Resort,it offers a diverse range of cuisines. Its Sizzlers are the best!!
- Garadia Mahadev Temple - One can see the Grand View of River Chambal. Situated on Dabi Road (NH-76) this site has an view of little wild. It had great scenic beauty . This site looks great in Monsoon . A good Picnic Spot.
- Kansua Temple - This is one of the most beautiful and oldest temple of Kota. Even Archeological Department has endorsed this site. It also had a small Pond. The temple of Lord Shiva is said to be build by Pandavas during their exile. Gardens are well maintained and the inner area of the temple is very well maintained.
- Mathuradheesh Mandir - This is one of the oldest Temple of Lord Krishna, know as Mathradish ji. Situated at Nandgram near Patanpole . This temple has same significance as Shriath Ji (Nathdwara).
This is a photograph from the finish of the 4th Annual Multyfarnham (Multy) 5KM Road Race and Fun Run which was held in the village of Multyfarnham about 15KM west of Mullingar, Co. Westmeath, Ireland on Wednesday 3rd June 2015 at 20:00. An incredible and unprecedented crowd of almost 300 participants took to the route including runners, joggers and walkers which was on an out-and-back course on beautiful country roads. The weather was perfect for racing and running. The fast course combined with the good weather conditions provided personal and seasonal bests for many of the participants. The GAA Club and Community Centre provided car-parking and the race headquarters. Overall this was a very well organised race event which on the evidence of tonight's race can grow even further in future years. As this and other photographs in this set shows there is nothing like an evening race in summer time in rural Ireland. Multyfarnham's setting amongst the rolling hills of north county Westmeath and not far from the shores of Lough Derravaragh provides a wonderful race setting. The village of Multy is easily accessible and is just two miles off the N4 Dublin Sligo road.
We have an extensive set of photographs from tonight in the following Flickr Album: www.flickr.com/photos/peterm7/sets/72157653957377992
Timing and event management was provided by Precision Timing. Results are available on their website at www.precisiontiming.net/result.aspx?v=2718 with additional material available on their Facebook page (www.facebook.com/davidprecisiontiming?fref=ts) See their promotional video on YouTube: www.youtube.com/watch?v=c-7_TUVwJ6Q
USING OUR PHOTOGRAPHS - A QUICK GUIDE AND ANSWERS TO YOUR QUESTIONS
Can I use these photographs directly from Flickr on my social media account(s)?
Yes - of course you can! Flickr provides several ways to share this and other photographs in this Flickr set. You can share directly to: email, Facebook, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile, tablet, or desktop device will also offer you several different options for sharing this photo page on your social media outlets.
BUT..... Wait there a minute....
We take these photographs as a hobby and as a contribution to the running community in Ireland. We do not charge for our photographs. Our only "cost" is that we request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, VK.com, Vine, Meetup, Tagged, Ask.fm,etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us or acknowledge us as the original photographers.
This also extends to the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.
I want to download these pictures to my computer or device?
You can download this photographic image here directly to your computer or device. This version is the low resolution web-quality image. How to download will vary slight from device to device and from browser to browser. Have a look for a down-arrow symbol or the link to 'View/Download' all sizes. When you click on either of these you will be presented with the option to download the image. Remember just doing a right-click and "save target as" will not work on Flickr.
I want get full resolution, print-quality, copies of these photographs?
If you just need these photographs for online usage then they can be used directly once you respect their Creative Commons license and provide a link back to our Flickr set if you use them. For offline usage and printing all of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution.
Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.
In summary please remember when requesting photographs from us - If you are using the photographs online all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting takes a significant effort and time. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc. If you are using the photographs in newspapers or magazines we ask that you mention where the original photograph came from.
I would like to contribute something for your photograph(s)?
Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers or in other circumstances we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.
Let's get a bit technical: We use Creative Commons Licensing for these photographs
We use the Creative Commons Attribution-ShareAlike License for all our photographs here in this photograph set. What does this mean in reality?
The explaination is very simple.
Attribution- anyone using our photographs gives us an appropriate credit for it. This ensures that people aren't taking our photographs and passing them off as their own. This usually just mean putting a link to our photographs somewhere on your website, blog, or Facebook where other people can see it.
ShareAlike – anyone can use these photographs, and make changes if they like, or incorporate them into a bigger project, but they must make those changes available back to the community under the same terms.
Above all what Creative Commons aims to do is to encourage creative sharing. See some examples of Creative Commons photographs on Flickr: www.flickr.com/creativecommons/
I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
►You were hidden behind another participant as you passed our camera
►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
►We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
Don't like your photograph here?
That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.
