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Rudolf von Alt (Wien 1812 - 1905 Wien)
The Kitschelt Iron Foundry in Skodagasse, Vienna, 1903
Die Eißengießerei Kitschelt in der Skodagasse in Wien
Aquarell, Deckfarben
Watercolour, body colour
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.
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. Army Africa photo by Sgt. 1st Class Kyle Davis
U.S. Africa Command (AFRICOM) hosted its second annual C4ISR Senior Leaders Conference Feb. 2-4 at Caserma Ederle, headquarters of U.S. Army Africa, in Vicenza, Italy.
The communications and intelligence community event, hosted by Brig. Gen. Robert Ferrell, AFRICOM C4 director, drew approximately 80 senior leaders from diverse U.S. military and government branches and agencies, as well as representatives of African nations and the African Union.
“The conference is a combination of our U.S. AFRICOM C4 systems and intel directorate,” said Ferrell. “We come together annually to bring the team together to work on common goals to work on throughout the year. The team consists of our coalition partners as well as our inter-agency partners, as well as our components and U.S. AFRICOM staff.”
The conference focused on updates from participants, and on assessing the present state and goals of coalition partners in Africa, he said.
“The theme for our conference is ‘Delivering Capabilities to a Joint Information Environment,’ and we see it as a joint and combined team ... working together, side by side, to promote peace and stability there on the African continent,” Ferrell said.
Three goals of this year’s conference were to strengthen the team, assess priorities across the board, and get a better fix on the impact that the establishment of the U.S. Cyber Command will have on all members’ efforts in the future, he said.
“With the stand-up of U.S. Cyber Command, it brings a lot of unique challenges that we as a team need to talk through to ensure that our information is protected at all times,” Ferrell said.
African Union (AU) representatives from four broad geographic regions of Africa attended, which generated a holistic perspective on needs and requirements from across the continent, he said.
“We have members from the African Union headquarters that is located in Addis Ababa, Ethiopia; we have members that are from Uganda; from Zambia; from Ghana; and also from the Congo. What are the gaps, what are the things that we kind of need to assist with as we move forward on our engagements on the African continent?” Ferrell said.
U.S. Army Africa Commander, Maj. Gen. David R. Hogg, welcomed participants as the conference got under way.
“We’re absolutely delighted to be the host for this conference, and we hope that this week you get a whole lot out of it,” said Hogg.
He took the opportunity to address the participants not only as their host, but from the perspective of a customer whose missions depend on the results of their efforts to support commanders in the field.
“When we’re talking about this group of folks that are here — from the joint side, from our African partners, from State, all those folks — it’s about partnership and interoperability. And every commander who’s ever had to fight in a combined environment understands that interoperability is the thing that absolutely slaps you upside the head,” Hogg said.
“We’re in the early stages of the process here of working with the African Union and the other partners, and you have an opportunity to design this from the end state, versus just building a bunch of ‘gunkulators.’ And so, the message is: think about what the end state is supposed to look like and construct the strategy to support the end state.
“Look at where we want to be at and design it that way,” Hogg said.
He also admonished participants to consider the second- and third-order effects of their choices in designing networks.
“With that said, over the next four days, I hope this conference works very well for you. If there’s anything we can do to make your stay better, please let us know,” Hogg said.
Over the following three days, participants engaged in a steady stream of briefings and presentations focused on systems, missions and updates from the field.
Col. Joseph W. Angyal, director of U.S. Army Africa G-6, gave an overview of operations and issues that focused on fundamentals, the emergence of regional accords as a way forward, and the evolution of a joint network enterprise that would serve all interested parties.
“What we’re trying to do is to work regionally. That’s frankly a challenge, but as we stand up the capability, really for the U.S. government, and work through that, we hope to become more regionally focused,” he said.
He referred to Africa Endeavor, an annual, multi-nation communications exercise, as a test bed for the current state of affairs on the continent, and an aid in itself to future development.
“In order to conduct those exercises, to conduct those security and cooperation events, and to meet contingency missions, we really, from the C4ISR perspective, have five big challenges,” Angyal said.
“You heard General Hogg this morning talk about ‘think about the customer’ — you’ve got to allow me to be able to get access to our data; I’ve got to be able to get to the data where and when I need it; you’ve got to be able to protect it; I have to be able to share it; and then finally, the systems have to be able to work together in order to build that coalition.
“One of the reasons General Ferrell is setting up this joint information enterprise, this joint network enterprise . . . it’s almost like trying to bring together disparate companies or corporations: everyone has their own system, they’ve paid for their own infrastructure, and they have their own policy, even though they support the same major company.
“Now multiply that when you bring in different services, multiply that when you bring in different U.S. government agencies, and then put a layer on top of that with the international partners, and there are lots of policies that are standing in our way.”
The main issue is not a question of technology, he said.
“The boxes are the same — a Cisco router is a Cisco router; Microsoft Exchange server is the same all over the world — but it’s the way that we employ them, and it’s the policies that we apply to it, that really stops us from interoperating, and that’s the challenge we hope to work through with the joint network enterprise.
“And I think that through things like Africa Endeavor and through the joint enterprise network, we’re looking at knocking down some of those policy walls, but at the end of the day they are ours to knock down. Bill Gates did not design a system to work only for the Army or for the Navy — it works for everyone,” Angyal said.
Brig. Gen. Joseph Searyoh, director general of Defense Information Communication Systems, General Headquarters, Ghana Armed Forces, agreed that coordinating policy is fundamental to improving communications with all its implications for a host of operations and missions.
“One would expect that in these modern times there is some kind of mutual engagement, and to build that engagement to be strong, there must be some kind of element of trust. … We have to build some kind of trust to be able to move forward,” said Searyoh.
“Some people may be living in silos of the past, but in the current engagement we need to tell people that we are there with no hidden agenda, no negative hidden agenda, but for the common good of all of us.
“We say that we are in the information age, and I’ve been saying something: that our response should not be optional, but it must be a must, because if you don’t join now, you are going to be left behind.
“So what do we do? We have to get our house in order.
“Why do I say so? We used to operate like this before the information age; now in the information age, how do we operate?
“So, we have to get our house in order and see whether we are aligning ourselves with way things should work now. So, our challenge is to come up with a strategy, see how best we can reorganize our structures, to be able to deliver communications-information systems support for the Ghana Armed Forces,” he said.
Searyoh related that his organization has already accomplished one part of erecting the necessary foundation by establishing an appropriate policy structure.
“What is required now is the implementing level. Currently we have communications on one side, and computers on one side. The lines are blurred — you cannot operate like that, you’ve got to bring them together,” he said.
Building that merged entity to support deployed forces is what he sees as the primary challenge at present.
“Once you get that done you can talk about equipment, you can talk about resources,” Searyoh said. “I look at the current collaboration between the U.S. and the coalition partners taking a new level.”
“The immediate challenges that we have is the interoperability, which I think is one of the things we are also discussing here, interoperability and integration,” said Lt. Col. Kelvin Silomba, African Union-Zambia, Information Technology expert for the Africa Stand-by Force.
“You know that we’ve got five regions in Africa. All these regions, we need to integrate them and bring them together, so the challenge of interoperability in terms of equipment, you know, different tactical equipment that we use, and also in terms of the language barrier — you know, all these regions in Africa you find that they speak different languages — so to bring them together we need to come up with one standard that will make everybody on board and make everybody able to talk to each other,” he said.
“So we have all these challenges. Other than that also, stemming from the background of these African countries, based on the colonization: some of them were French colonized, some of them were British colonized and so on, so you find that when they come up now we’ve adopted some of the procedures based on our former colonial masters, so that is another challenge that is coming on board.”
The partnership with brother African states, with the U.S. government and its military branches, and with other interested collaborators has had a positive influence, said Silomba.
“Oh, it’s great. From the time that I got engaged with U.S. AFRICOM — I started with Africa Endeavor, before I even came to the AU — it is my experience that it is something very, very good.
“I would encourage — I know that there are some member states — I would encourage that all those member states they come on board, all of these regional organizations, that they come on board and support the AFRICOM lead. It is something that is very, very good.
“As for example, the African Union has a lot of support that’s been coming in, technical as well as in terms of knowledge and equipment. So it’s great; it’s good and it’s great,” said Salimba.
Other participant responses to the conference were positive as well.
“The feedback I’ve gotten from every member is that they now know what the red carpet treatment looks like, because USARAF has gone over and above board to make sure the environment, the atmosphere and the actual engagements … are executed to perfection,” said Ferrell. “It’s been very good from a team-building aspect.
“We’ve had very good discussions from members of the African Union, who gave us a very good understanding of the operations that are taking place in the area of Somalia, the challenges with communications, and laid out the gaps and desires of where they see that the U.S. and other coalition partners can kind of improve the capacity there in that area of responsibility.
“We also talked about the AU, as they are expanding their reach to all of the five regions, of how can they have that interoperability and connectivity to each of the regions,” Ferrell said.
“(It’s been) a wealth of knowledge and experts that are here to share in terms of how we can move forward with building capacities and capabilities. Not only for U.S. interests, but more importantly from my perspective, in building capacities and capabilities for our African partners beginning with the Commission at the African Union itself,” said Kevin Warthon, U.S. State Department, peace and security adviser to the African Union.
“I think that General Ferrell has done an absolutely wonderful thing by inviting key African partners to participate in this event so they can share their personal experience from a national, regional and continental perspective,” he said.
Warthon related from his personal experience a vignette of African trust in Providence that he believed carries a pertinent metaphor and message to everyone attending the conference.
“We are not sure what we are going to do tomorrow, but the one thing that I am sure of is that we are able to do something. Don’t know when, don’t know how, but as long as our focus is on our ability to assist and to help to progress a people, that’s really what counts more than anything else,” he said.
“Don’t worry about the timetable; just focus on your ability to make a difference and that’s what that really is all about.
“I see venues such as this as opportunities to make what seems to be the impossible become possible. … This is what this kind of venue does for our African partners.
“We’re doing a wonderful job at building relationships, because that’s where it begins — we have to build relationships to establish trust. That’s why this is so important: building trust through relationships so that we can move forward in the future,” Warthon said.
Conference members took a cultural tour of Venice and visited a traditional winery in the hills above Vicenza before adjourning.
To learn more about U.S. Army Africa visit our official website at www.usaraf.army.mil
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The Mason-Dixon girls graciously offered to be in future adverts for SJH Foto. Because of certain issues, I will only use the shots of them from the back (so I don't have to get model releases and parent consent forms) The rest will go in the outtake album I guess
Also, instead of Tara Tarsi, it is Christine Illes behind the booth this time!
In spring of 2007, the Albertina also received the previously based in Salzburg "Batliner Collection" as unrestricted permanent loan. The collection of Rita and Herbert Batliner includes important works by modern masters, from French impressionism to German expressionism of the "Blue Rider" and the "bridge" to works of the Fauvist or the Russian avant-garde from Chagall to Malevich.
de.wikipedia.org / wiki / Albertina_ (Vienna)
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
By Franklin Fisher
franklin.s.fisher2.civ@mail.mil
CAMP RED CLOUD — It used to be that if the Red Cross needed to show training videos to people taking first aid or other classes at Camp Red Cloud, they’d have to bus them all the way to Camp Casey to watch the videos.
That’s because their TV at Red Cloud was only a 12-inch screen and things just got too strained if ten or so had to crowd around that one small screen.
But no longer, thanks to the prize-winning cooking talents and civic-minded generosity of a retired Soldier who now works for the U.S. Army Garrison Red Cloud in Uijeongbu.
John Smith – his real name, not an alias – won first-prize for his entry in the March 24 chili cook-off at Red Cloud’s Mitchell’s Club. Smith, 43, is training support specialist with USAG Red Cloud’s Directorate of Plans, Training, Mobilization and Security.
His prize was a brand new 42-inch Panasonic plasma TV. And he promptly donated it to the Red Cross, where his wife Jhona is a devoted volunteer who’s helped recruit dozens more volunteers. Smith retired as a sergeant first class in 2010 after 21-years in uniform.
This was his very first cooking contest.
The big new TV will make a huge difference for Red Cross training classes at Red Cloud, said its station manager, Leonard Mendonca.
Mendonca was scheduled to give CPR and first aid training this week to eight people from the Camp Red Cloud dental clinic, something scheduled before Smith won and donated the TV.
“I probably woulda had to put ‘em on a bus and send ‘em to Casey,” said Mendonca.
“But now,” said Mendonca, “I don’t have to do that. I can keep ‘em right here on my base. Now, with this TV in the classroom – wow! Forty-two inch. They can just sit there comfortably and see it.”
It was at Mendonca’s urging that Smith entered the chili cook-off.
That goes back to one day last month during the annual Key Resolve exercise. Both were among those working long hours in the Red Cloud command post and Smith brought in a big pot of his chili and shared it with the others.
“And I was ‘Oh my God, this is great,’” said Mendonca. “I kid you not, it was a big pot and that chili was gone in 15 minutes.
Everybody grabbed a big bowl of it and it was gone in 15 minutes.
“I started talking to him,” said Mendonca. “Told him we were having a chili cook-off and I said ‘Have you ever thought of entering a contest? I need someone to represent Red Cross. Your wife’s a volunteer. Don’t say no.’ And then he said okay.”
“That was the whole intention of me representing Red Cross from the beginning,” said Smith, “Any prizes that I won during the competition I was going to donate for Red Cross.”
He had two aims, he said. One, to support the Red Cross “and what they do.” But also to “lead by example” and take part in community events in hopes of encouraging others to do so.
“Because there are a lot of good things that are going on out there in the community,” Smith said.
Smith’s winning recipe is closely held, just in case he competes in future chili contests.
But he did disclose a few things about his winning approach to the cook-off.
“The plan was just to keep it simple as far as the recipe, something I thought people would like, not trying to make it too hot to where it was inedible, but to where it was something people would enjoy.
He did have one strong clue during the contest that his might well be the winning entry.
While they were in Mitchell’s awaiting the decision of the three-judge panel, samples were made available to the spectators.
One spectator in particular was enjoying bowl after bowl of Smith’s chili.
“He stood there like, one after another,” said Smith. “So I kind of had a feeling I had a pretty good product.”
A return to Bredgar,
I was here in November, and found the fine looking church locked.
We were going fairly nearby to another church, so give it a try?
And good job we did, as I saw as we approached the porch I saw the padlock open and the hasp hanging down.
Yay.
Jools went to the glass shop the other side of the road, and I go to snap the church.
Despite looking large and grand from the outside, inside it was a bit of a disappointment. Tough a large and fine wall mounted monument made up for it somewhat.
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BREDGAR.
OR Bradgare, as it was sometimes spelt, is the next parish southward from Tunstall.
ALTHOUGH the road from Sittingborne to Hollingborne-hill, and thence to Maidstone, passes through it and the village of Bredgar, it is rather an unfrequented place, lying obscurely among the hills, and bounding eastward to the woods. It contains near 1300 acres of land, of which one hundred are wood-grounds. The village, which stands on high ground, nearly in the centre of the parish, having the church and college, or chantry in it, is a healthy and not unpleasant situation, being surrounded mostly by pasture grounds, but the remaining part of the parish is very hilly, the soil poor and chalky, and much covered with flints, being rather a dreary country. At the entrance of the village there is a good house, inhabited for many years by the Beales, the last of whom, Mr. John Beale, of Bredgar, dying s. p. in 1769, gave this among his other estates, among his relations, and this house is now owned by his sister's son, Mr. Pattison; a little distance from hence is a modern fronted house, belonging to the Rev. Mr. Marsh, rector of Bicknor, who resides in it.
The plant Dentaria Major Metthiolo, or the greater toothwort, is mentioned by Mr. Ray, as found by him in this parish.
THE PARAMOUNT MANOR of Milton claims over this parish, as do the subordinate manors of Tunstall and Bobbing likewise over some part of it.
IT APPEARS by antient records, that there was a family resident in this parish, who took their name from it. Robert de Bredgar, resided here in the reign of king Henry III. whose name appears in an antient roll of the benefactors to the monastery of Davington, and bore for their arms, Argent, a bend, gules, fretty, azure, between two lions rampant of the second; and in the reign of king Richard II. Robert de Bredgar, clerk, parson of this parish, founded a chantry or college in the church here, as will be further mentioned hereafter.
BEXON, or Baxton, is a manor, situated in the southern part of this parish, which gives name both to a borough and street in it.
It was antiently in the possession of a family, which assumed its surname from it; one of whom, John de Bexon, was residen there in the reigns of Edward II. and III. whose effigies was formerly painted in the windows of this church, with a scroll underneath. But in the next reign of king Richard II. this manor was become the property of the family of Tong, who were of some account in different parts of East-Kent, as well as in this neighbourhood; for it appears by some antient deeds, that Semanus de Tong, in the 16th year of that reign, was tenant to the Maison Dieu, in Ospringe, for lands at Lorinden, in Challock, and sealed with a bend cotized, argent, between six martlets, gules, in which name this estate continued down to John Tonge, gent. who about the latter end of the reign of king Charles I. alienated it to Mr. Thomas Fearne, who bore for his arms, Per bend, gules, and or, two leopards heads, counterchanged. One of his descendants, Mr. John Fearne, passed it away by sale to Mr. Thomas Best, of Chatham, whose grandson, Thomas Best, esq. of Chilston, dying in 1795. s. p. gave it by his will, among his other estates, to his youngest nephew, George Best, esq. now of Chilston, who is the present possessor of it. (fn. 1)
SWANTON-COURT, now vulgarly called Swan court, is a manor likewise in the southern part of this parish, adjoining to Bicknor, which was formerly part of the possessions of the eminent family of Leyborne, of Leyborne, in this county, in which it continued till Juliana, daughter of Thomas, and heir of her grandfather William de Leyborne, dying s. p. by any of her husbands, all of whom she survived, this estate in the 41st year of king Edward III. escheated to the crown, there being no one found, who could claim it, as heir to her; and it remained there till the king, in his 50th year granted it, among other premises, to the abbey of St. Mary Graces, on Tower-hill, then founded by him, part of the possessions of which it remained till the dissolution of that monastery, in the 30th year of king Henry VIII. when it was surrendered up into the king's hands, together with all the lands and revenues belonging to it.
Soon after which, the king granted this manor to Ralph Fane, esq. who as quickly afterwards parted with it to Sir Thomas Wyatt, who in the 33d year of that reign passed it away to the king, in exchange for other estates, pursuant to an act passed for that purpose the year before.
This manor thus coming into the king's hands, he granted in his 38th year, to Christopher Sampson, esq. to hold in capite by knight's service, who in the 5th year of king Edward VI. alienated it to Thomas Reader, of Bredgar, yeoman, and he having levied a fine of it in the 16th year of queen Elizabeth, afterwards sold it to William Terrey, who in the reign of king James I. partly by sale, and partly on account of alliance, settled it on Mr. William Aldersey, descended from an antient family of that name settled at Aldersey, in Cheshire, who bore for their arms, Gules, on a bend, argent, three leopards heads, vert, between two cinquefoils, or; in chief, a crescent, within a crescent, for disference. (fn. 2) He married Thomasine, daughter of Mr. Roger Terrey, and their descendants continued to reside here, till at length Hugh Aldersey, esq. dying in 1762, s. p. his heirs-at-law alienated it about the year 1767, to John Toke, esq. late of Goddington, in Great Chart, but now of Canterbury, who continues at this time the owner of it.
MANNS is an estate in this parish, which was formerly accounted a manor, and took its name from a family who were possessors of it; one of whom, John Mann, died possessed of it in the 50th year of Edward III. when it was found by inquisition, that he held it of the king, in capite, by knight's service, and that Joane was his daughter and next heir. How it passed afterwards I have not found; but the next that I find it in the possession of, is the family, of Isley, one of whom, Thomas Isley, possessor of this manor, left five daughters and coheirs, viz. Mary, married to Francis Spelman; Frances, to William Boys, esq. Elizabeth, to Anthony Mason, esq. Anne, to George Delves, esq. and Jane, to Francis Haute, esq. After which, Francis Spelman, and Mary his wife, in 1583, alienated their fifth part to Robert and Thomas Whytfield, and their heirs male.
