View allAll Photos Tagged lilliputian
Society of Miniature Ship Collectors convention in Norfolk on 9-19-2015 with Chris Daley and Rudy Kraus taking in some aerial shots, and yours truly about to place another ship model into context. Action photo by Harald Scheel, the best shot I've seen of the overall layout- is difficult to get the whole thing without distortion and lighting anomalies. Note the Lilliputian scale (1:1250). We are all dweebs at heart, but somebody has to do it.
Just having a little fun with macarons!
Tell me they don't look like Lilliputian Cheeseburgers! :^)
Recipe and tutorial at www.baking911.com
www.lisbonportugaltourism.com/guide/rua-augusta-arch.html
Because of the top cornice's great height (over 100 feet/30 m), the figures above it had to be made colossal. The female allegory of Glory, which is dressed in peplos and measures 23 feet (7.0 m), stands on a three-step throne and holds two crowns. Valor is personified by an amazon, partially covered with chlamys and wearing a high-crested helmet with dragon patterns, which were the symbols of the House of Braganza. her left hand holds the parazonium, with a trophy of flags behind. The Genius encompasses a statue of Jupiter behind his left arm. At his left side are the attributes of writing and arts.
The four statues over the columns, made by Victor Bastos, represent Nuno Alvares Pereira and Sebastião José de Carvalho e Melo, Marquis of Pombal on the right, and Vasco da Gama and Viriatus on the left. The two recumbent figures represent the rivers Tagus and Douro.
It appeared as the arch through which the
Lilliputians wheeled Lemuel Gulliver in the 1996 miniseries Gulliver's Travels.
What is GARC racing? Where did it come from?
We have no idea.
But we have many, many credible leads and a few dodgy legends. The leads are dutifully recorded, competently researched, reliably attested; the legends, not much more than the drunken ravings of a space-mad miner of suspect principles. The first category has been exhaustively covered by professorial stuffed shirts and saltine cracker dry documentaries and are frankly, more boring than zoning commission’s minutes.
So the History Channel has teamed up with the Speed Channel to confuse the legitimate information and certifiable facts of those shows with needless dramatizations, heavily slanted reporting and emotionally manipulative voiceovers to bring you: the Legends!
Tonight’s episode, The Ducks of Haphazzard! By now, everyone knows GARC racing started in the Counties of the Asteroid Belt with rednecks and rockbillies souping up their mine carts and jalopies. And we could spend two hours talking about the economics of mining and free trade and competition and turnover and how speed equals turn around and turn around equals blah, blah, droolity, drool, blah…
But instead we found some colorful rock jockeys who use their 2069 Dodge Charger GARC racer, nicknamed the Generally, to run their Uncle Jephthy’s famous Marshine!
Meet Boo and Luck Duck, innocent orphans and absurdly dangerous racers taken in by their criminally irresponsible uncle and suckered by him as part of his Lilliputian criminal empire which includes their totally, smokin’ cousin who we actually introduced just for ratings and their grade-school drop-out mechanic buddy who keeps the Generally up and running, despite the two modern-day Robin Hood’s tendency of nearly wrecking it on every, single run. The Duck boys, it would seem, never met an asteroid they didn’t trade paint with.
We cannot talk about these scofflaw delinquents without mentioning the heroes of law and order vigilantly trying to take them down. Sheriff Rockett P. Coal-train, beacon of brilliance, shining like a binary system of justice in a dark world and his 2079 Dodge Monaco Patrol ship are out safeguarding the starways, blackroads and space-goattracks of Haphazzard county. Diligently chasing down those good ol’ boys and making the constantly shifting, slim space between the crushing granite gargantuans of the Belt safe again for decent, law-abiding road racers like you, me and Vin Turbine.
ILCE-7RM2 + CANON 65mm f/2.8 Macro MP-E
Pas de quoi faire une omelette... L'ensemble de cette petite troupe de champignons occupe tout le cadre d'un capteur 24x36 au rapport 1:1. ^^
…...............
Not enough to make an omelette... The whole of this small group of mushrooms occupies the entire frame of a sensor 24x36 at the ratio 1:1. ^^
Discovered this little island of moss while I was out and about yesterday. Reminded me of Gulliver's Travels, or perhaps even the Borrowers. Great stories. Happy Bokeh Wednesday!
{Lightbox is an option...a great option! - Press your L key to check it out}
Many thanks for stopping by, looking and commenting. I'll wade into your 'stream as well.
