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Union Minister for Science and Technology, Earth Sciences and Health and Family Welfare, Dr. Harsh Vardhan, today dedicated to the nation two databases brought out by the Department of Science and Technology on `S&T Awards in India’ and `Indian origin academicians and scholars abroad’.
The database on `S&T Awards in India’ is an attempt to build and manage the information about science and technology awards that have been instituted since 1928 in India. It provides data on various aspects such as discipline, periodicity, categories, awards level, chronology and state wise distribution of awards and their sponsors. It will be useful for planners, policy makers, funding agencies and other stakeholders to chalk out their programmes as per the priorities of R&D activities.
The database on `Indian Origin Academicians’, in turn, has information on 23,472 Indian academicians and research scholars working in various countries. It is of immense relevance/importance in the present-day scenario where international collaborations with knowledge experts are the key factor for S&T led growth and competitiveness. The project team explored around 2,700 academic university websites to gather this information from selected countries (US, UK, Australia and Canada).
The Minister released the databases at a function to mark the National Science Day, which is celebrated every year since 1987 in remembrance of Nobel Laureate Sir C.V.Raman’s path breaking discovery of Raman Effect in 1930.
He also presented the National S&T Communication Awards, AWSAR (Augmenting Writing Skills for Articulating Research) Awards, and SERB (Science and Engineering Research Board)’s Women Excellence Awards on the occasion.
Under the National S&T Communication Awards, Dr. S. Anil Kumar (Anilkumar Vadavathoor), a well known popular science writer in Malayalam has won the Award for Outstanding Efforts in Science & Technology Communication through Print Media including Books and Magazines; Indian Resource and Development Association and Mr. Mihir Kumar Panda the Award for Outstanding Efforts in Science & Technology Popularization among Children; Dr Sheffali Gulati, Delhi and Mr.Rakesh Khatri the Award for Outstanding Efforts in Science & Technology Communication through Innovative and Traditional Methods; and Dr. Krishna Kumari Challa the Award for Outstanding Efforts in Science & Technology Communication in Electronic Media.
National Science Communication Award Winner - Dr. S. Anil Kumar, Mihir Kumar Panda, Dr. Sheffali Gulati, Rakesh Khatri, Dr. Krishna Kumari Challa (top to bottom)
Union Minister for Science and Technology, Earth Sciences and Health and Family Welfare, Dr. Harsh Vardhan, today dedicated to the nation two databases brought out by the Department of Science and Technology on `S&T Awards in India’ and `Indian origin academicians and scholars abroad’.
In the case of AWSAR awards, Dr. Sangeeta Dutta of Jawaharlal Nehru Centre for Advanced Scientific Research (JNCASR) has won the AWSAR Award for Outstanding Story under the Post-doctoral fellow category; Ms. Pooja Maurya of CSIR- Central Drug Research Institute, Lucknow, the AWSAR Award: First Prize (PhD category); Ms. Indu Joshi of Indian Institute of Technology Delhi, the AWSAR Award: Second prize (PhD category); and Ms. Shruti Soni of Indian Institute of Science, Bangalore the AWSAR Award: Third prize (PhD category).
Photo-1: Winners of 'AWSAR' contest- Dr. Sangeeta Dutta (top left), Pooja Maurya (top right), Indu Joshi (bottom left), Shruti Soni (bottom right)
The winners of SERB Women Excellence Award are Dr. Shobhna Kapoor of Indian Institute of Technology Bombay, Dr. Antara Banerjee of National Institute for Research In Reproductive Health, Dr. Sonu Gandhi of National Institute of Animal Biotechnology, and Dr. Ritu Gupta, Indian Institute of Technology Jodhpur, Rajasthan
SERB Women-Excellence Award Winners- Dr. Shobhna Kapoor (top left), Antara Banerjee (top right), Dr. Ritu Gupta (bottom left), Dr. Sonu Gandhi (bottom right)
Speaking on the occasion, the Minister noted that India's global position both in innovations and scientific publications has seen a rising trend over the last six years, with its Global Innovation Index (GII) ranking improving rapidly to 48 (2020) from 81 (2015) and Scientific Publication ranking to 3rd position (2018) from 6th (2014)
Further, he pointed out that India ranked 8th in patents filed by resident scientists/innovators from respective countries as per WIPO Statistics and ranked 3rd in number of PhD degrees awarded (24,474) in Science and Engineering. Besides, women’s participation in R&D has increased to 16.6% (2018) from 13.9% (2016). India has reached 3rd position in the world in terms of number of startups.
He pointed out that compared to last year there has been a 30 per cent increase in the budget of the Ministry of Science & Technology and Earth Sciences put together for the year 2021-22 and said that the Country’s upcoming Science, Technology and Innovation (STI) Policy aspired to position India much higher among globally competitive and innovative economies and the coming policy on Scientific Social Responsibility will seek to provide a big impetus to create the mindset and value systems to recognize, respect, and reward performances which create wealth from S&T derived knowledge.
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Dr Harsh Vardhan gives away awards to science communicators and women scientists on National Science Day
The 30 percent increase in the budget of Ministry of Science & Technology and Earth Sciences put together for the year 2021-22 would provide stimulus to S&T infrastructure resources in the country: Dr Harsh Vardhan
“Fundamental and Translational Research have to be people centric. So on this National Science Day, let each scientist dream of something new to make perceptible difference to the life of people in India”: Dr Harsh Vardhan
Dr. Harsh Vardhan also releases the first-ever National S&T Databases on S&T Awards in India and Indian origin Academicians abroad
Also confers an appreciation shield to National S&T database developers
Posted On: 28 FEB 2021 7:10PM by PIB Delhi
Union Minister for Science & Technology, Earth Sciences and Health & Family Welfare, Dr. Harsh Vardhan today highlighted how science technology and innovation (STI) would impact our future in education, skills and functioning in the post-pandemic world. He was addressing the National Science Day (NSD) funFction through video-conferencing from Imphal, Manipur. Awards to science communicators and women scientists were also conferred by the Science & Technology Minister on the occasion of National Science Day which is celebrated to commemorate the discovery of Raman Effect on this day every year. The NSD celebrations were organized by the National Council for Science Technology Communication (NCSTC), Department of Science &
Dr. Harsh Vardhan said, “The 30 percent increase in the budget of Ministry of Science & Technology and Earth Sciences put together for the year 2021-22 would provide stimulus to S&T infrastructure resources in the country”. The Union Minister said that in view of last year's challenges thrown by the COVID-19 pandemic, the theme of the National Science Day 2021, ‘Future of STI: Impacts on Education, Skills, and Work,’ becomes all the more important.
“World has witnessed how Indian S&T systems rose to this recent unprecedented crisis caused by the pandemic. Scientific awareness and health preparedness shall become even more important in post-COVID 19 times. A comprehensive National programme has already been launched on health and risk communication with a focus on COVID-19, namely, Year of Awareness on Science & Health (YASH). We have brought out an online interactive multimedia bilingual resource for mass awareness on COVID- 19, COVID Katha,” Dr. Harsh Vardhan disclosed.
“The data portals launched today will be game changers. We feel that scientists with legacy from India should be on one platform and contribute to India’s growth story”, the Minister explained. He further said that the Prime Minister has been talking about Scientific Social Responsibility for which the Fundamental and Translational Research have to be people centric. “So on this National Science Day, let each scientist dream of something new to make perceptible difference to the life of people in India”, Dr Harsh Vardhan urged.
He also underlined the importance of sustained efforts of inculcating, nurturing, and unleashing the scientific temper and innovative mindset of projected population of 1.5 billion (+) people in 2050 for sustainable and inclusive growth.
Dr. Harsh Vardhan presented the National S&T Communication Awards, Augmenting Writing Skills for Articulating Research (AWSAR) awards, and SERB Women Excellence Awards and conferred Rajendra Prabhu Memorial Appreciation Shield for outstanding work in science media and journalism.
The Minister also released the first-ever National S&T Databases on S&T Awards in India and Indian origin Academicians abroad. The database on S&T Awards in India is an excellent source of information about S&T awards presented to R&D professionals in India. The database of Indian Origin Academicians is a unique database developed in the country and has a huge information base of about 23,472 Indian academicians and research scholars working in various countries. Dr. Harsh Vardhan also conferred an appreciation shield to National S&T database developers.
Speaking on the efforts of the Department of Science and Technology (DST) in driving STI as a tool for the growth and development of the country, Secretary DST Prof. Ashutosh Sharma said that science and technology has a critical role in creating ‘Atmanirbhar Bharat’, which is ready for the future. “Future of STI is going to impact us in every aspect of life. Recalling our glorious past will show us the light to take us to future. There are huge challenges, like sustainable development, climate change, clean energy, rise of intelligent machines, and so on. The future is multi-disciplinary, and in order to solve problems, one has to approach them in an interdisciplinary manner. The job of scientists is to help reach science to every corner of the country”, he pointed out.
Dr Shekhar C Mande, Secretary, DSIR and DG, CSIR, highlighted the contributions of the Indian scientific community during COVID-19 pandemic. “The pandemic has shown that the Indian S&T community is ready for facing all the challenges like the recent pandemic and those that may come in the future,” he said.
Dr. Gargi B Dasgupta, Director, IBM Research India, and CTO, IBM India and South Asia, Bangalore, India, delivered the special lecture on the theme and said that fourth industrial revolution is creating demand for new skill sets displacing existing jobs as well as giving rise to new ones. She spoke about the future of jobs and the urgency of science, highlighting the recent study by World Economic Forum (WEF) on the new emerging job clusters and the skills required for the economy of tomorrow.
Secretary, SERB Prof Sandeep Verma and Head, NCSTC Dr. Praveen Arora were also present on occasion.
National Science Day is celebrated every year on 28th February to commemorate the announcement of the discovery of the ‘Raman Effect’ by Sir C.V. Raman, for which he was awarded the Nobel Prize in 1930. The government of India designated 28 February as National Science Day (NSD) in 1986. Since then, theme-based science communication activities are carried out all over the country on this occasion.
National Council for Science & Technology Communication (NCSTC), DST acts as a nodal agency to support, catalyze and coordinate the celebration of the National Science Day throughout the country in scientific institutions, research laboratories, and autonomous scientific institutions associated with the Ministry of Science and Technology. NCSTC has supported various programmes countrywide through State S&T Councils & Departments for organization of a range of activities, such as lectures, quizzes, open houses, etc. DST also instituted National Awards for Science Popularization in 1987 to stimulate, encourage and recognize outstanding efforts in the area of science and technology communication and popularization as well as inculcating scientific temper among masses. These awards are presented every year on National Science Day. The awards consist of a memento, citation, and award money.
List of Awardees:
Science and Technology Communication Awardees
National Award for Outstanding Efforts in Science & Technology Communication through Print Media including Books and Magazines. : Dr. S. Anil Kumar, Kerala
National Award for Outstanding Efforts in Science & Technology Popularization among Children: (1) Indian Resource and Development Association, Haryana (2) Dr. Mihir Kumar Panda, Odisha
National Award for Outstanding Efforts in Science & Technology Communication through Innovative and Traditional Methods: (1) Dr. Sheffali Gulati, Delhi (2) Shri Rakesh Khatri, Delhi
National Award for Outstanding Efforts in Science & Technology Communication in the Electronic Medium: Dr. Krishna Kumari Challa, Telangana
Rajendra Prabhu Memorial Appreciation Shield for Outstanding Work in Science Media and Journalism: Dr. S. Anil Kumar, Kerala
Appreciation Shield for National S&T Databases
S&T Awards in India: Dr Lalit Mohan, Society for Environment & Development (SED), Delhi
Indian origin Academicians Abroad: Dr. Rajesh Bhatia & Team, Punjab Engineering College (PEC), Chandigarh
AWSAR Awardees
Outstanding Story (PDF category)
Dr. Sangeeta Dutta, Bengaluru, Karnataka
AWSAR Award: First Prize (Ph.D. category)
Ms. Pooja Maurya, Lucknow, Uttar Pradesh
AWSAR Award: Second prize (Ph.D. category)
Ms. Indu Joshi, New Delhi, Delhi
AWSAR Award: Third prize (Ph.D. category)
Ms. Shruti Soni, Bangalore, Karnataka
SERB Women Excellence Awardees
Dr. Shobhna Kapoor
Assistant Professor
Indian Institute of Technology Bombay
Mumbai, Maharashtra
Dr. Antara Banerjee
Scientist B
National Institute for Research in Reproductive Health
Mumbai, Maharashtra
Dr. Sonu Gandhi
Scientist D
National Institute of Animal Biotechnology
Hyderabad, Telangana
Dr. Ritu Gupta
Assistant Professor
Indian Institute of Technology Jodhpur
Jodhpur, Rajasthan
(PLEASE CLICK HERE FOR DETAILS OF AWARDEES):
1… AWASAR
2….NCSTC
Click here to see Brochure NSD
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Dr Harsh Vardhan Gives Away Awards To Science Communicators And Women Scientists On National Science Day
By India Education Diary Bureau Admin On Feb 28, 2021
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New Delhi: Union Minister for Science & Technology, Earth Sciences and Health & Family Welfare, Dr. Harsh Vardhan today highlighted how science technology and innovation (STI) would impact our future in education, skills and functioning in the post-pandemic world. He was addressing the National Science Day (NSD) funFction through video-conferencing from Imphal, Manipur. Awards to science communicators and women scientists were also conferred by the Science & Technology Minister on the occasion of National Science Day which is celebrated to commemorate the discovery of Raman Effect on this day every year. The NSD celebrations were organized by the National Council for Science Technology Communication (NCSTC), Department of Science &
Dr. Harsh Vardhan said, “The 30 percent increase in the budget of Ministry of Science & Technology and Earth Sciences put together for the year 2021-22 would provide stimulus to S&T infrastructure resources in the country”. The Union Minister said that in view of last year’s challenges thrown by the COVID-19 pandemic, the theme of the National Science Day 2021, ‘Future of STI: Impacts on Education, Skills, and Work,’ becomes all the more important.
“World has witnessed how Indian S&T systems rose to this recent unprecedented crisis caused by the pandemic. Scientific awareness and health preparedness shall become even more important in post-COVID 19 times. A comprehensive National programme has already been launched on health and risk communication with a focus on COVID-19, namely, Year of Awareness on Science & Health (YASH). We have brought out an online interactive multimedia bilingual resource for mass awareness on COVID- 19, COVID Katha,” Dr. Harsh Vardhan disclosed.
“The data portals launched today will be game changers. We feel that scientists with legacy from India should be on one platform and contribute to India’s growth story”, the Minister explained. He further said that the Prime Minister has been talking about Scientific Social Responsibility for which the Fundamental and Translational Research have to be people centric. “So on this National Science Day, let each scientist dream of something new to make perceptible difference to the life of people in India”, Dr Harsh Vardhan urged.
He also underlined the importance of sustained efforts of inculcating, nurturing, and unleashing the scientific temper and innovative mindset of projected population of 1.5 billion (+) people in 2050 for sustainable and inclusive growth.
Dr. Harsh Vardhan presented the National S&T Communication Awards, Augmenting Writing Skills for Articulating Research (AWSAR) awards, and SERB Women Excellence Awards and conferred Rajendra Prabhu Memorial Appreciation Shield for outstanding work in science media and journalism.
The Minister also released the first-ever National S&T Databases on S&T Awards in India and Indian origin Academicians abroad. The database on S&T Awards in India is an excellent source of information about S&T awards presented to R&D professionals in India. The database of Indian Origin Academicians is a unique database developed in the country and has a huge information base of about 23,472 Indian academicians and research scholars working in various countries. Dr. Harsh Vardhan also conferred an appreciation shield to National S&T database developers.
Speaking on the efforts of the Department of Science and Technology (DST) in driving STI as a tool for the growth and development of the country, Secretary DST Prof. Ashutosh Sharma said that science and technology has a critical role in creating ‘Atmanirbhar Bharat’, which is ready for the future. “Future of STI is going to impact us in every aspect of life. Recalling our glorious past will show us the light to take us to future. There are huge challenges, like sustainable development, climate change, clean energy, rise of intelligent machines, and so on. The future is multi-disciplinary, and in order to solve problems, one has to approach them in an interdisciplinary manner. The job of scientists is to help reach science to every corner of the country”, he pointed out.
Dr Shekhar C Mande, Secretary, DSIR and DG, CSIR, highlighted the contributions of the Indian scientific community during COVID-19 pandemic. “The pandemic has shown that the Indian S&T community is ready for facing all the challenges like the recent pandemic and those that may come in the future,” he said.
Dr. Gargi B Dasgupta, Director, IBM Research India, and CTO, IBM India and South Asia, Bangalore, India, delivered the special lecture on the theme and said that fourth industrial revolution is creating demand for new skill sets displacing existing jobs as well as giving rise to new ones. She spoke about the future of jobs and the urgency of science, highlighting the recent study by World Economic Forum (WEF) on the new emerging job clusters and the skills required for the economy of tomorrow.
Secretary, SERB Prof Sandeep Verma and Head, NCSTC Dr. Praveen Arora were also present on occasion.
National Science Day is celebrated every year on 28th February to commemorate the announcement of the discovery of the ‘Raman Effect’ by Sir C.V. Raman, for which he was awarded the Nobel Prize in 1930. The government of India designated 28 February as National Science Day (NSD) in 1986. Since then, theme-based science communication activities are carried out all over the country on this occasion.
National Council for Science & Technology Communication (NCSTC), DST acts as a nodal agency to support, catalyze and coordinate the celebration of the National Science Day throughout the country in scientific institutions, research laboratories, and autonomous scientific institutions associated with the Ministry of Science and Technology. NCSTC has supported various programmes countrywide through State S&T Councils & Departments for organization of a range of activities, such as lectures, quizzes, open houses, etc. DST also instituted National Awards for Science Popularization in 1987 to stimulate, encourage and recognize outstanding efforts in the area of science and technology communication and popularization as well as inculcating scientific temper among masses. These awards are presented every year on National Science Day. The awards consist of a memento, citation, and award money.