In the reign of king James I. William Hales, esq. of Nackington, was possessed of the principal messuage called Manns, with the lands belonging to it, and in 1640, together with his son William Hales the younger, passed it away by sale to Tho. Godfrey the younger, of Lid, esq. who seems to have parted with it to Clarke, whose family was possessed of lands here some time before this, for Humphry Clarke, alias Woodchurch, of Bredgar, esq. grandson of Humphry Clarke, of Kingsnoth, resided here in the reign of king James I. and dying in 1608, was buried in the north isle of this church, bearing for his arms, Paly, wavy of six pieces, ermine, and gules. (fn. 3) He alienated it to Reader, who bore for his arms, Three crescents, on a canton, a lion's head erased, all within a bordure, ermine, in whose descendants it continued down to Mr. John Reader, who died possessed of it, and his heir-at-law alienated it to Mr. James Chapman, gent. of Milton, the youngest son of Edward Chapman, esq. of Molash, and his grandson James Chapman, esq. is the present possessor of it.
In the 16th year of king Richard II. Robert de Bradgare, rector of this church, John Burbache, clerk, and others, founded, with the king's licence, A CHANTRY or SMALL COLLEGE in this church of Bredgar, in honor of the Holy Trinity, which consisted of a chaplain or secular priest, in holy orders, and two scholar clerks or confreers, who were to govern it, and celebrate divine officers, continually there in future, excepting at those times when the scholars should be employed in their studies: and they endowed it with different houses, rents, and lands, in this and the adjoining parishes, to hold to them and their successors for ever; and in 1398 the above-mentioned Robert de Bradagare, with the consent of archbishop Arundel, who then confirmed this foundation, gave them, under his seal, rules and statutes, for the better government of it. At which time there appears to have been a building already erected, called the college, for them to reside in, almost adjoining to the church of Bredgar.
In which situation this chantry or hospital continued, till the reign of king Henry VIII. when it was surrendered up with all its possessions, into the king's hands. Soon after which the scite of it, by the name of the chantry house of Bredgar, with sundry premises belonging to it, in Bredgar, Borden, and Bicknor, was granted by the king to George Harpur, esq. who afterwards, in the 33d year of that reign, exchanged it with the king for other estates in this and other counties. After which it seems to have remained in the hands of the crown, till queen Elizabeth, in her third year, having taken into her hands several manors, lands, &c. parcel of the see of Canterbury, by her letters patent that year, granted to archbishop Parker, and his successors, several rectories, parsonages, and other premises, in lieu of them, among which was this dissolved college of Bredgar, then valued at 13l. 6s. 8d. Since which it has continued parcel of the possessions of the archbishopric, and remains so at this time. The tenths payable to the crown receiver from this dissolved chantry are 1l. 17s. 7¾d.
William Sherman, esq. was lessee in 1643, at the yearly rent of 13l. 6s. 8d. Edward Jeffrey is the present lessee, he new fronted and much improved the chantry-house, in which he resides.
Charities.
THREE TENEMENTS and sixty-five perches of land, at the Bush, in Silver-street, in Bredgar, let to the overseers at 20s. per annum. was given for the repair of the church. One acre and an half of land in Hinkins crost, let at 12s. was given for the like purpose. A small piece of land, called the Playstool, let at 2s. 6d. per annum, was given for the like purpose.
AN ANNUITY of 10s. per annum was given for the use of the poor, to be paid out of a field called Whitebread, at Deanshill, which now belongs to Messrs, Thomas and William May.
AN ANNUITY of 20s. was given by Mr. Humphry Clarks, for the use of the poor, payable out of a house in Bredgarstreet, belonging now to the heirs of Edward Chapman, gent.
WILLIAM TERRY, gent. by deed anno 17 James I. granted to Francis Clarke, and others, 31. per annum out of a house called Black-end, and an orchard belonging to it, and a piece of land called Mascalls, all in Bredgar-street, in trust, to be distributed among the poor inhabitants.
MR. THATCHER, citizen of London, in 1718 gave by deed 100l. which with that of 30l. added to it by the parishioners, was laid out in lands at Torry-hill, containing twenty-eight acres, lying in Milsted and Lenham, which were purchased in trust, for the minister and churchwardens to pay from thence 5l. per annum, for a master or mistress to reach eight poor children of this parish to read, and to instruct them in the church catechism; the overplus to be distributed to the poor of the parish. The children to be appointed by the minister; now of the annual produce of 6l. 10s. 4d.
The poor relieved constantly are about twenty-five; casually forty.
BREDGAR is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Sittingborne.
The church is dedicated to St. John Baptist. It consists of three isles and one chancel, and has a square beacon tower at the west end, in which hang five bells. On the west side of the tower there is a fine Saxon door-case, with zig-zag ornaments; on the capitals of the pillars are carved two heads of a very ludicrous from. By the injudicious digging of a vault for Mrs. Murton of this parish, in 1791, two of the columns gave way, and the main arch between the body and chancel came down, but this damage has been since repaired.
In this church there are several memorials for the Tongs, and Fearnes of Bexon, particularly of John Fearne, obt. 1713; of the Readers, as late as 1705. In the north isle a monument for Humphry Clarke, alias Woodchurch, esq. obt. 1608. Memorials of the Alderseys, of Swanton, particularly of Hugh Aldersey, obt. 1762, and Mary Thurston his wife. In the church yard, at the east end of it, are several tomb-stones of the Beales and Thurstons. There is a very antient tomb-stone near the south porch, on which was once a portrait in brass, on the east end of the stone there is carved a cross in relief.
King Henry III. gave this church in pure and perpetual alms, to the leprous women of the hospital of St. James, alias St. Jacob, at the end of Wincheap, near Canterbury, so that Mr. Firman, then master of it, should enjoy it for his life, but there was no vicarage endowed in it till archbishop Courtney, in the 15th year of king Richard II. endowed one in it.
After which this church appropriate, as well as the advowson, continued part of the possessions of the hospital, till the surrendry of it in 1551, anno 5 king Edward VI. at which time there appeared to be a manor called
FILCHER, alias FILTER, belonging to the rectory of Bredgar appropriate; all which, together with the advowson, seem to have remained in the hands of the hands of the crown, till queen Elizabeth granted them to Thomas Reader, who possessed them in 1578. He afterwards sold them to Mr. William Terrey, who in the reign of king James I. passed them away to his kinsman, William Aldersey, of Swanton-court, in whose descendants they continued till Hugh Aldersey, esq. of Bredgar, about the beginning of George II.'s reign, alienated them to Mr. John Tappenden, whose son, of the same name, sold them to Sir Edward Dering, bart. of Surrenden, whose son Sir Edward Dering, bart. is the present owner of this manor and rectory, with the advowson of the vicarage of the church of Bredgar.
In 1578, the communicants here were one hundred and fifty-five. Houses in this parish fifty. In the reign of queen Anne, the vicarage was worth thirty pounds per annum.
It is now a discharged living in the king's books, of the clear yearly certified valued of thirty-six pounds, the yearly tenths of which are eighteen shillings.
¶John atte-Vyse, one of the founders of the college, in 1398, ordained, that each year in future for ever, after his death, on the feast of the Holy Cross, there should be paid to the vicar of Bradgare, for the oblations of that day, six-pence; to the keeper to the goods of the church here, six-pence; to the parishclerk and sacrist, four-pence, and 5s. 4d. to the poor parishioners of Bredgar.
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
a community benefit concert for Syrian refugees, co-hosted by Howl Arts Collective / Suoni Per Il Popolo Festival !
Sat. Jan. 9 at La Vitrola
4602 st. laurent
suggested donation $10-20
no one turned away
montreal, quebec
performances by
* Mixed with Dust
kaie kellough (synth / vocals) stefan christoff (electric guitar)
* jérémi roy (contrebasse / tapes)
* roozbeh tabandeh (santur)
* dj sandhill / Sundus Abdul Hadi
* pasha karami (tombak) / saeed kamjoo (kamancheh) / stefan christoff (electric guitar)
Durant les cinq dernières années de guerre en Syrie, il a été estimé que plus de 220000 personnes ont été tuées et environ 12 millions de réfugiés ont un besoin urgent d’assistance humanitaire. Certains sont encore dans le pays et d’autres se sont enfuis au delà des frontières. La pire crise humanitaire contemporaine selon certaines organisations. Nous avons décidé d’organiser une série de concerts bénéfices pour prendre conscience et aider les réfugiés syriens.
Nous nous rassemblons aussi pour reconnaître que le militarisme n’est pas la solution et que les bombardements occidentaux n’arrêteront pas le conflit. Le Canada doit non seulement arrêterles bombardements en Syrie et en Iraq, mais aussi dénoncer le fait de consacrer des ressources financières majeures à la continuation de la militarisation du conflit, ce qui inclut l’envoi de conseillers militaires. Comme l’histoire nous l’a déjà montré, du Vietnam à l’Iraq, bombarder les gens ne les sauve pas.
Tout les fonds reçus au concert de ce soir seront donnés directement à un activiste éprouvé sur le terrain, à Beyrouth, au Liban. cet activiste est un allié et un ami du collectif Montréalais Tadamon ! (tadamon.ca/). Les fonds de solidarité seront utilisés pour acheter des fournitures hivernales (couvertures/vêtements chaud) qui seront directement distribuées aux communautés de refugiées Syrienne proche de la région de Baalbek au Liban située dans la vallée de Beqaa proche de la frontière syrienne. Les réfugiés les plus économiquement marginalisés se sont installés dans cette région car voyager dans des centres urbains come Beyrouth est dispendieux. Les organisateurs et supporteurs de ce concert ont déjà eu l’expérience d’amener de l’aide directe spécifiquement à ces communautés syriennes avec cet activiste en particulier à Beyrouth. Ceci étant dit, il y a déjà un processus d’établit. Merci d’avance pour votre support et solidarité.
//
Since the beginning of the war, which started 5 years ago in Syria, it has been estimated that 220 000 people were killed and more than 12-million refugees are in need of urgent humanitarian assistance, whether they still remain in the country or have escaped across the borders. Some organizations have called it the worst humanitarian crisis of our time, so we have decided to start a series of events to bring awareness and aid to help.
We gather here also to recognize that militarism isn’t the solution and that western military bombs will not stop the conflict. Canada must not only stop sending bombs to Syria and Iraq, but also speak out against the lending of major financial resources to the continued militarization of the conflict, this includes sending military advisers, as we have learned from history, from Vietnam to Iraq, bombing people will not save them.
All funds raised at this concert will go directly to a trusted activist in Beirut, Lebanon, who is an ally and friend to the Tadamon! collective (tadamon.ca/) in Montréal. The solidarity funds will buy winter supplies (blankets / warm clothes) and will be distributed directly to the Syrian refugee communities close to Baalbek, Lebanon located in the Beqaa Valley close to the Syrian border. this is where some of the most economically marginalized refugees have settled because traveling to bigger urban centers like Beirut is expensive. The organizers and supporters of this concert have had prior experience in organizing similar direct aid efforts for these specific Syrian communities with this specific activist in Beirut, therefore there is an established process. Thank you in advance for your support and solidarity!
bios :
Roozbeh Tabandeh is an Iranian musician, Born in 1980 in Shiraz. He is mostly known as a violinist and Santur player and also a composer. He is studying composition at Concordia University right now. Before that, He studied composition and performance with some of the most famous Iranian musicians.
He conducted “Hengam Orchestra” in Shiraz for near 10 years. Later he cofounded the “Hengam string quartet” and had lots of performances in different cities in Iran. Some of his compositions for string orchestra, has been performed by IRAN string orchestra with professor Manouchehr Sahbai as the conductor. Professor Sahbai was the former conductor of Tehran Symphony Orchestra and one of the most prestigious Iranian conductors. The same pieces has been recorded and published under the title of “Timeless Moments” album in Iran. Some excerpts of the album is available on Soundcloud: soundcloud.com/user-785112939
Recently, he cofounded the NAVA quartet in Montreal, and tried to combine the Iranian music with some classical and jazz music elements. In NAVA quartet he performs Santur with three other instruments including Viola, Clarinet and Contrabass. Nava quartet will have other performances in future which can be followed on Facebook: www.facebook.com/navaquartet/
jérémi roy : depuis 2005, Jérémi est actif professionnellement dans le domaine de la composition et de la performance musicale. ayant dirigé ses propres ensembles et accompagné bon nombres d'artistes et groupes, il a su extraire le psychédélisme des musiques populaires occidentales autant que la transe des musiques traditionnelles de l’Orient et du Maghreb. ses deux stages en musique turque (2010 et 2012) à İstanbul l’ont amené à adopter un système de composition modal non-tempéré, le tout accompagné d’une habitude de son enfance d’utiliser des bandes magnétiques et magnétophones comme moteurs du hasard contrôlé. or, son travail solo se veut une synthèse de ces éléments et a été présenté en mai 2015 au festival RE:FLUX à Moncton et dans le cadre d'évènement ponctuels Howl! Arts à Montréal en 2014 et 2015.
Georg Baselitz - selection of works from the cycle REMIX
With the extensive, in 2005 began cycle "remix" Georg Baselitz from the viewpoint of "theme and variation" once more deals with his early, long since legendary image creations.
Through the turn upside down of the images, Georg Baselitz himself has recorded in the history of the 20th Century. The artist who since 1968 groups of works of this type realizes, declares this approach as "the best way to free the painted from the content" and "turn to painting per se".
Georg Baselitz - Werkauswahl aus dem Zyklus REMIX
Mit dem umfangreichen, 2005 begonnenen Zyklus "Remix", setzt sich Georg Baselitz unter dem Gesichtspunkt von "Thema und Variation" noch einmal mit seinen frühen, längst legendären Bildfindungen auseinander.
Durch das Auf-den-Kopf-Stellen der Bildmotive hat sich Georg Baselitz in die Kunstgeschichte des 20. Jahrhunderts eingeschrieben. Der Künstler, der seit 1968 Werkgruppen dieser Art realisiert, bezeichnet dieses Vorgehen als "besten Weg, das Gemalte vom Inhalt zu befreien" und "sich der Malerei an sich zuzuwenden".
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.
Sakamoto: Did you not wish someone assassinated you like they did me? For all the lives we took, but Kenshin, we were soldiers, there was a war, we fought for our believes, people die in a war, soldiers take lives. You were silly with that reverse blade sword, no kill policy, refusing to join the government, roaming from place to place seeking atonement. Forgive yourself first. Even in your second life as a dollfie, you visit graveyards, not forgiving yourself, not forgetting. We must let bygones be bygones. In future, I shall call you Christian, that's your dollfie name isn't it?
Himura: Yes, everyone calls me Christian or Chris. What shall I call you? You cannot be called Ryoma because the mistress of the house won't allow that name.
Sakamoto: My original birth name is Sakamoto Naonari. Call me Naonari. I'd pick an English name later.
Quick iOS panoramic test shot on 377 611 working Brighton to Victoria.
There may be a better shot in future.
Another seascape. These last two images have finally convinced me that the Cokin ND filters are going to be confined to history. If I want pink skies I'll by pink filters in future.
F22
14mm
30 sec
ISO 100
Our first church of a day cycling out into the countryside to the west of Ipswich with Simon who had planned a most enjoyable itinerary and was an excellent guide (and was very patient whenever I started flagging, which is usually at the merest sight of a hill, not something I was expecting too many of in this part of the world, so this trip taught me not to trust the stereotype that East Anglia is flat terrain!).
St Mary's at Bramford is designed to impress, its northern face greets the visitor and includes and array of carved ornament in the carved bestial figures standing proud upon the parapet (the less prominent southern side eschews the carved embellishments) It is a most handsome church, complete with the fine late lantern-like medieval clerestorey that always seems to be such a hallmark of larger East Anglian churches, thought the lead-covered needle-spire is a less typical feature, there being rather few churches with spires in this region (with the main building material being flint and therefore unsuitable for such structures, spires were either constructed of lead-covered wood, or avoided altogether. Many other timber spires have long since been removed).
Within the church is light and airy with the eye drawn immediately to an even more unusual feature, a stone rood screen formed by three arches spanning the chancel, a delicate 14th century structure with pierced quatrefoils (apparently inserted more recently during the Victorian restoration). The chancel beyond was furnished by W.D.Caroe at the turn of the last century and Kempe glass inserted in the east window. The most notable furnishing however is at the west end under the tower, a late medieval font surmounted by a beautiful 16th century wooden canopy (Gothic in form but with Renaissance detailing) which hinges open to give access to the holy water rather than require lifting or raising as so many others do. Another remarkable feature is the late 16th century poor box gouged into the side of a pillar on the south side of the nave, complete with carved inscription to serve as a reminder.
This is a great church to visit though it has usually been kept locked outside of services; fortunately Simon had made prior arrangements so the vicar met us at the church and opened up to show us around. She was also very good company and her welcome and time spent with us was hugely appreciated (there was talk of possibly opening the church more often in future though I think she may have since moved to another parish).
For a more complete impression of the church I couldn't recommend anyone more than my own travelling companion below:-
A fantasy mecha project, inspired by Patlabor & Gundam. The plan was to build a ‘realistic’ hexapod tank, even though with an SF touch.
The vehicle is not 100% supposed to match anime style – but the concept is pretty popular in Japanese animation, SF or special interest genres like Ma.K., so I think calling the “Ackwisch” (Hebrew for “Spider”) mecha is fine.
While the mobility of walking vehicles is arguably higher than that of wheeled or tracked vehicles, their inherent complexity has limited their use mainly to experimental vehicles. Examples of real manned walking vehicles include General Electric's Walking truck, the University of Duisburg-Essen's ALDURO and Timberjack, a subsidiary of John Deere, built a practical hexapod Walking Forest Machine (a harvester for rough/delicate terrain).
One can argue about the sense of a legged tank, though. It's slow, it has a high CG an silhouette, it's mechanically complex, it needs a lot of space in order to manoeuver, and you cannot deny the laws of physics: ground pressure is a SERIOUS issue, for any armored vehicle. A simple wet lawn can stop a tracked medium battle tank with a relatively large footprint – how’s a walking tank with only a fraction of area to distribute weight supposed to fare? A modern battle tank like the Merkava easily weights 60 tons and more. You might add for a legged specimen at least 10 more for the legs and their mechanics… so, is a walking tank “realistic”? Certainly not, but it’s cool…. And, since this is SF, it should at least look cool and somewhat menacing... ;)
This project had been waiting on the bench for a while and even saw a major creative interruption, and even then the whole building process took several weeks. Main ingredients are an 1:72 ESCI Merkava II tank kit, PVC doll joints from Kotobukiya for the legs (so they remain moveable, within limits),six resin legs from two ‘Junk Rock Tank’ recast kits in 1:35 scale (from a total of eight – you never know!), and two aftermarket gun barrels made from metal, since the tank received a double gun as a special feature. The commander’s cupola was donated from a 1:87 scale Roco Minitanks M60, otherwise a lot of details had been scratched or improvised – please check the WiP album for reference and single steps.
Construction was pretty straightforward, though, as well as painting, since I kept the tank in a uniform drab color (very similar if not identical to real life IDF tanks, RAL 7008 “Khakigrau”). Weathering was done with a thorough black ink wash and dry painting with various shades of brown, beige and grey, plus some of the artist pigments that were used on the base, too (see below).
The base was created with Styrofoam and plaster on an MDF board, the rock is actually aquarium decoration from a pet store, made from resin. The crater was sculpted into the basic surface.
The surface was decorated with fine sand, water-based paint and artist pigments, the vegetation consists of fine model railroad turf and grass fiber, brush fibers for large weed bushels, some dried real vegetation and a bit of dry moss.
As some space was left on the left side of the base, I eventually added a small vehicle there – my choice fell on a die-cast HMMWV from Dragon. Very fine car model, even though its place and position could have looked a bit more natural if I had integrated earlier into the planning process. But with both vehicles in place, the whole arrangement gains a bit of a meaning, as an observation scene. I still would not call it a diorama, though – it’s just a presentation base that might also be used in future model photographs.
Shooting the tank on its base was tricky, because of the relatively small dimensions of the base – on some of the pics I had to add virtual foreground in order to fill blank space, but otherwise only little “photoshopping” had to be done.
The news was that Jools' cough was little better. She got a mail back from the surgery on Friday saying her (non-urgent) appointment with the doctor was on December 14th. But as we were going to Tesco, she would have a chat with the pharmasist and see about some of the behind the counter stuff.
Winter has arrived, though no snow as yet, but the wind is set in the east, its cloudy and feels raw outside.
I would spend part of the day churchcrawling.
After shopping.
We go to Tesco, Jools really only coming so she could get something for her cough.
With a few bottles of tripel and cider we managed to spend £140. A bag of rice, not white easy cook rice I'll admit, but that's £4.50 now.
Wow.
Back home with the shopping and a bottle of serious cough syrup, we put the shopping away and have breakfast.
No surprise then that Jools wasn't coming out with me, she wanted to get the cough under control, would only take the new syrup when needed as it can make you drowsy.
I had a list of churches, and first up was our local one, St Margaret.