She-Hulk: I'm She-Hulk. How'ya like me so far?
Angela: You would dare approach me with such arrogance?? When I-
She-Hulk: (giggles) You nuts with god-complexes, always with the "dare this" and "dare that".
Angela: The outrage!!! I will-
She-Hulk: Let's keep it simple. I'm going to rip that stupid helmet off and make you eat it. You're going to try and stop me. Should be fun, huh??
Angela: Your screams of pain will inaugurate my cathedral of chaos!
She-Hulk: I'll take that as a 'yes'!
Cyborg: (thinking) Those are some big women.
thump!
Cyborg: (thinking) Eh? And there's another skyscraper. He's made of metal. I'm six-foot-one and suddenly I'm a Lilliputian in the land of Gullivers.
Cyborg: Hey. S'up?
Colossus: ...
Tiffany: (thinking) I don't know how Angela became this powerful! I must stay on her good side. Perhaps by killing this worm in front of me! My celestial stealth shall make my sneak attack quite fatal!
Neoregalia lilliputiana x punctatissima. Not sure if this is a natural hybrid or man made. Both parent species are endemic to Brazil.
#Neoregalialilliputianaxpunctatissima #Neoregalialilliputiana #Neoregaliapunctatissima #Neoregalia #lilliputiana #punctatissima #bromeliad #bromeliadhybrid #botany #CUgreenhouse
[LAST] Chance ♀️👶 [FINAL] days to Pre-Order !! @charlescreaturecabinet Hedgehog-faerie-baby [triplets] Hedgelings ~Happynose 45mm Micro BJD ~Don't MISS these lilliputian cuties!
www.charlescreaturecabinet.net/
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#charlescreaturecabinet #cccbjd #ccc #hedgehogfaerie_baby #triplets #hedgeling #happynose #microbjd #tinyjointedtail #tinywings #balljointeddoll #limitedition #collectibles #anthropomorphic #charlesgrimbergstephan #rotterdam #designer #sculptor #bjdartist #dollart #cabinetofwonders #wunderkammer #bjdart #lilliputian #handmade_outfit #argenTTo #whisperingwoodlingwoods #sylvanianfamilies
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CCC HUFFY, HOGLET, HOLLY | 45mm Micro BJD | HAPPYNOSE Hedgeling Faerie | Ball-Jointed Doll | lil' pOtbellie ~rose quartz pink /w pink faceup painting Glow-in-the-Dark resin
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/w poseable ears (stringed), tiny joined tail, clear tiny wings
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Sylvanian Families
: Baby Hedgehog Hideout
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Hand micro knits hedgeling hats dresses @argenTTo | Etsy
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~Meanwhile at the Sylvanian Families Baby Hedgehog Hideout~
Photo: @charlescreaturecabinet | NL
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BJD Sculpt ™️ Copyright ©️ 2008 | Charles Grimberg-Stephan | Charles' Creature Cabinet | All Rights Reserved.
I took some time to process and upload this one specifically because I had already captured it before with my Panasonic Lumix TZ5. The first capture was one of my favorite waterfall captures I have ever made with a point and shoot prior to my entry into the preferred "silky effect." Little Mashel Falls is flowing at about half of its full strength here and yet it is still very striking. One major bonus is the heavy mist problem that I experienced earlier in the year had all but vanished. A lot of effort to get to this waterfall was expended by myself due to the fact that the city of Eatonville no longer allows you to park your vehicle by the start of the trail. This forced a new required 4 mile round trip that did not exist before, so keep this in mind if you plan on visiting this waterfall and its upstream and downstream companions. Enjoy!
After surveilling the growing military instillations of Blefuscu, an unmarked Lilliputian Air Force jet lands in neutral Kentucky around twilight to refuel before making the trip back home.
In collaboration with Matilda H.
AIWS or Micropsia is a condition in which a patient’s sense of time, space and body image are distorted. People may appear tiny or patients may feel that part of their body shape or size has been altered. A sufferer may perceive humans, parts of humans, animals, and inanimate objects as substantially smaller than in reality. Another name for the condition is Lilliput sight or Lilliputian hallucinations.
The illustrations are from “Moon People of Jupiter” by Isaac R. Nathanson in “Amazing Stories Quarterly,” Vol. 4, No. 2 (Spring, 1931).
