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Udaipur is a city, a municipal corporation and the administrative headquarters of the Udaipur district in the state of Rajasthan in western India. It is located 403 kilometres southwest of the state capital, Jaipur and 250 km northeast from Ahmedabad. Udaipur is the historic capital of the kingdom of Mewar in the former Rajputana Agency. The Sisodia clan of Rajputs ruled the Mewar and its capital was shifted from Chittorgarh to Udaipur after founding city of Udaipur by Maharana Uday Singh. The Mewar province became part of Rajasthan after India became independent.
Udaipur is a very popular tourist destination. Apart from its history, culture, and scenic locations, it is also known for its Rajput-era palaces. The Lake Palace, for instance, covers an entire island in the Pichola Lake. Many of the palaces have been converted into luxury hotels. It is often called the "Venice of the East", and is also nicknamed the "Lake City" or "City of Lakes". Lake Pichola, Fateh Sagar Lake, Udai Sagar and Swaroop Sagar in this city are considered some of the most beautiful lakes in the state.
HISTORY
Udaipur was founded in 1559 by Maharana Udai Singh II as the final capital of the erstwhile Mewar kingdom, located in the fertile circular valley-"Girwa" to the southwest of Nagda, on the Banas River, the first capital of the Mewar kingdom. This area already had a thriving trading town of "Ayad" which had served as capital of Mewar for over 200 years and 17 rulers of Mewar had ruled from Ayad town of Girwa Valley (~10-12th centuries, Ruler #18-34), still earlier (4+1) Rawals ruled from Nagda; so the “Girwa” (& adjoining) valley was already well-known to Chittaud rulers who moved to it whenever the vulnerable tableland (Mesa)Chittaudgadh was threatened with enemy attacks. Maharana Udai Singh II, in the wake of 16th century emergence of artillery warfare decided to move his capital to a more secure location, importance of which he had realized during his exile at Kumbhalgadh. Ayad was flood-prone, hence he chose the ridge east of Pichola Lake to start his new capital city, where he came upon a hermit while hunting in the foothills of the Aravalli Range. The hermit blessed the king and asked him to build a palace on the spot, assuring him it would be well protected. Udai Singh II consequently established a residence on the site. In November 1567, the Mughal emperor Akbar attacked & laid siege of the venerated fort of Chittor, which was reduced to one of the 84 forts of Mewar.
As the Mughal empire weakened, the Sisodia ranas, and later maharanas (also called the Guhilots or Suryavansh), who had always tried to oppose Mughal dominance, reasserted their independence and recaptured most of Mewar except for Chittor. Udaipur remained the capital of the state, which became a princely state of British India in 1818. Being a mountainous region and unsuitable for heavily armoured Mughal horses, Udaipur remained safe from Mughal influence in spite of much pressure. The rajvansh of Udaipur was one of the oldest dynasties of the world. Maharana Mahendra Singh Mewar (the Royal Family of Udaipur),is the current symbolic ruler of the city.
GEOGRAPHY & CLIMATE
Udaipur is located at 24.525049°N 73.677116°E. It has an average elevation of 598.00 m. It is located in the southern region of Rajasthan and is close to Gujarat. It has five major lakes, which are under restoration with funds provided by the National Lake Conservation Plan (NLCP) of the Government of India:
Fateh Sagar Lake
Rangsagar Lake
Pichola Lake
Swaroopsagar Lake
Dudh Talai Lake
Udaisagar Lake
Udaipur's autumn / winter climate is the most appealing time to pay her a visit. Tourists arrive in numbers, anytime between mid-September to late March or early April. Even in January, the coldest month, the days are bright, sunny and warm with maximum temperature around 28.3 °C. Mornings, evenings and nights are cold with minimum temperature around 11.6 °C especially if there is a slight breeze in the air.
CITY PALACE
Standing on the east bank of Lake Pichola is a massive series of palaces built at different times from 1559. The balconies of the palace provide panoramic views of the "Jag Niwas" (the Lake Palace Hotel). They also have views of Jag Mandir on one side and the city of Udaipur on the other. Its main entrance is through the triple-arched gate - the Tripolia, built in 1725. The way now leads to a series of courtyards, overlapping parations, terraces, corridors and gardens. There is a Suraj Gokhda, where the maharanas of Mewar presented themselves in the times of trouble to the people to restore confidence. The Mor-chowk (Peacock courtyard), gets its name from the mosaics in glass decorating its walls. The chini chitrashala is noteworthy while a series of wall paintings of Krishna are on display in Bhim Vilas. There are numerous other palaces such as Dilkhush mahal, Sheesh mahal, Moti mahal and Krishna vilas - in memory of a princess of striking beauty who poisoned herself to avert a bloody battle for her hand by rival princes. Now the palace contains many antique articles, paintings, decorative furniture and utensils and attracts thousands of visitors every day. Celebration mall (Highest rated mall of Rajasthan) that is India's first and only Heritage mall, is now serving as a tourist attraction destination.
The former guesthouse of the city palace, Shiv Niwas Palace and the Fateh Prakash Palace have been converted into heritage hotels.
LAKE PALACE
The Lake Palace was built in 1743-1746. It is made of marble and is situated on Jag Niwas island in Lake Pichola. It was originally built as a royal summer palace, but is now a luxury 5 Star hotel, operating under the "Taj Hotels Resorts and Palaces" banner.
JAG MANDIR
Jag Mandir is another island in Lake Pichola which is known for its garden courtyard. Shah Jahan took refuge here while revolting against his father. There is a restaurant run by the HRH group of hotels.
MONSOON PALACE
Monsoon Palace also known as Sajjan Garh Palace The summer resort of the Maharajas is atop the hill overlooking all of the lakes. This palace had a way to collect rain water for consumption all year around.
Jagdish Temple
The Jagdish Temple is a large Hindu temple in the middle of Udaipur. It was built by Maharana Jagat Singh Ist in 1651 A.D. It is an example of Indo - Aryan architecture. This temple is a great example of architecture and art. The area is the main tourist place in the city. You can also find some special kind of things like rajasthani dress, paintings etc.
FATEH SAGAR LAKE
Fateh Sagar Lake is situated in the north of Lake Picholas. It was originally built by Maharana Jai Singh in the year 1678 AD, but later on reconstructed and extended by Maharana Fateh Singh after much destruction was caused by heavy rains. In 1993-1994, the water vanished from the lake, but in 2005-2006, the lake regained its water.
LAKE PICHOLA
Lake Pichola has two islands, Jag Niwas and the Jag Mandir. This lake is 4 km long and 3 km wide, originally built by Maharana Udai Singh II. There are many ghats, like the bathing and washing ghats, which can be approached through boats from the City Palace of Udaipur (Bansi Ghat). In the heart of the lake the Lake Palace stands, which is now converted into a heritage palace hotel. The lake remains fairly shallow even during heavy rains, and gets dry easily in times of severe drought.
SAHELION KI BARI
Sahelion ki Bari was laid for a group of forty-eight young women attendants who accompanied a princess to Udaipur as part of her dowry. The gardens set below the embankment of the Fatah Sagar Lake have lotus pools, marble pavilions and elephant-shaped fountains. These fountains are fed by the water of the lake gushing through ducts made for the purpose.
UDAIPUR IN POPULAR CULTURE
Udaipur is mentioned under the spelling Oodeypore in Rudyard Kipling's The Jungle Book as the birthplace of Bagheera, the fictional panther in the king's Menagerie.
Because of its picturesque and scenic locations, Udaipur has been the shooting location for many Hollywood and Bollywood movies. Indian sections of the James Bond film Octopussy were filmed in the city,[10] the Lake Palace, and the Monsoon Palace. The nearby desert was the backdrop of the remarkable rescue of Octopussy (Maud Adams) by Bond (Roger Moore). Some scenes from the British television series The Jewel in the Crown were filmed in Udaipur. The Disney channel film, The Cheetah Girls One World, was shot in Udaipur in January 2008. Additional non-Indian movies/TV serials filmed in Udaipur include: Darjeeling Limited, Opening Night, Heat and Dust, Indische Ring, Inside Octopussy, James Bond in India, Gandhi, and The Fall.
Some of the Bollywood movies shot here are Guide, Mera Saaya, Phool Bane Angaray, Kachche Dhaage, Mera Gaon Mera Desh, Jalmahal, Yaadein, Return of the thief of the bagdad, Eklavya: The Royal Guard, Dhamaal, Jis Desh Mei Ganga Rehta Hai, Chalo Ishq Ladaaye, Fiza, Gaddaar, Hum Hain Rahi Pyar Ke, Khuda Gawah, Kundan, Nandini, Saajan Ka Ghar,Yeh Jawaani Hai Deewani,Ramleela, In addition, many Bollywood films' songs were filmed in Udaipur. Udaipur is also the setting of Star Plus's hit serial Yeh Rishta Kya Kehlata Hai. TV serials Swayamber of Rakhi Sawant and Swayambar of Rahul Mahajan on NDTV Imagine also filmed here at Hotel Fatehgarh. A hit historical show by Contiloe Telefilms named "Maharana Pratap" on Sony is shooting in that place. The pop Star Shakira performed in a party on 15 November 2011 of real estate tycoon owner of DLF Kush Pal Singh.The Party was held in Jag Mandir Palace.
WIKIPEDIA
See 4 instances of glare/reflection of the sun in the lens.
They are very smallish and would not really bother me.
It's also easy to shade the lens with your hand from the sun directly shining into the lens.
See review at www.cameralabs.com/forum/viewtopic.php?p=18072#18072
First instance of the backside is complete (for refs). The model is now at 1.0 standpoint and all shaping is done. See you at convention.
New Guwahati's freight specialist WDG3A 13014 appears with a passenger load exiting Narangi station moving towards Guwahati
Tribunal of First Instance of Port-au-Prince, October 29th, 2018. Meeting of Mr. Alexandre Zouev, Assistant-Secretary-General for Rule of Law and Security Institutions along with Ms. Helen La Lime, Special Representative of the Secretary-General for Haiti and Head of the United Nations Mission for Justice Support in Haiti (MINUJUSTH) at the Port-au-Prince Bar with representatives of the Bar Council led by Robinson Pierre Louis, in the presence of the Coordinators of the two BALs of Port-au-Prince and CERMICOL's legal assistance project.
Photo Leonora Baumann UN/MINUJUSTH
An extremely rare instance of a freight spot hire locomotive in use on a timetabled passenger service in Germany.
Bahnbau Gruppe 218391-1 is seen here hired in to work Alex (Arriva) services on the Oberstdorf branch. Alex took over services from DB in 2009 on the Munchen - Oberstdorf/Lindau route spelling the end for the use of Class 218's on these services and the introduction of Siemens Eurolight Class 223's. So this is a bit of a hark back to the old days!!
Here at Immenstadt, a practice long discontinued in the UK takes place where the train splits and heads in two seperate directions. When the train returns to rejoin back as one, this particular portion runs clear of the station with passengers on board, and backs onto the rear of the service. I'd imagine this is a similar operation to that carried out at Georgemas Junction until sprinterisation in 1990's.
This service caught me completely by suprise whilst on my way to Lindau, and instead of taking the onward front portion of the train to Lindau (a bit of a haven for Class 218's or "Bunnies") I took the eastward rear portion for Oberstdorf instead, a single line branch to near the Austrian border. As the day progressed word got out I think as there certainly was an increase in lineside activity. Unfortunately for them, the best weather was in the morning!
Incidentally, a big thanks to the train crew - you put on a damn good show of what a 218 is capable of!! (Based on their driving style, I have sneaking suspision they were enthusiasts...)
The Doll Project is a series of conceptual digital photographs that uses fashion dolls to embody the negative messages the media gives to young girls. Though it would not be fair to blame it all on Barbie, there have been many instances in which she has come dangerously close. I chose to use Barbie dolls because they are miniature mannequins, emblems of the fashion world writ small, a representation of our culture's impossible standards of beauty scaled to one sixth actual size. The little pink scale and How To Lose Weight book are both real Barbie accessories from the 1960s. They are recurring motifs in the pictures in the series, symbolizing the ongoing dissatisfaction many girls and women feel about their weight and body image. The dolls' names, Ana and Mia, are taken from internet neologisms coined by anorexic and bulimic girls who have formed online communities with the unfortunate purpose of encouraging each other in their disordered eating. With each passing era, Ana and Mia are younger and younger, and the physical ideal to which they aspire becomes more unattainable. They internalize the unrealistic expectations of a society that digitally manipulates images of women in fashion and beauty advertisements and value their own bodies only as objects for others to look at and desire.
Read more about the project here:
tiffanygholar.blogspot.com/2008/08/doll-project.html
Purchase prints here:
new work for Art Brussels 2013. i'll be showing with www.bourouina.com/-19.5"x28"archival burnt paper
Detail on the reredos in St Michael's chapel. This is believed to be one of the few known instances of an altarpiece having the word God repeated in 4 different languages (English, Latin, Greek, and Aramaic).
A rererdos is an altarpiece, screen or decoration behind the altar. St Michael's reredos is believed to have been carved by Grinling Gibbons (1648-1721).
St Michael's was built in the c15th as the domestic chapel for Rycote Park manor house for its owner, Sir Richard Quatremaine. Quatremaine died without issue, and ownership transferred to the family of Sibil, Quatremaine's wife. In 1521 the manor house was passed over to Sir John Heron, Treasurer of the Household to both Henrys VII and VIII; it's probably during this time that the manor hourse was demolished and replaced by Rycote Palace. On Heron's death, the land passed over to his son, Giles, who was forced to sell it in 1539 to Sir John Williams (who was closer in favour to Henry). After Williams's death, the land passed into the Norreys family via Williams's son-in-law, Henry Norris, 1st Baron Norreys. On the 2nd Baron's death, the lands and title passed onto his nephew James Bertie, and remained in the family until the early c19th. During this time, the palace was rebuilt after a fire in 1745 and Lancelot Capability Brown (1716-1783) redeveloped the landscape in 1778. However, the manor was past its heyday, the house was sold off in lots early in the 1800s. A manor house (of sorts) remains, with the stables converted in the 1920s.