They were having a craft day. I thought it might be a fayre, but was a kid's craft day. Anyway, the church would be open and I could take shots of the memorials and windows.
There were pagan heads at the top of each column, and as corbel stones. The more I looked, the more pagan heads, even at the top of two of the columns, but not all.
No real ancient glass, but good quality Victorian.
The church itself is the triumph, being an early Norman and well preserved.
Although, sadly, the tower is in poor repair and needs reroofing, which is why it is currently encased in scaffolding.
I am sure when we called in at Barham last week, a sign said there was a craft fayre on, so would be open. I would go back, and get some shots, I thought.
Its a half hour drive, if that out of Dover down the A2 and off at the Wingham turning, down the valley and parking outside the church, its spire pointing to heaven.
Inside the church there was no fayre again, just a warden showing a lady round. We all said "hello", and I went about getting shots.
I have been here at least three times, but now take the big lens to get details of the windows and memorials high up, so there are always new details to reveal.
Star item is the window of St George and the dragon, though is hidden in the north-west corner, and best viewed from the stairs to the belltower.
After 20 minutes, the visitor left and the warden turned off the lights, forgetting I was there, but I had my shots.
From Barham its a short drive to Bridge, then along the Nailbourne to Patrixbourne, where I see the door was open, but I had another target: Bekesbourne, the next village along, crossing the dry bed of the bourne, stopping on the lane outside the church. I look left to the Old Palace, but there were no cars parked there, so no point of even knocking, I drove on.
Instead of turning left back to Bridge, I turn right towards Littlebourne, no real idea where I was going.
Littlebourne could wait for another time, I only went back there in 2020, I went to Wingham, driving on towards Sandwich.
I thought, it's a long time since I was at Woodnesborough, I could cut through Ash and go there.
Which is what I did.
I could have stopped at Ash too, that's usually open, but there'll be other times. I have been there twice and got good shots last time for sure.
From Ash, the road climbs, leading to Woodnesborough, Woden's Hill, where there was a hill fort in antiquity. The church is on the highest point, overlooking the marshes of the old Wantsum Channel, and on to Sandwich which when the Channel was still flooded, was on a spit of land.
The church is a marker for miles around due to its cupola, something is shares with Ringwould near to home.
Inside it was so dark, I thought I would need to find the lights, but I could not find them. So, I hoped the camera would cope without.
It did.
But again, I was here really to record the windows, which were rich in detail. I took 215 shots here, 560 in a morning at three churches.
Not bad.
But I was done, what light there was, was fading, even though it was only just after one. I would go home.
Once home I got busy.
I have a taste for beans. Not baked beans, but Boston Beans. I had a recipe, and we got the ingredients that morning, so went about making a huge panful. Three tins of haricot beans, tomatoes, stock, spices, bacon, pork belly, mustard, and black treacle.
Cooked on the hob for an hour, then cooked long and low in the oven for four hours.
What came out looked and tasted like fine Boston Beans. We will be eating these for weeks.
At the same time I make fritters.
The plan was to be all cooked and eaten before the football began at three.
I did it with half an hour to spare, the leftover wine drunk too, meaning I would struggle to stay awake for Holland v USA game. Netherlands win pretty comfortably.
And in the evening, with a soundtrack of funk and soul thanks to Craig, I watch Argentine v Australia, which was a stunning game.
Even better, I sat on the sofa to watch, Cleo eyed me as if to say how dare you take my chosen sleeping place. But she came over, paced around, then lay between the arm of the sofa and my leg. Scully lay on the other side. I had 50% of the household cats.
Happier than I have been for ages.
Best of all was that the syrup worked, stopped the coughing, and Jools fell asleep right off.
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A morning out, revisiting some familiar fairly local churches.
Final visit was to Woodnesborough, aka Woden's Hill, near to Sandwich.
It was open, but no light switch that could be found meant that the church was dark, but the camera coped well.
Woodnesborough sits on the highest point near to the coast, its cupola marking the spot, and visible for miles in all directions.
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The tower makes this church one of the easiest in Kent to identify. It is capped by a little cupola and wooden balustrade of eighteenth-century date that replaced a medieval spire. During the Middle Ages the church was owned by Leeds Priory which invested heavily in the structure, and was no doubt responsible for the excellent sedilia built in about 1350. The canopy is supported by a quadripartite vault in turn supported by angry little heads. Above the sedilia is the cut-off end of a prickett beam. The east window, of Decorated style stonework, has a thirteenth-century hangover in the form of a shafted rere-arch. There are two excellent modern stained glass windows designed by F.W Cole, which show the Creation (1980) and St Francis (1992). The good altar rails are of Queen Anne's reign, as are the splendid Royal Arms.
www.kentchurches.info/church.asp?p=Woodnesborough
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WOODNESBOROUGH,
¶OR Winsborough, as it is usually called, lies the next parish northward from Eastry, being written in the survey of Domesday, Wanesberge. It took its name according to Verstegan, from the Saxon idol Woden, (and it is spelt by some Wodensborough) whose place of worship was in it; however that may be, the termination of the word berge, or borough, shews it to be of high antiquity.
art of this parish, over which the manor of Boxley claims, is within the jurisdiction of the justices of the town and port of Sandwich, and liberty of the cinque ports; and the residue is in the hundred of Eastry, and jurisdiction of the county of Kent.
There are three boroughs in this parish, viz. Cold Friday, Hamwold, and Marshborough; the borsholders of which are chosen at the petty sessions of the justices, acting at Wingham, for the east division of the lath of St. Augustine.
THIS PARISH is large, being two miles and an half one way, and upwards of a mile and an half the other. The church stands nearly in the centre of it, on high ground. At a small distance from the church is Woodnesborough hill, both of which are sea marks. This hill is a very high mount, seemingly thrown up by art, and consisting of a sandy earth, it has been thought by some to have been the place on which the idol Woden from whom this place is supposed to have taken its name) was worshipped in the time of the Saxons; by others to be the burial place of Vortimer, the Saxon king, who died in 457, whilst others suppose this mount was raised over those who fell in the battle fought between Ceoldred, king of Mercia, and Ina, king of the West Saxons, in the year 715, at Woodnesbeorb, according to the Saxon chronicle, which name Dr. Plot supposes to be Woodnesborough. Vortimer, as our historians tell us, at his death, desired to be buried near the place where the Saxons used to land, being persuaded that his bones would deter them from any attempt in future. Though authors differ much on the place of his burial, yet this mount at Woodnesborough is as probable, or more so, perhaps, than any other, for it was near to, and was cast up so high as to be plainly seen from the Portus Rutupinus, which at that time was the general landing place of the Saxon fleets. Some years ago there were found upon the top of it sundry sepulchral remains, viz. a glass vessel (engraved by the Rev. Mr. Douglas, in his Nænia;) a fibula, (engraved by Mr. Eoys, in his collections for Sandwich;) the head of a spear, and some fragments of Roman vessels. Much of the earth of sand has been lately removed round the sides of it, but nothing further has been found.
At a small distance northward from hence, at the bottom of a short steep hill, lies the village called Woodnesborough-street, and sometimes Cold Fridaystreet, containing thirty four houses. The vicaragehouse is situated in the middle of it, being a new handsome building; almost contiguous to it is a handsome sashed house, belonging to the Jull family, now made use of as a poor-house; through this street the road leads to Sandwich. West ward of the street stands the parsonage-house, late the seat of Oliver Stephens, esq. deceased, and now of his window, as will be further noticed hereafter. Besides the manors and estates in this parish, particularly described, in the western parts of it there are several hamlets, as Somerfield, Barnsole, Coombe, with New-street, Great and Little Flemings, Ringlemere, and the farm of Christians Court.
In the north east part of the parish, the road from Eastry, by the parsonage of Woodnesborough northwestward, divides; one road, which in antient deeds is called Lovekys-street, going towards Ash-street; the other through the hamlet of Marshborough, formerly called Marshborough, alias Stipins, to Each End and Sandwich, the two windmills close to the entrance of which are with in the bounds of this parish. Each, Upper Each, called antiently Upriche, and Each End, antiently called Netheriche, were both formerly accounted manors, and are mentioned as such in the marriage settlement of Henry Whyte, esq. in the beginning of queen Elizabeth's reign. After the Whytes, these manors passed in like manner as Grove, in this parish, to the James's. Upper Each, or Upriche, has for many years belonged to the family of Abbot, of Ramsgate, and is now the property of John Abbot, esq. of Canterbury. Each End, or Netheriche, belongs, one moiety to the heirs or devisees of the late earl of Strafford, and the other moiety to John Matson, esq. of Sandwich.
¶It cannot but occur to the reader how much this parish abounds with Saxon names, besides the name of Wodens borough, the street of Cold Friday, mentioned before, is certainly derived from the Saxon words, Cola, and Friga, which latter was the name of a goddess, worshipped by the Saxons, and her day Frige-deag, from whence our day of Friday is derived; other places in this parish, mentioned before likewise, claim, surely, their original from the same language.
This parish contains about 3000 acres, the whole rents of it being about 3373l. yearly value. It is very bare of coppice wood; the Old Wood, so called, in Ringleton, being the only one in it. The soil of this parish is very rich and fertile, equal to those the most so in this neighbourhood, particularly as to the plantations of hops, which have much increased within these few years past. The middle of the parish is high ground, and is in general a flat open country of arable common fields. West and south-westward the lands are more inclosed with hedges. North and north-westward of the parsonage, towards Sandwich, they are low and wet, consisting of a large level of marsh land, the nearness of which makes the other parts of this parish rather unhealthy, which is not otherwise very pleasant in any part of it. There was a fair held here yearly, on Holy Thursday, but it has been for some time disused.
In Ringleton field, in this parish, there was found about the year 1514, a fine gold coin, weighing about twelve shillings, with a loop of the same metal to hang it by; on one side was the figure of a young man in armour, a helmet on his head, and a spear over his right shoulder; on the reverse, the figure of Victory, with a sword in her hand, the point downwards.
The church, which is dedicated to St. Mary, consists of a nave, and two isles, having a square tower steeple at the west end, with a modern wooden turret and vane at the top of it, in which are five bells, made in 1676. It had a high spire on the tower, which was taken down some years ago. At the east end of the chancel is a marble tablet for John Cason, esq. of this place, justice of the peace, obt. 1718; John Cason, esq. his son, obt. 1755; arms,Argent, a chevron, sable, between three wolves heads, erased, gules, on an escutcheon of pretence, sable, a chevron, between three fleurs de lis, of the field; another for Thomas Blechenden, of the antient family of that name, of Aldington, in Kent, obt. 1661; arms, Azure, a fess nebulee, argent, between three lions heads erased, or, attired, gules, impalingBoys. On the south side, an antient altar monument with gothic pillars and arches, having had shields and arms, now obliterated. Against the wall, under the canopy, two brass plates, which have been removed to this place, from two grave-stones in the chancel; the first for Sir John Parcar, late vicar of this church, who died the v.day of May, a°o dni m° v° xiij° on the second are Latin verses to the memory of Nichs Spencer, esq. obt. 1593. In the middle of the chancel, a gravestone for William Docksey, esq. of Snellston, in Derbyshire, a justice of the peace, obt. 1760; Sarah his wife, youngest daughter of John Cason, esq. obt. 1774; arms,Or, a lion rampant, azure, surmounted of a bend, argent. On a gravestone on the north side of the chancel, on a brass plate, On a chevron, three quatersoils, between three annulets, quartering other coats, now obliterated, for Master Myghell Heyre, sumtyme vicar of this churche, who dyed the xxii day of July, m° v° xxviii. In the north isle are several memorials for the family of Gillow, arms, A lion rampant, in chief, three fleurs de lis. At the entrance into the chancel, on a grave-stone, on a brass plate, John Hill, gent. of the parish of Nassall, in Staffordshire, obt. 1605. A mural monument for William Gibbs, of this parish, obt. 1777; arms,Argent, three battle axes, in fess, sable. In the church-yard are altar tombs to the memory of the Julls, and for Sladden; one for John Verall, gent. sometime mayor of Sandwich, obt. 1610; and another for John Benchkin, of Pouton, obt. 1639.
There were formerly painted in the windows of this church,Or, a chief indented, azure, for John de Sandwich. Several coats of arms, among which were those of Valence and St. Leger,Argent, three leaves in sinster bend, their points downward, proper.— On a canton, azure, three crescents, or, for Grove.— Argent, three escallops in chief, or, in base a crescent, gules, for Helpestone, usually called Hilpurton, bailiff of Sandwich, in 1299. A shield, being Helpeston's badge, another On a fess engrailed, three cinquefoils, between three garbs, for John Hill, of Nasall, in Staffordshire, who lies buried in this church. —A fess engrailed, three lions rampant, in chief, on the fess, a crescent for difference, for Spencer, customer, of Sandwich. — Quarterly, four coats; first, On a chevron, three quaterfoils; second, Per pale, ermine and argent; third, A cross, between four pomegranates, slipped; sourth,Three bars, wavy, for Michael Heyre, vicar here in 1520.
The church of Woodnesborough was given, in the reign of king Henry I. by a religious woman, one Ascelina de Wodensberg, to the priory of Ledes, soon after the foundation of it; to which deed was witness Robert de Crevequer, founder of the priory, Elias his son, and others; which gift was confirmed by the said Robert, who by his charter, released to the priory all his right and title to it. It was likewise confirmed by archbishop Theobald, and several of his successors, and by king Henry III. by his charter of inspeximus in his 41st year.
Archbishop William Corboil, who came to the see of Canterbury, three years after the foundation of Ledes priory, at the instance and petition of Ascelina above mentioned, who resigned this church into his hands for this purpose, appropriated it to the prior and convent, for the finding of necessary cloaths, for the canons there; and a vicarage was accordingly endowed in it.
There was a controversy between the prior and convent, and Adam, vicar of this church, in 1627, anno 14 Henry II. concerning the great tithes arising from the crofts and curtilages within this parish, which was referred to the prior of Rochester, who was the pope's delegate for this purpose, who determined that the prior and convent of Ledes, as rectors of this church, should receive, without any exception, all the great tithes of wheat, barley, oats, beans, peas, and of every fort of corn arising, or to arise from all lands, crofts, curtilages, or other places whatever, situated within the bounds, of this parish; and that the prior and convent should yearly pay to the said vicar, and his successors, half a seam of barley, and half a seam of beans, at the nativity of our Lord. (fn. 10)
¶After which, this parsonage appropriate,(which appears to have been esteemed as a manor) together with the advowson of the vicarage, remained with the prior and convent of Ledes, till its dissolution in the 31st year of king Henry VIII. when it was, with all its lands and possessions, surrendered into the king's hands, who by his dotation charter, in his 33d year, settled both parsonage and advowson on his new-founded dean and chapter of Rochester, with whom they remain at this time. On the dissolution of deans and chapters, after the death of king Charles I. this parsonage was surveyed in 1649, when is appeared that the manor or parsonage of Woodnesborough, with the scite thereof, and all manner of tithes belonging to it, with a garden and orchard of one acre, was valued all together at 300l. that the lessee was to repair the premises, and the chancel of the church; that the vicarage was worth fifty pounds per annum. The then incumbent was under sequestration, and there was none to serve the cure; and that the church was then quite ruinated, and in great decay. (fn. 11)
Burnhope Reservoir is a reservoir above the village of Wearhead, County Durham, England.
The reservoir was created by the construction of an earth embankment dam across the valley of Burnhope Burn, a tributary of the River Wear, 1 kilometre (0.62 mi) above Wearhead. Construction of the dam began in 1931 and was completed in 1937; an extensive network of narrow gauge railways, the Burnhope Reservoir railway, was used during the construction of the dam. Filling of the reservoir commenced in 1936 and resulted in the drowning of the former village of Burnhope.
Burnhope Reservoir was a joint project of the Durham County Water Board and the Sunderland and South Shields Water Company. It is now owned and operated by Northumbrian Water. The reservoir supplies water to the Wear Valley treatment works at Wearhead and there is a pipeline connection to Waskerley Reservoir, which supplies Honey Hill water treatment works. The reservoir serves as the source to meet regulated discharges into the River Wear and to compensate for abstraction of water at Chester-le-Street further downstream.
Wearhead is a village in the civil parish of Stanhope, in County Durham, England. It is situated at the top of Weardale between Cowshill and Ireshopeburn. It is named after the nearby source of the River Wear which runs eastwards for approx 40 miles (64 km) to Sunderland. In the 2001 census Wearhead had a population of 210.
The first settlement at Wearhead may have been a farmstead, possibly a summer base for the Bishop's cattle which would have been taken to lower ground in winter. East of the village lies a steep hillside, which has evidence of shallow shafts and hushes which were the early methods used to extract lead and iron. In County Durham there were rich deposits of lead lying within a circle of about 10 miles' radius drawn around Wearhead, hence the lead-mining industry of Weardale and Teesdale.
In 1858 the Post Office Directory listed: Beer Retailer, Grocer/Draper, Tailor/Draper, Grocer, Joiner/Postmaster, Grocer and Draper's/Joiner.
In 1915 the Post Office Directory listed only The Bank of Liverpool.
In 1971 Barclays Bank (formerly Martins Bank) was sold and the property became a butcher's shop, which has since closed.
Wearhead stands 1,104 feet (336 m) above sea level and has some of the highest peaks in County Durham, namely Killhope Law at 2,208 feet (673 m) and Burnhope Seat at 2,452 feet (747 m). Burnhope Reservoir is approximately 1 mile (1.6 km) from Wearhead. In the construction six farms were submerged when water rose to fill the man-made reservoir in 1937.
Wearhead was the terminus of the Weardale Extension Railway which opened on 21 October 1895. The line was mainly used for freight carrying limestone, iron ore, lead ore and fluorspar to the industrial areas of North East England. The station was host to a LNER camping coach from 1935 to 1939 and possibly one for some of 1934. It closed to passenger traffic on 29 June 1953 and to goods on 2 January 1961.
In 2005 the last remaining shop in the village, Co-op, closed. Shortly afterwards the Methodist Church held its last service after being in existence for over 180 years.
The former Co-op shop has re-opened as an independent village store and the former Post Office was opened as a craft shop/cafe. This has closed and been converted to a house since.
The houses of Wearhead are thought to be some of the most beautiful and original of Weardale.
There is a park and recreational field where the local teams play football.
What to Do
Burnhope Reservoir
A Mineral Valleys Project walk - Wearhead (The River Starts Here)
Killhope, the North of England Lead Mining Museum
The Weardale Museum and High House Chapel at Ireshopeburn
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.
St Margaret took some finding. Despite it being clearly marked from the centre of the village, the lane takes the visitor past a meditation centre then beside a golf course. All with no sign of the church.
On first attempt, I turned the car round and went back, but no sign of the church could be seen.
I gave up, but hoped a warden at Tottiscliffe could help.
And indeed she did.
Upon turning into the lane, there is a wall on your left, and on the wall is a small sign pointing to the church along a long and narrow grassy lane.
I drove up the 400 yards to the lych gate, parked and found the church open, and a family of cyclists also enjoying it.
The church features many brasses and memorials to investigate and record. Also a good feature.
A family of cyclists were there, mother, father and two children, I could hear them in the chapel, and as I moved towards them, they moved in the opposite direction, so we barely made eye contact.
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The church was built on a narrow promontory a long way from the centre of its village and is entered through a porch with pretty bargeboards. The Norman aisleless nave was extended to the west when the present tower was built in the fifteenth century, and the former outside corner of the Norman building may be clearly seen. The Victorians heavily restored the interior but the south chapel still contains much of interest, notably the Watton memorial of 1653 which blocks the former east window, the outline of which may be seen outside. This chapel also has a good contemporary painted ceiling.
www.kentchurches.info/church.asp?p=Addington
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ADDINGTON.
NORTHWARD from Ofham lies Addington, written in Domesday and antient charters, Eddingtune, signifying, as I imagine, the town or territory of Adda, or Edda, its antient Saxon owner; tun in Saxon being a town or territory inclosed with a hedge or fence.
THE PARISH of Addington is not unpleasantly situated, for the greatest part on high ground, adjoining to the northern side of the Maidstone road, at the twenty-seventh mile stone, at a small distance from which is the small rivulet which rises at Nepecker, in Wrotham, and flowing through this parish is here called Addington brook, whence the new-built house near it takes its name of St. Vincent's, alias Addington brook, built some years ago by admiral William Parry, who resided in it till his death in 1779, he left by Lucy his wife, daughter of Charles Brown, esq. commissioner of the navy at Chatham, an only daughter, who carried it in marriage to captain William Locker, the present lieutenant-governor of Greenwich hospital. It was lately inhabited by Mr. William Hunter, but is now unoccupied.