List of Awardees:
Science and Technology Communication Awardees
National Award for Outstanding Efforts in Science & Technology Communication through Print Media including Books and Magazines. : Dr. S. Anil Kumar, Kerala
National Award for Outstanding Efforts in Science & Technology Popularization among Children: (1) Indian Resource and Development Association, Haryana (2) Dr. Mihir Kumar Panda, Odisha
National Award for Outstanding Efforts in Science & Technology Communication through Innovative and Traditional Methods: (1) Dr. Sheffali Gulati, Delhi (2) Shri Rakesh Khatri, Delhi
National Award for Outstanding Efforts in Science & Technology Communication in the Electronic Medium: Dr. Krishna Kumari Challa, Telangana
Rajendra Prabhu Memorial Appreciation Shield for Outstanding Work in Science Media and Journalism: Dr. S. Anil Kumar, Kerala
Appreciation Shield for National S&T Databases
S&T Awards in India: Dr Lalit Mohan, Society for Environment & Development (SED), Delhi
Indian origin Academicians Abroad: Dr. Rajesh Bhatia & Team, Punjab Engineering College (PEC), Chandigarh
hindi.webdunia.com/national-hindi-news/raman-effect-awsar...
राष्ट्रीय विज्ञान दिवस पर पुरस्कृत किए गए विज्ञान संचारक
National Science Day
Last Updated: सोमवार, 1 मार्च 2021 (12:07 IST)नई दिल्ली, समाज में वैज्ञानिक चेतना के प्रचार-प्रसार में जुटे विज्ञान संचारकों को राष्ट्रीय विज्ञान दिवस (28 फरवरी) के अवसर पर राष्ट्रीय पुरस्कार प्रदान किए गए हैं।
राष्ट्रीय विज्ञान एवं प्रौद्योगिकी संचार परिषद (एनसीएसटीसी) की ओर से हर वर्ष विज्ञान एवं प्रौद्योगिकी संचार में उल्लेखनीय योगदान देने वाले संचारकों को ये पुरस्कार प्रदान किए जाते हैं। विज्ञान एवं प्रौद्योगिकी राष्ट्रीय संचार पुरस्कार के साथ-साथ इस मौके पर साइंस ऐंड इंजीनियरिंग रिसर्च बोर्ड (एसईआरबी) वुमन-एक्सिलेंस अवार्ड, और ‘अवसर’ (ऑग्मेंटिंग राइटिंग स्किल्स फॉर आर्टिकुलेटिंग रिसर्च) प्रतियोगिता के विजेताओं को भी पुरस्कृत किया गया है।
विज्ञान एवं प्रौद्योगिकी संचार परिषद (एनसीएसटीसी) द्वारा विज्ञान को लोकप्रिय बनाने और संचार के क्षेत्र में उत्कृष्ट प्रयासों के प्रोत्साहन और वैज्ञानिक अभिरुचि बढ़ाने में योगदान देने वाले लोगों एवं संस्थाओं को छह श्रेणियों में विज्ञान एवं प्रौद्योगिकी राष्ट्रीय संचार पुरस्कार दिया जाता है। वहीं, ‘अवसर’ एक अखिल भारतीय प्रतियोगिता है, जिसमें विज्ञान एवं प्रौद्योगिकी से जुड़े विभिन्न विषयों में डॉक्टोरल या पोस्ट डॉक्टोरल शोधार्थियों से उनके शोध विषय पर आधारित सरल भाषा में आलेख आमंत्रित किए जाते हैं, और चयनित सर्वश्रेष्ठ आलेखों को पुरस्कृत किया जाता है। इसी तरह, विज्ञान एवं इंजीनियरिंग में उत्कृष्ट शोध को प्रोत्साहित करने के लिए युवा महिला वैज्ञानिकों (40 वर्ष से कम आयु) को एसईआरबी वुमन-एक्सिलेंस अवार्ड प्रदान किया जाता है।
केंद्रीय विज्ञान एवं प्रौद्योगिकी, पृथ्वी विज्ञान, स्वास्थ्य तथा परिवार कल्याण मंत्री डॉ हर्षवर्धन ने पुरस्कृत लोगों को बधाई देते हुए कहा है कि “वर्ष 2021 के राष्ट्रीय विज्ञान दिवस की विषयवस्तु “विज्ञान, प्रौद्योगिकी एवं नवाचार का भविष्यः शिक्षा, कौशल एवं कार्य पर प्रभाव” है, जो वर्तमान परिदृश्य के अनुकूल है।
National Science Day
पिछले एक साल में, कोविड-19 की चुनौतियों के बावजूद विज्ञान से संबंधित मंत्रालयों के लिए वर्ष 2021 उपलब्धि भरा रहा है। दुनिया ने देखा कि महामारी से उपजे अप्रत्याशित संकट से उबरने में भारतीय विज्ञान एवं प्रौद्योगिकी तंत्र ने कैसे भूमिका निभायी है।” उन्होंने कहा कि हम तब तक एक स्थायी और समावेशी विकास का सपना नहीं देख सकते, जब तक कि वर्ष 2050 तक 150 करोड़ से अधिक लोगों की अनुमानित आबादी में वैज्ञानिक दृष्टिकोण और नवोन्मेषी मानसिकता के विकास के लिए निरंतर प्रयास न करें।”
इस मौके पर मौजूद विज्ञान एवं प्रौद्योगिकी विभाग के सचिव प्रोफेसर आशुतोष शर्मा ने कहा कि “राष्ट्रीय विज्ञान दिवस एक ऐसा दिन है, जब हम न केवल ‘रामन प्रभाव’ को याद करते हैं, और इसका उत्सव मनाते हैं, बल्कि यह एक ऐसा अवसर है, जब हम आचार्य रामन के वैज्ञानिक कार्यों में निहित दृष्टिकोण से नये सबक भी सीख सकते हैं। उनको आचार्य कहना अधिक उपयुक्त है, क्योंकि इस शब्द का संबंध एक गौरवशाली परंपरा से है। आचार्य का अर्थ, ‘सर’ से बिल्कुल अलग है। ‘सर’ एक टाइटल है, जबकि आचार्य का अर्थ मूल रूप से स्कॉलर से जोड़कर देखा जाता है।”
National Science Day
नयी विज्ञान, प्रौद्योगिकी एवं नवाचार नीति का जिक्र करते हुए प्रोफेसर आशुतोष शर्मा ने कहा कि “इस नीति में कई ऐसे अध्याय शामिल हैं, जो भविष्य की जरूरतों पर आधारित हैं, और विज्ञान को समाज से जोड़ने पर ध्यान केंद्रित करते हैं। भविष्य में हमें दो महत्वपूर्ण तथ्यों पर ध्यान केंद्रित करने की जरूरत होगी। सबसे पहले तो शोध कार्यों की प्रासंगिकता एवं उनकी सही दिशा का निर्धारण जरूरी है। वहीं, दूसरा आयाम शोध कार्यों की गुणवत्ता और गंभीरता से संबंधित है। दूसरों की नकल करके शोध विषयों का चयन करने का औचित्य नहीं है। हमें अपने आइडिया के आधार पर कार्य करना होगा, जो विज्ञान के क्षेत्र में भारत को लीडर के रूप में उभरने में मदद कर सकते हैं। इस तरह हम आचार्य रामन को याद कर सकते हैं।”
इस अवसर पर वैज्ञानिक तथा औद्योगिक अनुसंधान परिषद के महानिदेशक डॉ शेखर सी. मांडे ने ‘रामन प्रभाव’ की खोज से जुड़े महत्वपूर्ण पड़ावों और इससे संबंधित शोध कार्य में एक अन्य प्रमुख वैज्ञानिक के.एस. कृष्णन की भूमिका के बारे में जिक्र किया।
उन्होंने कहा कि “हम भले ही कोविड-19 महामारी से मजबूती से लड़ने में सफल हुए हैं, लेकिन आगे भी इस तरह की चुनौतियां बनी रहेंगी। महामारियों के अलावा, जलवायु परिवर्तन एक अन्य प्रमुख चुनौती है, जिससे निपटने के लिए प्रभावी वैज्ञानिक समाधान खोजने होंगे।”
पुस्तकों एवं पत्रिकाओं सहित प्रिंट मीडिया के माध्यम से विज्ञान एवं प्रौद्योगिकी संचार में योगदान के लिए इस बार कोट्टायम, केरल के डॉ अनिल कुमार को राष्ट्रीय पुरस्कार से सम्मानित किया गया है। इस पुरस्कार के तहत दो लाख रुपये की नकद राशि, स्मृति चिह्न और प्रशस्ति पत्र प्रदान किया गया है। विज्ञान एवं प्रौद्योगिकी संचार में उत्कृष्ट प्रयास के लिए पांच लाख रुपये का राष्ट्रीय पुरस्कार हरियाणा की संस्था इंडियन रिसोर्स ऐंड डेवलपमेंट एसोसिएशन और बालासोर, ओडिशा के वैज्ञानिक एवं नवप्रवर्तनकर्ता मिहिर कुमार पांडा को प्रदान किया गया है।
नवप्रवर्तक एवं पारंपरिक प्रणालियों के माध्यम से विज्ञान एवं प्रौद्योगिकी संचार के लिए दो लाख रुपये का राष्ट्रीय पुरस्कार दिल्ली की डॉ शेफाली गुलाटी और राकेश खत्री को प्रदान किया गया है। इलेक्ट्रॉनिक माध्यम में दो लाख रुपये का विज्ञान एवं प्रौद्योगिकी राष्ट्रीय संचार पुरस्कार तेलंगाना की डॉ कृष्ण कुमारी चल्ला को दिया गया है।
डॉ एस. अनिल कुमार मलयालम के एक प्रसिद्ध लेखक हैं। उन्होंने करीब 1500 नवोदित पत्रकारों को प्रशिक्षण प्रदान किया, कार्यशालाएं आयोजित कीं, और विज्ञान संचार के क्षेत्र में संचारकों के लिए आधा दर्जन पाठ्यपुस्तकें लिखी हैं। डॉ अनिल कुमार के 1500 से अधिक लेख/फीचर प्रकाशित हुए हैं एवं पॉपुलर साइंस पर आधारित 40 पुस्तकें भी उन्होंने लिखी हैं।
इंडियन रिसोर्स ऐंड डेवलपमेंट एसोसिएशन एवं मिहिर कुमार पांडा को अनूठे तरीकों से विज्ञान एवं प्रौद्योगिकी के प्रचार-प्रसार के लिए पुरस्कृत किया गया है। इन तरीकों में कठपुतली शो, फिल्म एवं स्लाइड शो, विज्ञान मेलों का आयोजन, प्रदर्शनी एवं वैज्ञानिक प्रयोगों पर आधारित कार्यशालाएं शामिल हैं। डॉ शेफाली गुलाटी ने व्याख्यान एवं प्रिंट तथा ऑडियो-विजुअल मीडिया द्वारा विज्ञान को लोकप्रिय बनाने में योगदान दिया है। वहीं, डॉ राकेश खत्री करीब तीन दशक से रंगमंच, कार्यशालाओं, मॉडल्स, नेचर टूर जैसे प्रयासों के माध्यम से विज्ञान के प्रति आकर्षण पैदा करने का कार्य करने में जुटे रहे हैं।
डॉ कृष्णा कुमारी चल्ला भी करीब डेढ़ दशक से दृश्य कला, साहित्य, वीडयो, टीवी और इंटरनेट के उपयोग से आम लोगों के लिए विज्ञान संचार कर रही हैं।
एसईआरबी वुमन-एक्सिलेंस अवार्ड इस बार चार महिला वैज्ञानिकों को प्रदान किया गया है। इनमें आईआईटी, बॉम्बे में असिस्टेंट प्रोफेसर शोभना कपूर, मुंबई स्थित नेशनल इंस्टीट्यूट फॉर रिसर्च इन रिप्रोडक्टिव हेल्थ की वैज्ञानिक डॉ अंतरा बैनर्जी, हैदराबाद स्थित नेशनल इंस्टीट्यूट ऑफ बायोटेक्नोलॉजी की वैज्ञानिक डॉ सोनू गांधी, और आईआईटी, जोधपुर में असिस्टेंट प्रोफेसर डॉ रितु गुप्ता शामिल हैं।
‘अवसर’ प्रतियोगिता के अंतर्गत पोस्ट डॉक्टोरल श्रेणी में उत्कृष्ट आलेख के लिए बेंगलुरु स्थित जवाहरलाल नेहरु सेंटर फॉर एडवांस्ड साइंटिफिक रिसर्च की शोधार्थी डॉ संगीता दत्ता को पुरस्कृत किया गया है। इन्मास, डीआरडीओ से पीएचडी डिग्री प्राप्त डॉ संगीता जैव प्रौद्योगिकी विभाग में अपने पोस्ट डॉक्टोरल प्रोजेक्ट के लिए रिसर्च एसोसिएट के तौर पर कार्य कर चुकी हैं। उनके पांच शोध पत्र प्रकाशित हुए हैं, और एक पेटेंट भी उनके नाम दर्ज है। ‘अवसर’ प्रतियोगिता की पीएचडी श्रेणी में प्रथम पुरस्कार सीएसआईआर-सीडीआरआई, लखनऊ की शोधार्थी पूजा मौर्या को मिला है। द्वितीय पुरस्कार आईआईटी, दिल्ली में कंप्यूटर साइंस की शोधार्थी इंदु जोशी, और तृतीय पुरस्कार भारतीय विज्ञान संस्थान, बेंगलुरु की शोधार्थी श्रुति सोनी को दिया गया है।
सभी पुरस्कार विजेताओं को बधाई देते हुए डॉ हर्ष वर्धन ने कहा है कि "विज्ञान संचार एवं लोकप्रियकरण से जुड़े उत्कृष्ट प्रयास, वैज्ञानिक शोध में युवा महिलाओं का योगदान और विज्ञान संचार में अभिनव प्रयोग सराहनीय हैं।"
डॉ हर्ष वर्धन ने इस मौके पर वर्चुअल रूप से विज्ञान एवं प्रौद्योगिकी पुरस्कारों पर आधारित सूचनाओं से लैस एक ऑनलाइन डेटाबेस लॉन्च किया है। साइंस ऐंड टेक्नोलॉजी अवार्ड इन्फॉर्मेशन रिट्रीवल सिस्टम (STAIRS) नामक यह डेटाबेस स्वतंत्रा से पहले से लेकर अब तक विज्ञान एवं प्रौद्योगिकी के क्षेत्र में पुरस्कृत भारतीय पेशेवरों के बारे में जानकारी उपलब्ध कराएगा।
इसी के साथ, विदेशों में कार्यरत भारतीय मूल के शिक्षाविदों एवं शोधकर्ताओं से संबंधित एक अन्य डेटाबेस भी लॉन्च किया गया है। यह डेटाबेस मौजूदा दौर में बढ़ते अंतरराष्ट्रीय सहयोग के संदर्भ में महत्वपूर्ण माना जा रहा है। इस डेटाबेस में, भारतीय मूल के 23,472 शिक्षाविद एवं शोधकर्ता शामिल किए गए हैं। अमेरिका, कनाडा, ब्रिटेन और ऑस्ट्रेलिया जैसे देशों के 2700 से अधिक विश्वविद्यालयों एवंअन्य शैक्षणिक संस्थानों की वेबसाइट्स को खंगालने के बाद यह डेटाबेस तैयार किया गया है।
आईबीएम रिसर्च इंडिया की निदेशक डॉ गार्गी बी. दासगुप्ता का विशेष व्याख्यान इस बार राष्ट्रीय विज्ञान दिवस पर एक अन्य प्रमुख आकर्षण रहा। डॉ गार्गी बी. दासगुप्ता ने “विज्ञान, प्रौद्योगिकी, नवाचार का भविष्यः शिक्षा, कौशल एवं कार्य पर प्रभाव” विषय को केंद्र में रखते हुए अपना व्याख्यान दिया। उन्होंने अपने व्याख्यान में, मुख्य रूप से इस बात को रेखांकित किया कि चौथी औद्योगिक क्रांति किस तरह नये कौशल की माँग करती है। उल्लेखनीय है कि साइबर भौतिक प्रणाली, आर्टिफशियल इंटेलिजेंस, इंटरनेट ऑफ थिंग्स तथा इंटरनेट ऑफ सर्विसेज इत्यादि चौथी औद्योगिक क्रांति के प्रमुख उपकरण बनकर उभरे हैं।
सर सी.वी. रामन को याद करते हुए हर वर्ष 28 फरवरी को राष्ट्रीय विज्ञान दिवस मनाया जाता है। विज्ञान में नोबेल पुरस्कार प्राप्त करने वाले सी.वी. रामन पहले एशियाई थे। उन्हें यह पुरस्कार, वर्ष 1930 में की गई उनकी खोज ‘रामन प्रभाव’ के लिए मिला था।
While all of the Vihagu have made considerable improvements since their debut, this is none more evident than Shaju. The “Silent Warrior” has gone from being a partspam, weak and disorganized even by the Vihagu’s standards, to (in my opinion) the best MOC of the team. For his updates, I wanted to take the power armor element already implied by his previous version and push it up a notch.
His updates include:
*Giving him a proper helmet/visor in place of the Tarix mask, which due to the shoulder design was forced considerably above his shoulders. (This was done in November of last year.)
*Adding a tanker to his back, which ties into his absorption powers.
*Reworking the tubes connected to his thighs, which were prone to falling out of place.
*Giving him a new set of shins; using the Breakout shells to match the textures on his thighs and arms.
*Reworking the head of the halberd from the previous version to include the proper axe/spike combination of European halberds, while referencing the axe/dagger combination of Chinese “halberds”.
*Adding some greebles to round out the thighs.
Shaju didn’t get as much time devoted to filling in gaps as others, so there are still a few places on him that need to be filled in in future. I’d also like to give the clips on his shoulder plates some better use, perhaps by placing some artillery on them.
merlinomayo.wordpress.com/2012/02/28/metamorphoses/
Metamorphoses by Merlino Mayo at LEA - Full Sim Project - 1st turn - 2011-2012 Show Open till 15 March 2012.