“Commander Lowell looked on, a happy smile on his face. ‘All right, everybody,’ he finally commanded. ‘We still have lots of work before us. Many of our repairs are not of a permanent nature. We must land somewhere.’. . . The choice narrowed down between Io and Europa as the only bodies on which a safe landing might possibly be made. . . further careful observations revealing signs of an atmosphere, we decided to attempt a landing on Io. . .
“We were now only a little more than 300,000 miles from Jupiter, and only about 50,000 miles from Io, which was approaching us fast; and we steered straight for that satellite, with all hands standing by.
“As we neared its surface, the engines braked hard. The final signal to land was given. We circled the surface of Io at a high rate of speed, but could not control the ship as formerly. Diving down at an oblique angle to within a few miles, we shot along, still going at about five miles a minute; barely cleared some extraordinarily high mountains, and continued at a slower pace toward open country; the ship the while settling rapidly and partially out of control.
“Skimming the surface, we finally made a long, scraping landing, with considerable force, sufficiently hard to throw us all to the floor, but with no serious injury.
“As we struck the surface, and above the grating and grinding of the ship, a loud commotion arose outside and cries rang out on all sides of us, the sounds carrying through the steel walls of our space-ship. On looking out, I was dumbfounded to see that we had landed right in the midst of some great city; and in our imperfect descent, had created great destruction, wrecking many of the buildings, and killing and maiming numbers of the inhabitants. . .” [Quoting the story]
So my friend Brian had an idea for a fun photo he wanted me to create for him. He wanted to be Gulliver of Gulliver's Travels, tied down on a beach by the Lilliputians... all of whom would be played by his wife Lynnea.
I originally wanted to shoot this on a beach (as per the original idea) but the lake in Chelmsford, MA that we were relaxing at didn't afford a beach with a suitable layout for the shot. So we instead did it on a nearby grassy knoll.
First we "bound" Bri by encircling him over and over with a thin twine. Then I helped him lie on a slightly raised knoll and lay flat before him so that the camera would be angled up to make him appear bigger. I said "imagine there is a six inch high person standing on your chest lecturing you" so that he would look in that direction. That was the first shot.
The subsequent shots all featured Lynnea using the thickest rope I could find on short notice as a prop. Bri would stand out of shot (typically on a footstool) and hold the rope while Lynnea would pull on it this way and that.
After recording about a dozen different poses, we did the lecturing pose, and then I shot the "sitting on the toes pose" when Lynnea was just relaxing on the stool. I thought the pose would come in useful and as you can see it did.
Shots were all done by daylight, no flash. EOS5D with the EF24-70mm 2.8L lens, which is the widest I own.
Then, after some cleanup in lightroom, came the hours of photoshop work to carefully clip Lynnea out of her surroundings in various pictures and edit her into this one at reduced scale. I thought the grass, which to a Lilliputian should be knee high at least, would be a problem, but it turned out that just using a gradient transparency on the ends of her legs (or whatever was closest to the ground) worked fine unless you look really close.
Things I would do differently if I shot this again:
(1) I really need to get a chromakey backdrop for shoots like this. I shot Lynnea against a grassy green background, but that was not uniform enough to make clipping her out simple... it was a LOT of work.
(2) Lynnea had been swimming prior to the shoot, and threw on a pair of pants for her poses. But in each subsequent pose water slowly seeped through the material and created spots in various places. I was mostly able to edit those out, but it was additional work.
(3) Get thicker rope, or simply edit the rope out altogether and use the twine. The size difference between the reduced rope and the twine bugs me a little.
(4) A beach location with a nice uniform ocean background would have made for easier editing.
(5) I would have backed off a little more when shooting Bri. At 4x6, 6x9, or 8x12 the photo is fine, but at 8x10 the ends get clipped. That was just dumb on my part... to produce an unclipped 8x10 print some edits would be required.
All that said, I am really pleased with how the resulting image came out. And more importantly, my beloved friends Brian and Lynnea are happy with it, which is really what this was all about. Doing something nice for people I hold very dear in my heart.
Love you guys, glad you liked the photo!
A bit of a stretch today, but for...
Daily Dog Challenge "670. Life Imitates Art"
… I was inspired by drawings/paintings of Gulliver tied down by the Lilliputians in Gulliver's Travels, using those ever busy LEGOs (who are...
Our Daily Challenge - August 31, 2013 - "Representations of people"
…) as my Lilliputians.
Yes, Henry is VERY patient.
Stop on by Zachary and Henry's blog: bzdogs.com
Doppelbelichtung/ double exposure www.uetliberg.ch
(for further pictures or information please go to the end of page and by clicking on the link you will get them as soon as possible!)
