Tynemouth Castle is located on a rocky headland (known as Pen Bal Crag), overlooking Tynemouth Pier.

 

The moated castle-towers, gatehouse and keep are combined with the ruins of the Benedictine priory where early kings of Northumbria were buried.

 

The coat of arms of the town of Tynemouth still includes three crowns commemorating the tradition that the Priory had been the burial place for three kings.

 

Little is known of the early history of the site. Some Roman stones have been found there, but there is no definite evidence that it was occupied by the Romans.

 

The Priory was founded early in the 7th century, perhaps by Edwin of Northumbria. In 651 Oswin, king of Deira was murdered by the soldiers of King Oswiu of Bernicia, and subsequently his body was brought to Tynemouth for burial.[1] He became St Oswin and his burial place became a shrine visited by pilgrims. He was the first of the three kings buried at Tynemouth.

 

In 792 Osred II, who had been king of Northumbria from 789 to 790 and then deposed, was murdered. He also was buried at Tynemouth Priory.[1] Osred was the second of the three kings buried at Tynemouth.

 

The third king to be buried at Tynemouth was Malcolm III, king of Scotland, who was killed at the Battle of Alnwick in 1093.[1] (This is the same Malcolm who appears in Shakespeare's Macbeth.) The king's body was sent north for reburial, in the reign of his son Alexander I, at Dunfermline Abbey, or possibly Iona.

 

In 800 the Danes plundered Tynemouth Priory,[1] and afterwards the monks strengthened the fortifications sufficiently to prevent the Danes from succeeding when they attacked again in 832. However, in 865 the church and monastery were destroyed by the Danes. At the same time, the nuns of St Hilda, who had come there for safety, were massacred. The priory was again plundered by the Danes in 870. The priory was destroyed by the Danes in 875.

 

Norman rule

Earl Tostig made Tynemouth his fortress during the reign of Edward the Confessor. By that time, the priory had been abandoned and the burial place of St Oswin had been forgotten. According to legend, St Oswin appeared in a vision to Edmund, a novice, who was living there as a hermit. The saint showed Edmund where his body lay and so the tomb was re-discovered in 1065.

 

Tostig was killed at the Battle of Stamford Bridge in 1066 and so was not able to re-found the monastery as he had intended.

 

In 1074 Waltheof II, Earl of Northumbria, last of the Anglo-Saxon earls, granted the church to the monks of Jarrow together with the body of St Oswin (Oswine of Deira), which was transferred to that site for a while.

 

In 1090 Robert de Mowbray, Earl of Northumberland decided to re-found Tynemouth Priory, but he was in dispute with William de St-Calais, the Bishop of Durham and so placed the priory under the jurisdiction of the priory of St Albans. Monks were sent from St Albans in 1090 to colonise the new monastery.

 

However, when the abbot of St Albans visited in 1093, Prior Thurgot of Durham met him and prevented the usurpation of the rights of Durham.

 

In 1091, seamen from William II's ships plundered Tynemouth and one victim appealed to St. Oswin, whose shrine was in the priory, and the next day the ships were all lost on the rocks of Coquet Island in fair weather. Thereafter, William Rufus held St. Oswin in great reverence.

 

In 1093 Malcolm III of Scotland invaded England and was killed at Alnwick by Robert de Mowbray. Malcolm's body was buried at Tynemouth Priory for a time, but it is believed that he was subsequently reburied in Dunfermline Abbey, in Scotland.

 

In 1095 Robert de Mowbray took refuge in Tynemouth Castle after rebelling against William II. William besieged the castle and captured it after two months. Mowbray escaped to Bamburgh Castle, but subsequently returned to Tynemouth. The castle was re-taken and Mowbray was dragged from there and imprisoned for life for treason. In 1110 a new church was completed on the site.

 

Tynemouth Priory viewed from Tynemouth pier shows the strategic and dramatic nature of its headland setting

It is believed that at the time of Robert Mowbray's capture in 1095 there was a castle on the site consisting of earthen ramparts and a wooden stockade.

 

In 1296 the prior of Tynemouth was granted royal permission to surround the monastery with walls of stone, which he did. In 1390 a gatehouse and barbican were added on the landward side of the castle.

 

Much remains of the priory structure as well as the castle gatehouse and walls which are 3200 feet (975 m) in length. The promontory was originally completely enclosed by a curtain wall and towers, but the north and east walls fell into the sea, and most of the south wall was demolished; the west wall, the gatehouse and a section of the south wall (with original wall walk) remain in good condition.

 

Edward II

In 1312 King Edward II took refuge in Tynemouth Castle together with his favourite Piers Gaveston, before fleeing by sea to Scarborough Castle. These events were dramatised by Christopher Marlowe in his play Edward II, published in 1594. Act 2 Scene 2 of the play is set 'Before Tynemouth Castle'; Act 2 Scene 3 is set 'Near Tynemouth Castle'; and Act 2 Scene 4 is set 'In Tynemouth Castle'.

 

Tynemouth Priory was also the resting place of Edward's illegitimate son Adam FitzRoy. FitzRoy accompanied his father in the Scottish campaigns of 1322, and died shortly afterwards on 18 September 1322, of unknown causes, and was buried at Tynemouth Priory on 30 September 1322; his father paid for a silk cloth with gold thread to be placed over his body.[2]

The Oratory of St Mary, or Percy Chapel

In 1538 the monastery of Tynemouth was suppressed when Robert Blakeney was the last prior of Tynemouth. At that time, apart from the prior, there were fifteen monks and three novices in residence.

 

The priory and its attached lands were taken over by King Henry VIII who granted them to Sir Thomas Hilton. The monastic buildings were dismantled leaving only the church and the Prior's house. The castle, however, remained in royal hands.

 

New artillery fortifications were built from 1545 onwards, with the advice of Sir Richard Lee and the Italian military engineers Gian Tommaso Scala and Antonio da Bergamo. The medieval castle walls were updated with new gunports.[3] The castle was the birthplace of Henry Percy, 9th Earl of Northumberland in 1564, during the period when his father, the 8th Earl, was guardian of the castle.

 

In May 1594 George Selby and Thomas Power, lieutenant of Tynemouth Castle, captured two fugitives from the court of Anne of Denmark who had stolen some of her jewels. Power kept Jacob Kroger, a German goldsmith, and Guillaume Martyn, a French stableman, as prisoners at Tynemouth for five weeks until they were returned to Edinburgh for summary trial and execution.[4]

  

Parish church

The church remained in use as a parish church until 1668 when a new church was built nearby. The ruins of the church can still be seen. Beneath them is a small (18 feet by 12 feet) chapel, the Oratory of St Mary or Percy Chapel. Its notable decorative features include a painted ceiling with numerous coats of arms and other symbols, stained-glass side windows, and a small rose window in the east wall, above the altar.

 

Tynemouth priory, 1867 proof engraving by William Miller after J M W Turner. The lighthouse, since demolished, stands on the far right of the promontory.

For some time a navigation light, in the form of a coal-fired brazier, had been maintained on top of one of the turrets at the east end of the Priory church. It is not known when this practice began, but a source of 1582 refers to: "the kepinge of a continuall light in the night season at the easte ende of the churche of Tinmouthe castle ... for the more safegarde of such shippes as should passe by that coast".[5] As Governor of Tynemouth Castle, Henry Percy, 8th Earl of Northumberland is recorded as having responsibility for the light's maintenance; and he and his successors in that office were entitled to receive dues from passing ships in return.

 

In 1559, however, the stairs leading to the top of the turret collapsed, preventing the fire from being lit.[5] In 1665, therefore, the then Governor (Colonel Villiers) had a purpose-built lighthouse erected on the headland (within the castle walls, using stone taken from the priory); it was rebuilt in 1775.[6] Like its predecessor, the lighthouse was initially coal-fired, but in 1802 an oil-fired argand light was installed and by 1871 it displayed a revolving red light. In 1841 William Fowke (a descendant of Villiers and his successor as Governor) sold the lighthouse to Trinity House, London.[6] It remained in operation until 1895, when it was replaced by St. Mary's Lighthouse in Whitley Bay to the north. Tynemouth Castle Lighthouse was subsequently demolished, in 1898.[7]

 

At the end of the 19th century the castle was used as a barracks with several new buildings being added. Many of these were removed after a fire in 1936. The castle played a role during World War I and World War II[8] when it was used as a coastal defence installation covering the mouth of the river Tyne. The restored sections of the coastal defence emplacements are open to the public. These include a guardroom and the main armoury, where visitors can see how munitions were safely handled and protected.

 

More recently the site has hosted the modern buildings of Her Majesty's Coastguard; however the new coastguard station, built in 1980 and opened by Prince Charles, was closed in 2001.[9]

 

Present-day

Tynemouth Castle and Priory is now managed by English Heritage, which charges an admission fee.

 

In 2002, it doubled as a castle for a tourist advert for the Isle of Mull.

Charlottenburg Palace (German: Schloss Charlottenburg) is the largest palace in Berlin, Germany. It is in the Charlottenburg district of the Charlottenburg-Wilmersdorf borough.

 

The palace was built at the end of the 17th century and was greatly expanded during the 18th century. It includes much lavish internal decoration in baroque and rococo styles. A large formal garden surrounded by woodland was added behind the palace, including a belvedere, a mausoleum, a theatre and a pavilion. During the Second World War, the palace was badly damaged but has since been reconstructed. The palace with its gardens are a major tourist attraction.

 

HISTORY

PALACE

The original palace was commissioned by Sophie Charlotte, the wife of Friedrich I, Elector of Brandenburg in what was then the village of Lietzow. Named Lietzenburg, the palace was designed by Johann Arnold Nering in baroque style. It consisted of one wing and was built in ​2 1⁄2 storeys with a central cupola. The façade was decorated with Corinthian pilasters. On the top was a cornice on which were statues. At the rear in the centre of the palace were two oval halls, the upper one being a ceremonial hall and the lower giving access to the gardens. Nering died during the construction of the palace and the work was completed by Martin Grünberg and Andreas Schlüter. The inauguration of the palace was celebrated on 11 July 1699, Frederick's 42nd birthday.

 

Friedrich crowned himself as King Friedrich I in Prussia in 1701 (Friedrich II, known as Frederick the Great, would later achieve the title King of Prussia). Two years previously, he had appointed Johann Friedrich von Eosander (also known as Eosander von Göthe) as the royal architect and sent him to study architectural developments in Italy and France, particularly the Palace of Versailles. On his return in 1702, Eosander began to extend the palace, starting with two side wings to enclose a large courtyard, and the main palace was extended on both sides. Sophie Charlotte died in 1705 and Friedrich named the palace and its estate Charlottenburg in her memory. In the following years, the Orangery was built on the west of the palace and the central area was extended with a large domed tower and a larger vestibule. On top of the dome is a wind vane in the form of a gilded statue representing Fortune designed by Andreas Heidt. The Orangery was originally used to overwinter rare plants. During the summer months, when over 500 orange, citrus and sour orange trees decorated the baroque garden, the Orangery regularly was the gorgeous scene of courtly festivities.

 

Various artists were invited to decorate the interior of the palace. As the court painter of Friedrich I, the Flemish artist Jan Anthonie Coxie was commissioned to paint the walls and ceilings in various rooms of the palace. Coxie painted between 1701 and 1713 frescos and an altarpiece in the Palace Chapel and frescos in the Gobelin Gallery and Porcelain Room. The frescos in the Porcelain Room were blatant propaganda for the glorious rule of Friedrich I. They

represent Aurora, the Goddess of Dawn, in her seven-horsed chariot chasing away Night and clearing the way for the Sun-God Apollo, who approaches in his chariot in a blaze of light. Hovering overhead, Mercury heralds the arrival of the life-giving god and Saturn ushers in the Golden Age with his scythe. Coxie also included images of the Four Continents as well as the Four Seasons, which are familiar allusions to political power and thus affirm the greatness of Friedrich I.

 

Inside the palace, was a room described as "the eighth wonder of the world", the Amber Room (Bernsteinzimmer), a room with its walls surfaced in decorative amber. It was designed by Andreas Schlüter and its construction by the Danish amber craftsman Gottfried Wolfram started in 1701. Friedrich Wilhelm I gave the Amber Room to Tsar Peter the Great as a present in 1716.

 

When Friedrich I died in 1713, he was succeeded by his son, Friedrich Wilhelm I whose building plans were less ambitious, although he did ensure that the building was properly maintained. Building was resumed after his son Friedrich II (Frederick the Great) came to the throne in 1740. During that year, stables for his personal guard regiment were completed to the south of the Orangery wing and work was started on the east wing. The building of the new wing was supervised by Georg Wenzeslaus von Knobelsdorff, the Superintendent of all the Royal Palaces, who largely followed Eosander's design. The decoration of the exterior was relatively simple but the interior furnishings were rich with painting and sculpture,textiles and mirror. The ground floor was intended for Frederick's wife Elisabeth Christine, who, preferring Schönhausen Palace however, was only an occasional visitor. The especially splendid decoration of the upper floor, which included the White Hall, the Banqueting Hall, the Throne Room and the Golden Gallery, was designed mainly by Johann August Nahl. In 1747, a second apartment for the king was prepared in the distant eastern part of the wing. During this time, Sanssouci was being built at Potsdam, and once this was completed Frederick was only an occasional visitor to Charlottenburg.

 

In 1786, Frederick was succeeded by his nephew Friedrich Wilhelm II who transformed five rooms on the ground floor of the east wing into his summer quarters and part of the upper floor into Winter Chambers, although he did not live long enough to use them. His son, Friedrich Wilhelm III came to the throne in 1797 and reigned with his wife, Queen Luise for 43 years. They spent much of this time living in the east wing of Charlottenburg. Their eldest son, Friedrich Wilhelm IV, who reigned from 1840 to 1861, lived in the upper storey of the central palace building. After Friedrich Wilhelm IV died, the only other royal resident of the palace was Friedrich III who reigned for 99 days in 1888.

 

The palace was badly damaged in 1943 during the Second World War. In 1951, the war-damaged Stadtschloss in East Berlin was demolished and, as the damage to Charlottenburg was at least as serious, it was feared that it would also be demolished. However, following the efforts of Margarete Kühn, the Director of the State Palaces and Gardens, it was rebuilt to its former condition, with gigantic modern ceiling paintings by Hann Trier. From 2004 till early 2006, Charlottenburg Palace was the seat of the President of Germany, whilst Schloss Bellevue was being renovated.

 

GROUNDS

The garden was designed in 1697 in baroque style by Simeon Godeau who had been influenced by André Le Nôtre, designer of the gardens at Versailles. Godeau's design consisted of geometric patterns, with avenues and moats, which separated the garden from its natural surroundings. Beyond the formal gardens was the Carp Pond. Towards the end of the 18th century, a less formal, more natural-looking garden design became fashionable. In 1787 the Royal Gardener Georg Steiner redesigned the garden in the English landscape style for Friedrich Wilhelm II, the work being directed by Peter Joseph Lenné. After the Second World War, the centre of the garden was restored to its previous baroque style.

 

In 1788, Friedrich Wilhelm II arranged for the building of the Belvedere, designed by Carl Gotthard Langhans, in the grounds beyond the Carp Pond. The building was used as a teahouse and as a viewing-tower.

 

Langhans also designed the Palace Theatre, which was built between 1788 and 1791 to the west of the Orangery wing. The Mausoleum was built as a tomb for Queen Luise between 1810 and 1812 in neoclassical style to a design by Heinrich Gentz. After the death of Friedrich Wilhelm III, it was extended; this design being by Karl Friedrich Schinkel. It was extended again in 1890–91 by Albert Geyer to accommodate the graves of Wilhelm I and his wife Augusta. In 1825, Friedrich Wilhelm III added the Neuer Pavilion, an Italianate villa designed by Schinkel, to the north of the palace. This was damaged in the war in 1943 and was reconstructed between 1957 and 1970.

 

BURIALS

Louise of Mecklenburg-Strelitz

Frederick William III of Prussia

Wilhelm I, German Emperor

Prince Albert of Prussia (1809–1872)

Augusta of Saxe-Weimar

 

TODAY

The palace and grounds are a major visitor attraction.

 

For an admission charge, parts of the interior of the palace are open to visitors, including the Old Palace (Alte Schloss) and the New Wing (Neuer Flügel). The Old Palace contains many rooms with baroque decoration, and includes a room called the Porcelain Cabinet, which holds thousands of porcelain objects. On special display are the crown jewels and the royal silver and fine porcelain tableware. The New Wing includes the opulent rococo State Apartments of Frederick the Great and the more modest Winter Chambers of Friedrich Wilhelm II. The formal and informal gardens are freely open to the public.

 

For an admission charge, the Mausoleum, the Belvedere and the Neue Pavilion are open to visitors. The Mausoleum contains the graves of, and memorials to, members of the Hohenzollern family. The memorial to Queen Luise includes her reclining effigy, which is made from Carrara marble and was designed by Christian Daniel Rauch.

 

Also open to the public are the Belvedere, which contains a collection of Berlin porcelain, and the Neue Pavilion, which houses a collection of arts and crafts of the period when Schinkel was active.

 

The former Orangery houses a restaurant and café. Destroyed during World War II, the Great Orangery was reconstructed on the model of the baroque building. Today, it shines in its old brilliance again. The light-flooded festival room provides a pleasant framework for cultural events, concerts and banquets.

 

In addition, a large equestrian statue of Friedrich Wilhelm I is the focus of the palace courtyard. This was designed by Andreas Schlüter and made between 1696 and 1700. From 1703, it stood on the Langen Brücke (now the Rathausbrücke) but was moved to a place of safety in the Second World War. On its return after the war, the barge carrying it sank and it was not salvaged until 1949. In 1952, it was erected on its present site. Across the street of the palace are two more museums, the Bröhan Museum, which contains art nouveau and art deco articles, and the Berggruen Museum, which houses modern art, in particular works by Picasso and Klee. On the left you can find the Scharf-Gerstenberg Collection. Its collection of paintings, graphics and sculptures, spanning the period from French Romanticism to Surrealism.

 

WIKIPEDIA

Leam Lane Estate is a housing estate in Gateshead, built in the 1950s and early 60's. Originally made up solely of council-built accommodation and housing association houses. Most of the properties are now privately owned. The estate is located around 4 miles (6.4 km) from Newcastle upon Tyne, 10.5 miles (16.9 km) from Sunderland, and 15.5 miles (24.9 km) from Durham. In 2011, Census data for the Gateshead Metropolitan Borough Council ward of Wardley and Leam Lane recorded a total population of 8,327.

 

The estate's main shopping area, Fewster Square, provides a number of amenities, including independent shops, two supermarkets, post office, and medical centre. The nearby Oliver Henderson Park includes a play area, lake, skateboard park and a bowling green, as well as a large grass football pitch.

 

Leam Lane Estate is bordered by Heworth, Whitehills Estate, Springwell Estate, Wardley and Windy Nook. Most of the estate is in the NE10 postcode, with NE9 covering the upper side of Leam Lane, at the border with Springwell.

 

Demography

According to the 2011 Census, the Wardley and Leam Lane ward has a population of 8,327. 51.2% of the population are female, slightly above the national average, while 48.8% are male. Only 2.5% of the population were from a black, Asian and minority ethnic (BAME) group, as opposed to 14.6% of the national population.

 

Data from the 2011 Census found that the average life expectancy in Wardley and Leam Lane is 79.9 years for men, and 81.9 years for women. These statistics compare fairly favorably, when compared to the average life expectancy in the North East of England, of 77.4 and 81.4 years, respectively.

 

Car ownership is higher than the average in the Metropolitan Borough of Gateshead (63.5%), but lower than the national average of 74.2% – with 67.8% of households in the Wardley and Leam Lane ward owning at least one car.

 

Education

Leam Lane Estate is served by four primary schools: Colegate Community Primary School and St. Augustine's Catholic Primary School – both of which were rated "good" by Ofsted. Also, Lingey House Primary School and Roman Road Primary School – both of which were rated "outstanding". Nearby primary schools also include The Drive Community Primary School in Heworth, St. Alban's Catholic Primary School in Pelaw, and Wardley Primary School and White Mere Community Primary School in Wardley.

 

In terms of secondary education, Leam Lane Estate is located within the catchment area for Heworth Grange School. An inspection carried out by Ofsted in January 2017 deemed the school to be "inadequate". Students from the area also attend the nearby Cardinal Hume Catholic School in Wrekenton, rated "outstanding" by Ofsted in January 2014, as well as St. Joseph's Catholic Academy in Hebburn, which was rated "requires improvement" by Ofsted in January 2019.

 

Governance

Wardley and Leam Lane is a local council ward in the Metropolitan Borough of Gateshead. This ward covers an area of around 1.6 square miles (4.1 km2), and has a population of 8,327. As of April 2020, the ward is served by three councillors: Anne Wheeler, Linda Green and Stuart Green. Leam Lane Estate is located within the parliamentary constituencies of Gateshead. As of April 2020, the constituency is served by MP Ian Mearns.

 

Transport

Air

The nearest airport to Leam Lane Estate is Newcastle International Airport, which is located around 11.5 miles (18.5 km) away by road. Teesside International Airport and Carlisle Lake District Airport are located around 34.5 and 60 miles (55.5 and 96.6 km) away by road, respectively.

 

Bus

Leam Lane Estate is served by Go North East's local bus services, with services 51, 52, 57 and 58 serving Gateshead and Newcastle upon Tyne. Gateshead Central Taxis also operate services 67 and 69, which serve Wardley, Winlaton and the Metrocentre.

 

Rail

The nearest Tyne and Wear Metro stations are located at Pelaw and Heworth. The Tyne and Wear Metro provides a regular service to Newcastle, with trains running up to every 6 minutes (7–8 minutes during the evening and Sunday) between Pelaw and South Gosforth, increasing to up to every 3 minutes at peak times. Heworth is the nearest rail station, with Northern Trains providing an hourly service along the Durham Coast Line.

 

Road

Leam Lane Estate is located near to the A184 – a busy route linking South Tyneside with Gateshead and Newcastle upon Tyne. By road, Gateshead can be reached in around 10 minutes, Newcastle in 15 minutes, and Newcastle International Airport in 30 minutes.

 

People from Leam Lane Estate

Chris Waddle – former professional football player and manager

Jill Halfpenny – actress, best known for her roles in Coronation Street, EastEnders and Waterloo Road

 

In the media

The world's first online home shopping took place in the area, when resident, Jane Snowball, bought an item from a local Tesco supermarket in May 1984, by using her television set and remote control. The scheme had been developed by Newcastle University lecturer, Ross Davies, in conjunction with Rediffusion.

 

Gateshead is a town in the Gateshead Metropolitan Borough of Tyne and Wear, England. It is on the River Tyne's southern bank. The town's attractions include the twenty metre tall Angel of the North sculpture on the town's southern outskirts, The Glasshouse International Centre for Music and the Baltic Centre for Contemporary Art. The town shares the Millennium Bridge, Tyne Bridge and multiple other bridges with Newcastle upon Tyne.

 

Historically part of County Durham, under the Local Government Act 1888 the town was made a county borough, meaning it was administered independently of the county council.

 

In the 2011 Census, the town had a population of 120,046 while the wider borough had 200,214.

 

History

Gateshead is first mentioned in Latin translation in Bede's Ecclesiastical History of the English People as ad caput caprae ("at the goat's head"). This interpretation is consistent with the later English attestations of the name, among them Gatesheued (c. 1190), literally "goat's head" but in the context of a place-name meaning 'headland or hill frequented by (wild) goats'. Although other derivations have been mooted, it is this that is given by the standard authorities.

 

A Brittonic predecessor, named with the element *gabro-, 'goat' (c.f. Welsh gafr), may underlie the name. Gateshead might have been the Roman-British fort of Gabrosentum.

 

Early

There has been a settlement on the Gateshead side of the River Tyne, around the old river crossing where the Swing Bridge now stands, since Roman times.

 

The first recorded mention of Gateshead is in the writings of the Venerable Bede who referred to an Abbot of Gateshead called Utta in 623. In 1068 William the Conqueror defeated the forces of Edgar the Ætheling and Malcolm king of Scotland (Shakespeare's Malcolm) on Gateshead Fell (now Low Fell and Sheriff Hill).

 

During medieval times Gateshead was under the jurisdiction of the Bishop of Durham. At this time the area was largely forest with some agricultural land. The forest was the subject of Gateshead's first charter, granted in the 12th century by Hugh du Puiset, Bishop of Durham. An alternative spelling may be "Gatishevede", as seen in a legal record, dated 1430.

 

Industrial revolution

Throughout the Industrial Revolution the population of Gateshead expanded rapidly; between 1801 and 1901 the increase was over 100,000. This expansion resulted in the spread southwards of the town.

 

In 1854, a catastrophic explosion on the quayside destroyed most of Gateshead's medieval heritage, and caused widespread damage on the Newcastle side of the river.

 

Sir Joseph Swan lived at Underhill, Low Fell, Gateshead from 1869 to 1883, where his experiments led to the invention of the electric light bulb. The house was the first in the world to be wired for domestic electric light.

 

In the 1889 one of the largest employers (Hawks, Crawshay and Company) closed down and unemployment has since been a burden. Up to the Second World War there were repeated newspaper reports of the unemployed sending deputations to the council to provide work. The depression years of the 1920s and 1930s created even more joblessness and the Team Valley Trading Estate was built in the mid-1930s to alleviate the situation.

 

Regeneration

In the late noughties, Gateshead Council started to regenerate the town, with the long-term aim of making Gateshead a city. The most extensive transformation occurred in the Quayside, with almost all the structures there being constructed or refurbished in this time.

 

In the early 2010s, regeneration refocused on the town centre. The £150 million Trinity Square development opened in May 2013, it incorporates student accommodation, a cinema, health centre and shops. It was nominated for the Carbuncle Cup in September 2014. The cup was however awarded to another development which involved Tesco, Woolwich Central.

 

Governance

In 1835, Gateshead was established as a municipal borough and in 1889 it was made a county borough, independent from Durham County Council.

 

In 1870, the Old Town Hall was built, designed by John Johnstone who also designed the previously built Newcastle Town Hall. The ornamental clock in front of the old town hall was presented to Gateshead in 1892 by the mayor, Walter de Lancey Willson, on the occasion of him being elected for a third time. He was also one of the founders of Walter Willson's, a chain of grocers in the North East and Cumbria. The old town hall also served as a magistrate's court and one of Gateshead's police stations.

 

Current

In 1974, following the Local Government Act 1972, the County Borough of Gateshead was merged with the urban districts of Felling, Whickham, Blaydon and Ryton and part of the rural district of Chester-le-Street to create the much larger Metropolitan Borough of Gateshead.

 

Geography

The town of Gateshead is in the North East of England in the ceremonial county of Tyne and Wear, and within the historic boundaries of County Durham. It is located on the southern bank of the River Tyne at a latitude of 54.57° N and a longitude of 1.35° W. Gateshead experiences a temperate climate which is considerably warmer than some other locations at similar latitudes as a result of the warming influence of the Gulf Stream (via the North Atlantic drift). It is located in the rain shadow of the North Pennines and is therefore in one of the driest regions of the United Kingdom.

 

One of the most distinguishing features of Gateshead is its topography. The land rises 230 feet from Gateshead Quays to the town centre and continues rising to a height of 525 feet at Queen Elizabeth Hospital in Sheriff Hill. This is in contrast to the flat and low lying Team Valley located on the western edges of town. The high elevations allow for impressive views over the Tyne valley into Newcastle and across Tyneside to Sunderland and the North Sea from lookouts in Windmill Hills and Windy Nook respectively.

 

The Office for National Statistics defines the town as an urban sub-division. The latest (2011) ONS urban sub-division of Gateshead contains the historical County Borough together with areas that the town has absorbed, including Dunston, Felling, Heworth, Pelaw and Bill Quay.

 

Given the proximity of Gateshead to Newcastle, just south of the River Tyne from the city centre, it is sometimes incorrectly referred to as being a part of Newcastle. Gateshead Council and Newcastle City Council teamed up in 2000 to create a unified marketing brand name, NewcastleGateshead, to better promote the whole of the Tyneside conurbation.

 

Economy

Gateshead is home to the MetroCentre, the largest shopping mall in the UK until 2008; and the Team Valley Trading Estate, once the largest and still one of the larger purpose-built commercial estates in the UK.

 

Arts

The Baltic Centre for Contemporary Art has been established in a converted flour mill. The Glasshouse International Centre for Music, previously The Sage, a Norman Foster-designed venue for music and the performing arts opened on 17 December 2004. Gateshead also hosted the Gateshead Garden Festival in 1990, rejuvenating 200 acres (0.81 km2) of derelict land (now mostly replaced with housing). The Angel of the North, a famous sculpture in nearby Lamesley, is visible from the A1 to the south of Gateshead, as well as from the East Coast Main Line. Other public art include works by Richard Deacon, Colin Rose, Sally Matthews, Andy Goldsworthy, Gordon Young and Michael Winstone.

 

Traditional and former

The earliest recorded coal mining in the Gateshead area is dated to 1344. As trade on the Tyne prospered there were several attempts by the burghers of Newcastle to annex Gateshead. In 1576 a small group of Newcastle merchants acquired the 'Grand Lease' of the manors of Gateshead and Whickham. In the hundred years from 1574 coal shipments from Newcastle increased elevenfold while the population of Gateshead doubled to approximately 5,500. However, the lease and the abundant coal supplies ended in 1680. The pits were shallow as problems of ventilation and flooding defeated attempts to mine coal from the deeper seams.

 

'William Cotesworth (1668-1726) was a prominent merchant based in Gateshead, where he was a leader in coal and international trade. Cotesworth began as the son of a yeoman and apprentice to a tallow - candler. He ended as an esquire, having been mayor, Justice of the Peace and sheriff of Northumberland. He collected tallow from all over England and sold it across the globe. He imported dyes from the Indies, as well as flax, wine, and grain. He sold tea, sugar, chocolate, and tobacco. He operated the largest coal mines in the area, and was a leading salt producer. As the government's principal agent in the North country, he was in contact with leading ministers.

 

William Hawks originally a blacksmith, started business in Gateshead in 1747, working with the iron brought to the Tyne as ballast by the Tyne colliers. Hawks and Co. eventually became one of the biggest iron businesses in the North, producing anchors, chains and so on to meet a growing demand. There was keen contemporary rivalry between 'Hawks' Blacks' and 'Crowley's Crew'. The famous 'Hawks' men' including Ned White, went on to be celebrated in Geordie song and story.