Hence the ground rises, and at a small distance above it is the mansion and garden of Addington place, pleasantly situated on the side of the hill, having a lawn and avenue down to the road, from which it is a conspicuous object, behind it still higher stands the church and village, built round Addington green, over which the road leads from Trottesclive, to which and Wrotham this parish joins towards the west. The soil is a sand covering the quarry rock, but the land is most of it but poor and unfertile, especially towards the north and west parts of it, where the sand is deepest; in the latter is a small green called Addington common.
Here is an eelbourn, or nailbourn, as they are commonly called, the stream of which breaks out with great impetuosity once in seven or eight years, which then directs its waters along a trench, dug for this purpose, till it flows into the Leyborne rivulet, the trout of which it makes of a red colour, which otherwise are white.
These nailbourns, or eruptions of water, are very common in the eastern part of Kent, where the reason of their breaking forth will be particularly mentioned.
In a place here, called the Warren, about five hundred paces north-eastward from the church, on a little eminence, there are the remains of several large stones, placed in an oval form; seventeen of them may be easily traced, though from the distances between the stones, which are nearly equal, there must have been at least twenty to complete the oval, which consisted of only one row of stones. The sandiness of the soil has covered many of them, which can, only by guessing their distances, be found by thrusting of a stick into the ground. Such of the stones as have fallen down, have been carried away by the inhabitants for different uses. The stones are of the same kind as those of Stonehenge, and being placed in the same form, seem as if they were intended for the same use. (fn. 1)
About one hundred and thirty paces to the northwest of the above is another heap of large stones, tum- bled inwards one upon another. They originally consisted of six in number, and in circuit measure thirty-three paces.
SOON AFTER the conquest, this place was become part of the possessions of Odo, bishop of Baieux and earl of Kent, the Conqueror's half-brother, under the general title of whose lands it is thus entered in the survey of Domesday, taken about the year 1080.
Ralf (son of Turald) holds Eddintune of the bishop (of Baieux) for half a suling. The arable land is one carucate, and there is . . . with four borderers, and two servants, and there is one mill of twenty-three shillings. The whole manor was valued at four pounds. In the time of king Edward the Confessor, it was worth but little. Lestan held it of king Edward, and after his death turned himself over to Alnod Cilt, and now it is in dispute.
And a little further thus:
Ralf, son of Turald, holds Eddintune of the bishop (of Baieux). It was taxed at two sulings and an half. The arable land is five carucates, in demesne there are two, and six villeins, with nine borderers, having one carucate. There is a church and ten servants, and two mills of eleven shillings and two-pence, and twelve acres of meadow, wood for the pannage of ten hogs. In the time of king Edward the Confessor it was worth eight pounds, when he received it one hundred shillings, now six pounds. Agelred held it of king Edward.
These were plainly, by the descriptions, two separate estates, and both certainly, by their names, in this parish, and held by the same person. On the disgrace of the bishop of Baieux, about four years afterwards, they became, among the rest of his possessions, confiscated to the crown. Soon after which they seem to have been held as one manor, by William de Gurnay, and afterwards by Galiena de Gurnay, his grandchild; they were succeeded in the possession of this place by the family of Mandeville, or De Magna Villa, as the name was written in Latin, who held it of the family of Montchensie, as capital lords of the fee.
But this family was extinct here in the next reign of king Edward II. for Roger del Escheker was owner of it in the 7th year of it, (fn. 2) who assumed his name from his hereditary office of usher of the exchequer, whence he was called del Eschequer, de la Chekere, and de Scaccario. (fn. 3) John de la Chekere possessed it in the first year of king Edward III. in which he was succeeded by Nicholas de Daggeworth, (fn. 4) whose ancestor, John de Daggeworth, had married Maud, one of the sisters and coheirs of Simon del Exchequer. At the accession of king Richard II. he was made of his privy council, and afterwards steward of his houshold, keeper of the great seal, and treasurer of England. (fn. 5) He bore for his arms, Sable, a lion rampant, argent, crowned or, with proper difference.
In the 20th year of king Edward III. he paid aid for this manor, which Robert de Scaccario before held in Addington, of Warine de Montchensie, as of his manor of Swanscombe. He alienated it, before the end of that reign, to Sir Hugh de Segrave, knight batchelor, and he conveyed it to Richard Charles, who died in the 2d year of king Richard II. anno 1378, and lies buried in this church, leaving his brother's sons, Richard and John, his next heirs.
Richard Charles, the eldest brother, possessed this manor, whose son, Robert Charles, dying without manor, whose son, Robert Charles, dying without issue, his two sisters became his coheirs, Alice, married to William Snayth, and Joane to Richard Orme- skirke; and upon the division of their inheritance, this manor fell to the share of William Snayth, commonly called Snette, sheriff in the 9th year of king Henry IV. who kept his shrievalty at his manor-house of Addington, bearing for his arms, Argent, a chevron between three birds heads erased, sable; two years after which he died, and was buried, with Alice his wife, in this church. He left an only daughter and heir Alice, who carried this manor, with the rest of his estates, in marriage to Robert Watton, who thenceforward resided at Addington. He was descended from ancestors, who held lands in the parish of Ridley in the 20th year of king Edward III. and bore for his arms, Argent, a lion rampant, gules, debruised with a bend, sable, charged with three cross-croslets fitchee, argent. He died possessed of the manor, and patronage of the church of Addington in the year 1444, anno 23 king Henry VI. and was buried in this church.
His descendant, Thomas Watton, esq. of Addington, procured his lands in this county to be disgavelled by the act of 2d and 3d of king Edward VI. and in his descendants, residents at this place, who on their deaths were all buried in this church, (fn. 6) and his manor, with the patronage of this church, continued down to Edmund Watton, esq. of Addington, who left an only daughter and heir Elizabeth, who marrying Leonard Bartholomew, second son of Leonard Bartholomew, esq. of Oxenhoath, entitled him to this estate. He had by her two sons; Edmund, who died unmarried; and Leonard, who will be mentioned hereafter. On his death she again became possessed of this estate, which she carried in marriage to her second husband, Sir Roger Twisden, bart. of Bradbourn, whom she likewise survived, and dying in 1775, was succeeded in it by her only surviving son by her first husband, Leonard Bartholomew, esq. who resides at Addington-place, where he served the office of sheriff in 1790, bearing for his arms, Or, three goats erased sable. He married the daughter of Mr. Wildash, of Chatham, widow of Mr. Thornton, of East-Malling, by whom he has an only daughter, married in 1797 to the hon. captain John Wingfield, brother to the lord viscount Powerscourt, of the kingdom of Ireland.
There is a court leet and court baron held for this manor, which is held of the manor of Swanscombe by castle-guard to the castle of Rochester.
CHARITIES.
A PERSON UNKNOWN gave to the use of the poor the annual sum of 15s. arising from land vested in Leonard Bartholomew, esq. and now of that annual product.
ADDINGTON is within the ECCLESIASTICAL JURISDICTION of the diocese of Rochester and deanry of Malling.
The church has a handsome tower steeple at the west end. It is dedicated to St. Margaret. The present building was erected in 1403, as appears by the following inscription on the wall of it:
In fourteen hundred and none,
Here was neither stick nor stone;
In fourteen hundred and three,
The goodly building which you see.
The church of Addington has always been an appendage to the manor, and as such this rectory is now in the patronage of Leonard Bartholomew, esq.
It is endowed with all tithes whatsoever.
It is valued in the king's books at 6l. 6s. 8d. and the yearly tenths at 12s. 8d.
William de Gurnay gave to the church and priory of St. Andrew, in Rochester, in pure and perpetual alms, certain tithes of the demesnes of his parish of Edintune; but they lying so dispersed, that they could not be conveniently gathered by the monks, though they could be easily collected by the parson of this church: therefore it was agreed, that the parson of it should pay the yearly sum of five shillings to the monks of Rochester, on St. Andrew's day, for them. (fn. 7)
This pension, after the dissolution of the priory in the 31st year of king Henry VIII. was surrendered into the king's hands, who granted it two years afterwards by his dotation charter, to his new-erected dean and chapter of Rochester, to which it continues to be paid at this time.
¶It appears by the endowment of the vicarage of Hadlow, in this county, in 1287, that the rector of that parish had been used, beyond memory, to pay yearly the sum of eighteen-pence to the rector of this church, which payment the vicar of Hadlow was enjoined to pay in future. (fn. 8)
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!
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.
Dagadusheth Halwai (Dagadusheth Gadve) was Lingayat trader originally from Karnataka and settled in Pune. His original surname was "Gadve" but later more renowned as Halwai (sweetmaker) as his surname due to his profession.Later he was known as Dagadusheth Halwai. Original Halwai shop still existsts near by named Kaka Halwai (as franchise run by his posterity of "Gadve Family" ) near Datta Mandir in Pune.
He was very famous and rich sweet trader. He was a very virtuous and righteous man. Shri.. Datta Mandir placed in Budhwar Peth, Pune was their residential Building. During those times in the outbreak of plague Shreemant Dagdusheth Halwai lost his son. Due to this episode he himself and his wife were very depressed and disturbed. During the same time his Guruji Shri.. Madhavnath Maharaj consoled him and advised him to make two idols of God Shri. Datta Maharaj and Shri. Ganpati and asked him to worship them and to take care of them like his own son. In future just as offspring brings radiance to his father´s name these idols would do the same for him. And as per his Guruji´s advice he made two idols of Shri.. Datta Maharaj and Shri. Ganpati, and this very idol is the first idol, now this idol is placed in Aakara Maruti Temple, Shukrawar Peth, this idol is worshiped everyday with detailed rituals and rites.
Spaceship Earth decorated for the Walt Disney World Millennium Celebration in Future World at EPCOT in Walt Disney World Resort.
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!
A return to Bredgar,
I was here in November, and found the fine looking church locked.
We were going fairly nearby to another church, so give it a try?
And good job we did, as I saw as we approached the porch I saw the padlock open and the hasp hanging down.
Yay.
Jools went to the glass shop the other side of the road, and I go to snap the church.
Despite looking large and grand from the outside, inside it was a bit of a disappointment. Tough a large and fine wall mounted monument made up for it somewhat.
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BREDGAR.
OR Bradgare, as it was sometimes spelt, is the next parish southward from Tunstall.
ALTHOUGH the road from Sittingborne to Hollingborne-hill, and thence to Maidstone, passes through it and the village of Bredgar, it is rather an unfrequented place, lying obscurely among the hills, and bounding eastward to the woods. It contains near 1300 acres of land, of which one hundred are wood-grounds. The village, which stands on high ground, nearly in the centre of the parish, having the church and college, or chantry in it, is a healthy and not unpleasant situation, being surrounded mostly by pasture grounds, but the remaining part of the parish is very hilly, the soil poor and chalky, and much covered with flints, being rather a dreary country. At the entrance of the village there is a good house, inhabited for many years by the Beales, the last of whom, Mr. John Beale, of Bredgar, dying s. p. in 1769, gave this among his other estates, among his relations, and this house is now owned by his sister's son, Mr. Pattison; a little distance from hence is a modern fronted house, belonging to the Rev. Mr. Marsh, rector of Bicknor, who resides in it.
The plant Dentaria Major Metthiolo, or the greater toothwort, is mentioned by Mr. Ray, as found by him in this parish.
THE PARAMOUNT MANOR of Milton claims over this parish, as do the subordinate manors of Tunstall and Bobbing likewise over some part of it.
IT APPEARS by antient records, that there was a family resident in this parish, who took their name from it. Robert de Bredgar, resided here in the reign of king Henry III. whose name appears in an antient roll of the benefactors to the monastery of Davington, and bore for their arms, Argent, a bend, gules, fretty, azure, between two lions rampant of the second; and in the reign of king Richard II. Robert de Bredgar, clerk, parson of this parish, founded a chantry or college in the church here, as will be further mentioned hereafter.
BEXON, or Baxton, is a manor, situated in the southern part of this parish, which gives name both to a borough and street in it.
It was antiently in the possession of a family, which assumed its surname from it; one of whom, John de Bexon, was residen there in the reigns of Edward II. and III. whose effigies was formerly painted in the windows of this church, with a scroll underneath. But in the next reign of king Richard II. this manor was become the property of the family of Tong, who were of some account in different parts of East-Kent, as well as in this neighbourhood; for it appears by some antient deeds, that Semanus de Tong, in the 16th year of that reign, was tenant to the Maison Dieu, in Ospringe, for lands at Lorinden, in Challock, and sealed with a bend cotized, argent, between six martlets, gules, in which name this estate continued down to John Tonge, gent. who about the latter end of the reign of king Charles I. alienated it to Mr. Thomas Fearne, who bore for his arms, Per bend, gules, and or, two leopards heads, counterchanged. One of his descendants, Mr. John Fearne, passed it away by sale to Mr. Thomas Best, of Chatham, whose grandson, Thomas Best, esq. of Chilston, dying in 1795. s. p. gave it by his will, among his other estates, to his youngest nephew, George Best, esq. now of Chilston, who is the present possessor of it. (fn. 1)
SWANTON-COURT, now vulgarly called Swan court, is a manor likewise in the southern part of this parish, adjoining to Bicknor, which was formerly part of the possessions of the eminent family of Leyborne, of Leyborne, in this county, in which it continued till Juliana, daughter of Thomas, and heir of her grandfather William de Leyborne, dying s. p. by any of her husbands, all of whom she survived, this estate in the 41st year of king Edward III. escheated to the crown, there being no one found, who could claim it, as heir to her; and it remained there till the king, in his 50th year granted it, among other premises, to the abbey of St. Mary Graces, on Tower-hill, then founded by him, part of the possessions of which it remained till the dissolution of that monastery, in the 30th year of king Henry VIII. when it was surrendered up into the king's hands, together with all the lands and revenues belonging to it.
Soon after which, the king granted this manor to Ralph Fane, esq. who as quickly afterwards parted with it to Sir Thomas Wyatt, who in the 33d year of that reign passed it away to the king, in exchange for other estates, pursuant to an act passed for that purpose the year before.
This manor thus coming into the king's hands, he granted in his 38th year, to Christopher Sampson, esq. to hold in capite by knight's service, who in the 5th year of king Edward VI. alienated it to Thomas Reader, of Bredgar, yeoman, and he having levied a fine of it in the 16th year of queen Elizabeth, afterwards sold it to William Terrey, who in the reign of king James I. partly by sale, and partly on account of alliance, settled it on Mr. William Aldersey, descended from an antient family of that name settled at Aldersey, in Cheshire, who bore for their arms, Gules, on a bend, argent, three leopards heads, vert, between two cinquefoils, or; in chief, a crescent, within a crescent, for disference. (fn. 2) He married Thomasine, daughter of Mr. Roger Terrey, and their descendants continued to reside here, till at length Hugh Aldersey, esq. dying in 1762, s. p. his heirs-at-law alienated it about the year 1767, to John Toke, esq. late of Goddington, in Great Chart, but now of Canterbury, who continues at this time the owner of it.
MANNS is an estate in this parish, which was formerly accounted a manor, and took its name from a family who were possessors of it; one of whom, John Mann, died possessed of it in the 50th year of Edward III. when it was found by inquisition, that he held it of the king, in capite, by knight's service, and that Joane was his daughter and next heir. How it passed afterwards I have not found; but the next that I find it in the possession of, is the family, of Isley, one of whom, Thomas Isley, possessor of this manor, left five daughters and coheirs, viz. Mary, married to Francis Spelman; Frances, to William Boys, esq. Elizabeth, to Anthony Mason, esq. Anne, to George Delves, esq. and Jane, to Francis Haute, esq. After which, Francis Spelman, and Mary his wife, in 1583, alienated their fifth part to Robert and Thomas Whytfield, and their heirs male.
In the reign of king James I. William Hales, esq. of Nackington, was possessed of the principal messuage called Manns, with the lands belonging to it, and in 1640, together with his son William Hales the younger, passed it away by sale to Tho. Godfrey the younger, of Lid, esq. who seems to have parted with it to Clarke, whose family was possessed of lands here some time before this, for Humphry Clarke, alias Woodchurch, of Bredgar, esq. grandson of Humphry Clarke, of Kingsnoth, resided here in the reign of king James I. and dying in 1608, was buried in the north isle of this church, bearing for his arms, Paly, wavy of six pieces, ermine, and gules. (fn. 3) He alienated it to Reader, who bore for his arms, Three crescents, on a canton, a lion's head erased, all within a bordure, ermine, in whose descendants it continued down to Mr. John Reader, who died possessed of it, and his heir-at-law alienated it to Mr. James Chapman, gent. of Milton, the youngest son of Edward Chapman, esq. of Molash, and his grandson James Chapman, esq. is the present possessor of it.
In the 16th year of king Richard II. Robert de Bradgare, rector of this church, John Burbache, clerk, and others, founded, with the king's licence, A CHANTRY or SMALL COLLEGE in this church of Bredgar, in honor of the Holy Trinity, which consisted of a chaplain or secular priest, in holy orders, and two scholar clerks or confreers, who were to govern it, and celebrate divine officers, continually there in future, excepting at those times when the scholars should be employed in their studies: and they endowed it with different houses, rents, and lands, in this and the adjoining parishes, to hold to them and their successors for ever; and in 1398 the above-mentioned Robert de Bradagare, with the consent of archbishop Arundel, who then confirmed this foundation, gave them, under his seal, rules and statutes, for the better government of it. At which time there appears to have been a building already erected, called the college, for them to reside in, almost adjoining to the church of Bredgar.
In which situation this chantry or hospital continued, till the reign of king Henry VIII. when it was surrendered up with all its possessions, into the king's hands. Soon after which the scite of it, by the name of the chantry house of Bredgar, with sundry premises belonging to it, in Bredgar, Borden, and Bicknor, was granted by the king to George Harpur, esq. who afterwards, in the 33d year of that reign, exchanged it with the king for other estates in this and other counties. After which it seems to have remained in the hands of the crown, till queen Elizabeth, in her third year, having taken into her hands several manors, lands, &c. parcel of the see of Canterbury, by her letters patent that year, granted to archbishop Parker, and his successors, several rectories, parsonages, and other premises, in lieu of them, among which was this dissolved college of Bredgar, then valued at 13l. 6s. 8d. Since which it has continued parcel of the possessions of the archbishopric, and remains so at this time. The tenths payable to the crown receiver from this dissolved chantry are 1l. 17s. 7¾d.
William Sherman, esq. was lessee in 1643, at the yearly rent of 13l. 6s. 8d. Edward Jeffrey is the present lessee, he new fronted and much improved the chantry-house, in which he resides.
Charities.
THREE TENEMENTS and sixty-five perches of land, at the Bush, in Silver-street, in Bredgar, let to the overseers at 20s. per annum. was given for the repair of the church. One acre and an half of land in Hinkins crost, let at 12s. was given for the like purpose. A small piece of land, called the Playstool, let at 2s. 6d. per annum, was given for the like purpose.
AN ANNUITY of 10s. per annum was given for the use of the poor, to be paid out of a field called Whitebread, at Deanshill, which now belongs to Messrs, Thomas and William May.
AN ANNUITY of 20s. was given by Mr. Humphry Clarks, for the use of the poor, payable out of a house in Bredgarstreet, belonging now to the heirs of Edward Chapman, gent.
WILLIAM TERRY, gent. by deed anno 17 James I. granted to Francis Clarke, and others, 31. per annum out of a house called Black-end, and an orchard belonging to it, and a piece of land called Mascalls, all in Bredgar-street, in trust, to be distributed among the poor inhabitants.
MR. THATCHER, citizen of London, in 1718 gave by deed 100l. which with that of 30l. added to it by the parishioners, was laid out in lands at Torry-hill, containing twenty-eight acres, lying in Milsted and Lenham, which were purchased in trust, for the minister and churchwardens to pay from thence 5l. per annum, for a master or mistress to reach eight poor children of this parish to read, and to instruct them in the church catechism; the overplus to be distributed to the poor of the parish. The children to be appointed by the minister; now of the annual produce of 6l. 10s. 4d.
The poor relieved constantly are about twenty-five; casually forty.
BREDGAR is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Sittingborne.
The church is dedicated to St. John Baptist. It consists of three isles and one chancel, and has a square beacon tower at the west end, in which hang five bells. On the west side of the tower there is a fine Saxon door-case, with zig-zag ornaments; on the capitals of the pillars are carved two heads of a very ludicrous from. By the injudicious digging of a vault for Mrs. Murton of this parish, in 1791, two of the columns gave way, and the main arch between the body and chancel came down, but this damage has been since repaired.