The Vienna Prater
Lieblingsnahausflugsziel (favourite nearby excursion destination) in Biedermeier Vienna is the Prater. The season opens with the race of "noble runners" on May 1. The usually before the carriages of the nobility running lackeys on that day line up under high bets to public competition. The main avenue along to the pleasure house (Lusthaus) and back drag the racers to the cheers of the audience. Trumpet-blasts, flags and cash prizes await the winner. Military music they escorts into the first Prater coffee house where them a splendid breakfast is arranged, while the ones having fallen by the wayside are collected. This race is banned in 1848 because of inhumanity. In the afternoon swayed - as from now on every Sunday - people and cars down the hunter line (Jägerzeile - since 1862 Prater Road). The state-carriages of the Court, the nobility and the wealthy bourgeoisie to evening make in a continuous parade the main street with its lofty Prater coffee houses to a "Nobel Prater".
"Bey the public-houses (Inns)" in the Prater.
Coloured engraving, T. Mollo. 1825
The people has fun in the Wurstelprater (Hanswurst, clowning on Vienna stages) in a tangle of guest houses and Prater lodges, puppet booths, calendula games and swings between the Prater harpists, salami sellers and spectacle. Here is the stronghold of the showmen with their monkey theater and flea circus, jugglers and fire-eaters, giants and dwarfs, menageries, panoramas, wax figures and ghostly apparitions. On the "Zirkuswiese" in Circus gymnasticus the popular equestrian companies by Christoph de Bach (? 1808) and Alexander Guerra perform. One camps in the Prater floodplains and waits until at nightfall on the "fireworks meadow" Stuwer (? 1802) lets shoot up his sparkling rockets.
City Chronicle Vienna
Dr. Christian Brandstätter, Dr. Günter Treffer
2000 years in data, documents and images
From the beginnings to the present
Courtesy
Christian Brandstätter Verlag mbH
The publishing service for museums, businesses and public authorities
www.brandstaetter - verlag.at
The historically grown amusement park looks back to a rich history. First documentary references of that area, which originally had jungle-like character, go back to the 12th Century. The former imperial hunting ground in 1766 under the "popular" Austrian Emperor Joseph II was made accessible to the public. Soon after, a number of small entertainment venues (carousels, shooting galleries, food stalls, ...) arrived, entertaining the people and also providing for the physical well-being.
The inhabitants of Vienna enjoyed themselves by riding artfully designed Hutschpferden (swing horses) and by swinging into lofty altitudes. In the process you could with long poles jab into rings. Hence the name carousel. It had been created recreational devices for the general public.
The fireworks of Stuwer and the balloon ascents end of the 18th Century dragged the Viennese from the city to the fairgrounds in the Prater. Following the trend of the times were national artistic institutions (theaters, waxworks museum and people museum - "Präuschers panopticon" with 2,000 objects, Vivarium, Planetarium, ... ) built and connected to the hustle and bustle. Sensations in the old Prater were the Abnormitätenshows (abnormalities) in which Lilliputian, Hirsute men, Siamese twins including "Freaks" (monster, abnormal shape) were to see. The thick Prater-Mitzi or the Russian-born trunk man Kobelkoff, as well as the ghostly magic theater of Kratky Baschik enriched the morphology of the bizarre Prater landscape. With the development of technology and electricity, the entertainment in the Prater was becoming more and more diverse.
In the emerging age of railways, the in Trieste born Basilio Calafati founded the first railway carousel in 1844. In this hut in 1854 the figure of the "big Chinesers" was set up as a mast. Many showmen and technicians from all over the Austrian-Hungarian monarchy, but also from the rest of Europe in the illustrious Viennese amusement park their ideas put into practice.
The Englishman Basset succeeded in 1897 to set up the still existing Ferris wheel in the Prater. This vehicle with a diameter of 61 meters originally had 30 cars. When the first "living pictures", the Cinematography, were born, 1896 the first cinema was opened in the Prater. Electricity in 1898 the first electrically operated Grottenbahn brought in the Prater. This fairytale train was also the first in Europe. On the occasion of the popularity of the airplane in 1911 the first "Aeroplan Carousel" was established. Followed in 1926 the first "Autodrome" and in 1933 the first "ghost train". In 1928, the still running "Liliputbahn", a reduced form of the great steam locomotives was placed in the Prater. 1935 brought a Prater entrepreneur from Chicago the rapid "flight path" in the Prater, a system not running on rails.