 

In 1831 a locomotive works was established by the Newcastle and Darlington Railway, later part of the York, Newcastle and Berwick Railway. In 1854 the works moved to the Greenesfield site and became the manufacturing headquarters of North Eastern Railway. In 1909, locomotive construction was moved to Darlington and the rest of the works were closed in 1932.

 

Robert Stirling Newall took out a patent on the manufacture of wire ropes in 1840 and in partnership with Messrs. Liddell and Gordon, set up his headquarters at Gateshead. A worldwide industry of wire-drawing resulted. The submarine telegraph cable received its definitive form through Newall's initiative, involving the use of gutta-percha surrounded by strong wires. The first successful Dover–Calais cable on 25 September 1851, was made in Newall's works. In 1853, he invented the brake-drum and cone for laying cable in deep seas. Half of the first Atlantic cable was manufactured in Gateshead. Newall was interested in astronomy, and his giant 25-inch (640 mm) telescope was set up in the garden at Ferndene, his Gateshead residence, in 1871.

 

Architecture

JB Priestley, writing of Gateshead in his 1934 travelogue English Journey, said that "no true civilisation could have produced such a town", adding that it appeared to have been designed "by an enemy of the human race".

 

Victorian

William Wailes the celebrated stained-glass maker, lived at South Dene from 1853 to 1860. In 1860, he designed Saltwell Towers as a fairy-tale palace for himself. It is an imposing Victorian mansion in its own park with a romantic skyline of turrets and battlements. It was originally furnished sumptuously by Gerrard Robinson. Some of the panelling installed by Robinson was later moved to the Shipley Art gallery. Wailes sold Saltwell Towers to the corporation in 1876 for use as a public park, provided he could use the house for the rest of his life. For many years the structure was essentially an empty shell but following a restoration programme it was reopened to the public in 2004.

 

Post millennium

The council sponsored the development of a Gateshead Quays cultural quarter. The development includes the Gateshead Millennium Bridge, erected in 2001, which won the prestigious Stirling Prize for Architecture in 2002.

 

Former brutalism

The brutalist Trinity Centre Car Park, which was designed by Owen Luder, dominated the town centre for many years until its demolition in 2010. A product of attempts to regenerate the area in the 1960s, the car park gained an iconic status due to its appearance in the 1971 film Get Carter, starring Michael Caine. An unsuccessful campaign to have the structure listed was backed by Sylvester Stallone, who played the main role in the 2000 remake of the film. The car park was scheduled for demolition in 2009, but this was delayed as a result of a disagreement between Tesco, who re-developed the site, and Gateshead Council. The council had not been given firm assurances that Tesco would build the previously envisioned town centre development which was to include a Tesco mega-store as well as shops, restaurants, cafes, bars, offices and student accommodation. The council effectively used the car park as a bargaining tool to ensure that the company adhered to the original proposals and blocked its demolition until they submitted a suitable planning application. Demolition finally took place in July–August 2010.

 

The Derwent Tower, another well known example of brutalist architecture, was also designed by Owen Luder and stood in the neighbourhood of Dunston. Like the Trinity Car Park it also failed in its bid to become a listed building and was demolished in 2012. Also located in this area are the Grade II listed Dunston Staithes which were built in 1890. Following the award of a Heritage Lottery Fund grant of almost £420,000 restoration of the structure is expected to begin in April 2014.

 

Sport

Gateshead International Stadium regularly holds international athletics meetings over the summer months, and is home of the Gateshead Harriers athletics club. It is also host to rugby league fixtures, and the home ground of Gateshead Football Club. Gateshead Thunder Rugby League Football Club played at Gateshead International Stadium until its purchase by Newcastle Rugby Limited and the subsequent rebranding as Newcastle Thunder. Both clubs have had their problems: Gateshead A.F.C. were controversially voted out of the Football League in 1960 in favour of Peterborough United, whilst Gateshead Thunder lost their place in Super League as a result of a takeover (officially termed a merger) by Hull F.C. Both Gateshead clubs continue to ply their trade at lower levels in their respective sports, thanks mainly to the efforts of their supporters. The Gateshead Senators American Football team also use the International Stadium, as well as this it was used in the 2006 Northern Conference champions in the British American Football League.

 

Gateshead Leisure Centre is home to the Gateshead Phoenix Basketball Team. The team currently plays in EBL League Division 4. Home games are usually on a Sunday afternoon during the season, which runs from September to March. The team was formed in 2013 and ended their initial season well placed to progress after defeating local rivals Newcastle Eagles II and promotion chasing Kingston Panthers.

 

In Low Fell there is a cricket club and a rugby club adjacent to each other on Eastwood Gardens. These are Gateshead Fell Cricket Club and Gateshead Rugby Club. Gateshead Rugby Club was formed in 1998 following the merger of Gateshead Fell Rugby Club and North Durham Rugby Club.

 

Transport

Gateshead is served by the following rail transport stations with some being operated by National Rail and some being Tyne & Wear Metro stations: Dunston, Felling, Gateshead Interchange, Gateshead Stadium, Heworth Interchange, MetroCentre and Pelaw.

 

Tyne & Wear Metro stations at Gateshead Interchange and Gateshead Stadium provide direct light-rail access to Newcastle Central, Newcastle Airport , Sunderland, Tynemouth and South Shields Interchange.

 

National Rail services are provided by Northern at Dunston and MetroCentre stations. The East Coast Main Line, which runs from London Kings Cross to Edinburgh Waverley, cuts directly through the town on its way between Newcastle Central and Chester-le-Street stations. There are presently no stations on this line within Gateshead, as Low Fell, Bensham and Gateshead West stations were closed in 1952, 1954 and 1965 respectively.

 

Road

Several major road links pass through Gateshead, including the A1 which links London to Edinburgh and the A184 which connects the town to Sunderland.

 

Gateshead Interchange is the busiest bus station in Tyne & Wear and was used by 3.9 million bus passengers in 2008.

 

Cycle routes

Various bicycle trails traverse the town; most notably is the recreational Keelmans Way (National Cycle Route 14), which is located on the south bank of the Tyne and takes riders along the entire Gateshead foreshore. Other prominent routes include the East Gateshead Cycleway, which connects to Felling, the West Gateshead Cycleway, which links the town centre to Dunston and the MetroCentre, and routes along both the old and new Durham roads, which take cyclists to Birtley, Wrekenton and the Angel of the North.

 

Religion

Christianity has been present in the town since at least the 7th century, when Bede mentioned a monastery in Gateshead. A church in the town was burned down in 1080 with the Bishop of Durham inside.[citation needed] St Mary's Church was built near to the site of that building, and was the only church in the town until the 1820s. Undoubtedly the oldest building on the Quayside, St Mary's has now re-opened to the public as the town's first heritage centre.

 

Many of the Anglican churches in the town date from the 19th century, when the population of the town grew dramatically and expanded into new areas. The town presently has a number of notable and large churches of many denominations.

 

Judaism

The Bensham district is home to a community of hundreds of Jewish families and used to be known as "Little Jerusalem". Within the community is the Gateshead Yeshiva, founded in 1929, and other Jewish educational institutions with international enrolments. These include two seminaries: Beis Medrash L'Morot and Beis Chaya Rochel seminary, colloquially known together as Gateshead "old" and "new" seminaries.

 

Many yeshivot and kollels also are active. Yeshivat Beer Hatorah, Sunderland Yeshiva, Nesivos Hatorah, Nezer Hatorah and Yeshiva Ketana make up some of the list.

 

Islam

Islam is practised by a large community of people in Gateshead and there are 2 mosques located in the Bensham area (in Ely Street and Villa Place).

 

Twinning

Gateshead is twinned with the town of Saint-Étienne-du-Rouvray near Rouen in France, and the city of Komatsu in Japan.

 

Notable people

Eliezer Adler – founder of Jewish Community

Marcus Bentley – narrator of Big Brother

Catherine Booth – wife of William Booth, known as the Mother of The Salvation Army

William Booth – founder of the Salvation Army

Mary Bowes – the Unhappy Countess, author and celebrity

Ian Branfoot – footballer and manager (Sheffield Wednesday and Southampton)

Andy Carroll – footballer (Newcastle United, Liverpool and West Ham United)

Frank Clark – footballer and manager (Newcastle United and Nottingham Forest)

David Clelland – Labour politician and MP

Derek Conway – former Conservative politician and MP

Joseph Cowen – Radical politician

Steve Cram – athlete (middle-distance runner)

Emily Davies – educational reformer and feminist, founder of Girton College, Cambridge

Daniel Defoe – writer and government agent

Ruth Dodds – politician, writer and co-founder of the Little Theatre

Jonathan Edwards – athlete (triple jumper) and television presenter

Sammy Johnson – actor (Spender)

George Elliot – industrialist and MP

Paul Gascoigne – footballer (Newcastle United, Tottenham Hotspur, Lazio, Rangers and Middlesbrough)

Alex Glasgow – singer/songwriter

Avrohom Gurwicz – rabbi, Dean of Gateshead Yeshiva

Leib Gurwicz – rabbi, Dean of Gateshead Yeshiva

Jill Halfpenny – actress (Coronation Street and EastEnders)

Chelsea Halfpenny – actress (Emmerdale)

David Hodgson – footballer and manager (Middlesbrough, Liverpool and Sunderland)

Sharon Hodgson – Labour politician and MP

Norman Hunter – footballer (Leeds United and member of 1966 World Cup-winning England squad)

Don Hutchison – footballer (Liverpool, West Ham United, Everton and Sunderland)

Brian Johnson – AC/DC frontman

Tommy Johnson – footballer (Aston Villa and Celtic)

Riley Jones - actor

Howard Kendall – footballer and manager (Preston North End and Everton)

J. Thomas Looney – Shakespeare scholar

Gary Madine – footballer (Sheffield Wednesday)

Justin McDonald – actor (Distant Shores)

Lawrie McMenemy – football manager (Southampton and Northern Ireland) and pundit

Thomas Mein – professional cyclist (Canyon DHB p/b Soreen)

Robert Stirling Newall – industrialist

Bezalel Rakow – communal rabbi

John William Rayner – flying ace and war hero

James Renforth – oarsman

Mariam Rezaei – musician and artist

Sir Tom Shakespeare - baronet, sociologist and disability rights campaigner

William Shield – Master of the King's Musick

Christina Stead – Australian novelist

John Steel – drummer (The Animals)

Henry Spencer Stephenson – chaplain to King George VI and Queen Elizabeth II

Steve Stone – footballer (Nottingham Forest, Aston Villa and Portsmouth)

Chris Swailes – footballer (Ipswich Town)

Sir Joseph Swan – inventor of the incandescent light bulb

Nicholas Trainor – cricketer (Gloucestershire)

Chris Waddle – footballer (Newcastle United, Tottenham Hotspur and Sheffield Wednesday)

William Wailes – stained glass maker

Taylor Wane – adult entertainer

Robert Spence Watson – public benefactor

Sylvia Waugh – author of The Mennyms series for children

Chris Wilkie – guitarist (Dubstar)

John Wilson - orchestral conductor

Peter Wilson – footballer (Gateshead, captain of Australia)

Thomas Wilson – poet/school founder

Robert Wood – Australian politician

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.

 

www.wien-vienna.at/albertinabaugeschichte.php

A chance encounter with a Torrent in a fast flowing river close to Grey Lake, Patagonia, Chile Viewed from a very wobbly bridge rendered from wood and string.

More slideways speedway action from a meeting at Eastbourne Eagles, back in July last year

For your convenience, E. Hoffmann Price's Jade Pagoda Part 3_Barsoom Badigian, by E. Hoffmann Price, may also be downloaded as a single pdf file from the following link:

 

cthulhuwho1.files.wordpress.com/2012/04/e-hoffmann-prices...

October 12, 2012 – Product Recall – Sunland, Inc. Announces Voluntary Extension of Ongoing Recall To Include Raw and Roasted Shelled and In-Shell Peanuts Due to Possible Health Risk. For additional information, please refer to the company issued press release available on FDA’s web site at www.fda.gov/Safety/Recalls/ucm323824.htm .”

This "easy to sew" robe/housecoat is for both men and women. It features a dropped shoulder, like a kimono. Includes unused set of Asian-Style font monogram transfers. This pattern is uncut and factory folded.

 

Maker: McCalls 2334

Copyright: 1959

Cost Price New - $.50

Size: Large

Breast/Chest: 42-44

Waist: 38-40

 

Pattern Envelope: Discolored some due to age

Pattern Instructions: Included

Pattern Pieces: UNCUT and FACTORY FOLDED INCLUDING TRANSFERS

$3.99 Snakes and Tattoo package is a royalty-free collection of vector design. This HIGHLY detail set includes two HIGHLY detail snakes, set roses, tattoo machines, and a few others. All of these vectors work great with any type of design, add them in as background or foreground elements. This set includes 12 highly detailed vector elements.

 

Purchase and Download Vectors at Bulletproof Vectors

City Palace, Jaipur, which includes the Chandra Mahal and Mubarak Mahal palaces and other buildings, is a palace complex in Jaipur, the capital of the Rajasthan state, India. It was the seat of the Maharaja of Jaipur, the head of the Kachwaha Rajput clan. The Chandra Mahal palace now houses a museum but the greatest part of it is still a royal residence. The palace complex, which is located northeast of the centre of the grid patterned Jaipur city, incorporates an impressive and vast array of courtyards, gardens and buildings. The palace was built between 1729 and 1732, initially by Sawai Jai Singh II, the ruler of Amber. He planned and built the outer walls, and later additions were made by successive rulers right up to the 20th century. The credit for the urban layout of the city and its structures is attributed to two architects namely, Vidyadar Bhattacharya, the chief architect in the royal court and Sir Samuel Swinton Jacob, apart from the Sawai himself who was a keen architectural enthusiast. The architects achieved a fusion of the Shilpa Shastra of Indian architecture with Rajput, Mughal and European styles of architecture.

 

The palace complex lies in the heart of Jaipur city, to the northeast of the very centre. The site for the palace was located on the site of a royal hunting lodge on a plain land encircled by a rocky hill range, five miles south of Amber (city). The history of the city palace is closely linked with the history of Jaipur city and its rulers, starting with Maharaja Sawai Jai Singh II who ruled from 1699-1744. He is credited with initiating construction of the city complex by building the outer wall of the complex spreading over many acres. Initially, he ruled from his capital at Amber, which lies at a distance of 11 kilometres from Jaipur. He shifted his capital from Amber to Jaipur in 1727 because of an increase in population and increasing water shortage. He planned Jaipur city in six blocks separated by broad avenues, on the classical basis of principals of Vastushastra and other similar classical treatise under the architectural guidance of Vidyadar Bhattacharya, a man who was initially an accounts-clerk in the Amber treasury and later promoted to the office of Chief Architect by the King.

 

Following Jaisingh's death in 1744, there were internecine wars among the Rajput kings of the region but cordial relations were maintained with the British Raj. Maharaja Ram Singh sided with the British in the Sepoy Mutiny or Uprising of 1857 and established himself with the Imperial rulers. It is to his credit that the city of Jaipur including all of its monuments (including the City Palace) are stucco painted 'Pink' and since then the city has been called the "Pink City". The change in colour scheme was as an honour of hospitality extended to the Prince of Wales (who later became King Edward VII) on his visit. This colour scheme has since then become a trademark of the Jaipur city.

 

Man Singh II, the adopted son of Maharaja Madho Singh II, was the last Maharaja of Jaipur to rule from the Chandra Mahal palace, in Jaipur. This palace, however, continued to be a residence of the royal family even after the Jaipur kingdom merged with the Indian Union in 1949 (after Indian independence in August 1947) along with other Rajput states of Jodhpur, Jaisalmer and Bikaner. Jaipur became the capital of the Indian state of Rajasthan and Man Singh II had the distinction of becoming the Rajapramukh (present day Governor of the state) for a time and later was the Ambassador of India to Spain.

THE BEATLES: TELECASTS 2017 VOL.3 DVD

March thru June 2017 news, specials and interviews on John, Paul, George and Ringo - band and solo and more!

Includes the latest on the FABS! Julian Lennon Interviews, Beatles Radio Channel promos, Dhani Inducts Jeff Lynne into Rock & Roll Hall of Fame (pro shot),

Revolver 50 with Klaus Voormann Genesis Promos, Leo McKern's Help Films - The One Show, Ringo news and promos, LOVE, Ricahrd Luxh interview,

Beatles in Indiana, Ron Campbell Beatle cartoon artist and more! 38 Chapters 100 Minutes in excellent quality! 16.9 ratio! GREAT DVD and a fun watch!!!

 

01 Eight Days a Week won Best Music Film - Grammy Awards

02 April 19: Ringo Invites You to Peace & Love Birthday Celebration

03 April 25: Julian Lennon Interview Touch The Earth - Travis Smiley

04 April 27: Sgt Pepper at 50 festival in Liverpool - Echo

05 Behind the curtains of Cirque du Soleil's Beatles LOVE - News3

06 April 29: Rob Sheffield on new Beatles Book - Salon

07 April 30: Ringo at LAX Airport LA CA

08 May 2: Beatles Channel – Coming May 18 SiriusXM

09 SiriusXM Starts Beatles Channel - Wochit

10 Lennon The New York Years - Official Trailer

11 Sgt Peppers Meets Star Wars A New Hope - Wochit

12 Toledo Mud Hens' Beatles Night Jerseys in Detroit - WXYZ

13 May 3: Ringo Announcement for Birthday

14 May 4: The Beatles LOVE by Cirque du Soleil ad

15 May 8: Revolver 50 with Klaus Voorman Genesis Promos 1-3

16 Dhani Inducts Jeff Lynne into R'n'R Hall of Fame (pro shot)

17 Nathan East and Ringo - rs site

18 May 9: Sgt Peppers 50th Teazer #5

19 Beatles Radio in 9 Days Ad

20 Mary Hopkins' Beatles concert poster on Auction - Daily Post

21 May 12: Sgt Pepper 50th BBC Special Ad 1

22 Leo McKern's Help Films - The One Show

23 Beatles in India - ARTE

24 Here Comes the Sun Beatles Radio Ad

25 May 14: 6 Days to Beatles Radio Begins - SiriusXM

26 May 15: Recording at Abbey Road with Richard Lush

27 May 16: 2 Days to Beatles Radio Begins - SiriusXM

28 May 16: Whats Your Fave Beatles Song - SiriusXM

29 May 17: 1 Day to Beatles Radio Begins - SiriusXM

30 May 18: The Beatles Channel on SiriusXM

31 Beatles Channel Premiere with Paul & Ringo Messages

32 Robert Morrison on John and Trudeau IN 1969 - CKWS

33 May 23: Unveiling George Harrison Blue Plaque At High Walls

34 George blue plaque unveiled by Pattie Boyd - Get Surrey

35 May 31: On The Beatles Trail with Major Anne Read - Ireland

36 Bob Eubanks Backstage With The Beatles

37 June 2: Ron Campbell in Montana - FOX News

38 Ron Campbell brings works to Missoula - KTVQ News

  

Gatekeepers were about in good numbers at Woods Mill today.

The Lidl Run Kildare Events 2013 were held at the Curragh Racecourse, Newbridge, Co. Kildare, Ireland on Sunday 12th May 2013. There were three events: a 10KM, a half marathon, and a full marathon. This is a selection of photographs which includes all events. The photographs are taken from the start and finish of the marathon, the finish of the 10KM, and the finish of the half marathon. Due to the large numbers participating we did not manage to photograph everyone - which was not helped by the weather. Congratulations to Jo Cawley and her RunKildare crew for another great event. The weather didn't dampen the spirits of the many happy participants.

 

Electronic timing was provided by Red Tag Timing [www.redtagtiming.com/]

 

Overall Race Summary

Participants: There were approximately 3,000 participants over the 3 race events - there were runners, joggers, and walkers participating.

Weather: A cold breezy morning with heavy rain at the start. The weather dried up for the 10KM and the Half Marathon races

Course: This is an undulating course with some good flat stretches on the Curragh.

  

Viewing this on a smartphone device?

If you are viewing this Flickr set on a smartphone and you want to see the larger version(s) of this photograph then: scroll down to the bottom of this description under the photograph and click the "View info about this photo..." link. You will be brought to a new page and you should click the link "View All Sizes".

 

Some Useful Links

GPS Garmin Trace of the Kildare Marathon Route: connect.garmin.com/activity/175709313

Homepage of the Lidl Run Kildare Event: www.kildaremarathon.ie/index.html

Facebook Group page of the Lidl Run Kildare Event: www.facebook.com/RunKildare

Boards.ie Athletics Discussion Board pages about the race series: www.boards.ie/vbulletin/showthread.php?t=2056815306

Our photographs from Run Kildare 2012: www.flickr.com/photos/peterm7/sets/72157629707887620/

Our photographs from Run Kildare 2011: www.flickr.com/photos/peterm7/sets/72157626725200956/

A small selection of photographs from Run Kildare 2010: www.flickr.com/photos/peterm7/sets/72157623899845567/ (first event)

 

Can I use the photograph with the watermark?

Yes! Absolutely - you can post this photograph to your social networks, blogs, micro-blogging, etc.

 

How can I get a full resolution, no watermark, copy of these photographs?

 

All of the photographs here on this Flickr set have a visible watermark embedded in them. All of the photographs posted here on this Flickr set are available, free, at no cost, at full resolution WITHOUT watermark. We take these photographs as a hobby and as a contribution to the running community in Ireland. We do not know of any other photographers who operate such a policy. Our only "cost" is our request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, etc or (2) other websites, web multimedia, commercial/promotional material that you provide a link back to our Flickr page to attribute us. This also extends the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.

 

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 - all we ask is for you to link back to our Flickr set or Flickr pages. Taking the photographs and preparing them for online posting does take a significant effort. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around, send us an email, leave a comment beside the photographs, send us a Flickr email, etc.

 

If you would like to contribute something for your photograph(s)?

Some people offer payment for our photographs. 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 pay for their purchase from other photographic providers 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.

 

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 www.flickr.com/peterm7/sets

  

The Postcard

 

A postally unused postcard published by the Bodleian Library and printed at the Oxford University Press.

 

Percy Bysshe Shelley

 

Percy Bysshe Shelley, who was born on the 4th. August 1792, was one of the major English Romantic poets.

 

A radical in his poetry as well as in his political and social views, Shelley did not achieve fame during his lifetime, but recognition of his achievements in poetry grew steadily following his death, and he became an important influence on subsequent generations of poets, including Robert Browning, Algernon Charles Swinburne, Thomas Hardy, and W. B. Yeats.

 

American literary critic Harold Bloom describes Shelley as:

 

"A superb craftsman, a lyric poet without

rival, and surely one of the most advanced

sceptical intellects ever to write a poem."

 

Shelly's reputation fluctuated during the 20th. century, but in recent decades he has achieved increasing critical acclaim for the sweeping momentum of his poetic imagery, his mastery of genres and verse forms, and the complex interplay of sceptical, idealist, and materialist ideas in his work.

 

Among his best-known works are "Ozymandias" (1818), "Ode to the West Wind" (1819), "To a Skylark" (1820), the philosophical essay "The Necessity of Atheism" written alongside his friend T. J. Hogg (1811), and the political ballad "The Mask of Anarchy" (1819).

 

Shelley's other major works include the verse drama The Cenci (1819) and long poems such as Alastor, or The Spirit of Solitude (1815), Julian and Maddalo (1819), Adonais (1821), Prometheus Unbound (1820) - widely considered his masterpiece - Hellas (1822), and his final, unfinished work, The Triumph of Life (1822).

 

Shelley also wrote prose fiction and a quantity of essays on political, social, and philosophical issues.

 

Much of his poetry and prose was not published in his lifetime, or only published in expurgated form, due to the risk of prosecution for political and religious libel.

 

From the 1820's, his poems and political and ethical writings became popular in Owenist, Chartist, and radical political circles, and later drew admirers as diverse as Karl Marx, Mahatma Gandhi, and George Bernard Shaw.

 

Shelley's life was marked by family crises, ill health, and a backlash against his atheism, political views and defiance of social conventions. He went into permanent self-exile in Italy in 1818, and over the next four years produced what Leader and O'Neill call:

 

"Some of the finest poetry

of the Romantic period".

 

His second wife, Mary Shelley, was the author of Frankenstein.

 

Shelley died in a boating accident in 1822 at the age of 29.

 

Percy Bysshe Shelley - The Early Years

 

Shelley was born at Field Place, Warnham, West Sussex. He was the eldest son of Sir Timothy Shelley (1753–1844), a Whig Member of Parliament for Horsham from 1790 to 1792 and for Shoreham between 1806 and 1812, and his wife, Elizabeth Pilfold (1763–1846), the daughter of a successful butcher.

 

Percy had four younger sisters and one much younger brother. Shelley's early childhood was sheltered and mostly happy. He was particularly close to his sisters and his mother, who encouraged him to hunt, fish and ride.

 

At the age of six, he was sent to a day school run by the vicar of Warnham church, where he displayed an impressive memory and gift for languages.

 

In 1802 he entered the Syon House Academy in Brentford. Shelley was bullied and unhappy at the school, and sometimes responded with violent rage. He also began suffering from the nightmares, hallucinations and sleep walking that were periodically to afflict him throughout his life.

 

Shelley developed an interest in science which supplemented his voracious reading of tales of mystery, romance and the supernatural. During his holidays at Field Place, his sisters were often terrified by being subjected to his experiments with gunpowder, acids and electricity. Back at school he blew up a fence with gunpowder.

 

In 1804, Shelley entered Eton College, a period which he later recalled with loathing. He was subjected to particularly severe mob bullying which the perpetrators called "Shelley-baits".

 

A number of biographers and contemporaries have attributed the bullying to Shelley's aloofness, nonconformity and refusal to take part in fagging. His peculiarities and violent rages earned him the nickname "Mad Shelley".

 

His interest in the occult and science continued, and contemporaries describe him giving an electric shock to a master, blowing up a tree stump with gunpowder and attempting to raise spirits with occult rituals.

 

In his senior years, Shelley came under the influence of a part-time teacher, Dr James Lind, who encouraged his interest in the occult, and introduced him to liberal and radical authors.

 

Shelley also developed an interest in Plato and idealist philosophy which he pursued in later years through self-study. According to Richard Holmes, Shelley, by his leaving year, had gained a reputation as a classical scholar and a tolerated eccentric.

 

In his last term at Eton, his first novel Zastrozzi appeared and he had established a following among his fellow students. Prior to enrolling at University College, Oxford in October 1810, Shelley completed Original Poetry by Victor and Cazire (written with his sister Elizabeth), the verse melodrama The Wandering Jew and the Gothic novel St. Irvine; or, The Rosicrucian: A Romance (published 1811).

 

At Oxford Shelley attended few lectures, instead spending long hours reading and conducting scientific experiments in the laboratory he set up in his room. He met a fellow student, Thomas Jefferson Hogg, who became his closest friend.

 

Shelley became increasingly politicised under Hogg's influence, developing strong radical and anti-Christian views. Such views were dangerous in the reactionary political climate prevailing during Britain's war with Napoleonic France, and Shelley's father warned him against Hogg's influence.

 

In the winter of 1810–1811, Shelley published a series of anonymous political poems and tracts: Posthumous Fragments of Margaret Nicholson, The Necessity of Atheism (written in collaboration with Hogg) and A Poetical Essay on the Existing State of Things.

 

Shelley mailed The Necessity of Atheism to all the bishops and heads of colleges at Oxford, and he was called to appear before the college's fellows, including the Dean, George Rowley. His refusal to answer questions put by college authorities regarding whether or not he authored the pamphlet resulted in his expulsion from Oxford on the 25th. March 1811, along with Hogg.

 

Hearing of his son's expulsion, Shelley's father threatened to cut all contact with Shelley unless he agreed to return home and study under tutors appointed by him. Shelley's refusal to do so led to a falling-out with his father.

 

Shelley's Marriage to Harriet Westbrook

 

In late December 1810, Shelley had met Harriet Westbrook, a pupil at the same boarding school as Shelley's sisters. They corresponded frequently that winter, and also after Shelley had been expelled from Oxford.

 

Shelley expounded his radical ideas on politics, religion and marriage to Harriet, and they gradually convinced each other that she was oppressed by her father and at school.

 

Shelley's infatuation with Harriet developed in the months following his expulsion, when he was under severe emotional strain due to the conflict with his family, his bitterness over the breakdown of his romance with his cousin Harriet Grove, and his unfounded belief that he might be suffering from a fatal illness.

 

At the same time, Harriet Westbrook's elder sister Eliza, to whom Harriet was very close, encouraged the young girl's romance with Shelley. Shelley's correspondence with Harriet intensified in July, while he was holidaying in Wales, and in response to her urgent pleas for his protection, he returned to London in early August.

 

Putting aside his philosophical objections to matrimony, he left with the sixteen-year-old Harriet for Edinburgh on the 25th. August 1811, and they were married there on the 28th.

 

Hearing of the elopement, Harriet's father, John Westbrook, and Shelley's father cut off the allowances of the bride and groom. Shelley's father believed that his son had married beneath him, as Harriet's father had earned his fortune in trade, and was the owner of a tavern and coffee house.

 

Surviving on borrowed money, Shelley and Harriet stayed in Edinburgh for a month, with Hogg living under the same roof. The trio left for York in October, and Shelley went on to Sussex to settle matters with his father, leaving Harriet behind with Hogg.

 

Shelley returned from his unsuccessful excursion to find that Harriet's sister Eliza had moved in with Harriet and Hogg. Harriet confessed that Hogg had tried to seduce her while Shelley had been away. Accordingly Shelley, Harriet and Eliza soon left for Keswick in the Lake District, leaving Hogg in York.

 

At this time Shelley was involved in an intense platonic relationship with Elizabeth Hitchener, a 28-year-old unmarried schoolteacher of advanced views, with whom he had been corresponding. Hitchener, whom Shelley called the "sister of my soul" and "my second self", became his confidante and intellectual companion as he developed his views on politics, religion, ethics and personal relationships.

 

Shelley proposed that Elizabeth join him, Harriet and Eliza in a communal household where all property would be shared.

 

The Shelleys and Eliza spent December and January in Keswick where Shelley visited Robert Southey whose poetry he admired. Southey was taken with Shelley, even though there was a wide gulf between them politically, and predicted great things for him as a poet.