Perhaps the height of the palace was during the Tudor period, Henry VIII and Catherine Howard spent their honeymoon here; Henry's daughter Elizabeth visited Rycote on her way to her confinement at Woodstock (Williams being instructed to be her guard by Queen Mary I), Elizabeth would visit a further 5 times during her own reign.
Throughout all this time, the chapel remained alongside; slowly changed inside, shifting from Roman Catholic to High Anglican, extended and redecorated, always watching.
"...an old yew in the churchyard, said to have been brought from Palestine and planted in the coronation year of Stephen (1135), has easily outlived both them and their houses"
[ThameHistory.net]
As I mentioned in my previous post, Friday I ran yet another instance of my blue hour and night photography for Gulf Photo Plus. This workshop is always very popular as many beginners out there struggle moving from the safety of auto exposure during the day to full manual mode during the evening and night. It can all seem very confusing – changing the f-stop to get yourself a longer shutter speed, taking the ISO from auto mode into values that won’t ruin your images with noise, playing with the white balance values to get those rich blue evening skies.
As usual it was a great group with many interesting questions and by the end of the evening everybody managed to capture some good images. One thing that I always tell the group is to not just get to a place and start shooting. Have a look around, take a step back and see if there are any other interesting angles than the obvious ones. The image below illustrates just that. Instead of pointing the camera at the skyline, I found the reflections in the building’s windows to tell more of a story about the fact that it wasn’t just me shooting that evening.
To view the original shot (straight from the camera) visit the blog entry here: www.momentaryawe.com/blog/reflections-of-a-workshop/
Udaipur is a city, a municipal corporation and the administrative headquarters of the Udaipur district in the state of Rajasthan in western India. It is located 403 kilometres southwest of the state capital, Jaipur and 250 km northeast from Ahmedabad. Udaipur is the historic capital of the kingdom of Mewar in the former Rajputana Agency. The Sisodia clan of Rajputs ruled the Mewar and its capital was shifted from Chittorgarh to Udaipur after founding city of Udaipur by Maharana Uday Singh. The Mewar province became part of Rajasthan after India became independent.
Udaipur is a very popular tourist destination. Apart from its history, culture, and scenic locations, it is also known for its Rajput-era palaces. The Lake Palace, for instance, covers an entire island in the Pichola Lake. Many of the palaces have been converted into luxury hotels. It is often called the "Venice of the East", and is also nicknamed the "Lake City" or "City of Lakes". Lake Pichola, Fateh Sagar Lake, Udai Sagar and Swaroop Sagar in this city are considered some of the most beautiful lakes in the state.
HISTORY
Udaipur was founded in 1559 by Maharana Udai Singh II as the final capital of the erstwhile Mewar kingdom, located in the fertile circular valley-"Girwa" to the southwest of Nagda, on the Banas River, the first capital of the Mewar kingdom. This area already had a thriving trading town of "Ayad" which had served as capital of Mewar for over 200 years and 17 rulers of Mewar had ruled from Ayad town of Girwa Valley (~10-12th centuries, Ruler #18-34), still earlier (4+1) Rawals ruled from Nagda; so the “Girwa” (& adjoining) valley was already well-known to Chittaud rulers who moved to it whenever the vulnerable tableland (Mesa)Chittaudgadh was threatened with enemy attacks. Maharana Udai Singh II, in the wake of 16th century emergence of artillery warfare decided to move his capital to a more secure location, importance of which he had realized during his exile at Kumbhalgadh. Ayad was flood-prone, hence he chose the ridge east of Pichola Lake to start his new capital city, where he came upon a hermit while hunting in the foothills of the Aravalli Range. The hermit blessed the king and asked him to build a palace on the spot, assuring him it would be well protected. Udai Singh II consequently established a residence on the site. In November 1567, the Mughal emperor Akbar attacked & laid siege of the venerated fort of Chittor, which was reduced to one of the 84 forts of Mewar.
As the Mughal empire weakened, the Sisodia ranas, and later maharanas (also called the Guhilots or Suryavansh), who had always tried to oppose Mughal dominance, reasserted their independence and recaptured most of Mewar except for Chittor. Udaipur remained the capital of the state, which became a princely state of British India in 1818. Being a mountainous region and unsuitable for heavily armoured Mughal horses, Udaipur remained safe from Mughal influence in spite of much pressure. The rajvansh of Udaipur was one of the oldest dynasties of the world. Maharana Mahendra Singh Mewar (the Royal Family of Udaipur),is the current symbolic ruler of the city.
GEOGRAPHY & CLIMATE
Udaipur is located at 24.525049°N 73.677116°E. It has an average elevation of 598.00 m. It is located in the southern region of Rajasthan and is close to Gujarat. It has five major lakes, which are under restoration with funds provided by the National Lake Conservation Plan (NLCP) of the Government of India:
Fateh Sagar Lake
Rangsagar Lake
Pichola Lake
Swaroopsagar Lake
Dudh Talai Lake
Udaisagar Lake
Udaipur's autumn / winter climate is the most appealing time to pay her a visit. Tourists arrive in numbers, anytime between mid-September to late March or early April. Even in January, the coldest month, the days are bright, sunny and warm with maximum temperature around 28.3 °C. Mornings, evenings and nights are cold with minimum temperature around 11.6 °C especially if there is a slight breeze in the air.
CITY PALACE
Standing on the east bank of Lake Pichola is a massive series of palaces built at different times from 1559. The balconies of the palace provide panoramic views of the "Jag Niwas" (the Lake Palace Hotel). They also have views of Jag Mandir on one side and the city of Udaipur on the other. Its main entrance is through the triple-arched gate - the Tripolia, built in 1725. The way now leads to a series of courtyards, overlapping parations, terraces, corridors and gardens. There is a Suraj Gokhda, where the maharanas of Mewar presented themselves in the times of trouble to the people to restore confidence. The Mor-chowk (Peacock courtyard), gets its name from the mosaics in glass decorating its walls. The chini chitrashala is noteworthy while a series of wall paintings of Krishna are on display in Bhim Vilas. There are numerous other palaces such as Dilkhush mahal, Sheesh mahal, Moti mahal and Krishna vilas - in memory of a princess of striking beauty who poisoned herself to avert a bloody battle for her hand by rival princes. Now the palace contains many antique articles, paintings, decorative furniture and utensils and attracts thousands of visitors every day. Celebration mall (Highest rated mall of Rajasthan) that is India's first and only Heritage mall, is now serving as a tourist attraction destination.
The former guesthouse of the city palace, Shiv Niwas Palace and the Fateh Prakash Palace have been converted into heritage hotels.
LAKE PALACE
The Lake Palace was built in 1743-1746. It is made of marble and is situated on Jag Niwas island in Lake Pichola. It was originally built as a royal summer palace, but is now a luxury 5 Star hotel, operating under the "Taj Hotels Resorts and Palaces" banner.
JAG MANDIR
Jag Mandir is another island in Lake Pichola which is known for its garden courtyard. Shah Jahan took refuge here while revolting against his father. There is a restaurant run by the HRH group of hotels.
MONSOON PALACE
Monsoon Palace also known as Sajjan Garh Palace The summer resort of the Maharajas is atop the hill overlooking all of the lakes. This palace had a way to collect rain water for consumption all year around.
Jagdish Temple
The Jagdish Temple is a large Hindu temple in the middle of Udaipur. It was built by Maharana Jagat Singh Ist in 1651 A.D. It is an example of Indo - Aryan architecture. This temple is a great example of architecture and art. The area is the main tourist place in the city. You can also find some special kind of things like rajasthani dress, paintings etc.
FATEH SAGAR LAKE
Fateh Sagar Lake is situated in the north of Lake Picholas. It was originally built by Maharana Jai Singh in the year 1678 AD, but later on reconstructed and extended by Maharana Fateh Singh after much destruction was caused by heavy rains. In 1993-1994, the water vanished from the lake, but in 2005-2006, the lake regained its water.
LAKE PICHOLA
Lake Pichola has two islands, Jag Niwas and the Jag Mandir. This lake is 4 km long and 3 km wide, originally built by Maharana Udai Singh II. There are many ghats, like the bathing and washing ghats, which can be approached through boats from the City Palace of Udaipur (Bansi Ghat). In the heart of the lake the Lake Palace stands, which is now converted into a heritage palace hotel. The lake remains fairly shallow even during heavy rains, and gets dry easily in times of severe drought.
SAHELION KI BARI
Sahelion ki Bari was laid for a group of forty-eight young women attendants who accompanied a princess to Udaipur as part of her dowry. The gardens set below the embankment of the Fatah Sagar Lake have lotus pools, marble pavilions and elephant-shaped fountains. These fountains are fed by the water of the lake gushing through ducts made for the purpose.
UDAIPUR IN POPULAR CULTURE
Udaipur is mentioned under the spelling Oodeypore in Rudyard Kipling's The Jungle Book as the birthplace of Bagheera, the fictional panther in the king's Menagerie.
Because of its picturesque and scenic locations, Udaipur has been the shooting location for many Hollywood and Bollywood movies. Indian sections of the James Bond film Octopussy were filmed in the city,[10] the Lake Palace, and the Monsoon Palace. The nearby desert was the backdrop of the remarkable rescue of Octopussy (Maud Adams) by Bond (Roger Moore). Some scenes from the British television series The Jewel in the Crown were filmed in Udaipur. The Disney channel film, The Cheetah Girls One World, was shot in Udaipur in January 2008. Additional non-Indian movies/TV serials filmed in Udaipur include: Darjeeling Limited, Opening Night, Heat and Dust, Indische Ring, Inside Octopussy, James Bond in India, Gandhi, and The Fall.
Some of the Bollywood movies shot here are Guide, Mera Saaya, Phool Bane Angaray, Kachche Dhaage, Mera Gaon Mera Desh, Jalmahal, Yaadein, Return of the thief of the bagdad, Eklavya: The Royal Guard, Dhamaal, Jis Desh Mei Ganga Rehta Hai, Chalo Ishq Ladaaye, Fiza, Gaddaar, Hum Hain Rahi Pyar Ke, Khuda Gawah, Kundan, Nandini, Saajan Ka Ghar,Yeh Jawaani Hai Deewani,Ramleela, In addition, many Bollywood films' songs were filmed in Udaipur. Udaipur is also the setting of Star Plus's hit serial Yeh Rishta Kya Kehlata Hai. TV serials Swayamber of Rakhi Sawant and Swayambar of Rahul Mahajan on NDTV Imagine also filmed here at Hotel Fatehgarh. A hit historical show by Contiloe Telefilms named "Maharana Pratap" on Sony is shooting in that place. The pop Star Shakira performed in a party on 15 November 2011 of real estate tycoon owner of DLF Kush Pal Singh.The Party was held in Jag Mandir Palace.
WIKIPEDIA
Vienna Regional Court for Criminal Matters
The Vienna Regional Court for Criminal Matters (colloquially referred to as "landl" (Landesgericht)) is one of 20 regional courts in Austria and the largest court in Austria. It is located in the 8th District of Vienna, Josefstadt, at the Landesgerichtsstraße 11. It is a court of first respectively second instance. A prisoners house, the prison Josefstadt, popularly often known as the "Grey House" is connected.
Court Organization
In this complex there are:
the Regional Court for Criminal Matters Vienna,
the Vienna District Attorney (current senior prosecutor Maria-Luise Nittel)
the Jurists association-trainee lawer union (Konzipientenverband) and
the largest in Austria existing court house jail, the Vienna Josefstadt prison.
The Regional Criminal Court has jurisdiction in the first instance for crimes and offenses that are not pertain before the district court. Depending on the severity of the crime, there is a different procedure. Either decides
a single judge,
a senate of lay assessors
or the jury court.
In the second instance, the District Court proceeds appeals and complaints against judgments of district courts. A three-judge Court decides here whether the judgment is canceled or not and, if necessary, it establishes a new sentence.
The current President Friedrich Forsthuber is supported by two Vice Presidents - Henriette Braitenberg-Zennenberg and Eve Brachtel.
In September 2012, the following data have been published
Austria's largest court
270 office days per year
daily 1500 people
70 judges, 130 employees in the offices
5300 proceedings (2011) for the custodial judges and legal protection magistrates, representing about 40 % of the total Austrian juridical load of work
over 7400 procedures at the trial judges (30 % of the total Austrian juridical load of work)
Prosecution with 93 prosecutors and 250 employees
19,000 cases against 37,000 offenders (2011 )
Josefstadt prison with 1,200 inmates (overcrowded)
History
1839-1918
The original building of the Vienna Court House, the so-called civil Schranne (corn market), was from 1440 to 1839 located at the Hoher Markt 5. In 1773 the Schrannenplatz was enlarged under Emperor Joseph II and the City Court and the Regional Court of the Viennese Magistrate in this house united. From this time it bore the designation "criminal court".
Due to shortcomings of the prison rooms in the Old Court on Hoher Markt was already at the beginning of the 19th Century talk of building a new crime courthouse, but this had to be postponed because of bankruptcy in 1811.
In 1816 the construction of the criminal court building was approved. Although in the first place there were voices against a construction outside the city, as building ground was chosen the area of the civil Schießstätte (shooting place) and the former St. Stephanus-Freithofes in then Alservorstadt (suburb); today, in this part Josefstadt. The plans of architect Johann Fischer were approved in 1831, and in 1832 was began with the construction, which was completed in 1839. On 14 May 1839 was held the first meeting of the Council.