I want to tell people about these great photographs!
Great! Thank you! The best link to spread the word around is probably http://www.flickr.com/peterm7/sets
Gennady Ivanovich Padalka (Russian: Гeннадий Иванович Падалка; born 21 June 1958 in Krasnodar, Russia) is a Russian Air Force officer and an RKA cosmonaut. Padalka currently has the world record for the most time spent in space, having spent 879 days in space, more than any other person.[1][2][3] He worked on both Mir and the International Space Station.
Contents
1 Personal
2 Education and training
3 Awards
4 Cosmonaut career
4.1 Mir Mission
4.2 ISS Missions
4.2.1 Expedition 9
4.2.2 Expedition 19/20
4.2.3 Expedition 31/32
4.2.4 Expedition 43/44
4.3 Spacewalks
5 References
6 External links
Personal
Padalka is married to Irina Anatoliyevna Padalka (Ponomareva). They have three daughters: Yuliya, Yekaterina, and Sonya. He enjoys the theater, parachute sport and diving.[4][5][6][7]
Education and training
Padalka graduated from Yeysk Military Aviation College in 1979. After graduation, he served as a pilot and later a senior pilot in the Russian Air Force, eventually attaining the rank of colonel. He has logged 1500 flight hours in six types of aircraft as a First Class Pilot in the Russian Air Force. In addition, he has performed more than 300 parachute jumps as an Instructor of General Parachute Training. Padalka also worked as an engineer-ecologist at the UNESCO International Center of Instruction Systems until 1994.[8] He is an investigator for the Advanced Diagnostic Ultrasound in Microgravity Project, a US Government funded study investigating strategies for applying diagnostic telemedicine to space.
Awards
Padalka is a recipient of the Hero Star of the Russian Federation and the title of Russian Federation Test-Cosmonaut.[7] He is decorated with Fatherland Service Medal fourth class, Medals of the Russian Federation and also Medal of the International Fund of Cosmonautics support for Service to Cosmonautics. Padalka is a prize winner of the Russian Federation Government in the field of science and technology.[9]
Cosmonaut career
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Gennady Padalka was selected as a cosmonaut candidate to start training at the Gagarin Cosmonaut Training Center in 1989. From June 1989 to January 1991, he attended basic space training and in 1991 was qualified as a test-cosmonaut. In April 2017, it was announced that Padalka had filed his resignation from the Roscosmos cosmonaut corps. Padalka himself explained his decision by the fact that he has only a small chance to join any space mission in the near future. "I had to resign. I am tired of doing nothing. There are no prospects that I will fly [to the International Space Station (ISS)]," he told TASS, explaining his decision.
Mir Mission
On 13 August 1998 Gennady launched with Sergei Avdeyev aboard Soyuz TM-28 to become the crew of Mir Expedition 26, whose primary mission was to make repairs to life support systems and prepare the station for deorbit, which was to take place after Expedition 27. On 8 February 1999 at 11:23 GMT Padalka and Avdeyev undocked from Mir's -X port in Soyuz TM-28, and redocked at the +X Kvant port at 11:39 GMT, freeing up the front port for the Soyuz TM-29 docking.[10] He returned to Earth on board the Soyuz TM-28 capsule on 28 February 1999. The Soyuz TM-28 undocked from the Kvant rear docking port on 27 February at 22:52 GMT and landed in Kazakhstan on 28 February at 02:14 GMT. Padalka accumulated 198 days and 16 hours of space travel during the mission.
ISS Missions
Expedition 9 commander Gennady Padalka inside the Zvezda module of the ISS.
From June 1999 to July 2000, Padalka trained for a space flight on a Soyuz-TM transport vehicle as an ISS contingency crew commander. From August 2000 to November 2001, he trained for a space flight as the Expedition 4 back-up crew commander.
Expedition 9
In March 2002 Padalka was assigned as commander of the ISS Expedition 9 crew. Expedition 9 was launched from the Baikonur Cosmodrome, Kazakhstan aboard the Soyuz TMA-4 spacecraft, and docked with the ISS on 21 April 2004. Following a week of joint operations and handover briefings, they replaced the Expedition 8 crew who returned to Earth. In a six-month tour of duty aboard the station Padalka continued ISS science operations, maintained Station systems, and performed four spacewalks. The Expedition 9 mission concluded after undocking and landed back in Kazakhstan on 23 October 2004. In completing this mission, Padalka logged an additional 187 days, 21 minutes and 17 seconds in space, and 15 hours, 45 minutes and 22 seconds of EVA time.
Expedition 19/20
Expedition 20 commander Gennady Padalka inside the Pirs Docking Compartment of the Space Station with the PK-3 Plus laboratory.