First of all I want to thank LEA (Linden Endowment for the Arts) and The LEA committee (Bryn Oh, Dancoyote Antonelli, Dekka Raymaker, JayJay Zifanwe, L1 Loire, Sasun Steinbeck, Solo Mornington, Werner Kurosawa, PatriciaAnne Daviau -advisor-) who trusted me and other artists (Artistide Despres, Charlotte Bartlett, comet Morigi, Freewee Ling, Glyph Graves, Harter Fall, Merlino Mayo, Mikati Slade, Misprint Thursday, Oberon Onmura, RAG Randt, Secret Rage, Selavy Oh, Sowa Mai, Ux Hax, Zachh Cale) for the first round LEA Land Grants to give me the opportunity to use a big space as a full sim to express my art.
Taking inspiration from the 1st book and a few of other episodes of the "Metamorphoses", word that from greek means "change of shape", written in latin by Publius Ovidius, this new project aims to build a path of multi levels within an allegorical vision related to the current age of crisis and transformation of human beings and our society.
The way to see the whole work would formally very different but conceptually similar to the fresco dedicated to the "Fall of the Giants" by Giulio Romano in the Palazzo Te in Mantua (Mantova), where the representation becomes a metaphor of the times lived and precarious power and human ambitions; So going on other examples are possible like the trasformations of Aracne, Daphne, Icarus, Heliades sisters, Medusa, ect. The outer and inner change of form and substance of living beings and their natural relationships into something different, new and unexpected, from the creative process naturally with technology through the lens of the symbolism of Myth and the squared glass of Science.
It is very intersting to see the origin of name Palazzo Te: "The famous villa, designed for parties, receptions and "idleness" of the Duke of Mantua, was built on an island in direct contiguity with the city center, known since the Middle Ages Tejeto, or Te. The hypothesis most likely derive from the term 'tilietum' (place of linden trees) or from the Celtic 'tezza' linked with Latin 'atteggia' in english 'attitude', both meaning 'hut'." *from
Obviously the project is not complete about the whole huge Ovid's work, and in start I've done just some main episodes, but my intention is to work on it in future, it will take time for sure. Stay tuned.
Merlino Mayo
Book I: Cosmogony, Ages of Man, Gigantes, Daphne;
0 Metamorphoses - Start point "Palazzo Te, Mantova"
1 Metamorphoses - I - Cosmogony - The Creation of Universe
2 Metamorphoses - II - Cosmogony The Elements - EL MENTUM (2010)
3 Metamorphoses - III - Cosmogony - The Creation of Sea and Sky
4 Metamorphoses - IV - Ages of Man - The Golden Age of Man
5 Metamorphoses - V - Raise of Giants
6 Metamorphoses - VI - Fall of Giants
7 Metamorphoses - VII - Daphne
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.
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The Finale to the BARC Club Car Championships Weekender at Brands Hatch and after a Very Thrilling set of both Qualifying Sessions and Races which took place on the Saturday it was Time once again for each Driver to strap in and get ready for some high speed Racing Action thought the Sunday.
In Tribute to the Marshall who was Tragically Killed on the Saturday Some Car and Driver Pairings were Racing with Orange Hearts on their Cars as a Tribute to all of Motorsports Family of Marshalls for who without Racing would not be possible. Thank You!
So Lets get started and see what the days events Haver to Offer and who can Push their Machinery to the Limits and beyond for a Victory.
Britcar Endurance Championship - Trophy Category (Race 1 Results FINAL)
The Britcar Endurance Trophy was the First up and it was time to see who could claim that elusive Pole Position and to see if anyone else could challenge the Top Three Drivers Lets see how things turned out.
In First Place was the Pairing Of (Datum Motorsport's Axel Van Nederveen and Adriano Medeiros) in their Ginetta G55A with a Best Lap Time of 52:193 and an Average Speed of 64.75mph. Congratulations Axel and Adriano a Really Fantastic Drive and A Super Victory.
In Second Place was (SVG's Mark Lee) in his Ginetta G56A with a Best Lap Time of 52.086 and an Average Speed of 64.70mph. Amazing Drive Mark Keeping that Ginetta on the Track and Taking Second Place while Nearly Matching the Speed of Axel and Adriano. Well Done.
In Third Place was (Terry Stephens) in his Peugeot 308 with a Best Lap Time of 53.421 and an Average Speed of 64.50mph. Well Fought Terry a Fantastic Finish in Third Place and Staying Ahead by just over 11 seconds to the Pair of Jasver and Bryan in 4th. Amazing Job.
A Really Enjoyable and Exciting First Race of the Sunday with High Speed Action and Incredible Victories on Track. Congratulations Axel Adriano Mark and Terry. Lets see what Race 2 Brings in terms of the Action.
Britcar Endurance Championship - Trophy Category (Race 2 Results FINAL)
Race 2 For Britcar Next and after a Very Fast and Action Packed First Race Will we see a New Face on the Top Step of the Podium? Lets find out.
In First Place was the Pairing of (Woodrow Motorsport's Simon Baker and Kevin Clarke) in their BMW 1 Series with a Best Lap Time of 51.837 and an Average Speed of 78.22mph. Amazing work Simon and Kevin who have Beaten the Pairing Of (Datum Motorsport's Axel Van Nederveen and Adriano Medeiros) to Victory. An Incredible Drive by Both of them Well Done.
In Second Place was (SVG Mark Lee) in his Ginetta G56A with a Best Lap Time of 52.281 and an Average Speed of 76.89mph. Again a Huge Congratulations to Mark Lee for hanging onto that Second Place Despite Fierce Competition during The Race. Amazing Drive.
In Third Place was (Simon Green Motorsport's Pairing of Jasver Sapra and Brian Branson) in their BMW M3 E46 with a Best Lap Time of 52.718 and an Average Speed of 76.88mph. Congratulations Jasver and Brain Brilliant Drive and well Defended to keep that Third Place in Tact.
Two Incredible Races with Two Very Different Outcomes of Race Winners and Runners Up The Britcar Endurance Trophy is Proving to be Very Competitive this Year.
A Huge Congratulations to Simon Kevin Mark Jasver and Brain for some Amazing Racing and Victories and Good Luck to All Other Drivers. Keep working Hard and Pushing for that All Important Victory.
CTCRC Edmundson Electrical Classic / Historic Thunder Saloons (Race 1 Result FINAL)
Next Up was the CTCRC Electrical and Historic Thunder Saloons and After a Thrilling Qualifying Session Yesterday Lets see what Each Driver has got and who can Push to the Limits for that All Important Victory.
In First Place was (Jason West) in his BMW E46 M3 3200 with a Best Lap Time of 51.907 and an Average Speed of 59.84mph. Congratulations Jason for Another Incredible Drive for First Place and a well Deserved Victory Amongst some Stiff Competition.
In Second Place was (Andrew Wilson) in his Holden Monaro 7000 with a Best Lap Time of 52.418 and an Average Speed of 59.96mph. Well Done Andrew Fantastic Driving and a Super Defensive Drive for Second Place.
In Third Place was (Samuel Wilson) in his Aston Martin V8 Vantage with a Best Lap Time of 52.699 and an Average Speed of 59.50mph. Amazing Work Samuel and a Beautiful Example of the Aston Martin V8 Vantage on Display Showing its Raw Power and Racing Pedigree to Finish in Third Place.
A Fantastic Finish to The Historic and Electrical Thunder Saloons Racing at The Weekend. A Huge Congratulations to Our Top Three Finishers Jason Andrew and Samuel. Fantastic Racing from all Three of you and Good Luck to all other Drivers Keep Tuning and Working Hard and I'm sure Victory Will not be too Far Away from you.
CTCRC JEC Saloon & GT Championship & Burton Power BOSS (Race 2 Results FINAL)
Next Up CTCRC Saloon and GT Championships and with some Fierce Competition on Display during not only Qualifying but also Their First Race on the Saturday Which saw Malcom Harding Storm to an Insane Victory who Will be able to Take him on and Potentially Steal his Crown during the Next Race Today? Lets See.
In First Place was (Malcom Harding) in his Ford Escort MK2 Zakspeed 2500 with a Best Lap Time of 53.888 and an Average Speed of 78.49mph. Another Incredible Victory for Malcom that Highly Modified Zakspeed Escort Really Shows off the Power and Performance of a True Champion and a Fantastic Driver. Congratulations Malcom.
In Second Place was (Steven Goldsmith) in his Ford Anglia 105e 260 with a Best Lap Time of 54.335 and an Average Speed of 78.21mph. Another Storming Drive to Achieve Second Place for Steven. Fantastic Driving and Amazing Car Control through Every Corner. Congratulations Steven.
In Third Place was (Tom Robinson) in his Jaguar XJ6 4000 with a Best Lap Time of 55.481 and an Average Speed of 55.481mph. Congratulations Tom Superb Display of Driving Ability behind the Jag and a Well Deserved Third Place for Him.
Another Incredible Weekend of Racing for the CTCRC Saloon and GT Championships with Some New and Some Old Drivers Stepping onto the Podium. Massive Congratulations to Malcolm Steven and Tom for their First Second And Third Place Finishes. Keep Up the Good Work and Never Stop Trying.
CTCRC Laser Tools Pre 93 & Simply Serviced Pre 03 Touring Cars (Race 1 Results FINAL)
Now Its Time for The Laser Tools Pre 93 and Simply Serviced Pre 03 Touring Cars to make their way back onto The Track for what Looked to be a Spectacular Race. A Whole Range of Different Cars to Race Against and Stiff Competition after Qualifying Proves that This Race will be One not to be Missed. Lets See what Unfolded.
In First Place was (Gary Prebble) in his Honda Civic EG 2000 with a Best Lap Time of 54.100mph and an Average Speed of 78.60mph. Well Done Gary a Really Well Deserved First Place Victory and an Amazing Drive to the Flag.
In Second Place was (David Griffith) in his BMW E36 M3 3058 with a Best Lap Time of 54.558 and an Average of 78.42mph. Incredible Drive their David Pushing that BMW For Everything that it Has got to Achieve Second Place.
In Third Place was (Kam Tunio) in his Honda Civic EK9 1595 with a Best Lap Time of 55.347 and an Average Speed of 77.05mph. Well Driven Kam Super Driving on Display and a Well Deserved Third Place Finish.
Another Amazing Race for The Pre 93 and Pre 03 Touring Cars and a Huge Congratulations to Gary David and Kam for their First Second and Third Place Victories. Keep up the Hard Work and Good Luck to everyone Else wherever your Next Races take you.
CTCRC Poultec Classic Race Engines Pre 66 Touring Cars (Race 1 Results)
Now it was Time for the Fan Favourite to Enter onto the Brands Hatch Circuit with the Pre 66 Touring Cars Championship. With Mini's Lotus Cortina's and Ford Falcons. This was One Race that No One Wanted to Miss. After a Very Fast Paced Qualifying Session on the Saturday Which saw (Alan Greenhalgh) take Pole Position who Will be able to Challenge Him During the Race and Snatch Victory Away from Him.
In First Place was (Alan Greenhalgh) in his Ford Falcon with A Best Lap Time of 58.707 and an Average Speed of 72.63mph. Congratulations Alan A Beautiful Example of the Ford Falcon and Certainly a Very Fast One too. Congratulations on Your Victory.
In Second Place was (Robyn Slater) in his Ford Anglia 1550 with a Best Lap Time of 58.992 and an Average Speed of 72.06mph. Very Good Drive their From Robyn to Secure Second Place in The First Race of the Day for the Pre 66 Touring Cars.
In Third Place was (Barry Sime) in his Morris Mini Cooper S 1293 with a Best Lap Time of 59.116 and an Average Speed of 71.95mph. Fantastic Work their Barry Keeping that Little Rocket on The Track looked to be Very Challenging but A Very Well Deserved Third Place.
What A First Race for The Historic Pre 66 Touring Cars showing The Power and Pride Each Driver takes in Both Racing and Preservation on Their Beloved Racing Machines. Congratulations to Alan Robyn and Barry on their First Second and Third Place Finishes. Lets See what New Challenges Await Them in Race 2 The Final Race of The Day for Them.
CTCRC Poultec Classic Race Engines Pre 66 Touring Cars (Race 2 Results FINAL)
The Epic FINALE To The Pre 66 Touring Cars Race was A Race in Wet Conditions Making it even more Challenging for The Top Three Drivers. Who would Win and be able to Retain if not Take on thease Three Giants of Touring Car Racing in thease Conditions. Lets See How Things Concluded.
In First Place was (Barry Sime) in his Morris Mini Cooper S 1293 with a Best Lap Time of 1:11.482 and an Average Speed of 58.62mph. Amazing Work Barry to take Home a Superb Victory and a Brilliant Bit of Wet Weather Driving in The Mini Well Done.
In Second Place was (John Davies) in his Austin Mini Cooper S 1293 with a Best Lap Time of 1:11.416 and an Average Speed of 58.38mph. Amazing Work John Racing A Mini in thease Conditions is Very Tricky and Yet both You and Barry made it look Easy.
In Third Place was (James Ibbotson) in his Hillman Imp Super 998 with a Best Lap Time of 1:11.518 and an Average Speed of 58.12mph. Well Done James Sliding that Imp around in the Wet for a Magnificent Third Place was Well Deserved.
What A Race to End the Day for the Pre 66 Touring Cars and with So many Old and New Winners Lets Hope we Get to see More Races like This One Thought the Rest of the 2021 Season. A Big Congratulations to Barry John and James on their Respective Victories and Keep Trying Everyone Else The Hard Work will Pay off.
CTCRC Shell Oils Pre 83 Touring Cars (Race 1 FINAL)
Up Next The Pre 83 Touring Cars took to the Track for Their Only Race of The Day and from what We Have Seen Already This Race also looks like its going to be a Very Strong Battle for First Second and Third Place. Lets See who Came First and Took that All Important Victory.
In First Place was (Mark Lucock) in his Ford Escort MK1 RS2000 2040 with a Best Lap Time of 57.687 and an Average Speed of 74.53mph. Amazing work there Mark Pushing All the Power the RS2000 Engine Has and Keeping it on Track to Score an Amazing Victory.
In Second Place was (Stephen Primett) in his Ford Escort MK1 2037 with a Best Lap Time of 57.503 and an Average Speed of 74.52mph. Another Brilliant Drive from the Likes of Stephen Keep the Pace with Mark and Making for some Fierce Competition Thought the Race.
In Third Place was (Mike Luck in his BMW E21 320 1998 with a Best Lap Time of 57.236 and an Average Speed of 74.46mph. Super Driving there Mike to take Third Place and a Very Classic Looking BMW Indeed.
What A Race from the Pre 83 Touring Cars showcasing Speed Power and What a Touring Car was Made to do around a Race Track. A Big Congratulations to Mark Stephen and Mike on their First Second and Third Place Finishes. Keep Racing and Keep Having Fun Out There.
Junior Saloon Car Championship (Race 1 Result FINAL)
The Junior Saloon Car Championship was Up Next and Even Though the Age Range of thease Next Drivers Taking to the Circuit Might Shock you at The Fact that Many of them are as Young as 15 Years of age don't be Fooled Because thease Guys Know how to Race Having been brought up from Carting since the age of 4. They are always a Fan Favourite and After Qualifying on the Saturday its Anyone's Game as to Who Wins and Who Losses in Thease Races.
In First Place was (Ruben Hage) in his Citroen Saxo VTR 1600 with a Best Lap Time of 59.967 and an Average Speed of 65.65mph. Congratulations Ruben What A Drive and an Incredible Run for First Place Fending off the Other On Coming Drivers. Truly a Championship Winning Drive.
In Second Place was (Harvey Caton) in his Citroen Saxo VTR 1600 with a Best Lap Time of 59.629 and an Average Speed of 65.64mph. Very Well Driven there Harvey Staying very Close to Ruben in First Place and Keeping Him on His Toes Thought the Entire Race.
In Third Place was (Charlie Hand) in his Citroen Saxo VTR 1600 with a Lap Time of 1:00.006 and an Average Speed of 65.57mph. Solid Third Place there Charlie Keep Up the Momentum and Never Give Up Chasing Your Dreams.
What a Fantastic Race from the Junior Saloon Car Championship with New Winners on the Podium and Some Close Wheel to Wheel Action Thought the Race Thease Guys will be Fantastic To see in Future Racing Series All Over The World. Congratulations to Ruben Harvey and Charlie for First Second and Third Place and Good Luck to All Other Aspiring Young Drivers Following in the Footsteps of Your Greatest Racing Heroes.
Kumho BMW Championship (Race 1 Results)
Finally it was Time for the Last Two Races of the Day the Kumo BMW Championship. Featuring The Makes and Models of Many BMW'S taking to the Circuit for Race 1. After a Busy Day Qualifying on Saturday Lets See what Each Driver Cando in The Frist of Two Races for their Championship.
In First Place was (Niall Bradley) in his BMW E46 M3 with a Best Lap Time of 50.920 and an Average Speed of 83.60mph. Brilliant Driving There Niall Pushing the Power of the BMW Engine to Max and Putting the Pedal to the Metal the Whole Race. A Superb Victory.
In Second Place was (Michael Vitulli) in his BMW E36 M3 3200 with a Best Lap Time of 51.158 and an Average Speed of 83.45mph. Another Incredible Driver Pushing Hard and Taking Second Place. Well Done Michael.
In Third Place was (James Card) in his BMW E46 M3 3200 with a Best Lap Time of 51.154 and an Average Speed of 83.42mph. Very Well Done their James Keep Pushing.
Three Fantastic Drivers in Niall Michael and James all Fighting for that Victory and Showing The Racer Inside each and Everyone of them. Lets see what Their Final Race of the Day Brings Them.
Kumho BMW Championship (Race 2 Results FINAL)
In First Place was (Niall Bradley) in his BMW E46 M3 with a Best Lap Time of 53.581 and an Average Speed of 77.79mph. Another Well Deserved First Place Finish to Round of The Days Racing. Congratulations Niall Go and Celebrate with The Team In Style.
In Second Place was (Darren Morgan Owen) in his BMW E46 M3 3200 with a Best Lap Time of 53.200 and an Average Speed of 77.43mph. Super Drive There Darren for Second Place and a New Winner onto The Podium.