The Prater always changed its face, modernized and adapted itself to the trend of times. One attraction always replaced the other. Only few historical venues have been able to transport themselves into the present. Tradition-conscious companies such as the "Pony Carousel" from the year 1887 or the nostalgic slide tower "switchback (Tobogan)" from the 50s fight against the taste of the times and the needs of the visitors. In popularity but the historic Ferris wheel, the "Miniature Train" and of course the restaurant "Swiss House" (specialty: stilt and beer) will never lose.
Rickety ghost trains and sparkling grotto railways, although dusty, will not allow to be pushed out of the Prater. Between the historical venues flash the new, modern, hydraulically operated high-tech fairground rides. 1909-1944 the enormous dimensioned "roller coaster" always was a magnet for the Prater trippers. A reduced form is the after the war built "Neue Wiener roller coaster". Was swallowed entirely by history the magnificent "Venice in Vienna". On the site of the present Emperor's Meadow (Kaiserwiese) was located around the turn of the century the illusory world of the artificially recreated lagoon city. The initiator Gabor Steiner created in 1895 a world in the Prater, in which not only the high society, but also the Bohemian maids and the soldiers of the Austro-Hungarian multinational state amused themselves. In the era of the fin de siècle (= the decadent over-refinement of feeling and taste at the end of the 19th century), in which the Prater flourished, performed the most famous conductors of the time (Strauss, Lanner, Ziehrer).
Characteristic for the Wiener Prater today is also the adjacent green, left in its naturale state Praterau (Prater floodplain). An engaging recreational landscape with trees, meadows and ponds. Through this welcoming and quiet part of the Prater leads the 4.5 km long main avenue, which is lined with old chestnut trees. At the time, colorful flower parades were held there where, inter alia, even the Emperor and Empress and Mayor Lueger showed up. Along the main avenue were situated the now defunct, three famous coffee houses. The1783 built by Canevale "pleasure house" (Lusthaus) at the end of the main avenue, however, is still to be found. Past is the "Vaudeville Light", where for a long time popular movie stars and artists of yesteryear (Aslan, Jeritza, Moser, ... ) entertained the Prater audience.
To the Prater belongs also the fairgrounds. There in 1873 took place the world exhibition. The Rotunda, those proud crowned by a cupola central building in 1937 became a prey to the flames. What in the course of time of historic buildings of facilities in the Prater not had outlived itself, was destroyed in World War II. The most severely battered amusement park but was rebuilt. It established itself again as an integral part of the cultural entertainment of the city of Vienna. The force measuring machine "Watschenmann" is part of the local history of this unique institution, but also the cheeky and defiant "Prater Puppet" characterizes the color of the Vienna Prater.
(for further pictures or information please go to the end of page and by clicking on the link you will get them as soon as possible!)
The Vienna Prater
Lieblingsnahausflugsziel (favourite nearby excursion destination) in Biedermeier Vienna is the Prater. The season opens with the race of "noble runners" on May 1. The usually before the carriages of the nobility running lackeys on that day line up under high bets to public competition. The main avenue along to the pleasure house (Lusthaus) and back drag the racers to the cheers of the audience. Trumpet-blasts, flags and cash prizes await the winner. Military music they escorts into the first Prater coffee house where them a splendid breakfast is arranged, while the ones having fallen by the wayside are collected. This race is banned in 1848 because of inhumanity. In the afternoon swayed - as from now on every Sunday - people and cars down the hunter line (Jägerzeile - since 1862 Prater Road). The state-carriages of the Court, the nobility and the wealthy bourgeoisie to evening make in a continuous parade the main street with its lofty Prater coffee houses to a "Nobel Prater".
"Bey the public-houses (Inns)" in the Prater.
Coloured engraving, T. Mollo. 1825
The people has fun in the Wurstelprater (Hanswurst, clowning on Vienna stages) in a tangle of guest houses and Prater lodges, puppet booths, calendula games and swings between the Prater harpists, salami sellers and spectacle. Here is the stronghold of the showmen with their monkey theater and flea circus, jugglers and fire-eaters, giants and dwarfs, menageries, panoramas, wax figures and ghostly apparitions. On the "Zirkuswiese" in Circus gymnasticus the popular equestrian companies by Christoph de Bach (? 1808) and Alexander Guerra perform. One camps in the Prater floodplains and waits until at nightfall on the "fireworks meadow" Stuwer (? 1802) lets shoot up his sparkling rockets.