Provincial Court at the Landesgerichtsstraße between November 1901 and 1906
Johann Fischer fell back in his plans to Tuscan early Renaissance palaces as the Pitti Palace or Palazzo Pandolfini in Florence. The building was erected on a 21,872 m² plot with a length of 223 meters. It had two respectively three floors (upper floors), the courtyard was divided into three wings, in which the prisoner's house stood. In addition, a special department for the prison hospital (Inquisitenspital ) and a chapel were built.
The Criminal Court of Vienna was from 1839 to 1850 a city court which is why the Vice Mayor of Vienna was president of the criminal courts in civil and criminal matters at the same time. In 1850 followed the abolition of municipal courts. The state administration took over the Criminal Court on 1 Juli 1850. From now on, it had the title "K.K. Country's criminal court in Vienna".
1851, juries were introduced. Those met in the large meeting hall, then as now, was on the second floor of the office wing. The room presented a double height space (two floors). 1890/1891 followed a horizontal subdivision. Initially, the building stood all alone there. Only with the 1858 in the wake of the demolition of the city walls started urban expansion it was surrounded by other buildings.
From 1870 to 1878, the Court experienced numerous conversions. Particular attention was paid to the tract that connects directly to the Alserstraße. On previously building ground a three-storey arrest tract and the Jury Court tract were built. New supervened the "Neutrakt", which presented a real extension and was built three respectively four storied. From 1873 on, executions were not executed publicly anymore but only in the prison house. The first execution took place on 16 December 1876 in the "Galgenhof" (gallow courtyard), the accused were hanged there on the Würgegalgen (choke gallow).
By 1900 the prisoners house was extended. In courtyard II of the prison house kitchen, laundry and workshop buildings and a bathing facility for the prisoners were created. 1906/1907 the office building was enlarged. The two-storied wing tract got a third and three-storied central section a fourth floor fitted.
1918-1938
In the early years of the First Republic took place changes of the court organization. Due to the poor economy and the rapid inflation, the number of cases and the number of inmates rose sharply. Therefore, it was in Vienna on 1 October 1920 established a second Provincial Court, the Regional Court of Criminal Matters II Vienna, as well as an Expositur of the prisoner house at Garnisongasse.
One of the most important trials of the interwar period was the shadow village-process (Schattendorfprozess - nomen est omen!), in which on 14th July 1927, the three defendants were acquitted. In January 1927 front fighters had shot into a meeting of the Social Democratic Party of Austria, killing two people. The outrage over the acquittal was great. At a mass demonstration in front of the Palace of Justice on 15th July 1927, which mainly took place in peaceful manner, invaded radical elements in the Palace of Justice and set fire ( Fire of the Palace Justice), after which the overstrained police preyed upon peaceful protesters fleeing from the scene and caused many deaths.
The 1933/1934 started corporate state dictatorship had led sensational processes against their opponents: examples are the National Socialists processes 1934 and the Socialists process in 1936 against 28 "illegal" socialists and two Communists, in which among others the later leaders Bruno Kreisky and Franz Jonas sat on the dock.
Also in 1934 in the wake of the February Fights and the July Coup a series of processes were carried out by summary courts and military courts. Several ended with death sentences that were carried out by hanging in "Galgenhof" of the district court .
1938-1945
The first measures the Nazis at the Regional Criminal Court after the "Anschluss" of Austria to the German Reich in 1938 had carried out, consisted of the erection of a monument to ten Nazis, during the processes of the events in July 1934 executed, and of the creation of an execution space (then space 47 C, today consecration space where 650 names of resistance fighters are shown) with a guillotine supplied from Berlin (then called device F, F (stands for Fallbeil) like guillotine).
During the period of National Socialism were in Vienna Regional Court of 6 December 1938 to 4th April 1945 1.184 persons executed. Of those, 537 were political death sentences against civilians, 67 beheadings of soldiers, 49 war-related offenses, 31 criminal cases. Among those executed were 93 women in all age groups, including a 16-year-old girl and a 72-year-old woman who had both been executed for political reasons.
On 30 June 1942 were beheaded ten railwaymen from Styria and Carinthia, who were active in the resistance. On 31 July 1943, 31 people were beheaded in an hour, a day later, 30. The bodies were later handed over to the Institute of Anatomy at the University of Vienna and remaining body parts buried later without a stir at Vienna's Central Cemetery in shaft graves. To thein the Nazi era executed, which were called "Justifizierte" , belonged the nun Maria Restituta Kafka and the theology student Hannsgeorg Heintschel-Heinegg.
The court at that time was directly subordinated to the Ministry of Justice in Berlin.
1945-present
The A-tract (Inquisitentrakt), which was destroyed during a bombing raid in 1944 was built in the Second Republic again. This was also necessary because of the prohibition law of 8 May 1945 and the Criminal Law of 26 June 1945 courts and prisons had to fight with an overcrowding of unprecedented proportions.
On 24 March 1950, the last execution took place in the Grey House. Women murderer Johann Trnka had two women attacked in his home and brutally murdered, he had to bow before this punishment. On 1 July 1950 the death penalty was abolished in the ordinary procedure by Parliament. Overall, occured in the Regionl Court of Criminal Matters 1248 executions. In 1967, the execution site was converted into a memorial.
In the early 1980s, the building complex was revitalized and expanded. The building in the Florianigasse 8, which previously had been renovated, served during this time as an emergency shelter for some of the departments. In 1994, the last reconstruction, actually the annex of the courtroom tract, was completed. In 2003, the Vienna Juvenile Court was dissolved as an independent court, iIts agendas were integrated in the country's criminal court.
Prominent processes since 1945, for example, the Krauland process in which a ÖVP (Österreichische Volkspartei - Austrian People's Party) minister was accused of offenses against properties, the affair of the former SPÖ (Sozialistische Partei Österreichs - Austrian Socialist Party) Minister and Trade Unions president Franz Olah, whose unauthorized financial assistance resulted in a newspaper establishment led to conviction, the murder affairs Sassak and the of the Lainzer nurses (as a matter of fact, auxiliary nurses), the consumption (Konsum - consumer cooporatives) process, concerning the responsibility of the consumer Manager for the bankruptcy of the company, the Lucona proceedings against Udo Proksch, a politically and socially very well- networked man, who was involved in an attempted insurance fraud, several people losing their lives, the trial of the Nazi Holocaust denier David Irving for Wiederbetätigung (re-engagement in National Socialist activities) and the BAWAG affair in which it comes to breaches of duty by bank managers and vanished money.
Presidents of the Regional Court for Criminal Matters in Vienna since 1839 [edit ]
Josef Hollan (1839-1844)
Florian Philipp (1844-1849)
Eduard Ritter von Wittek (1850-1859)
Franz Ritter von Scharschmied (1859-1864)
Franz Ritter von Boschan (1864-1872)
Franz Josef Babitsch (1873-1874)
Joseph Ritter von Weitenhiller (1874-1881)
Franz Schwaiger (1881-1889)
Eduard Graf Lamezan -Salins (1889-1895)
Julius von Soos (1895-1903)
Paul von Vittorelli (1903-1909)
Johann Feigl (1909-1918)
Karl Heidt (1918-1919)
Ludwig Altmann (1920-1929)
Emil Tursky (1929-1936)
Philipp Charwath (1936-1938)
Otto Nahrhaft (1945-1950)
Rudolf Naumann (1951-1954)
Wilhelm Malaniu (1955-1963)
Johann Schuster (1963-1971)
Konrad Wymetal (1972-1976)
August Matouschek (1977-1989)
Günter Woratsch (1990-2004)
Ulrike Psenner (2004-2009)
Friedrich Forsthuber (since 2010)
de.wikipedia.org/wiki/Landesgericht_f%C3%BCr_Strafsachen_...
An instance of this recipe.
It's pretty tasty. Green-coloured agar was accidently used, so the cake has a slight green tinge.
Strobist: two Canon 430EX strobes: one down camera left, one reflecting off a red reflector up camera right. Ratioed half a stop towards the key. Spot metered with ETTL.
This is the only instance I've ever seen of a BGS in Utah (as in a BGS for an exit) forgoing shields in favor of text-based routes. This BGS totally neglects the fact that Foothill Drive is accessed with this exit. Guess that City Center is better for incoming tourists on I-80.
This photo is from one of 145 boxes I've been perusing at the State Archives in downtown. These photos come from the Utah Department of Transportation, and were taken mostly by Cal Briggs or Gerald E. Peterson. The photos are sorted by year (with the exception of the first several boxes), and span from 1965 to 1997. Most are black-and-white negatives, though one can find prints here and there, as well as color slides.
I have to hand it to the staff over there—without them, none of these photos would be on Flickr and they'd be sitting in some box for ages. My sincerest thanks goes out to them.
Used by permission, Utah State Archives, all rights reserved.
Seen at the head of a mineral train is this Class 17 Clayton locomotive, which, thankfully, hasn't caught fire in this instance!
Often considered the worst diesel locomotive ever built for British Railways, the Class 17 Clayton engines are not particularly bad locomotives in my opinion, but did have some very serious faults in their build quality that resulted in their premature withdrawal.
117 of these locomotives were built between 1962 and 1965 by the Clayton Equipment Company and Beyer, Peacock & Co. as a prime mover for freight in the Scottish Region. The locomotive's design consisted of two lengthy bonnets with a large cab area at the centre, after an earlier single-cab design was scrapped in favour of such. The main advantage of the locomotive was the huge amounts of space for the twin engines, but also the near perfect visibility for the driver, with a gigantic cab surrounded by many large windows. It was often claimed the cab was so large you could have a dance in it, although I wouldn't be willing to put that idea into practice!
The locomotives were powered by two Paxman 6ZHXL engines, although D8586–8587 were experimentally powered by twin Rolls Royce D-Type V8's. These Paxman engines had a power output of 450hp each, with an overall tractive force of 900hp, making them capable locomotives at tackling their various freight operations.
As mentioned, their original designation was to the Scottish Region to replace steam locomotives of that area, but were mired early on by a variety of faults and problems. This design was arguably the least successful diesel locomotive ever employed on British Railways after the ill-fated Co-Bo. The twin Paxman engines were unreliable, being prone to camshaft and cylinder head problems amongst others; with overall availability being around 60%, even after extensive modifications. Forward visibility, which had dictated the whole design of the type, was not as good as had been hoped, the long noses meaning that the crew could not see the area immediately in front of the locomotive. Although the Rolls Royce and Crompton Parkinson engined examples had better reliability, no further examples were ordered.
With such poor reliability, the writing was on the wall for these engines, and although by the 1970's many had migrated south into the North East of England, their days were brought to a close between 1968 and 1971, with the oldest members of the class being not even 10 years old.
One lucky survivor though was D8568, which was bought by Hemelite, Hemel Hempstead and later used at Ribblesdale Cement, Clitheroe before being secured for preservation in the 1990's. It now resides on the Chinnor and Princes Risborough Railway in Oxfordshire as the sole remaining member of this unlucky class of engines.
This elderly gentleman was still very active in his community, for instance here, playing gamelan music for the warrior dance and the maiden dances ; in the end, everyone had a chance to dance, girls and women of all ages and all the men from the "longhouse".
To learn more about him and see other photos of his tattoos etc, look below this photo - part of this set : old photos from Malaysia.
Gamelan instruments are much more sophisticated in Java and Bali, but here there were superb and old, ancient gongs, very impressive to look at and to listen to. Some of the ones hanging, huge !
Locally made alcohols (toddy and arak) were passed around (the 2nd sort, much more stronger than the first ; in each case, before serving everyone, a little bit was poured on the floor = an offering to the spirits who had to be appeased by all possible means.
(A new photo - with my Lumix G1 - of an old print of a slide - Sarawak, Borneo - Malaysia, 1990)
Moby Dick - Herman Melville - Chapter xxxii - CETOLOGY
BOOK II (Octavo), Chapter III (Narwhale), that is, Nostril Whale. - Another instance of a curiously named whale, so named I suppose from his peculiar horn being originally mistaken for a peaked nose. The creature is some sixteen feet in length, while its horn averages five feet, though some exceed ten, and even attain to fifteen feet. Strictly speaking, this horn is but a lengthened tusk, growing out from the jaw in a line a little depressed from the horizontal. But it is only found on the sinister side, which has an ill effect, giving its owner something analogous to the aspect of a clumsy left-handed man. What precise purpose this ivory horn or lance answers, it would be hard to say. It does not seemed to be used like the blade of the sword-fish and bill-fish; though some sailors tell me that the Narwhale employs it for a rake in turning over the bottom of the sea for food. Charley Coffin said it was used for an ice-piercer; for the Narwhale, rising to the surface of the Polar Sea, and finding it sheeted with ice, thrusts his horn up, and so breaks through. But you cannot prove either of these surmises to be correct. My own opinion is, that however this one-sided horn may really be used by the Narwhale - however that may be - it would certainly be very convenient to him for a folder in reading pamphlets. The Narwhale I have heard called the Tusked Whale, the Horned Whale, and the Unicorn Whale. He is certainly a curious example of the Unicornism to be found in almost every kingdom of animated nature. From certain cloistered old authors I have gathered that this same sea-unicorn's horn was in ancient days regarded as the great antidote against poison, and as such, preparations of it brought immense prices. It was also distilled to a volatile salts for fainting ladies, the same way that the horns of the male deer are manufactured into hartshorn. Originally it was in itself accounted an object of great curiosity. Black Letter tells me that Sir Martin Frobisher on his return from that voyage, when Queen Bess did gallantly wave her jewelled hand to him from a window of Greenwich Palace, as his bold ship sailed down the Thames; when Sir Martin returned from that voyage, saith Black Letter, on bended knees he presented to her highness a prodigious long horn of the Narwhale, which for a long period after hung in the castle at Windsor. An Irish author avers that the Earl of Leicester, on bended knees, did likewise present to her highness another horn, pertaining to a land beast of the unicorn nature.