In this church there are several memorials for the Tongs, and Fearnes of Bexon, particularly of John Fearne, obt. 1713; of the Readers, as late as 1705. In the north isle a monument for Humphry Clarke, alias Woodchurch, esq. obt. 1608. Memorials of the Alderseys, of Swanton, particularly of Hugh Aldersey, obt. 1762, and Mary Thurston his wife. In the church yard, at the east end of it, are several tomb-stones of the Beales and Thurstons. There is a very antient tomb-stone near the south porch, on which was once a portrait in brass, on the east end of the stone there is carved a cross in relief.
King Henry III. gave this church in pure and perpetual alms, to the leprous women of the hospital of St. James, alias St. Jacob, at the end of Wincheap, near Canterbury, so that Mr. Firman, then master of it, should enjoy it for his life, but there was no vicarage endowed in it till archbishop Courtney, in the 15th year of king Richard II. endowed one in it.
After which this church appropriate, as well as the advowson, continued part of the possessions of the hospital, till the surrendry of it in 1551, anno 5 king Edward VI. at which time there appeared to be a manor called
FILCHER, alias FILTER, belonging to the rectory of Bredgar appropriate; all which, together with the advowson, seem to have remained in the hands of the hands of the crown, till queen Elizabeth granted them to Thomas Reader, who possessed them in 1578. He afterwards sold them to Mr. William Terrey, who in the reign of king James I. passed them away to his kinsman, William Aldersey, of Swanton-court, in whose descendants they continued till Hugh Aldersey, esq. of Bredgar, about the beginning of George II.'s reign, alienated them to Mr. John Tappenden, whose son, of the same name, sold them to Sir Edward Dering, bart. of Surrenden, whose son Sir Edward Dering, bart. is the present owner of this manor and rectory, with the advowson of the vicarage of the church of Bredgar.
In 1578, the communicants here were one hundred and fifty-five. Houses in this parish fifty. In the reign of queen Anne, the vicarage was worth thirty pounds per annum.
It is now a discharged living in the king's books, of the clear yearly certified valued of thirty-six pounds, the yearly tenths of which are eighteen shillings.
¶John atte-Vyse, one of the founders of the college, in 1398, ordained, that each year in future for ever, after his death, on the feast of the Holy Cross, there should be paid to the vicar of Bradgare, for the oblations of that day, six-pence; to the keeper to the goods of the church here, six-pence; to the parishclerk and sacrist, four-pence, and 5s. 4d. to the poor parishioners of Bredgar.
Tahnee in training at Paradise Wildlife Park / Zoological Society of Hertfordshire. This reward based training aims to make it less stressful for Tahnee if she needs veterinary treatment in future. Obviously makes things easier for the vet too. My daughter, Cassie and her fiancee, Ian, carry out the training.
C47A Skytrain USAAF Serial Number 42-100882
December 1943 to September 1944
Delivered to the USAAF Dakota N473DCDecember 1943. Assigned to 9th Air Force Troop Carrier Command (E.T.O) Flew to the UK in February 1944.
Assigned to 87th Troop Carrier Squadron, 438th Troop Carrier Group, IX Troop Carrier Command, Greenham Common, Berkshire. (438th provided the 4 lead squadrons on D-Day, seen off to France by Gen. Eisenhower).
Fitted with model 80 Glider pick-up gear to recover an assault glider from the D-Day landing grounds for refurbishment/re-use in future operations.
Towed and assault glider in Operation Elmira on D Day (Carried soldiers of the 82nd Airborne Division) and re-supply after the landings. Recovered WACO Assault gliders from Normandy landing grounds July/August 1944.
Transferred to RAF on 2nd September 1944.
Dakota Mk.3 RAF September 1944 to April 1946
Serial Number TS422
Dakota N473DCAssigned to No.1 Heavy Glider Servicing Unit, 38th Airborne Forces Group, Netheravon, Wiltshire from September 1944 until August 1945.
Recovered gliders from Normandy landing grounds and collected and delivered WACO, Hadrian and Airspeed Horsa assault gliders to RAF bases prior to Operation Market Garden (Arnhem) and later, in March 1945 in readiness for Operation Varsity, the Rhine Crossing.
Transferred to 435 (RCAF) Squadron at Down Ampney, Wiltshire in August 1945, under RAF control. Carried out freight duties and troop movements throughout Europe and Scandinavia until April 1946, including returning Allied POW’s.
BATTLE DAMAGE: Numerous bullet holes from aerial attack to cockpit and nose areas, including bullet through pilot’s seat back. Flak and ground fire damage to under wing and rear fuselage areas. Dates and locations of damage unknown. Crew injuries in action unknown. Most likely related to the Arnhem re-supply campaign.
Royal Canadian Air Force 1946 to 1966
Dakota MK.3 Serial Number TS 422 (Carried over from the RAF)
Returned to Canada in April 1946 with other ex 435 Squadron aircraft. Operated throughout Canada in numerous roles, including glider tug, parachute transport, search and rescue and medi-vac (fitted with skis and jet take off rockets), Pilot conversion trainer, Military freighter and troop carrier. Operated in the far North of Canada, well above the Arctic Circle using specially fitted sun compass, due to the proximity to the North Pole.
Sold for Civilian use in 1966. Now Re-classified as :-
Douglas DC3-C
Serial number CF-KAZ (Later C-FKAZ) 1966 to 1985
Numerous operators as a passenger airliner and commercial freighter, including Kier Air Transport (1966-70); Trans-Provincial Airlines (1970-78) and Pacific Coastal Airlines.
Sold to USA in 1985 and stored in Texas until 1995.
N5831B 1985-2006
Freighter for McNeely Air Charter from 1995-2002, operating in the Southern United States and based in Memphis Tennessee.
Sold to the Arizona Warbirds Museum and then to the current owner in 2004. Stored in Tuscon Arizona and restored by Edwards Worldwide Aviation.
Flown 5500 miles from Arizona to Liverpool in late May 2005. Route- Tuscon, Arizona – Great Falls, Montana – Saskatoon, Saskatchewan, Canada – Churchill, Manitoba – Iqualuit, Baffin Island – Sonderstrom Airbase, Greenland – Reykjavik, Iceland – Wick, Scotland – Liverpool, England.
Total flying time 34.5 Hours.
N473DC from 2006
Aircraft now restored to 87th Squadron, USAAF, D-Day colours Winter 2005/6.
Verified Operational Roles
Military 1944 to 1966
Troop Carrier (USAF/RAF/RCAF 1944/1966)
Military Freighter (USAAF/RAF/RCAF 1944-1966)
Assault Glider Tug (USAAF/RAF/RCAF 1944-c.1953)
Assault Glider Snatch Recovery Tug (USAAF/RAF 1944-1945)
Parachute Transport (RCAF 1946-c.1953)
Search and Rescue/Medi-Vac (+ Skis and Jato Rockets RCAF 1953-c.1959)
Multi-Engine Conversion Trainer (RCAF c.1959-1960)
Emil Nolde (1867-1956), Noche de Luna/Mondnacht/Moonlit Night, 1914 (Albertina - Sammlung Batliner)
Weary of the metropolis, Nolde joined a scientific expedition to the South Seas in 1913, which inspired him to compose several impressive landscapes. During the crossing to Papua New Guinea he noted down: "Hoisting anchor, we headed once more for the vast, silent ocean, for the infinitely wide sea, which can be so furiously wild and then, for months, so uncannily still, so oppressively still..." Such impressions captivated his senses and gave him the feeling to experience the "world in its original state". In autumn 1914, after hin return to the island of Alsen in the Baltic Sea, his memories motivated him to paint such paintings as Moonlit Night. The magically gloomy evocation of silence has been achieved by a clearly structured organisation of the composition and a two-dimensional manner of painting on the one hand and by a peculiarly restrained use of colour entirely based on the accord of ultramarine and pale yellow on the other.
Großstadtmüde nimmt Nolde 1913 an einer wissenschaftlichen Expedition in die Südsee teil, die ihn zu beeindruckenden Seelandschaften inspiriert. Während der Überfahrt nach Neuguinea notiert er: "Als wir den Anker lichteten, ging es nochmals in den großen stillen Ozean hinaus, in das unendlich weit Meer, das so rasend wild sein kann und auch monatelang so unheimlich still, so erdrückend still..." Eindrücke wie diese fesseln seine Sinne und lassen ihn die "Welt im Urzustand" empfinden. Im Herbst 1914, nach seiner Rückkehr auf die Ostsee-Insel Alsen, regen sie ihn zu Gemälden wie der Mondnacht an. Die magisch düstere Evokation von Stille wird einerseits durch den klaren Bildaufbau und eine flächige Malweise und andererseits durch eine eigenartig verhaltene Farbgebung erreicht, die ganz auf dem Zusammenklang von Ultramarinblau und Blassgelb beruht.
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
This is a photograph from the 4th Annual Multyfarnham (Multy) 5KM which was held in the village of Multyfarnham about 15KM west of Mullingar, Co. Westmeath, Ireland on Wednesday 3rd June 2015 at 20:00. An incredible and unprecedented crowd of almost 300 participants took to the route including runners, joggers and walkers which was on an out-and-back course on beautiful country roads. The weather was perfect for racing and running. The fast course combined with the good weather conditions provided personal and seasonal bests for many of the participants. The GAA Club and Community Centre provided car-parking and the race headquarters. Overall this was a very well organised race event which on the evidence of tonight's race can grow even further in future years. As this and other photographs in this set shows there is nothing like an evening race in summer time in rural Ireland. Multyfarnham's setting amongst the rolling hills of north county Westmeath and not far from the shores of Lough Derravaragh provides a wonderful race setting. The village of Multy is easily accessible and is just two miles off the N4 Dublin Sligo road.
We have an extensive set of photographs from tonight in the following Flickr Album: www.flickr.com/photos/peterm7/sets/72157653957377992
Timing and event management was provided by Precision Timing. Results are available on their website at www.precisiontiming.net/result.aspx?v=2718 with additional material available on their Facebook page (www.facebook.com/davidprecisiontiming?fref=ts) See their promotional video on YouTube: www.youtube.com/watch?v=c-7_TUVwJ6Q
USING OUR PHOTOGRAPHS - A QUICK GUIDE AND ANSWERS TO YOUR QUESTIONS
Can I use these photographs directly from Flickr on my social media account(s)?
Yes - of course you can! Flickr provides several ways to share this and other photographs in this Flickr set. You can share directly to: email, Facebook, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile, tablet, or desktop device will also offer you several different options for sharing this photo page on your social media outlets.
BUT..... Wait there a minute....
We take these photographs as a hobby and as a contribution to the running community in Ireland. We do not charge for our photographs. Our only "cost" is that we request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, VK.com, Vine, Meetup, Tagged, Ask.fm,etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us or acknowledge us as the original photographers.
This also extends to the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.
I want to download these pictures to my computer or device?
You can download this photographic image here directly to your computer or device. This version is the low resolution web-quality image. How to download will vary slight from device to device and from browser to browser. Have a look for a down-arrow symbol or the link to 'View/Download' all sizes. When you click on either of these you will be presented with the option to download the image. Remember just doing a right-click and "save target as" will not work on Flickr.
I want get full resolution, print-quality, copies of these photographs?
If you just need these photographs for online usage then they can be used directly once you respect their Creative Commons license and provide a link back to our Flickr set if you use them. For offline usage and printing all of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution.
Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.
In summary please remember when requesting photographs from us - If you are using the photographs online all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting takes a significant effort and time. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc. If you are using the photographs in newspapers or magazines we ask that you mention where the original photograph came from.
I would like to contribute something for your photograph(s)?
Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers or in other circumstances we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.
Let's get a bit technical: We use Creative Commons Licensing for these photographs
We use the Creative Commons Attribution-ShareAlike License for all our photographs here in this photograph set. What does this mean in reality?
The explaination is very simple.
Attribution- anyone using our photographs gives us an appropriate credit for it. This ensures that people aren't taking our photographs and passing them off as their own. This usually just mean putting a link to our photographs somewhere on your website, blog, or Facebook where other people can see it.
ShareAlike – anyone can use these photographs, and make changes if they like, or incorporate them into a bigger project, but they must make those changes available back to the community under the same terms.
Above all what Creative Commons aims to do is to encourage creative sharing. See some examples of Creative Commons photographs on Flickr: www.flickr.com/creativecommons/
I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
►You were hidden behind another participant as you passed our camera
►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
►We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
Don't like your photograph here?
That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.
I want to tell people about these great photographs!
Great! Thank you! The best link to spread the word around is probably http://www.flickr.com/peterm7/sets
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.
{These photographs show some of th e kundalini meditation spiritual treatments we have done
— at Vishwaprani Spiritual Healing Center,No139 Alakeshwara Rd,Ethul kotte,kotte, sri lnka.}
Vishwa Prani Foundation is formed by group of erudite scholars who have strong will power, selfdiscipline and meditation practices. This organization started with the objective to heal the human mind & body, without giving meditation when they suffer from ailments.
These photographs show some of the spiritual treatments we have done. We have been treating thousands of helpless patients for nearby one year. The patients we treat are the ones who had been receiving treatments from doctors for a long period. But they were not been cured and the cause of sickness was not diagnosed.
The Types of Patients We Treat
1. E.N.T. Patients
2. Patients who suffer from bone diseases.
3. Cancer Patients
4. Brain and Neurotic disorders
5. Mental disorders
6. Depression
7. Eye problems
8. Disorders in the digesting system in the stomach
9. Mental and physical harm caused by dead spirits to the living persons ( Specially fear and mental imbalance)
These treatments are being done on two principles.
1. Human Energy helps to up-root the bacteria which causes the disease.
We use Buddhist Meditation methods and the Kundalini Yoga Meditation to enhance the healing power.
We use our mental energy so that the divine eye will activate and guide us to identify the energy rays parallel against the human body. Then we extract the roots of the diseases.
2. Cosmic Rays are being sent to human energy.
The Pranic healing power of the universal will be sent to weaker human bodies through high level mental energy. This process will help the patients to calm down (Soothing feeling) from their suffering.
Sometimes we may have to use the assistance of the high spiritual beings who live in the good realms like celestial beings to heal aggrieved patients. We invite the celestial beings to invoke them with cosmic power. Mostly we invoke the blessings of Maithreeya Bodhisathwa.
Also we communicate with the spirits who trouble their relations and make them pain and suffering. We come to know what they want from their relations and we help them to release from their bad (low) status and send them away through our high mental energy.
We do not treat all the patients who come to us. We examine the present life and previous births of that person, and reason for his or her suffocation. The bad karma that accumulated in a person of previous births and the present life may have caused his or her disease or illness. So we advise to get rid of all bad things (habits) he does, and do good merits to cut off his past karma.
Then only we start treatments. We do this service free of charge. Once a week we carryout this great service at my residence, under the name of “ Vishwa Prani Healing Centre “ My family members and my friends assist me in this voluntarily. We hope to propagate this noble service worldwide in future.
We invite all, with great respect to join hands with us to expand this noble service to all suffering human beings and treat them physically and spiritually by spreading our loving kindness throughout the universe.
• Let all be blessed by Wisdom of universal compassion.
• May all beings on earth be healed.
• May all beings on earth be cured.
• May all beings on earth overcome sansara
• May all being on earth attain nibbana.
KASUN THISARA NAGODAVITHANA
Spiritual Healer
Vishwaprani Foundation In srilanka
ktnagodavithana@yahoo.com
Special Briefing. Office of the Spokesperson. New York City. September 23, 2011.
MODERATOR: Thank you, everyone, for joining us this afternoon for this background briefing on Middle East peace issues and the Quartet statement that was just issued. For your records, our briefer tonight is [Senior Administration Official], hereafter known as Senior Administration Official. Without further ado, [Senior Administration Official].
SENIOR ADMINISTRATION OFFICIAL: Yeah. Well, thank you very much. I’m sorry for – it took a few minutes to get organized and join you, but I just left the meeting of the principals of the Quartet a little while ago. And I think you’ve seen the statement that was issued by them.
I think it’s important, though, before we get into the details of that, to sort of step back and review a little bit about how we got to this point in our efforts, starting with what President Obama said in May 2011, this year. He laid out, as you know, a comprehensive vision of what will be ultimately required from the parties and from the international community to get back to negotiations. And we’ve been dedicating ourselves to use every opportunity and every tool to make that a reality. And we certainly have had many consultations with the parties along the path.
As the Palestinians develop their own ideas of what was necessary in terms of coming here to New York, we were intensively engaged with them in providing ideas for an alternative path. And it was clear that the Quartet also had a consensus view that an alternative path was what was needed for this situation. So we’ve been consulting them throughout the summer after our meeting in July, and have now come forward with a statement.
The focus here, as I said, is to provide an alternative. And the Quartet, I think, in issuing this statement is very much focused on encouraging the parties back into talks. I think as you review that statement, I can make a few points going through the details of that, that the statement shows the international consensus behind a couple of key ideas. One is that the only way for the Palestinians to achieve real statehood is through negotiations with Israel. Second, that if these negotiations are going to succeed, they must be serious and credible and deal with all of the core issues. I think a very important departure point – and it was stressed throughout this statement and in our discussions with the Quartet – has been the fact that the remarks of President Obama in May that are guiding us and that provide the solid foundation for the negotiations to succeed. And in fact, I think the Quartet, in the statement, is making clear those ideas that are key.
I think it’s also important to point out that the statement provided some very new elements as well. There is a specific timeline for the negotiations that should be agreed upon by the parties. This is a realistic timeline that the Quartet is offering, but it’s also a very serious one in the effort to reach an agreement by the end of 2010, certainly no later than two thousand – I’m sorry, 2012.
I think it’s also important to emphasize the idea that there’s going to be a period early on in negotiations, if the parties agree, where they’ll have an opportunity to ensure that this effort is serious and that they are getting down to business quickly, with a preparatory meeting early on and then the idea that they’ll be able to come forward with comprehensive proposals within a three-month period on territory and security.
I think it’s also important to emphasize that we have, I think, during this time period here at the General Assembly, Secretary Clinton and her active diplomacy – I think you all saw what she’s been doing this week in reaching this goal and to help bring this home. And obviously, we’re now focused, as we should be, on what’s going to happen here and making this statement a reality, working with the parties to provide this alternative to action in the United Nations, which of course, as you’ve heard from [Moderator] and others on many an occasion prior to this, in our view is not the way forward to reaching the goals that we all share in terms of the negotiated outcome for this problem.
I might stop there, [Moderator], and listen to some questions.
MODERATOR: Let me just remind everybody that in addition to the folks in the room here, we have about 25 participants by phone. I just want to confirm, Operator, that you can hear us.
OPERATOR: We can hear you.
MODERATOR: Good. So we will take three from the room and then we’ll go to the first three on the phone.
Go ahead, Arshad.
QUESTION: The statement that you came out with does not provide the sort of terms of reference that – the statement that you put out and agreed on does not provide the sort of terms of reference that Abbas has been seeking and that he emphasized again in today’s speech that he wants.
One, what makes you think he is likely to be willing to engage in a serious negotiation absent those terms of reference? Two, to what extent has the statement been – was the statement shared prior to its public release with both parties? And to what extent have you had indications from either that they are, in fact, willing to come to a preparatory meeting and then perhaps to engage in real negotiations?
MODERATOR: Were the folks on the phone able to hear the question?
QUESTION: It was not clear.
MODERATOR: The question went to whether this statement we expect to be well received by President Abbas, and to whether the ideas were shared with the parties ahead of the conclusion today.
QUESTION: But specifically, it’s not terms of reference. That’s what he said he wanted. What makes you think he’s going to agree, absent that?
MODERATOR: That it’s less than the terms of reference.
SENIOR ADMINISTRATION OFFICIAL: Well, I mean, you’re going to have to ask, obviously, President Abbas his views on the statement once you have an opportunity to do that. We’ve been engaged in intensive consultations this week and, in fact, for months now with the parties as we go out – prepare for every opportunity, use every opportunity to move forward with the idea of launching – getting them back into negotiations.
What the Quartet has said here today is that their imperative is to get back into talks without preconditions and without delay, and they provide a tangible, credible timeline for that. They have offered our ideas on how you could structure that time so that there are periods here where the parties can discuss, in a preparatory way, what’s necessary for those talks to succeed, and then to focus on what the President has offered, which frankly will provide the framework for these talks. This is – the foundation will be from what President Obama – will be drawn from what President Obama said in May, and we’re very gratified the Quartet has, again, endorsed that – the sort of guiding principles for what we’re trying to accomplish here.
QUESTION: Did you share it in advance?
SENIOR ADMINISTRATION OFFICIAL: We had intensive consultations with the parties on this. I won’t elaborate further on the detailed nature of those discussions.