 

Southey also informed Shelley that William Godwin, author of Political Justice, which had greatly influenced him in his youth, and which Shelley also admired, was still alive. Shelley wrote to Godwin, offering himself as his devoted disciple. Godwin, who had modified many of his earlier radical views, advised Shelley to reconcile with his father, become a scholar before he published anything else, and give up his avowed plans for political agitation in Ireland.

 

Meanwhile, Shelley had met his father's patron, Charles Howard, 11th. Duke of Norfolk, who helped secure the reinstatement of Shelley's allowance.

 

With Harriet's allowance also restored, Shelley now had the funds for his Irish venture. Their departure for Ireland was precipitated by increasing hostility towards the Shelley household from their landlord and neighbours who were alarmed by Shelley's scientific experiments, pistol shooting and radical political views.

 

As tension mounted, Shelley claimed he had been attacked in his home by ruffians, an event which might have been real, or a delusional episode triggered by stress. This was the first of a series of episodes in subsequent years where Shelley claimed to have been attacked by strangers during periods of personal crisis.

 

Early in 1812, Shelley wrote, published and personally distributed in Dublin three political tracts: An Address, to the Irish People; Proposals for an Association of Philanthropists; and Declaration of Rights. He also delivered a speech at a meeting of O'Connell's Catholic Committee in which he called for Catholic emancipation, repeal of the Acts of Union and an end to the oppression of the Irish poor. Reports of Shelley's subversive activities were sent to the Home Secretary.

 

Returning from Ireland, the Shelley household travelled to Wales, then Devon, where they again came under government surveillance for distributing subversive literature. Elizabeth Hitchener joined the household in Devon, but several months later had a falling out with the Shelleys and left.

 

The Shelley household settled in Tremadog, Wales in September 1812, where Shelley worked on Queen Mab, a utopian allegory with extensive notes preaching atheism, free love, republicanism and vegetarianism. The poem was published the following year in a private edition of 250 copies, although few were initially distributed, because of the risk of prosecution for seditious and religious libel.

 

In February 1813, Shelley claimed he was attacked in his home at night. The incident might have been real, a hallucination brought on by stress, or a hoax staged by Shelley in order to escape government surveillance, creditors and his entanglements in local politics. The Shelleys and Eliza fled to Ireland, then London.

 

Back in England, Shelley's debts mounted as he tried unsuccessfully to reach a financial settlement with his father. On the 23rd. June 1813, Harriet gave birth to a girl, Eliza Ianthe Shelley, but in the following months the relationship between Shelley and his wife deteriorated.

 

Shelley resented the influence that Harriet's sister had over her, while Harriet was alienated by Shelley's close friendship with an attractive widow, Harriet Boinville, and her daughter Cornelia Turner.

 

Following Ianthe's birth, the Shelleys moved frequently across London, Wales, the Lake District, Scotland and Berkshire to escape creditors and to search for a home.

 

In March 1814, Shelley remarried Harriet in London to settle any doubts about the legality of their Edinburgh wedding and to secure the rights of their child. Nevertheless, the Shelleys lived apart for most of the following months, and Shelley reflected bitterly on:

 

"My rash & heartless union with Harriet".

 

Shelley's Elopement with Mary Godwin

 

In May 1814, Shelley began visiting his mentor William Godwin almost daily, and soon fell in love with Mary, the sixteen-year-old daughter of Godwin and the late feminist author Mary Wollstonecraft.

 

Shelley and Mary declared their love for each other during a visit to her mother's grave in the churchyard of St. Pancras Old Church on the 26th. June 1814. When Shelley told William Godwin that he intended to leave Harriet and live with Godwin's daughter, his mentor banished him from the house, and forbade Mary from seeing him.

 

Shelley and Mary however eloped to Europe on the 28th. July 1814, taking Mary's step-sister Claire Clairmont with them. Before leaving, Shelley had secured a loan of £3,000, but had left most of the funds at the disposal of Godwin and Harriet, who was now pregnant. The financial arrangement with Godwin led to rumours that he had sold his daughters to Shelley.

 

Shelley, Mary Godwin and Claire made their way across war-ravaged France where Shelley wrote to Harriet, asking her to meet them in Switzerland with the money he had left for her.

 

However, hearing nothing from Harriet in Switzerland, and being unable to secure sufficient funds or suitable accommodation, the three travelled to Germany and Holland before returning to England on the 13th. September 1814.

 

Shelley spent the next few months trying to raise loans and avoid bailiffs. Mary was pregnant, lonely, depressed and ill. Her mood was not improved when she heard that, on the 30th. November 1814, Harriet had given birth to Charles Bysshe Shelley, heir to the Shelley fortune and baronetcy.

 

This was followed, in early January 1815, by news that Shelley's grandfather, Sir Bysshe, had died leaving an estate worth £220,000. The settlement of the estate, and a financial settlement between Shelley and his father (now Sir Timothy), however, was not concluded until April the following year.

 

In February 1815, Mary gave premature birth to a baby girl who died ten days later, deepening her depression. In the following weeks, Mary became close to Hogg who temporarily moved into the household.

 

Shelley was almost certainly having a sexual relationship with Claire at this time, and it is possible that Mary, with Shelley's encouragement, was also having a sexual relationship with Hogg. In May Claire left the household, at Mary's insistence, to reside in Lynmouth.

 

In August 1815 Shelley and Mary moved to Bishopsgate where Shelley worked on Alastor, a long poem in blank verse based on the myth of Narcissus and Echo. Alastor was published in an edition of 250 in early 1816 to poor sales and largely unfavourable reviews from the conservative press.

 

On the 24th. January 1816, Mary gave birth to William Shelley. Percy was delighted to have another son, but was suffering from the strain of prolonged financial negotiations with his father, Harriet and William Godwin. Shelley showed signs of delusional behaviour, and was contemplating an escape to the continent.

 

Lord Byron

 

Claire initiated a sexual relationship with Lord Byron in April 1816, just before his self-exile on the continent, and then arranged for Byron to meet Shelley, Mary and her in Geneva.

 

Shelley admired Byron's poetry, and had sent him Queen Mab and other poems. Shelley's party arrived in Geneva in May and rented a house close to Villa Diodati, on the shores of Lake Geneva, where Byron was staying. There Shelley, Byron and the others engaged in discussions about literature, science and "various philosophical doctrines".

 

One night, while Byron was reciting Coleridge's Christabel, Shelley suffered a severe panic attack with hallucinations. The previous night Mary had had a more productive vision or nightmare which inspired her novel Frankenstein.

 

Shelley and Byron then took a boating tour around Lake Geneva, which inspired Shelley to write his "Hymn to Intellectual Beauty", his first substantial poem since Alastor.

 

A tour of Chamonix in the French Alps inspired "Mont Blanc", which has been described as an atheistic response to Coleridge's "Hymn before Sunrise in the Vale of Chamoni". During this tour, Shelley often signed guest books with a declaration that he was an atheist. These declarations were seen by other British tourists, including Southey, which hardened attitudes against Shelley back home.

 

Relations between Byron and Shelley's party became strained when Byron was told that Claire was pregnant with his child. Shelley, Mary, and Claire left Switzerland in late August, with arrangements for the expected baby still unclear, although Shelley made provision for Claire and the baby in his will.

 

In January 1817 Claire gave birth to a daughter by Byron who she named Alba, but later renamed Allegra in accordance with Byron's wishes.

 

Shelley's Marriage to Mary Godwin

 

Shelley and Mary returned to England in September 1816, and in early October they heard that Mary's half-sister Fanny Imlay had killed herself. Mary believed that Fanny had been in love with Shelley, and Shelley himself suffered depression and guilt over her death, writing:

 

"Friend had I known thy secret grief

Should we have parted so."

 

Further tragedy followed in December 1816 when Shelley's estranged wife Harriet drowned herself in the Serpentine in Hyde Park. Harriet, pregnant and living alone at the time, believed that she had been abandoned by her new lover. In her suicide letter she asked Shelley to take custody of their son Charles but to leave their daughter in her sister Eliza's care.

 

Shelley married Mary Godwin on the 30 December 1816, despite his philosophical objections to the institution. The marriage was intended to help secure Shelley's custody of his children by Harriet and to placate Godwin who had refused to see Shelley and Mary because of their previous adulterous relationship.

 

After a prolonged legal battle, the Court of Chancery eventually awarded custody of Shelley and Harriet's children to foster parents, on the grounds that Shelley had abandoned his first wife for Mary without cause, and was an atheist.

 

In March 1817 the Shelleys moved to the village of Marlow, Buckinghamshire, where Shelley's friend Thomas Love Peacock lived. The Shelley household included Claire and her baby Allegra, both of whose presence was resented by Mary. Shelley's generosity with money and increasing debts also led to financial and marital stress, as did Godwin's frequent requests for financial help.

 

On the 2nd. September 1817 Mary gave birth to a daughter, Clara Everina Shelley. Soon after, Shelley left for London with Claire, which increased Mary's resentment towards her step-sister. Shelley was arrested for two days in London over money he owed, and attorneys visited Mary in Marlowe over Shelley's debts.

 

Shelley was part of the literary and political circle that surrounded Leigh Hunt, and during this period he met William Hazlitt and John Keats. Shelley's major work during this time was Laon and Cythna, a long narrative poem featuring incest and attacks on religion.

 

It was hastily withdrawn after publication due to fears of prosecution for religious libel, and was re-edited and reissued as The Revolt of Islam in January 1818. Shelley also published two political tracts under a pseudonym: A Proposal for putting Reform to the Vote throughout the Kingdom (March 1817) and An Address to the People on the Death of Princess Charlotte (November 1817).

 

In December he wrote "Ozymandias", which is considered to be one of his finest sonnets, as part of a competition with friend and fellow poet Horace Smith.

 

Shelley in Italy

 

On the 12th. March 1818 the Shelleys and Claire left England:

 

"To escape its tyranny civil and religious".

 

A doctor had also recommended that Shelley go to Italy for his chronic lung complaint, and Shelley had arranged to take Claire's daughter, Allegra, to her father Byron who was now in Venice.

 

After travelling some months through France and Italy, Shelley left Mary and baby Clara at Bagni di Lucca (in today's Tuscany) while he travelled with Claire to Venice to see Byron and make arrangements for visiting Allegra.

 

Byron invited the Shelleys to stay at his summer residence at Este, and Shelley urged Mary to meet him there. Clara became seriously ill on the journey, and died on the 24th. September 1818 in Venice.

 

Following Clara's death, Mary fell into a long period of depression and emotional estrangement from Shelley.

 

The Shelleys moved to Naples on the 1st. December 1818, where they stayed for three months. During this period Shelley was ill, depressed and almost suicidal: a state of mind reflected in his poem "Stanzas written in Dejection – December 1818, Near Naples".

 

While in Naples, Shelley registered the birth and baptism of a baby girl, Elena Adelaide Shelley (born on the 27th. December 1818), naming himself as the father and falsely naming Mary as the mother.

 

The parentage of Elena has never been conclusively established. Biographers have variously speculated that she was adopted by Shelley to console Mary for the loss of Clara, that she was Shelley's child to Claire, that she was his child to his servant Elise Foggi, or that she was the child of a "mysterious lady" who had followed Shelley to the continent.

 

Shelley registered the birth and baptism on the 27th. February 1819, and the household left Naples for Rome the following day, leaving Elena with carers. Elena died in a poor suburb of Naples on the 9th. June 1820.

 

In Rome, Shelley was in poor health, probably suffering from nephritis and tuberculosis which later was in remission. Nevertheless, he made significant progress on three major works: Julian and Maddalo, Prometheus Unbound, and The Cenci.

 

Julian and Maddalo is an autobiographical poem which explores the relationship between Shelley and Byron, and analyses Shelley's personal crises of 1818 and 1819. The poem was completed in the summer of 1819, but was not published in Shelley's lifetime.

 

Prometheus Unbound is a long dramatic poem inspired by Aeschylus's retelling of the Prometheus myth. It was completed in late 1819 and published in 1820.

 

The Cenci is a verse drama of rape, murder and incest based on the story of the Renaissance Count Cenci of Rome and his daughter Beatrice. Shelley completed the play in September, and the first edition was published that year. It was to become one of his most popular works, and the only one to have two authorised editions during his lifetime.

 

Shelley's three-year-old son William died in June, probably of malaria. The new tragedy caused a further decline in Shelley's health, and deepened Mary's depression. On the 4th. August she wrote:

 

"We have now lived five years together;

and if all the events of the five years

were blotted out, I might be happy".

 

The Shelleys were now living in Livorno where, in September, Shelley heard of the Peterloo Massacre of peaceful protesters in Manchester. Within two weeks he had completed one of his most famous political poems, The Mask of Anarchy, and despatched it to Leigh Hunt for publication. Hunt, however, decided not to publish it for fear of prosecution for seditious libel. The poem was only officially published in 1832.

 

The Shelleys moved to Florence in October, where Shelley read a scathing review of the Revolt of Islam (and its earlier version Laon and Cythna) in the conservative Quarterly Review. Shelley was angered by the personal attack on him in the article which he erroneously believed had been written by Southey. His bitterness over the review lasted for the rest of his life.

 

On the 12th. November, Mary gave birth to a boy, Percy Florence Shelley. Around the time of Percy's birth, the Shelleys met Sophia Stacey, who was a ward of one of Shelley's uncles, and who was staying at the same pension as the Shelleys.

 

Sophia, a talented harpist and singer, formed a friendship with Shelley while Mary was preoccupied with her newborn son. Shelley wrote at least five love poems and fragments for Sophia including "Song Written for an Indian Air".

 

The Shelleys moved to Pisa in January 1820, ostensibly to consult a doctor who had been recommended to them. There they became friends with the Irish republican Margaret Mason (Lady Margaret Mountcashell) and her common-law husband George William Tighe. Mrs Mason became the inspiration for Shelley's poem "The Sensitive Plant", and Shelley's discussions with Mason and Tighe influenced his political thought and his critical interest in the population theories of Thomas Malthus.

 

In March Shelley wrote to friends that Mary was depressed, suicidal and hostile towards him. Shelley was also beset by financial worries, as creditors from England pressed him for payment and he was obliged to make secret payments in connection with his "Neapolitan charge" Elena.

 

Meanwhile, Shelley was writing A Philosophical View of Reform, a political essay which he had begun in Rome. The unfinished essay, which remained unpublished in Shelley's lifetime, has been called:

 

"One of the most advanced and

sophisticated documents of political

philosophy in the nineteenth century".

 

Another crisis erupted in June when Shelley claimed that he had been assaulted in the Pisan post office by a man accusing him of foul crimes. Shelley's biographer James Bieri suggests that this incident was possibly a delusional episode brought on by extreme stress, as Shelley was being blackmailed by a former servant, Paolo Foggi, over baby Elena.

 

It is likely that the blackmail was connected with a story spread by another former servant, Elise Foggi, that Shelley had fathered a child to Claire in Naples and had sent it to a foundling home. Shelley, Claire and Mary denied this story, and Elise later recanted.

 

In July, hearing that John Keats was seriously ill in England, Shelley wrote to the poet inviting him to stay with him at Pisa. Keats replied with hopes of seeing him, but instead, arrangements were made for Keats to travel to Rome.

 

In early July 1820, Shelley heard that baby Elena had died on 9 June. In the months following the post office incident and Elena's death, relations between Mary and Claire deteriorated, and Claire spent most of the next two years living separately from the Shelleys, mainly in Florence.

 

That December Shelley met Teresa (Emilia) Viviani, who was the 19-year-old daughter of the Governor of Pisa and who was living in a convent awaiting a suitable marriage. Shelley visited her several times over the next few months, and they started a passionate correspondence which dwindled after her marriage the following September. Emilia was the inspiration for Shelley's major poem Epipsychidion.

 

In March 1821 Shelley completed "A Defence of Poetry", a response to Peacock's article "The Four Ages of Poetry". Shelley's essay, with its famous conclusion "Poets are the unacknowledged legislators of the world", remained unpublished in his lifetime.

 

Following the death of Keats in 1821, Shelley wrote Adonais, which is considered to be one of the major pastoral elegies. The poem was published in Pisa in July 1821, but sold few copies.

 

Shelley went alone to Ravenna in early August to see Byron, making a detour to Livorno for a rendezvous with Claire. Shelley stayed with Byron for two weeks and invited the older poet to spend the winter in Pisa. After Shelley heard Byron read his newly completed fifth canto of Don Juan he wrote to Mary:

 

"I despair of rivalling Byron."

 

In November Byron moved into Villa Lanfranchi in Pisa, just across the river from the Shelleys. Byron became the centre of the "Pisan circle" which was to include Shelley, Thomas Medwin, Edward Williams and Edward Trelawny.

 

In the early months of 1822, Shelley became increasingly close to Jane Williams, who was living with her partner Edward Williams in the same building as the Shelleys.

 

Shelley wrote a number of love poems for Jane, including "The Serpent is Shut out of Paradise" and "With a Guitar, to Jane". Shelley's obvious affection for Jane was to cause increasing tension between Shelley, Edward Williams and Mary.

 

Claire arrived in Pisa in April at Shelley's invitation, and soon after they heard that her daughter Allegra had died of typhus in Ravenna. The Shelleys and Claire then moved to Villa Magni, near Lerici on the shores of the Gulf of La Spezia.

 

Shelley acted as mediator between Claire and Byron over arrangements for the burial of their daughter, and the added strain led to Shelley having a series of hallucinations.

 

Mary almost died from a miscarriage on the 16th, June, her life only being saved by Shelley's effective first aid. Two days later Shelley wrote to a friend that there was no sympathy between Mary and him, and if the past and future could be obliterated he would be content in his boat with Jane and her guitar.

 

That same day he also wrote to Trelawny asking for prussic acid. The following week, Shelley woke the household with his screaming over a nightmare or hallucination in which he saw Edward and Jane Williams as walking corpses, and himself strangling Mary.

 

During this time, Shelley was writing his final major poem, the unfinished The Triumph of Life, which Harold Bloom has called:

 

"The most despairing poem he wrote".

 

The Death of Shelley

 

On the 1st. July 1822, Shelley and Edward Williams sailed in Shelley's new boat the Don Juan to Livorno where Shelley met Leigh Hunt and Byron in order to make arrangements for a new journal, The Liberal.

 

After the meeting, on the 8th. July, Shelley, Williams and their boat boy sailed out of Livorno for Lerici. A few hours later, the Don Juan and its inexperienced crew were lost in a storm. The vessel, an open boat, had been custom-built in Genoa for Shelley.

 

Mary Shelley declared in her "Note on Poems of 1822" that the design had a defect, and that the boat was never seaworthy. In fact, however, the Don Juan was overmasted; the sinking was due to a severe storm and poor seamanship of the three men on board.

 

Shelley's badly decomposed body washed ashore at Viareggio ten days later, and was identified by Trelawny from the clothing and a copy of Keats's Lamia in a jacket pocket. On the 16th. August, his body was cremated on a beach near Viareggio, and the ashes were buried in the Protestant Cemetery of Rome.

 

When news of Shelley's death reached England, the Tory London newspaper The Courier printed:

 

"Shelley, the writer of some infidel poetry,

has been drowned; now he knows whether

there is God or no."

 

Shelley's ashes were reburied in a different plot at the cemetery in 1823. His grave bears the Latin inscription Cor Cordium (Heart of Hearts), and a few lines of "Ariel's Song" from Shakespeare's The Tempest:

 

'Nothing of him that doth fade

But doth suffer a sea change

Into something rich and strange'.

 

When Shelley's body was cremated on the beach, his presumed heart resisted burning, and was retrieved by Trelawny. The heart was possibly calcified from an earlier tubercular infection, or was perhaps his liver.

 

Trelawny gave the scorched organ to Hunt, who preserved it in spirits of wine and refused to hand it over to Mary. He finally relented, and the heart was eventually buried either at St Peter's Church, Bournemouth or in Christchurch Priory. Hunt also retrieved a piece of Shelley's jawbone which, in 1913, was given to the Shelley-Keats Memorial in Rome.

 

Shelley's Political, Religious and Ethical views

 

-- Politics

 

Shelley was a political radical who was influenced by thinkers such as Rousseau, Paine, Godwin, Wollstonecraft, and Leigh Hunt. He advocated Catholic Emancipation, republicanism, parliamentary reform, the extension of the franchise, freedom of speech and peaceful assembly, an end to aristocratic and clerical privilege, and a more equal distribution of income and wealth.

 

The views he expressed in his published works were often more moderate than those he advocated privately, because of the risk of prosecution for seditious libel and his desire not to alienate more moderate friends and political allies. Nevertheless, his political writings and activism brought him to the attention of the Home Office, and he came under government surveillance at various periods.

 

Shelley's most influential political work in the years immediately following his death was the poem Queen Mab, which included extensive notes on political themes. The work went through 14 official and pirated editions by 1845, and became popular in Owenist and Chartist circles. His longest political essay, A Philosophical View of Reform, was written in 1820, but not published until 1920.

 

-- Nonviolence

 

Shelley's advocacy of nonviolent resistance was largely based on his reflections on the French Revolution and the rise of Napoleon, and his belief that violent protest would increase the prospect of a military despotism.

 

Although Shelley sympathised with supporters of Irish independence, he did not support violent rebellion. In his early pamphlet An Address, to the Irish People (1812) he wrote:

 

"I do not wish to see things changed now,

because it cannot be done without violence,

and we may assure ourselves that none of

us are fit for any change, however good, if

we condescend to employ force in a cause

we think right."

 

In his later essay A Philosophical View of Reform, Shelley did concede that there were political circumstances in which force might be justified:

 

"The last resort of resistance is undoubtably [sic] insurrection. The right of insurrection is derived

from the employment of armed force to counteract

the will of the nation."

 

Shelley supported the 1820 armed rebellion against absolute monarchy in Spain, and the 1821 armed Greek uprising against Ottoman rule.

 

Shelley's poem "The Mask of Anarchy" (written in 1819, but first published in 1832) has been called:

 

"Perhaps the first modern statement of

the principle of nonviolent resistance".

 

Gandhi was familiar with the poem, and it is possible that Shelley had an indirect influence on Gandhi through Henry David Thoreau's Civil Disobedience.

 

-- Religion

 

Shelley was an avowed atheist, who was influenced by the materialist arguments in Holbach's Le Système de la Nature. His atheism was an important element of his political radicalism, as he saw organised religion as inextricably linked to social oppression.

 

The overt and implied atheism in many of his works raised a serious risk of prosecution for religious libel. His early pamphlet The Necessity of Atheism was withdrawn from sale soon after publication following a complaint from a priest. His poem Queen Mab, which includes sustained attacks on the priesthood, Christianity and religion in general, was twice prosecuted by the Society for the Suppression of Vice in 1821. A number of his other works were edited before publication to reduce the risk of prosecution.

 

-- Free Love

 

Shelley's advocacy of free love drew heavily on the work of Mary Wollstonecraft and the early work of William Godwin. In his notes to Queen Mab, he wrote:

 

"A system could not well have been

devised more studiously hostile to

human happiness than marriage."

 

He argued that:

 

"The children of unhappy marriages

are nursed in a systematic school of

ill-humour, violence and falsehood".

 

Shelley believed that the ideal of chastity outside marriage was "a monkish and evangelical superstition" which led to the hypocrisy of prostitution and promiscuity.

 

Shelley believed that "sexual connection" should be free among those who loved each other, and last only as long as their mutual love. Love should also be free, and not subject to obedience, jealousy and fear.

 

He denied that free love would lead to promiscuity and the disruption of stable human relationships, arguing that relationships based on love would generally be of long duration and marked by generosity and self-devotion.

 

When Shelley's friend T. J. Hogg made an unwanted sexual advance to Shelley's first wife Harriet, Shelley forgave him of his "horrible error" and assured him that he was not jealous. It is very likely that Shelley encouraged Hogg and Shelley's second wife Mary to have a sexual relationship.

 

-- Vegetarianism

 

Shelley converted to a vegetable diet in early March 1812 and sustained it, with occasional lapses, for the remainder of his life. Shelley's vegetarianism was influenced by ancient authors such as Hesiod, Pythagoras, Socrates, Plato, Ovid and Plutarch, but more directly by John Frank Newton, author of The Return to Nature, or, A Defence of the Vegetable Regimen (1811).

 

Shelley wrote two essays on vegetarianism: A Vindication of Natural Diet (1813) and "On the Vegetable System of Diet" (written circa 1813–1815, but first published in 1929).

 

William Owen Jones argues that Shelley's advocacy of vegetarianism was strikingly modern, emphasising its health benefits, the alleviation of animal suffering, the inefficient use of agricultural land involved in animal husbandry, and the economic inequality resulting from the commercialisation of animal food production. Shelley's life and works inspired the founding of the Vegetarian Society in England (1847) and directly influenced the vegetarianism of George Bernard Shaw and perhaps Gandhi.

 

Reception and Influence of Shelley's Work

 

Shelley's work was not widely read in his lifetime outside a small circle of friends, poets and critics. Most of his poetry, drama and fiction was published in editions of only 250 copies which generally sold poorly. Only The Cenci went to an authorised second edition while Shelley was alive – in contrast, Byron's The Corsair (1814) sold out its first edition of 10,000 copies in one day.

 

The initial reception of Shelley's work in mainstream periodicals (with the exception of the liberal Examiner) was generally unfavourable. Reviewers often launched personal attacks on Shelley's private life and political, social and religious views, even when conceding that his poetry contained beautiful imagery and poetic expression.

 

There was also criticism of Shelley's intelligibility and style, Hazlitt describing it as:

 

"A passionate dream, a straining

after impossibilities, a record of fond

conjectures, a confused embodying

of vague abstraction".

 

Shelley's poetry soon however gained a wider audience in radical and reformist circles. Queen Mab became popular with Owenists and Chartists, and Revolt of Islam influenced poets sympathetic to the workers' movement such as Thomas Hood, Thomas Cooper and William Morris.

 

However, Shelley's mainstream following did not develop until a generation after his death. Bieri argues that editions of Shelley's poems published in 1824 and 1839 were edited by Mary Shelley to highlight her late husband's lyrical gifts and downplay his radical ideas. Matthew Arnold famously described Shelley as a "beautiful and ineffectual angel".

 

Shelley was a major influence on a number of important poets in the following decades, including Robert Browning, Swinburne, Hardy and Yeats. Shelley-like characters frequently appeared in nineteenth-century literature, such as Scythrop in Peacock's Nightmare Abbey, Ladislaw in George Eliot's Middlemarch, and Angel Clare in Hardy's Tess of the d'Urbervilles.

 

Twentieth-century critics such as Eliot, Leavis, Allen Tate and Auden variously criticised Shelley's poetry for deficiencies in style, "repellent" ideas, and immaturity of intellect and sensibility.

 

However, Shelley's critical reputation rose from the 1960's as a new generation of critics highlighted Shelley's debt to Spenser and Milton, his mastery of genres and verse forms, and the complex interplay of sceptical, idealist and materialist ideas in his work.

 

American literary critic Harold Bloom describes him as:

 

"A superb craftsman, a lyric poet

without rival, and surely one of the

most advanced sceptical intellects

ever to write a poem".

 

According to Donald H. Reiman:

 

"Shelley belongs to the great tradition

of Western writers that includes Dante,

Shakespeare and Milton".

 

John Lauritsen and Charles E. Robinson have argued that Shelley's contribution to Mary Shelley's novel Frankenstein was extensive, and that he should be considered a collaborator or co-author.

 

However Professor Charlotte Gordon and others have disputed this contention. Fiona Sampson has said:

 

"In recent years Percy's corrections, visible

in the Frankenstein notebooks held at the

Bodleian Library in Oxford, have been

seized on as evidence that he must have

at least co-authored the novel. In fact, when

I examined the notebooks myself, I realised

that Percy did rather less than any line editor

working in publishing today."

 

Thoughts From Percy Shelley

 

"The soul's joy lies in doing."

 

"I have drunken deep of joy, And

I will taste no other wine tonight."

 

"A poet is a nightingale, who sits in

darkness and sings to cheer its own

solitude with sweet sounds."

 

"War is the statesman's game, the

priest's delight, the lawyer's jest,

the hired assassin's trade."

 

"Soul meets soul on lovers' lips."

 

"Fear not for the future,

weep not for the past."

 

"Our sincerest laughter with some

pain is fraught; Our sweetest songs

are those that tell of saddest thought."

 

"O, wind, if winter comes, can

can spring be far behind?"

The instruments include various hooks, blades, probes, knifes, forceps, but also a balance, boxes, a sponge, flasks and sachets, two amulets in shape of the wadjet eyes, and a case for instruments. The whole set apparently forms part of medical realia, used by ancient Egyptian (and Roman) physicians in their practice.

 

Some scholars (Porter, Moss 1939: 180 (no. 228), Hölbl 2000: 96–97) have attributed this scene to the reign of Emperor Marcus Aurelius (161–180 CE), but since the name of the pharaoh depicted is nowhere mentioned on the relief, this is far from certain.

 

Source: COPPENS, FILIP, and HANA VYMAZALOVÁ. "MEDICINE, MATHEMATICS AND MAGIC UNITE IN A SCENE FROM THE TEMPLE OF KOM OMBO (KO 950)." Anthropologie (1962-) 48, no. 2 (2010)

As always NEoN celebrates its festival with a late night party. Acts include Plastique Fantastique, Verity Brit & Musician U, Fallope & The Tubes and Resident DJ RHL. With a pop up bar and performances amongst our large group exhibition the vast factory space West Ward Works, this night promises to be a visual audible delight.

 

Plastique Fantastique (UK)

 

A performance fiction envisaged as a group of human and non-human avatars delivering communiqués from the past and the future. The communiqués are channelled through installations, writing, comics and sound and moving image work and performances, addressing technology, popular and mass media and sacred cultures and also human-machine animals and non-human entities and agents. Over several years, numerous people have produced Plastique Fantastique but there is also a core group producing the performance fiction. Plastique Fantastique was first presented by David Burrows and Simon O’Sullivan and developed with long-term collaborators Alex Marzeta and Vanessa Page, and more recently with Mark Jackson. For NE0N 2017, this group will call forth and trap a bit-coin-fairy-spirit to ask it seems questions. The performance – Plastique Fantastique Protocols for the Society for Cutting Up Mun-knee-snakers (S.C.U.M.): I-Valerie-Solaris-AKA-@32ACP-Amazon.co.uk-recommends-‘Pacific-Rim’ may/may-not shoot b1t-c0in-f@iry-sp1r1t) – uses drone-folk-songs, moving image projection, reliquaries and ritual to manifest the block-chain-spirit.