City Chronicle Vienna
Dr. Christian Brandstätter, Dr. Günter Treffer
2000 years in data, documents and images
From the beginnings to the present
Courtesy
Christian Brandstätter Verlag mbH
The publishing service for museums, businesses and public authorities
www.brandstaetter - verlag.at
The historically grown amusement park looks back to a rich history. First documentary references of that area, which originally had jungle-like character, go back to the 12th Century. The former imperial hunting ground in 1766 under the "popular" Austrian Emperor Joseph II was made accessible to the public. Soon after, a number of small entertainment venues (carousels, shooting galleries, food stalls, ...) arrived, entertaining the people and also providing for the physical well-being.
The inhabitants of Vienna enjoyed themselves by riding artfully designed Hutschpferden (swing horses) and by swinging into lofty altitudes. In the process you could with long poles jab into rings. Hence the name carousel. It had been created recreational devices for the general public.
The fireworks of Stuwer and the balloon ascents end of the 18th Century dragged the Viennese from the city to the fairgrounds in the Prater. Following the trend of the times were national artistic institutions (theaters, waxworks museum and people museum - "Präuschers panopticon" with 2,000 objects, Vivarium, Planetarium, ... ) built and connected to the hustle and bustle. Sensations in the old Prater were the Abnormitätenshows (abnormalities) in which Lilliputian, Hirsute men, Siamese twins including "Freaks" (monster, abnormal shape) were to see. The thick Prater-Mitzi or the Russian-born trunk man Kobelkoff, as well as the ghostly magic theater of Kratky Baschik enriched the morphology of the bizarre Prater landscape. With the development of technology and electricity, the entertainment in the Prater was becoming more and more diverse.
In the emerging age of railways, the in Trieste born Basilio Calafati founded the first railway carousel in 1844. In this hut in 1854 the figure of the "big Chinesers" was set up as a mast. Many showmen and technicians from all over the Austrian-Hungarian monarchy, but also from the rest of Europe in the illustrious Viennese amusement park their ideas put into practice.
The Englishman Basset succeeded in 1897 to set up the still existing Ferris wheel in the Prater. This vehicle with a diameter of 61 meters originally had 30 cars. When the first "living pictures", the Cinematography, were born, 1896 the first cinema was opened in the Prater. Electricity in 1898 the first electrically operated Grottenbahn brought in the Prater. This fairytale train was also the first in Europe. On the occasion of the popularity of the airplane in 1911 the first "Aeroplan Carousel" was established. Followed in 1926 the first "Autodrome" and in 1933 the first "ghost train". In 1928, the still running "Liliputbahn", a reduced form of the great steam locomotives was placed in the Prater. 1935 brought a Prater entrepreneur from Chicago the rapid "flight path" in the Prater, a system not running on rails.
The Prater always changed its face, modernized and adapted itself to the trend of times. One attraction always replaced the other. Only few historical venues have been able to transport themselves into the present. Tradition-conscious companies such as the "Pony Carousel" from the year 1887 or the nostalgic slide tower "switchback (Tobogan)" from the 50s fight against the taste of the times and the needs of the visitors. In popularity but the historic Ferris wheel, the "Miniature Train" and of course the restaurant "Swiss House" (specialty: stilt and beer) will never lose.
Rickety ghost trains and sparkling grotto railways, although dusty, will not allow to be pushed out of the Prater. Between the historical venues flash the new, modern, hydraulically operated high-tech fairground rides. 1909-1944 the enormous dimensioned "roller coaster" always was a magnet for the Prater trippers. A reduced form is the after the war built "Neue Wiener roller coaster". Was swallowed entirely by history the magnificent "Venice in Vienna". On the site of the present Emperor's Meadow (Kaiserwiese) was located around the turn of the century the illusory world of the artificially recreated lagoon city. The initiator Gabor Steiner created in 1895 a world in the Prater, in which not only the high society, but also the Bohemian maids and the soldiers of the Austro-Hungarian multinational state amused themselves. In the era of the fin de siècle (= the decadent over-refinement of feeling and taste at the end of the 19th century), in which the Prater flourished, performed the most famous conductors of the time (Strauss, Lanner, Ziehrer).