MODERATOR: Steve Myers, please speak up very loudly with your question so that the phone people can hear.
QUESTION: As you pointed out, the Quartet statement has these deadlines in it. What happens if, within one month, you don’t have an agreement to sit down and talk?
SENIOR ADMINISTRATION OFFICIAL: Well, what I heard from the parties today – I mean, both President Abbas and Prime Minister Netanyahu, in their addresses at General Assembly, did what they have, in fact, said now for quite a long time, that both are very anxious to get into direct talks. They realize that no matter what happens here in New York or doesn’t happen in New York, that it’s – this main story is getting back into direct negotiations.
So we feel that this provides, as I said, a credible, serious alternative path, and we believe that both sides, if they’re true to their words, will find a way to respond favorably to this. Now, we have to work with them. Obviously, this is just one step in a pathway, and we’ll be working with the parties in helping them do this. But they’ll have to make the decisions to make this – make this (inaudible) a reality.
QUESTION: But about the deadline itself, if I can follow up, what happens in 30 days if there’s no agreement? Does it go back to the Security Council?
SENIOR ADMINISTRATION OFFICIAL: No, the Security Council is not part of this agreement. This is a Quartet statement. And obviously, we’ll be working with our Quartet friends to continue to offer their ideas. But it’s direct talks that are going to provide the way forward here, and the Quartet’s role is not to interfere in the process, but obviously can be a consultative supplement to their efforts. So I think we’ll have to take this as it comes. We think that the idea of offering this timeline gives the parties a sense that this is not open-ended, that there are real goals and that there’s a serious process underway.
QUESTION: Can I ask you, one, why no terms of reference? What we have been hearing all week was that you’re trying to craft a statement that had a mention of ’67 borders, that had – with swaps, that had a mention of the identity of Israel being a Jewish state, things along those lines. So that’s number one.
Number two, why doesn’t this address – why does it only take note of the Palestinian submission, and why doesn’t it refer to the – what was likely to happen at the General Assembly after the Security Council vote or resolution fails for whatever reason?
SENIOR ADMINISTRATION OFFICIAL: Right.
MODERATOR: Was the question clear on the phone?
QUESTION: We did not hear the question.
MODERATOR: Why no terms of reference? And the second half of the question?
QUESTION: Oh, don’t put me on the spot now. I’ve forgotten what it was.
MODERATOR: Okay.
QUESTION: No – oh yeah, why does it only take – why doesn’t it address this big – the elephant that’s in the room here? Why doesn’t – why does it only take note of and not talk about General Assembly action that could follow (inaudible).
MODERATOR: And the second part was that – noting that it only takes note of the UN action and doesn’t address it further.
SENIOR ADMINISTRATION OFFICIAL: Yeah. Well, I think that the question actually links two – the two questions link an important idea here. President Abbas presented his letter today that had been anticipated for a few days now. In the process leading up to today, the Quartet – the United States, obviously, and members of the Quartet were working on the statement. The United States had offered a lot of ideas, based on the President’s remarks, of how we could proceed. Frankly, the Israelis have responded quite flexibly. I think that Prime Minister Netanyahu, in fact, referred to this process in his speech today, responded quite flexibly and responsibly to some of these ideas. In the Quartet discussions, there were other ideas that were voiced.
President Abbas presented his letter. That became clear now what he was going to do, this – today and this week. At that stage, I think it was very important for the Quartet – we actually had an imperative to note that and offer ideas in response to that. So I think you should view the Quartet statement as sort of looking forward from this point on of what it’s going to take to get to the real source of the problem, which is the dispute between the Israelis and the Palestinians. It’s not what may happen here in New York.
So I think that was a key thing that decided us anyway – was instrumental for us, saying we need now to focus back on the basics, which is, how do you get a negotiation going? By giving a timeline. How do you do that? You use the remarks of the President, the ideas the President laid out in May, the formulas that he very carefully balanced and constructed. The Quartet has endorsed that and now provided a very tangible way forward for the parties to use those effectively.
MODERATOR: Let’s go to --
QUESTION: (Inaudible) if I could just interrupt to follow up, could you talk a little bit, though, about the Security Council process? Because that has now begun with the submission of this letter.
MODERATOR: Steve, I think that’s a new question, and I want to give the folks on the phone a chance, so if you could hold please. Let’s go to the first three on the phone, please. Go ahead to question number one, please, Operator.
OPERATOR: Our question comes from Elise Labott of CNN. Go ahead. Your line is open.
QUESTION: Thanks so much for doing this. It’s kind of a two-parter question that’s related. You talk about the fact that we still have this kind of sword hanging over your heads in terms of he can go back to the UN Security Council or the General Assembly. So that kind of makes this Quartet statement and all these things a little moot if he does that. So – and it doesn’t seem as if he’s really deterred from going back to the Security Council and General Assembly. So what affect does this statement have if he does that?
And secondly, on the Quartet, I mean, a lot of statements are put out. The parties usually ignore them. And I’m just wondering, like, with no – it’s obviously not a legal authority. You can’t force them back to the table and you can’t want it more than they want it themselves. So you can make these constructive statements that offer a way forward, and they can (inaudible) choose not to take them, and I’m just wondering what the relevance of the Quartet is. Yes, it’s an international kind of consensus, but it doesn’t even seem, based on the statement that you put out today, that there’s that much consensus inside the Quartet itself as to the way forward, except these general ideas. I mean, a couple of days ago, you were speaking about much more specific ideas, [Senior Administration Official].
SENIOR ADMINISTRATION OFFICIAL: Well, obviously, time will tell. I mean, we’ll see how the parties react to this statement and what affect that has on their actions. Again, I think it’s important just to focus on what it is that President Abbas and Prime Minister Netanyahu have said. President Abbas, in his speech in Ramallah before he left for New York and here in New York, has repeatedly stressed that he knows that the only path to independence and a Palestinian state is through negotiations. So I think it’s a fairly simple proposition that we would want to focus ourselves on providing a pathway to that.
We, and I think now you can see the Quartet, believe that that pathway is through negotiations, not through actions here in New York. And so we’re going to – in the spirit of this Quartet statement, we’re going to work with the parties to see what we can do to help them back into that process. Again, I don’t want to comment on past Quartet statements. I just think is a significant Quartet statement. These are very hard issues, frankly, to work on.
And the Quartet has worked in, I think, a very serious fashion, a very diligent fashion, and basically decided that the best thing to do today in light of what has happened was to issue a straightforward and simple call to a return to negotiations with a timetable, and to do so without pre – that these negotiations should start without preconditions and without delay. And that actually – if you look back at past Quartet statements, I think you can say this is actually something that is a significant step forward for us, and now we’re going to have to work with the parties to make it a reality.
MODERATOR: Operator --
QUESTION: But you can’t want it more than they want it. You can’t want it more than they want it. I mean, you can’t drag them to the table.
SENIOR ADMINISTRATION OFFICIAL: Well, they have to –
QUESTION: You just can’t make them drink. (Laughter.)
SENIOR ADMINISTRATION OFFICIAL: Direct negotiations are the goal here. Only the parties themselves can make the tradeoffs and the decisions needed in order to reach a final status agreement. But what the international community can do is help lend their support with ideas, with encouragement, and with some direction, and that’s what we’re doing. That’s what the President did in May, and now the Quartet is doing it through this operationalization of what he had to say.
QUESTION: Thanks.
MODERATOR: Operator, next question please.
OPERATOR: Our next question comes from Alex Spillius of Daily Telegraph. Go ahead. Your line is open.
QUESTION: Hi. Yes. I’m sort of following on from the man’s question about relevance. I mean, the U.S. for 20 years and more has been the principle mediator between the Israelis and the Palestinians, but this week saw President Obama retreating into sort of – maybe sort of pro-Israeli position, given the political considerations he’s got. And here we are at the Quartet, now out in front, but the mediator – I just wondered if – it just seems to me Quartet is replacing the U.S. in the leading role. Do you see it that way?
SENIOR ADMINISTRATION OFFICIAL: Well, the Quartet has been in existence now for about 10 years, and we have the advantages of the membership of some very significant players – as you know, the Russian Federation, the European Union, United Nations, and ourselves. And I think that U.S. diplomacy and our objectives are amplified and strengthened when we’re able to reach consensus with the Quartet.
But there’s no question that without U.S. leadership, what the Quartet does or doesn’t do would, frankly, be of much less consequence. This is all built upon, frankly, this initiative, and these concepts in the statement are built upon what President Obama laid out in May. And all we’re doing here – it’s significant, but in light of your question, I think it’s worth emphasizing – what we’re doing here is taking what the President said and turning it into an operational tool. The Quartet will not be involving itself in the negotiations or trying to interfere in what can only be direct negotiations. And the United States will be playing a consistently active role in helping with the parties on that basis.
MODERATOR: Operator, third question and then we’ll come back to the room.
OPERATOR: Our next question comes from Laura Rozen of Yahoo! News. Go ahead, your line is open.
QUESTION: Thanks for doing this. [Senior Administration Official], the U.S. proposed an ambitious one-year timeline last year and it collapsed early on and was arguably quite demoralizing for confidence in the peace process. The speeches by President Abbas and Prime Minister Netanyahu today reiterated some of the reasons it’s so hard for the parties to agree on terms of reference for the talks. Can you talk about concerns among the U.S. delegation and the Quartet about the seeming risks of raising expectations again for a hugely ambitious peace process timetable without having seemingly narrowed any of those differences?
SENIOR ADMINISTRATION OFFICIAL: Well, I think that the United States, through the Quartet, believes that the parties actually are committed to doing what they can to reach an agreement. What we can offer them, as I said earlier, is a structure and some ideas on how to accomplish that. And when the President said in May what he said about his vision for a comprehensive peace, we, frankly, have been working since then to construct ideas on how we can help the parties back into those talks.
The idea of a timeline, I think, is important because it’s a sign of seriousness of purpose. And obviously, there are deadlines that are missed and there are deadlines that are met, and we will obviously do our best to make this process succeed in a timely fashion. But I think what’s important to judge – and you will be the judge of this as we proceed – is: Are the parties responding in a serious fashion to these ideas? Are they engaging this – in this effort in a serious way? And certainly, we’ve been – and in our intensive consultations believe that they are seeking an opportunity to do so. And that’s what the Quartet’s offering here.
MODERATOR: Let’s come back to the room, please, if you want to --
QUESTION: If I could go back to the question on the Security Council action. Now that the request has been submitted, what happens and how does that relate, or not, to this one-month deadline to resume negotiations?
MODERATOR: So for those of you on the call, the question went to what happens next in the UN Security Council and how does that relate to the Quartet’s one-month deadline.
SENIOR ADMINISTRATION OFFICIAL: Well, I’ll confine my remarks because I’m no expert on Security Council procedures, but there are procedures and this is a first step. The president submitted his letter, and now those procedures will be – will unfold. They’re not in any sort of linked fashion related to the Quartet statement. As I said, the Palestinian leadership itself has been the first to say that it’s only through negotiations that they’ll reach the goal of statehood. And so we’re focused on that. Our position on the Security Council has obviously been made very clear. I don’t see a need to repeat that today.
MODERATOR: Mina.
QUESTION: I just wanted to ask, does this replace the French plan? I mean, the French had come up with a proposal, so what’s your take on the French proposal?
And then as a second point, you had previously been to the region just before coming to the UN and had proposals, and the negotiations were not able to start. So what changed? Why would they go back to the table now?
MODERATOR: So two questions for those of you on speaker: Does this replace the French plan? How do we feel about the French plan?
The second one was: What’s changed since [Senior Administration Official] and company were last in the region?
SENIOR ADMINISTRATION OFFICIAL: Well, maybe I’ll start with the last question. We had several trips out to the Middle East in recent weeks in order to consult with the parties on how to get back to negotiations and also to understand fully what it was that, in the case of the Palestinians, they were proposing to do here in the United Nations this week, and obviously to discuss that with other interested parties, including the Government of Israel.
We – these discussions are a continuum, and here in New York I can’t even tell you how many times we’ve been meeting with the parties and everyone else who’s interested in this. The Secretary of State, as you’ve observed, has been extremely active.
Again, I’m not here to make predictions about how successful this process is ultimately going to be. What I am here to tell you is that the Quartet statement, I think, is a reflection of a unanimity of purpose by its members, who, frankly, reflect a very broad spectrum – the EU, Russia, the UN, ourselves – on what it takes and how we can help the parties do the utmost. So that’s what our focus is on.
On the French proposal, I think that what we need to do is focus on a tangible plan to get us back to talks. That’s what the Quartet’s done. The EU is part of that. And I’m sure here in New York there’ll be more specific discussions about what the French proposals actually entail.
MODERATOR: Here we have one more on the phone. Let’s take that one, and then we’ll finish here in the room. Go ahead, Operator.
OPERATOR: Our question comes from Josh Gerstein of Politico. Go ahead, your line is open.
QUESTION: Hi, I wanted to ask about this item four in the statement – Quartet statement that addresses the Palestinians’ sovereignty interests, talking about identifying additional steps to support Palestinian statehood individually and together. Can you explain what that means exactly? What aspect of Palestinian statehood would the U.S. be open to advancing before talks are completed, given that we’re apparently not open to their proposal for full membership at the UN?
SENIOR ADMINISTRATION OFFICIAL: Well, I think one conclusion – well, let me step back. The idea here is that the Quartet has recognized that the institution building that has been undertaken by the Palestinian Authority with Prime Minister Fayyad and President Abbas’s leadership has been quite impressive. I think you’ve seen the meeting of the Ad Hoc Liaison Committee on Sunday commend what has occurred in that connection. We in the United States have been strong partners in that effort. And obviously, the concept here is that we need to help the Palestinians build the institutions so that when they are ready for statehood, because a political agreement has been reached, that the institutional framework is ready to pick up right away the governance of the Palestinian people.
So obviously it’s, I think, important as we look prospectively at the day in the future when a Palestinian state is emerging from negotiations that we think of ways how we can support that process. But again, our focus is on – very much on the idea here that there’s an opportunity on the negotiating side for the parties to seize as an alternative to sort of actions here in New York which will not, at the end of the day, contribute constructively to this process, but to seize the opportunity that the Quartet’s offered to resume negotiations.
MODERATOR: Any last questions in the room?
QUESTION: Yeah.
MODERATOR: Matt and then Arshad.
QUESTION: Two things. One, what was there that you wanted from the statement that you didn’t get?
And then two, is this meeting in Moscow ever going to happen? I mean, it’s been in every damn Quartet statement for about four years now, and it’s never happened, and the Russians (inaudible).
SENIOR ADMINISTRATION OFFICIAL: Well, I think the Russians are happy that the Quartet – I mean, you’ll have to talk to them, but I think that --
QUESTION: Well, that’d be a (inaudible). (Laughter.)
SENIOR ADMINISTRATION OFFICIAL: Let me put it this way.
QUESTION: I mean, I don’t understand this, where it says to that end, the Quartet will convene an international conference in Moscow, but it doesn’t say like in six months or – in fact, it says, “at the appropriate time,” which leads me to believe that you’re just – this is another – a line you’re giving Russians.
SENIOR ADMINISTRATION OFFICIAL: Yeah.
MODERATOR: So for folks on the phone, the question was: Is this Moscow conference that we’ve seen in other Quartet statements going to happen? Matt Lee wants to know when he should get out his fur coat.
QUESTION: It would be preferably in the summertime.
QUESTION: Also, what did you not get?
QUESTION: Yeah. What did you not get that you --
QUESTION: Yeah. What (inaudible)?
SENIOR ADMINISTRATION OFFICIAL: Okay. Well --
QUESTION: And what would you have liked to seen.
SENIOR ADMINISTRATION OFFICIAL: It’s, I think, been important for the Quartet to be responsive to one of its members’ strong desires to see, at the appropriate time, a conference occur in Moscow, and we’re all in agreement on that. The emphasis is on appropriate time. In my discussions with Russians officials – again, I urge you to ask them – they don’t want a conference just for a conference’s sake. That would be very easy to organize, and we’d all go there, and nothing would happen. They want a conference that actually is helpful in sort of capitalizing on progress that the parties may have made and then finding itself as an opportunity to proceed into a new phase.
So it’s very much linked into the concept of a negotiation and not just some detached idea of having a conference for a conference’s sake. So that’s why we will do it when we think it’s going to be a positive contribution to this process, not just because we need to have a conference, not just because we want to have a conference.
QUESTION: Well, but I mean, does it imply that some progress, perhaps not substantial progress, had been made and that would be a trigger if you felt that they needed a push?
SENIOR ADMINISTRATION OFFICIAL: Well, we’ll use it. I mean, these conferences for us are tools, and we will judge what we need when we need it. And having a conference in one of the capitals of the Quartet members could be a very important tool to helping, as I said, to capitalize on progress being made and encourage more to be made.
QUESTION: What would you have liked to have seen but didn’t get? What – please don’t try to say you got everything you wanted.
SENIOR ADMINISTRATION OFFICIAL: No. I mean, as I said earlier, we had ideas to develop from the President’s remarks. As I said, the Israelis were responding very flexibly to these ideas, being very responsive to them. Other members of the Quartet had other ideas, so we were in that discussion. And that discussion was ongoing, frankly. And these ideas, though, I think will continue to help us as we proceed into negotiations. But we felt, right now, the important thing was, in light of what had happened with President Abbas’ letter, the Quartet had to come out with something now that dealt with that in a constructive fashion. So tactically, this is, I think, a very important step and it’s – we’re focused on the – on what we’re going to do with it now.
MODERATOR: Okay. Let’s do Nicole and then Arshad, last question. Then he’s got to go.
Go ahead, Nicole.
QUESTION: [Senior Administration Official], you characterized the Israeli response to your suggestion twice now as very flexible. Can you tell us a little bit about the response from Palestinians when you talked with them?
MODERATOR: The question for those on the phone was how have the Palestinians responded.
SENIOR ADMINISTRATION OFFICIAL: Well, I think that our discussions with Palestinians have also been very constructive, and I firmly believe President Abbas is committed to seeing – doing everything he can to get into successful negotiations. For us, this Quartet statement provides that avenue, and we will be consulting with them as – in the days and weeks ahead.
MODERATOR: Last one, Arshad.
QUESTION: A question about the money: You make reference to holding an international donors conference. As you’re well aware, a number of members of the U.S. Congress have threatened to cut off aid to the Palestinians or to the Palestinian Authority.
So, two questions: One, do you have any sense of whether the events of today and this statement may be able to head off some of those congressional calls for cutting off money? And two, if the United States goes to a donors conference, do you really think you’ll be able to promise money, given how much hostility there may be toward it after President Abbas submitted his letter today in Congress?
SENIOR ADMINISTRATION OFFICIAL: Yeah.
MODERATOR: The question was about money, congressional attitudes, and whether the U.S. will actually have money to bring to a donors conference.
SENIOR ADMINISTRATION OFFICIAL: Yeah. Well, again, I’m not in a position to predict the future or respond to questions about the future, and certainly not to speak on behalf of the U.S. Congress. What I can say is that we should be taking this step by step. We have a Quartet statement now. It has a clear set of organizing ideas on how we should proceed. Obviously, having a strong Palestinian partner capable of ensuring that there’s security in its streets and that its institutions are functioning well is very important, and that involves financing. So the concept of having a donors conference, I think, is very consistent with our ideas on how we move this forward and preserve not our interests only, but obviously, the interests of both parties as well.
MODERATOR: Thank you all very much, in particular thanks to [Senior Administration Official] for joining us immediately after a very intense day, a very intense week, a very intense couple of months.
SENIOR ADMINISTRATION OFFICIAL: Yes. Sorry. I’m a little tired. Yeah.
MODERATOR: If you need Quartet statement copies, they are here. Thank you all on the phone as well.
SENIOR ADMINISTRATION OFFICIAL: Thank you.
PRN: 2011/1591 U.S. State Department.
Senior Ugandan general meets with U.S. Army Africa leaders; continues cooperative partnership
VICENZA, Italy – When Ugandan Brig. Gen. Silver Kayemba arrived at U.S. Army Africa headquarters on April 27, he was met by familiar faces.
Kayemba, 53, the chief of training and operations for the Ugandan People’s Defense Force, was a key player during Natural Fire 10, a humanitarian assistance and disaster relief exercise co-led by the UPDF and U.S. Army Africa, held in Uganda in Oct. 2009.
“This visit strengthens our relationship with the U.S. Armed Forces, particularly with U.S. Army Africa,” Kayemba said. “We are looking forward to even closer cooperation in the future.”