In Third Place was (Brad Sheean) in his BMW E46 M3 3200 with a Best Lap Time of 53.227 and an Average Speed of 77.13mph. Fantastic Drive there Brad and Some Incredible Car Control thought the Entire Race to Finish Third.
And That Concludes Racing for the Kumho BMW Championship with 4 Different Winners Across two Races and A lot of Really Fast Action you could not Have Asked for a better Finish to The End of The Days Racing. Massive Congratulations to Niall Darren and Brad and Good Luck to all Other Competing Drivers who are still Looking for that almighty Victory.
That Concludes Racing for The BARC Club Car Championships Weekend A Big Congratulations to All of the Drivers of Every Team and a Huge Thank You to Marshalls Far and Wide as Without Your Support Events like This and Champion Drivers May Never Get to Achieve Their Dreams.
See You All At The Next One!
August von Pettenkofen (Wien 1822 - 1889 Wien)
Transport of Wounded Austrian Soldiers in Hungary, 1850
Verwundetentransport österreichischer Soldaten in Ungarn
Aquarell/Watercolour
Wien Museum
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.
★★___ThotZ Designers Presents___★★
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100% Original Mesh
New Year means we welcome the new and burn out the old.
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Georg Baselitz *1938 (Ede, 1993). Albertina, Sammlung Batliner (Batliner Collection)
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.
Jakob Alt (Frankfurt am Main 1789 - 1872 Wien)
Marina Grande, Capri
Die große Marine auf der Insel Capri, 1836
Aquarell/Watercolour
Albertina, Wien
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.
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.
Wilcot Robot Indicators
Early production models of the Morris Ten 1932 season cars, were equipped with this direction indicator device known as the Wilcot Robot Indicator. Produced by Wilcot Company Ltd.
These indicators were controversial, and as early as 1929 the Ministry of Transport had arranged with the RAC to hold demonstrations of several devices in Londons Richmond Park. The chief alternative Trafficator was a German invention, to be manufactured under licence by Lucas who had obtained patent rights from A H Hunt Ltd. for a Royalty of 6d (2.5 pence) patable on every pair sold to car manufacturers as original equiment.
The arrangement did not go down well with William Morris who instead chose the Wilcot Robot Indicator
In appearance they resemble a miniature set of traffic lights. Various positions of the operating switched caused the coloured lens to illuminate in different combinations.
A pneumatic timer switch on the right hand side of the dash controls the lights. When turning left the red on the left (top) and the green one (bottom) lights up and vice versa when turning right. The idea was to show other motorists which side it was safe to pass on. When going straight on the middle ones (orange) on both sides light up. The lights do not flash.
It was argued that there was a strong danger of causing confusion, voicing by many but perhaps most strongly by Herbert Austin
Eventually the Ministry of Transport refused to sanction there use and in March 1933 Morris Motors Ltd. announced that in future semaphore signals would be fitted and any vehicle already fitted with the Robot Indicators would be modified free of charge
The exercise cost Morris £ 50,000 and many of the unused Wilcot Indicators were dumped in a large pit behind one of the factories
Thanks for a stunning 59,202,313 views
Diolch am 59,202,313 gwych, golygfeydd, mwy na phoblogaeth y Lloegr honno yn y Gorllewin
Pencampwyr y Chwe Gwlad Cymru 2021
Shot 21.05.2017 at Chiltern Hills Classic Sar Show, Weedon Hill, Aylesbury REF 126-207
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.
Khao Phra Tamnak also called Phra Tamnak Hill, is a hill located in between Pattaya Beach and Jomtien Beach on the south side of Pattaya. The hill is known for its viewpoints in Chaloem Phrakiat Park; the temple Wat Phra Yai, also known as Big Buddha Hill, which is generally known for its large golden Buddha statue; and the Pattaya City sign. It has the highest natural point in Pattaya City, with its highest elevation being 98 meters above sea level.
The hill is generally known as Khao Phra Tamnak or Phra Tamnak Hill, with 'khao' (เขา) meaning hill or mountain. The hill is also known in English sources as 'Pattaya Hill', due to the absence of hills from most of central Pattaya; or as Phrabat mountain.
Phra Tamnak Hill is 170 kilometres (110 mi) southeast of Bangkok in Bang Lamung District, Pattaya, Chonburi Province of Thailand. The location borders numerous beaches, Bali Hai Beach (north), Pattaya Beach (north-northeast), Royal Cliff Beach, Cozy Beach and Pratumnak Beach (west), Sugar Beach (southwest), Dongtan Beach and the Jomtien Beach (South-Southeast) to the Gulf of Thailand.[citation needed]
The hill is also located near the end of Walking Street, and behind the Bali Hai pier.
The hill can be accessed by foot, car or taxi.
Phra Tamnak Hill or Pratumnak Hill is a spot for fitness and beach leisure. Under the patronage of His Royal Majesty Bhumibol Adulyadej, it has an impact on the development and rise of sailing, yacht racing, and sea sports.
Pattaya Park and Pattaya Tower are on the south end of Phra Tamnak Hill and the Pattaya Exhibition and Convention Hall (P.E.A.C.H.) is on the north. From there down the hill is the Bali Hai Pier and the Walking Street, Pattaya.
At 98 meters above sea level is the Abhakara Kiartivongse monument, a bronze statue dedicated to Abhakara Kiartivongse, who is regarded as the Father of the Royal Thai navy. Due to the construction of the Waterfront Suites and Residence condominium from 2011 to 2014, the statue's view of the Bay of Bangkok has been restricted, causing the building and then mayor Itthiphol Khunpluem to come under criticsim. Since its construction halt in 2014, the abandoned building has continued to obstruct most of the statue's view of the sea.
Due to the area being the highest - at 98 metres above sea level - both a radio and TV station were constructed. The radio station is administered by the Royal Thai navy as Sor Tor Ro 5 Station.
Wang Sam Sien is a Taoist temple dedicated to Confucius and Guanyin. The shrine is along the way up to Wat Phra Yai.The organization that created Wang Sam Sien, the Mahakitpaisan Foundation, came into conflict with Pattaya City officials, who accuse the foundation of building on public land. The Supreme Administrative Court then ruled in Pattaya City's favour. This eventually resulted in the Mahakitpaisan Foundation releasing the land to the city in March 2021, who will then keep it as a Chinese-Thai cultural center with the Sawangboriboon Foundation. Then mayor, Sontaya Kunplome, then toured the temple on 9 March 2021 to come up with a plan with the Sawangboriboon Foundation to develop the center.
Wat Phra Yai is a Buddhist temple known primarily for its golden 18-metre tall 'Big Buddha statue'. The temple dates back to the 1940s when Pattaya was still a fishing town,[14] while the statue was built in 1977. The steps leading up to the statue are bounded by two 7-headed Nagas who are designed to guard the statue. Wat Phra Yai also contains seven other statues of the Buddha in different postures to represent their day of the week.
Covering around 24,000m², Chaloem Phrakiat park was established during the reign of King Bhumibol.
The Pattaya City sign is a large sign with the words 'PATTAYA' in red, and 'city' in white located on the hill. The sign also has a view point, which is not promoted by the Tourism Authority of Thailand and as such has no tour buses going to and from it. The view point can be accessed from either Bali Hai pier area or from a nearby road.
Pattaya is a city in Eastern Thailand, the second-largest city in Chonburi province and the eighth-largest city in Thailand. It is on the east coast of the Gulf of Thailand, about 100 kilometres (62 mi) southeast of Bangkok, and has a population of 328,961 as of 2021.
Pattaya City (Thai: เมืองพัทยา, RTGS: Mueang Phatthaya, pronounced [mɯ̄a̯ŋ pʰát.tʰā.jāː]) is a self-governing municipal area within, but not part of, Bang Lamung district and has a population of 119,532. It covers the tambons of Nong Prue and Na Klua and parts of Huai Yai and Nong Pla Lai. Although the municipal area is not part of Bang Lamung district, Pattaya City has grown into all adjacent sub-districts and accounts for the largest population percentage in the district, making it de facto a part of the "Pattaya-Bang Lamung-Jomtien" area, otherwise known as "Greater Pattaya". The city is in the industrial Eastern Seaboard zone, along with Si Racha, Laem Chabang, and Chonburi. Pattaya is at the center of the Pattaya-Chonburi Metropolitan Area (a conurbation in Chonburi Province with a population of 1,000,000), which forms the third largest metropolitan area in Thailand.
The name Pattaya evolved from the march of Phraya Tak (later King Taksin) and his army from Ayutthaya to Chanthaburi, which took place before the fall of the former capital to Burmese invaders in 1767. When his army arrived in the vicinity of what is now Pattaya, Phraya Tak encountered the troops of a local leader named Nai Klom, who tried to intercept him. When the two met face to face, Nai Klom was impressed by Phraya Tak's dignified manner and his army's strict discipline. He surrendered without a fight and joined his forces. The place the armies confronted each other was thereafter known as "Thap Phraya", which means the "army of the Phraya".[4] Thap Phraya was later changed to Phatthaya, which means 'the wind blowing from the southwest to the northeast at the beginning of the rainy season'.
Following World War II, entrepreneur Parinya Chawalitthamrong saw the potenial of investing in Pattaya and donated some land to the governing administration. Pattaya City Hall would later be constructed on this land.
A fishing village until the 1960s, tourism began during the Vietnam War, when American servicemen began arriving on R&R (rest and relaxation). One large group who arrived from a base in Korat on 29 June 1959 and rented houses from Phraya Sunthorn at the south end of the beach, on what is now known as the "Strip", are credited with recommending Pattaya, whose fame spread by word of mouth.
On 29 November 1978, Pattaya was granted city status by the Thai government. In 1978, it also became a special governed city.
In 1981, businessman Lek Viriyaphan began constructing on the Sanctuary of Truth which remains unfinished and is entirely made out of wood.
In 2004, Nirun Wattanasartsaton became the first democratically elected mayor. In the 2008 mayoral election, Itthiphol Khunpluem became Pattaya's mayor. As mayor, Itthiphol approved construction on the Waterfront Suites and Residence condominium near the Bali Hai pier, which became constroversial. His approvement later led to his arrest in 2023 over corruption.
Following the 2014 coup, the National Council for Peace and Order appointed two mayors until in 2018 when the Prime Minister Prayut Chan-o-cha appointed Sontaya Kunplome, brother of Itthiphol, as mayor. Mayor Sontaya went on to form the Rao Rak Pattaya party which won the 2022 mayoral election led by Poramet Ngampichet, who has served as mayor ever since.
During the COVID-19 pandemic, Pattaya's economy suffered greatly due to travel restrictions restricting tourism.
From the 2010s through to the 2020s, Pattaya attempted to shift public perception of it being a sex-city to a more family-friendly location. Bars which were friendly towards pedophiles in Sunee plaza were closed, and the amount of gogo bars on Walking Street declined. However, a 2023 documentary by Deutsche Welle, which has been banned in Thailand, resurrected concerns around Pattaya's sex industry and its association with child prostitution. The documentary is around a German tourist who is claimed to have paid ฿1 million to return to Germany and escape charges. The claims resulted in PM Srettha Thavisin launcing an investigation headed by Surachate Hapkarn. The documentary has been described by local media as having the potential of hurting Pattaya's industry which has been recovering from the COVID-19 pandemic.
Pattaya has frequently suffered from flooding, especially during the monsoon season. Torrential rain on 27 August 2021 left many important roads under water, with water reaching up to two metres deep in some areas. Pattaya City officials called the August flooding as the worst flood for Pattaya in a decade.
On 4 November 2023, Pattaya was awarded the Integrity and Transparency Assessment award for the highest development category. The award was presented by the National Anti-Corruption Commission to Poramet at Government House in Bangkok.
Pattaya has a tropical wet and dry climate, which is divided into the following seasons: hot and dry (December to February), hot and humid (March and April), and hot and rainy (May to November).
The municipality has a population of 119,532 residents (2019), while the city ("Greater Pattaya") has a population of 328,961 (2021). Most of these people counted are Thai, with most migrant populations not recognized, although migrant workers are increasingly regularized due to foreign pressure. Some details of the census remain complex, as even indigenous Thais without nationality are not being recognized. Therefore, the census population currently does not represent the total figure. As with the Bangkok Metropolitan Region, registered population figures issued by the National Statistics Office (NSO) and the Department of Provincial Administration (DOPA) hardly capture the scope of the urban transformation that has occurred over time, especially with the economy being dependent on the large numbers of casual Thai workers who work in the city yet remain registered in their hometowns, the employment turnover from and to the capital, as well as seasonal farm migration. Migrant workers from neighboring nations, and many long-term expatriates who reside in the city as retirees, self-employed, or contracted are traditionally not counted. There has never been a reliably published figure for the total population in Pattaya, but its thought to be quite large (on the order of half a million people[citation needed]) given the ubiquity and sheer number of migrant workers. Pattaya additionally has a massive population inflow from short stay tourism, with its 2000 hotels and 136,000 rooms available as of 2015.
Throughout the years, the municipality (Pattaya City) has outgrown its municipal borders (53.5 km²) and now reaches into all neighboring subdistricts (tambon) within the Bang Lamung district, forming the "Pattaya-Bang Lamung-Jomtien" area (727 km²), also known as "Greater Pattaya", though the commonly used term to describe the urban area is simply Pattaya. Changes in population and area size are regularly revised by the Department of Public Works and Town & Country Planning and the Chonburi Provincial Administrative Organization.
Pattaya is part of the Pattaya-Chonburi Metropolitan Area, a conurbation of the urban areas of Chonburi, Si Racha and Pattaya. The total population of this area is 999,092, making it the third largest metropolitan area in the country after Bangkok and Chiang Mai.
A growing community of foreign retirees lives in Pattaya. The Thai Immigration Bureau has a special visa category for foreigners over the age of 50 who wish to retire in Thailand. The city also has a large Indian community, which mainly speaks Tamil.
Pattaya, on the Gulf of Thailand, is approximately 160 kilometres (99 mi) south of the city of Bangkok in Bang Lamung District, Chonburi Province.
The city of Pattaya is a special municipal area which covers the whole tambon Nong Prue (Nongprue) and Na Kluea (Naklua) and parts of Huai Yai and Nong Pla Lai. Bang Lamung township which forms the northern border of Pattaya covers parts of the tambon Bang Lamung (Banglamung), Nong Pla Lai and Takhian Tia. Bang Sare (Bang Saray) is on the southern border of Pattaya.
"Greater Pattaya" occupies most of the coastline of Banglamung (one of the eleven districts that make up Chonburi Province). It is divided into a larger northern section which spans the areas to the east of Naklua Beach (the most northern beach) and Pattaya Beach (the main beach) plus Phra Tamnak Hill (often called "Buddha Hill" because of the temples on top of the hill) headland immediately south of Pattaya Beach, and a smaller southern section covering the area to the east of Jomtien Beach (directly south of Phra Tamnak Hill).
The Pattaya Bay area is one of Asia's largest beach resorts and the second most visited city in Thailand, after Bangkok. This panorama overlooks Bali Hai pier and the core of the city.
The main sweep of the bay area is divided into two principal beachfronts. Pattaya Beach lies parallel to the city centre, and runs about 2.7 km long from Pattaya Nuea (North) south along the coast to Pattaya Tai (South) which is the entrance to Walking Street. The beach, which used to be 35 m wide, suffers from erosion and in some places was reduced to a width of only two to three meters. A 429 million baht beach restoration scheme was implemented in 2018. It will take 360,000 m3 of sand from Ko Rang Kwian offshore to increase the beach width to 50 m. Without intervention Pattaya will likely see its beaches disappear in roughly ten years according to Chulalongkorn University researchers. Within a month of the completion of the restoration of the first 400 m of Pattaya Beach, the work was "seriously damaged" by flooding. The beach is the first in the country to use imported sand to compensate for coastal erosion. An official said, "...the longer it is left without the flood damage being repaired, the worse it will get."
Phra Tamnak Hill is on the south side of Pattaya and is popular for its viewpoints and the temple (Wat Phra Yai) on top of the hill. Pattaya Park and Pattaya tower are at the south end of Phra Tamnak Hill and the Pattaya Exhibition And Convention Hall (P.E.A.C.H), is positioned at the north end of Phra Tamnak Hill. In recent years, Phra Tamnak Hill has gained in popularity because of its more natural environment, nicer beaches, and its convenient location between Jomtien and Pattaya city.
Jomtien is divided from Pattaya by Thepprasit Road, the southern route into Pattaya city. It consists of high-rise condominiums, beach side hotels, bungalow complexes, shops, bars, and restaurants.
Offshore islands include three "near islands": Ko Lan (main island), Ko Sak, and Ko Krok, 7 kilometres (4.3 mi) from the shore of Pattaya. The "far islands" are Ko Phai (main island), Ko Man Wichai, Ko Hu Chang and Ko Klung Badan, located offshore further west of the "near islands". Ko Rin lies offshore to the south-west, south of Ko Phai group. The names "near islands", "far islands", and "Coral Island" are used for marketing purposes only and do not correspond to any naming conventions of the island groups and are not shown on maritime charts published by the Hydrographic Service of the Royal Thai Navy.
In June 2016, the Regional Environmental Office reported that, "The sea water along the busy central Pattaya beaches is of poor quality and could endanger human and marine life."
Pattaya produces on the order of 450 tonnes of solid waste per day. The city spends more than 300 million baht on waste removal and disposal annually. On average it pays 1,600 baht to process each tonne of garbage. Significant volumes of rubbish are allegedly dumped into the sea by tour boats.
In July 2017 Pattaya Beach was fouled for a week by raw sewage that poured out of a storm drain. City officials blamed the incident on broken pumps and Pattaya's poorly maintained sewage-treatment plant. The environmental ministry declared it would step up enforcement of pollution laws and push Pattaya for better wastewater-treatment efficiency. According to the ministry, Pattaya has 1,047 identified sources of sewage and garbage pollution, the number increasing as the city grows. The sea water along central Pattaya beaches is of poor quality even in the absence of sewage spills and "could endanger human and marine life", the regional environmental office has said. They deemed sea water quality near central Pattaya beaches as "poor" and deteriorating. They judged water quality near Na Klua in North Pattaya, South Pattaya, Ko Lan, and Jomtien Beach as "fairly good". The city has considered expanding two water management plants to increase capacity for better treatment of wastewater prior to discharge into the ocean. The water treatment plant in Soi Wat Nongyai after expansion would be able to treat around 130,000 cubic metres of waste water a day, up from 80,000 cubic metres at present. The expansion was never implemented.