Padalka returned to the ISS in 2009 to serve as commander of Expeditions 19 and 20.[11][12] He commanded the Soyuz TMA-14 spacecraft which was launched from Baikonur on 26 March 2009 and docked with the ISS two days later. Padalka also commanded the first six-person space station crew (Expedition 20), returning to Earth on 11 October 2009.[13]
Expedition 31/32
In May 2012 Padalka returned to the ISS for a third time. He served as a flight engineer as part of Expedition 31 before graduating to command Expedition 32.[14]
He launched to the ISS aboard Soyuz TMA-04M on 15 May 2012, along with fellow crew members Sergei Revin and Joseph Acaba[15] and arrived at the space station on 17 May at 4:36 UTC.[16] He, along with Revin and Acaba, returned to Earth on 17 September 2012.[17]
Expedition 43/44
Padalka returned to the ISS aboard Soyuz TMA-16M during Expedition 43 and Expedition 44, along with Mikhail Korniyenko and Scott Kelly. He landed on Soyuz TMA-16M on 12 September 2015. Padalka set the record for most time in space of anyone in history.
Spacewalks
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On 15 September 1998 Padalka performed the first spacewalk of his career during a stay aboard Mir along with Sergei Avdeyev. After donning spacesuits, the PKhO compartment of the Mir Core Module was depressurized and the spacewalkers entered the dead Spektr module at 20:00 GMT. The crew reconnected some cables for the solar panel steering mechanism and closed the hatch a half hour later. The PKhO was then repressurized after a spacewalk which lasted 30 minutes.
On 10 November 1998 Padalka and Avdeyev again ventured out into space. The two made the EVA from the Kvant-2 airlock on Mir. The starting time of the spacewalk was at 19:24 GMT. The two spacewalking cosmonauts installed a meteoroid detector in for the upcoming Leonid shower, and hand-launched the Sputnik-41 amateur-radio mini-satellite. The space walk concluded at 01:18 GMT on 11 November, clocking a total time of 5 hours and 54 minutes.
Padalka with his Orlan spacesuit in the Pirs Docking Compartment.
Padalka's third spacewalk was performed on 24 June 2004 from the ISS's Pirs Docking Compartment. The spacewalk was cut short due to a spacesuit malfunction of his fellow spacewalking partner, NASA astronaut Michael Fincke.[18] After Fincke egressed, within minutes flight controllers noticed a decrease in pressure in his primary oxygen tank. Although the spacewalk was planned for six hours, as a result of the problems it only lasted 14 minutes.
On 30 June 2004 Padalka performed his fourth spacewalk along with astronaut Michael Fincke. The duo successfully repaired a faulty circuit breaker on the space station an hour ahead of schedule.[19] During their repair job, the two spacewalkers replaced a failed device called a remote power control module (RPCM) that had cut off power to its gyroscope. The spacewalk lasted 5 hours and 40 minutes.
On 3 August 2004 Gennady Padalka and Mike Fincke again left the space station to install communications gear and replace space exposure experiments on the outside of the Zvezda Service Module.[20] The spacewalk was conducted from the Pirs Docking Compartment airlock and commenced when Padalka and Fincke opened the outer hatch of the airlock at 6:58 GMT. During the spacewalk the two spacewalkers removed six obsolete laser reflectors used for docking and replaced four of them with newer versions. The crew also installed two antennas to allow the Automated Transfer Vehicle (ATV) to communicate with the space station and removed a cable from a faulty television camera. The 4 hour 20 minute excursion out of the ISS marked Padalka's fifth career spacewalk.
Padalka completed his sixth career spacewalk on 3 September 2004 when he and Mike Fincke ventured out into space. The spacewalk took place outside the Zvezda module. Padalka and Fincke began the spacewalk at 16:43 GMT, after emerging from the Pirs airlock.[21] On the Zarya module, the two spacewalkers replaced a pump control panel that measures the module's coolant levels. They also installed three communications antennas at its aft end of the Zvezda module. The spacewalk lasted 5 hours and 21 minutes.
Gennady Padalka participates in a spacewalk to move the Strela-2 cargo boom from the Pirs docking compartment to the Zarya module in August 2012.
Padalka completed his seventh career spacewalk on 5 June 2009.[22] He and NASA astronaut Michael Barratt egressed outside the ISS beginning at 7:52 UTC to install docking system antennas and cabling to accommodate the Mini Research Module 2 (MRM-2). The spacewalk began at an hour behind schedule because of higher than expected carbon-dioxide levels in the spacesuits. The spacewalk ended when the two crew members returned to the Pirs Docking Compartment airlock at 12:46 GMT. The spacewalk lasted 4 hours and 54 minutes.