 

David Burrows, Alex Marzeta, Vanessa Page and Mark Jackson will be performing.

  

Rites of the Zeitgeber, Verity Brit & Musician ‘U’ (UK)

 

9 channel video installation, live score performed by musician ‘U’

 

The Zeitgeber (‘time giver’ or ‘synchroniser’) is honoured by a triadic henge of stacked CRT monitors in which past durations collide with future vacuums. Strange extra-terrestrial topographies are traversed across geological time and the internet. Curious substances are unearthed and lost languages resurrected. Fragments from Mina Loy, J. G. Ballard and Henri Bergson emerge amongst an archaeology of media from Super 8, VHS, to HD. Time bends from matter, history is up-set and the clock is obsolete.

 

Verity Birt an artist based in London. She studied an MA in Moving Image at the Royal College of Art (2013–2015) and BA in Art Practice at Goldsmiths University of London (2008–2011). She is involved with collaborative research groups; The Future is a Collective Project, Reconfiguring Ruins and a founding member of women artists collective Altai. This summer, Verity was artist in residence at BALTIC and The Newbridge Project in Newcastle. Previous exhibitions include: Our House of Common Weeds; Res. Gallery, London (2017); Relics from the De-crypt | Gossamer Fog Gallery London (2017), Altai in Residence, Experiments in Collective Practice, Dyson Gallery, London (2017); Chemhex Extract, Peacock Visual Arts, Aberdeen (2016); Feeling Safer, IMT Gallery, London and Gallery North, New York (2016); Come to Dust, Generator Projects, Dundee (2016)

  

Fallopé & The Tubes (UK)

 

A weirdo-punk performance band. Each live show features live humans! film and visuals! costumes! sculpture! visual props! and music/a sequence of sounds!

 

Fallopé and The Tubes is a fluctuating live musical and performative event with contributions from Sarah Messenger, Ruby Pester, Nadia Rossi, Rachel Walker, Catherine Weir, Emma McIntyre and Skye Renee Foley. The group are made up of Scottish based artists and musicians that are also filmmakers, festival organisers, librarians, boatbuilders and more who work collaboratively to devise live performances. Drawing influence from a wide range of fringe and mainstream musical genres, exploring sexuality, elements of social satire, self promotion and leftist political ideologies.

 

The group was established in January 2014 at Insriach Bothy, Aviemore and have developed their practice during numerous residency experiences across Scotland. By living and working together ‘off grid’ the group have developed experimental techniques to create a collective energy. Fallopé & The Tubes draw influence from a wide range of fringe and mainstream musical genres, as well as sexuality, elements of social satire and self promotion and leftist political ideologies. Soakin Records

  

DJ RHL (UK)

 

Resident NEoN DJ has been entertaining us since 2010. Djing for about 25 years, he predominately plays Techno but you often find him playing anything dance music related. Spinning old school vinyl sets containing an eclectic mix of old and new stuff. RHL just likes making people dance. Check here for past performances.

 

Accompanying DJ RHL is ‘The Wanderer‘ aka Naomi Lamb. Naomi works layers of diverse video loops into an ever evolving collage colours textures and shape and intuitively mixies visuals live. She improvises, freestyles and channels the room, customising the ephemeral moving collage in response to the tone of the happening.

 

For the past 20 years Naomi has been a prolific live video art performer utilising techniques and process that is often associated with the ever growing subculture of VJing and presents under the name of ‘The Wander’. Naomi has an intimate knowledge of not only the process of live video performance but also an wide reaching connections within the VJ community and has performed at many of the leading outdoor music and art festivals in New Zealand with a debut at two English Festivals this summer and she is super please for her first time mixing it up in Scotland to be at NEoN. “

  

AGK Booth

 

Yuck ’n Yum hereby invites you to attend the Annual General Karaoke booth at this year’s NEoN at Night. The AGK is a fiercely contested karaoke video competition, getting creative types to make videos that will shock, delight and confound its audience. First staged back in 2010, over the years the AGK has built up a sizeable back catalogue of singalong anthems encompassing everything from pop classics to the most extreme avant garde out there. Now Yuck ’n Yum will bring the AGK archive to NEoN revellers in an audiovisual extravaganza that will overturn everything you ever thought you knew about karaoke convention. This November, Yuck ’n Yum together with NEoN are making a song and dance about it.

 

About the Artists Yuck ‘n Yum is a curatorial collective formed in Dundee 2008. Until 2013 its main raison d’etre was to make zines and distribute art. The AGK booth is the first of three projects that will kick start a period of activity after a couple of years of hibernation.

 

Yuck ‘n Yum are Andrew Maclean, Gayle Meikle, Ben Robinson, Alexandra Ross, Alex Tobin, Becca Clark and Morgan Cahn.

 

WEST WARD WORKS

Guthrie Street

DD1 5BR

 

Images: NEoN

History of the Vienna Philharmonic

The orchestra of the Vienna Philharmonic was founded on March 28, 1842. It was founded by the German composer Otto Nicolai, whose creations include the opera "The Merry Wives of Windsor". Nearly a century later, the club was dissolved in December 1938 during the Nazi period by the law on the "transfer and incorporation of clubs, organizations and associations" for the time being and the assets fell to the State Theater and the Stage Academy of the City of Vienna. This was, however, a few days later at the urging of the conductor and musicologist Dr. Heinz Drewes largely reversed. Dr. Drewes was the leader of the "entire German musical life" and so he used his influence on the Reich propaganda minister Goebbels. Ultimately, Goebbels decreed in June 1939 that the Vienna Philharmonic as an association should retain their most extensive independence on the condition that the club is subject to his supervision and that the articles of association regarding the National Socialist principles is changed. Thus, the club's assets were released again.

In 1939, the idea of ​​the New Year's Concert, at which time only the music of Johann Strauss was played, was born. This concert series of the New Year's Concert has become one of the cultural highlights of the year and is always broadcast live on television. The magnificent pictures from Vienna are accompanied, among other things, by fantastic flowers and dance performances by the Wiener Ballett. With the end of the Second World War, the Vienna Philharmonic Orchestra once again became completely independent and the orchestra played two major concert evenings right after the liberation of Vienna in April 1945. A special focus is still the position of the conductor at the Vienna Philharmonic. Because until 1933, the orchestra was directed by a single conductor every season. From 1933 there were only guest conductors. Great merits in the early years had especially the conductors Arturo Toscanini from 1933 to 1937 and intermittently from 1933 to 1954 Wilhelm Furtwängler. Herbert von Karajan, Karl Böhm, Paul Hindemith and Daniel Barenboim are among the famous guest conductors. Also as a guest conductor conducted from 1966, the later honorary member Leonard Bernstein repeatedly the orchestra. One of Leonard Bernstein's most outstanding works in collaboration with the Vienna Philharmonic is, for example, the adaptation of the works of Gustav Mahler, who himself had directed the orchestra from 1898 to 1901 for three years as a subscription conductor to the Vienna Philharmonic.

Vienna Philharmonic coins

Appropriately to the Vienna Philharmonic, the Austrian Mint, which mints all coins in Austria, has been issuing a bullion every year since 1989, which after the orchestra precisely is called the Vienna Philharmonic. At first, the coins were pure gold. Since 2008 there is also an annual silver version. Their value does not correspond to the nominal value, but the Vienna Philharmonic is a bullion coin whose value depends on the current precious metal value. The motif of the Vienna Philharmonic is always the same. The front of the Vienna Philharmonic Münze designed by Thomas Pesendorfer shows some of the classical orchestral instruments such as bassoon, horn, harp and four violins, as well as a cello in the middle. The reverse shows the organ, which is located in the Golden Hall of the Wiener Musikverein. Only the respective year is changed. The coin is now available in four sizes. As a special coinage, a 1000-ounce coin, the so-called "Big Phil", was released in 2004 on the occasion of the 15th anniversary, and another coin in 2009 for the 20th anniversary. Both are traded as collectors' items because of the limited edition and are therefore more expensive than the actual precious metal value.

 

Geschichte der Wiener Philharmoniker

Das Orchester der Wiener Philharmoniker wurde am 28. März 1842 gegründet. Ins Leben gerufen hatte es der deutsche Komponist Otto Nicolai, aus dessen Feder unter anderem die Oper "Die lustigen Weiber von Windsor" stammt. Knapp ein Jahrhundert später wurde der Verein im Dezember 1938 in der NS-Zeit durch das Gesetz zur "Überleitung und Eingliederung von Vereinen, Organisationen und Verbänden" vorerst aufgelöst und das Vermögen fiel dem Staatstheater und der Bühnenakademie der Stadt Wien zu. Dies wurde jedoch wenige Tage später auf Drängen des Dirigenten und Musikwissenschaftlers Dr. Heinz Drewes größtenteils wieder rückgängig gemacht. Dr. Drewes war der Leiter des "gesamten deutschen Musiklebens" und so nutzte er seinen Einfluss auf den Reichspropagandaminister Goebbels. Letztlich verfügte Goebbels im Juni 1939, dass die Wiener Philharmoniker als Verein ihre weitestgehende Selbständigkeit behalten sollten unter der Bedingung, dass der Verein seiner Aufsicht unterstellt wird dass die Vereinssatzung hinsichtlich der nationalsozialistischen Grundsätze geändert wird. Damit wurde auch das Vereinsvermögen wieder frei gegeben.

Im Jahr 1939 entstand zugleich die Idee des Neujahrskonzerts, bei dem damals ausschließlich die Musik von Johann Strauss gespielt wurde. Diese Konzertreihe des Neujahrskonzerts ist inzwischen einer der kulturellen Höhepunkte des Jahres und wird immer live im Fernsehen übertragen. Die prächtigen Bilder aus Wien werden unter anderem untermalt durch phantastische Blumen und Tanzeinlagen des Wiener Balletts. Mit dem Ende des Zweiten Weltkriegs wurde der Verein der Wiener Philharmoniker wieder komplett unabhängig und das Orchester spielte gleich nach der Befreiung von Wien im April 1945 zwei große Konzertabende. Ein ganz besonderer Augenmerk gilt noch der Stelle des Dirigenten bei den Wiener Philharmonikern. Denn bis zum Jahr 1933 wurde das Orchester jede Saison von einem einzigen Dirigenten geleitet. Ab 1933 gab es nur noch Gastdirigenten. Große Verdienste hatten in den Anfangsjahren vor allem die Dirigenten Arturo Toscanini von 1933 bis 1937 und mit Unterbrechungen von 1933 bis 1954 Wilhelm Furtwängler. Zu den berühmten Gastdirigenten zählen unter anderem Herbert von Karajan, Karl Böhm, Paul Hindemith oder Daniel Barenboim. Ebenfalls als Gastdirigent leitete ab 1966 das spätere Ehrenmitglied Leonard Bernstein mehrfach das Orchester. Zu den herausragendsten Werken von Leonard Bernstein in Zusammenarbeit mit den Wiener Philharmonikern zählt beispielsweise die Bearbeitung der Werke von Gustav Mahler, der von 1898 bis 1901 selbst drei Jahre lang als Abonnementdirigent der Wiener Philharmoniker das Orchester geleitet hatte.

Wiener Philharmoniker Münzen

Passend zu den Wiener Philharmonikern gibt die Münze Österreich, die alle Münzen in Österreich prägt, seit dem Jahr 1989 jedes Jahr eine Anlagemünze heraus, die nach dem Orchester eben der Wiener Philharmoniker genannt wird. Zunächst waren die Münzen aus reinem Gold. Seit 2008 gibt es auch eine jährliche Silberversion. Ihr Wert entspricht nicht dem reinen Nennwert, sondern der Wiener Philharmoniker ist eine Bullionmünze, deren Wert sich nach dem aktuellen Edelmetallwert richtet. Das Motiv des Wiener Philharmoniker ist immer gleich. Die Vorderseite der von Thomas Pesendorfer gestalteten Wiener Philharmoniker Münze zeigt einige der klassischen Orchesterinstrumente wie Fagott, Horn, Harfe und dazu vier Geigen sowie in der Mitte ein Cello. Die Rückseite zeigt die Orgel, die sich im Goldenen Saal vom Wiener Musikverein befindet. Geändert wird nur das jeweilige Prägejahr. Die Münze gibt es inzwischen in vier Größen zu kaufen. Als Sonderprägungen erschien 2004 zum 15-jährigen Jubiläum eine 1000-Unzen-Münze, der sogenannte "Big Phil", und 2009 zum 20-jährigen Jubiläum eine weitere Münze. Beide werden wegen der limitierten Auflage als Sammlerobjekte gehandelt und sind daher teurer als der eigentliche Edelmetallwert.

www.geschichte-oesterreich.com/musik/wiener_philharmonike...

+++ DISCLAIMER +++

Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!

  

Some background:

The Bell AH-1 SuperCobra is a twin-engined attack helicopter that was developed on behalf of, and primarily operated by, the United States Marine Corps (USMC). The twin Cobra family, itself part of the larger Huey family, includes the AH-1J SeaCobra, the AH-1T Improved SeaCobra, and the AH-1W SuperCobra. The Super Cobra was derived from the single-engine AH-1 Cobra, which had been developed during the mid-1960s as an interim gunship for the U.S. Army. The USMC had quickly taken an interest in the type but sought a twin-engine arrangement for greater operational safety at sea, along with more capable armaments. While initially opposed by the Department of Defense, who were keen to promote commonality across the services, in May 1968, an order for an initial 49 twin-engine AH-1J SeaCobras was issued to Bell. The type entered service during the final months of the US's involvement in the Vietnam War, seeing limited action in the theatre as a result.

 

The USMC promptly sought greater payload capacity than that provided by the original Sea Cobra; thus the AH-1T, equipped with the dynamic systems of the Model 309 and a lengthened fuselage, was produced by Bell during the 1970s. In the following decade, in response to the denial of funding to procure the Boeing AH-64 Apache attack helicopter, the USMC opted to procure a more capable variant of the AH-1T; equipped with revised fire control systems compatible with new munitions, such as the AGM-114 Hellfire anti-tank missile, the new model, designated AH-1W, commenced delivery in 1986.

 

In the early 1980s, the Marine Corps sought a new navalized helicopter. Accordingly, it evaluated the Boeing AH-64 Apache attack helicopter as first choice over a two-week period in September 1981, which included shipboard operation tests. Furthermore, various concepts were studied at this time. However, the service's request for funding to purchase the AH-64 was denied by Congress that same year. As an alternative option, the Marines procured a more powerful version of the AH-1T. Other changes included modified fire control systems to carry and fire AIM-9 Sidewinder and AGM-114 Hellfire missiles. The new version, which was funded by Congress, received the AH-1W designation. During March 1986, deliveries of the AH-1W SuperCobra commenced, eventually totaling 179 new-built helicopters along with the upgrading of 43 existing AH-1Ts.

 

This development also fell into the period when Great Britain was looking for a potential attack helicopter for the British Army, and Western Germany was - together with France - about to mutually develop a new attack helicopter that would in Germany replace the PAH-1, the light Bo 105 helicopter armed with six HOT anti-tank missiles. In 1984, the French and West German governments had issued a requirement for an advanced antitank helicopter, with one variant desired by the French dedicated to the escort and antihelicopter role. As originally planned, both countries would procure a total of 427 helicopters called “Tiger”. The West Germans planned on acquiring 212 models of the anti-tank variant named PAH-2 (Panzerabwehrhubschrauber or "Anti-tank helicopter"), with deliveries starting at the end of 1992. The French wanted 75 HAPs (Hélicoptère d'Appui Protection or "Support and Escort Helicopter") and 140 HACs (Hélicoptère Anti Char or "Anti-Tank Helicopter"), with deliveries starting at the end of 1991 and 1995, respectively. In the meantime, the USA also offered both the AH-1 as well as the more modern AH-64 as alternatives.

 

Development of the Tiger started during the Cold War, and it was initially intended as a pure anti-tank helicopter platform to be used against a Soviet ground invasion of Western Europe. A joint venture, consisting of Aérospatiale and MBB, was subsequently chosen as the preferred supplier, but in 1986 the development program was already canceled again due to spiraling costs: it had been officially calculated that supplying the German forces with an equivalent number of US-produced McDonnell Douglas AH-64 Apache attack helicopters would have been a considerably cheaper alternative to proceeding with the Tiger’s development, which became a more and more complex project because the helicopter would have to be able to fulfill more roles, and the duty profiles of Germany and France became significantly different. According to statements by the French Defence Minister André Giraud in April 1986, the collaborative effort had become more expensive than an individual national program and was also forecast to take longer to complete.

 

This opened the door for American proposals even wider, and beyond the state-of-the-art AH-64 Bell proposed a further upgraded two-engine AH-1W. Bell had been working as a private initiative with both the AH-1T+ demonstrator and the AH-1W prototype, and developed a new experimental hingeless rotor system with four composite blades, designed to withstand up to 23 mm rounds and thus greatly improving battlefield survivability. This new main rotor was manually foldable, reduced vibrations and allowed the engine power to be increased, thus greatly improving the SuperCobra’s performance and load capabilities. The twin engine’s power had until then been restricted, but in the AH-1-4BW the power was liberated to full 1,800 shp (1,342 kW), with a reinforced gearbox that could even cope with 2.400 shp. Top speed climbed by 23 mph/37 km/h, rate of climb improved, and the load capability was raised by 1.000 lb (450 kg). The AH-1-4BW was now able to fly a full looping, something the AH-1 had not been able to do before. However, empty weight of this demonstrator helicopter climbed to 12,189 lb (5,534 kg) and the maximum TOW to 18,492 lb (8.391 kg).

 

Other changes included a different position for the stabilizers further aft, closer to the tail rotor, which furthermore received small end plates to improve directional stability. The modified AH-1W prototype was aptly re-designated “AH-1-4BW” (4BW standing for “4-blade whiskey”), and there were plans to upgrade the type even further with a fully digitalized cockpit to meet contemporary requirements, e.g. for the British Army.

 

The West-German Bundesluftwaffe’s interest in the “outdated” AH-1 was initially only lukewarm, but when Bell offered to lend the AH-1-4BW prototype for evaluations and as a development mule for the eventual integration of the European HOT missile and indigenous sensors and avionics, a mutual agreement was signed in late 1987 to have the AH-1-4BW tested by the Luftwaffe in the environment where the type would be operated.

The AH-1-4BW prototype (s/n 166 022) was delivered to Manching in Southern Germany in summer 1988 on board of a C-5 Galaxy. It was operated by the Luftwaffe’s Wehrtechnische Dienststelle (WTD, Technical and Airworthiness Center for Aircraft) 61 for two years and successfully made several tests. This program was divided into three “Phases”. “Phase I” included focused on flight characteristics, tactical operations, and mock air-to-air combat against Luftwaffe CH-53s which acted as Mi-24 aggressors. Upon program start the AH-1-4BW received German markings, the registration 98+11, and a new, subdued paint scheme in Luftwaffe colors instead of the original USMC scheme in an overall medium green.

 

In “Phase I” the AH-1-4BW retained its American weapon systems, as the flight testing did not involve weapon deployment or integration. Instead, dummies or target designators were carried. After these initial tests that lasted almost a year Bell agreed to let the WTD 61 modify the AH-1-4BW further with European avionics to deploy the HOT 3 anti-tank missile, which would be the helicopter’s primal weapon in the German Heeresflieger’s service, since Germany did at that time neither use the similar American TOW nor the more sophisticated AGM-114 Hellfire, even though the German PARS 3 LR missile (also known as TRIGAT-LR: Third Generation AntiTank, Long Range) was already under development since 1988. This upgrade and test program section received the designation “Phase II”. Outwardly, the newly modified AH-1 was recognizable through a different sensor turret in the nose and a modified HOT missile sight for the gunner in the front seat.

 

In late 1989 the helicopter underwent another modification by WTD 61, which was to test equipment already intended for the PAH-2. Under the trials’ final “Phase III” the AH-1-4BW received a globular fairing on a mast on top of the main rotor, to test the tactical value of observing, identifying, and selecting targets while the helicopter would remain in cover. This sensor mast combined a panoramic IR camera with a targeting sight for anti-tank missiles and the gun turret, and it functionally replaced the standard chin sensor turret (which was brought back to AH-1W standard). Another novel feature was a streamlined, sugar scope-shaped exhaust diffusor with two chambers which guided hot gases upwards into the main rotor’s downwash, as an alternative to the original diffusors which only mixed cold ambient air with the hot efflux. It turned out to be very effective and was subsequently adapted for the Tiger. Other changes included a new hingeless three-blade tail rotor that was supposed to reduce operational noise and frequency issues with the new 4-blade main rotor, and the endplate stabilizers were enlarged to compensate for the huge “eyeball” on top of the main rotor which significantly changed the AH-1’s flight characteristics, especially at high speed.

 

Further tests of the Phase III SuperCobra lasted until summer 1990 and provided both Bell as well as the Luftwaffe with valuable benchmark data for further weapon system developments. When the lease contract ended in 1991, the AH-1-4BW was sent back to the United States. In the meantime, though, the political situation had changed dramatically. The USSR had ceased to exist, so that the Cold War threat especially in Europe had ended almost overnight after the Aérospatiale/MBB joint venture, now officially called Eurocopter, had signed an agreement in 1989 which financially secured the majority of the Tiger’s pending development through to serial production, including arrangements for two assembly lines to be built at Aerospatiale's Marignane plant and MBB's Donauwörth facility. This eventually saved the Tiger and in 1991 it had become clear that no American attack helicopter would be bought by either Germany or France. Great Britain as another potential European customer also declined the AH-1 and eventually procured the more modern AH-64 in the form of the license-built AgustaWestland Apache.

 

In 1992, the Eurocopter Group was officially established, and the Tiger moved closer to the hardware stage; this led to considerable consolidation of the aerospace industry and the Tiger project itself. A major agreement was struck in December 1996 between France and Germany that cemented the Tiger's prospects and committed the development of supporting elements, such as a series of new generation missile designs for use by the new helicopter. National political issues continued to affect the prospects of the Tiger, however. A proposed sale of up to 145 Tigers to Turkey proved a source of controversy; Turkey selected the Tiger as the preferred option, but conflicting attitudes between Eurocopter, France and Germany regarding military exports led to Turkey withdrawing its interest. Eventually, Turkey procured AH-1s and started an indigenous attack helicopter program.

 

However, the AH-1-4BW’s development and its vigorous testing in Germany were not in vain: Lacking a USMC contract, Bell developed this new design into the AH-1Z with its own funds during the 1990s and 2000s. By 1996, the Marines were again prevented from ordering the AH-64: developing a marine version of the Apache would have been expensive and it was likely that the Marine Corps would be its only customer. Instead, the service signed a contract for the upgrading of AH-1Ws into AH-1Zs, which incorporated many elements from the AH-1-4BW.

  

General characteristics:

Crew: Two (pilot, co-pilot/gunner)

Length: 58 ft 0 in (17.68 m) overall

45 ft 7 in (14 m) for fuselage only

Width: 10 ft 9 in (3.28 m) for stub wings only

Height: 13 ft 9 in (4.19 m)

13 ft 9 in (4.19 m) incl. Phase III sensor mast

Main rotor diameter: 42 ft 8 in (13.00 m)

Airfoil: blade root: DFVLR DM-H3; blade tip: DFVLR DM-H4

Main rotor area: 1,428.9 sq ft (132.75 m2)

Empty weight: 12,189 lb (5,534 kg)

Max. take-off weight: 18,492 lb (8.391 kg)

 

Powerplant:

2× General Electric T700-401 turboshaft engine, with 1,800 shp (1,342 kW)

 

Performance:

Maximum speed: 190 kn (220 mph, 350 km/h)

Never exceed speed: 190 kn (220 mph, 350 km/h)

Range: 317 nmi (365 mi, 587 km)

Service ceiling: 12,200 ft (3,700 m)

Rate of climb: 1,620 ft/min (8.2 m/s)

 

Armament:

1× 20 mm (0.787 in) M197 3-barreled Gatling cannon

in the A/A49E-7 chin turret (750 rounds ammo capacity)

4× hardpoints under the stub wings for a wide range of weapons, including…

- 20 mm (0.787 in) autocannon pods

- Twenty-two round pods with 68 mm (2.68 in) SNEB unguided rockets,

- Nineteen or seven round pods with 2.75” (70 mm) Hydra 70 or APKWS II rockets,

- 5” (127 mm) Zuni rockets – 8 rockets in two 4-round LAU-10D/A launchers

- Up to 8 TOW missiles in two 4-round XM65 missile launchers, on outboard hardpoints, or

up to 8 HOT3

up to 8 AGM-114 Hellfire missiles in 4-round M272 missile launchers, on outboard hardpoint,

- Up to 2 AIM-9 Sidewinder anti-aircraft missiles, launch rails above each outboard hardpoint or

up to 2 Air-to-Air Stinger (ATAS) air-to-air missiles in single launch tubes

  

The kit and its assembly:

This what-if model was inspired by the real attempts of Bell to sell a twin-engine Cobra variant to Germany as a replacement for the light PAH-1/Bo 105 helicopter, while plans were made to build an indigenous successor together with France which eventually became the PAH-2/Tiger. These proposals fell well into the time frame of the (also) real AH-14BW project, and I imagined that this specific helicopter had been lent to the Luftwaffe for evaluation?

 

The basis is the Italeri 1:72 AH-1W kit, a solid basis which requires some work, though. And because I had the remains of a French Tigre at hand (which gave its cockpit for my recent JASDF A-2 build) I decided to use some of the leftover parts for something that borders a kitbashing. This includes the 4-blade main and 3-blade tail rotor, and I integrated the Tiger’s scoop-shaped exhaust diffusor behind the main rotor – a tricky task that require a lot of PSR, but the result looks very natural, if not elegant? The Tiger’s end plate stabilizers were used, too, mounted to the AH-1’s trim stabilizers that were mounted further back, as on the real AH-1-4BW.

 

To change the look even further I decided to add a sensor pod on top of the main rotor, and this required a totally new mechanical solution to hold the latter. Eventually I integrated a sleeve for a fixed metal axis which also holds the sensor ball (from a MisterCraft Westland Lynx – a bit oversized, but suitable for a prototype), and the PAH-2 rotor received an arrangement of levers that hold it in place and still allow it to spin.

 

The ordnance was also taken from the Italeri Tigre, with HOT quadruple launchers for the outer weapon stations, the inner hardpoints were left empty and I also did not mount the American chaff/flare dispensers on top of the stub wings.

  

Painting and markings:

The Luftwaffe did a LOT of interesting camouflage experiments in the early Eighties, adopting several standardized schemes for aircraft, but the Heeresflieger were less enthusiastic and retained the overall Gelboliv (RAL 6014) scheme before a three-color camouflage, consisting of two green tones and a dirty black was gradually introduced – even though apparently not in a uniform fashion, because there were variations for the darker shade of green (retaining RAL 6014 or using FS 34079, as on the Luftwaffe Norm ’83 scheme that was applied to Tornado IDSs, RF-4Es, some Starfighters and to the Transall fleet).

 

My fictional AH-1-4BW would fall into that transitional phase and I decided to give the helicopter an experimental scheme, which was used/tested on early Tornado IDS, consisting of RAL 7021 (Teerschwarz), RAL 7012 (Basaltgrau) and RAL 6014 (Gelboliv) – on aircraft with undersides in RAL 7000 (Silbergrau), but on a helicopter rather as a wraparound scheme. However, inspired by Luftwaffe F-4Fs with a modified Norm ‘72 splinter scheme that added a simple light grey fin to break up the aircrafts’ profile in a side view, I used RAL 7030 (Steingrau) on the tail tip to achieve the same effect, and the light grey was also used, together with Basaltgrau und Gelboliv mottles on the sensor ball – looks a bit like WWII Luftwaffe style, but appeared plausible for the system’s tactical use from behind some ground cover. The cockpit interior became very dark grey, just like the rotor blades, which were adorned with orange warning markings at the tips – seen on some Luftwaffe helicopters instead of classic yellow or red-white-red bands.

 

The decals were puzzled together from various sources. National markings came from generic Luftwaffe sheets from TL Modellbau, the light blue WTD 61 emblems behind the cockpit were taken from a Peddinghaus decal sheet with early Luftwaffe unit markings. The dayglo panels were created with generic decal material (TL Modellbau, too) and stencils came mostly from a Fujimi AH-1 sheet, procuring German or even multi-language material appeared too tedious and costly.

The photo calibration markings on nose and fins were improvised from black and white decal sheet material, punched out, cut into quarters, and then applied as circles. Adds an experimental touch to the Cobra!

 

The kit received a light black ink washing and some post-panel-shading, esp. to brighten up the grey and increase the contrast between the camouflage tones, which appeared even more murky after the dayglow stripes had been added. Finally, the Cobra received an overall coat wit matt acrylic varnish, position lights were added/painted, and the sensor ball received sights made from yellow chrome PET foil, simply punched out and fixed into place with some Humbrol Clearfix.

  

This one took a while to materialize and was more work than one might expect at first glance. But it looks quite cool, esp. the PAH-2/Tiger’s exhaust fairing fits very well into the Cobra’s lines and adds an elegant touch to the helicopter. The “Eye ball” is a bit large, yes, but IMHO acceptable for a prototype or test vehicle. And the livery certainly conveys a German touch.

Upper Snake Field Office, Idaho Falls District

 

This campground includes approximately 25 campsites with amenities such as picnic tables, fire rings, and restrooms, located along Birch Creek. Additionally, there are a variety of large undeveloped camping areas without picnic tables or fire rings south of the middle access (Find map link below). The campground provides easy access for fishing and can serve as a base camp to recreate in Caribou-Targhee National Forest. Amateur anglers and seasoned fly fishing experts will find an abundance of brook and rainbow trout, with some brown trout. At the main entrance, a stop on the Nez Perce National Historic Trail features interpretive panels that explain some of the tragic history of the area.

www.blm.gov/visit/birch-creek-campground-0

This is a Kinetic Photograph which includes Poe, one of my cats; some of my furniture; a candle; a lamp; and my television screen. Viewed at original size it's a hoot!

 

One shot SOOC.