In November 2018, the Pattaya City Council approved 188 million baht for the repair of its six wastewater treatment plants. Installed in 2000, the plants can accommodate 65,000 m3 of wastewater per day. More than a third of plant equipment was found to be 40–50 percent worn out. The system treats waste from a 36 km2 portion of Pattaya, or 68 percent of its urban area. Earlier plans to increase treatment capacity to 135,000 m3 were never implemented and existing plants were allowed to fall into disrepair. Pattaya uses more than 200,000 m3 of water a day, but claims to only discharge about 70,000 m3 a day. The discrepancy is unexplained. Once treated, there are no tests to measure water quality before it is dumped back into the sea, which may account for foul water discharges.
Pattaya is at the center of Thailand's Eastern Economic Corridor (EEC). Investments totaling more than 1.5 trillion baht (US$45 billion) are flowing into EEC infrastructure projects: airports, deep-sea ports, high-speed railways, autoroutes. The result will enhance Pattaya's accessibility. According to the Thai Chamber of Commerce (TCC) the EEC investments, the U-Tapao International Airport and the high-speed train that will link three major airports to Pattaya, will make Pattaya the heart of the eastern region. The TCC view is that, "Plenty of attractions...will lure lots more foreign and domestic tourists in the future." Better connectivity will reduce both the cost and time to travel to Pattaya, with the TCC estimating the number of tourists visiting the EEC region to rise to 46.7 million over the next few years, one and half times the current 29.8 million visitors. Pattaya projects include developing a tram in the city and building a bigger cruise terminal, as well as new tourist attractions: a water park, an ice dome, cultural markets, Thai boxing gyms, theaters, and conference halls. All are under development. "We aimed to get rid of the previous [seedy] image of Pattaya and try to promote a new image to show that Pattaya is a place for everyone with diversity of new tourist attractions," said an official of the Tourism Authority of Thailand (TAT). He said that the EEC would make Pattaya more competitive compared with other popular Thai beach destinations such as Phuket and Ko Samui, with cheaper transport costs.
Fourteen million visitors in 2018 contributed 239 billion baht to the city's treasury. That represents more than 70% of Pattaya's total income for the year. The city's leadership plans to reduce Pattaya's reliance on tourism to 60% by 2025 by transforming itself into "Neo Pattaya", an international business center. Key to the plans are infrastructure improvements: 9.5 billion baht for flood management projects and upgrading sewage treatment plants to handle 130,000 m3 of waste per day, up from 67,000 m3 per day in 2019.
Pattaya's thriving real estate market plays a pivotal role in bolstering the local economy. The continuous growth in the sector, particularly driven by foreign interest in condos, contributes significantly to employment, from construction to property management. Increased property transactions also generate substantial revenue through taxes and fees, further enhancing the city's fiscal health.
During 2020-2022, Pattaya witnessed a limited number of new projects, resulting in high absorption rates. Notably, the second and third quarters of 2023 saw a remarkable uptick in condo launches, significantly elevating sales. In 2023, Pattaya maintained its lead in condo transfers to foreigners, surpassing Bangkok with proportions of 41.7% and 37.5%, respectively. This outperformed the average rates of 30.8% and 48.8% from 2018 to 2022.
Via the Bangkok-Chonburi-Pattaya Motorway (Hwy 7). The motorway is linked with Bangkok's Outer Ring Road (Hwy 9) and there is also another entrance at Si Nakharin and Rama IX Junction.
Via Bang Na-Trat Highway (Hwy 34). From Bang Na, Bang Phli, across the Bang Pakong River to Chonburi there is a Chonburi bypass that meets Sukhumvit Road (Hwy 3), passing Bang Saen Beach, Bang Phra to Pattaya.
A daily service operates on the Eastern Line of the State Railway of Thailand between Pattaya and Hualumphong Station in Bangkok.
Pattaya is served by bus services from Bangkok's Northern Bus Terminal (Mo Chit) and the Eastern Bus Terminal (Ekamai), connecting to Pattaya's main bus terminal on Pattaya Nuea (North Pattaya Road) near Sukhumvit Road.
There are two airport bus services. The 389 Bus (airportpattayabus) service connects Pattaya with Suvarnabhumi Airport (BKK). It uses modern, air-conditioned buses, and takes around 1+1⁄2 hours to reach the airport. The trip from the airport (Level 1 Gate 8 at the Arrival Hall) to the bus terminal in Pattaya, makes three stops at North, Central, and South Pattaya intersections before going to their last drop off point, the office on Thappraya Road (near Jomtien). It can take longer if many hotel stops are negotiated along Sukhumvit Road in Pattaya. The other bus service is the Bell Travel Service (Coach 36) which goes from the airport (Level 1 between Gate 7 & 8) to the Pattaya Bell office at the North Pattaya Intersection, and then provides transfers to local hotels.
Buses from a terminal on Sukhumvit Road near Pattaya Klang (near the Central Pattaya intersection) connect Pattaya with many destinations in the north-east region (i.e. Isan).
City and suburban services are mainly provided by songthaew, popularly nicknamed "baht buses" or "blue taxis".
Pattaya is about 120 kilometres (75 mi) by road from Suvarnabhumi Airport (BKK), the country's largest international airport. By road, it is accessed from Sukhumvit Road and Motorway 7 from Bangkok. Pattaya is also served by scheduled flights via U-Tapao International Airport (UTP) which is 45-minute drive south of the city.
A passenger-only ferry service from Pattaya to Hua Hin began operation on 12 January 2017 and is operated by Royal Passenger Liner. By road, the journey takes five to six hours. The ferry shortens travel time to about two hours, subject to sea conditions. The ferry cruises at 27 knots on the 113 km journey across the Gulf of Thailand with a maximum passenger capacity of 150 persons. Larger ferries carrying up to 260 people may be added to the service later. Ferries capable of carrying vehicles are projected for 2020. In November 2018, Hua Hin deputy chief Chareewat Phramanee confirmed the ferry service, suspended due to low tourist numbers during low season, would be up and running again for high season between Hua Hin and Pattaya, a 2.5-hour journey for 1,250 baht on a catamaran with a maximum capacity of 340.
Pattaya city has been administered under a special autonomous system since 30 October 1978. It has a status comparable to a municipality and is separately administered by the mayor of Pattaya city who is responsible for making policies, organising public services, and supervising the city's workforce for an area that covers 53.4 square kilometers and consists of four subdistricts, 18 villages (muban).
Once a fishing town, Pattaya first boomed as an R&R destination for US servicemen stationed at nearby former USAF base at U-Tapao, or other US bases in Thailand during the Vietnam War. In 2018, Pattaya was the 18th most visited city in the world with 9.6 million tourists, and 3rd most in Thailand, after Bangkok (24.1 million) and Phuket (10.5 million).
Chinese New Year (varies from late January to early February) is celebrated by Pattaya's large Thai-Chinese community with dragons parades, lion dances, and fireworks.
Pattaya International Music Festival is held annually in the month of March. It attracts huge crowds to the different stages along Beach Road and Bali Hai Pier, and presents several styles of music performed by Thai and international artists.
The Pattaya Songkran festival, locally called Wan Lai, takes place each year in mid-April. It differs from most other Songkran festivals of Thailand in several aspects. It lasts several days longer and, besides water fights, the event includes beauty pageants, musical performances, cultural shows, fireworks, and water sports competitions.
Top of the Gulf Regatta is a week-long sailing event held at the end of April, beginning of May.
The Miss Tiffany Universe beauty pageant is held mid-May each year. During the four-day pageant, transgender models vie for first place with the final evening broadcast live on Thai TV for an audience of, on average, 15 million.
Pattaya Marathon, featuring several race categories, is held each year in July.
Pattaya Classical Guitar Festival, held annually on the last weekend of October, organized by the Thailand Guitar Society, Pattaya People Media Group, and Siam Bayshore Pattaya.
Loi Krathong, a light festival held during the full moon of the twelfth month in the traditional Thai lunar calendar and which usually falls in November, is celebrated in Pattaya, as in the rest of the country, that evening with people floating krathongs (small, candle-lit floats made from elaborately folded banana leaves) on the waters, as well as releasing khom loi (candle-fired hot air balloons) into the night sky.
Every November Pattaya hosts Miss International Queen, a yearly international pageant for transgender persons and transsexuals. In 2007 the event drew an estimated 25 million viewers on national TV.
Nightlife
Pattaya has derived part of its reputation as a tourist destination due to the sex industry and the resulting nightlife, and this notoriety has influenced the city's evolution in many ways. Prostitution in Thailand is technically illegal but tolerated in most cities, including Pattaya. The city's vast numbers of host bars, gogo bars, massage parlours, saunas, and hourly hotels, serve foreign tourists as well as locals. This is especially prominent on Walking Street as well as other areas around the city. Efforts have been made to clean up the city's image.
An article in the British tabloid the Daily Mirror have described Pattaya as "the world's sex capital", a "modern-day Sodom and Gomorrah". This provoked anger from government officials as high up as Prime Minister Prayut Chan-o-cha. Pol Col Apichai Krobpetch, the Pattaya police superintendent, denied that Pattaya is a sex trade paradise. Upset about the British media's stories, he insisted they were fabricated. "There is no such thing as prostitution in Pattaya," said Col Apichai. "Where did they get the figure of 27,000 sex workers in Pattaya? Anyone can make up this information....Thai ladies having sex with foreigners is their personal issue. If they like each other, I don't see anything wrong with what they do behind closed doors." In response, Pattaya social worker Surang Janyam, the director of Service Workers IN Group Foundation, said that estimated number of Pattaya prostitutes published in the Daily Mirror is inaccurate: "27,000 sex workers in Pattaya is way too low. We have a lot more sex workers than that." In June 2019, over twenty high ranking Police, Army and Local government officers toured Pattaya and reported the central streets safe and free from illegal activities.
As evidence of the government's commitment to clean up Pattaya, on 26 February 2017 at 20:00, 60 police officers and soldiers raided Pattaya's notorious Soi 6 to check for violations of the law. When the checks were completed, police announced that all licenses were in order and there was no law breaking of any kind, including prostitution, taking place there.
Pattaya also has Asia's largest gay scene based around Boyztown, the Jomtien Complex, and Sunee Plaza. The city is also famous for its flamboyant kathoey cabaret shows where transgender entertainers perform to packed houses.
In recent years, Pattaya has served as a hideaway for foreigners with connections to organized crime in their home countries, and dozens have been murdered in gang-related disputes.
People who visit the Pattaya area may encounter petty crime, usually limited to pickpocketing and confidence tricks, particularly in and around major tourist areas such as Jomtien and Pattaya Beaches and on the "baht buses". A special Tourist Police division has been established to aid tourists who are victims of crime. The 2009 British eight-episode TV documentary Big Trouble in Tourist Thailand described crimes involving tourists in Pattaya.
On 11 April 2009, Thailand's Prime Minister Abhisit Vejjajiva declared a state of emergency in the areas of Pattaya and Chonburi, in response to Red Shirt anti-government protesters breaking into the conference center of the Royal Cliff Beach Resort hotel complex, the site of an ASEAN Summit. The meeting was immediately cancelled and Asian leaders were evacuated, some by helicopter.
In 2019, the International Thai Foundation ('ITF') established a Community Legal Centre in Soi Bua Kao, Pattaya. Its objectives are to promote education, protect human rights & relieve poverty for the people in Thailand. This is the third CLC in Thailand Pro Bono Community Hub in Chiang Mai.
Several local foreign-language newspapers and magazines are published either weekly or monthly, especially in English, Russian, and German. The English-language newspapers include the Pattaya Mail and Pattaya People. The Pattaya News is an online portal that writes the local news in six languages. DER FARANG is a German-language newspaper published every 14 days. Thailands Tidende is a Norwegian-language newspaper published monthly.
The novel Platform by French author Michel Houellebecq prominently features the city of Pattaya as well as its nightlife.
The GMMTV Boys' Love (BL) series Moonlight Chicken (2023) is set in Pattaya.
International schools in Pattaya:
École francophone de Pattaya
International School of Chonburi
Tara Pattana International School
Rugby School Thailand
Mooltripakdee International School Pattaya
Hastin International School
The Thai-Japanese Association School Sriracha, a Japanese international school, is in nearby Si Racha. It is an affiliate of the Thai-Japanese Association School in Bangkok. Si Racha formerly housed the Sriracha-Pattaya Japanese Supplement School, a Japanese weekend school.
Twin towns and sister citiess
Kazakhstan Shymkent, Kazakhstan (June 2017)
Russia Saint Petersburg, Russia (June 2017)
China Qingdao, China (2013)
China Hubei, China (2014)
China Zhangjiajie, China (2016)
"Now that is what I call a Re-enactment!
Bartimaeus the blind beggar
May the Peace of the Risen Christ be with you! Easter is here.
We had a most successful Re-enactment of Our Lord's Passion. After so many months of preparation, sewing machines running hot updating costumes, actors learning lines, sound systems being upgraded and more, there we stood at 11am on Good Friday with microphone in hand: "Welcome to the 2018 Re-enactment of Our Lord's Passion!" And so it began.
How do we measure "success" in regards to our re-enactment?
On one measure you can use crowd numbers, donations, "Likes" and Shares and that would be appropriate if this was just a normal play. Even on that basis our event would certainly be considered a success with somewhere around 5,000 people participating and lots of great feedback and support.
But how do you measure success for a play that tries to be an authentic re-enactment of the Passion of Jesus Christ based on scripture and tradition of the Church? In this case we were told by the Pauline Fathers that many people came back and they were hearing confessions the whole day.
We saw many people following the play and praying along with us.
Crowning with Thorns
Many came up to us after the play thanking us for such an invigorating presentation of our Lord's Passion. Here are some of the early tales we have been told of the day.
One of the biggest challenges with a moving play is the safety of actors, crew and pilgrims as the play moves from scene to scene. We try many methods such as fixed tape and ropes as well as rope held by our marshalls. Enforcement for keeping the crowd back tends to fall towards the soldiers who, like in a theatre restaurant, instruct the crowd to move back for their own safety. Our photographer, eager to get "the photo", allowed a little old lady to sneak past the barriers so she could touch the cloak of Jesus. As the Centurion swung his arm giving orders to his soldiers, this lady who stood upright under his swing moved forward. "What the?" cried the Centurion and firmly moved her back with instructions. I thought she would be concerned at the firm treatment but she was grinning ear to ear and holding her bag telling her family, "I touched his cloak!"
I touched Jesus' Robes!
Some of our Marshalls volunteered to help on the day. Often these had not experienced the fluid intensity of a moving play like this and even though they were holding on to the rope barrier, found themselves sucked into the crowd. When the Centurion or one of the soldiers noticed their lost marshall and we heard the cry, "Get him out of there!" as they reached in and brought him back into line.
Our marshalls and soldiers request people to stay back for their own safety. When the Roman soldiers and Jewish guards broke out into another scuffle we heard the cry, "They're fighting again!" and the crowd suddenly made space. "Please stand back for your own safety," we once more cried as the procession moved on.
When Jesus was being scourged, the process started with one Roman making a few lashes. Then he gets moved back with the cry, "Let someone do it properly!" The primary flogging Roman soldier let fly with the whip dipped in the fake blood. Drops of blood flew in an arc and the soft straps struck Jesus with a satisfying slap and Jesus cried out. The crowd stopped chattering with an audible gasp.
One of our new actors had not actually attended the play in past years so this was all an amazing experience. When Jesus was being scourged and mocked, tears came to her eyes, but the Woman of Jerusalem in charge held her and said, "Don't cry yet. We have to call for his crucifixion in the next scene." So she held back her tears and like a trooper joined the crowd calling for Jesus' crucifixion. As she said afterwards, it won't be the same contemplating the story of Jesus' Passion in future.
At the start of the play we made sure the actors and crew knew that this was a "Live" play. That meant no retakes, no pause to re-do the scene, no stepping in to try again. "The play must go on!" we instructed. "After all, the pilgrims haven't read the script and the story won't be affected if your lines are not exact. So long as we get the important bits in the right order, no-one will know." That was good advice.
When Pontius Pilate was standing majestically on the balcony addressing the crowd, the sign of Roman Superiority detached from the balcony railing and fell to the ground with a crash. Pontius Pliate's eyes opened wide for a brief moment and then he turned his gaze back to the Crowd and Caiaphas and the Jews and continued as if nothing was wrong. The crew quickly removed the sign and all moved on as if this was part of play. We were told afterwards how clever this was, the falling of the sign representing the fall of Roman Justice. The play must go on.
Although we have a script which covers all the main dialogue and actions, the flavour comes from the interactions and improvised dialogue of the actors. Insults between the Jews and Romans provided occasional humour too. At the crucifixion, one of the Jewish Chief Priests called out "How many Romans does it take to Crucify someone?" Being sick of their taunts a Roman Guard approached them and said, "I have room for one more. Are you ready?" The Chief Priest stepped back behind the Jewish Guards and replied, "I have an appointment tomorrow and can't today."
We will report further tales as they come to light, but I want to end this post-play post with some heartfelt thanks. When organising an event like this where there are months of preparation involving over 100 cast, crew and support organisations, the whole thing only works when people do their part. This year worked so well because everyone did their part, no matter how small that part may have appeared. The actors didn't just remember their lines, but they also worked with their fellow actors and added their own ideas for their character. For example, the actor playing the blind beggar Bartimeus had the idea of having a blindfold and sat in his spot near the start of the play, begging for alms for about 20 minutes before the play reached him. Then he improvised with many calls for alms and requests about what the commotion was. It was a great job which really brought out the character of the blind beggar. It may have only been a bit part, but it formed part of the greater whole.