Gennady Padalka, Expedition 32 commander participates in a session of EVA on 20 August 2012.
On 10 June 2009 Gennady Padalka and Michael Barratt entered the transfer compartment in the Zvezda module.[23] The "internal spacewalk" began 10 minutes behind schedule because of initial problems with pressure inside the airlock, which did not fall as fast as expected. While they were not in open space outside the ISS, Padalka and Barratt had to wear space suits in the depressurized compartment. During the 12 minute spacewalk the two crew members moved a docking mechanism to accommodate the MRM-2. The event marked the eighth career spacewalk for Padalka.
On 20 August 2012 Padalka, together with cosmonaut Yuri Malenchenko, participated in his ninth career spacewalk.[24] Tasks assigned to the two cosmonauts included hardware relocations, installations, retrievals, and deployments. For the spacewalk, Malenchenko donned an Orlan spacesuit with the blue stripe. The duration of the spacewalk was 5 hours and 51 minutes. The spacewalk was delayed for about an hour due to a small leak between Space Station modules. The spacewalk started from the Pirs Docking Compartment Module at 15:37 GMT. The first task for Padalka and Malenchenko was to relocate the Strela-2 boom from the Pirs module to the forward end of the Zarya module. The relocation was needed since Pirs module will be detached from the Space Station in the future for the arrival of the new Multi-purpose Laboratory Module (MLM) Nauka. The next task completed by Padalka and Malenchenko was to deploy a 21-inch diameter spherical satellite. The two cosmonauts also retrieved five debris shields from the Pirs Module, prior to installing them on the Zvezda Module. They also completed several get-ahead tasks (since the both opted not to take rests during the night passes) as the duo were about an hour ahead of the timeline. They retrieved an external experiment called Biorisk from the Pirs Module for return to Earth, and for added stability installed two structural support struts between the Pirs Module and the EVA ladder. Padalka and Malenchenko then both ingressed the Pirs Module, prior to closing the hatch and beginning the re-pressurisation procedure, to end a successful spacewalk.
Swanage is a coastal town and civil parish in the south east of Dorset, England. It is situated at the eastern end of the Isle of Purbeck, about 10 km south of Poole and 40 km east of Dorchester. The parish has a population of 10,124 (2001). Nearby are Ballard Down and Old Harry Rocks, with Studland Bay and Poole Harbour to the north. Within the parish are Durlston Bay and Durlston Country Park to the south of the town. The parish also includes the areas of Herston, just to the west of the town, and Durlston, just to the south. During the peak summer season many people are drawn by the town's beautiful setting, the beach and other attractions. The town has many hotels and guest rooms though the number ( particularly of hotels ) has reduced slightly in recent years. Besides the beach, there are other local attractions including the restored Swanage steam railway and the Victorian pier. The town may also be used a base from which to visit other nearby areas of interest, such as Corfe Castle. Swanage's Victorian pier is over 100 years old and is one of two built, although it is the only one that survives complete today. The pier extends into the southern end of Swanage Bay near Swanage. The original Swanage Pier was built between 1859 and 1861 for use primarily by the local stone quarrying industry, and included a tramway which ran the length of the pier and some way along the seafront. The old tracks can be seen to this day, inset into the seafront walkways.
The town, originally a small port and fishing village flourished in the Victorian era, when it first became a significant quarrying port and later a seaside resort for the rich of the day. Today the town remains a popular tourist resort, this being the town's primary industry, with many thousands of visitors coming to the town during the peak summer season, drawn by the bay's sandy beaches and other attractions. During its history the bay was listed variously as Swanawic, Swanwich, Sandwich, and only in more recent history as Swanage. The Jurassic Coast World Heritage Site ~ this wonderful coast line which stretches from Orcombe Point in East Devon to The Old Harry Rocks near Swanage, is a beautiful part of this area. Swanage Tourist Information Centre (T.I.C.) is an excellent point of reference for all visitors to the area and our friendly staff will be delighted to help you plan your holiday and find out more about the area. By carefully assessing your requirements and interests the staff will ensure you have the very best information to make your holiday a real success.