 

Want more? See my new set, "Drawing with Light:"

 

www.flickr.com/photos/motorpsiclist/sets/72157630589237982/

  

.

 

Kinetic: Relating to, caused by, or producing motion.

 

These are called “Kinetic” photographs because there is motion, energy, and movement involved, specifically my and the camera’s movements.

 

I choose a light source and/or subject, set my camera for a long exposure (typically around 4 seconds), focus on my subject and push the shutter button. When the shutter opens I move the camera around with my hands...large, sweeping, dramatic movements. And then I will literally throw the camera several feet up into the air, most times imparting a spinning or whirling motion to it as I hurl it upward. I may throw the camera several times and also utilize hand-held motion several times in one photo. None of these are Photoshopped, layered, or a composite photo...what you see occurs in one shot, one take.

 

Aren’t I afraid that I will drop and break my camera? For regular followers of my photostream and this series you will know that I have already done so. This little camera has been dropped many times, and broken once when dropped on concrete outside. It still functions...not so well for regular photographs, but superbly for more kinetic work.

 

To read more about Kinetic Photography click the Wikipedia link below:

 

en.wikipedia.org/wiki/Kinetic_photography

  

.

 

Albeit supremely risky this is one of my favorite ways to produce abstract photographs.

 

.

 

My photographs and videos and any derivative works are my private property and are copyright © by me, John Russell (aka “Zoom Lens”) and ALL my rights, including my exclusive rights, are reserved. ANY use without my permission in writing is forbidden by law.

 

The word Rahmat includes in it worldly provisions necessary to keep living beings alive, appointment of night for rest and day for earning livelihood, compassion and mercy towards parents, love and tranquility derived from mates, the Qur'an and Prophet Mohammad SAWS following whom makes the worldly life and the hereafter successful, paradise the greatest benefit and forgiveness of sins the greatest mercy. Rahmat is an item of enjoyment opposite to loss, punishment, harm, evil and destruction. Rahmat, therefore conveys the sense of benefit, reward, safety out of mercy, good and construction. Rahmat being constructive, beneficial, full of mercy, etc., is also supported by the fact that the Arabic word for womb, where the child develops, is Raham from the same root alphabets used for Rahmat. The child in the womb is provided with all that is necessary for its growth by the mother without its demanding it and it is carefully protected from all harmful things - the feeling of the mother towards the child is that of compassion, beneficence, mercy, safety, etc., and these feelings explain the term Rahmat about which Allah states in Al Qur'an:

 

He has prescribed Rahmat on himself (Chapter 6: Verse 12)

My Rahmat extends towards everything (Chapter 7: Verse 156)

 

In view of the above let us try to understand the Attributes Ar Rahman and Ar Raheem which exhibit Rahmat.

 

The Quran in (Chapter 17: Verse 82) and Prophet Mohammad SAWS (Chapter 21: Verse 107) are said to be Rahmat and the Attribute associated with the teaching of the Quran is Ar Rahman.

 

Ar Rahman, He taught the Quran (Chapter 55: Verses 1-2)

 

All believers know that the greatest benefit for mankind is implementing the Quran practically in their lives in accordance with the instructions given by Prophet Mohammad SAWS. The Attribute associated with the source of achieving this greatest benefit, i.e., the Quran, is Ar Rahman.

 

The Forsterer of the skies and the earth and that which is between them, Ar Rahman... (Chapter 78: Verse 37)

 

The Attribute associated with the fostering of the universe, which is beneficial for the creation and without which the universe cannot exist, is again Ar Rahman. In view of this Ar Rahman can be translated as The Beneficent, it is the first Attributes used with Allah's name.

 

The frequent association of the Attribute Ar Rahman with Al Gafoor (Protector and forgiver of sins), Al Tawwab (Acceptor of repentance) and Ar Raoof (one full of pity), indicates that Allah's mercy in exhibited through it, therefore it can be translated as The Merciful, it is the second Attribute used with Allah's name.

 

The Dallas Arts District's "Spotlight Sunday" on October 18

 

Festivities to celebrate the opening of the new AT&T Performing Arts Center include a day of free admission and extended hours. Enjoy performances in the exhibition All the World’s a Stage, tours family experiences, and much more.

 

-----

 

The Dallas Arts District

2200 Ross Ave

Dallas, TX 75201

(214) 744-6642

www.thedallasartsdistrict.org

 

The Dallas Arts District is a unique, 68-acre, 19-block neighborhood in the heart of the city. A rare jewel that is the centerpiece of the region’s cultural life, the District is home to some of the finest architecture in the world. Enhancing the downtown Dallas skyline are buildings by Pritzker Prize winners I.M. Pei, Renzo Piano, Norman Foster, Rem Koolhaas and AIA “Gold Medal” recipient Edward Larrabee Barnes.

Our neighborhood is a center for innovative architecture, world-class exhibits, exemplary cultural programming and much more. We are restaurants, hotels, churches, residences and even the world headquarters of 7-Eleven.

This website is designed to help you explore the many facets of the district. And whether you are coming from around the corner or from around the world, we hope you will find your trip enjoyable and your experience unparalleled.

We look forward to sharing with you the works of art, the performances, the cuisine and the vibrancy of the Dallas Arts District.

 

-----

 

Dallas Museum of Art

The Dallas Museum of Art ranks among leading art institutions in the country and is distinguished by its innovative exhibitions and groundbreaking educational programs.

 

www.dallasmuseumofart.org

 

-----

 

Nasher Sculpture Center

The Nasher Sculpture Center opened in 2003 as the first institution in the world dedicated exclusively to the exhibition of modern and contemporary sculpture with a collection of global significance at its foundation.

 

www.nashersculpturecenter.org/

 

-----

 

Trammell Crow Center and Crow Collection of Asian Art

The Trammell and Margaret Crow Collection of Asian Art is nestled like a small jewel in Dallas’ Arts District, offering visitors a glimpse of a world possessing serene beauty and spirituality in the heart of a bustling city.

 

www.crowcollection.org/

 

-----

 

Belo Mansion

The current home of the Dallas Bar Association, the Belo Mansion was built c. 1890 by Coleonel A. H. Belo, founder of the Dallas Morning News.

 

www.belomansion.com

 

-----

 

Cathedral Shrine of the Virgin of Guadalupe

The city’s oldest Catholic parish, this High Victorian Gothic cathedral is the second busiest Catholic cathedral in the nation.

 

www.cathedralguadalupe.org/

 

-----

 

Morton H. Meyerson Symphony Center

Since its grand opening celebration, the legendary rich sound of the Meyerson’s Eugene McDermott Concert Hall has made it a premier destination for the world’s finest soloists and conductors.

 

www.dallasculture.org/meyersonSymphonyCenter/

 

-----

 

AT&T Performing Arts Center Margot and Bill Winspear Opera House

With transparent, soaring 60-foot glass walls revealing views of the Grand Lobby and a café open throughout the day, the Winspear Opera House is a destination for all.

 

www.attpac.org/

 

-----

 

AT&T Performing Arts Center Dee and Charles Wyly Theatre

The world’s only vertical theatre, the innovative design of the Wyly Theatre creates ultimate performance flexibility.

 

www.attpac.org/

 

-----

 

Booker T. Washington High School for the Visual and Performing Arts

The school’s dual emphasis on arts and academics has produced a stellar list of famous graduates including Grammy Award®-winners Norah Jones, Erykah Badu and jazz trumpeter Roy Hargrove.

 

www.dallasisd.org/btw/

 

-----

 

St. Paul United Methodist Church

St. Paul United Methodist Church was founded in 1873 by freed slaves from Mississippi, Louisiana and Texas.

 

www.stpaulumcdallas.com/

 

-----

 

One Arts Plaza

One Arts Plaza is a multiuse structure comprised of residences, corporate offices and retail, the first of three buildings on over 10 acres at the eastern edge of the Dallas Arts District.

 

www.oneartsplaza.com/

 

-----

 

Dallas Black Dance Theatre

Dallas Black Dance Theatre is the city’s oldest continuously operating dance company.

 

www.dbdt.com/

 

-----

 

AT&T Performing Arts Center Elaine D. and Charles A. Sammons Park

Weaving together the Winspear Opera House, Wyly Theatre, Strauss Square and City Performance Hall, the ten-acre park stretches from Woodall Rodgers Freeway to Ross Avenue, and is the first public park in the Dallas Arts District.

 

www.attpac.org/

 

-----

    

Outside the AT&T Performing Arts Center Dee and Charles Wyly Theatre

 

www.attpac.org/

Several Kentucky school districts have started working with the University of Kentucky College of Education in a unique partnership to innovate and improve schools. The districts are participating in the college’s Next Generation Leadership (NxGL) Academy, an output of its Kentucky P20 Innovation Lab.

The academy takes school leaders who know the system needs to change and helps them work through implementation of innovative ideas. It launched last year with a pilot co-hort of school leaders. This year’s co-hort includes representatives from the following counties or districts: Barren, Paris Independent, Carroll, Clark, Graves, Hardin, Henry, Shacklette Elementary (Jefferson Co.), Knox, Mason, Trigg, Warren, Woodford, and Eminence Independent.

David Gilliam, principal of Madison Southern High School and member of the pilot co-hort, said of the academy, “This program gives us the core information about what’s happening in education. It allows us to connect with some of the top experts around the world. But, probably the most beneficial part of it is for the team from our district to just sit down with these issues on the table – the charge of reinventing school – and be able to work through ideas and challenge each other. It is very beneficial.”

While participants will meet several times throughout the coming year, much of the work also takes place during online meetings between the school districts and university faculty. Through the process, several schools have met College of Education faculty members with whom they have partnered to provide training and programs within their local districts.

Council of Chief State School Officers Executive Director Gene Wilhoit and Kentucky Education Commissioner Terry Holliday addressed participants during the first day of the academy. Both emphasized the state and federal resources available to help schools as they transition to new models of learning. In fact, a recently passed bill in Kentucky will soon be able to help schools get past regulations that may stand in the way of trying out innovative ideas for improving schools, Holliday said.

From how student learning is assessed to the way teachers are trained, Wilhoit outlined a number of ways education must change so future generations of Kentuckians can find jobs to support their families and live fulfilled lives.

“I think the promise of this is unbelievable,” Wilhoit said. “I’ve seen it happen in many schools in isolated ways, but the problem is we’re not doing it across the board.”

Districts that have completed the Next Generation Leadership Academy have the opportunity to work with the UK College of Education to develop Innovation Zones (iZones) within their schools. The iZones provide places to test innovative ideas and scale up what works.

The NxGL Academy’s focus is around the Council of Chief State School Officer’s six critical attributes of Next Generation Learning:

•Personalized Learning calls for a data-driven framework to set goals, assess progress, and ensure students receive the academic and developmental supports they need to succeed.

•Comprehensive Systems of Learning Supports address the social, emotional, physical and cognitive development along a continuum of services to ensure the success of all students

•World-Class Knowledge and Skills requires achievement goals to sufficiently encompass the content knowledge and skills required for success in a globally-oriented world.

•Performance-based learning puts the student at the center of the learning process by enabling the demonstration of mastery of high, clear, and commonly-shared expectations.

•Anytime, anywhere learning provides innovative practices that promote learning beyond the traditional classroom and may include virtual or out-of-school settings leveraging technology as a tool for learning.

•Student voice/agency is the deep engagement of students in directing and owning their individual learning and shaping the nature of the education experience.

About the Kentucky P20 Innovation Lab:

•P20 relies upon the world-class research and expertise of the UK College of Education’s faculty, students and staff.

•P20 builds a bridge between school districts and the UK College of Education to enable an easy exchange of information between schools and higher education.

•P20 faculty and staff design and offer a Next Generation Leadership Academy for school leaders to build capacity to design new systems for learning.

•P20 helps create iZones within school districts. iZones allow college faculty and school personnel to work together to redesign and rethink current policies, practices and programs to support 21st Century learners.

Why is P20 needed?

•Many increasingly recognize one primary challenge: schooling and instruction are mass-produced, expecting students of various abilities, support systems and interests to progress through the same educational program at the same pace without sufficient regard to their individual learning needs.

• Information, once collected in reference books and distilled by teachers, is now everywhere, which changes the roles of teachers and schools. Even the most specialized topics and guidance are only a few keystrokes away.

• In Kentucky, only 83.91% of students complete high school and only 32% of Kentuckians ages 25-34 have a college degree.

•Routine jobs are increasingly disappearing to low wage countries or automated systems.

•To succeed in the global economy today’s students must be prepared to problem solve, work collaboratively, and to be creative and self-motivated. They will be required to produce evidence of competencies for required work.

How do we do school differently?

•• P20 roots out what doesn’t work and replaces it with ways of learning that will prepare all students for college and careers.

•P20 gives students a voice in designing the future of their education. When high school students were recently interviewed about how to do school differently, they were so stuck inside the model they have been part of for 15 or so years, they couldn’t think differently. We are finding ways to get from students what they really want from school – not just a version of what they think school is supposed to be.

•P20 builds upon existing and emerging infrastructures in Kentucky that will make this work sustainable over time.

Early Success Stories:

One of the first P20 iZone schools, Eminence Independent, is implementing some of the following changes:

•Partnership with Bellarmine College to offer college-level courses to qualified students with no cost to students;

•Redesigned Master Schedule (Core classes three days per week. Benchmark ready students take classes two days a week on Bellarmine’s campus);

•Wi-Fi on school bus transporting students to Bellarmine College in Louisville;

•One-to-one technology devices (Mac-Book Pro) for all high school students;

•Students trained to give feedback on educational experiences using Twitter;

•Student and Teacher Voice Teams for input in district decisions;

•Standards-Based Report Cards; and

•Working with sister school in England on using results from student aspirations surveys to better engage students in learning.

  

Work for the initial phase includes updating building utilities, primarily in the basement and the moat area of the courtyard. This phase enables future phases to connect the new building-wide utility services with minimal shutdowns and disturbances. More at www.aoc.gov/cannon.

 

This official Architect of the Capitol photograph is being made available for educational, scholarly, news or personal purposes (not advertising or any other commercial use). When any of these images is used the photographic credit line should read “Architect of the Capitol.” These images may not be used in any way that would imply endorsement by the Architect of the Capitol or the United States Congress of a product, service or point of view. For more information visit www.aoc.gov/terms.

As always NEoN celebrates its festival with a late night party. Acts include Plastique Fantastique, Verity Brit & Musician U, Fallope & The Tubes and Resident DJ RHL. With a pop up bar and performances amongst our large group exhibition the vast factory space West Ward Works, this night promises to be a visual audible delight.

 

Plastique Fantastique (UK)

 

A performance fiction envisaged as a group of human and non-human avatars delivering communiqués from the past and the future. The communiqués are channelled through installations, writing, comics and sound and moving image work and performances, addressing technology, popular and mass media and sacred cultures and also human-machine animals and non-human entities and agents. Over several years, numerous people have produced Plastique Fantastique but there is also a core group producing the performance fiction. Plastique Fantastique was first presented by David Burrows and Simon O’Sullivan and developed with long-term collaborators Alex Marzeta and Vanessa Page, and more recently with Mark Jackson. For NE0N 2017, this group will call forth and trap a bit-coin-fairy-spirit to ask it seems questions. The performance – Plastique Fantastique Protocols for the Society for Cutting Up Mun-knee-snakers (S.C.U.M.): I-Valerie-Solaris-AKA-@32ACP-Amazon.co.uk-recommends-‘Pacific-Rim’ may/may-not shoot b1t-c0in-f@iry-sp1r1t) – uses drone-folk-songs, moving image projection, reliquaries and ritual to manifest the block-chain-spirit.

 

David Burrows, Alex Marzeta, Vanessa Page and Mark Jackson will be performing.

  

Rites of the Zeitgeber, Verity Brit & Musician ‘U’ (UK)

 

9 channel video installation, live score performed by musician ‘U’

 

The Zeitgeber (‘time giver’ or ‘synchroniser’) is honoured by a triadic henge of stacked CRT monitors in which past durations collide with future vacuums. Strange extra-terrestrial topographies are traversed across geological time and the internet. Curious substances are unearthed and lost languages resurrected. Fragments from Mina Loy, J. G. Ballard and Henri Bergson emerge amongst an archaeology of media from Super 8, VHS, to HD. Time bends from matter, history is up-set and the clock is obsolete.

 

Verity Birt an artist based in London. She studied an MA in Moving Image at the Royal College of Art (2013–2015) and BA in Art Practice at Goldsmiths University of London (2008–2011). She is involved with collaborative research groups; The Future is a Collective Project, Reconfiguring Ruins and a founding member of women artists collective Altai. This summer, Verity was artist in residence at BALTIC and The Newbridge Project in Newcastle. Previous exhibitions include: Our House of Common Weeds; Res. Gallery, London (2017); Relics from the De-crypt | Gossamer Fog Gallery London (2017), Altai in Residence, Experiments in Collective Practice, Dyson Gallery, London (2017); Chemhex Extract, Peacock Visual Arts, Aberdeen (2016); Feeling Safer, IMT Gallery, London and Gallery North, New York (2016); Come to Dust, Generator Projects, Dundee (2016)

 

Fallopé & The Tubes (UK)

 

A weirdo-punk performance band. Each live show features live humans! film and visuals! costumes! sculpture! visual props! and music/a sequence of sounds!

 

Fallopé and The Tubes is a fluctuating live musical and performative event with contributions from Sarah Messenger, Ruby Pester, Nadia Rossi, Rachel Walker, Catherine Weir, Emma McIntyre and Skye Renee Foley. The group are made up of Scottish based artists and musicians that are also filmmakers, festival organisers, librarians, boatbuilders and more who work collaboratively to devise live performances. Drawing influence from a wide range of fringe and mainstream musical genres, exploring sexuality, elements of social satire, self promotion and leftist political ideologies.

 

The group was established in January 2014 at Insriach Bothy, Aviemore and have developed their practice during numerous residency experiences across Scotland. By living and working together ‘off grid’ the group have developed experimental techniques to create a collective energy. Fallopé & The Tubes draw influence from a wide range of fringe and mainstream musical genres, as well as sexuality, elements of social satire and self promotion and leftist political ideologies. Soakin Records

 

DJ RHL (UK)

 

Resident NEoN DJ has been entertaining us since 2010. Djing for about 25 years, he predominately plays Techno but you often find him playing anything dance music related. Spinning old school vinyl sets containing an eclectic mix of old and new stuff. RHL just likes making people dance. Check here for past performances.

 

Accompanying DJ RHL is ‘The Wanderer‘ aka Naomi Lamb. Naomi works layers of diverse video loops into an ever evolving collage colours textures and shape and intuitively mixies visuals live. She improvises, freestyles and channels the room, customising the ephemeral moving collage in response to the tone of the happening.

 

For the past 20 years Naomi has been a prolific live video art performer utilising techniques and process that is often associated with the ever growing subculture of VJing and presents under the name of ‘The Wander’. Naomi has an intimate knowledge of not only the process of live video performance but also an wide reaching connections within the VJ community and has performed at many of the leading outdoor music and art festivals in New Zealand with a debut at two English Festivals this summer and she is super please for her first time mixing it up in Scotland to be at NEoN. “

 

AGK Booth

 

Yuck ’n Yum hereby invites you to attend the Annual General Karaoke booth at this year’s NEoN at Night. The AGK is a fiercely contested karaoke video competition, getting creative types to make videos that will shock, delight and confound its audience. First staged back in 2010, over the years the AGK has built up a sizeable back catalogue of singalong anthems encompassing everything from pop classics to the most extreme avant garde out there. Now Yuck ’n Yum will bring the AGK archive to NEoN revellers in an audiovisual extravaganza that will overturn everything you ever thought you knew about karaoke convention. This November, Yuck ’n Yum together with NEoN are making a song and dance about it.

 

About the Artists Yuck ‘n Yum is a curatorial collective formed in Dundee 2008. Until 2013 its main raison d’etre was to make zines and distribute art. The AGK booth is the first of three projects that will kick start a period of activity after a couple of years of hibernation.

 

Yuck ‘n Yum are Andrew Maclean, Gayle Meikle, Ben Robinson, Alexandra Ross, Alex Tobin, Becca Clark and Morgan Cahn.

 

WEST WARD WORKS

Guthrie Street

DD1 5BR

 

Images: Kathryn Rattray Photography

BRIEF:

 

The plot for this design was a mid-size family garden, which had recently benefited from the addition of a large sunroom on the back of the property. It was a fairly blank canvas, with nothing of note to be retained in the re-design. The garden had side access and worn boundary fences which required replacing. There was no clear brief other than that the design include a seating area and some lawn, and that the transition from sunroom to garden be fairly seamless

 

SOLUTION:

 

The focus of this design was to create an exterior space that serves as an extension to the interior, featuring several distinct and versatile areas that can be adapted to a variety of uses.

 

The garden's boundaries were replaced with new fencing to provide a uniform and attractive backdrop to the transformation within, while the long sideway down the right of the house was renovated with the addition of attractive 'bamboo' slate tile flooring in a random lay pattern.

 

The first section of the space comprises a large area of Western Red Cedar decking adjoining the house, and offers ample room for entertaining, with a long L-shaped fixed-bench seat stretching width-ways across the space from the left-hand side to the centre. This was backed with a rendered block raised bed, planted with fragrant lavender and capped with 'bamboo' slate tile, to provide a sense of enclosure and separation from the rest of the garden.

 

A decked walkway running down the right hand side of the space provides access to a 'spa' area, featuring a large square hot tub housed upon a reinforced paved hard-standing and nestled between existing and additional trees, shrubs and foliage to provide a secluded and intimate area for bathing throughout the seasons. Hidden behind mature and new planting in the bottom left corner, a large shed provides ample storage for the client's garden accessories. The middle of the space has been given over to a large lawn edges with slate.

 

A purple and yellow planting scheme of soft, cottage-style evergreen shrubs and flowering perennials will help to bring year round lightness and subtle colouring to the space.

 

After-dark hot tub bathing is enhanced by several strings of pea-lights woven through the existing shrubbery. Deck lights demark the main area of decking and guide one's journey along the decked walkway. Finally, spot lights in the beds highlight certain area while providing a gentle wash throughout the space.

 

TESTIMONIAL:

 

"After months of planning and a full year of having builders everywhere, we had finally got the house into good shape but the garden was a nightmare. It had been somewhat overgrown before the builders moved in, but after a year of being used as a builders yard, it needed shock treatment.

 

We needed help fast so we searched the web. We were looking for garden designers with creative ideas for smaller London gardens. We didn't want anything too traditional but at the same time, nothing too extreme.

 

Earth Designs fitted the bill and after a design session with Katrina, we engaged them for the project. They had offered us a design service only, but as we only had a 4 week window in which to complete the job, we gave them the whole project.

 

We had built a new extension with wide glass doors that opened out into the garden, so the brief to Earth Designs was to "bring the outside, inside" and create a strong link between the new room and the garden beyond. The actual garden space was not large so we wanted to use the space as an extension of the living space - to be an "outside room".

 

Monday 18th April and three very charming men arrived on our doorstep at 8.0am sharp. Arlo was the project manager, ably aided and abetted by Paul and Phillip. They worked brilliantly as a team and always hit all the deadlines. In particular they did a great job in working with our neighbours to ensure the whole project ran smoothly.

 

The first week involved clearing the site - no mean feat with 30-year-old ivy stems that looked more like tree trunks.

 

The second week involved levelling the garden, putting up new fencing, building the corner seating base and planters, plus marking out the garden shape. It was good to be able to make minor changes to the design on the ground at this stage. The hot tub arrived too and was winched into place for connection later.

 

Week 3 saw the decking and seating built.

 

Then in week four the turf arrived, the lawn went down and on the last day, Katrina arrived with a truckload of wonderful specimens (and Matt) and we had a wonderful time planting. Ground Force Mk II - a complete garden from start to finish in just 4 weeks!

 

There were a few things that needed to be sorted out after the main work was complete. Earth Designs were great about coming back until all was complete and finished.

 

Our thanks to Katrina, Matt, Arlo, Paul and Phillip for a great job, completed on time and on budget with a great looking result."

 

Earth Designs is a bespoke garden landscape design and build company specialising in classic, funky and urban contemporary garden design.

 

Our build teams cover London, Essex and parts of South East England, while garden designs are available nationwide.

Please visit www.earthdesigns.co.uk to see our full portfolio.

 

Follow our Bespoke Garden Design and Build and Blog to see what we get up to week by week, our free design clinic as well as tips and products we recommend for your garden projects www.earthdesigns.co.uk/blog/.

  

Earth Designs is located in East London, but has built gardens in Essex, Hertfordshire and all over the South East. Earth Designs was formed by Katrina Wells in Spring 2003 and has since gone from strength to strength to develop a considerable portfolio of garden projects. Katrina, who is our Senior Garden Designer, has travelled all over the UK designing gardens. However we can design worldwide either through our postal garden design service or by consultation with our senior garden designer. Recent worldwide projects have included garden designs in Romania. Katrina’s husband. Matt, heads up the build side of the company, creating a unique service for all our clients.

 

If you a not a UK resident, but would like an Earth Designs garden, Earth Designs has a worldwide design service through our Postal Design Vouchers. f you would like to buy one of our Garden Design Gift Vouchers for yourself or as a present please our sister site www.gardenpresents.co.uk. We do also design outside of the UK, please contact us for details.

 

The Lidl Run Kildare Events 2013 were held at the Curragh Racecourse, Newbridge, Co. Kildare, Ireland on Sunday 12th May 2013. There were three events: a 10KM, a half marathon, and a full marathon. This is a selection of photographs which includes all events. The photographs are taken from the start and finish of the marathon, the finish of the 10KM, and the finish of the half marathon. Due to the large numbers participating we did not manage to photograph everyone - which was not helped by the weather. Congratulations to Jo Cawley and her RunKildare crew for another great event. The weather didn't dampen the spirits of the many happy participants.

 

Electronic timing was provided by Red Tag Timing [www.redtagtiming.com/]

 

Overall Race Summary

Participants: There were approximately 3,000 participants over the 3 race events - there were runners, joggers, and walkers participating.

Weather: A cold breezy morning with heavy rain at the start. The weather dried up for the 10KM and the Half Marathon races

Course: This is an undulating course with some good flat stretches on the Curragh.

  

Viewing this on a smartphone device?

If you are viewing this Flickr set on a smartphone and you want to see the larger version(s) of this photograph then: scroll down to the bottom of this description under the photograph and click the "View info about this photo..." link. You will be brought to a new page and you should click the link "View All Sizes".

 

Some Useful Links

GPS Garmin Trace of the Kildare Marathon Route: connect.garmin.com/activity/175709313

Homepage of the Lidl Run Kildare Event: www.kildaremarathon.ie/index.html

Facebook Group page of the Lidl Run Kildare Event: www.facebook.com/RunKildare

Boards.ie Athletics Discussion Board pages about the race series: www.boards.ie/vbulletin/showthread.php?t=2056815306

Our photographs from Run Kildare 2012: www.flickr.com/photos/peterm7/sets/72157629707887620/

Our photographs from Run Kildare 2011: www.flickr.com/photos/peterm7/sets/72157626725200956/

A small selection of photographs from Run Kildare 2010: www.flickr.com/photos/peterm7/sets/72157623899845567/ (first event)

 

Can I use the photograph with the watermark?

Yes! Absolutely - you can post this photograph to your social networks, blogs, micro-blogging, etc.

 

How can I get a full resolution, no watermark, copy of these photographs?

 

All of the photographs here on this Flickr set have a visible watermark embedded in them. All of the photographs posted here on this Flickr set are available, free, at no cost, at full resolution WITHOUT watermark. We take these photographs as a hobby and as a contribution to the running community in Ireland. We do not know of any other photographers who operate such a policy. Our only "cost" is our request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, etc or (2) other websites, web multimedia, commercial/promotional material that you provide a link back to our Flickr page to attribute us. This also extends the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.

 

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 - all we ask is for you to link back to our Flickr set or Flickr pages. Taking the photographs and preparing them for online posting does take a significant effort. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around, send us an email, leave a comment beside the photographs, send us a Flickr email, etc.

 

If you would like to contribute something for your photograph(s)?

Some people offer payment for our photographs. 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 pay for their purchase from other photographic providers 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.

 

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 www.flickr.com/peterm7/sets

   

Normally, I wouldn't be thrilled to include an open canopy in a picture of an aircraft but the on the very warm Tuesday that was 30 March 2021, that was how aircraft were taxiing even quite late in the afternoon and the scheme displayed by Vans RV-7 G-IBEN more than compensated. The full number in the tail, 180973, has not come out in this light or in some other shots I have seen - the numerals are very reflective.

 

TZ70_P1030419CE

Hall of Honor awards held Thursday Sept. 19, 2019 at the Line Hotel in Austin, Texas. Award winners include: Dr. Forest Baskett, Dr. Nikhil Advani, and Tyrrell Flawn

The project includes new voltage-regulating equipment that will help maintain service reliability if a transmission line in the area experiences an outage. Crews are also installing four new circuit breakers that will enhance system performance and help shorten power outage restoration time.

North Country families serving with the Colours include the following:Mr. J. Webb, Dawdon: 5 sons, and son-in-law (Sergt.-Major Watson).

 

This photograph was published in the Illustrated Chronicle on the 5th of May 1915.

 

During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.

 

The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognise anyone in the images or have any stories or information to add please comment below.

 

Copies of this photograph may be ordered from us, for more information see: www.newcastle.gov.uk/tlt Please make a note of the image reference number above to help speed up your order.

Frankreich / Provence - Nationalpark Calanques

 

Massif de Marseilleveyre

 

Sunset. On the way from Sommet de Marseilleveyre back to Les Goudes.

 

Sonnenuntergang Auf dem Weg vom Sommet de Marseilleveyre zurück nach Les Goudes.

 

Calanques National Park (French: Parc national des Calanques; Occitan: Parc Nacional dels Calanques) is a French national park located on the Mediterranean coast in Bouches-du-Rhône, Southern France.

 

Established in 2012, it extends over 520 km2 (201 sq mi), of which 85 km2 (33 sq mi) is land, while the remaining is marine area. It includes parts of the Massif des Calanques stretching between Marseille's southern arrondissements, Cassis and La Ciotat. Some of the park's best known features include the calanques of Sormiou, Morgiou, Port-Miou, Sugiton, En-Vau, as well as the Cosquer Cave.