The Narwhale has a very picturesque, leopard-like look, being of a milk-white ground color, dotted with round and oblong spots of black. His oil is very superior, clear and fine; but there is little of it, and he is seldom hunted. He is mostly found in the circumpolar seas.
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I don't know why, but I remember quite a lot about my childhood; maybe it's because it was pretty good overall. For instance I remember the day this photo was taken: my sisters and parents and I were at the "Rec Park", this summertime miniature Disneyland in Asheville, North Carolina. Kind of a carnival, but I don't remember anything but the rides and the Fun House.
Outside the Fun House were these giant murals of clowns -- huge, garishly twisted faces of insane people. In my opinion clowns -- people who laughed for no apparent reason -- were to be avoided; if they were painted on the wall outside the Fun House, there had to be dangerous clowns inside.
Additionally there was a loudspeaker blaring a recorded message over circus music, inviting you to check out the Fun House--but what scared the shit out me was the amplified laughter. I know it was supposed to sound like harmless, merry clowns having a big old time inside; but to me it was like hearing the mirthless laughter of the damned. No fucking way was I going inside.
Big Sis lured me and Ruthie over to the door of the Fun House one afternoon and told us she had a surprise for us inside. I said no, there's clowns in there. She said there weren't any clowns, there was a nice lady who was going to give us ice cream! I said ok and walked in the door, which Big Sis promptly shut, putting me in total darkness. Then, before I had time even to freak out -- I could still hear the clowns laughing outside -- lights flashed, the door opened and Big Sis pulled me out and shoved poor innocent Ruthie in.
I never saw this picture until about 10 years ago when Ruthie showed it to me. I knew immediately where it was taken.
There was no curtain as in regular government-inspected photo booths -- the backdrop is the door you entered.
I don't know what happened to the Rec Park. I'd love to see it again.
Intxaurrondo (San Sebastián), 29 de mayo de 2018
www.interior.gob.es/es/web/interior/noticias/detalle/-/jo...
credit: Jonathan Yeo
Jonathan 'portrait painter to the stars' Yeo has made a picture of George Bush entirely out of torn porn (the ear on the left, for instance, is formed by a nice young lady putting a penis in her mouth).
Visit Santa's Ghetto to see more great art by great artists.
In this view, we see some things about the form of the skull that are not always apparent when we study photographs, illustrations or diagrams in books. For instance, note that the zygomatic bone joins to the temporal bone by a kind of high arched bridge. Muscles anchored at the temples, filling in the hollow called the temporal fossa, pass under this bridge to move the jaw. The masseter, the cheif jaw muscle visible at the side, going to the corner of the jaw is anchored to the zygomatic arch. Note also the large hole, the foramen magnum, through which the spinal cord passes, and its two thick round bumps at the front, the condyles, which show where the weight of the cranium tends to rest on the first vertebra. This is the pivot point for movements of the head, the spine runs to the middle of it, not up to the back.
This "budget skull" model I got to study the anatomy of the head originally came with some metal hardware, metal hooks to hold the top of the cranium, and springs from the coronoid process of the mandible to the temple area, but I like it just fine without them. I'm concentrating more on the cranium now anyway.
There are things I like about this, and at the price I paid I can't say I regret the purchase, but on the other hand, its hard to understand why just because something is cheap it doesn't need to have detailed accuracy. I get the distinct impression that skull models are mostly priced to squeeze as much blood out of medical students as possible.
This cost me less than $30, including shipping. Though I had to wait almost a full month for it. Maybe my mistake was ordering so close to Halloween? From what I've seen the next step up in price is to a $60, miniature model from Freedom of Teach. Which company seems to be partnering with the Gnommon workshop to sell some of their excellent miniature anatomy models. More accurate life size skulls seem to start at about $120, and hover in the $120 - $265 range. In this range we also find some of the lowest priced complete plastic skeletons. I was seriously considering looking to buy one at some time hoping that I could get a better skull out of it as well as all the rest of the bones until I noticed a complete skeleton in a local art supply store, not for sale, but as an ornament apparently, which had the exact same "budget skull" you see above.
Skulls with separate skull bones, such as separate frontal, maxillary, and zygomatic bones, are available for over $500.
When you think of the materials of which such things are made, and the method of construction, molded plastic, of which half of our world seems to be constructed these days, its hard to see what could be so difficult about making an accurate skull that would justify the prices. It has to come down to a judgment of what the market will bear, I guess, and with medical students of some kind being the most likely to purchase such a thing, and artists far less likely to buy, or care about accuracy, well, I guess they make good ones in smaller batches, and take a lot more care gluing the pieces together and cleaning the seams. But even realizing all that, I have a hard time understanding why the artist priced model isn't even symmetrical from the right to the left side. Why, when the jaw is off, are the condyles in front of the foramen magnum so uneven that it is difficult to get it to sit flat on anything, why it lacks any squamousal suture on the side of the head, when the coronal and lambdoidal sutures are so clearly visible. These defects tend to decrease my confidence in other features which I notice are different from a majority of illustrations and photographs of the skull that I am studying, and have made note of all my life. Such as the relatively weak to nonexistent supra-temporal line, the weakly defined temporal fossa, a coronoid process of the mandible far shorter than the condylar process, when most pictures I've looked at recently show them coming to more nearly the same height. And the very square seeming eye sockets and cheek bones which are so flat from the front.
Can I really do no better than this without compromising my rent money?
In general, the songs lyrically are downright cryptic. “With Horses In Her Eyes She Struck Like A Wildcat” for instance seems to the best of my knowledge to be about a woman striking a cowboy down because he loves horses so much although I could really be missing the point badly on that one.
Fuente : se me olvido la pagina xD
True musicianship in the band comes in the form of both guitarists who manage to provide an undoubtedly heavy experience while hot crossing it up a fair bit. Although nowhere in the technical league of said band, Love Like Electrocution perform flashy riffs mixed in with more atmospheric (not in the post rock sense, more in a wall of sound way) moments providing interesting textures and feelings as opposed to outright technicality, just the way it should be in my opinion. The rhythm section plays well taking the spotlight away from the guitars when need be, usually when creating a sense of calm before a heavier faster part. The bass doesn’t play too vital a part on first listen but with my bass player ears you can definitely pick up fills all over the place underplayed by the guitarists but creating an essential depth to the piece without which the mix would feel much thinner. The drums keep splashy on the hats a lot of the time thankfully not resorting to straight punk drumming and double kicks very often. Instrumentally the band mix it up a lot switching from poppier moments to straight out blast beating allowing the vocal interplay to overlap and bring the sound up a notch out of the mess of sound that is a lot of emo.
Focus on Eldercare's response to COVID-19
At the purpose when the noxious impacts of COVID-19 showed first in Wuhan, the entire city and therefore the entire of Hubei Province ground to a halt. The lockdown of Wuhan brought remarkable torment and threatening difficulties for several individual occupants therein first focus. Presently, COVID-19 represents those equivalent difficulties for individuals and social welfare frameworks all-inclusive. Especially, it tests our aggregate endeavors to believe one another, particularly the foremost defenseless among us.
As a populace, individuals quite 70 will generally have more fragile insusceptible frameworks and progressively fundamental conditions that obstruct their capacity to battle the infection. They're likewise sure to dwell on bunch day to day environments, nearby people. Floods of COVID-19 passings in nursing homes — first within the Seattle territory, at that time on the brink of Sacramento and now during the country — have underscored this inauspicious reality. Up until now, Californians quite 65 have made up, at any rate, a fourth of the state's affirmed instances of COVID-19.
Be that because it may, guidelines, especially for helping living offices, are unsafely failing to satisfy the expectations in protecting California's older folks from this infection. Luck, Gov. Gavin Newsom's plan on Aging activity, as of now ongoing, presents an opportunity to forcefully address this peril and find how to secure an enormous number of more seasoned Americans.
Helped living focuses are an aid to the Eldercare business and therefore the enormous corporate proprietors that currently command the market. Simultaneously, in any case, an absence of guideline and oversight of staffing levels and capabilities — particularly prerequisites for on-location doctors and much prepared clinical experts — has left the business defenseless against misuse and unfortunate results. One glaring issue that has got to be tended to: helped living focuses are directed by the state Department of Social Services rather than the Department of Public Health.
In any case, it helped to measure maybe a piece of social welfare and clinical consideration conveyance framework, not only a direction for living. Propelled a year ago, Newsom's plan on Aging has framed a warning advisory group, is holding open gatherings and within the fall is planned to offer a 10-year plan which will address issues from lodging and vagrancy to crisis readiness to manhandle and disrespect. The venture has made a "Value Committee" to urge a contribution from a progressively differing gathering of residents and associations, including agents of the crippled network, Native Americans and other ethnic minorities.
Considering the spreading coronavirus general wellbeing emerging, it's basic that the representative's plan on Aging takes on an expansive and genuine open arrangement job. We weren't bothered with elevated level clichés for tending to the wants of the old. We'd like solid arrangements, solid guidelines with implementation teeth and a guarantee to continued oversight.
The Age of COVID-19
Older people who get themselves out of the blue alone without authority over their conditions are at specific hazards for an assortment of serious, even hazardous, physical and psychological well-being conditions, including a subjective decrease. Limitations on the opportunity of development ought to be proportionate and not founded solely on age.
COVID-19, as different irresistible melodies, represents a higher hazard to populaces that live in nearness. This hazard is especially intense in nursing or matured consideration offices, where the infection can spread quickly and has just brought about numerous passings. About 1.5 million older people individuals live in the nursing homes in the US, barring helped living offices and different settings making nearness.
Twenty-three individuals kicked the bucket in a flare-up at an office in Washington State in February and March, and the US Centers for Disease Control detailed 400 additional cases in offices as of April 1. On March 31, wellbeing experts in the Grand East district of France detailed 570 passings of older people in nursing homes.
Older people often end up in nursing homes due to governments' inability to offer adequate social types of assistance for individuals to live freely in the network, approaches that have put millions at included danger of getting the infection as a result of their organization. Governments ought to guarantee the progression of network-based administrations with the goal that individuals don't wind up in organizations without different alternatives.
Expound now on the roles played via care laborers in continuing the lives of the old during that emergency, and who, however dreadful themselves, by and by remain day in and outing inside the bounds of their wards to offer fundamental consideration.
Care supervisor Chang, the woman in charge of the consideration laborers among whom I led my hands-on work, coordinated the change of her ward into a self-sufficient fixed of a unit of care. The passage to her floor is carefully monitored; just fundamental conveyances are permitted, for instance, nourishment and clothing. Since nobody can enter or leave the structure, the flask for the older was transformed into a dozing region for care laborers. Despite the very fact that a lot of consideration laborers have their circle of relatives to require care of, they put that piece of their life under the control of others. Care specialist Lin, whose spouse died at the start of the pandemic, did not have the chance to completely grieve his passing due to incessant understaffing at Sunlight. She came back to figure following the burial service, despite realizing that she not, at now expected to figure at Sunlight to hide her significant other's clinical costs. Lin's arrival says much regarding her promise to her calling, to her colleagues, and to the old she had come to understand so well. My examination with care laborers recommends that it's an enthusiastic association and an awareness of other's expectations that propels them to remain the end of the day in care work. This is often borne out immediately.
Carefully add China is often seen as being grimy and unfortunate, thanks to an excellent extension to its nearby hook up with the realistic consideration required by slight, skilled bodies. Chinese consideration laborers are for the foremost part provincial to urban transients or urban specialists laid far away from previous state-claimed processing plants. In any case, direct consideration is intricate. In any case, its unpredictability goes unrecognized, or maybe disregarded by institutional powers that organize benefits and generalize the old as bodies to chip away at, to the disregard of their social-passionate necessities. As is valid with Sunlight, things which might typically undermine the keenness of care laborers, for instance, the absence of institutional acknowledgment for his or her enthusiastic work, are required to be postponed. Care specialists are currently centered around a shared objective: ensuring the gift assistance of the older. COVID-19 propels care laborers to consider what kind of care is required and the way to offer that care. It fills in as a channel through which the elemental beliefs of care are observed. Care is about common human weakness and our intrinsic association. Care laborers at Sunlight, in their aggregate every minute of everyday endeavors to secure the older, typify this ethic through their consideration. May the respectful regard, they hold of the older in their consideration redound on them and everyone consideration laborers overall who are fighting this pandemic on the bleeding edge!
Like the consideration laborers at Sunlight, the laborers in numerous nations are regarded human life so that we cannot be embarrassed to return clean with the leading edge about ourselves. Salute the spearheading staff who salutes our purposeful endeavors to handle the pandemic in numerous settings around the globe, within the daylight, yet additionally to ensure that veterans are appropriately treated, took care of and washed.
We all hope and pray that the coronavirus will soon be controlled and subdued. And that when the crisis is behind us, that we continue the important work of protecting the elderly and other vulnerable segments of our citizenry.
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How Can I Contribute in Times of COVID-19?
Write your testimony about the concequences from the time of Corona virus (COVID-19). Here is a great knowledge base about the effects of the Corona virus. Thank you for your story! article-directory.org/article/717/40/Emergency-Situations...
This is the second Don Fraser Van Hool I've photographed carrying XTE 618.
In this instance a Van Hool Alizee T9 model
18 - 109
09/2011 - new as WT61 WCT to Wickson; Walsall Wood (ST).
??/???? - passed to Fraser & Golding; Rufford (LA).