The same applied for each of the roles, from the primary speaking parts through to the behind the scenes actors of the Women of Jerusalem and Apostles before and after the abandonment of Jesus.
So many people have done their parts and done them well I am very proud to have been able to assist in co-ordinating and directing the play. An event like this generates a great camaraderie and fellowship and fosters a deeper understanding of not just this critical point in salvation history, but also the very human element that is the point of the whole Passion. Every actor and member of the crew and supporters must know that all the work and effort has been worthwhile to so many people.
Thank you.
~David Bruggeman"
Copied from goodfridaypassionplay.blogspot.com.au/
For more information please visit www.paulinefathers.org.au
No need to meditate or imagine, this event will take you to Calvary!
Images by Giovanni Portelli Photography © 2018.
St Mary stands on a hill overlooking what was once the sea and sand spit of land that Sandwich still sits. The sea has receded, but St Mary is still there, its wooden cupola topped tower visible for those who look for it, or notice these things in the 21st Century.
This was my third visit to the Blessed Mary, first time I found it locked, second time wardens were preparing it for the Nativity service.
It was open, and even had a welcoming sign hanging near to the gate to the churchyard, always welcome.
Amazing how much I missed the first time; brasses, medieval tiles, good glass. Always worth returning.
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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)
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 people of both Brecon and Llandovery had plenty to say on board the National Assembly for Wales bus on Friday. Many people visited the bus wishing to share their views on a particular topic. The referendum was one of the main subjects discussed in Brecon, with many wanting information on how the National Assembly could make laws in future. One local young person was eager to learn about the differences between Members of Parliament and Assembly Members and why there was a need for both. Another visitor was keen to know the difference between the National Assembly for Wales and the Welsh Government and wished to know the cost of each Government building in Wales. One woman wished to share her view on the health service and said she was unhappy that prescriptions were free of charge for the people of Wales. A visitor who had moved to Wales from India over thirty years ago said he didn’t understand why there seemed to be a division between the Welsh-speaking residents and non Welsh-speaking residents in his local area. A resident of Blaenau Gwent mentioned that he’d presented the Independent Planning Committee with a petition against an issue that affects his local community. Staff on the bus told him that he could raise a petition with the National Assembly for Wales and provided with information on how to do so.
Tro trigolion Aberhonddu a Llanymddyfri oedd cael dweud eu dweud ar fwrdd bws y Cynulliad Cenedlaethol ddydd Gwener. Daeth nifer i ymweld a’r bws er mwyn cael cyngor ynglŷn a phynciau penodol. Y refferendwm oedd un o’r prif bynciau a drafodwyd gyda llawer eisiau gwybod sut y byddai Cymru’n mynd ati i basio deddfau yn y dyfodol. Roedd un person ifanc eisiau gwybod beth oedd y gwahaniaeth rhwng Aelodau Seneddol ac Aelodau Cynulliad gan holi a oedd angen y ddau. Y gwahaniaeth rhwng Llywodraeth Cymru a’r Cynulliad Cenedlaethol oedd prif ddiddordeb un ymwelydd ac roedd yn awyddus i wybod beth oedd costau cynnal a chadw adeiladau’r Llywodraeth yng Nghymru. Iechyd oedd prif bryder un ddynes ddaeth ar y bws i ddweud ei bod yn erbyn rhoi presgripsiwn am ddim i bobl Cymru. Sylw a gafwyd gan berson lleol oedd wedi symud i’r ardal o India dro yn ol oedd y rhaniad amlwg rhwng y Cymry a’r Cymry di-gymraeg yn yr ardal. Soniodd un ymwelydd ei fod wedi cyflwyno deiseb i’r Pwyllgor Cynllunio Annibynnol ynglŷn a mater oedd yn ei bryderu yn lleol. Gwnaeth staff ar y bws ei hysbysebu bod modd llunio deiseb gyda’r Cynulliad Cenedlaethol felly mi adawodd gyda manylion fyddai’n ei alluogi i wneud hynny.
St John the Baptist Church
Religious Place In Stockton on Tees, North Yorkshire
An 11th Century Church in the village of Egglescliffe
St John the Baptist Church is an Anglican church in the village of Egglescliffe, Stockton-on-Tees. It is a perpendicular church, built in the Norman style. The perpendicular style was part of the English Gothic movement that was popular from the 14th to 17th century. There has been a church on the site for at least 900 years, however the original date of construction is unknown. There is a theory that the origin of the name “Egglescliffe” means “the church on the cliff”.
There is a piece of a carved cross in the entrance porch to the church which was found on site and dated at over 1000 years old which may suggest Christianity was practiced at this site for even longer than thought.
The earliest surviving parts of the church date from the 12th century, including the nave, chancel, and west tower. The church was extensively rebuilt in the 14th and 15th centuries, and the current Perpendicular style was largely completed in the 16th century.
The church has a number of notable features, including a 15th-century font, a 16th-century pulpit, and a number of stained glass windows. The most famous window is the East Window, which was designed by William Morris and Edward Burne-Jones in 1878. The window depicts the Tree of Jesse, a biblical genealogy of Jesus Christ.
There are also some quite unusual things to keep an eye out for when you visit the church. When you arrive at the main door you will no doubt see the sundial above it, this is a 1963 replica of the 1779 original and the Latin inscription translates to “be mindful of death”. One thing you might not spot, however, are a series of grooves in the door jamb. These are thought to be marks from where villages used the stone to sharpen their knives.
The box pews in St John the Baptist Church date from around 1633 and are irregular in size as each one was made to fit the family who paid for them. There is a Priests door in the southern wall of the church which would have been used in the middle ages by the rector to access the church to maintain it. It is very small, although the floor levels have been raised over the years.
My favourite little detail at the church was pointed out to me by one of the volunteers present during my visit and it involves a beautifully decorated memorial plaque behind the lectern. The memorial is for a man from Newsham (a nearby village) who died in 1611, but it wasn't erected until 1663, perhaps because it took his son that long to be able to afford it. If you look closely, however, you will spot that the sculptor missed the “S” out of Newsham and had to add it in later!
St John the Baptist Church is a Grade I listed building and is open to the public for worship and for tours, there was a coffee morning about to start when we visited on a Wednesday.
Egglescliffe is a village and civil parish in County Durham, England. Administratively it is located in the borough of Stockton-on-Tees.
The civil parish is in the Teesdale with a population of 8,559 at the 2011 Census. In the 2021 census the group of interconnected villages in the parish and Preston-on-Tees had a population of 10,250, in the larger village to small town classification. It has Egglescliffe School (secondary and sixth-form), an light industrial estate, two railway stations and golf club. Villages in the parish include Eaglescliffe, Urlay Nook, Sunningdale, Orchard and a development on the former Allens West MOD site.
The village is on top of a hill with the River Tees at the bottom, overlooking Yarm on the other bank. It had a 2001 population of around 595, There is a Church of England primary school, small kids play area, farms, allotments and a public house (called the Pot and Glass).
North of the River Tees was not recorded in the 1068 Domesday Book. The parish church is dedicated to St John the Baptist and there has been a place of worship on the site since the twelfth century.
Bishop Skirlaw of Durham built a stone bridge, across the Tees in 1400 which still stands. An iron replacement was built in 1805, but it fell down in 1806.
It was in the palatinate of Durham (the prince-bishop of Durham's domain) from its establishment until 1836 when it became a standard type of county. 1974 reforms lead to Egglescliffe being placed under the Stockton district of Cleveland county. The district became a unitary authority in 1996 and a part of the ceremony county Durham.
Egglescliffe has been characterised by Victor Watts as "a difficult name". The name is first attested in an 1172 copy of a 1085 charter, as Eggasclif; forms containing l in the earlier part of the name, such as Egglesclif, are first attested in the 1190s, but are rarer in the Middle Ages. The second element of the name is certainly from Old English clif, "steep slope", presumably referring to the slope from Egglescliffe down to the River Tees.
The consensus among authorities in the twentieth century was that the first element came from Latin ecclesia "church" via Brittonic (where the borrowing of ecclesia is represented today by Welsh eglwys). If so, the name once meant "church-slope". However, by 2007 Victor Watts had noted that Egglescliffe is distant from other examples of more reliably attested "Eccles" names, and that the l is usually absent from the first element in medieval sources. He concluded that Egglescliffe originated with the personal name Ecgwulf, which had the nickname form Ecgi. Thus the place was routinely known both as "Ecgwulf's slope" (producing forms like Egglesclif) and as "Ecgi's slope" (producing forms like Eggasclif), until the former type eventually became dominant.
Egglescliffe gave its name to their neighbouring Eaglescliffe, whose name is simply a variant of Egglescliffe produced by folk-etymological adaptation of the unfamiliar Eggles- to the familiar Eagles-
The parish is divided by railway lines, such as the Tees Valley line and Northallerton–Eaglescliffe line. Vehicles can only get from the east to west of the parish to its far south or via the A66 road.
The parish includes the villages of Egglescliffe, Eaglescliffe, Sunningdale and Orchard. Urlay Nook and the former Allens West site are in development. There is also an industrial estate which includes the former Whitley Springs farm buildings.
The main road through eastern parish is the A135 Yarm Road which was part of the old route of the A19 until the 1970s when it was diverted east of Thornaby. The A67 runs through the west of the parish. Nearby large towns include Stockton-on-Tees (north), Middlesbrough (north east), Darlington (west) and Hartlepool (north east).
County Durham, officially simply Durham is a ceremonial county in North East England. The county borders Northumberland and Tyne and Wear to the north, the North Sea to the east, North Yorkshire to the south, and Cumbria to the west. The largest settlement is Darlington, and the county town is the city of Durham.
The county has an area of 2,721 km2 (1,051 sq mi) and a population of 866,846. The latter is concentrated in the east; the south-east is part of the Teesside built-up area, which extends into North Yorkshire. After Darlington (92,363), the largest settlements are Hartlepool (88,855), Stockton-on-Tees (82,729), and Durham (48,069). For local government purposes the county comprises three unitary authority areas—County Durham, Darlington, and Hartlepool—and part of a fourth, Stockton-on-Tees. The county historically included the part of Tyne and Wear south of the River Tyne, and excluded the part of County Durham south of the River Tees.
The west of the county contains part of the North Pennines uplands, a national landscape. The hills are the source of the rivers Tees and Wear, which flow east and form the valleys of Teesdale and Weardale respectively. The east of the county is flatter, and contains by rolling hills through which the two rivers meander; the Tees forms the boundary with North Yorkshire in its lower reaches, and the Wear exits the county near Chester-le-Street in the north-east. The county's coast is a site of special scientific interest characterised by tall limestone and dolomite cliffs.
What is now County Durham was on the border of Roman Britain, and contains survivals of this era at sites such as Binchester Roman Fort. In the Anglo-Saxon period the region was part of the Kingdom of Northumbria. In 995 the city of Durham was founded by monks seeking a place safe from Viking raids to house the relics of St Cuthbert. Durham Cathedral was rebuilt after the Norman Conquest, and together with Durham Castle is now a World Heritage Site. By the late Middle Ages the county was governed semi-independently by the bishops of Durham and was also a buffer zone between England and Scotland. County Durham became heavily industrialised in the nineteenth century, when many collieries opened on the Durham coalfield. The Stockton and Darlington Railway, the world's first public railway to use steam locomotives, opened in 1825. Most collieries closed during the last quarter of the twentieth century, but the county's coal mining heritage is remembered in the annual Durham Miners' Gala.
Remains of Prehistoric Durham include a number of Neolithic earthworks.
The Crawley Edge Cairns and Heathery Burn Cave are Bronze Age sites. Maiden Castle, Durham is an Iron Age site.
Brigantia, the land of the Brigantes, is said to have included what is now County Durham.
There are archaeological remains of Roman Durham. Dere Street and Cade's Road run through what is now County Durham. There were Roman forts at Concangis (Chester-le-Street), Lavatrae (Bowes), Longovicium (Lanchester), Piercebridge (Morbium), Vindomora (Ebchester) and Vinovium (Binchester). (The Roman fort at Arbeia (South Shields) is within the former boundaries of County Durham.) A Romanised farmstead has been excavated at Old Durham.
Remains of the Anglo-Saxon period include a number of sculpted stones and sundials, the Legs Cross, the Rey Cross and St Cuthbert's coffin.
Around AD 547, an Angle named Ida founded the kingdom of Bernicia after spotting the defensive potential of a large rock at Bamburgh, upon which many a fortification was thenceforth built. Ida was able to forge, hold and consolidate the kingdom; although the native British tried to take back their land, the Angles triumphed and the kingdom endured.
In AD 604, Ida's grandson Æthelfrith forcibly merged Bernicia (ruled from Bamburgh) and Deira (ruled from York, which was known as Eforwic at the time) to create the Kingdom of Northumbria. In time, the realm was expanded, primarily through warfare and conquest; at its height, the kingdom stretched from the River Humber (from which the kingdom drew its name) to the Forth. Eventually, factional fighting and the rejuvenated strength of neighbouring kingdoms, most notably Mercia, led to Northumbria's decline. The arrival of the Vikings hastened this decline, and the Scandinavian raiders eventually claimed the Deiran part of the kingdom in AD 867 (which became Jórvík). The land that would become County Durham now sat on the border with the Great Heathen Army, a border which today still (albeit with some adjustments over the years) forms the boundaries between Yorkshire and County Durham.
Despite their success south of the river Tees, the Vikings never fully conquered the Bernician part of Northumbria, despite the many raids they had carried out on the kingdom. However, Viking control over the Danelaw, the central belt of Anglo-Saxon territory, resulted in Northumbria becoming isolated from the rest of Anglo-Saxon Britain. Scots invasions in the north pushed the kingdom's northern boundary back to the River Tweed, and the kingdom found itself reduced to a dependent earldom, its boundaries very close to those of modern-day Northumberland and County Durham. The kingdom was annexed into England in AD 954.
In AD 995, St Cuthbert's community, who had been transporting Cuthbert's remains around, partly in an attempt to avoid them falling into the hands of Viking raiders, settled at Dunholm (Durham) on a site that was defensively favourable due to the horseshoe-like path of the River Wear. St Cuthbert's remains were placed in a shrine in the White Church, which was originally a wooden structure but was eventually fortified into a stone building.
Once the City of Durham had been founded, the Bishops of Durham gradually acquired the lands that would become County Durham. Bishop Aldhun began this process by procuring land in the Tees and Wear valleys, including Norton, Stockton, Escomb and Aucklandshire in 1018. In 1031, King Canute gave Staindrop to the Bishops. This territory continued to expand, and was eventually given the status of a liberty. Under the control of the Bishops of Durham, the land had various names: the "Liberty of Durham", "Liberty of St Cuthbert's Land" "the lands of St Cuthbert between Tyne and Tees" or "the Liberty of Haliwerfolc" (holy Wear folk).
The bishops' special jurisdiction rested on claims that King Ecgfrith of Northumbria had granted a substantial territory to St Cuthbert on his election to the see of Lindisfarne in 684. In about 883 a cathedral housing the saint's remains was established at Chester-le-Street and Guthfrith, King of York granted the community of St Cuthbert the area between the Tyne and the Wear, before the community reached its final destination in 995, in Durham.
Following the Norman invasion, the administrative machinery of government extended only slowly into northern England. Northumberland's first recorded Sheriff was Gilebert from 1076 until 1080 and a 12th-century record records Durham regarded as within the shire. However the bishops disputed the authority of the sheriff of Northumberland and his officials, despite the second sheriff for example being the reputed slayer of Malcolm Canmore, King of Scots. The crown regarded Durham as falling within Northumberland until the late thirteenth century.
Following the Battle of Hastings, William the Conqueror appointed Copsig as Earl of Northumbria, thereby bringing what would become County Durham under Copsig's control. Copsig was, just a few weeks later, killed in Newburn. Having already being previously offended by the appointment of a non-Northumbrian as Bishop of Durham in 1042, the people of the region became increasingly rebellious. In response, in January 1069, William despatched a large Norman army, under the command of Robert de Comines, to Durham City. The army, believed to consist of 700 cavalry (about one-third of the number of Norman knights who had participated in the Battle of Hastings), entered the city, whereupon they were attacked, and defeated, by a Northumbrian assault force. The Northumbrians wiped out the entire Norman army, including Comines, all except for one survivor, who was allowed to take the news of this defeat back.
Following the Norman slaughter at the hands of the Northumbrians, resistance to Norman rule spread throughout Northern England, including a similar uprising in York. William The Conqueror subsequently (and successfully) attempted to halt the northern rebellions by unleashing the notorious Harrying of the North (1069–1070). Because William's main focus during the harrying was on Yorkshire, County Durham was largely spared the Harrying.
Anglo-Norman Durham refers to the Anglo-Norman period, during which Durham Cathedral was built.
Matters regarding the bishopric of Durham came to a head in 1293 when the bishop and his steward failed to attend proceedings of quo warranto held by the justices of Northumberland. The bishop's case went before parliament, where he stated that Durham lay outside the bounds of any English shire and that "from time immemorial it had been widely known that the sheriff of Northumberland was not sheriff of Durham nor entered within that liberty as sheriff. . . nor made there proclamations or attachments". The arguments appear to have prevailed, as by the fourteenth century Durham was accepted as a liberty which received royal mandates direct. In effect it was a private shire, with the bishop appointing his own sheriff. The area eventually became known as the "County Palatine of Durham".
Sadberge was a liberty, sometimes referred to as a county, within Northumberland. In 1189 it was purchased for the see but continued with a separate sheriff, coroner and court of pleas. In the 14th century Sadberge was included in Stockton ward and was itself divided into two wards. The division into the four wards of Chester-le-Street, Darlington, Easington and Stockton existed in the 13th century, each ward having its own coroner and a three-weekly court corresponding to the hundred court. The diocese was divided into the archdeaconries of Durham and Northumberland. The former is mentioned in 1072, and in 1291 included the deaneries of Chester-le-Street, Auckland, Lanchester and Darlington.
The term palatinus is applied to the bishop in 1293, and from the 13th century onwards the bishops frequently claimed the same rights in their lands as the king enjoyed in his kingdom.