One of the first people Kayemba met was Maj. Gen. William B. Garrett III, commander of U.S. Army Africa.
“As part of our engagement strategy, U.S. Army Africa invites senior military leaders from partner land forces to see how our command operates,” Garrett said. “We create opportunities to discuss the way forward, as the U.S. Army continues to work with Ugandan land forces to strengthen their capacity to support security missions in Africa.”
U.S. Army Africa leaders briefed Kayemba on the command’s mission, its ongoing partnerships with African land forces to foster securing, stability and peace on the African continent. During his two-day visit, Kayemba also toured Caserma Ederle, stopping first at training simulators used by Soldiers prior to deploying.
In 2006, Kayemba visited several military sites in the United States, to include the Pentagon, National Defense University, and a U.S. Marine Corps base. As a junior officer then, Kayemba also attended the basic transportation officer course in the United States.
During Natural Fire, Kayemba served as exercise deputy director and worked closely with Garrett.
“We’ve been reviewing lessons learned from Natural Fire,” Kayemba said. “We are going to benefit from what I’ve seen here and I look forward to working with U.S. Army Africa in future.”
U.S. Army Photo - Cleared for public release.
"You sons of Great Britain attention pray
give unto me for a while,
Let us hope that on every brave soldier
dame fortune in future will smile;
The disgraceful affair was at Hounslow,
has excitement great caused afar,
The death of John White, the brave soldier,
of Her Majesty's 7th Hussars."
In the early summer of 1846 John White, a 27 year old private in the 7th Queens Own Hussars based at Hounslow Barracks was found guilty of striking his sergeant with a metal bar in a drunken fight. At a drumhead court-martial he was sentenced to receive a flogging of 150 lashes.
This was a time when the good and the great of the land, including the Duke of Wellington and Admiral Nelson, were convinced that “the greatness of England, that Waterloo and Trafalgar”, depended on the right of summary courts-martial to flog offenders. They did not believe it was possible to maintain discipline without the threat of the cat-o’-nine-tails. As a result men were routinely flogged, five hundred, eight hundred, and a thousand lashes being no unusual sentence. Some of the victims died under this barbaric punishment.
689 Private Frederick John White was given his punishment on 15th June 1846 by the regimental farriers, the strongest men in the regiment, in the presence of 300 soldiers, their commanding officer Colonel Whyte and the surgeon Dr. James Low Warren. In a departure from usual practise White, stripped to the waist, was tied to a ladder rather than the usual triangle of halberds. The farriers, under the command of a sergeant, began their task in relays of twenty-five lashes each. It was a punishment that soon drew blood, and ten privates, four of them hardened soldiers, fainted at the sickening spectacle. When the grim ritual was over and John White taken down from the ladder, Colonel Whyte addressed the whole regiment, calling White “a brutish fellow”, and threatening similar punishment “on every occasion that reports of insubordination were made”
“After the flogging, White was as usual taken to the hospital. Here it was found that his back was not badly lacerated, the ‘real skin not being cut through’. He was duly treated and all went well with him till the morning of 6 July, on which day he was to return to duty and be discharged from the hospital, his back being completely healed. White now complained of a pain in the region of the heart, through his back and shoulder blade.
Dr. Warren, the surgeon of the Regiment, who had of course been present at the punishment, did all that he could to relieve the man. Paralysis of the lower extremities, however, was discovered, and the unfortunate soldier died at 8.15 p.m. on 11 July.”
The History of The 7th Queen’s Own Hussars Vol. II, by C.R.B. Barretts
In due course Dr Warren issued a death certificate for John White, stating that the soldier had died from natural causes. Then an application was made to Rev. Henry Trimmer, the Vicar of Heston for a certificate to bury the man in Heston churchyard.
In Hounslow Barracks White’s death had so enraged his comrades that their cartridges were taken away in case they resorted to violence against their officers. Rev. Henry Trimmer shared their unease. Dissatisfied with the statement on the death certificate, Trimmer refused to give a burial order until an inquest had been held. This was the last thing that the War Office wanted. They had already completely exonerated the regimental doctor, and had even taken some twelve square inches of skin from White’s back, with the obvious intention of removing all evidence of the flogging.
The local coroner was the redoubtable Thomas Wakly, a determined and courageous reformer and a firm opponent of military flogging. He was not going to be deterred by the War Office and their protests.
The inquest duly opened early in August 1846 at The George IV inn in Hounslow. Wakley immediately made an order for the exhumation of the body. The War Office strenuously opposed this. To prevent Wakley proceeding they sent two military surgeons to Heston to obstruct the Court’s officers. Wakley, who had foreseen the possibility of this happening, banned them from the churchyard. Following the post-mortem the Hounslow jury, instructed by Wakley, brought in the verdict that Private White had died “from the mortal effects of a severe and cruel flogging of 150 lashes”…
They also added this rider…
“In returning this verdict the jury cannot refrain from expressing their horror and disgust at the existence of any law among the statutes or the regulations of this realm which permits the revolting punishment of flogging to be inflicted upon British soldiers; and at the same time the jury implore every man in this kingdom to give hand and heart in forwarding petitions to the legislature, praying in the most urgent terms for the abolition of every law, order and regulation which permits the disgraceful practice of flogging to remain one moment longer a slur upon the humanity and fair name of the people of this country.”
Encouraged by a series of letters in “The Times” detailing many similar and often fatal lashings, in barracks, penal colonies and aboard ships, the public swiftly responded. A petition demanding the end of flogging was presented to the House of Lords on 14th August 1846 obliging the government to devote a whole day’s debate to the subject of military floggings. As a concession, following the advice of the Duke of Wellington, the War Office altered its regulations, making fifty lashes the maximum punishment, soothing public opinion somewhat. Further attempts to abolish flogging in the Army were unsuccessfully made in 1876 and 1877. In 1879 flogging was reduced by the Army Discipline Act and rendered commutable to imprisonment. The total abolition of this form of punishment in the Army did not take place until 1881. Surprisingly after years in abeyance flogging was only officially abolished in the Navy in 1939.
After the inquest in Hounslow 689 Private Frederick John White was reinterred under the trees in Heston churchyard underneath a stone paid for by the officers and men of the Queens Own 7th Hussars. It says;
“This stone is erected by his comrades as a testimony of their sympathy for his fate and their respect for his memory.”
The wretched Colonel Whyte, the commanding officer of the 7th Hussars soon became the subject of ballads sold and sung in the public streets. Such was the anger and contempt directed towards him that he was unable to show his face outside the barracks. After a time he was quietly moved to the command of a native cavalry regiment in India, and was never heard of again. 689 Private Frederick John White however will always be remembered as the man whose cruel death resulted in the eventual abolition of a merciless law.
"Round Isleworth, Brentford & Hounslow & Heston
it caused much pain,
In Twickenham, Richmond and Hampton,
in Sunbury, Egham and Staines;
Thomas Wakley empanelled a jury,
which caused great excitement afar,
From London resounded to Newry,
the fate of John White the Hussar"
St Leonard's Churchyard and Neston Cemetery, Heston Road, Heston
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.
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.
Alexander Soukas, Charcoal on toned paper, 19x25, 2013
5 hour pose
I originally planned on not uploading anything I've done thus far at my first year at Studio Incamminati until the end of the school year, but I figured we're recently into the last semester, so I might as well show a little something of what I've been up to :)
Intuiting that I had some good luck based on what I thought to be a good start, I decided to take pictures as I worked to record the process so that I could look back on these images and see what I did, in what order, at what rate, and in what manner so as to be more effective in future drawings. Lord knows I'll continue to fuck up drawings and I'll need the references on hand!
Although there are a lot of things I wish I could've worked on longer, I'm pretty happy with how this one came out for only a 5 hour drawing :) I've learned soo much since being here and am anxious to see what I make by the end of the year.. fast approaching!
This is a photograph from the finish of the 4th Annual Multyfarnham (Multy) 5KM Road Race and Fun Run which was held in the village of Multyfarnham about 15KM west of Mullingar, Co. Westmeath, Ireland on Wednesday 3rd June 2015 at 20:00. An incredible and unprecedented crowd of almost 300 participants took to the route including runners, joggers and walkers which was on an out-and-back course on beautiful country roads. The weather was perfect for racing and running. The fast course combined with the good weather conditions provided personal and seasonal bests for many of the participants. The GAA Club and Community Centre provided car-parking and the race headquarters. Overall this was a very well organised race event which on the evidence of tonight's race can grow even further in future years. As this and other photographs in this set shows there is nothing like an evening race in summer time in rural Ireland. Multyfarnham's setting amongst the rolling hills of north county Westmeath and not far from the shores of Lough Derravaragh provides a wonderful race setting. The village of Multy is easily accessible and is just two miles off the N4 Dublin Sligo road.
We have an extensive set of photographs from tonight in the following Flickr Album: www.flickr.com/photos/peterm7/sets/72157653957377992
Timing and event management was provided by Precision Timing. Results are available on their website at www.precisiontiming.net/result.aspx?v=2718 with additional material available on their Facebook page (www.facebook.com/davidprecisiontiming?fref=ts) See their promotional video on YouTube: www.youtube.com/watch?v=c-7_TUVwJ6Q
USING OUR PHOTOGRAPHS - A QUICK GUIDE AND ANSWERS TO YOUR QUESTIONS
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Yes - of course you can! Flickr provides several ways to share this and other photographs in this Flickr set. You can share directly to: email, Facebook, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile, tablet, or desktop device will also offer you several different options for sharing this photo page on your social media outlets.
BUT..... Wait there a minute....
We take these photographs as a hobby and as a contribution to the running community in Ireland. We do not charge for our photographs. Our only "cost" is that we request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, VK.com, Vine, Meetup, Tagged, Ask.fm,etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us or acknowledge us as the original photographers.
This also extends to the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.
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If you just need these photographs for online usage then they can be used directly once you respect their Creative Commons license and provide a link back to our Flickr set if you use them. For offline usage and printing all of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution.
Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.
In summary please remember when requesting photographs from us - If you are using the photographs online all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting takes a significant effort and time. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc. If you are using the photographs in newspapers or magazines we ask that you mention where the original photograph came from.
I would like to contribute something for your photograph(s)?
Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers or in other circumstances we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.
Let's get a bit technical: We use Creative Commons Licensing for these photographs
We use the Creative Commons Attribution-ShareAlike License for all our photographs here in this photograph set. What does this mean in reality?
The explaination is very simple.
Attribution- anyone using our photographs gives us an appropriate credit for it. This ensures that people aren't taking our photographs and passing them off as their own. This usually just mean putting a link to our photographs somewhere on your website, blog, or Facebook where other people can see it.
ShareAlike – anyone can use these photographs, and make changes if they like, or incorporate them into a bigger project, but they must make those changes available back to the community under the same terms.
Above all what Creative Commons aims to do is to encourage creative sharing. See some examples of Creative Commons photographs on Flickr: www.flickr.com/creativecommons/
I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
►You were hidden behind another participant as you passed our camera
►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
►We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
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That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.
I want to tell people about these great photographs!
Great! Thank you! The best link to spread the word around is probably http://www.flickr.com/peterm7/sets
WO Megrez 90, WO MkIII reducer, SXVF-H16
L: 20x450s
R,G,B: 16x120s 2x2 bin
The binned colour was hard work - I intend to use unbinned in future
On cold, cloudy, windy days, its easy to think Spring is weeks, if not months away. But for those of us who know what and where to look, signs of Spring are all around. On day day of some churchcrawling I would see carpets of snowdrops, winter aconites among others, and trees, shrubs with buds ready to burst forth with new leaves. Birds are more vocal, and with other matters on their minds.
The start of the orchid season might be just six weeks away, last year the first Kentish orchid was seen in flower on March 19th, who knows what this season will bring, but in the woods and up on the downs, orchids are stirring, waking up, creating rosettes, and some thinking about putting forth spikes.
Its all about to happen.
So, I asked the two mods from the orchid group if they would like to meet up with a chat, and discuss trips for the new season. Last year we met near Ian's house on the banks of the Medway, this year it was near to Terry's, near Gravesend in Cobham. I chose Cobham as I wanted to revisit the church, the the local pub, one of the local puns, The Leather Bottle is opposite the church.
So that was the plan.
Jools wasn't going to come, as she wanted to work in the garden, so once the shopping was done and we had eaten breakfast, I would be off.
Tesco has empty shelves; washing up liquid seems to still be an issue, and there was a huge gap in the fresh meat section. Of course, it might be nothing.
Back home for breakfast and then time to go out. Of course I could have stayed and watched Norwich on the tellybox against Arsenal, but 90 minutes of shouting at the TV didn't sound like a good idea, so churches and a pub lunch it was! Norwich were playing top of the table, Burnley, and despite winning the last two games having scored 8 goals, lets just says I wasn't confident. Which was well placed, as Norwich defended like, well, Norwich, gifting Burnley two goals.
But of this I was unaware. For now.
An easy drive up the M20 to Maidstone, turning off at the services, but doubling back under the motorway into Hollingbourne. We had tried to get here before Christmas, but the only road through the villages was closed. In two places! Which the church in the middle. But back now, with no issues other than the 21st century traffic trying to get through the 17th century streets.
The church sits beside a small green, with a row of cottages to one side, I could see from the car the door of the porch open, so good news. I grabbed my camera and made my way through the lych gate and into the church, which I had to myself.
On the way to Cobham, I went via the M20 so I could call in at Hollingbourne to revisit the church, now that the roadworks seemed to be over.
I had the church to myself, which is always good.
All Saints is really the Cullpeper's mausoleum, it is fill with memorials and tombs to generations of them.
Until the line died out.
I can't remember why I didn't finish photographing it last time, but I knew I had to go back with the big lens, so did today, recording mostly the glass, but found much more too.
I snapped all the glass, some of which was very good, but others, not so.
And so onto the short drive up the A229 to the M2, across the Medway then up to Cobham, across the fields to the village, parking outside the village hall and once collecting my camera gear, a short walk to the church.
It too was open. And as wonderful as before. Having my big lens, I wanted to snap the 19 brass plates marking the tombs of the great family. This is the best collection of medieval brass plates not just in Kent, but in all of England. That and the tomb in the Chancel making this such a special church, with so much of interest. Not least the remains of a spiral staircase in the south east corner of the chancel which lead to a very unusual gallery, now long since gone.
I snap much, some of it redoing what I had recorded before, but most new, including the windows.
I walked out of the church and down to the pub, Terry pulled up beside me in his ancient Audi, greeting me warmly. Ian was waiting in the car park, so we went in, bagged a table and we all decided to have lunch.
I thought I would be good and have something light, like tapas, while they both had the suet pudding of the day(!): steak and ale, in which they chose well. The tapas was bland, sadly, especially the creamy chicken dish, but the pint of local best ale was very good indeed.
We talked of plans for the new year and of the group, and eat well when the food is brought. The suet puddings looked fabulous.
On the tellybox I saw Norwich were 1-0 down at half tie, and by the time I got to the car to drive back home, were 3-0 and falling apart.
I drove in silence.
3-0 was the final score, but we have a run of what should be winable games, while Burnley will cruise to promotion with few worries.
I go to see jen, but she has gone for a walk, so I got no answer at the door, so drive home where Jools was just finishing in the garden.
We have a brew and some chocolate while I listen to yet more football, and review the 535 shots of the two churches I had taken.
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There was considerable damage caused to this church in an earthquake of 1382. The medieval accounts survive so we know that 48s 2d was spent on the rebuilding. Little can have changed to the structure since that time, except for the construction of a north chapel in 1638. This chapel has a charming pattern of flint flushwork triangles in a horizontal course below the battlements. It contains one of the most interesting seventeenth-century monuments in Kent - to commemorate Lady Elizabeth Culpepper (d. 1638), carved and signed by the Court Sculptor Edward Marshall. The detail is amazing and the cord that connects her ring and wrist is always pointed out to visitors. The rest of the church was restored early in the career of George Gilbert Scott Jr in 1876 (see also Frinsted) and retains its patina of age unimaginable in a restoration by Scott Sr. The pulpit is early seventeenth century and dates from a few years after the much crocketed font cover. There are three signed monuments by Rysbrack and a tall crownpost roof of good construction in the nave.
www.kentchurches.info/church.asp?p=Hollingbourne
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HOLLINGBORNE.
THE next parish north-westward from Harrietsham is Hollingborne, called in Domesday, Hoilingeborde, and in later records, Holingburnan and Holingeburne. It probably took its name from the spring which rises in the vale underneath the hill, in this parish.
THE PARISH of Hollingborne is situated much the same as that of Harrietsham last described, close to the great ridge of chalk hills, at the foot of which is the village called Hollingborne-street, in which at the south end of it stands the church and vicarage, and near them a well-looking brick mansion, of the time of queen Elizabeth, which by its appearance must have had owners of good condition in former times, but what is remarkable the rector of Hollingborne claims some rooms in this house in right of his rectory at this time. The road through Newnhambottom from Ospringe and Canterbury passes through Hollingborne-street, and thence through Eyhorne, commonly called Iron-street, in this parish, where there are two good houses, one belonging to Robert Salmon, esq. who resides in it, and the other built not many years since by Mr. John Weeks, who died possessed of it in 1785. Hence the road leads on, and joins the Ashford high road through Bersted to Maidstone. The southern part of this parish consists mostly of a deep sand, the whole of it below the hill is well watered by some small streams, which running southward join the Lenham rivulet in its way to Maidstone. Nearer the street the soil becomes a chalk, which continues to the summit of the hill, at the edge of which stands Mr. Duppa's house, whence the remaining part of this parish northward, situated on high ground, and exposed to the cold bleak winds, is but a wild and dreary country, with thick hedgerows, and frequent coppices of wood, mostly of hazel and oak, and small unthriving trees of the latter dispersed among them; the soil a deep tillage land, wet and very poor, being a red cludgy earth, covered with quantities of flint stones. On Eyhorne green, or as it is commonly called Broad-street, in this parish, in October yearly, two constables are chosen, one for the upper, the other for the lower half hundred of Eyhorne, each of which district consists of the twelve adjoining parishes, the borsholders in which, and the several boroughs in them, except such as are chosen at the different court leets, are chosen here likewise.
This parish, with the manor of Elnothington in it, together with the rest of the hundred of Eyhorne, was antiently bound to contribute to the repair of the sixth pier of Rochester bridge.
ÆTHELSTAN ETHELING, son of Ethelred II. gave by his will in 1015, to Christ-church, in Canterbury, his lands at Hollingborne, with their appurtenances, excepting one plough-land, which he had given to Siserth. In the MSS. in Bennet college library, Cambridge, of the evidences of Christ-church, Canterbury, intitled Thorn, printed in Decim. Script. f. 2221, this gift is said to have been made in 980; a very improbable circumstance, the king, his elder brother, at that time being but fourteen years of age.
These lands he had bought of his father, and gave them, with his consent, to Christ-church, L. S. A. that is, free from all secular service, excepting the trinoda necessitas, in like manner as Adisham had been given to it.
The manor of Hollingborne remained part of the possessions of the church of Canterbury at the time of the conquest, when the revenues of it were enjoyed as one common estate by the archbishop and his convent; but archbishop Lanfranc, after the example of foreign churches, separating them, in the partition Hollingborne fell to the share of the monks, and was allotted for their subsistence, (or ad Cibum, as it was usually termed) and it is accordingly thus entered in the book of Domesday, under the general title of Terra Monachorum Archiepi, i. e. the land of the monks of the archbishop.
The archbishop himself holds Hoilingeborde. It was taxed at six sulings. The arable land is twenty-four carucates. In demesne there are two, and sixty-one villeins, with sixteen borderers, having twenty-three carucates. There is a church, twelve servants, and two mills, and eight acres of meadow. Wood for the pannage of forty hogs. In the whole, in the time of king Edward the Confessor, and afterwards, it was worth twenty pounds, and now it is worth thirty pounds. To this manor there adjoins half a suling, which never paid scot, this the bishop of Baieux rents of the archbishop.
At this time, the whole of the above premises seems to have been valued at thirty pounds.
King Henry II. granted to the monks of Christchurch a charter for their lands at Hollingborne upon the Hills. In the 10th year of king Edward II. the prior obtained a charter of free-warren for his manor of Hollingborne, among others; about which time it was, with its appurtenances, valued at 46l. 9s. 8d. King Henry VI. by his letters patent, in his 25th and 26th year, granted to the prior a market, to be held at this place weekly on a Wednesday, and a fair yearly on the feast of St. Anne. (fn. 1)
William Selling, who was elected prior in the next reign of king Edward IV. anno 1472, during the time of his holding that dignity, greatly improved the prior's apartments here. After which, it seems to have undergone no material alteration till the dissolution of the priory, which was surrendered into the hands of king Henry VIII. in the 31st year of his reign.