??/???? - re-registered XTE 618
The Monastery of the Holy Eucharist in Lindogon, Sibonga in Cebu province is run by Marian monks. The place is where several instances of the phenomena ~ whereby the image of the Virgin Mary shed tears in several instances starting in 1998. It is now very popular for Marian pilgrims and devotees who flock to the palace-like monastery. This transformed the once sleepy barangay into a popular destination. Daily, the monastery is visited by thousands of devotees from all over the country and even from foreign tourists. This crown structure is memorial of the victorious and powerful intercession of the Blessed Virgin Mother thru the Penitential Rosary Walk in 1998, against the killer epidemic hat struck the place, where several lives of poor children and infants had died. Built to honour Mary on the 8th year anniversary of the Monks arrival in Lindogon. Blessed on the 27th day of February, 2004.”
There are available coloured candles near the monastery. Proceeds of the candles will give part to the monks for funds. The following are coloured candles with its own purpose.
Gold: Healing (Good health, Recovery, Spiritual, Family Tree)
Green: Prosperity/Success (Exams, Study, Financial, Business)
Blue: Perseverance (Employment, Career, Assignment, Promotions)
Violet: Achievement (Plans in life, Struggles, Endeavours, Journeys, Voyage)
Red: Love (Utility, Friendship, Engagement, Family)
Yellow: Peace (Courage, Strength, Hope)
White: Purity (Enlightenment, Guidance, Right Path)
Orange: Reconciliation (Sweetheart, Wife, Husband, Enemy, Family)
Pink: Thanksgiving/Happiness/Joy (Spiritual, Physical)
Black: Souls (Forgiveness, Pardon)
Brown: Vocation (Marriage Bond, God’s Servant, Single life)
Grey: Deliverance (Bad ways, Things, Spirits)
Cream: Conversion/Faith (Children, Household, Couples)
A gentle reminder from the Catholic Bishops Conference of the Philippines, the following guidelines must be strictly followed and not allowed to wear inside the Monastery: wearing of tube & short blouses/dresses, fitting & transparent pants, spaghetti straps/sleeveless dress, mini skirts, shorts. While taking you to the Monastery, it is required to remove footwear before entering the Mother Mary’s prayer room. Cameras flash should be turned off while taking pictures so as not to interrupt/destruct others when praying. All Catholic & Non-Catholic are advised to please respect and observe solemnity inside the Church. Smoking is prohibited inside the premises. Parking area is situated to the right side of the entrance.
If you are from Cebu City taking you through Sibonga town proper to estimate of 50 kilometres southeast or travel time for about 2-hours and can be reached via any of the buses (air con/non air-con) that leaves regularly for Sibonga from the South Bus Terminal along N. Bacalso Ave. in Cebu City. Bus fare is less than a hundred pesos. The place is famous among all passengers, just ask the conductor to drop you off to the crossing in going to Birhen sa Simala. Mary’s pilgrimage is few kilometres away from the drop off point and you can reach the destination by riding in a motorcycles for hire habal-habal or public tricycles. The Monastery of the Holy Eucharist opens daily from 8:00 am - 6:00 pm.
For instance, back then, we still saw ourselves as just your friendly neighborhood AFOL convention for the Pacific Northwest, so we were using the name "NWBrickCon". It didn't take long before we were welcoming friends from all over the world, and so we shortened it to BrickCon.
The Monastery of the Holy Eucharist in Lindogon, Sibonga in Cebu province is run by Marian monks. The place is where several instances of the phenomena ~ whereby the image of the Virgin Mary shed tears in several instances starting in 1998. It is now very popular for Marian pilgrims and devotees who flock to the palace-like monastery. This transformed the once sleepy barangay into a popular destination. Daily, the monastery is visited by thousands of devotees from all over the country and even from foreign tourists. This crown structure is memorial of the victorious and powerful intercession of the Blessed Virgin Mother thru the Penitential Rosary Walk in 1998, against the killer epidemic hat struck the place, where several lives of poor children and infants had died. Built to honour Mary on the 8th year anniversary of the Monks arrival in Lindogon. Blessed on the 27th day of February, 2004.”
There are available coloured candles near the monastery. Proceeds of the candles will give part to the monks for funds. The following are coloured candles with its own purpose.
Gold: Healing (Good health, Recovery, Spiritual, Family Tree)
Green: Prosperity/Success (Exams, Study, Financial, Business)
Blue: Perseverance (Employment, Career, Assignment, Promotions)
Violet: Achievement (Plans in life, Struggles, Endeavours, Journeys, Voyage)
Red: Love (Utility, Friendship, Engagement, Family)
Yellow: Peace (Courage, Strength, Hope)
White: Purity (Enlightenment, Guidance, Right Path)
Orange: Reconciliation (Sweetheart, Wife, Husband, Enemy, Family)
Pink: Thanksgiving/Happiness/Joy (Spiritual, Physical)
Black: Souls (Forgiveness, Pardon)
Brown: Vocation (Marriage Bond, God’s Servant, Single life)
Grey: Deliverance (Bad ways, Things, Spirits)
Cream: Conversion/Faith (Children, Household, Couples)
A gentle reminder from the Catholic Bishops Conference of the Philippines, the following guidelines must be strictly followed and not allowed to wear inside the Monastery: wearing of tube & short blouses/dresses, fitting & transparent pants, spaghetti straps/sleeveless dress, mini skirts, shorts. While taking you to the Monastery, it is required to remove footwear before entering the Mother Mary’s prayer room. Cameras flash should be turned off while taking pictures so as not to interrupt/destruct others when praying. All Catholic & Non-Catholic are advised to please respect and observe solemnity inside the Church. Smoking is prohibited inside the premises. Parking area is situated to the right side of the entrance.
If you are from Cebu City taking you through Sibonga town proper to estimate of 50 kilometres southeast or travel time for about 2-hours and can be reached via any of the buses (air con/non air-con) that leaves regularly for Sibonga from the South Bus Terminal along N. Bacalso Ave. in Cebu City. Bus fare is less than a hundred pesos. The place is famous among all passengers, just ask the conductor to drop you off to the crossing in going to Birhen sa Simala. Mary’s pilgrimage is few kilometres away from the drop off point and you can reach the destination by riding in a motorcycles for hire habal-habal or public tricycles. The Monastery of the Holy Eucharist opens daily from 8:00 am - 6:00 pm.
medievalpoc: Friedrich Hagenauer Bust of a Young Black Man Germany (c. 1530) Maple. Staatliche Münzsammlung, Munich The courts of princes and nobles were fertile ground for upward mobility, not only for those of African descent. Known instances point to former black slaves making use of natural capabilities or artisanal skills, for example Christopfle Le More, who rose from stable work to be a personal guard of the Emperor Charles V. In like fashion, “Grazico of Africa, called il Moretto (the little Moor), horseman, page to the knight Prospero” is noted in Medici court records for salaries paid in 1553, while a manumitted North African Muslim held an important position in the stable at the court in Lisbon of Catherine of Austria (1507–78). João de Sá Panasco’s career at her court began as slave and jester, in which role he was known for his wit. However, much of it was self-deprecating and he suffered from jibes. The date of his manumission is unknown, but by 1547 he was a courtier, a gentleman of the royal household, and the king’s valet. He was awarded a knighthood in the Order of Santiago around 1550. Black salaried court entertainers were often musicians, usually their occupation before manumission. A black drummer was on the payroll at the Scottish court in 1504 while Johan Diez in Valencia and John Blanke in London were among those who were trumpeters. The chances are great that the subject of the exquisite Bust of a Young Black Man attributed to the German medalist Friedrich Hagenauer (1490/1500–after 1546) was attached to a court, possibly that of Munich where the artist was active 1525–27. -Revealing the African Presence in Renaissance Europe, p. 86-87
St Peter, Thurston, Suffolk
Thurston is a large and busy village just off of the A14 not far from the edge of Bury St Edmunds, with the blessing of its own railway station on the Ipswich to Cambridge line. The church sits on the edge of the village, a large, crisp building that stands upright above the road to Pakenham. None of the rough-and-readiness of many of Suffolk's rural churches here, for what you see from the road is entirely of the 19th Century.
On this site, we have often come across the work of the unfashionable Victorian Suffolk architect Edward Hakewill, son of the more famous Henry Hakewill. He had worked extensively in Suffolk the 1860s, and is sometimes good, at Kenton, for instance. But he can also be very undistinguished, as at Rushmere, Brantham and Shottisham. The reason I was intrigued by Thurston is that it was the work of his lesser-known younger brother, John Henry Hakewill, and I was interested to see what he had got up to.
His brother Edward's usual approach was to go in, build a north aisle, reduce the internal furnishings to a polite middle-brow sacramentalism, and then leave. John Hakewill had rather more than that to do here, because of something that happened on the night of Sunday March 18th 1860. In common with most Suffolk churches, St Peter had been greatly neglected through the 18th and early 19th Centuries, and its need for a facelift had become obvious. In fact, John Hakewill had already been engaged as the architect for a thorough going-over of the old structure. But shortly before midnight, supposedly on the night before work was due to commence, the tower fell.
It is hard to imagine the effect of an incident like that on a tiny, remote, rural community. The one permanent, ageless structure in its midst suddenly disappeared overnight. The tower collapsed straight down, but falling rubble took out the nave and aisle roofs, as well as destroying piers of both arcades. The parishioners decided to do the obvious, and retreat into the chancel for services. However, just ten days later, the rest of the nave collapsed, bringing down what remained of the arcades and roofs, and destroying all the furnishings, including the pulpit and lectern.
And so, a decision was made to rebuild from scratch, accommodating the new church to the surviving chancel and porch. As Roy Tricker points out, Hakewill was very much of the prevailing opinion of the time that Decorated was the only suitable style for a medieval church (despite the fact that Suffolk's finest moments are mostly Perpendicular), and, as a Bury Post article of the time noted, Hakewill was determined that the new church should be entirely in Decorated and correct architecture, replacing the inferior architecture in the old structure.
And so, there it is today. The exterior is certainly impressive, and the church reopened barely 18 months later, at the cost of about £3,500, about three quarters of a million in today's money, an extraordinary bargain I would have thought. This must have been a huge church, even before Hakewill's rebuild - I wondered if it had been a match for Rougham, across the A14. Much of the chancel appears relatively original, despite considerable patching up. The imposing tower itself is beginning to mellow with age, although perhaps it still bears a disconcerting similarity to what might be the tower of a Typically English Village Church in a model village, thanks to Hakewill's insistence on 'correct' Dec. But when you consider what Richard Phipson did across the road at Finborough and Woolpit during the same decade, St Peter may have got off lightly.
You step into a large, tidy space full of light - no gloomy north aise here. Inevitably, there is an urban feel to the wholly 19th Century interior, although there are some earlier survivals. One of these is the font, a fine perpendicular piece whose foliage panels conceal a green man or two. Can it have come from here originally? It is hard to see how the font could have survived the collapse of the tower. Collected fragments of 15th Century glass include a number of striking heads, as well as parts of the figures of a cherubim, a pope and a bishop. Up in the chancel there is what appears to be a pair of delicious medieval angels holding scrolls, although they are, I think, 19th Century fakes. Certainly 15th Century are the stalls below, however, which survived the fall of the tower and have delightful little figures in the spandrels. There are a couple more medieval benches now placed at the west end of the south aisle, also with green men on them.
Bringing us right up to date is one of Suffolk's several sets of royal arms to Queen Elizabeth II (there are others not far off at Rattlesden and Lavenham, among others). This set is dated 1977, the year of the Silver Jubilee. The woodwork in the nave is of a decent quality, presumably installed as part of the same commission as the rebuilding, but the reredos in the chancel is rather finer, the work of Father Ernest Geldart, the Anglo-catholic carpenter-priest whose parish and studio were at Little Braxted in Essex. Its commission may give us some idea of the churchmanship here at Thurston in the early years of the 20th Century.
A name that many will associate with Bury St Edmunds is that of the Greene King brewery, and the Greene family are commemorated here at Thurston. Sir Walter Greene paid for the restoration of the chancel. The memorial windows to the Greene family are by the stained glass firm Ward & Hughes, and were installed over thirty years from 1890 to 1920. Ward & Hughes were a company that went through three distinct phases. In their early years they were often quite interesting, as across the border at Pentney in Norfolk, for example. Later in the 19th Century they became one of the largest mass-producing workshops in the country, churning out thousands of windows for hundreds of churches all over the world that are largely of a similar middle-brow quality. In the 20th Century, however, the wheels came off a bit, and the windows vary greatly. There is a feeling that patrons were given too much say in the design, which is always a mistake, and sometimes they can be pretty awful. But here at Thurston the glass is spectacular. The 1890 glass is certainly not run-of-the-mill, being a version in glass of Axel Ender's painting Easter Morning. Whether it is good or not is perhaps a matter of taste, but the other two windows are rather thrilling, and delightfully mawkish - witness the figure of Peace stooping to kiss the lips of Righteousness. There is a Ward & Hughes window in a similar style to these last two up the road at Pakenham.
Elsewhere in the church, the lovely 1950 window of the Adoration of the Magi at the east end of the south aisle is by E L Armitage for Powell & Sons, and it replaced damaged glass which commemorated a 14 months old child, Mary Adelaide Blake, who died in 1842. The date of the new window suggests that the old one suffered blast damge in the Second World War, a common fate for these Suffolk churches surrounded by American air bases. The best window in the church, however, is at the east end of the north aisle, and depicts the Raising of Jairus's Daughter in a quiet, painterly style. It remembers Isabella Blake, who died in 1856, and nobody seems to know who it is by. Intriguingly, given that this is also to a daughter of the Blake family, it seems possible that the lost window in the south aisle was by the same workshop.
For many years, Thurston church was difficult of access, so it is pleasing to discover that it is now open to strangers and pilgrims every day. Even more, the sign in the porch asks you to be careful not to accidentally lock the door on your way out.