The historic boundaries of County Durham included a main body covering the catchment of the Pennines in the west, the River Tees in the south, the North Sea in the east and the Rivers Tyne and Derwent in the north. The county palatinate also had a number of liberties: the Bedlingtonshire, Islandshire and Norhamshire exclaves within Northumberland, and the Craikshire exclave within the North Riding of Yorkshire. In 1831 the county covered an area of 679,530 acres (2,750.0 km2) and had a population of 253,910. These exclaves were included as part of the county for parliamentary electoral purposes until 1832, and for judicial and local-government purposes until the coming into force of the Counties (Detached Parts) Act 1844, which merged most remaining exclaves with their surrounding county. The boundaries of the county proper remained in use for administrative and ceremonial purposes until the Local Government Act 1972.
Boldon Book (1183 or 1184) is a polyptichum for the Bishopric of Durham.
Until the 15th century, the most important administrative officer in the Palatinate was the steward. Other officers included the sheriff, the coroners, the Chamberlain and the chancellor. The palatine exchequer originated in the 12th century. The palatine assembly represented the whole county, and dealt chiefly with fiscal questions. The bishop's council, consisting of the clergy, the sheriff and the barons, regulated judicial affairs, and later produced the Chancery and the courts of Admiralty and Marshalsea.
The prior of Durham ranked first among the bishop's barons. He had his own court, and almost exclusive jurisdiction over his men. A UNESCO site describes the role of the Prince-Bishops in Durham, the "buffer state between England and Scotland":
From 1075, the Bishop of Durham became a Prince-Bishop, with the right to raise an army, mint his own coins, and levy taxes. As long as he remained loyal to the king of England, he could govern as a virtually autonomous ruler, reaping the revenue from his territory, but also remaining mindful of his role of protecting England’s northern frontier.
A report states that the Bishops also had the authority to appoint judges and barons and to offer pardons.
There were ten palatinate barons in the 12th century, most importantly the Hyltons of Hylton Castle, the Bulmers of Brancepeth, the Conyers of Sockburne, the Hansards of Evenwood, and the Lumleys of Lumley Castle. The Nevilles owned large estates in the county. John Neville, 3rd Baron Neville de Raby rebuilt Raby Castle, their principal seat, in 1377.
Edward I's quo warranto proceedings of 1293 showed twelve lords enjoying more or less extensive franchises under the bishop. The repeated efforts of the Crown to check the powers of the palatinate bishops culminated in 1536 in the Act of Resumption, which deprived the bishop of the power to pardon offences against the law or to appoint judicial officers. Moreover, indictments and legal processes were in future to run in the name of the king, and offences to be described as against the peace of the king, rather than that of the bishop. In 1596 restrictions were imposed on the powers of the chancery, and in 1646 the palatinate was formally abolished. It was revived, however, after the Restoration, and continued with much the same power until 5 July 1836, when the Durham (County Palatine) Act 1836 provided that the palatine jurisdiction should in future be vested in the Crown.
During the 15th-century Wars of the Roses, Henry VI passed through Durham. On the outbreak of the Great Rebellion in 1642 Durham inclined to support the cause of Parliament, and in 1640 the high sheriff of the palatinate guaranteed to supply the Scottish army with provisions during their stay in the county. In 1642 the Earl of Newcastle formed the western counties into an association for the King's service, but in 1644 the palatinate was again overrun by a Scottish army, and after the Battle of Marston Moor (2 July 1644) fell entirely into the hands of Parliament.
In 1614, a Bill was introduced in Parliament for securing representation to the county and city of Durham and the borough of Barnard Castle. The bishop strongly opposed the proposal as an infringement of his palatinate rights, and the county was first summoned to return members to Parliament in 1654. After the Restoration of 1660 the county and city returned two members each. In the wake of the Reform Act of 1832 the county returned two members for two divisions, and the boroughs of Gateshead, South Shields and Sunderland acquired representation. The bishops lost their secular powers in 1836. The boroughs of Darlington, Stockton and Hartlepool returned one member each from 1868 until the Redistribution of Seats Act 1885.
The Municipal Corporations Act 1835 reformed the municipal boroughs of Durham, Stockton on Tees and Sunderland. In 1875, Jarrow was incorporated as a municipal borough, as was West Hartlepool in 1887. At a county level, the Local Government Act 1888 reorganised local government throughout England and Wales. Most of the county came under control of the newly formed Durham County Council in an area known as an administrative county. Not included were the county boroughs of Gateshead, South Shields and Sunderland. However, for purposes other than local government, the administrative county of Durham and the county boroughs continued to form a single county to which the Crown appointed a Lord Lieutenant of Durham.
Over its existence, the administrative county lost territory, both to the existing county boroughs, and because two municipal boroughs became county boroughs: West Hartlepool in 1902 and Darlington in 1915. The county boundary with the North Riding of Yorkshire was adjusted in 1967: that part of the town of Barnard Castle historically in Yorkshire was added to County Durham, while the administrative county ceded the portion of the Borough of Stockton-on-Tees in Durham to the North Riding. In 1968, following the recommendation of the Local Government Commission, Billingham was transferred to the County Borough of Teesside, in the North Riding. In 1971, the population of the county—including all associated county boroughs (an area of 2,570 km2 (990 sq mi))—was 1,409,633, with a population outside the county boroughs of 814,396.
In 1974, the Local Government Act 1972 abolished the administrative county and the county boroughs, reconstituting County Durham as a non-metropolitan county. The reconstituted County Durham lost territory to the north-east (around Gateshead, South Shields and Sunderland) to Tyne and Wear and to the south-east (around Hartlepool) to Cleveland. At the same time it gained the former area of Startforth Rural District from the North Riding of Yorkshire. The area of the Lord Lieutenancy of Durham was also adjusted by the Act to coincide with the non-metropolitan county (which occupied 3,019 km2 (1,166 sq mi) in 1981).
In 1996, as part of 1990s UK local government reform by Lieutenancies Act 1997, Cleveland was abolished. Its districts were reconstituted as unitary authorities. Hartlepool and Stockton-on-Tees (north Tees) were returned to the county for the purposes of Lord Lieutenancy. Darlington also became a third unitary authority of the county. The Royal Mail abandoned the use of postal counties altogether, permitted but not mandatory being at a writer wishes.
As part of the 2009 structural changes to local government in England initiated by the Department for Communities and Local Government, the seven district councils within the County Council area were abolished. The County Council assumed their functions and became the fourth unitary authority. Changes came into effect on 1 April 2009.
On 15 April 2014, North East Combined Authority was established under the Local Democracy, Economic Development and Construction Act 2009 with powers over economic development and regeneration. In November 2018, Newcastle City Council, North Tyneside Borough Council, and Northumberland County Council left the authority. These later formed the North of Tyne Combined Authority.
In May 2021, four parish councils of the villages of Elwick, Hart, Dalton Piercy and Greatham all issued individual votes of no confidence in Hartlepool Borough Council, and expressed their desire to join the County Durham district.
In October 2021, County Durham was shortlisted for the UK City of Culture 2025. In May 2022, it lost to Bradford.
Eighteenth century Durham saw the appearance of dissent in the county and the Durham Ox. The county did not assist the Jacobite Rebellion of 1715. The Statue of Neptune in the City of Durham was erected in 1729.
A number of disasters happened in Nineteenth century Durham. The Felling mine disasters happened in 1812, 1813, 1821 and 1847. The Philadelphia train accident happened in 1815. In 1854, there was a great fire in Gateshead. One of the West Stanley Pit disasters happened in 1882. The Victoria Hall disaster happened in 1883.
One of the West Stanley Pit disasters happened in 1909. The Darlington rail crash happened in 1928. The Battle of Stockton happened in 1933. The Browney rail crash happened in 1946.
The First Treaty of Durham was made at Durham in 1136. The Second Treaty of Durham was made at Durham in 1139.
The county regiment was the Durham Light Infantry, which replaced, in particular, the 68th (Durham) Regiment of Foot (Light Infantry) and the Militia and Volunteers of County Durham.
RAF Greatham, RAF Middleton St George and RAF Usworth were located in County Durham.
David I, the King of Scotland, invaded the county in 1136, and ravaged much of the county 1138. In 17 October 1346, the Battle of Neville's Cross was fought at Neville's Cross, near the city of Durham. On 16 December 1914, during the First World War, there was a raid on Hartlepool by the Imperial German Navy.
Chroniclers connected with Durham include the Bede, Symeon of Durham, Geoffrey of Coldingham and Robert de Graystanes.
County Durham has long been associated with coal mining, from medieval times up to the late 20th century. The Durham Coalfield covered a large area of the county, from Bishop Auckland, to Consett, to the River Tyne and below the North Sea, thereby providing a significant expanse of territory from which this rich mineral resource could be extracted.
King Stephen possessed a mine in Durham, which he granted to Bishop Pudsey, and in the same century colliers are mentioned at Coundon, Bishopwearmouth and Sedgefield. Cockfield Fell was one of the earliest Landsale collieries in Durham. Edward III issued an order allowing coal dug at Newcastle to be taken across the Tyne, and Richard II granted to the inhabitants of Durham licence to export the produce of the mines, without paying dues to the corporation of Newcastle. The majority was transported from the Port of Sunderland complex, which was constructed in the 1850s.
Among other early industries, lead-mining was carried on in the western part of the county, and mustard was extensively cultivated. Gateshead had a considerable tanning trade and shipbuilding was undertaken at Jarrow, and at Sunderland, which became the largest shipbuilding town in the world – constructing a third of Britain's tonnage.[citation needed]
The county's modern-era economic history was facilitated significantly by the growth of the mining industry during the nineteenth century. At the industry's height, in the early 20th century, over 170,000 coal miners were employed, and they mined 58,700,000 tons of coal in 1913 alone. As a result, a large number of colliery villages were built throughout the county as the industrial revolution gathered pace.
The railway industry was also a major employer during the industrial revolution, with railways being built throughout the county, such as The Tanfield Railway, The Clarence Railway and The Stockton and Darlington Railway. The growth of this industry occurred alongside the coal industry, as the railways provided a fast, efficient means to move coal from the mines to the ports and provided the fuel for the locomotives. The great railway pioneers Timothy Hackworth, Edward Pease, George Stephenson and Robert Stephenson were all actively involved with developing the railways in tandem with County Durham's coal mining industry. Shildon and Darlington became thriving 'railway towns' and experienced significant growths in population and prosperity; before the railways, just over 100 people lived in Shildon but, by the 1890s, the town was home to around 8,000 people, with Shildon Shops employing almost 3000 people at its height.
However, by the 1930s, the coal mining industry began to diminish and, by the mid-twentieth century, the pits were closing at an increasing rate. In 1951, the Durham County Development Plan highlighted a number of colliery villages, such as Blackhouse, as 'Category D' settlements, in which future development would be prohibited, property would be acquired and demolished, and the population moved to new housing, such as that being built in Newton Aycliffe. Likewise, the railway industry also began to decline, and was significantly brought to a fraction of its former self by the Beeching cuts in the 1960s. Darlington Works closed in 1966 and Shildon Shops followed suit in 1984. The county's last deep mines, at Easington, Vane Tempest, Wearmouth and Westoe, closed in 1993.
Postal Rates from 1801 were charged depending on the distance from London. Durham was allocated the code 263 the approximate mileage from London. From about 1811, a datestamp appeared on letters showing the date the letter was posted. In 1844 a new system was introduced and Durham was allocated the code 267. This system was replaced in 1840 when the first postage stamps were introduced.
According to the Encyclopædia Britannica Eleventh Edition (1911): "To the Anglo-Saxon period are to be referred portions of the churches of Monk Wearmouth (Sunderland), Jarrow, Escomb near Bishop Auckland, and numerous sculptured crosses, two of which are in situ at Aycliffe. . . . The Decorated and Perpendicular periods are very scantily represented, on account, as is supposed, of the incessant wars between England and Scotland in the 14th and 15th centuries. The principal monastic remains, besides those surrounding Durham cathedral, are those of its subordinate house or "cell," Finchale Priory, beautifully situated by the Wear. The most interesting castles are those of Durham, Raby, Brancepeth and Barnard. There are ruins of castelets or peel-towers at Dalden, Ludworth and Langley Dale. The hospitals of Sherburn, Greatham and Kepyer, founded by early bishops of Durham, retain but few ancient features."
The best remains of the Norman period include Durham Cathedral and Durham Castle, and several parish churches, such as St Laurence Church in Pittington. The Early English period has left the eastern portion of the cathedral, the churches of Darlington, Hartlepool, and St Andrew, Auckland, Sedgefield, and portions of a few other churches.
'Durham Castle and Cathedral' is a designated UNESCO World Heritage Site. Elsewhere in the County there is Auckland Castle.
As part of our Birthday DUB-AMS-[RTM]-AMS-HAM-[TXL]-DUB Tour in April 2016. We enjoyed our combination of planes and trains during our travels in April and would highly recommend such a mix between these two transportation options which also bring greater flexibility and add more choices on “where to go” when out and about exploring our beautiful planet incl. Aer Lingus [DUB-AMS + TXL-DUB], EasyJet [AMS-HAM] and Trains between [AMS-RTM-AMS + HAM-TXL]. Enjoy.
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.
PizzaBuzz is, in a city so full of new restaurant openings, a very good idea indeed. The concept can be summed up (crudely) as âDIY Pizzaâ or "we have the toppings, you do the rest!" or "Subway, but with pizzas!". This doesnât really do it justice however and there is, obviously, much more to it than that - which Iâll now try to elaborate upon:
Essentially the idea is semi-self service pizza/food assembly. You take your place at the start of their "DIY pizza assembly lineâ and prepare yourself a pizza entirely of your own devising (though you donât have to do anything really asides from tell them what you want your pizza to be made of - it arrives pre sliced too, woo!).
You choose from 5 types of bases (gluten free options are available). These range from a âregularâ Margherita (cheese, tomato etc) to the Bianca (white sauce, mozzarella, parmesan) - plus a pretty fkn extensive range of toppings, divided into vegetables, proteins (i.e meats, fish) and cheese. Said toppings include such gastronomic curiosities such as bacon jam and wild rock shrimp. The recommended number of toppings for a pizza is about 4-5, though apparently one guy came in (drunk) on a Friday night once and ordered a £20+ pizza that contained EVERY SINGLE topping they offered. It ended up looking like a pyramid (hahahahaha!)
And, if you donât fancy coming up with your own pizza, their âsignature collectionâ of pre-designed pizzas come in around £10, and have names like Middle Earth and Etna. Once youâve picked your combo of ingredients, it takes them about 1-3 minutes to cook the whole thing in their wood fired ovens - so you might even be able to describe it as fast food. Takeaway is also an option. In the Southern Italian style, you can also get a burrata (and choose what ingredients to have it with, which is the recurring theme...)
As for the ambiance - PizzaBuzz lives inside the brand spanking new Alphabeta development on Worship street. On the inside it has a minimal vibe - almost the feel of an industrial space about it. Except theyâve made it more friendly with offcentre animal illustrations drawn onto the walls (pictured) plus their colourful logo and a recurring love of hexagonal things. Plus staff singing along to the music (not sure if this is an actual feature or if I just came in at the right time ^_^)
I must also tell you about the dough - which took a yearâs development and is quite something (theyâve got a video called âJane Doughâ in which the dough explains this all to you in a Yorkshire accent, lol). Anyway, it comes from a small mill in Oxfordshire and is, unusually, 50% spelt. I am told that this results in better texture, digestibility and mouthfeel than regular pizza. This is a big claim to make, and Iâm not sure I agree - the pizza I had, however, WAS very good and thatâs all I can say about that.
All in all, Pizzabuzz is taking a very good idea from another restaurant (*ahem*) and applying it to pizza very, very well. I wasnât surprised to hear that they have another site opening soon and can see them doing pretty well in future. Inherently, itâs fun, a bit silly, and provides you with a lot more choice than most of the (pizza based) competition. Definitely a place Iâd recommend to everybody (because who the hell doesnât like pizza, really?!)
IMJIN PROMS 2015
In this image: 19th Regimental Royal Artillery Pipes and Drums.
More than a thousand people enjoyed the first Imjin Proms on Saturday (30/05/15).
The concert and outdoor festival event raised money for three military service charity associations with entertainment ranging from a musically choreographed Spitfire display to children's activities.
Imjin Barracks, a Royal Air Force base that served for decades, has been home since 2010 to the event's other main host, NATO's Allied Rapid Reaction Corps.
Lt.Gen. Tim Evans, ARRC commander, welcomed the crowd with gratitude, wishing everyone a splendid evening, and thanking Aramark and other sponsors. The general envisioned the event more than a year ago to be a way for Imjin and other nearby military communities to share a memorable evening with Gloucestershire.
The plane flew to classical music played by The Band of the Royal Air Force College, who also lit up the evening with a finale and fireworks around 10 pm. Other music included a pop-music cover set by the Adjutant Generals Corps' Band who got people up and dancing from their picnic blankets and chairs. The crowd also witnessed the precision of The Royal Marines Band and 19th Regimental Royal Artillery Pipes and Drums.
Children representing their school's talent, the Innsworth Military Wives Choir, and many others performed during the evening to the local crowd. The event succeeded in opening the gates of Imjin to the community and there is a hope to see more of these kinds of events in future.
Photographer: Sgt Mike O’Neill, RLC ABIPP, Photographer, HQ ARRC
ALFA ROMEO GTA da Gara ...ieri in tutta tranquillità passo da una strada ed il solito profumo e fiuto di auto epoca mi assale ...davanti a me ho un immagine che vi mostrerò più avanti ...beh accosto la mia auto e vado a fare un sopraluogo ad una piccolissima officina . Ci sono due signori che restaurano una Fiat Topolino del 1948 . Un meccanico mi riconosce : ma non eri passato anche lo scorso anno ? Rispondo SI ma al tempo avevo appena iniziato a fare foto . Sono loro che vogliono mettersi in posa per foto ricordo,mi sono dimenticato di domandare i loro nomi . Beh penso in futuro farò altre foto mi aspettano...vogliono le foto ricordo ...ho detto guardate il mio album sul Pc ...mi hanno risposto che non sanno nemmeno come si accende ...preferiscono la carta stampata.