Characteristic for the Wiener Prater today is also the adjacent green, left in its naturale state Praterau (Prater floodplain). An engaging recreational landscape with trees, meadows and ponds. Through this welcoming and quiet part of the Prater leads the 4.5 km long main avenue, which is lined with old chestnut trees. At the time, colorful flower parades were held there where, inter alia, even the Emperor and Empress and Mayor Lueger showed up. Along the main avenue were situated the now defunct, three famous coffee houses. The1783 built by Canevale "pleasure house" (Lusthaus) at the end of the main avenue, however, is still to be found. Past is the "Vaudeville Light", where for a long time popular movie stars and artists of yesteryear (Aslan, Jeritza, Moser, ... ) entertained the Prater audience.
To the Prater belongs also the fairgrounds. There in 1873 took place the world exhibition. The Rotunda, those proud crowned by a cupola central building in 1937 became a prey to the flames. What in the course of time of historic buildings of facilities in the Prater not had outlived itself, was destroyed in World War II. The most severely battered amusement park but was rebuilt. It established itself again as an integral part of the cultural entertainment of the city of Vienna. The force measuring machine "Watschenmann" is part of the local history of this unique institution, but also the cheeky and defiant "Prater Puppet" characterizes the color of the Vienna Prater.
(for further pictures or information please go to the end of page and by clicking on the link you will get them as soon as possible!)
The Vienna Prater
Lieblingsnahausflugsziel (favourite nearby excursion destination) in Biedermeier Vienna is the Prater. The season opens with the race of "noble runners" on May 1. The usually before the carriages of the nobility running lackeys on that day line up under high bets to public competition. The main avenue along to the pleasure house (Lusthaus) and back drag the racers to the cheers of the audience. Trumpet-blasts, flags and cash prizes await the winner. Military music they escorts into the first Prater coffee house where them a splendid breakfast is arranged, while the ones having fallen by the wayside are collected. This race is banned in 1848 because of inhumanity. In the afternoon swayed - as from now on every Sunday - people and cars down the hunter line (Jägerzeile - since 1862 Prater Road). The state-carriages of the Court, the nobility and the wealthy bourgeoisie to evening make in a continuous parade the main street with its lofty Prater coffee houses to a "Nobel Prater".
"Bey the public-houses (Inns)" in the Prater.
Coloured engraving, T. Mollo. 1825
The people has fun in the Wurstelprater (Hanswurst, clowning on Vienna stages) in a tangle of guest houses and Prater lodges, puppet booths, calendula games and swings between the Prater harpists, salami sellers and spectacle. Here is the stronghold of the showmen with their monkey theater and flea circus, jugglers and fire-eaters, giants and dwarfs, menageries, panoramas, wax figures and ghostly apparitions. On the "Zirkuswiese" in Circus gymnasticus the popular equestrian companies by Christoph de Bach (? 1808) and Alexander Guerra perform. One camps in the Prater floodplains and waits until at nightfall on the "fireworks meadow" Stuwer (? 1802) lets shoot up his sparkling rockets.
City Chronicle Vienna
Dr. Christian Brandstätter, Dr. Günter Treffer
2000 years in data, documents and images
From the beginnings to the present
Courtesy
Christian Brandstätter Verlag mbH
The publishing service for museums, businesses and public authorities
www.brandstaetter - verlag.at
The historically grown amusement park looks back to a rich history. First documentary references of that area, which originally had jungle-like character, go back to the 12th Century. The former imperial hunting ground in 1766 under the "popular" Austrian Emperor Joseph II was made accessible to the public. Soon after, a number of small entertainment venues (carousels, shooting galleries, food stalls, ...) arrived, entertaining the people and also providing for the physical well-being.
The inhabitants of Vienna enjoyed themselves by riding artfully designed Hutschpferden (swing horses) and by swinging into lofty altitudes. In the process you could with long poles jab into rings. Hence the name carousel. It had been created recreational devices for the general public.
The fireworks of Stuwer and the balloon ascents end of the 18th Century dragged the Viennese from the city to the fairgrounds in the Prater. Following the trend of the times were national artistic institutions (theaters, waxworks museum and people museum - "Präuschers panopticon" with 2,000 objects, Vivarium, Planetarium, ... ) built and connected to the hustle and bustle. Sensations in the old Prater were the Abnormitätenshows (abnormalities) in which Lilliputian, Hirsute men, Siamese twins including "Freaks" (monster, abnormal shape) were to see. The thick Prater-Mitzi or the Russian-born trunk man Kobelkoff, as well as the ghostly magic theater of Kratky Baschik enriched the morphology of the bizarre Prater landscape. With the development of technology and electricity, the entertainment in the Prater was becoming more and more diverse.