The Monastery of the Holy Eucharist in Lindogon, Sibonga in Cebu province is run by Marian monks. The place is where several instances of the phenomena ~ whereby the image of the Virgin Mary shed tears in several instances starting in 1998. It is now very popular for Marian pilgrims and devotees who flock to the palace-like monastery. This transformed the once sleepy barangay into a popular destination. Daily, the monastery is visited by thousands of devotees from all over the country and even from foreign tourists. This crown structure is memorial of the victorious and powerful intercession of the Blessed Virgin Mother thru the Penitential Rosary Walk in 1998, against the killer epidemic hat struck the place, where several lives of poor children and infants had died. Built to honour Mary on the 8th year anniversary of the Monks arrival in Lindogon. Blessed on the 27th day of February, 2004.”
There are available coloured candles near the monastery. Proceeds of the candles will give part to the monks for funds. The following are coloured candles with its own purpose.
Gold: Healing (Good health, Recovery, Spiritual, Family Tree)
Green: Prosperity/Success (Exams, Study, Financial, Business)
Blue: Perseverance (Employment, Career, Assignment, Promotions)
Violet: Achievement (Plans in life, Struggles, Endeavours, Journeys, Voyage)
Red: Love (Utility, Friendship, Engagement, Family)
Yellow: Peace (Courage, Strength, Hope)
White: Purity (Enlightenment, Guidance, Right Path)
Orange: Reconciliation (Sweetheart, Wife, Husband, Enemy, Family)
Pink: Thanksgiving/Happiness/Joy (Spiritual, Physical)
Black: Souls (Forgiveness, Pardon)
Brown: Vocation (Marriage Bond, God’s Servant, Single life)
Grey: Deliverance (Bad ways, Things, Spirits)
Cream: Conversion/Faith (Children, Household, Couples)
A gentle reminder from the Catholic Bishops Conference of the Philippines, the following guidelines must be strictly followed and not allowed to wear inside the Monastery: wearing of tube & short blouses/dresses, fitting & transparent pants, spaghetti straps/sleeveless dress, mini skirts, shorts. While taking you to the Monastery, it is required to remove footwear before entering the Mother Mary’s prayer room. Cameras flash should be turned off while taking pictures so as not to interrupt/destruct others when praying. All Catholic & Non-Catholic are advised to please respect and observe solemnity inside the Church. Smoking is prohibited inside the premises. Parking area is situated to the right side of the entrance.
If you are from Cebu City taking you through Sibonga town proper to estimate of 50 kilometres southeast or travel time for about 2-hours and can be reached via any of the buses (air con/non air-con) that leaves regularly for Sibonga from the South Bus Terminal along N. Bacalso Ave. in Cebu City. Bus fare is less than a hundred pesos. The place is famous among all passengers, just ask the conductor to drop you off to the crossing in going to Birhen sa Simala. Mary’s pilgrimage is few kilometres away from the drop off point and you can reach the destination by riding in a motorcycles for hire habal-habal or public tricycles. The Monastery of the Holy Eucharist opens daily from 8:00 am - 6:00 pm.
The Monastery of the Holy Eucharist in Lindogon, Sibonga in Cebu province is run by Marian monks. The place is where several instances of the phenomena ~ whereby the image of the Virgin Mary shed tears in several instances starting in 1998. It is now very popular for Marian pilgrims and devotees who flock to the palace-like monastery. This transformed the once sleepy barangay into a popular destination. Daily, the monastery is visited by thousands of devotees from all over the country and even from foreign tourists. This crown structure is memorial of the victorious and powerful intercession of the Blessed Virgin Mother thru the Penitential Rosary Walk in 1998, against the killer epidemic hat struck the place, where several lives of poor children and infants had died. Built to honour Mary on the 8th year anniversary of the Monks arrival in Lindogon. Blessed on the 27th day of February, 2004.”
There are available coloured candles near the monastery. Proceeds of the candles will give part to the monks for funds. The following are coloured candles with its own purpose.
Gold: Healing (Good health, Recovery, Spiritual, Family Tree)
Green: Prosperity/Success (Exams, Study, Financial, Business)
Blue: Perseverance (Employment, Career, Assignment, Promotions)
Violet: Achievement (Plans in life, Struggles, Endeavours, Journeys, Voyage)
Red: Love (Utility, Friendship, Engagement, Family)
Yellow: Peace (Courage, Strength, Hope)
White: Purity (Enlightenment, Guidance, Right Path)
Orange: Reconciliation (Sweetheart, Wife, Husband, Enemy, Family)
Pink: Thanksgiving/Happiness/Joy (Spiritual, Physical)
Black: Souls (Forgiveness, Pardon)
Brown: Vocation (Marriage Bond, God’s Servant, Single life)
Grey: Deliverance (Bad ways, Things, Spirits)
Cream: Conversion/Faith (Children, Household, Couples)
A gentle reminder from the Catholic Bishops Conference of the Philippines, the following guidelines must be strictly followed and not allowed to wear inside the Monastery: wearing of tube & short blouses/dresses, fitting & transparent pants, spaghetti straps/sleeveless dress, mini skirts, shorts. While taking you to the Monastery, it is required to remove footwear before entering the Mother Mary’s prayer room. Cameras flash should be turned off while taking pictures so as not to interrupt/destruct others when praying. All Catholic & Non-Catholic are advised to please respect and observe solemnity inside the Church. Smoking is prohibited inside the premises. Parking area is situated to the right side of the entrance.
If you are from Cebu City taking you through Sibonga town proper to estimate of 50 kilometres southeast or travel time for about 2-hours and can be reached via any of the buses (air con/non air-con) that leaves regularly for Sibonga from the South Bus Terminal along N. Bacalso Ave. in Cebu City. Bus fare is less than a hundred pesos. The place is famous among all passengers, just ask the conductor to drop you off to the crossing in going to Birhen sa Simala. Mary’s pilgrimage is few kilometres away from the drop off point and you can reach the destination by riding in a motorcycles for hire habal-habal or public tricycles. The Monastery of the Holy Eucharist opens daily from 8:00 am - 6:00 pm.
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Public Domain. Credit: NOAA via pingnews. Additional information from source:
"Penguins on ice-foot." In: "Scott's Last Expedition ....", 1913. Dodd, Mead, and Company. New York. Volume II. Page 87. Library Call No. G850 1910 .S35 1913 .
Image ID: corp2817, NOAA At The Ends of the Earth Collection
Location: McMurdo Sound, Antarctica
Photographer: Dr. Levick
Press: hudsonreporter.com/view/full_story/20838118/article-Showi...
111 first street. From Paris to Jersey City, They Showed No Love.
a Branko Documentary Film
In the area of Jersey City NJ, for about 20 years, existed a warehouse building where artists had about 130 art studios. The artists left in 2005 and the building was demolished in 2007.
This movie only deals with the art, presented by the artists.
This documentary is a historical document of a very important part of Art in America.
Screening on:
2-23-2012
1:00 PM
Jersey City Library
Biblioteca Criolla, 4th. Floor
472 Jersey Avenue
Jersey City, NJ 07302
111 First Street (film) - Wiki
en.wikipedia.org/wiki/111_First_Street_(film)
111 First Street (a Branko Film), Trailer
111 Jam Band (a Branko Film). Unedited
Faizulla Khamraev (a Branko Film)
Maria Benjumeda, Flamenco and Bulerias at 111 First Street
American Watercolor Movement, Live at Coney Island. A Branko Film (Unedited)
© branko
Branko: Entrevista TV Español
Movies:
Books:
West Indian Parade (Photo Book)
Cecilia Mamede, Times Square NYC (Photo Book)
Bronzino (1503-1572)
Active in Florence
The Holy Family with Saint Anna and the Boy John, around 1540
The Boy John occupies the prime position. Looks and gestures point to the child Jesus who is presented frontally to the viewer. Standing behind them is Mary, caressing her son lovingly. The composition is extended by Anna and Joseph. Bronzino enhances the sharply contoured and sculpture-like depiction to a stone-like coldness, encompassing particularly the two boys; this may well be an instance of the competition thought to exist between painting and sculpture that was debated time and again in the art theory of the period.
Bronzino (1503-1572)
Tätig in Florenz
Heilige Familie mit Heiliger Anna und Johannesknabe, um 1540
Der Johannesknabe nimmt die vorderste Position ein. Blick und Geste deuten auf das dem Betrachter frontal präsentierte Jesuskind. Dahinter steht, diesen liebevoll berührend, Maria. Die Komposition wird durch Anna und Joseph erweitert. Bronzino steigert die scharf umrissene und skulpturale Darstellung bis hin zu steinerner Kälte, die besonders die beiden Knaben erfasst - wohl auch ein Indiz für den in der Kunsttheorie der Zeit immer wieder thematisierten Wettstreit der Maler mit der Bildhauerei.
Austria Kunsthistorisches Museum
Federal Museum
Logo KHM
Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture
Founded 17 October 1891
Headquartered Castle Ring (Burgring), Vienna 1, Austria
Management Sabine Haag
www.khm.at website
Main building of the Kunsthistorisches Museum at Maria-Theresa-Square
The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.
The museum
The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.
History
Archduke Leopold Wilhelm in his Gallery
The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building .
Architectural History
The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währingerstraße/ Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the opera ring, and Ludwig Zettl the southeast side of the grain market (Getreidemarkt).
From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience with of Joseph Semper at the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.
Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.
Construction of the two museums began without ceremony on 27 November 1871 instead. Semper moved to Vienna in the sequence. From the beginning, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, built in 1878, the first windows installed in 1879, the Attica and the balustrade from 1880 to 1881 and built the dome and the Tabernacle. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.
The lighting and air conditioning concept with double glazing of the ceilings made the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times .
Kuppelhalle
Entrance (by clicking the link at the end of the side you can see all the pictures here indicated!)
Grand staircase
Hall
Empire
The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891 , the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol will need another two years.
189, the farm museum was organized in seven collections with three directorates:
Directorate of coins, medals and antiquities collection
The Egyptian Collection
The Antique Collection
The coins and medals collection
Management of the collection of weapons, art and industrial objects
Weapons collection
Collection of industrial art objects
Directorate of Art Gallery and Restaurieranstalt (Restoration Office)
Collection of watercolors, drawings, sketches, etc.
Restoration Office
Library
Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.
1914, after the assassination of Franz Ferdinand, heir to the throne, his " Estonian Forensic Collection " passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d' Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.
The First World War went by, apart from the oppressive economic situation without loss. The farm museum remained during the five years of war regularly open to the public.
Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.
First Republic
The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.
It was not until the Treaty of Saint-Germain of 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.
On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House" , by the Republic. Of 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.
Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.
With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the Egyptian and Near Eastern Collection (with the Oriental coins)
Collection of Classical Antiquities
Collection of ancient coins
Collection of modern coins and medals
Weapons collection
Collection of sculptures and crafts with the Collection of Ancient Musical Instruments
Picture Gallery
The Museum 1938-1945
Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.
With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the empire.
After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to perform certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.
The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. This was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.
The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.
The museum today
Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).
The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.
In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.
Management
1919-1923: Gustav Glück as the first chairman of the College of science officials
1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director
1933: Arpad Weixlgärtner first director
1934-1938: Alfred Stix first director
1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief in 1941 as first director
1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections in 1949 as general director of the historical collections of the Federation
1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections in 1949 as general director of art historical collections of the Federation
1949-1950: Hans Demel as administrative director
1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation
1951-1952: Fritz Eichler as administrative director
1953-1954: Ernst H. Buschbeck as administrative director
1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director
1967: Edward Holzmair as managing director
1968-1972: Erwin Auer first director
1973-1981: Friderike Klauner first director
1982-1990: Hermann Fillitz first director
1990: George Kugler as interim first director
1990-2008: Wilfried Seipel as general director
2009-2019: Sabine Haag as general director
2019– : Eike Schmidt (art historian, designated)
Collections
To the Kunsthistorisches Museum are also belonging the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.
Kunsthistorisches Museum (main building)
Picture Gallery
Egyptian and Near Eastern Collection
Collection of Classical Antiquities
Vienna Chamber of Art
Numismatic Collection
Library
New Castle
Ephesus Museum
Collection of Ancient Musical Instruments
Arms and Armour
Archive
Hofburg
The imperial crown in the Treasury
Imperial Treasury of Vienna
Insignia of the Austrian Hereditary Homage
Insignia of imperial Austria
Insignia of the Holy Roman Empire
Burgundian Inheritance and the Order of the Golden Fleece
Habsburg-Lorraine Household Treasure
Ecclesiastical Treasury
Schönbrunn Palace
Imperial Carriage Museum Vienna
Armory in Ambras Castle
Ambras Castle
Collections of Ambras Castle
Major exhibits
Among the most important exhibits of the Art Gallery rank inter alia:
Jan van Eyck: Cardinal Niccolò Albergati, 1438
Martin Schongauer: Holy Family, 1475-80
Albrecht Dürer : Trinity Altar, 1509-16
Portrait Johann Kleeberger, 1526
Parmigianino: Self Portrait in Convex Mirror, 1523/24
Giuseppe Arcimboldo: Summer 1563
Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07
Caravaggio: Madonna of the Rosary (1606-1607)
Titian: Nymph and Shepherd to 1570-75
Portrait of Jacopo de Strada, 1567/68
Raffaello Santi: Madonna of the Meadow, 1505 /06
Lorenzo Lotto: Portrait of a young man against white curtain, 1508
Peter Paul Rubens: The altar of St. Ildefonso, 1630-32
The Little Fur, about 1638
Jan Vermeer: The Art of Painting, 1665/66
Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559
Kids, 1560
Tower of Babel, 1563
Christ Carrying the Cross, 1564
Gloomy Day (Early Spring), 1565
Return of the Herd (Autumn), 1565
Hunters in the Snow (Winter) 1565
Bauer and bird thief, 1568
Peasant Wedding, 1568/69
Peasant Dance, 1568/69
Paul's conversion (Conversion of St Paul), 1567
Cabinet of Curiosities:
Saliera from Benvenuto Cellini 1539-1543
Egyptian-Oriental Collection:
Mastaba of Ka Ni Nisut
Collection of Classical Antiquities:
Gemma Augustea
Treasure of Nagyszentmiklós
Gallery: Major exhibits
Magpies are birds of the family Corvidae. Like other members of their family, they are widely considered to be intelligent creatures. The Eurasian magpie, for instance, is thought to rank among the world's most intelligent creatures and is one of the few nonmammalian species able to recognize itself in a mirror test. They are particularly well known for their songs and were once popular as cagebirds. In addition to other members of the genus Pica, corvids considered as magpies are in the genera Cissa, Urocissa, and Cyanopica.