Mi hanno detto che ci vorrano mesi per completamento restauro e verrà di colore questa ALFA Rossa e bianca !
ALFA ROMEO GTA Race ... from yesterday quietly step away from a road and the usual perfume and smell of vintage car attacks me ... I have before me an image that will show you later ... well my car and berth I'm going to do an inspection at a small workshop. There are two gentlemen who restore a Fiat Topolino, 1948. A mechanic recognize me, but were not passed last year too? Answer YES to time but I just started taking photos. They are the ones who want to pose for souvenir photos, I forgot to ask their names. Well I think in future I will wait for more pictures ... I want to remember the pictures ... I said look at my album on the PC ... they said they do not even know how to turn ... prefer the printed word.
They told me it would take months to complete restoration and will color this ALFA Red and white!
TRENTO 29.04.2010
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A prototype rover is commanded to drive in Cueva de Los Verdes lava tube in Spain’s Canary Island of Lanzarote, also known as the island of a thousand volcanoes.
The ENTERN experiment focuses on testing a robotic system for exploration of rough surfaces such as caves or craters.
The project is run by the German Research Center for Artificial Intelligence (DFKI).
The robot can operate autonomously, but will also use tele-operation feedback from the astronauts.
When the rover is navigating it is constantly building an internal 3D model of the environment. One of the goals of this test is to improve the autonomous capabilities of the rover in the complex lava tube environment.
This type of settings are potential candidates to host human habitats in future missions to the Moon and Mars.
The rover is taking part in a test campaign that brings together geology, high-tech survey equipment and space exploration. For five days to 24 November 2017, Pangaea-X is mobilising 50 people, four space agencies and 18 organisations in five different locations.
Copyright: ESA–A. Romeo
Aerial photos of Colombia, South America. The United States Air Force participated in the four-day air show with two South Carolina Air National Guard F-16s as static displays, plus static displays of a KC-135, KC-10, along with an F-16 aerial demonstration by the Air Combat Command’s Viper East Demo Team. United States military participation in the air show provides an opportunity to strengthen our military-to-military relationships with regional partners and provides the opportunity to meet with our Colombian air force counterparts and facilitate interoperability, which can be exercised in future cooperation events such as exercises and training. (U.S. Air National Guard photo by Senior Airman Megan Floyd)
Sound Transit’s LINK Light Rail system is wisely designed with built-in future capacity. The system’s stations are all designed to operate with trains comprised of up to four (4) multi-unit Light Rail Vehicles. This allows Sound Transit to gauge demand by time-of-day or day-of-week in order to provide the correct amount of capacity/train. The downside of this plan is that this methodology requires redundant equipment in the Light Rail Vehicles that is unused/unneeded when the vehicles are MU’d together.
Instead of the additional cost for unused equipment, it would be wise for Sound Transit to work with the manufacturer Kinkisharyo to develop extensions for the existing LRV fleet. By inserting new central sections and additional articulated truck sections, the LRV fleet could be extended so that trains could be comprised of only 1, 2, or 3 cars in length while at the same time increasing the percentage of low-floor seating/standing area all while retaining the maximum use of platform lengths.
Benefits of LRV Extension
• Lower capital costs
• Fewer vehicles required for same levels of capacity
• 2+ fewer control cabs and related equipment per train
• Increased low-floor ADA accessible capacity
• Additional bike racks
• 100% systems/parts compatability with existing LRV fleet
• Easier fare validation / passenger security
• Multi-unit capable (with other extended vehicles as well as existing 3-segment vehicles)
• Able to meet existing track clearance / curve radius restrictions
• Retains overall vehicle length / platform utilization as existing 2/4-unit trains
• Stations already built to accommodate extended LRVs
This methodology has been employed with some success in Dallas, TX. Their DART system worked with Kinkisharyo to create additional low-floor center segments for their LRV fleet, although in the case of Dallas, most of the stations needed to be extended to accommodate the lengthened vehicles.
Here they tell how u will be looking in future, how u were in childhood..
u think feminish or manly.... like that.
Very interesting meusium
I sat in the rain for nearly 30 minutes waiting for a few moments of glorious sunset up at Delicate Arch - aaaaaand - I wasn't disappointed. I love love love this spot - and would like to explore it quite extensively in future trips. And there will be future trips.
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.
U.S. Marines with the 15th Marine Expeditionary Unit’s Maritime Raid Force conduct a raid during realistic urban training aboard Camp San Luis Obispo, Calif., Dec. 5, 2014. RUT prepares the Marines of the 15th MEU for their upcoming deployment, enhancing their combat skills in environments similar to those they may find in future missions. (U.S. Marine Corps photo by Cpl. Anna Albrecht/Released)
This was taken at the storage I use for keeping all my toys from a time before children. You know, turntables, mixer, speakers, amps (guitar and hi-fi) and many, many records. I had to find some space for framed photographs that we didn't sell during our last exhibition. They will be used in future but until then they get to hang out with all my fun stuff I no longer have room for. One day...
HUMPHREYS GARRISON – An exercise, such as the recently completed Ulchi Freedom Guardian, is defined as a task, problem, or other effort performed to develop or maintain fitness and increase skill.
Exercises like this afford U.S. Army Reservists the ability to perform in their Military Occupational Specialties with the “big Army,” while also educating many of them to an epoch that ushered in the United States long lasting kinship with South Korea and its people.
Exercises like the UFG are valuable to a Soldiers development and to the Army Family as a whole. With all the training and education a Soldier can receive for his or her job, while gaining cultural awareness, the better prepared that Soldier will become for all the routines and tests that he or she will face in their daily life.
Having served in both the active and reserve sides of the U.S. Army and met thousands of Americans who serve in the Armed Forces, it is always shocking to me when I’m told how many of them rarely get the opportunity to train in their original MOS. This is more so in the Army Reserve side of the house. Whether it’s being tasked out, having a non-essential MOS in the unit, or whatever the case may be, many Reservists are in similar situations.
I’m with the 368th Military Intelligence Battalion from Dublin, Calif. We came to Korea in support of the 501st Military Intelligence Brigade during the exercise. While here, I’m doing my MOS by taking photos and documenting training events. My unit also sent cooks and mechanics. Good training and educating is why exercises like this are so important for a Reservist.
But it’s not all work and no play. Groups of us were given the chance to explore the local sites and experience the historic culture of South Korea. From the countries War Museum, in Seoul, to the Demilitarized Zone, we have all seen things, been places, and done something or met someone new for the first time.
We will always remember South Korea’s friendly people, historic sites, spicy foods, along with all of the realistic training and professionalism shown by our active duty comrades. We will take this experience back to our respective Reserve units to teach those Soldiers and inspire them to want to come, so they too can participate in future exercises.
U.S. Army Sgt. Daniel Acree and Sgt. Shawn Cassatt
For more information on U.S. Army Garrison Humphreys and living and working in Korea visit: USAG-Humphreys' official web site or check out our online videos.
On the building where I work. Opened in 1928.
The term benchmark originates from the chiseled horizontal marks that surveyors made in stone structures, into which an angle-iron could be placed to form a "bench" for a leveling rod, thus ensuring that a leveling rod could be accurately repositioned in the same place in future. These marks were usually indicated with a chiseled arrow below the horizontal line.
The height of a benchmark is calculated relative to the heights of nearby benchmarks in a network extending from a fundamental benchmark, a point with a precisely known relationship to the level datum of the area, typically mean sea level. The position and height of each benchmark is shown on large-scale maps.
Wikipedia
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 moor too.
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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.
Loose translation: "I can't see the future but... and I am not saying this to sound humble. I actually cannot see the future."
A very sensible starting point in future studies.
The 30th Desktop created for “The E82 Project”
One of the quainter shops in Future World, Gateway Gifts more than makes-up for its miniscule Square Footage with its location — in both architecture and proximity. If one can look past the merchandise, Gateway Gifts possesses intriguing design. From its multi-level future-industrial ceiling treatments to its impressive view of the geosphere it supports, the shop itself is a subtle but prime example EPCOT Center’s unique architectural achievements.
What is not subtle is Gateway Gifts custom carpet. Installed in the 1990’s (probably to focus the eye downward towards the purpose of the shop), even this element echoes the geodesic structure of Spaceship Earth in a uniquely subversive manner.
I know your probably thinking that I’ve spent a little too much time looking at walls and floors lately and I’ll be the first to agree with you. But, I always try to design things that fulfill more than one purpose at a time, and this Texture has a lot to do with the new section of E82 opening just after the beginning of next year.
In any case, I should transition from the mundane to the miraculous aspects of Epcot soon!
For More Information
Please visit “E82 – The Epcot Legacy”
"Now that is what I call a Re-enactment!
Bartimaeus the blind beggar
May the Peace of the Risen Christ be with you! Easter is here.
We had a most successful Re-enactment of Our Lord's Passion. After so many months of preparation, sewing machines running hot updating costumes, actors learning lines, sound systems being upgraded and more, there we stood at 11am on Good Friday with microphone in hand: "Welcome to the 2018 Re-enactment of Our Lord's Passion!" And so it began.
How do we measure "success" in regards to our re-enactment?
On one measure you can use crowd numbers, donations, "Likes" and Shares and that would be appropriate if this was just a normal play. Even on that basis our event would certainly be considered a success with somewhere around 5,000 people participating and lots of great feedback and support.
But how do you measure success for a play that tries to be an authentic re-enactment of the Passion of Jesus Christ based on scripture and tradition of the Church? In this case we were told by the Pauline Fathers that many people came back and they were hearing confessions the whole day.
We saw many people following the play and praying along with us.
Crowning with Thorns
Many came up to us after the play thanking us for such an invigorating presentation of our Lord's Passion. Here are some of the early tales we have been told of the day.
One of the biggest challenges with a moving play is the safety of actors, crew and pilgrims as the play moves from scene to scene. We try many methods such as fixed tape and ropes as well as rope held by our marshalls. Enforcement for keeping the crowd back tends to fall towards the soldiers who, like in a theatre restaurant, instruct the crowd to move back for their own safety. Our photographer, eager to get "the photo", allowed a little old lady to sneak past the barriers so she could touch the cloak of Jesus. As the Centurion swung his arm giving orders to his soldiers, this lady who stood upright under his swing moved forward. "What the?" cried the Centurion and firmly moved her back with instructions. I thought she would be concerned at the firm treatment but she was grinning ear to ear and holding her bag telling her family, "I touched his cloak!"
I touched Jesus' Robes!
Some of our Marshalls volunteered to help on the day. Often these had not experienced the fluid intensity of a moving play like this and even though they were holding on to the rope barrier, found themselves sucked into the crowd. When the Centurion or one of the soldiers noticed their lost marshall and we heard the cry, "Get him out of there!" as they reached in and brought him back into line.
Our marshalls and soldiers request people to stay back for their own safety. When the Roman soldiers and Jewish guards broke out into another scuffle we heard the cry, "They're fighting again!" and the crowd suddenly made space. "Please stand back for your own safety," we once more cried as the procession moved on.
When Jesus was being scourged, the process started with one Roman making a few lashes. Then he gets moved back with the cry, "Let someone do it properly!" The primary flogging Roman soldier let fly with the whip dipped in the fake blood. Drops of blood flew in an arc and the soft straps struck Jesus with a satisfying slap and Jesus cried out. The crowd stopped chattering with an audible gasp.
One of our new actors had not actually attended the play in past years so this was all an amazing experience. When Jesus was being scourged and mocked, tears came to her eyes, but the Woman of Jerusalem in charge held her and said, "Don't cry yet. We have to call for his crucifixion in the next scene." So she held back her tears and like a trooper joined the crowd calling for Jesus' crucifixion. As she said afterwards, it won't be the same contemplating the story of Jesus' Passion in future.
At the start of the play we made sure the actors and crew knew that this was a "Live" play. That meant no retakes, no pause to re-do the scene, no stepping in to try again. "The play must go on!" we instructed. "After all, the pilgrims haven't read the script and the story won't be affected if your lines are not exact. So long as we get the important bits in the right order, no-one will know." That was good advice.
When Pontius Pilate was standing majestically on the balcony addressing the crowd, the sign of Roman Superiority detached from the balcony railing and fell to the ground with a crash. Pontius Pliate's eyes opened wide for a brief moment and then he turned his gaze back to the Crowd and Caiaphas and the Jews and continued as if nothing was wrong. The crew quickly removed the sign and all moved on as if this was part of play. We were told afterwards how clever this was, the falling of the sign representing the fall of Roman Justice. The play must go on.
Although we have a script which covers all the main dialogue and actions, the flavour comes from the interactions and improvised dialogue of the actors. Insults between the Jews and Romans provided occasional humour too. At the crucifixion, one of the Jewish Chief Priests called out "How many Romans does it take to Crucify someone?" Being sick of their taunts a Roman Guard approached them and said, "I have room for one more. Are you ready?" The Chief Priest stepped back behind the Jewish Guards and replied, "I have an appointment tomorrow and can't today."
We will report further tales as they come to light, but I want to end this post-play post with some heartfelt thanks. When organising an event like this where there are months of preparation involving over 100 cast, crew and support organisations, the whole thing only works when people do their part. This year worked so well because everyone did their part, no matter how small that part may have appeared. The actors didn't just remember their lines, but they also worked with their fellow actors and added their own ideas for their character. For example, the actor playing the blind beggar Bartimeus had the idea of having a blindfold and sat in his spot near the start of the play, begging for alms for about 20 minutes before the play reached him. Then he improvised with many calls for alms and requests about what the commotion was. It was a great job which really brought out the character of the blind beggar. It may have only been a bit part, but it formed part of the greater whole.
The same applied for each of the roles, from the primary speaking parts through to the behind the scenes actors of the Women of Jerusalem and Apostles before and after the abandonment of Jesus.
So many people have done their parts and done them well I am very proud to have been able to assist in co-ordinating and directing the play. An event like this generates a great camaraderie and fellowship and fosters a deeper understanding of not just this critical point in salvation history, but also the very human element that is the point of the whole Passion. Every actor and member of the crew and supporters must know that all the work and effort has been worthwhile to so many people.
Thank you.
~David Bruggeman"
Copied from goodfridaypassionplay.blogspot.com.au/
For more information please visit www.paulinefathers.org.au
No need to meditate or imagine, this event will take you to Calvary!
Images by Giovanni Portelli Photography © 2018.
Constant – New Babylon
Gemeentemuseum Den Haag, 2016
Een wereld zonder grenzen. Mensen die niet hoeven te werken, maar vrij zijn om te spelen en te reizen. Constant Nieuwenhuys (1920 – 2005) verbeeldde zijn ideeën over een nieuwe wereld in een van de meest visionaire en omvangrijke beeldende kunst projecten uit de naoorlogse kunstgeschiedenis: New Babylon. Tot op de dag van vandaag, en misschien juist wel in de huidige maatschappij, een inspiratiebron voor velen. Het Gemeentemuseum Den Haag beheert het overgrote deel van dit project en deed er uitgebreid onderzoek naar. Naar aanleiding hiervan presenteert het museum deze zomer een van de grootste tentoonstellingen ooit over dit intrigerende project dat centraal staat binnen Constants oeuvre.
Constant Nieuwenhuys, kortweg Constant, was niet alleen een vooraanstaand lid van de CoBrA-groep, maar is minstens even befaamd om New Babylon, een tot de verbeelding sprekend project waar hij bijna twintig jaar aan werkte. Na de Tweede Wereldoorlog ziet hij hoe alles opnieuw moet worden opgebouwd en hoe de samenleving in de jaren 50 verandert door de toenemende automatisering. Hij ontpopt zich tot een waar visionair en toont de buitenwereld aan de hand van maquettes, constructies, geografische kaarten, schilderijen, tekeningen, aquarellen, grafiek, films, teksten, lezingen en tijdelijke ‘omgevingen’ hoe de nieuwe wereld eruit zal zien. De tentoonstelling brengt zowel het project zelf als de ontwikkeling naar New Babylon in beeld.
A world without borders or constraints. People freed from work and able to play and travel at will. Constant Nieuwenhuys (1920 – 2005) expressed his ideas for a new world in one of the largest and most visionary art projects in post-war history. New Babylon remains even now – and perhaps more than ever in the society of today – a source of inspiration for many people. The vast majority of the works associated with the project are in the hands of the Gemeentemuseum Den Haag and, working in close cooperation with Fondation Constant, the museum has carried out extensive research on them. The result is this summer’s show at the museum: one of the largest exhibitions ever held about this intriguing project, which forms a key part of Constant’s oeuvre.
Constant Nieuwenhuys (or Constant for short) was a leading member of the Cobra group but is equally famous for his intriguing New Babylon project, on which he laboured for almost twenty years. He witnessed the reconstruction of Europe in the aftermath of the Second World War and he saw how, by the 1950s, increasing automation was changing society. He revealed himself as a true visionary, producing architectural models, constructions, maps, paintings, drawings, watercolours, prints, films, texts, lectures and temporary ‘environments’ to suggest to the public what their world might in future become. The exhibition will look not only at New Babylon itself, but also at the aspects of Constant’s oeuvre that foreshadow it.
Seen at Rotunda Square in the Bullring, Birmingham was a BBC Top Gear simulator with an image of The Stig on it.
During 2015 it was when Clarkson, Hammond and May version of Top Gear ended (due to a Clarkson punch - him being fired etc. They will now be on Amazon Prime in future).
Chris Evans (of TFI Friday) will be the new host of the show.
Selbstbildnis mit ausgebreiteten Armen/Self-Portrait with Outstretched Arms, 1911
Bleistift, Aquarell und Deckfarben/Pencil, watercolor and gouache
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.
TBLISI, Georgia -- Sgt. Maj. of the Georgian Armed Forces Aluda Kopaliani (center, in black jacket) speaks to participants at the 8th annual Conference of European Armies for Noncommissioned Officers here, May 20. The conference, led by Kopaliani and USAREUR Command Sgt. Maj. David S. Davenport Sr. (third from left, in tan jacket), focuses on NCO roles and responsibilities in future security challenges. (U.S. Army photo by Sgt. Daniel Cole)
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.