 

History

 

In 1923, the Comité de défense des Calanques was established with the aim of preventing industrial development at En-Vau. In 1999, the groupement d'intérêt public (GIP) des Calanques was founded to prepare the creation of a national park. Eleven years later, the GIP presented its first draft for a national park; the third draft was approved in 2011. On 18 April 2012, Prime Minister François Fillon signed the decree establishing Calanques National Park.

 

(Wikipedia)

 

Dominating the southern districts of Marseille at an altitude of nearly 432 metres, the Massif de Marseilleveyre offers fascinating landscapes. In just a few minutes, you leave the second largest city in France to enter a mineral universe, both wild and grandiose. Marseilleveyre is a masterly gateway to discover the best kept treasures of the Calanques National Park, between sky and sea.

 

Hiking and outdoor activities

 

For lovers of nature and outdoor activities, Marseilleveyre is an invitation to go hiking. Numerous itineraries cover its valleys, hills and ridges. A wide variety of landscapes awaits walkers of all levels. There are easy trails for families or walkers who wish to stroll through a remarkable setting. The more experienced walkers can take much more aerial paths, such as those that weave their way between the vertiginous blades of rock tapering from the Goudes summits. Hundreds of kilometres of marked paths await you, and your hike from Marseilleveyre can take you to the most secret corners of the Calanques National Park, from Callelongue to Morgiou, Sugiton or even Cassis.

 

The white limestone of Marseilleveyre rises to the sky in rocky bars and cliffs, and offers numerous routes of all levels to climbing enthusiasts. From secure sites for beginners to large, challenging routes for thrill-seekers, lovers of vertical climbing meet every year in the hills bordering the south of Marseille.

 

Cycling and mountain biking enthusiasts can explore some of the tracks and roads of the Marseilleveyre massif. Along the water’s edge or in the middle of the pine trees, cyclists alternate descents, bends and climbs in a beautiful setting.

 

Nature sports enthusiasts can also discover the marine treasures of the Marseilleveyre massif, which plunges into the Mediterranean Sea. Several service providers offer discovery courses or scuba diving in the protected waters of the Park.

 

A preserved natural area

 

To the south of the Marseilleveyre massif, the flora has adapted to the aridity of the area and the salinity of the air. Here you can observe unusual plants such as the Marseille astragalus. The valleys, which are more sheltered from the sun, are home to beautiful holm oak forests or astonishing mantles of sarsaparilla.

 

The hills are home to many birds, especially birds of prey. The Great Horned Owl, the Short-toed Eagle and Bonelli’s Eagle reign supreme, while several species of bats nest in the caves and rocky crevices. Wild boars, rabbits, foxes, genets and roe deer have also found refuge in this protected area. You might also discover an ocellated lizard or a gecko snoozing in the sun at the bend in the path.

 

A viewpoint over Marseille and limestone Provence

To the north, the massif borders the city. The Campagne Pastré, the Parc du Roy d’Espagne, the Cayolle district, the Baumettes hamlet and the Luminy estate, with its universities and colleges, follow each other at the foot of the hills. This privileged location, at the gateway to the city, is one of the main assets of Marseilleveyre.

 

This lilting name can indeed be translated, for some linguists, by the expression “Seeing Marseille”. The name of the second summit of the massif, the Béouveyre, owes its name to the Provençal term for “belvedere”. The etymology pays tribute to the 360 degree view that the hills of Marseilleveyre offer over the city of Marseille, the Mediterranean Sea, the harbour, the islands, the Côte Bleue and the many hills that have surrounded and protected the city for thousands of years.

 

As you stroll along, you will discover breathtaking views of the different districts of Marseille. The golden statue of the “Bonne Mère” (“Good Mother”), who has watched over the city and its inhabitants from the top of the Notre-Dame de la Garde basilica for several centuries, is a real eye-catcher.

 

Explore Marseilleveyre safely

 

The Marseilleveyre massif is one of the driest places in France. The paths are potentially steep, and some routes offer conditions similar to those encountered in the mountains or high mountains. We invite you to bring appropriate equipment: sufficient water (at least two litres of water per person in summer), a hat and sunglasses, walking shoes…

 

The Calanques are a fragile and protected area. You must stay on the marked paths, do not pick plants or flowers, and bring back your rubbish. More detailed information is available on the official website of the Calanques Natural Park.

 

Access to the massifs may be restricted depending on the weather conditions. A total ban is possible in periods of high heat, drought or strong winds. You should find out the day before your visit on www.myprovence.fr/en/enviedebalade to find out the conditions of access to the Bouches-du-Rhône massifs.

 

(provence-alpes-cotedazur.com)

 

Die Calanques, auch bekannt unter den Namen Calanques de Marseille, Calanques de Cassis oder Massif des Calanques, sind ein Mittelgebirge in Südfrankreich, im Départements Bouches-du-Rhône, das zwischen den Städten Marseille und Cassis liegt. Der etwa 20 km lange Küstenstreifen des Mittelmeeres besteht aus einer Aneinanderreihung von tiefen und engen, schluchtartigen Buchten. Solch eine Bucht wird Calanque genannt. Der höchste Punkt der Bergkette ist der Mont Puget mit 565 m, der östlich von Marseille und dem Massif de Marseilleveyre liegt. Die Calanques und die Küste von Cassis bis La Ciotat wurden im April 2012 zum Nationalpark Calanques (Parc National des Calanques) erklärt.

 

Topographische Lage

 

Die einzelnen Calanques sind in das Massif de Marseilleveyre und den Mont Puget eingegraben. Sie erstrecken sich von dem Hafenstädtchen Les Goudes im Marseiller Vorort la Madrague de Montredon bis zum Cap Croisette in der Calanque Port-Miou, der einzigen Calanque der Gemeinde Cassis. Von Les Goudes bis Cassis gibt es 27 Calanques. Die 17 größten und bekanntesten sind:

 

la calanque de Callelongue: Hafen, Restaurant und Tauchzentrum der UCPA;

la calanque de la Mounine: enge Bucht, die hinter dem Col du Sémaphore liegt und das Tal la Mounine abschließt;

la calanque de Marseilleveyre: kleine Bar mit Restaurant, Tauchzentrum, zu Fuß von Callelongue erreichbar;

la calanque des Queyrons: windgeschützter kleiner Kieselstrand;

la calanque de Podestat: Kieselstrand, westlich liegt eine kleine schattige Grotte;

la calanque de Cortiou: Abfluss der Kläranlage von Marseille;

la calanque de Sormiou: Hafen mit kleinem Dorf, eingeschränkte Zufahrt mit dem Auto, bekanntes Klettergebiet;

la calanque de la Triperie: Unterwassereingang zur Grotte Cosquer, kein Zugang;

la calanque de Morgiou: Hafen mit kleinem Dorf, eingeschränkte Zufahrt mit dem Auto, bekanntes Klettergebiet;

la calanque de Sugiton: vielbesuchte, familienfreundliche Bucht, zu Fuß vom Campus de Luminy erreichbar;

la calanque des Pierres-Tombées: FKK-Strand;

la calanque de l’Œil de Verre: schwieriger Zugang nur für erfahrene Wanderer;

la calanque du Devenson: geschützt durch 200 m hohe Felsen, nur mit dem Boot oder durch Abseilen erreichbar;

la calanque de l’Oule: eingebettet zwischen 70 m Felsen, nur mit dem Boot erreichbar;

la calanque d’En-Vau: überlaufen, Kieselstrand, steile Felswände schließen die Bucht ein, bekanntes Klettergebiet;

la calanque de Port-Pin: zu Fuß in 30 Minuten von Cassis erreichbar;

la calanque de Port-Miou: nahe dem Ort Cassis, Jachthafen, östlicher Zugang zum Massif des Calanques.

 

Auf den vor Marseille liegenden Inseln Ratonneau, Pomègues, Riou und Plane haben sich auch mehrere Calanques gebildet.

 

Entstehung der Calanques

 

Das Massif des Calanques besteht aus Kalkstein, der sich im Wesentlichen im Mesozoikum gebildet hat. Das Mesozoikum umfasst die Zeitspanne von vor 250 Millionen Jahren bis vor 65 Millionen Jahren. Das Gestein entstand im Laufe von Millionen Jahren zwischen der Mitte des Jura vor etwa 150 Millionen Jahren und der Kreide vor etwa 110 Millionen Jahren. Dabei entstand Sedimentgestein in tieferen Wasserzonen durch Meeresablagerungen mineralischer und organischer Stoffe, die unter dem Druck von Wasser und jüngeren, darüber liegenden Gesteinsschichten komprimiert und verfestigt wurden. In flachen Wasserzonen bildeten sich Korallenriffe. Fossile Meeresorganismen zeugen von diesen Ablagerungen. Darauffolgende tektonische Aktivitäten führten zu horizontalen Bewegungen und Verwerfungen. Erosion ebnete die Verwerfungen wieder ein.

 

Während der messinischen Salinitätskrise vor 5,96 bis 5,32 Millionen Jahren wurde das Mittelmeer vom Atlantik isoliert. In der Folge sank sein Wasserspiegel bis zu 1.500 m unter den des Atlantiks ab. Die Flüsse, die ins Mittelmeer flossen, vertieften ihre Täler um Hunderte von Metern. Die fluviale Erosion durch kleinere Bäche und Flüsse schuf wahrscheinlich auch im Massif des Calanques zahlreiche tiefe, steilwandige Täler.

 

Vor etwa 1,5 Millionen Jahren, zu Beginn des Quartärs, hob sich die gesamte Region, und eine neue Erosionsperiode begann mit den eiszeitlichen Meeresspiegelsenkungen. Während dieser glazialen Niedrigwasserperioden bildeten sich entlang der Mittelmeerküste weitere steilwandige Täler durch die Erosion durch Flüsse, die in das Meer mündeten, welches etwa 100 Meter tiefer lag als heute.

 

Der Anstieg des Meeresspiegels des Mittelmeers nach den großen Eiszeiten überflutete vor etwa 12.000 Jahren einen Teil der Schluchten, so dass sie heute unter Wasser weit ins Meer hineinreichen. In dieser Zeit wurden auch die äußersten Teile des Festlands zu Inseln. Durch Verkarstung bildeten sich große Höhlen (Saint-Michel d'Eau douce) und unterirdische Flüsse (z. B. in der Calanque de Port-Miou und der Calanque de Sugiton).

 

Der Norden des Massif de Marseilleveyre und die Hochebene von Carpiagne bestehen aus dem ältesten Gestein, das aus dem Jura stammt, mit einem Alter von 200 Millionen bis 140 Millionen Jahren. Der größte Teil des Massif des Calanques sowie die Inseln bestehen aus urgonischem Kalkstein, etwa 115 Millionen Jahre alt, welcher sehr hart und von weißer Farbe ist und von Korallen in einem flachen warmen Meer aufgebaut wurde. Zwischen Luminy und des Calanque de Sugiton findet man aber auch dolomitische, eher sandige Kalke des Valanginium, die etwa 140 Millionen bis 134 Millionen Jahre alt sind.

 

Hydrologie

 

Das Wasser des Mittelmeeres vor der Calanquesküste ist oft kühler als in den umliegenden Meeresregionen. Dies liegt einerseits daran, dass die Klippen im Meer steil abfallen ohne seichtere Küstengewässer. Zum anderen existieren zahlreiche kalte Süßwasserquellen unter der Meeresoberfläche, die durch ein Netzwerk unterirdischer Bäche gespeist werden, die sowohl das Massif de Marseilleveyre als auch die Hochebenen Carpiagne entwässern. Diese Phänomen der Karstquellen ist von allen Kalkküsten des Mittelmeers bekannt, da der Meeresspiegel während der Eiszeiten des Quartärs erst um etwa 135 m sank, bevor er vor etwa 10.000 Jahren wieder das heutige Niveau erreichte und so die Quellen und Bäche überschwemmte.

 

Ein unterirdischer Fluss mit einer beträchtlichen Fließgeschwindigkeit und einem Volumenstrom von 5 m³/s bis 7 m³/s endet fast auf Meereshöhe in der Calanque Port-Miou. Er kommt wahrscheinlich aus dem Massif de Sainte-Baume und wird von einem 1.000 km² großen Grundwasservorkommen unter der Provence gespeist. Eine solche Durchflussmenge könnte mehr als eine Million Menschen mit Trinkwasser versorgen.

 

Eine weitere Karstquelle endet einige Dezimeter unter dem Meeresspiegel des Strandes von Bestouan (am Westausgang von Cassis), wodurch das Wasser dieses Strandes selbst im Hochsommer sehr kalt ist.

 

Klima

 

In den Calanques herrscht mediterranes Klima mit starker Trockenheit. Die vorhandene Feuchtigkeit stammt im Wesentlichen aus der Verdunstung des Meerwassers sowie aus starken Regenfällen im Herbst und Winter. Die Regenfälle sind jedoch durch lange Trockenperioden getrennt. Aufgrund des Abflusses kommen sie nur sehr bedingt der Vegetation zugute. Die durchschnittliche Niederschlagsmenge liegt bei etwa 600 mm pro Jahr. Das Cap Croisette, das Tor zu den Calanques im Westen, ist mit durchschnittlich 360 mm das trockenste Gebiet Frankreichs. Die Heftigkeit mancher Niederschläge ist extrem. So wurde von Météo-France am 1. Dezember 2003 innerhalb von zwei Stunden eine Niederschlagsmenge von 218 mm in Marseille und von 235 mm in Cassis gemessen.

 

Zusammen mit hohen Temperaturen hat der Wind einen großen Einfluss auf die Verdunstung, insbesondere an der Küste. Der Mistral und der häufig starke Nordwestwind machen 43 % der windigen Tage aus. An der Meeresoberfläche führen diese Winde zu sehr starken Strömungen und damit zum Aufsteigen von Tiefenwasser. Wenn der Mistral weht, kann die Wassertemperatur an der Oberfläche innerhalb weniger Stunden um bis zu 10 K abnehmen, d. h. von 23 °C – 25 °C auf 13 °C – 15 °C. Dieses aufsteigende Tiefenwasser ermöglicht eine hohe Biodynamik an der Küste durch die Anreicherung des Wassers mit Mineralien.

 

Lebensräume

 

In den Calanques gibt es keine Wasserläufe auf Grund der geringen Niederschlagsmengen und der Verkarstung des Untergrundes. In den südseitigen, mistral-geschützten Lagen bildet sich ein Mikroklima aus, bestimmt durch die Wärmeregulierung des Meeres, der Sonneneinstrahlung und den hohen weißen Felswänden. Im Winter sind Temperaturdifferenzen von 10 K zwischen den südseitigen und den nordseitigen Lagen beziehungsweise der Innenstadt von Marseille möglich. Die Bestandsaufnahme der Lebensräume, die im Rahmen der Natura-2000-Studie durchgeführt wurde, weist für die Calanques sechsundzwanzig natürliche Lebensräume aus, zu denen noch vierzig gemischte Lebensräume hinzukommen. Es gibt vier große Gruppen: Felslebensräume mit Klippen und Geröllhalden, Waldlebensräume mit klimatisch bedingten Kiefernwäldern, offene Lebensräume wie Rasen und Garrigue sowie Küstenlebensräume. Natura 2000 hat die geschützten Tiere und Pflanzen in einer Liste zusammengefasst.

 

Flora

 

Die Calanques sind ein außergewöhnliches Ökosystem, in dem selbst subtropische Pflanzenarten die Kälteperioden des Quartärs überstanden haben. Es gibt kaum fruchtbare Erde auf dem Karstboden. Die Kalksteinfelsen mit ihren Geröllhalden sind von zahlreichen Rissen und Spalten durchzogen, in denen sich die Wurzeln der Pflanzen verankern können. Aufgrund der trockenen Standorte beziehen die Pflanzen ihr Wasser aus verdunstendem Meerwasser und der mit salzigen Wassertröpfchen angereicherten Meeresluft. Auch morgendlicher Tau trägt zur Wasserversorgung der Pflanzen bei. Die Vegetation der Calanques ist nicht bodendeckend, sondern gedeiht in Form von vereinzelten, relativ niedrigen Büschen. Das Gebiet ist größtenteils von Macchienvegetation bedeckt: Heidekräuter (Erica), Dornpolster aus Astragale de Marseille (Astragalus tragacantha), Lorbeerblättriger Schneeball (Viburnum tinus), Kermes- oder Stech-Eiche (Quercus coccifera), Raue Stechwinde (Smilax aspera) und Wacholder sowie kleinen Wäldchen aus Aleppo-Kiefern. Darüber hinaus kommen endemische Arten vor wie der Skopendien-Farn oder das Sabline de Provence (Arenaria provincialis), eines der Symbole der Calanques. Insgesamt kann man davon ausgehen, dass etwa 83 Arten entweder geschützt sind oder auf der Liste der bedrohten Arten stehen.

 

Fauna

 

Die Fauna der Calanques ist entweder angepasst, dies gilt besonders für Insekten, oder ist ein Relikt aus früheren Zeiten wie der Habichtsadler. Die größte europäische Eidechsenart, die Perleidechse, lebt ebenso hier wie die Bulldoggfledermaus. Das Massiv beherbergt einen hohen Anteil an Seevögeln. 30 % der Population der Corysturmtaucher (Calonectris borealis, französisch Puffin cendré) Frankreichs leben hier. Dazu kommen in den Küstengewässern noch Meeresschildkröten und Delfine.

 

Die hier lebenden Wirbellosen sind gut an den Lebensraum angepasst. Dabei handelt es sich entweder um Coleopteren (Käfer), die Elytren haben, die sie vor dem Austrocknen schützen (z. B. der Große Eichenbock), oder um Schmetterlinge.

 

Cosquer-Höhle

 

Südöstlich von Marseille am Cap Morgiou liegt die von Henri Cosquer entdeckte Cosquer-Höhle mit Höhlenmalereien aus der Zeit zwischen 27.000 und 19.000 v. Chr., die Bisons, Pferde, Steinböcke aber auch Meerestiere wie Robben und Alkenvögel darstellen. Ihr Eingang liegt 37 m unter der Meeresoberfläche und ist durch ein Gitter verschlossen.

 

Tourismus

 

Im Jahr 2008 verzeichneten die Calanques zwei Millionen Besucher. Zum Schutze der Natur wurde der Nationalpark Calanques nach jahrelanger schwieriger Vorarbeit im April 2012 als zehnter französischer Nationalpark gegründet. Im Jahr 2020 erleben die Calanques einen Besucherrekord mit geschätzten mehr als drei Millionen Besuchern. Die Calanques sind Opfer ihres Erfolgs und des Phänomens des Übertourismus. Die Besucher konzentrieren sich dabei auf die beliebtesten Orte En-Vau, Port-Pin, Morgiou, Sormiou und Sugiton. In der Calanque de Sormiou werden Spitzenwerte von 2.000 Personen/Tag erreicht, in En-Vau von 1.000 Personen/Tag. Die akzeptable Schwelle liegt bei einigen hundert Besuchern pro Tag und Standort.[ In der Calanque de Sugiton sind die Auswirkungen auf die Flora durch wiederholtes Betreten und die dadurch verursachte Bodenerosion unübersehbar. Diese touristische Überlastung existiert aber auch an leicht zugänglichen Kletter-, Tauch- und Bootsankerplätzen.

 

Didier Réault, der Präsident des Nationalparks Calanques, sprach sich für die Regulierung der Besucherströme aus, nicht für ein Zutrittsverbot, und entschied sich für eine Organisationslogistik der „geringsten Auswirkungen“. Um Autos, Motorräder und Boote zurückzudrängen, beschloss die Nationalparkführung unter anderem die Einführung einer Besucherquote für die Calanque de Sugiton, die am stärksten von der Überfüllung betroffen ist.

 

Aktivitäten

 

Wegen Brandgefahr ist der Zugang zum Massif des Calanques vom 1. Juni bis zum 30. September reglementiert (eingeschränkter Zugang bei großer Hitze, vollständiges Verbot bei Wind usw.). Per prefektoralem Erlass werden Dauer und Art der Verbote festgelegt. Diese werden täglich an die Wetterlage angepasst und auf der Website des Nationalparks veröffentlicht.

 

Obwohl das Massif des Calanques am Meer liegt, birgt es ähnliche Risiken wie Bergwanderungen. Die Wege sind steil, teilweise sehr ausgesetzt und somit riskant für ungeübte Wanderer. Starker Mistral beinhaltet das Risiko bei Böen, das Gleichgewicht zu verlieren, was insbesondere auf Bergrücken und entlang exponierter Pfade gefährlich ist. Wegen der vielen Spaziergänger und Wanderer ist der Boden aus Kalksteinfelsen von den zahlreichen Passagen häufig wie poliert und sehr rutschig.

 

Als Standardwanderausrüstung wird folgendes empfohlen: gute Wander- oder Trailschuhe, Kopfbedeckung und Sonnencreme (mindestens Lichtschutzfaktor 30 und 50+ für Kinder), Sonnenbrille (100 % UV-Filter und polarisierend), Mobiltelefon, Verpflegung und vor allem Wasser. Im Massif des Calanques gibt es kaum Schatten. Die Mitnahme von 1,5 l Wasser pro Person ist die Basismenge. Jeder Person sollte noch mindestens 0,5 Liter Wasser pro Wanderstunde mitnehmen. Einige Wasserstellen wurden in den Randgebieten des Massivs eingerichtet wie an der Schranke von Luminy, dem Parkplatz von La Cayolle, bei der Busendhaltestelle Madrague de Montredon und am Start des GR 51-98. Vorhandenes Oberflächenwasser ist generell ungenießbar (wie z. B. Grand Malvallon, Fontaine de Voire).

 

Das Massiv kann auf mehrere Routen von West nach Ost, d. h. von der Calanque de Callelongue bis nach Cassis durchquert werden.

 

Um alle Calanques so nah wie möglich am Meer zu durchwandern, sind 12 Stunden zu veranschlagen bei einer Weglänge von 28 km.

 

Der direktere Fernwanderweg GR 51-98 erfordert 6,5 Stunden effektive Gehzeit bei eine Länge von 21 km bis Port-Miou, inklusive 1000 m positivem Höhenunterschied.

 

Wanderwege und Gehzeiten zu den Calanques sind etwa:[16]

 

Callelongue → Marseilleveyre (50 min), les Queyrons (1 h) und Podestat (1h 15 min);

Col de Sormiou → l’Escu (1 h);

La Cayolle → Sormiou (1 h) und l’Escu (1 h 20 min);

Les Baumettes → Morgiou (1 h) und Sormiou (50 min);

Luminy → Sugiton (55min) und Morgiou (50 min);

La Gineste / La Gardiole → En-vau (2 h) und Port-miou (1 h 50 min);

Halbinsel Cassis → Port-miou (5 min), Port-pin (25 min), En-vau (1 h 10 min).

 

Klettern

 

In den Calanques wird seit über 100 Jahren geklettert. Im Jahre 2004 gab es in der Calanques 3.436 gut dokumentierte Kletterrouten (2.440 Sport- und 996 Abenteuerrouten). Mit meist einfachen Zugängen und einem zu jeder Jahreszeit günstigen Klima sind die Calanques heute eines der bekanntesten und beliebtesten Klettergebiete in Frankreich und Europa. In der wirtschaftlichen Entwicklung des Departements Bouches-du-Rhône sind Natursportarten nicht berücksichtigt. Im Nationalpark Calanques werden Kletterer nicht mit „offenen Armen“ empfangen, da die Felsen der Calanques eine außergewöhnliche Biodiversität besitzen. Klettern ist mit größtem Respekt vor der Natur auszuüben. Die Gründung des Nationalparks führte zu einem Verbot der Erschließung neuer Routen und zu Maßnahmen zum Schutze der Fauna und Flora. Die Nationalparkverwaltung bittet, definierte Zugangswege nicht zu verlassen und Betretungsverbote zu Nistklippen einzuhalten.

 

Die Anfänge des Kletterns

 

Der Gipfel der Grande Candelle wurde erstmals 1879 von dem britischen Konsul Francis W. Mark bestiegen. Damit begann die Erschließung der Calanques durch lokale Bergsteiger. Diese sahen aber in den Felsen und Türmen nur ein Trainingsgebiet für die Alpen. Ab Beginn des 20. Jahrhunderts wurden die entlegenen Orte erkundet wie das Val Vierge oder die Calanque de Devenson, und die wichtigsten Gipfel und Nadeln wurden bestiegen: Rocher des Goudes (1900), Aiguille de Sugiton (1903), Aiguille de Sormiou (1904). In den 1920er Jahren wurden erste große Routen entlang von Graten eröffnet, wie l’Arête de Marseille an der Grande Candelle (April 1927) oder am Rocher Saint-Michel l’Arête de la cordée (Februar 1928).

 

Die Erschließung des Gebietes

 

Erst durch die Einführung besserer Sicherungsmittel (Felshaken) wurden Routen durch die Felswände eröffnet. Ab den 1930er Jahren erschlossen Kletterer aus Marseille wie Édouard Frendo (1910–1968) immer schwierigere Routen. Der Schwierigkeitsgrad VI wurde in den Calanques erst 1938 von Duchier und Charles Magol mit der Nordwest-Wand des Rocher des Goudes erreicht. In den folgenden zwei Jahrzehnten wurde die Entwicklung des Kletterns in den Calanques von Gaston Rébuffat (1921–1985) und Georges Livanos (1923–2007) entscheidend mitgeprägt, wobei Livanos, genannt „Le Grec“, etwa 400 Routen in den Calanques erstbeging. Beide haben auch das Klettern im gesamten Alpenraum beeinflusst. Mit einer Mischung und freier Kletterei und technischer Kletterei wurden in praktisch allen Felswänden mehrere Routen eröffnet.[ Ein gutes Beispiel für diese Art Route ist der Éperon des Américains in der Calanque d'En-Vau, 1963 erstbegangen durch die amerikanischen Kletterer Gary Hemming, Royal Robbins und John Harlin. Mit den Jahren, im Geiste der Direttissimas, nahm der Anteil technischer Kletterei an den Routen immer mehr zu. Höhepunkt der technischen Kletterei wurde 1966 durch Mark Vaucher und Le Grec mit der Begehung der Directissime de la Concave erreicht.

 

Die Zeit des Sportkletterns

 

Bernard Vaucher konstatierte, dass während der 1970er Jahre die Calanques eine untergeordnete Rolle in der Entwicklung des Kletterns eingenommen haben. Die angesagten Klettergebiete dieser Zeit waren das Klettergebiet Verdonschlucht, Buoux im Luberon und Deux Aiguilles am Fuße des Montagne Sainte-Victoire. Die Calanques-Kletterer wie Francois Guillot, Claude Cassin oder Joel Coqueugniot eröffneten schwere und schlecht gesicherte Abenteuer-Routen („terrain aventure“) an schwer zugänglichen Felsen wie der Sektor La Bidule an der Halbinsel Castelvieil oder Coryphène.

 

Ende der 1970er Jahre und in den 1980er Jahren wurden sehr viele Routen mit Hilfe von Bohrhaken für das Sportklettern eingerichtet und der Ruf der Calanques verbreitete sich in Frankreich und Europa. Immer schwierigere Freikletterrouten wurden erstbegangen wie Patrick Edlingers „Nymphodalle“ (7c) von 1979 bis hin zu François Legrands „Robi in The Sky“ (9a) von 2000. Ganz im Sinne der Zeit wurden Routen durch alle großen Grotten (La Grotte d’Ours, la Grotte de l’Ermite und das Paroi des Toits) eingerichtet und frei geklettert. Die Erschließung neuer Routen setzte sich in den folgenden Jahrzehnten fort, finanziert von Vereinen und den Gemeinden. Heute gilt an vielen Felsen ein Erschließungsverbot.

 

Freizeitschifffahrt, Seekajak und Bootstouren

 

Die vom Meer aus leicht zugänglichen Calanques sind häufig von Besuchern überlaufen. Um vor allem die Auswirkungen von Motorbooten auf Flora und Fauna zu begrenzen, ist der Zugang zu den Calanques vom Wasser aus reglementiert. Jeder gewerbliche wie auch private Bootsvermieter benötigt eine Genehmigung der Parkverwaltung. Diese stellt fünf Genehmigungen pro Jahr für private Vermieter aus, beziehungsweise eine dauerhafte Genehmigung für gewerbliche Vermieter. Folgende Einschränkungen sind von Bootseignern und Bootsmietern zu beachten: Nicht in verbotenen Zonen ankern, Verbotszonen für Motorschiffe respektieren, Zugangsbeschränkungen zu den Calanques d’En-Vau, Port-Pin und Port-Miou berücksichtigen, in einem Streifen von 300 m entlang der Küste gilt die Geschwindigkeitsbegrenzung von 5 Knoten.

 

Die Calanques bieten sich wegen der zahlreichen Felsbuchten zum Küstenpaddeln an. Zudem sind einige kleine Höhlen bei ruhigem Wasser mit dem Boot befahrbar, wie z. B. die Grotte Bleue am Eingang zu der Calanque de Morgiou. Bei Seekajaktouren ist auf gute und stabile Wetterverhältnisse zu achten, besonders auf ruhige Windverhältnisse wegen des starken, ablandigen Windes bei Mistral. Schwimmwesten sind Pflicht. An Steilküsten ist nur an wenigen Uferstellen ein Ausstieg möglich. Sonnencreme, Sonnenbrille und eine Kopfbedeckung sowie Trinkwasser und Proviant sind bei längeren Touren unerlässlich. Neoprenschuhe zu tragen ist beim Anlegen in kleinen Buchten sinnvoll, da der Grund oft voller kantiger und spitzer Steine und Seeigel ist. Anlegen ist verboten, wenn der Nationalpark wegen Brandgefahr geschlossen ist.

 

Der Besuch der Calanques kann in Rahmen von Bootstouren unterschiedlicher Dauer und Länge erfolgen, die von Schifffahrtsgesellschaften von Marseille oder Cassis aus angeboten werden.

 

Radfahren und Mountainbiken

 

Die Calanques sind ein beliebtes Gebiet für Mountainbiker. Routenvorschläge werden auf vielen Online-Plattformen angeboten. Die Benutzung von E-Bikes hat in den letzten Jahren stark zugenommen. Seit November 2021 ist Radfahren und Mountainbiken in den Calanques reglementiert. Fahrräder dürfen nur auf einem Netz erlaubter Pisten, Wege und Pfade benutzt werden. Außerhalb dieses Netzes ist das Radfahren verboten. Eine Online-Karte der erlaubten Wege ist verfügbar.