Magpies of the genus Pica are generally found in temperate regions of Europe, Asia, and western North America, with populations also present in Tibet and high-elevation areas of Kashmir. Magpies of the genus Cyanopica are found in East Asia and the Iberian Peninsula. The birds called magpies in Australia are, however, not related to the magpies in the rest of the world.
Name
References dating back to Old English call the bird a "pie", derived from the Latin pica and cognate to French pie; this term has fallen out of use. The tendency in previous centuries was to give birds common names, such as robin redbreast (which now is called the robin) and jenny wren. The magpie was originally variously maggie pie and mag pie. The term "pica" for the human disorder involving a compulsive desire to eat items that are not food is borrowed from the Latin name of the magpie (Pica pica), for its reputed tendency to feed on miscellaneous things.
Systematics and species
According to some studies, magpies do not form the monophyletic group they are traditionally believed to be; tails have elongated (or shortened) independently in multiple lineages of corvid birds. Among the traditional magpies, two distinct lineages apparently exist. One consists of Holarctic species with black and white colouration, and is probably closely related to crows and Eurasian jays. The other contains several species from South to East Asia with vivid colouration, which is predominantly green or blue. The azure-winged magpie and the Iberian magpie, formerly thought to constitute a single species with a most peculiar distribution, have been shown to be two distinct species, and are classified as the genus Cyanopica.
Other research has cast doubt on the taxonomy of the Pica magpies, since P. hudsonia and P. nuttalli may not be different species, whereas the Korean race of P. pica is genetically very distinct from the other Eurasian (as well as the North American) forms. Either the North American, Korean, and remaining Eurasian forms are accepted as three or four separate species, or else only a single species, Pica pica, exists.
Holarctic (black-and-white) magpies
Genus Pica
Eurasian magpie, Pica pica
Black-billed magpie, Pica hudsonia (may be conspecific with P. pica)
Yellow-billed magpie, Pica nuttalli (may be conspecific with P. (pica) hudsonia)
Asir magpie, Pica asirensis (may be conspecific with P. pica)
Maghreb magpie, Pica mauritanica (may be conspecific with P. pica)
Oriental magpie, Pica serica (may be conspecific with P. pica)
Black-rumped magpie. Pica bottanensis (may be conspecific with P. pica)
Oriental (blue and green) magpies
Genus Urocissa
Taiwan blue magpie, Urocissa caerulea
Red-billed blue magpie, Urocissa erythroryncha
Yellow-billed blue magpie, Urocissa flavirostris
White-winged magpie, Urocissa whiteheadi
Sri Lanka blue magpie, Urocissa ornata
Genus Cissa
Common green magpie, Cissa chinensis
Indochinese green magpie, Cissa hypoleuca
Javan green magpie, Cissa thalassina
Bornean green magpie, Cissa jefferyi
Azure-winged magpies
Genus Cyanopica
Azure-winged magpie, Cyanopica cyanus
Iberian magpie, Cyanopica cooki
Other "magpies"
The black magpies, Platysmurus, are treepies; they are neither magpies, nor as was long believed, jays. Treepies are a distinct group of corvids externally similar to magpies.
The Australian magpie, Cracticus tibicen, is conspicuously "pied", with black and white plumage reminiscent of a Eurasian magpie. It is a member of the family Artamidae and not a corvid.
The magpie-robins, members of the genus Copsychus, have a similar "pied" appearance, but they are Old World flycatchers, unrelated to the corvids.
Human interactions
Cultural references
See also: Eurasian magpie § Relationship with humans, and Black-billed magpie § Relationship with humans
East Asia
In East Asian cultures, the magpie is a very popular bird and is a symbol of good luck and fortune.
The magpie is a common subject in Chinese paintings. It is also often found in traditional Chinese poetry and couplets. In addition, in Chinese folklore, all the magpies of the Qixi Festival every year will fly to the Milky Way and form a bridge, where the separated Cowherd and Weaver Girl will meet. The Milky Way is like a river, and the Cowherd and Weaver Girl refer to the famous α-Aquilae and α-Lyrae of modern Astronomy, respectively. For this reason, the magpie bridge has come to symbolize a relationship between men and women.
Magpies have an important place in the birth myth of Ai Xinjue Luo Bukuri Yushun, the ancestor of the Qing dynasty.
The magpie is a national bird of Korea and a symbol of its capital Seoul.
Europe
In European culture, the magpie is reputed to collect shiny objects such as wedding rings and other valuables, a well known example being Rossini's opera La Gazza Ladra (The Thieving Magpie). A recent study conducted by Exeter University found that Eurasian magpies express neophobia when presented with unfamiliar objects, and were less likely to approach or interact with the shiny objects - metal screws, foil rings and aluminium foil - used in the experiments. However, magpies are naturally curious like other members of the corvid family, and may collect shiny objects, but do not favour shiny objects over dull ones.
As pests
Magpies are common orchard pests in some regions of the world.
In legend
John Brand was an English antiquarian and Church of England clergyman, who was appointed Secretary to the Society of Antiquaries, in 1784. His book, Observations of Popular Antiquities, (1780), has the first-known record of counting Magpies to predict good or ill-fortune, in the description, and records only four lines:
"One for sorrow, Two for mirth, Three for a funeral, And four for a birth". Popular antiquities later became known as Folklore, (a term coined by William John Thoms in 1846).
In that year, the rhyme was added to Proverbs and Popular Sayings of the Seasons, by Michael Aislabie Denham, an English merchant and collector of folklore. The following lines were added:-
"Five for heaven, Six for hell, Seven for the devil, his own self". Sir Humphry Davy attributed the connection for the feeling of one, then two magpies to joy and sorrow in his, Salmonia : or Days of Fly Fishing, (1828); he wrote: "For anglers in spring it has always been regarded as unlucky to see single magpies, but two may be always regarded as a favourable omen;...in cold and stormy weather one magpie alone leaves the nest in search of food; the other remaining sitting on the eggs...when two go out...the weather is warm...favourable for fishing". In England, "a magpie’s nest" was a phrase used to describe something untidy and usually of little value. "One for Sorrow", elaborates on the legend.
The Monastery of the Holy Eucharist in Lindogon, Sibonga in Cebu province is run by Marian monks. The place is where several instances of the phenomena ~ whereby the image of the Virgin Mary shed tears in several instances starting in 1998. It is now very popular for Marian pilgrims and devotees who flock to the palace-like monastery. This transformed the once sleepy barangay into a popular destination. Daily, the monastery is visited by thousands of devotees from all over the country and even from foreign tourists. This crown structure is memorial of the victorious and powerful intercession of the Blessed Virgin Mother thru the Penitential Rosary Walk in 1998, against the killer epidemic hat struck the place, where several lives of poor children and infants had died. Built to honour Mary on the 8th year anniversary of the Monks arrival in Lindogon. Blessed on the 27th day of February, 2004.”
There are available coloured candles near the monastery. Proceeds of the candles will give part to the monks for funds. The following are coloured candles with its own purpose.
Gold: Healing (Good health, Recovery, Spiritual, Family Tree)
Green: Prosperity/Success (Exams, Study, Financial, Business)
Blue: Perseverance (Employment, Career, Assignment, Promotions)
Violet: Achievement (Plans in life, Struggles, Endeavours, Journeys, Voyage)
Red: Love (Utility, Friendship, Engagement, Family)
Yellow: Peace (Courage, Strength, Hope)
White: Purity (Enlightenment, Guidance, Right Path)
Orange: Reconciliation (Sweetheart, Wife, Husband, Enemy, Family)
Pink: Thanksgiving/Happiness/Joy (Spiritual, Physical)
Black: Souls (Forgiveness, Pardon)
Brown: Vocation (Marriage Bond, God’s Servant, Single life)
Grey: Deliverance (Bad ways, Things, Spirits)
Cream: Conversion/Faith (Children, Household, Couples)
A gentle reminder from the Catholic Bishops Conference of the Philippines, the following guidelines must be strictly followed and not allowed to wear inside the Monastery: wearing of tube & short blouses/dresses, fitting & transparent pants, spaghetti straps/sleeveless dress, mini skirts, shorts. While taking you to the Monastery, it is required to remove footwear before entering the Mother Mary’s prayer room. Cameras flash should be turned off while taking pictures so as not to interrupt/destruct others when praying. All Catholic & Non-Catholic are advised to please respect and observe solemnity inside the Church. Smoking is prohibited inside the premises. Parking area is situated to the right side of the entrance.
If you are from Cebu City taking you through Sibonga town proper to estimate of 50 kilometres southeast or travel time for about 2-hours and can be reached via any of the buses (air con/non air-con) that leaves regularly for Sibonga from the South Bus Terminal along N. Bacalso Ave. in Cebu City. Bus fare is less than a hundred pesos. The place is famous among all passengers, just ask the conductor to drop you off to the crossing in going to Birhen sa Simala. Mary’s pilgrimage is few kilometres away from the drop off point and you can reach the destination by riding in a motorcycles for hire habal-habal or public tricycles. The Monastery of the Holy Eucharist opens daily from 8:00 am - 6:00 pm.
After seeing avatar, this is my humble attempt to render a CG Jungle in C4D.
Thanks to R11.5's render instances, my system was able to support 733,884,500 polygons in this scene.
Selfie manic Justin Trudeau, as leader of the Liberal Party, poses for a group picture along the Canada Day parade route in the Mississauga Day parade route in the Mississauga, Ont., neighbourhood of Port Credit on July 1, 2015. (Peter Power/Canadian Press)
www.cbc.ca/beta/news/politics/wherry-trudeau-canada-day-1...
Old places are relative. For instance, in the last 8 years I've been lucky enough to walk around inside Paul Revere's house (1680), Westminster Abbey (13th century), and even Newgrange (c3000 BC -- older than even the pyramids).
But in my neck of the woods, this is about as old as you can get. John R Jackson's cabin is one of the oldest, if not THE oldest houses in Washington State. Built in 1845, it was a stop on the trip north from the Columbia River to Puget Sound. Jackson, a judge, also used his little house as the official county courthouse and a store.
The oldest surviving building (not just a house) in Washington is the granary at Fort Nisqually. It's two years older than the Jackson, but about the same size.
This is one of those rare instances when you suspect the Photography Gods actually like you. Heather and I attended a vintage sale at the Bishop's House, a classy Victorian house in Boise. The flyer mentioned there were going to be some classic cars and pin-up models so we decided to check it out. Good decision.
The weather was blustery - cold, windy, heavy, overcast - it looked like it was going to rain at any time. Only one car showed up. It was owned by a very cool guy named Lloyd; he didn't mind us checking out the car, even encouraging us to sit in it. He also had a 1920's style (air) gun in the front seat. A few minutes later we bumped into a lovely lass with blue hair and a great outfit. We found out she is Eleanor P., a professional pin-up model.
We asked Eleanor to shoot with us near the car; she lowered her standards and shot with me, with Heather helping her pose and Lloyd also coming up with ideas. What a great mini-shoot! Totally unplanned and I wouldn't have changed any of it. Well maybe not so cold - Eleanor was turning blue by the end of the shoot.
I took these photo in mid-May 2015.
Prints available at:
* Taken with a very basic 'Point and Shoot'
While travelling through the Sinai desert on an admin trip the driver stopped at a little Bedouin camp for tea (no idea where as I was sleeping when we arrived).
This old man welcomed us and invited us into a small brick room for tea, the inside of which were swarming with hoards of flies and for this reason a fire was burning throughout the day which resulted in these awesome light rays through the smoke inside.
This is one of those instances where I REALLY regretted not having brought my DSLR (as it was an admin trip), and all I had with me was a Sony TX-9. A camera (could not be more 'point and shoot') which I purchased exclusively for its HD video. I've always hated the quality of it pictures (only jpegs) with no manual control...fine for snapshots but thats about it.
Have to say I was more than surprised when I managed to get this shot...the colour version of which looks almost as good:)
We were there for no more than 10 minutes so quite happy that I got this shot (along with some similar HD video).
Our heritage walk in old Delhi covers the main street of Chandni Chowk. Starting from outside the Red Fort we cover a distance of about 2 kms till the famous spice market in Khari Baoli. On the way are some well known & some not so well known landmarks which are of historical interest. In most cases, even though the landmarks are old, the buildings standing to commemorate them can be quite modern. For instance, the starting point of our heritage trail, the Digamber Jain Lal Mandir is the oldest Jain temple, the shrine being as old as the city itself. However the imposing building in red, is mostly 19th century. The golden finials on the shikhars (towers of main shrine) were added only recently, may be less than a year back if I remember correctly. The Gauri Shankar temple is almost entirely a modern structure even through it was established in the 18th century. Similarly Sisganj Gurdwara, one of the most historic landmarks of purani dilli is a modern structure. The Mughal Kotwali has also been made part of the Gurdwara. At the fountain chowk, stood a single screen cinema hall, Majestic. It was purchased by the Gurdwara & converted into a museum on Sikh history. The shop of Ghantewala Shahi halwai has moved from the fountain chowk to the main street of Chandni Chowk on the other side, close to the Sunheri Masjid. A group of havelis called Naughara in Kinari Bazaar are part of our route & even though the houses retain some of their original look (mainly the doorways) they have been modified to suit modern needs of people living there. The Parathewali gali too, they say, is a late 19th century creation which replaced the jewellery shops in this street.