While fishing is likely the town's oldest industry, quarrying has been important to the town and the local area since at least the 1st century AD. During the time of the Roman occupation this industry grew, with the distinctive Purbeck marble being used for decorative purposes in buildings as far away as London. When the Romans left Britain, quarrying largely ceased until the 12th century. The town is first mentioned in historical texts in the Anglo-Saxon Chronicle of 877 AD. It is stated as being the scene of a great naval victory by King Alfred over the Danes: ~ This year came the Danish army into Exeter from Wareham; while the navy sailed west about, until they met with a great mist at sea, and there perished 120 ships at Swanwich. A hundred Danish ships which had survived the battle, were driven by a storm onto Peveril Point, a shallow rocky reef outcropping from the southern end of Swanage bay. In the 12th century demand for Purbeck Marble grew once again. While Purbeck marble is not suited to external use, as it does not weather well, it is however strong and suitably decorative for use as internal columns. As such the stone was used in the construction of many large churches and cathedrals being built as the time.
In contrast to the decorative Purbeck marble, Purbeck limestone, or more commonly 'Purbeck stone', has been used in construction locally since the early days of quarrying in Purbeck. Its use is less well documented as it was taken for granted as the default construction materials in the area. However, the arrival of more modern quarrying techniques in the 17th century resulted in an increase in production. The Great Fire of London in 1666 led to a period of large scale reconstruction in the city, and Purbeck stone was extensively used for paving. It was in this time that stone first started being loaded on ships directly from the Swanage seafront; before this time quarried stone had been first transported to Poole for shipping. The idea that Swanage could become a tourist destination was first encouraged by a local MP William Morton Pitt in the early 19th century, who converted a mansion in the town into a luxury hotel. The hotel is noted for having been visited in 1833 by the ( then ) Princess Victoria, later to become queen. The building was later renamed the Royal Victoria Hotel, now the building has been converted into flats and a bar and nightclub in the left and right wings respectively.
The main bus services are provided by Wilts & Dorset. Numbers 40 and 44 which run between Swanage and Poole, and the number 50 which runs between Swanage and Bournemouth via the chain ferry between Studland and Sandbanks. Double-deck open top buses are used on the Poole/Bournemouth to Swanage routes in the summer months. The buses on these routes are branded as Purbeck Breezers. Swanage has a heritage restored steam railway which operates for most of the year, though at the moment this only goes as far as Norden. Recent developments on the railway have seen the physical connection between the Swanage Railway and the mainline restored. The first passenger service in more than 40 years from London Victoria and returning to London Waterloo took place on 1 April 2009. It is hoped that regular passenger services connecting to the mainline will begin in the future. Limited ferry services also run between Poole Quay and Swanage Pier. These are used by Swanage residents for shopping trips to Poole's large shopping centre, and also by tourists in Poole for day trips into Swanage. The nearest mainline railway station to Swanage is Wareham, where connections can be made for South West Trains services westward to Dorchester South and Weymouth. Services also travel eastwards towards Poole, Bournemouth, Southampton Central and London Waterloo. Services to and from Weymouth and London Waterloo can be either fast or stopping services.
Mingle Media TV and Red Carpet Report host Ashley Harrington were invited to cover the Children Mending Hearts Empathy Rocks: A Spring into Summer Bash 6th Annual Fundraiser with Pamela Adlon, as emcee and performances by The Negotiators and Ava Cardoso Smith with a live painting exhibition by renowned artist and tokidoki co-founder, Simone Legno.
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About the Event
Children Mending Hearts honored the cast of The Vampire Diaries, Holly Robinson Peete, and professional surfer Rob Machado for their deep commitment to improving social change and awareness around the world. The event had a built-in mini half-pipe, rock wall, a live surfboard painting demonstration tokidoki’s Simone Legno, among other exciting and engaging children’s activities.
Children Mending Hearts aims to empower youth and build empathy and global citizenry in future generations. Proceeds from the event will go towards providing after school programs to at-risk kids teaching the importance of giving back. For more info, please visit www.childrenmendinghearts.org.
Honorees
Holly Robinson Peete received the Humanitarian of the Year Award
Rob Machado received the Heal the World Award
The Vampire Diaries received the Cast of Heroes Award – to be accepted by Kat Graham, Michael Trevino and Kayla Ewell
Sponsors for the event included: Luvo, Michael Stars, Hasbro, Aquaçai, Sabra, and Pasta Chips.
For more of Mingle Media TV’s Red Carpet Report coverage, please visit our website and follow us on Twitter and Facebook here:
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Follow our host Ashley Harrington on Twitter at twitter.com/Ash_Harrington
In spring of 2007, the Albertina also received the previously based in Salzburg "Batliner Collection" as unrestricted permanent loan. The collection of Rita and Herbert Batliner includes important works by modern masters, from French impressionism to German expressionism of the "Blue Rider" and the "bridge" to works of the Fauvist or the Russian avant-garde from Chagall to Malevich.
de.wikipedia.org / wiki / Albertina_ (Vienna)
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.