 

Tauchen

 

Der Nationalpark Calanques beherbergt eine vielfältige und artenreiche Unterwasser-Flora und -Fauna. Auch die Vielseitigkeit der Unterwasserlandschaften ist erheblich mit Höhlen, felsigem Grund, Neptungräsern, Korallenriffen und Unterwasserschluchten. Die zahlreichen Wracks in den Gewässern des Nationalparks machen ihn zu einem Hotspot der Unterwasserarchäologie.

 

Tauchen ist im Nationalpark erlaubt, aber reglementiert. Die „Tauchercharta“ und die nautischen Vorschriften zum Schutze der Artenvielfalt müssen eingehalten werden. Die Entnahme von archäologischen Artefakten und Überresten ist verboten. Es ist weiter verboten, in den zwei archäologischen Schutzzonen (ZPR) zu tauchen: im Cousteau-Dreieck vor den Inseln Riou und Plane sowie an der Pointe de la Voile am Cap Morgiou. An vielen Tauchspots sind Bojen am Meeresboden befestigt. Es ist empfohlen diese zu benützen, anstatt Anker zu werfen. Der Zugang zu den Bojen ist frei und kostenlos.

 

In der Calanque de Sormiou entwickelten Jacques-Yves Cousteau („Le Commandant“) und Georges Beuchat die moderne Tauchausrüstung und unternahmen dort ihre ersten Unterwasser-Entdeckungen. Hier wurde das moderne Tauchen geboren.

 

(Wikipedia)

 

Das Massif de Marseilleveyre ist ein zerklüftetes, verkarstetes Bergmassiv südlich von Marseille. Seine spektakulären fjordartigen Buchten sind Teil der Calanques.

 

Geographie

 

Tief eingeschnittene Täler und Schluchten wie das Grand Malvallon, das Vallon de la Mounine oder das Vallon des Aiguilles führen nur nach Regenfällen Wasser in den Bächen auf dem Talgrund. Zahlreiche Höhlen wie die Grotte de l'Ours, die Grotte de l'Eremite oder der Aven Gombault, Karstquellen wie die Fontaine de Voire oder die Fontaine de Brès und bizarre Felsformationen wie der natürliche Steinbogen Les Trois Arches im oberen Malvallon prägen das Massiv. Zahlreiche Wanderwege und Kletterrouten durchziehen die Berge. Der Col de la Selle und der Col des Chèvres östlich bzw. westlich des Sommet de Marseilleveyre ermöglichen die Überschreitung des Bergmassivs in Nord-Süd-Richtung.

 

Toponymie

Der Name des Massivs bedeutet Massiv, von dem man Marseille sieht (veyre = okzitanisch 'sehen').

 

Vegetation

 

Die natürlich karge Vegetation wird durch wiederkehrende Waldbrände zusätzlich vermindert. Typische Pflanzen sind die Aleppokiefer, die Garrigue und vereinzelte Pinien und Zypressen. Wälder finden sich fast nur noch am nördlichen Fuß des Massivs und im Bois de la Selle unterhalb des Col de la Selle.

 

Bemerkenswerte Erhebungen

 

Sommet de Marseilleveyre, 432 m, höchster Punkt des Massivs

Béouveyre, 397 m

Tête de l'Homme, 396 m

Tête de la Mounine, 385 m

Sommet Ouest de l'Homme Mort, 374 m

Tête de la Melette, 362 m

Pointe Callot, 346 m

Les Trois Pics, 335 m

Rocher St. Michel, 322 m

Tête du Trou du Chat, 281 m

Rocher des Goudes, 258 m

 

(Wikipedia)

No writing on the back of this postcard

 

Part of the Beach Moments Project . Includes Candid , Vintage and Family Moments on a beach.

 

Hall of Honor awards held Thursday Sept. 19, 2019 at the Line Hotel in Austin, Texas. Award winners include: Dr. Forest Baskett, Dr. Nikhil Advani, and Tyrrell Flawn

Murree (Punjabi, Urdu: مری) is a hill station and summer resort and the administrative centre of Murree Tehsil, Pakistan, which is a subdivision of Rawalpindi District and includes the Murree Hills.

Murree was the summer capital of the British Raj in the Punjab Province (British India). A popular tourist destination Located in the north-west Himalayas at an average altitude of 2,291 metres (7,516 ft), the city of Murree, draped in forests of pine, and oak, experiences pleasant summers and cold, snowy winters. The city is famous for its buildings styled in tudorbethan and neo-gothic architecture dating from the colonial era.

Murree is located along the Islamabad-Murree Highway, some 58.3 km (36.2 mi) northeast of Islamabad.

Murree was developed in 1851 by the (then) President of the Punjab Administrative Board, Sir Henry Lawrence, and was originally established for the British troops garrisoned on the Afghan frontier as a sanatorium.Officially, the municipality was created in 1850.

The permanent town of Murree was constructed at Sunnybank in 1853. The church was sanctified in May 1857, and the main road, Jinnah Road, formerly known as The Mall (and still commonly referred to as), was built. The most significant commercial establishments, the Post Office, general merchants with European goods, tailors and a millinery, were established opposite the church. Until 1947, access to Jinnah Road was restricted for "natives" (non-Europeans).

Until 1876, Murree was the summer headquarters of the Punjab local government; after 1876 the headquarters were moved to Shimla.[

The railway connection with Lahore, the capital of the Punjab Province, via Rawalpindi, made Murree a popular resort for Punjab officials, and the villas and other houses erected for the accommodation of English families gave it a European aspect. The houses crowned the summit and sides of an irregular ridge, the neighbouring hills were covered during the summer with encampments of British troops, while the station itself was filled with European visitors from the plains and travellers to Kashmir.

Murree is one of the largest resort towns in the Galyat area of Pakistan, and is the municipal or regional capital of Murree Tehsil* (*general administrative subdivision), it is an administrative division of the Rawalpindi District. The town of Muree is situated on the southern slopes of the Western Himalayan foothills as they ascend northeastward, towards the bifurcated states of Kashmir. During British colonial rule in the nineteenth century, its altitude was established at 7,500 feet (2,300 m).

Murree is accessible by road from the centre of the Islamabad and Rawalpindi areas. It is still associated with Britain; many British fruits (including cherries, raspberries and strawberries) thrive locally. There is an Anglican church, built in 1857, located at the centre of the town, which is still used as a place of worship. Many houses around the church are still standing, functioning mostly as hotels. Old traditional restaurants have been replaced by fast-food shops and newer restaurants. Some famous old places of accommodation, such as the Rich Villa Inn and Gulberg Hotel, have completely disappeared. A typical hotel provides a motel-type accommodation with breakfast and communication access. Newly built hotels are also accessible

Murree houses headquarters of 12th infantry division of Pakistan Army and large number of educational and training institutions. Combined Military Hospital established to cater the needs of civilian population of Murree and adjoining areas. Pakistan Air Force also maintains base at Lower Topa. For administrative purposes the military areas of Murree are divided in two separate cantonments, Murree Cantonment and Murree Hills Cantonment.

Murree Houses residence for Punjab Governor at the Kashmir point. The imposing building was built in nineteenth century by the British. There are Punjab and Sindh Houses to cater needs of the provincial government. Similarly, there are Rest Houses for the Judges of Supreme Court and Lahore High Court. A large number of government, semi government and private departments and institutions maintain guest houses in Murree. A number of diplomatic missions based in Islamabad established their camp offices in Murree in the 1960s. The same however are seldom used now. Adjacent to Murree is the Galliat region of North West Frontier Province which includes Nathiagalli, Ayubia, Khanspur, Dunga Galli, Khairagalli and Changla Galli. Before the British rule whether part of Rawalpindi District of Muzaffarabad, Murree and Galiat have been part of same administrative unit, however in 1850 the British decided to divide them between Rawalpindi and Hazara. Howevere despite divided by provincial boundaries, Murree and Galliat are inseparable both geographically, culturally, linguistically as well as from the point of view of the tourists. Murree serves as a gateway to Galliat.

[Bhurban]] and New Murree (Patriata) have also developed as tourist centres. The whole Murree Galliat region is known for its scenic beauty. Mountains overhung with pines and oaks, bubbling with gurgling springs, crisscrossed by rivulets, dotted with sprawling lawns and orchards overloaded with fruits present a nice spectacle. A fine view of the snowy peaks of Kashmir is to be had on a clear day, and the crest of Nanga Parbat can sometimes be seen.

Bhurban, boosting with a five star Pearl Continental Hotel and a nine hole Golf course has cropped recently as another tourist attraction in the area. Lying at an altitude of 6000 ft, Bhurban is situated at a distance of 13 kilometres from Murree on one of main roads leading to Azad Kashmir. The Punjab government is said to have plans to develop New Murree city at Patriata fifteen kilometres southeast of Murree. The Punjab Tourism department constructed resorts amidst the forests on the Patriata ridge in 1987 as well as a 3 kilometre sky slope from the top of Patriata ridge to Gulara Gali (not functioning currently). Patriata is connected with Islamabad and Murree through a number of all weather roads.

 

ATSCC Arizona CBP Operations, to include aerials of CBP locations, canine inspections, ports of entry and exit, border patrols, OFO operations and inspections, apprehensions, drug seizures, and check points.

The set includes:

- three types of steam locomotive used on the KCR

- Original liveried EMD G12 number KCR 51

- KCR liveried EMD G26CU number KCR 60

- Siemens “Eurorunner” ER20

- Original condition Metro Cammell EMU

- Original liveried Phase 2 LRV

- Refurbished Metro Cammell EMU

- KCR liveried Phase 1 LRV

- KCR liveried SP1900 EMU

- Original liveried Ktt locomotive

 

On display at the Hong Kong Railway Museum.

An hour to kill in Worthing while my glasses were being "re-glazed" - a tweak to the reading prescription on my varifocals.

The full article that includes this photo lives at www.akihabaranews.com/news-16715-X.html

You may also want to check out www.flickr.com/photos/akihabaranews/ for similar photos

 

The full article that includes this photo lives at www.akihabaranews.com/news-16715-X.html

You may also want to check out www.flickr.com/photos/akihabaranews/ for similar photos

The “INKredible 2″ Pack includes 20 NEW polymer clay patterns sheets designs introducing a variety & mix of materials to use along with alcohol inks.

 

These sheets can be applied in any bead, jewel, or accessory of your choice – flat or curved, small or large.

I implemented my pattern sheets on earrings & beads.

 

The materials I used are probably already in your polymer clay toolbox, taken from many of my previous classes –

Alcohol inks, chalk pastels, paints, stazon inks, stencils etc.

 

This class is a new version of my known previous INKredible class, now offering a celebration of exciting, new techniques, encouraging you to use anything on your worktable, along with alcohol inks.

 

20 patterns came out of my personal laboratory, but the combinations are infinite!

 

www.polypediaonlineexpress.com/product/complete-inkredibl...

 

If you are interested in combining these beads in elaborated, impressive Micro Macrame knotting, you are welcome to check out the new "INKredible Macrame" class -

www.polypediaonlineexpress.com/inkredible2-inkredible-mac...

(Wilson, Michigan) – A native plants restoration and pollinator protection workshop in July 2012 was held at the Hannahville Indian Community in Michigan’s Upper Peninsula and attended by the representatives of five Michigan and Wisconsin Native American communities.

 

At the end of the workshop, students from the Hannahville Indian School (Nah Tah Wahsh PSA) enjoyed planting saplings including apple trees on April 12, 2012 at the Hannahville Indian Community nation.

 

The planting and a workshop are part of the U.S. Forest Service-funded Zaagkii Wings and Seeds Project.

 

With smiles on their faces and dirt on their hands, the students had fun planting the apple tree and cedar tree saplings.

  

Kinomaagewin-Aki: Teachings from the Earth

Videos about the workshop that include the children can be found at:

www.youtube.com/ZaagkiiTV

www.WingsAndSeeds.org

 

During the Hannahville workshop, a northern Michigan Native American elder said he believes something is amiss in nature and encouraged tribal communities to join with non-tribal partners for pollinator protection and the restoration of native plants.

 

A crisis is imminent.

 

Honeybees and native pollinators such as bumblebees are declining at alarming rates as the native plants that sustain them are decreasing due to habitat loss via non-native invasive plants.

 

“It is your responsibility – as well as ours – to be tenders of the garden,” said Earl Meshigaud, Hannahville Potawatomi Indian Community Tribal Council Member and Culture Department Director. “That’s what we were put here for – to take care of God’s Creation.”

 

The workshop and other related projects like a tribal greenhouse are examples of Native American tribes and the U.S. Forest Service working together to restore native plants and protect pollinators.

-------

 

The workshop was entitled:

Kinomaagewin-Aki

Teachings from the Earth

 

A Native Plants Restoration and Pollinator Protection Workshop – For Native American Tribal Communities in Northern Michigan

 

Insights into traditional Native cultural teachings, medicinal plants and challenges facing native plants restoration efforts in Indian country

 

An overview of native plant restoration and pollinator protection efforts among Native American tribal communities

 

Perspectives from the U.S. Forest Service on grant possibilities and technical support

 

Sponsored by the Cedar Tree Institute in collaboration with the U.S. Forest Service and the Hannahville Indian Community

 

Representatives of 5 tribal communities attended the April 2012 pollinator protection and native plants restoration workshop hosted by the Hannahville Indian Community

 

Represented at the workshop:

The Hannahville Indian Community

The Keweenaw Bay Indian Community (KBIC)

The Sault Ste. Marie Band of Chippewa Indians

Lac Vieux Desert Band of Lake Superior Chippewa Indians

Menominee Indian Tribe of Wisconsin (MITW)

Center for Native American Studies at Northern Michigan University

 

The Hannahville meeting was the third in a series of Zaagkii Project/U.S. Forest Service tribal workshops in northern Michigan.

Prior workshops were held in July 2012 at KBIC and July 2011 at Presque Isle Park in Marquette.

 

The fourth workshop will be on Thursday, Sept. 13 and Friday, Sept., 14, 2012 at Lac Vieux Desert (LVD) near Watersmeet, Michigan.

The LVD workshop will include pollinator protection and native plants restoration information with a focus on wild rice, among other topics.

 

Zaagkii Project sponsors include Keweenaw Bay Indian Community, United States Forest Service (USFS), Marquette County Juvenile Court, U.P. Children's Museum and the Center for Native American Studies at Northern Michigan University

 

The Zaagkii Project is coordinated by the Cedar Tree Institute, a nonprofit organization that provides services and initiates projects in the areas of mental health, religion and the environment.

 

For more info:

 

Nonprofit Cedar Tree Institute (CTI)

www.CedarTreeInstitute.org

 

Rev. Jon Magnuson

Director

Cedar Tree Institute

906-228-5494

magnusonx2@charter.net

 

Tom Biron, Sault Ste. Marie Band of Chippewa Indians

tom@reinhardtassociates.net

 

Zaagkii Wings and Seeds Project:

Pollinator protection and native plants restoration project with the U.S. Forest Service, U.P. Native American tribes, The Cedar Tree Institute, The Center for Native American Studies at Northern Michigan University, Marquette County Juvenile Court

Zaagkii is Anishinaabe for “The love that comes from the Earth”

www.WingsAndSeeds.org

WingsAndSeeds.org/2011/08/05/efforts-plant-restoration-un...

 

Kinomaagewin-Aki: Teachings from the Earth

wingsandseeds.org/2012/03/08/kinomaagewin-aki-teachings-f...

 

“There’s always been one deep conviction underlying the Zaagkii Project,” Magnuson says. “Restoring the earth is inextricably linked to a healing of the human spirit.”

-------

 

The USDA United States Forest Service:

www.fs.fed.us

www.fs.usda.gov/r9

www.fs.fed.us/wildflowers

 

Larry Stritch

USDA U.S. Forest Service

National Botanist

Washington, D.C.

 

1-202-205-1279 (office)

email USFS National Botanist Larry Stritch

lstritch@fs.fed.us

---

 

Jan Schultz, USFS

Botany, Non-native Invasive Species

Special Forest Products Program Leader

USDA Forest Service Eastern Region

Milwaukee, WI

1-414-297-1189 (office)

email USFS regional botanist Jan Schultz

jschultz@fs.fed.us

---

 

USFS Eastern Region Native Plant Materials Accomplishments

Zaagkii Wings & Seeds Project: A Native Plants & Pollinator Protection Initiative

www.fs.usda.gov/Internet/FSE_DOCUMENTS/stelprdb5353195.pdf

www.fs.fed.us/wildflowers/nativeplantmaterials/documents/...

---

 

The Pollinator Partnership:

www.pollinator.org

-------

 

Workshop host:

 

Hannahville Indian Community:

“Keepers of the Fire”

hannahville.net

 

Hannahville Indian Community

N14911 Hannahville B-1 Road

Wilson, Michigan

49896

 

906-723-2270 (office)

---

 

Hannahville Indian School

Nah Tah Wahsh PSA

Wilson, Michigan

906-466-2952 (office)

www.hannahvilleschool.net

 

Hannahville Potawatomi Indian Community Department of Culture, Language and History: Potawatomi Language website

www.potawatomilanguage.org

---

 

Scott Wieting

Environmental Programs Coordinator for the Hannahville Indian Community

906-723-2295

swieting@hannahville.org

hannahville.net/services/details/309

 

Wieting oversees the implementation and management of all tribal environmental protection programs.

He oversees the tribes’ environment-related federal grant programs.

-------

Workshop Presenters/Related Info:

 

Earl Meshigaud, Hannahville Potawatomi Indian Community Tribal Council Member and Culture Department Director

(Contact info above)

 

2012 Zaagkii Project: "Be tenders of the garden" - Hannahville Potawatomi Elder Earl Meshigaud

www.youtube.com/watch?v=ZvOCHCaM-r8&list=UUL8j3hNz2Xa...

---

 

Dr. Scott Herron, PhD.,

Ethnobotanist (Odawa, Anishinaabe)

Biology professor at Ferris State University

Program Coordinator Wild Rice/Ethnobiology Lab

www.ferris.edu/HTMLS/colleges/artsands/Biological-Science...

231-591-2087

herrons@ferris.edu

---

 

Jan Schultz, Botanist

U.S. Forest Service Eastern Region Botanist

(Contact info above)

www.fs.usda.gov/r9

www.fs.fed.us/wildflowers

---

 

Dr. Martin Reinhardt, Ph.D.,

Assistant Professor

Center for Native American Studies at Northern Michigan University

906-227-1397 (office)

mreinhar@nmu.edu

www.nmu.edu/nativeamericanstudies

---

 

Karen Anderson

KBIC Greenhouse Staff

Keweenaw Bay Indian Community

Lake Superior Band of Chippewa Indians

906-524-5757

906-353-6623

www.kbic-nsn.gov

 

The Keweenaw Bay Indian Community 16-foot geodesic dome solar-powered native plants greenhouse was built in cooperation with the USDA U.S. Forest Service, Zaagkii Wings and Seeds Project and nonprofit Cedar Tree Institute in Marquette, Michigan

The wide-range of indigenous plants includes:

Evening primrose, Black-eyed Susan and bee balm

www.fs.fed.us/r9/ssrs/story?id=5336

www.fs.fed.us/r9/ssrs/story?id=5499

---

 

Stephanie Blumer

USFS Eastern Zone Botanist

Hiawatha National Forest

Escanaba, Michigan

906-643-7900 ext. 155

sblumer@fs.fed.us

www.fs.usda.gov/hiawatha

---

 

Nicole Shutt

USFS Biological Science Technician

Chequamegon–Nicolet National Forest

Lakewood Ranger Station

Lakewood, Wisconsin

715-276-6333

nshutt@fs.fed.us

www.fs.usda.gov/cnnf

---

 

Melissa Simpson

USFS Ecologist

Chequamegon-Nicolet National Forest

Florence, Wisconsin

715-528-4464 ext. 139

mdsimpson@fs.fed.us

www.fs.usda.gov/cnnf

---

 

Nathan Wright

Sault Ste. Marie Band of Chippewa Indians

Herbal Lodge, owner

Petoskey, Michigan

herballodge.com

www.linkedin.com/in/nathanjohnwright

www.facebook.com/herballodge

twitter.com/#!/herballodge

---

 

Laura Bermudez

Hannahville Potawatomi Indian Community

www.facebook.com/profile.php?id=1558516746&sk=wall

---

 

Cherice Williams

Hannahville Potawatomi Indian Community

Fitness Center Aide

hannahville.net/files/documents/Issue_5_May_2011.pdf

www.facebook.com/profile.php?id=100001272622067

---

-------

 

Sweet Sixteen Apple Tree Saplings:

www.apples.umn.edu/varieties.html

-------

 

The geothermal areas of Yellowstone include several geyser basins in Yellowstone National Park as well as other geothermal features such as hot springs, mud pots, and fumaroles. The number of thermal features in Yellowstone is estimated at 10,000. A study that was completed in 2011 found that a total of 1,283 geysers have erupted in Yellowstone, 465 of which are active during an average year. These are distributed among nine geyser basins, with a few geysers found in smaller thermal areas throughout the Park. The number of geysers in each geyser basin are as follows: Upper Geyser Basin (410), Midway Geyser Basin (59), Lower Geyser Basin (283), Norris Geyser Basin (193), West Thumb Geyser Basin (84), Gibbon Geyser Basin (24), Lone Star Geyser Basin (21), Shoshone Geyser Basin (107), Heart Lake Geyser Basin (69), other areas (33). Although famous large geysers like Old Faithful are part of the total, most of Yellowstone's geysers are small, erupting to only a foot or two. The hydrothermal system that supplies the geysers with hot water sits within an ancient active caldera. Many of the thermal features in Yellowstone build up sinter, geyserite, or travertine deposits around and within them.

 

The various geyser basins are located where rainwater and snowmelt can percolate into the ground, get indirectly superheated by the underlying Yellowstone hotspot, and then erupt at the surface as geysers, hot springs, and fumaroles. Thus flat-bottomed valleys between ancient lava flows and glacial moraines are where most of the large geothermal areas are located. Smaller geothermal areas can be found where fault lines reach the surface, in places along the circular fracture zone around the caldera, and at the base of slopes that collect excess groundwater. Due to the Yellowstone Plateau's high elevation the average boiling temperature at Yellowstone's geyser basins is 199 °F (93 °C). When properly confined and close to the surface it can periodically release some of the built-up pressure in eruptions of hot water and steam that can reach up to 390 feet (120 m) into the air (see Steamboat Geyser, the world's tallest geyser). Water erupting from Yellowstone's geysers is superheated above that boiling point to an average of 204 °F (95.5 °C) as it leaves the vent. The water cools significantly while airborne and is no longer scalding hot by the time it strikes the ground, nearby boardwalks, or even spectators. Because of the high temperatures of the water in the features it is important that spectators remain on the boardwalks and designated trails. Several deaths have occurred in the park as a result of falls into hot springs.

 

Prehistoric Native American artifacts have been found at Mammoth Hot Springs and other geothermal areas in Yellowstone. Some accounts state that the early people used hot water from the geothermal features for bathing and cooking. In the 19th century Father Pierre-Jean De Smet reported that natives he interviewed thought that geyser eruptions were "the result of combat between the infernal spirits". The Lewis and Clark Expedition traveled north of the Yellowstone area in 1806. Local natives that they came upon seldom dared to enter what we now know is the caldera because of frequent loud noises that sounded like thunder and the belief that the spirits that possessed the area did not like human intrusion into their realm. The first white man known to travel into the caldera and see the geothermal features was John Colter, who had left the Lewis and Clark Expedition. He described what he saw as "hot spring brimstone". Beaver trapper Joseph Meek recounted in 1830 that the steam rising from the various geyser basins reminded him of smoke coming from industrial smokestacks on a cold winter morning in Pittsburgh, Pennsylvania. In the 1850s famed trapper Jim Bridger called it "the place where Hell bubbled up".

 

The heat that drives geothermal activity in the Yellowstone area comes from brine (salty water) that is 1.5–3 miles (7,900–15,800 ft; 2,400–4,800 m) below the surface. This is actually below the solid volcanic rock and sediment that extends to a depth of 3,000 to 6,000 feet (900 to 1,800 m) and is inside the hot but mostly solid part of the pluton that contains Yellowstone's magma chamber. At that depth the brine is superheated to temperatures that exceed 400 °F (204 °C) but is able to remain a liquid because it is under great pressure (like a huge pressure cooker).

 

Convection of the churning brine and conduction from surrounding rock transfers heat to an overlaying layer of fresh groundwater. Movement of the two liquids is facilitated by the highly fractured and porous nature of the rocks under the Yellowstone Plateau. Some silica is dissolved from the fractured rhyolite into the hot water as it travels through the fractured rock. Part of this hard mineral is later redeposited on the walls of the cracks and fissures to make a nearly pressure-tight system. Silica precipitates at the surface to form either geyserite or sinter, creating the massive geyser cones, the scalloped edges of hot springs, and the seemingly barren landscape of geyser basins.

 

There are at least five types of geothermal features found at Yellowstone:

 

Fumaroles: Fumaroles, or steam vents, are the hottest hydrothermal features in the park. They have so little water that it all flashes into steam before reaching the surface. At places like Roaring Mountain, the result is loud hissing of steam and gases.

Geysers: Geysers such as Old Faithful are a type of geothermal feature that periodically erupt scalding hot water. Increased pressure exerted by the enormous weight of the overlying rock and water prevents deeper water from boiling. As the hot water rises it is under less pressure and steam bubbles form. They, in turn, expand on their ascent until the bubbles are too big and numerous to pass freely through constrictions. At a critical point the confined bubbles actually lift the water above, causing the geyser to splash or overflow. This decreases the pressure of the system and violent boiling results. Large quantities of water flash into tremendous amounts of steam that force a jet of water out of the vent: an eruption begins. Water (and heat) is expelled faster than the geyser's recharge rate, gradually decreasing the system's pressure and eventually ending the eruption.

Hot springs: Hot springs such as Grand Prismatic Spring are the most common hydrothermal features in the park. Their plumbing has no constrictions. Superheated water cools as it reaches the surface, sinks, and is replaced by hotter water from below. This circulation, called convection, prevents water from reaching the temperature needed to set off an eruption. Many hot springs give rise to streams of heated water.

Mudpots: Mudpots such as Fountain Paint Pots are acidic hot springs with a limited water supply. Some microorganisms use hydrogen sulfide (rotten egg smell), which rises from deep within the earth, as an energy source. They convert the gas into sulfuric acid, which breaks down rock into clay.

Travertine terraces: Travertine terraces, found at Mammoth Hot Springs, are formed from limestone (a rock type made of calcium carbonate). Thermal waters rise through the limestone, carrying high amounts of dissolved carbonate. Carbon dioxide is released at the surface and calcium carbonate deposited as travertine, the chalky white rock of the terraces. These features constantly and quickly change due to the rapid rate of deposition.

Geyser basins

 

The Norris Geyser Basin 44°43′43″N 110°42′16″W is the hottest geyser basin in the park and is located near the northwest edge of Yellowstone Caldera near Norris Junction and on the intersection of three major faults. The Norris-Mammoth Corridor is a fault that runs from Norris north through Mammoth to the Gardiner, Montana, area. The Hebgen Lake fault runs from northwest of West Yellowstone, Montana, to Norris. This fault experienced an earthquake in 1959 that measured 7.4 on the Richter scale (sources vary on exact magnitude between 7.1 and 7.8; see 1959 Hebgen Lake earthquake). Norris Geyser Basin is so hot and dynamic because these two faults intersect with the ring fracture zone that resulted from the creation of the Yellowstone Caldera of 640,000 years ago.

 

The Basin consists of three main areas: Porcelain Basin, Back Basin, and One Hundred Springs Plain. Unlike most of other geyser basins in the park, the waters from Norris are acidic rather than alkaline (for example, Echinus Geyser has a pH of ~3.5). The difference in pH allows for a different class of bacterial thermophiles to live at Norris, creating different color patterns in and around the Norris Basin waters.

 

The Ragged Hills that lie between Back Basin and One Hundred Springs Plain are thermally altered glacial kames. As glaciers receded the underlying thermal features began to express themselves once again, melting remnants of the ice and causing masses of debris to be dumped. These debris piles were then altered by steam and hot water flowing through them. Madison lies within the eroded stream channels cut through lava flows formed after the caldera eruption. The Gibbon Falls lies on the caldera boundary as does Virginia Cascades.

 

Algae on left bacteria on right at the intersection of flows from the Constant & Whirlgig Geysers at Norris Geyser Basin

The tallest active geyser in the world, Steamboat Geyser,[11] is located in Norris Basin. Unlike the slightly smaller but much more famous Old Faithful Geyser located in Upper Geyser Basin, Steamboat has an erratic and lengthy timetable between major eruptions. During major eruptions, which may be separated by intervals of more than a year (the longest recorded span between major eruptions was 50 years), Steamboat erupts over 300 feet (90 m) into the air. Steamboat does not lie dormant between eruptions, instead displaying minor eruptions of approximately 40 feet (12 m).

 

Norris Geyser Basin periodically undergoes a large-scale, basin-wide thermal disturbance lasting a few weeks. Water levels fluctuate, and temperatures, pH, colors, and eruptive patterns change throughout the basin. During a disturbance in 1985, Porkchop Geyser continually jetted steam and water; in 1989, the same geyser apparently clogged with silica and blew up, throwing rocks more than 200 feet (61 m). In 2003 a park ranger observed it bubbling heavily, the first such activity seen since 1991. Activity increased dramatically in mid-2003. Because of high ground temperatures and new features beside the trail much of Back Basin was closed until October. In 2004 the boardwalk was routed around the dangerous area and now leads behind Porkchop Geyser.

 

North of Norris, Roaring Mountain is a large, acidic hydrothermal area (solfatara) with many fumaroles. In the late 19th and early 20th centuries, the number, size, and power of the fumaroles were much greater than today. The fumaroles are most easily seen in the cooler, low-light conditions of morning and evening.

 

The Gibbon Geyser Basin 44°41′58″N 110°44′34″W includes several thermal areas in the vicinity of the Gibbon River between Gibbon Falls and Norris. The most accessible feature in the basin is Beryl Spring, with a small boardwalk right along the Grand Loop Road. Artists' Paintpots is a small hydrothermal area south of Norris Junction that includes colorful hot springs and two large mudpots.