Change is obvious anywhere people live. So is true of old Delhi. There were some traces of settlements in pre-Mughal times as well, but it became an urban centre with the establishment of Shahjahanabad. It has since seen many highs & lows. The worst times for city were the years 1857 & 1947. In 1857 the rebellion & then British response to the rebellion destroyed city life. Old nobility were replaced by a new class of merchants & bankers who were friendly with the British & prospered after 1857. 1947 saw a lot of violence & great movement of people in Delhi & a no. of families moving out of here. Both these have left a lasting impact on the city. For instance, what is today the old city for us, is mostly families & institutions who remained or prospered after 1857. It is their houses, their schools & their institutions which is ‘old’ Delhi for us now. One such person was Lala Chunamal. Lala Chunamal’s haveli is probably the largest in old Delhi & his descendants still live in it. This haveli is a little distance from Town Hall, in the neighbourhood of Katra Neel. The shivalayas in Katra Neel are also part of our heritage walk. The Town Hall itself is an example of drastic changes in Delhi after 1857. When the city was originally planned this site has the pool reflecting moonlight which gave the street its name ‘Chandni Chowk’. Moreover, Shahjahan’s daughter, Jahanara had her estate here which included gardens, public baths & a serai. The British razed this estate to the ground & built the Town Hall & the Delhi Railway station over it. The street of Chandni Chowk ends at Fatehpuri Masjid, which incidentally was purchased by Lala Chunamal after 1857, who returned it to the community a few years later. The mosque is currently undergoing much needed restoration work. The last stop on our heritage walk was the Gadodia Market in Khari Baoli, more famously known as the spice market. This is originally a warehouse for spices built by the British in early 20th century. The plan of the building has a courtyard in the centre with rooms around it, which served as offices & storage spaces. Now the courtyard itself has a block of rooms which were constructed over a period of time to cater to growing demand for space. We climbed to the terrace of this building & it offers an excellent view of the entire stretch of our walk as well as much of old Delhi!
(posted by Kanika Singh & Kavita Singh, team members, Delhi Heritage Walks)
A barber (from the Latin barba, "beard") is a person whose occupation is mainly to cut, dress, groom, style and shave men's and boys' hair. A barber's place of work is known as a "barber shop" or a "barber's". Barber shops are also places of social interaction and public discourse. In some instances, barbershops are also public forums. They are the locations of open debates, voicing public concerns, and engaging citizens in discussions about contemporary issues. They were also influential in helping shape male identity.
In previous times, barbers (known as barber surgeons) also performed surgery and dentistry. With the development of safety razors and the decreasing prevalence of beards, in English-speaking cultures, most barbers now specialize in cutting men's scalp hair as opposed to facial hair.
TERMINOLOGY
In modern times, the term "barber" is used both as a professional title and to refer to hairdressers who specialize in men's hair. Historically, all hairdressers were considered barbers. In the 20th century, the profession of cosmetology branched off from barbering, and today hairdressers may be licensed as either barbers or cosmetologists. Barbers differ with respect to where they work, which services they are licensed to provide, and what name they use to refer to themselves. Part of this terminology difference depends on the regulations in a given location.
Different states in the US vary on their labor and licensing laws. For example, in Maryland, a cosmetologist cannot use a straight razor, strictly reserved for barbers. In contrast, in New Jersey both are regulated by the State Board of Cosmetology and there is no longer a legal difference in barbers and cosmetologists, as they are issued the same license and can practice both the art of straight razor shaving, colouring, other chemical work and haircutting if they choose.
In Australia, the official term for a barber is hairdresser; barber is only a popular title for men's hairdressers, although not as popular now as it was in the middle of the 20th century. Most would work in a hairdressing salon.
HISTORY
The barber's trade has a long history: razors have been found among relics of the Bronze Age (around 3500 BC) in Egypt. In ancient Egyptian culture, barbers were highly respected individuals. Priests and men of medicine are the earliest recorded examples of barbers. In some early tribes, a barber was one of the most important members, as it was believed that certain evil spirits could enter a person's body through their hair, and that cutting it was a way to drive them out. Due to their spiritual and religious beliefs, barbers even performed religious ceremonies, such as marriages and baptizing children. During these ceremonies, they would leave people's hair hanging down until after dancing; they would then cut the hair and tie it back tightly so that no evil spirits could enter and no good spirits could escape.
Men in Ancient Greece would have their beards, hair, and fingernails trimmed and styled by the κουρεύς (cureus), in an agora (market place) which also served as a social gathering for debates and gossip.
Barbering was introduced to Rome by the Greek colonies in Sicily in 296 BC, and barber shops quickly became very popular centres for daily news and gossip. A morning visit to the tonsor became a part of the daily routine, as important as the visit to the public baths, and a young man's first shave (tonsura) was considered an essential part of his coming of age ceremony.
A few Roman tonsores became wealthy and influential, running shops that were favourite public locations of high society; however, most were simple tradesmen, who owned small storefronts or worked in the streets for low prices.Starting from the Middle Ages, barbers often served as surgeons and dentists. In addition to haircutting, hairdressing, and shaving, barbers performed surgery, bloodletting and leeching, fire cupping, enemas, and the extraction of teeth; earning them the name "barber surgeons". The barber pole, featuring red and white spiraling stripes, symbolized different aspects of the craft. Barbers received higher pay than surgeons until surgeons were entered into British warships during naval wars. Some of the duties of the barber included neck manipulation, cleansing of ears and scalp, draining of boils, fistula and lancing of cysts with wicks.
19th CENTURY AND LATER
Barbershops were influential at the turn of the 19th century in helping to develop African American culture and economy. According to Trudier Harris, "In addition to its status as a gathering place, the black barbershop also functioned as a complicated and often contradictory microcosm of the larger world. It is an environment that can bolster egos and be supportive as well as a place where phony men can be destroyed, or at least highly shamed, from participation in verbal contests and other contests of skill. It is a retreat, a haven, an escape from nagging wives and the cares of the world. It is a place where men can be men. It is a place, in contrast to Gordone's bar, to be somebody."Late in the 19th century there were several noteworthy events in the barber profession that gave it an upward trend, and the effects are still carrying onward and upward. In 1893, A. B. Moler of Chicago, established a school for barbers. This was the first institution of its kind in the world, and its success was apparent from its very start. It stood for higher education in the ranks, and the parent school was rapidly followed by branches in nearly every principal city of the United States. In the beginning of barber schools, only the practical work of shaving, hair-cutting, facial treatments, etc., was taught as neither the public nor the profession were ready to accept scientific treatments of hair, skin and scalp. Not until about 1920 was much effort made to professionalize the work.
In the early 1900s an alternative word for barber, "chirotonsor", came into use in the USA.
The barber Sam Mature, whose interview with Studs Terkel was published in Terkel's 1974 book Working, says "A man used to get a haircut every couple weeks. Now he waits a month or two, some of 'em even longer than that. A lot of people would get manicured and fixed up every week. Most of these people retired, moved away, or passed away. It's all on account of long hair. You take old-timers, they wanted to look neat, to be presentable. Now people don't seem to care too much."
Despite the economic recession in 2008, the barber shop industry has seen continued positive growth.
Training to be a barber is achieved through various means around the world. In the USA, barber training is carried out at "Barber Schools".
Cost—Many states require a barber license in order to practice barbering professionally. The cost of barber school varies from state to state, and also from metro area to metro area. Schools in larger metropolitan areas tend to cost more than those located in more rural towns. Brand names can also affect the cost of barber school. Most barber schools cost between $6,500 and $10,000 to complete. Because each state has different minimums for training hours, the length and cost of the program can vary accordingly. Some schools tuition includes supplies and textbooks, whereas others do not. Barber license exam fees typically range from $50 to $150.
Length—Most states require the same amount of training hours for barbers as they do for cosmetologists. The number of hours required ranges from 800 to 2,000 training hours, depending on the state's licensing requirements. Most programs can be completed in 15 months or fewer.
Curriculum—The barber school curriculum consists of hair cutting, coloring and styling for men's hair and women's short hair. Chemical processes such as bleaching, dyeing, lightening and relaxing hair may also be taught. All cosmetology disciplines learn safety and sanitation best practices. Barber students can expect to learn some elements of anatomy, physiology, bacteriology and some small elements of pharmacology. It also teaches facial hair techniques, including traditional and modern shaves. Generally barber programs touch on scalp massage and treatments. Advanced barber training may include custom shave designs. It is more common in barbering schools than other cosmetology disciplines to get some business and ethics education, since entrepreneurship is especially common in the barbering trade with many professionals choosing to open their own barbershops. All the skills learned in barber school will be tested at the board exams, which typically feature a written and practical exam.
WIKIPEDIA
Erik Skanke Høsøien (b. 1980) has studied the lute, theorbo and historical guitars at the Staatliche Hochschule für Musik in Trossingen, Germany. He is also educated at NTNU Department of Music in Trondheim, Norway, and at the Guildhall School of Music & Drama in London. Høsøien has played with The Norwegian Baroque Orchestra, Barokkanerne, and various symphony orchestras. He has also performed at several festivals, for instance Oslo Chamber Music Festival, Northern Lights Festival, and Oslo Church Music Festival.
Photos by PollyBraden.com
Completed stitched handkerchiefs & hand-written notes by craftivists for M&S board members & other VIPs to be wrapped and ribboned to hand over as gi]fts at the AGM on Tuesday 7th July 2015.
Press Release: Craftivist campaign launches after survey shows 17 percent of British shoppers would shop more often at Marks & Spencers if it paid a Living Wage
The Craftivist Collective is joining forces with ShareAction’s AGM Army this summer to press UK retailers to pay a Living Wage. The campaigners are coordinating a series of “stitch-ins” at branches of Marks & Spencers across the UK, for crafters to sew hand-made messages onto M&S handkerchiefs, to be delivered to the board, celebrity endorsers, and major shareholders of the British retail giant at its annual general meeting at Wembley Stadium on July 7th.
An online poll shows 17 percent of British shoppers would shop more often at Marks & Spencers if it paid staff a Living Wage. (Source: Opinium survey, 12th-16th June 2015, based on 2002 online interviews across the UK).
The first “stitch-in” will take place on June 22 in London at 6:30 pm outside the Marks & Spencers on Liverpool Road, N1 0PR. Another “stitch-in” is scheduled for June 23 in Cardiff, another in Brighton on June 29, and another in Milton Keynes 30th. There will also be stitch-ins in Warrington, Lincoln, and Birmingham amongst others.
The idea of the “stitch-ins” is to show M&S that in addition to major shareholders with billions of pounds under management, its core customer base is also fully engaged and supportive on the issue of the Living Wage, and that they expect the company to show leadership on this basic fairness issue.
Each unique hand-stitched hanky encourages board directors of M&S to commit to paying the Living Wage of £9.15 in London and £7.85 across the UK to all staff. This is a part of ShareAction’s campaign in partnership with Citizens UK to achieve the Living Wage across the FTSE 100 through shareholder activism. Nearly a quarter of FTSE 100 companies have now accredited with the Living Wage Foundation, but no high street retailer has yet signed up.
ShareAction has organised AGM questions on the Living Wage at more than 20 company AGMs so far this year. ShareAction is simultaneously mobilising an Investor Collaborative for the Living Wage made up of institutional shareholders with billions of pounds in British companies, including asset managers, pension funds, charity and faith investors. These large shareholders have written in 2015 to all of the FTSE 100, including M&S, in support of the Living Wage.
Crafters will be giving M&S handkerchiefs with personalised positive messages stitched into them to all 14 board members of M&S, as well as to its largest shareholders, and to the 2014 celebrities who feature in the company’s ad campaign: Annie Lennox, Emma Thompson, Alex Wek, Rita Ora, Dowreen Lawrence, Lulu Kennedy, and Rachel Khoo.
They will also be handing out 250 special handkerchief craft kits with a Living Wage message printed on them to shareholders at the company’s Annual General Meeting, so that shareholders can stitch too, to encourage themselves to support the Living Wage. These kits include an ethical hanky, needle and thread, instructions, and a briefing note on investment risk.
M&S Chief Executive Marc Bolland is paid £2.1million a year. Last year, his company refused to consider a Living Wage at its Annual General Meeting. Later, at a meeting with campaigners, the company again refused to consider paying the Living Wage.
Sarah Corbett, founder of the Craftivist Collective, said: “Marks & Spencer is supposed to be a company with solid values threaded through all that they do, which include paying your workers fairly. We’re sending the board and shareholders these carefully hand-stitched handkerchiefs to encourage the company not to ‘blow’ their chance to support life-changing decisions.”
Catherine Howarth, Chief Executive of ShareAction says: “This craftivist initiative at the M&S AGM is nothing to 'sniff at'. Sarah and her amazing stitchers are devoting hours to creating gifts the M&S board we hope will treasure and remember forever. People adore M&S but they want to see the company step up and become a Living Wage employer. The many big shareholders backing this call know it makes business sense as well as being the right thing to do.”
ENDS
Notes for editors:
ShareAction is the UK-based movement for Responsible Investment. For further information, please contact Matt Davis, Director of Communications and Public Engagement at ShareAction on matthew.davis@shareaction.org
Craftivist Collective brings together craft and activism in order to make a difference to individuals and society, exposing and tackling issues of local and global poverty and injustices through provocative, non-violent creative actions. For further information please contact Sarah Corbett, Founder of Craftivist Collective on sarah@craftivist-collective.com