The manor of Hollingborne did not remain long in the hands of the crown; for the king settled it, by his dotation charter, in his 33d year, on his newerected dean and chapter of Canterbury, part of whose possessions it now remains.
There is a court-leet and court baron regularly held by the dean and chapter for this manor, which extends likewise into the adjoining parishes of Hucking, Bredhurst, and Harrietsham, the quit-rents of it called Beadle-rents, being about forty-two pounds per annum.
¶BUT THE DEMESNE LANDS of this manor have been from time to time leased out by the dean and chapter at a reserved rent of 10l. 9s. The year after the grant of it to them, they demised them by lease to I. Reynolde, as they did anno 19 Elizabeth to William Puresoy, in whose family they remained till the beginning of king James I.'s reign. After which the Fludds held them in lease, and continued so to do, till their interest in them was passed away to W. Alabaster, D. D. After which these premises were held in succession by Bargrave, Boys, Farewell, and Gookin, till the year 1684, when Sir Thomas Culpeper, had a lease of them, in whose family they continued till John Spencer Colepeper, of the Charterhouse, passed away his interest in them to the Hon. Robert Fairfax, who held them in 1758, and then alienated his lease to Francis Child, esq. banker in London, whose brother Robert Child, esq. of London, banker, dying in 1782, the trustees of his will, Robert Dent and John Keysel, esqrs. are now in the possession of his interest in the lease of these demesnes, under the dean and chapter, besides which the dean and chapter have several other lands and woods here leased out by them to different persons.
HOLLINGBORNE is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deaury of Sutton; and is exempt from the jurisdiction of the archdeacon.
The church, which is dedicated to All Saints, is a handsome building, consisting of three large isles, with a chancel at the end of the middle one, and a square tower at the west end. The chancel is much enriched with the monuments of the family of Culpeper, of Greenway-court, and for two of the lords Culpeper, one of them by Rysbrack; on the north side is one for Sir Martin Barnham and his two wives, in 1610, their three figures kneeling at a desk, and underneath their children. At the east end of the north isle there is a small neat chapel, raised up several steps to give room for a vault underneath, in which lie the remains of all this branch of the Culpeper family. The sides of the chapel are filled with black escutcheons, and square tablets of black marble alternately, only two of these among the numbers of them are filled up, and those with younger branches of the family settled elsewhere, a proof of the disappointment of the vain endeavours of the builder to transmit the memory of his descendants to posterity. On the middle of the pavement is a beautiful raised monument of white marble, and the figure of a lady, lying at full length, in the habit of the times, of exceeding good sculpture, in memory of Elizabeth, lady of Sir Thomas Culpeper, daughter of John Cheney, esq. of Sussex, obt. 1638. In the isle a monument for Nich. Chaloner, esq. obt. 1706. Against the north wall of the north isle for two of the family of Duppa, and at the lower end of the church, for the Plummers, Collins's and Dykes. In the middle isle a stone, on which have been the figures of a man and woman in brass, but two shields of arms remain, being quarterly, first and fourth, A chevron, engrailed on a chief, three sleurs de lis; second and third, Three fishes, wavy, sessways, in pale.
There is belonging to this church, a most superb altar-cloth, and a pulpit-cloth and cushion, of purple velvet, ornamented with different figures of fruits of pomegranets and grapes, wrought in gold, the needlework of the daughters of Sir John Colepeper, afterwards created lord Colepeper, who employed themselves for almost the space of twelve years in the working of them, during their father's absence abroad with king Charles II.
The communion plate is very handsome, and an swerable to the above-mentioned furniture, being mostly the gift of the family of Colepeper, and some of it of Baldwin Duppa, esq.
John Eweyn, by his will proved in 1527, gave a table of alabaster, to stand upon the altar of St. John the Baptist in this church; and money to the repair of St. John's chapel in it. John Aleff, parson of Hollingborne, as appears by his will in 1537, was buried in the way beside the porch-door, on the right hand, and that there was set in the wall, nigh his grave, a stone with a plate of sculpture, mentioning where and when he was buried. He had before been vicar of Little Chart, and of St. Laurence Wolton, as he was then of St. John's Sherburne, in Hampshire.
The church of Hollingborne, to which the chapels of Hucking and Bredhurst were antiently annexed, is a sinecure rectory, with a vicarage endowed. The rector of Hollingborne is at this time patron of the perpetual curacy of the chapel of Bredhurst. The archbishop is patron both of the rectory and of the vicarage of Hollingborne, the vicar of which is collated to this vicarage, with the chapel of Hucking annexed.
The vicarage was endowed before the year 1407, in which year Arthur Sentleger, the rector, granted to William Maunby, vicar of this church, a messuage, with its appurtenances in this parish, for the habitation of himself and his successors for ever. (fn. 5) In archbishop Chichele's register, at Lambeth, there is an unauthenticated writing of a composition, made about the year 1441, for it is without date, between William Lyeff, then rector here, and John Fsylde, vicar, upon the assignation of a proper portion for the endowment of this vicarage in future times.
The rectory of Hollingborne is valued in the king's books at 28l. 15s. 5d. and the tenths at 2l. 17s. 6 1/7d. The vicarage is valued in them at 7l. 6s. 8d. and the yearly tenths at 14s. 8d. The vicarage in 1640 was valued at eighty-six pounds, and the communicants were then 271. It is now of the yearly certified value of 70l. 16s. 8d.
The vicarage was augmented twenty pounds per annum, by lease between Ralph Staunton, rector, and Sir Thomas Culpeper, of this parish.
¶The name of Culpeper, or Colepeper, is so variously spelt in different deeds and records, that it is impossible to keep with any rule to either spelling; on all the monuments, and in the parish register, (excepting in two instances in the last) it is spelt Culpeper.
Honestly the only satisfying picture out of my first 12 frames I shot with my new old Hasselblad 2000FC with the impressive Zeiss 110/2 lens. I really hope to get more nice photos out of this masterpiece of camera in future... it's truely much harder to get good results, than with a modern DSLR, but the special look, in my opinion, justifies the effort.
In spring of 2007, the Albertina also received the previously based in Salzburg "Batliner Collection" as unrestricted permanent loan. The collection of Rita and Herbert Batliner includes important works by modern masters, from French impressionism to German expressionism of the "Blue Rider" and the "bridge" to works of the Fauvist or the Russian avant-garde from Chagall to Malevich.
de.wikipedia.org / wiki / Albertina_ (Vienna)
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
© Contact Gerard Mac Sharry at, tpl1984@gmail.com_
I was very disappointed with the resolution of my Nikon D300s. I thought it would be better than my D2X. When I saw the results of my Sony RX-100 20-MP Moon Shot I took a few days ago; I decided to ignore all the experts on pixel size, as the sensor on the Sony RX-100 is smaller than in the Nikon. At the time, there was no large DX sensor, bar Nikon D5200. Therefore, I purchased it. Just my luck as a week later the D7100 arrived and this DX is designed for landscaped, well that life.
This D5200 has turn out to be a lightweight little jewel that I can use everything in my Nikon kit. The swing out LCD screen work’s a wonder. The menu setup is outstanding. It is so fast and easy to use. Yes, it lacks the flash setup that is on the D300s; however, the Nikon SB-910 Speedlight Flash and a Nikon SC-29 TTL remote cord can add the same and more to this jewel of a small camera flash. On ever day use it copes well with tricky shooting situations and compares very well to my D300s and much better than my D2X. On both shots its picture detail are better. I now find I am using this camera more and enjoying it as well. It is so light and small compare to the Pro cameras I have.
This is one shot from the camera with nothing done to it. I am very impressed with the detail in this shot. Taking that technology in the camera field is moving so fast I am thinking in future I will start updating more often with versions like this small camera that has better output than my pro cameras, which seem to lag behind.
Anyway, how long does a pro hang onto their D2X-D3X or D4.
For the price of a D3X, you could have D800 for landscapes and a T2 for sports.
The shot at the end of the day is what it is all about and these two cameras can fill your requirements, there much cheaper to replace also.
Camera = Nikon D5200.
Lens = Nikon DX AF-S NIKKOR 35mm 1:1.8 G.
First attempt at painting Spitfire LIXc from FlyingIron Simulations
Will do more of this in future as MSFS becomes more user friendly
Rolex 50th Anniversary Submariner/ 16610LV/ 40mm Case/ Green Aluminum Bezel/ Maxi Dial/ Serial M/ Logo Rehaut
2003 is Rolex's 50th Anniversary and created first green bezel Submariner to celebrate their company's success. Submariner is one of the most popular Rolex model and this product was mediate hit. It is also is the only Anniversary model to date from Rolex. Due to introduction timing, many thought it is a limited edition model but it isn't. This model is actually "Limited Time offer". 16610LV lasted 7 years in production and is known to internet has 8 variations in minor differences. The LV attached on Submariner product name means Lunette Verde (Green Bezel in French).
Many thought 16610LV is just a green bezel 16610, which it is not. 16610LV is a hybrid between classic (16610) and modern ceramic Submariner (116610). Unlike classic 16610, LV equipped with black Maxi Dial (bigger lume dots), thicker hands. Unlike modern 116610 (ceramic), LV is using classic casing (lug and crown guard are thinner) and bracelet. Noticed this LV has logo rehaut (inner rim). Only M (2008), V (til 2010) and Random number (late 2010) serial number production carry such trademark. The current production Green Ceramic Submariner 116610LV is not the Anniversary Submariner series. 116610LV is just a green version of ceramic Submariner.
There are many online speculation about this model's pricing in future. 16610LV current pricing is already surpass classic 16610 price in the same production year. Anniversary LV is currently (2012) running 6K5 - 10K depends on condition and production year.
Gennady Ivanovich Padalka (Russian: Гeннадий Иванович Падалка; born 21 June 1958 in Krasnodar, Russia) is a Russian Air Force officer and an RKA cosmonaut. Padalka currently has the world record for the most time spent in space, having spent 879 days in space, more than any other person.[1][2][3] He worked on both Mir and the International Space Station.
Contents
1 Personal
2 Education and training
3 Awards
4 Cosmonaut career
4.1 Mir Mission
4.2 ISS Missions
4.2.1 Expedition 9
4.2.2 Expedition 19/20
4.2.3 Expedition 31/32
4.2.4 Expedition 43/44
4.3 Spacewalks
5 References
6 External links
Personal
Padalka is married to Irina Anatoliyevna Padalka (Ponomareva). They have three daughters: Yuliya, Yekaterina, and Sonya. He enjoys the theater, parachute sport and diving.[4][5][6][7]
Education and training
Padalka graduated from Yeysk Military Aviation College in 1979. After graduation, he served as a pilot and later a senior pilot in the Russian Air Force, eventually attaining the rank of colonel. He has logged 1500 flight hours in six types of aircraft as a First Class Pilot in the Russian Air Force. In addition, he has performed more than 300 parachute jumps as an Instructor of General Parachute Training. Padalka also worked as an engineer-ecologist at the UNESCO International Center of Instruction Systems until 1994.[8] He is an investigator for the Advanced Diagnostic Ultrasound in Microgravity Project, a US Government funded study investigating strategies for applying diagnostic telemedicine to space.
Awards
Padalka is a recipient of the Hero Star of the Russian Federation and the title of Russian Federation Test-Cosmonaut.[7] He is decorated with Fatherland Service Medal fourth class, Medals of the Russian Federation and also Medal of the International Fund of Cosmonautics support for Service to Cosmonautics. Padalka is a prize winner of the Russian Federation Government in the field of science and technology.[9]
Cosmonaut career
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Gennady Padalka was selected as a cosmonaut candidate to start training at the Gagarin Cosmonaut Training Center in 1989. From June 1989 to January 1991, he attended basic space training and in 1991 was qualified as a test-cosmonaut. In April 2017, it was announced that Padalka had filed his resignation from the Roscosmos cosmonaut corps. Padalka himself explained his decision by the fact that he has only a small chance to join any space mission in the near future. "I had to resign. I am tired of doing nothing. There are no prospects that I will fly [to the International Space Station (ISS)]," he told TASS, explaining his decision.
Mir Mission
On 13 August 1998 Gennady launched with Sergei Avdeyev aboard Soyuz TM-28 to become the crew of Mir Expedition 26, whose primary mission was to make repairs to life support systems and prepare the station for deorbit, which was to take place after Expedition 27. On 8 February 1999 at 11:23 GMT Padalka and Avdeyev undocked from Mir's -X port in Soyuz TM-28, and redocked at the +X Kvant port at 11:39 GMT, freeing up the front port for the Soyuz TM-29 docking.[10] He returned to Earth on board the Soyuz TM-28 capsule on 28 February 1999. The Soyuz TM-28 undocked from the Kvant rear docking port on 27 February at 22:52 GMT and landed in Kazakhstan on 28 February at 02:14 GMT. Padalka accumulated 198 days and 16 hours of space travel during the mission.
ISS Missions
Expedition 9 commander Gennady Padalka inside the Zvezda module of the ISS.
From June 1999 to July 2000, Padalka trained for a space flight on a Soyuz-TM transport vehicle as an ISS contingency crew commander. From August 2000 to November 2001, he trained for a space flight as the Expedition 4 back-up crew commander.
Expedition 9
In March 2002 Padalka was assigned as commander of the ISS Expedition 9 crew. Expedition 9 was launched from the Baikonur Cosmodrome, Kazakhstan aboard the Soyuz TMA-4 spacecraft, and docked with the ISS on 21 April 2004. Following a week of joint operations and handover briefings, they replaced the Expedition 8 crew who returned to Earth. In a six-month tour of duty aboard the station Padalka continued ISS science operations, maintained Station systems, and performed four spacewalks. The Expedition 9 mission concluded after undocking and landed back in Kazakhstan on 23 October 2004. In completing this mission, Padalka logged an additional 187 days, 21 minutes and 17 seconds in space, and 15 hours, 45 minutes and 22 seconds of EVA time.
Expedition 19/20
Expedition 20 commander Gennady Padalka inside the Pirs Docking Compartment of the Space Station with the PK-3 Plus laboratory.
Padalka returned to the ISS in 2009 to serve as commander of Expeditions 19 and 20.[11][12] He commanded the Soyuz TMA-14 spacecraft which was launched from Baikonur on 26 March 2009 and docked with the ISS two days later. Padalka also commanded the first six-person space station crew (Expedition 20), returning to Earth on 11 October 2009.[13]
Expedition 31/32
In May 2012 Padalka returned to the ISS for a third time. He served as a flight engineer as part of Expedition 31 before graduating to command Expedition 32.[14]
He launched to the ISS aboard Soyuz TMA-04M on 15 May 2012, along with fellow crew members Sergei Revin and Joseph Acaba[15] and arrived at the space station on 17 May at 4:36 UTC.[16] He, along with Revin and Acaba, returned to Earth on 17 September 2012.[17]
Expedition 43/44
Padalka returned to the ISS aboard Soyuz TMA-16M during Expedition 43 and Expedition 44, along with Mikhail Korniyenko and Scott Kelly. He landed on Soyuz TMA-16M on 12 September 2015. Padalka set the record for most time in space of anyone in history.
Spacewalks
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On 15 September 1998 Padalka performed the first spacewalk of his career during a stay aboard Mir along with Sergei Avdeyev. After donning spacesuits, the PKhO compartment of the Mir Core Module was depressurized and the spacewalkers entered the dead Spektr module at 20:00 GMT. The crew reconnected some cables for the solar panel steering mechanism and closed the hatch a half hour later. The PKhO was then repressurized after a spacewalk which lasted 30 minutes.
On 10 November 1998 Padalka and Avdeyev again ventured out into space. The two made the EVA from the Kvant-2 airlock on Mir. The starting time of the spacewalk was at 19:24 GMT. The two spacewalking cosmonauts installed a meteoroid detector in for the upcoming Leonid shower, and hand-launched the Sputnik-41 amateur-radio mini-satellite. The space walk concluded at 01:18 GMT on 11 November, clocking a total time of 5 hours and 54 minutes.
Padalka with his Orlan spacesuit in the Pirs Docking Compartment.
Padalka's third spacewalk was performed on 24 June 2004 from the ISS's Pirs Docking Compartment. The spacewalk was cut short due to a spacesuit malfunction of his fellow spacewalking partner, NASA astronaut Michael Fincke.[18] After Fincke egressed, within minutes flight controllers noticed a decrease in pressure in his primary oxygen tank. Although the spacewalk was planned for six hours, as a result of the problems it only lasted 14 minutes.
On 30 June 2004 Padalka performed his fourth spacewalk along with astronaut Michael Fincke. The duo successfully repaired a faulty circuit breaker on the space station an hour ahead of schedule.[19] During their repair job, the two spacewalkers replaced a failed device called a remote power control module (RPCM) that had cut off power to its gyroscope. The spacewalk lasted 5 hours and 40 minutes.
On 3 August 2004 Gennady Padalka and Mike Fincke again left the space station to install communications gear and replace space exposure experiments on the outside of the Zvezda Service Module.[20] The spacewalk was conducted from the Pirs Docking Compartment airlock and commenced when Padalka and Fincke opened the outer hatch of the airlock at 6:58 GMT. During the spacewalk the two spacewalkers removed six obsolete laser reflectors used for docking and replaced four of them with newer versions. The crew also installed two antennas to allow the Automated Transfer Vehicle (ATV) to communicate with the space station and removed a cable from a faulty television camera. The 4 hour 20 minute excursion out of the ISS marked Padalka's fifth career spacewalk.
Padalka completed his sixth career spacewalk on 3 September 2004 when he and Mike Fincke ventured out into space. The spacewalk took place outside the Zvezda module. Padalka and Fincke began the spacewalk at 16:43 GMT, after emerging from the Pirs airlock.[21] On the Zarya module, the two spacewalkers replaced a pump control panel that measures the module's coolant levels. They also installed three communications antennas at its aft end of the Zvezda module. The spacewalk lasted 5 hours and 21 minutes.
Gennady Padalka participates in a spacewalk to move the Strela-2 cargo boom from the Pirs docking compartment to the Zarya module in August 2012.
Padalka completed his seventh career spacewalk on 5 June 2009.[22] He and NASA astronaut Michael Barratt egressed outside the ISS beginning at 7:52 UTC to install docking system antennas and cabling to accommodate the Mini Research Module 2 (MRM-2). The spacewalk began at an hour behind schedule because of higher than expected carbon-dioxide levels in the spacesuits. The spacewalk ended when the two crew members returned to the Pirs Docking Compartment airlock at 12:46 GMT. The spacewalk lasted 4 hours and 54 minutes.
Gennady Padalka, Expedition 32 commander participates in a session of EVA on 20 August 2012.
On 10 June 2009 Gennady Padalka and Michael Barratt entered the transfer compartment in the Zvezda module.[23] The "internal spacewalk" began 10 minutes behind schedule because of initial problems with pressure inside the airlock, which did not fall as fast as expected. While they were not in open space outside the ISS, Padalka and Barratt had to wear space suits in the depressurized compartment. During the 12 minute spacewalk the two crew members moved a docking mechanism to accommodate the MRM-2. The event marked the eighth career spacewalk for Padalka.
On 20 August 2012 Padalka, together with cosmonaut Yuri Malenchenko, participated in his ninth career spacewalk.[24] Tasks assigned to the two cosmonauts included hardware relocations, installations, retrievals, and deployments. For the spacewalk, Malenchenko donned an Orlan spacesuit with the blue stripe. The duration of the spacewalk was 5 hours and 51 minutes. The spacewalk was delayed for about an hour due to a small leak between Space Station modules. The spacewalk started from the Pirs Docking Compartment Module at 15:37 GMT. The first task for Padalka and Malenchenko was to relocate the Strela-2 boom from the Pirs module to the forward end of the Zarya module. The relocation was needed since Pirs module will be detached from the Space Station in the future for the arrival of the new Multi-purpose Laboratory Module (MLM) Nauka. The next task completed by Padalka and Malenchenko was to deploy a 21-inch diameter spherical satellite. The two cosmonauts also retrieved five debris shields from the Pirs Module, prior to installing them on the Zvezda Module. They also completed several get-ahead tasks (since the both opted not to take rests during the night passes) as the duo were about an hour ahead of the timeline. They retrieved an external experiment called Biorisk from the Pirs Module for return to Earth, and for added stability installed two structural support struts between the Pirs Module and the EVA ladder. Padalka and Malenchenko then both ingressed the Pirs Module, prior to closing the hatch and beginning the re-pressurisation procedure, to end a successful spacewalk.
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.