 

The Monument Geyser Basin 44°41′03″N 110°45′14″W has no active geysers, but its 'monuments' are siliceous sinter deposits similar to the siliceous spires discovered on the floor of Yellowstone Lake. Scientists hypothesize that this basin's structures formed from a hot water system in a glacially dammed lake during the waning stages of the Pinedale Glaciation. The basin is on a ridge reached by a very steep one-mile (1.6 km) trail south of Artists' Paint Pots. Other areas of thermal activity in Gibbon Geyser Basin lie off-trail.

 

South of Norris along the rim of the caldera is the Upper Geyser Basin 44°27′52″N 110°49′45″W, which has the highest concentration of geothermal features in the park. This complement of features includes the most famous geyser in the park, Old Faithful Geyser, as well as four other predictable large geysers. One of these large geysers in the area is Castle Geyser which is about 1,400 feet (430 m) northwest of Old Faithful. Castle Geyser has an interval of approximately 13 hours between major eruptions, but is unpredictable after minor eruptions. The other three predictable geysers are Grand Geyser, Daisy Geyser, and Riverside Geyser. Biscuit Basin and Black Sand Basin are also within the boundaries of Upper Geyser Basin.

 

The hills surrounding Old Faithful and the Upper Geyser Basin are reminders of Quaternary rhyolitic lava flows. These flows, occurring long after the catastrophic eruption of 640,000 years ago, flowed across the landscape like stiff mounds of bread dough due to their high silica content.

 

Evidence of glacial activity is common, and it is one of the keys that allows geysers to exist. Glacier till deposits underlie the geyser basins providing storage areas for the water used in eruptions. Many landforms, such as Porcupine Hills north of Fountain Flats, are made up of glacial gravel and are reminders that 70,000 to 14,000 years ago, this area was buried under ice.

 

Signs of the forces of erosion can be seen everywhere, from runoff channels carved across the sinter in the geyser basins to the drainage created by the Firehole River. Mountain building is evident on the drive south of Old Faithful, toward Craig Pass. Here the Rocky Mountains reach a height of 8,262 feet (2,518 m), dividing the country into two distinct watersheds.

 

Midway Geyser Basin 44°31′04″N 110°49′56″W is much smaller than the other basins found alongside the Firehole River. Despite its small size, it contains two large features, the 200-by-300-foot-wide (60 by 90 m) Excelsior Geyser which pours over 4,000 U.S. gallons (15,000 L; 3,300 imp gal) per minute into the Firehole River. The largest hot spring in Yellowstone, the 370-foot-wide (110 m) and 121-foot-deep (37 m) Grand Prismatic Spring is found here. Also in the basin is Turquoise Pool and Opal Pool.

 

Lower Geyser Basin

Blue spring with steam rising from it; irregular blotches of red and orange residue are on the banks, along with dead tree trunks.

Silex Spring at Fountain Paint Pot

 

Farther north is the Lower Geyser Basin 44°32′58″N 110°50′09″W, which is the largest geyser basin in area, covering approximately 11 square miles. Due to its large size, it has a much less concentrated set of geothermal features, including Fountain Paint Pots. Fountain Paint Pots are mud pots, that is, a hot spring that contains boiling mud instead of water. The mud is produced by a higher acidity in the water which enables the spring to dissolve surrounding minerals to create an opaque, usually grey, mud. Also there is Firehole Spring, Celestine Pool, Leather Pool, Red Spouter, Jelly spring, and a number of fumaroles.

 

Geysers in Lower Geyser Basin include Great Fountain Geyser, whose eruptions reach 100 to 200 feet (30–61 m) in the air, while waves of water cascade down its sinter terraces., the Fountain group of Geysers (Clepsydra Geyser which erupts nearly continuously to heights of 45 feet (14 m), Fountain Geyser, Jelly Geyser, Jet Geyser, Morning Geyser, and Spasm Geyser), the Pink Cone group of geysers (Dilemma Geyser, Labial Geyser, Narcissus Geyser, Pink Geyser, and Pink Cone Geyser), the White Dome group of geysers (Crack Geyser, Gemini Geyser, Pebble Geyser, Rejuvenated Geyser, and White Dome Geyser), as well as Sizzler Geyser.

 

Clepsydra Geyser erupting. July 2019

Fountain Paint Pots

White Dome Geyser

West Thumb Geyser Basin

Several pools of blue water in ashen rock basin.

West Thumb Geyser Basin

Blackened basin with orange streaks; steam is rising from it with fir trees in the background.

Overflow areas of Silex springs

 

The West Thumb Geyser Basin 44°25′07″N 110°34′23″W, including Potts Basin to the north, is the largest geyser basin on the shores of Yellowstone Lake. The heat source of the thermal features in this location is thought to be relatively close to the surface, only 10,000 feet (3,000 m) down. West Thumb is about the same size as another famous volcanic caldera, Crater Lake in Oregon, but much smaller than the great Yellowstone Caldera which last erupted about 640,000 years ago. West Thumb is a caldera within a caldera.

 

West Thumb was created approximately 162,000 years ago when a magma chamber bulged up under the surface of the earth and subsequently cracked it along ring fracture zones. This in turn released the enclosed magma as lava and caused the surface above the emptied magma chamber to collapse. Water later filled the collapsed area of the caldera, forming an extension of Yellowstone Lake. This created the source of heat and water that feed the West Thumb Geyser Basin today.

 

The thermal features at West Thumb are not only found on the lake shore, but extend under the surface of the lake as well. Several underwater hydrothermal features were discovered in the early 1990s and can be seen as slick spots or slight bulges in the summer. During the winter, the underwater thermal features are visible as melt holes in the icy surface of the lake. The surrounding ice can reach three feet (one yard) in thickness.

 

Perhaps the most famous hydrothermal feature at West Thumb is a geyser on the lake shore known as Fishing Cone. Walter Trumbull of the 1870 Washburn-Langford-Doane Expedition described a unique event while a man was fishing adjacent to the cone: "...in swinging a trout ashore, it accidentally got off the hook and fell into the spring. For a moment it darted about with wonderful rapidity, as if seeking an outlet. Then it came to the top, dead, and literally boiled." Fishing Cone erupted frequently to the height of 40 feet (12 m) in 1919 and to lesser heights in 1939. One fisherman was badly burned in Fishing Cone in 1921. Fishing at the geyser is now prohibited.

 

Early visitors would arrive at West Thumb via stagecoach from the Old Faithful area. They had a choice of continuing on the stagecoach or boarding the steamship Zillah to continue the journey by water to Lake Hotel. The boat dock was located near the south end of the geyser basin near Lakeside Spring.

 

Backcountry Geyser Basins

The Heart Lake 44°18′00″N 110°30′56″W, Lone Star 44°24′50″N 110°49′04″W, and Shoshone Geyser Basins 44°21′16″N 110°47′57″W are located away from the road and require at least several miles of hiking to reach. These areas lack the boardwalks and other safety features of the developed areas. As falling into geothermal features can be fatal, it is usually advisable to visit these areas with an experienced guide or at the very least, travelers need to ensure they remain on well-marked trails.

 

The Heart Lake Geyser Basin contains several groups of geysers and deep blue hot springs near Heart Lake in the south-central portion of Yellowstone, southeast of most of the main geyser basins. Lying in the Snake River watershed east of Lewis Lake and south of Yellowstone Lake, Heart Lake was named sometime before 1871 for Hart Hunney, a hunter. Other explorers in the region incorrectly assumed that the lake's name was spelled 'heart' because of its shape. The Heart Lake Geyser Basin begins a couple miles from the lake and descends along Witch Creek to the lakeshore. Five groups of hydrothermal features comprise the basin, and all of them contain geysers, although some are dormant.

 

Between Shoshone Lake and Old Faithful is the Lone Star Geyser Basin, of which the primary feature is Lone Star Geyser, named for its isolation from the nearby geysers of the Upper Geyser Basin. The basin is reachable on foot or bicycle via a 3 mile road that is closed to vehicles.

 

The Shoshone Geyser Basin, reached by hiking or by boat, contains one of the highest concentrations of geysers in the world – more than 80 in an area 1,600 by 800 feet (490 by 240 m). Hot springs and mudpots dot the landscape between the geyser basin and Shoshone Lake.

 

Hot Spring Basin is located 15 miles (24 km) north-northeast of Fishing Bridge and has one of Yellowstone's largest collections of hot springs and fumaroles. The geothermal features there release large amounts of sulfur. This makes water from the springs so acidic that it has dissolved holes in the pants of people who sit on wet ground and causes mounds of sulfur three feet (1 m) high to develop around fumaroles. The very hot acidic water and steam have also created voids in the ground that are only covered by a thin crust.

 

Mammoth Hot Springs is a large complex of hot springs on a hill of travertine in Yellowstone National Park adjacent to Fort Yellowstone and the Mammoth Hot Springs Historic District. It was created over thousands of years as hot water from the spring cooled and deposited calcium carbonate (over two tons flow into Mammoth each day in a solution). Because of the huge amount of geothermal vents, travertine flourishes. Although these springs lie outside the caldera boundary, their energy has been attributed to the same magmatic system that fuels other Yellowstone geothermal areas.

 

The thermal features at Mud Volcano and Sulphur Caldron are primarily mud pots and fumaroles because the area is situated on a perched water system with little water available. Fumaroles or "steam vents" occur when the ground water boils away faster than it can be recharged. Also, the vapors are rich in sulfuric acid that leaches the rock, breaking it down into clay. Because no water washes away the acid or leached rock, it remains as sticky clay to form a mud pot. Hydrogen sulfide gas is present deep in the earth at Mud Volcano and is oxidized to sulfuric acid by microbial activity, which dissolves the surface soils to create pools and cones of clay and mud. Along with hydrogen sulfide, steam, carbon dioxide, and other gases explode through the layers of mud.

 

A series of shallow earthquakes associated with the volcanic activity in Yellowstone struck this area in 1978. Soil temperatures increased to nearly 200 °F (93 °C). The slope between Sizzling Basin and Mud Geyser, once covered with green grass and trees, became a barren landscape of fallen trees known as "the cooking hillside".

 

Yellowstone National Park is a national park located in the western United States, largely in the northwest corner of Wyoming and extending into Montana and Idaho. It was established by the 42nd U.S. Congress with the Yellowstone National Park Protection Act and signed into law by President Ulysses S. Grant on March 1, 1872. Yellowstone was the first national park in the U.S. and is also widely held to be the first national park in the world. The park is known for its wildlife and its many geothermal features, especially the Old Faithful geyser, one of its most popular. While it represents many types of biomes, the subalpine forest is the most abundant. It is part of the South Central Rockies forests ecoregion.

 

While Native Americans have lived in the Yellowstone region for at least 11,000 years, aside from visits by mountain men during the early-to-mid-19th century, organized exploration did not begin until the late 1860s. Management and control of the park originally fell under the jurisdiction of the U.S. Department of the Interior, the first Secretary of the Interior to supervise the park being Columbus Delano. However, the U.S. Army was eventually commissioned to oversee the management of Yellowstone for 30 years between 1886 and 1916. In 1917, the administration of the park was transferred to the National Park Service, which had been created the previous year. Hundreds of structures have been built and are protected for their architectural and historical significance, and researchers have examined more than a thousand archaeological sites.

 

Yellowstone National Park spans an area of 3,468.4 sq mi (8,983 km2), comprising lakes, canyons, rivers, and mountain ranges. Yellowstone Lake is one of the largest high-elevation lakes in North America and is centered over the Yellowstone Caldera, the largest super volcano on the continent. The caldera is considered a dormant volcano. It has erupted with tremendous force several times in the last two million years. Well over half of the world's geysers and hydrothermal features are in Yellowstone, fueled by this ongoing volcanism. Lava flows and rocks from volcanic eruptions cover most of the land area of Yellowstone. The park is the centerpiece of the Greater Yellowstone Ecosystem, the largest remaining nearly intact ecosystem in the Earth's northern temperate zone. In 1978, Yellowstone was named a UNESCO World Heritage Site.

 

Hundreds of species of mammals, birds, fish, reptiles, and amphibians have been documented, including several that are either endangered or threatened. The vast forests and grasslands also include unique species of plants. Yellowstone Park is the largest and most famous megafauna location in the contiguous United States. Grizzly bears, cougars, wolves, and free-ranging herds of bison and elk live in this park. The Yellowstone Park bison herd is the oldest and largest public bison herd in the United States. Forest fires occur in the park each year; in the large forest fires of 1988, nearly one-third of the park was burnt. Yellowstone has numerous recreational opportunities, including hiking, camping, boating, fishing, and sightseeing. Paved roads provide close access to the major geothermal areas as well as some of the lakes and waterfalls. During the winter, visitors often access the park by way of guided tours that use either snow coaches or snowmobiles.

 

Teton County is a county in the U.S. state of Wyoming. As of the 2020 United States Census, the population was 23,331. Its county seat is Jackson. Its west boundary line is also the Wyoming state boundary shared with Idaho and the southern tip of Montana. Teton County is part of the Jackson, WY-ID Micropolitan Statistical Area.

 

Teton County contains the Jackson Hole ski area, all of Grand Teton National Park, and 40.4% of Yellowstone National Park's total area, including over 96.6% of its water area (largely in Yellowstone Lake).

 

Wyoming is a state in the Mountain West subregion of the Western United States. It borders Montana to the north and northwest, South Dakota and Nebraska to the east, Idaho to the west, Utah to the southwest, and Colorado to the south. With a population of 576,851 in 2020, Wyoming is the least populous state despite being the 10th largest by area, with the second-lowest population density after Alaska. The state capital and most populous city is Cheyenne, which had an estimated population of 63,957 in 2018.

 

Wyoming's western half consists mostly of the ranges and rangelands of the Rocky Mountains; its eastern half consists of high-elevation prairie, and is referred to as the High Plains. Wyoming's climate is semi-arid in some parts and continental in others, making it drier and windier overall than other states, with greater temperature extremes. The federal government owns just under half of Wyoming's land, generally protecting it for public uses. The state ranks sixth in the amount of land—-and fifth in the proportion of its land—-that is owned by the federal government. Its federal lands include two national parks (Grand Teton and Yellowstone), two national recreation areas, two national monuments, and several national forests, as well as historic sites, fish hatcheries, and wildlife refuges.

 

Indigenous peoples inhabited the region for thousands of years. Historic and currently federally recognized tribes include the Arapaho, Crow, Lakota, and Shoshone. Part of the land that is now Wyoming came under American sovereignty via the Louisiana Purchase, part via the Oregon Treaty, and, lastly, via the Mexican Cession. With the opening of the Oregon Trail, the Mormon Trail, and the California Trail, vast numbers of pioneers travelled through parts of the state that had once been traversed mainly by fur trappers, and this spurred the establishment of forts, such as Fort Laramie, that today serve as population centers. The Transcontinental Railroad supplanted the wagon trails in 1867 with a route through southern Wyoming, bringing new settlers and the establishment of founding towns, including the state capital of Cheyenne. On March 27, 1890, Wyoming became the union's 44th state.

 

Farming and ranching, and the attendant range wars, feature prominently in the state's history. Today, Wyoming's economy is largely based on tourism and the extraction of minerals such as coal, natural gas, oil, and trona. Its agricultural commodities include barley, hay, livestock, sugar beets, wheat, and wool.

 

Wyoming was the first state to allow women the right to vote (not counting New Jersey, which had allowed it until 1807), and the right to assume elected office, as well as the first state to elect a female governor. In honor of this part of its history, its most common nickname is "The Equality State" and its official state motto is "Equal Rights". It is among the least religious states in the country, and is known for having a political culture that leans towards libertarian conservatism. The Republican presidential nominee has carried the state in every election since 1968.

The Honolulu Memorial was erected at the National Memorial Cemetery of the Pacific on May 1, 1966 to honor the achievements of the American Armed Forces in the Pacific during World War II and the Korean War. It was later expanded in 1980 to include the Vietnam War. The memorial consists of two main sections--The Court of Honor and the Courts of the Missing.

 

The Court of the Missing consists of a monumental stone stairway leading from the crater floor and flanked by eight marble slabs inscribed with the names of the 18,096 American World War II missing from the Pacific, excluding those from the southwest Pacific, and 8,200 American missing from the Korean War. Two half courts have been added at the foot of the staircase that contain the names of 2,504 Americans missing from the Vietnam War. The names are arranged in alphabetical order by military service. centered at the base of the stairway is a Dedicatory Stone.

 

At the top of the staircase, high on the wall of Puowaina Crater, is the Court of Honor, which consists of a non-sectarian chapel flanked by two map galleries. The galleries originally contain 10-foot high scagliola maps, designed by Richard and Carlotta (Gonzales) Lahey, which were replaced by mosaic concrete and colored glass aggregate designed by Mary Morse Hamilton Jacobs from 1968-1972. The maps and their descriptions acknowledge the achievements of the American armed forces in the Central and South Pacific regions and in Korea. At the center of the Court is a 30-foot statue of Lady Columbia, also known as Lady Liberty, or Justice, designed by Bruce Moore and carved by Fillippo Cecchettio and Ugo Quaglieri. Lady Columbia stands symbolically atop the prow of a US Navy carrier with a laurel branch in hand. The inscription below the statue is taken from Abraham Lincoln's letter to Mrs. Bixby.

 

The National Memorial Cemetery of the Pacific, also known as Punchbowl National Cemetery, is administered by the National Cemetery Administration of the United States Department of Veterans Affairs and serves as a memorial to those who served in the United States Armed Forces. Located in Punchbowl Crater, the cemetery has interred 34,000 veterans of World War I, World War II, the Korean and Vietnam Wars, since it was first opened in 1949.

 

The Punchbowl Crater, an extinct volcanic tuff cone, was formed approximately 75,000 to 100,000 years ago during the Honolulu period of secondary volcanic activity from the Ko'olau Volcano. It is known in Hawaiian as Puowaina, which translates as "Hill of Sacrifice", as it was used as a site for human sacrifices during ancient times. During the reign of Kamehameha the Great, a battery of cannons was mounted at the rim to salute distinguished arrivals and signify important occasions. In the 1930s it was used as a rifle range for the Hawaiian National Guard. Toward the end of World War II, shore batteries were placed around the rim to guard Honolulu harbor.

 

National Register #76002276 (1976)

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.

 

www.wien-vienna.at/albertinabaugeschichte.php

Oncidium is a large, diverse group of plants that includes over 600 species! Flower displays in this group are among the most dramatic in the orchid world. The colors range from bright yellow to bronze, white with pink and glittering shades of dark red. Some have hundreds of blooms on flower spikes over 4ft long!

 

Early explorers were spellbound by fields of golden yellow, doll-like flowers moving gracefully in the wind. So the fiirst Oncidiums were called "The Dancing Lady", in honor of the beautiful, exotic dancers of Ceylon ( Sri Lanka).

 

Because Oncidiums grow in many different habitats, they seem to be more accomodating in their growing requirements than most orchids. Most are excellent plants for "northern" growers whose temperatures are cooler during winter months.

 

Oncidiums don't like wet feet. In their natural habitat they are epiphytic (air plants) that grow on rocks or in trees - never in the ground. That's why you'll often see active roots growing above the pot. Nature has also equipped Oncidiums with a "storage tank" at the base of each growth called a pseudobulb. These pseudobulbs provide water to the plant during long dry periods between rain showers.

 

To prevent overwatering, Oncidium are usually planted in a coarse, fast draining media. This can make correct watering a challenge. As the water quickly runs through the pot, how can you be sure the plant is getting anything? Soaking the root system at the sink or in a bucket of water is the only way. This is time consuming when you have more than a couple of plants. And if you water too often, the roots will rot quickly. But it's well worth it.

 

Oncidium Sharry Baby, Orchid Show, Fairchild Tropical Botanic Garden, Miami, FL

www.susanfordcollins.com

Out taking selfie shots in the countryside.

 

Naked/Nude Self-portrait Photography self-Taken

All images are for viewing purposes only ! copyright.(c)

copyright.(c)

This includes illustrations which could be inspired by my photography's. Contact me if you want to buy or use these photos.

I`m both the model and the photographer.. 100% all my own work..

Your fav`s and Constructive comments are very much appreciated. Thank you !

I have lots more images for F&F ***If you would like to view please do ask to be added as F&F. Please leave a comment below or mail me*** AJ. The Naked Photographer (c) ";

The center of the Milky Way. Includes the constellations Sagittarius and Scorpius. Numerous star clusters and nebula are shown in addition to the dark dust clouds between Earth and the galaxy core. The beating heart of the scorpion, Antares, a red super giant, shines a bright reddish gold in this image. Also includes several Messier objects, including the larger Ptolemy Cluster (M7), the Lagoon Nebula (M8), and the Sagittarius Star Cloud (M24). Though faint, the red hue of the bright nebula IC 4628 is visible in the tail of Scorpius. Hover your mouse over the image to show identified objects.

 

Stack of 3x25 secs RAW, ISO 1600 taken with a Canon 50D. Stacked in DeepSkyStacker; processed in Photoshop CS3 using curves and levels adjustments; banding reduction using Astronomy Tools actions from within Photoshop; and final processing using Noise Ninja from within Photoshop.

 

Taken under dark (Bortle 2) and clear skies at St. George Island, Florida.

Shannan, Tibet :

 

Tibet Autonomous Region, China. Shannan includes Gonggar County within its jurisdiction with Gongkar Chö Monastery, Gonggar Dzong, and Gonggar Airport all located near Gonggar town.

 

Located on the middle and lower reaches of the Yarlung Valley, formed by the Yarlung Tsangpo River, Lhoka region is often regarded as the birthplace of Tibetan civilization. It is bounded by the city of Lhasa to the north, Nyingchi to the east, Shigatse on the west and the international border with India and Bhutan on the south. The city measures 420 kilometres (260 mi) east to west and 329 kilometres (204 mi) from north to south. Its uniqueness stems from the fact that Tibet's earliest agricultural farmland, its first palace and first Buddhist monastery are all located in Lhoka. It also has the distinction of having held the first lhamo performance. Tibetan people constitute 98% of the population, the remaining 2% being Han, Hui, Mönpa, Lhoba and other ethnic groups.

 

Shannan has 1 district and 11 counties and its capital is Tsetang, which is located 183 kilometres from Lhasa. It covers an area of 79,700 square kilometres (30,800 sq mi), which includes South Tibet, a disputed territory under the Administration of the Indian state of Arunachal Pradesh. Its topography averages 3,700 metres (12,100 ft) above sea level. The population of Tsetang city was 330,100 as of 2007 with Tibetans accounting for 96% of the total population.

 

Lhoka region has not only an ancient historical background but is also the most prosperous in Tibet.

History of the Vienna Philharmonic

The orchestra of the Vienna Philharmonic was founded on March 28, 1842. It was founded by the German composer Otto Nicolai, whose creations include the opera "The Merry Wives of Windsor". Nearly a century later, the club was dissolved in December 1938 during the Nazi period by the law on the "transfer and incorporation of clubs, organizations and associations" for the time being and the assets fell to the State Theater and the Stage Academy of the City of Vienna. This was, however, a few days later at the urging of the conductor and musicologist Dr. Heinz Drewes largely reversed. Dr. Drewes was the leader of the "entire German musical life" and so he used his influence on the Reich propaganda minister Goebbels. Ultimately, Goebbels decreed in June 1939 that the Vienna Philharmonic as an association should retain their most extensive independence on the condition that the club is subject to his supervision and that the articles of association regarding the National Socialist principles is changed. Thus, the club's assets were released again.

In 1939, the idea of ​​the New Year's Concert, at which time only the music of Johann Strauss was played, was born. This concert series of the New Year's Concert has become one of the cultural highlights of the year and is always broadcast live on television. The magnificent pictures from Vienna are accompanied, among other things, by fantastic flowers and dance performances by the Wiener Ballett. With the end of the Second World War, the Vienna Philharmonic Orchestra once again became completely independent and the orchestra played two major concert evenings right after the liberation of Vienna in April 1945. A special focus is still the position of the conductor at the Vienna Philharmonic. Because until 1933, the orchestra was directed by a single conductor every season. From 1933 there were only guest conductors. Great merits in the early years had especially the conductors Arturo Toscanini from 1933 to 1937 and intermittently from 1933 to 1954 Wilhelm Furtwängler. Herbert von Karajan, Karl Böhm, Paul Hindemith and Daniel Barenboim are among the famous guest conductors. Also as a guest conductor conducted from 1966, the later honorary member Leonard Bernstein repeatedly the orchestra. One of Leonard Bernstein's most outstanding works in collaboration with the Vienna Philharmonic is, for example, the adaptation of the works of Gustav Mahler, who himself had directed the orchestra from 1898 to 1901 for three years as a subscription conductor to the Vienna Philharmonic.

Vienna Philharmonic coins

Appropriately to the Vienna Philharmonic, the Austrian Mint, which mints all coins in Austria, has been issuing a bullion every year since 1989, which after the orchestra precisely is called the Vienna Philharmonic. At first, the coins were pure gold. Since 2008 there is also an annual silver version. Their value does not correspond to the nominal value, but the Vienna Philharmonic is a bullion coin whose value depends on the current precious metal value. The motif of the Vienna Philharmonic is always the same. The front of the Vienna Philharmonic Münze designed by Thomas Pesendorfer shows some of the classical orchestral instruments such as bassoon, horn, harp and four violins, as well as a cello in the middle. The reverse shows the organ, which is located in the Golden Hall of the Wiener Musikverein. Only the respective year is changed. The coin is now available in four sizes. As a special coinage, a 1000-ounce coin, the so-called "Big Phil", was released in 2004 on the occasion of the 15th anniversary, and another coin in 2009 for the 20th anniversary. Both are traded as collectors' items because of the limited edition and are therefore more expensive than the actual precious metal value.

 

Geschichte der Wiener Philharmoniker

Das Orchester der Wiener Philharmoniker wurde am 28. März 1842 gegründet. Ins Leben gerufen hatte es der deutsche Komponist Otto Nicolai, aus dessen Feder unter anderem die Oper "Die lustigen Weiber von Windsor" stammt. Knapp ein Jahrhundert später wurde der Verein im Dezember 1938 in der NS-Zeit durch das Gesetz zur "Überleitung und Eingliederung von Vereinen, Organisationen und Verbänden" vorerst aufgelöst und das Vermögen fiel dem Staatstheater und der Bühnenakademie der Stadt Wien zu. Dies wurde jedoch wenige Tage später auf Drängen des Dirigenten und Musikwissenschaftlers Dr. Heinz Drewes größtenteils wieder rückgängig gemacht. Dr. Drewes war der Leiter des "gesamten deutschen Musiklebens" und so nutzte er seinen Einfluss auf den Reichspropagandaminister Goebbels. Letztlich verfügte Goebbels im Juni 1939, dass die Wiener Philharmoniker als Verein ihre weitestgehende Selbständigkeit behalten sollten unter der Bedingung, dass der Verein seiner Aufsicht unterstellt wird dass die Vereinssatzung hinsichtlich der nationalsozialistischen Grundsätze geändert wird. Damit wurde auch das Vereinsvermögen wieder frei gegeben.

Im Jahr 1939 entstand zugleich die Idee des Neujahrskonzerts, bei dem damals ausschließlich die Musik von Johann Strauss gespielt wurde. Diese Konzertreihe des Neujahrskonzerts ist inzwischen einer der kulturellen Höhepunkte des Jahres und wird immer live im Fernsehen übertragen. Die prächtigen Bilder aus Wien werden unter anderem untermalt durch phantastische Blumen und Tanzeinlagen des Wiener Balletts. Mit dem Ende des Zweiten Weltkriegs wurde der Verein der Wiener Philharmoniker wieder komplett unabhängig und das Orchester spielte gleich nach der Befreiung von Wien im April 1945 zwei große Konzertabende. Ein ganz besonderer Augenmerk gilt noch der Stelle des Dirigenten bei den Wiener Philharmonikern. Denn bis zum Jahr 1933 wurde das Orchester jede Saison von einem einzigen Dirigenten geleitet. Ab 1933 gab es nur noch Gastdirigenten. Große Verdienste hatten in den Anfangsjahren vor allem die Dirigenten Arturo Toscanini von 1933 bis 1937 und mit Unterbrechungen von 1933 bis 1954 Wilhelm Furtwängler. Zu den berühmten Gastdirigenten zählen unter anderem Herbert von Karajan, Karl Böhm, Paul Hindemith oder Daniel Barenboim. Ebenfalls als Gastdirigent leitete ab 1966 das spätere Ehrenmitglied Leonard Bernstein mehrfach das Orchester. Zu den herausragendsten Werken von Leonard Bernstein in Zusammenarbeit mit den Wiener Philharmonikern zählt beispielsweise die Bearbeitung der Werke von Gustav Mahler, der von 1898 bis 1901 selbst drei Jahre lang als Abonnementdirigent der Wiener Philharmoniker das Orchester geleitet hatte.

Wiener Philharmoniker Münzen

Passend zu den Wiener Philharmonikern gibt die Münze Österreich, die alle Münzen in Österreich prägt, seit dem Jahr 1989 jedes Jahr eine Anlagemünze heraus, die nach dem Orchester eben der Wiener Philharmoniker genannt wird. Zunächst waren die Münzen aus reinem Gold. Seit 2008 gibt es auch eine jährliche Silberversion. Ihr Wert entspricht nicht dem reinen Nennwert, sondern der Wiener Philharmoniker ist eine Bullionmünze, deren Wert sich nach dem aktuellen Edelmetallwert richtet. Das Motiv des Wiener Philharmoniker ist immer gleich. Die Vorderseite der von Thomas Pesendorfer gestalteten Wiener Philharmoniker Münze zeigt einige der klassischen Orchesterinstrumente wie Fagott, Horn, Harfe und dazu vier Geigen sowie in der Mitte ein Cello. Die Rückseite zeigt die Orgel, die sich im Goldenen Saal vom Wiener Musikverein befindet. Geändert wird nur das jeweilige Prägejahr. Die Münze gibt es inzwischen in vier Größen zu kaufen. Als Sonderprägungen erschien 2004 zum 15-jährigen Jubiläum eine 1000-Unzen-Münze, der sogenannte "Big Phil", und 2009 zum 20-jährigen Jubiläum eine weitere Münze. Beide werden wegen der limitierten Auflage als Sammlerobjekte gehandelt und sind daher teurer als der eigentliche Edelmetallwert.

www.geschichte-oesterreich.com/musik/wiener_philharmonike...