In the emerging age of railways, the in Trieste born Basilio Calafati founded the first railway carousel in 1844. In this hut in 1854 the figure of the "big Chinesers" was set up as a mast. Many showmen and technicians from all over the Austrian-Hungarian monarchy, but also from the rest of Europe in the illustrious Viennese amusement park their ideas put into practice.
The Englishman Basset succeeded in 1897 to set up the still existing Ferris wheel in the Prater. This vehicle with a diameter of 61 meters originally had 30 cars. When the first "living pictures", the Cinematography, were born, 1896 the first cinema was opened in the Prater. Electricity in 1898 the first electrically operated Grottenbahn brought in the Prater. This fairytale train was also the first in Europe. On the occasion of the popularity of the airplane in 1911 the first "Aeroplan Carousel" was established. Followed in 1926 the first "Autodrome" and in 1933 the first "ghost train". In 1928, the still running "Liliputbahn", a reduced form of the great steam locomotives was placed in the Prater. 1935 brought a Prater entrepreneur from Chicago the rapid "flight path" in the Prater, a system not running on rails.
The Prater always changed its face, modernized and adapted itself to the trend of times. One attraction always replaced the other. Only few historical venues have been able to transport themselves into the present. Tradition-conscious companies such as the "Pony Carousel" from the year 1887 or the nostalgic slide tower "switchback (Tobogan)" from the 50s fight against the taste of the times and the needs of the visitors. In popularity but the historic Ferris wheel, the "Miniature Train" and of course the restaurant "Swiss House" (specialty: stilt and beer) will never lose.
Rickety ghost trains and sparkling grotto railways, although dusty, will not allow to be pushed out of the Prater. Between the historical venues flash the new, modern, hydraulically operated high-tech fairground rides. 1909-1944 the enormous dimensioned "roller coaster" always was a magnet for the Prater trippers. A reduced form is the after the war built "Neue Wiener roller coaster". Was swallowed entirely by history the magnificent "Venice in Vienna". On the site of the present Emperor's Meadow (Kaiserwiese) was located around the turn of the century the illusory world of the artificially recreated lagoon city. The initiator Gabor Steiner created in 1895 a world in the Prater, in which not only the high society, but also the Bohemian maids and the soldiers of the Austro-Hungarian multinational state amused themselves. In the era of the fin de siècle (= the decadent over-refinement of feeling and taste at the end of the 19th century), in which the Prater flourished, performed the most famous conductors of the time (Strauss, Lanner, Ziehrer).
Characteristic for the Wiener Prater today is also the adjacent green, left in its naturale state Praterau (Prater floodplain). An engaging recreational landscape with trees, meadows and ponds. Through this welcoming and quiet part of the Prater leads the 4.5 km long main avenue, which is lined with old chestnut trees. At the time, colorful flower parades were held there where, inter alia, even the Emperor and Empress and Mayor Lueger showed up. Along the main avenue were situated the now defunct, three famous coffee houses. The1783 built by Canevale "pleasure house" (Lusthaus) at the end of the main avenue, however, is still to be found. Past is the "Vaudeville Light", where for a long time popular movie stars and artists of yesteryear (Aslan, Jeritza, Moser, ... ) entertained the Prater audience.
To the Prater belongs also the fairgrounds. There in 1873 took place the world exhibition. The Rotunda, those proud crowned by a cupola central building in 1937 became a prey to the flames. What in the course of time of historic buildings of facilities in the Prater not had outlived itself, was destroyed in World War II. The most severely battered amusement park but was rebuilt. It established itself again as an integral part of the cultural entertainment of the city of Vienna. The force measuring machine "Watschenmann" is part of the local history of this unique institution, but also the cheeky and defiant "Prater Puppet" characterizes the color of the Vienna Prater.
This scene in Honey, I Shrunk the Kids initially put me in mind of Jonathan Swift's commentary in A Modest Proposal:
”I have been assured by a very knowing American of my acquaintance in London, that a young healthy child well nursed is at a year old a most delicious, nourishing, and wholesome food, whether stewed, roasted, baked, or boiled ...”
(Plainly, the older ones are only palatable when shrunken to 1/100th of their original size and served with Cheerios and strawberries.)
Honey, I Shrunk the Kids also has much in common with Swift's other notable work, Gulliver's Travels, in so far as the main characters must grapple with perpective-shifting proportion. They are reduced to Lilliputian stature and must traverse a world where an ant bears a terrifying aspect and the danger of being devoured in a spoonful of Cheerios becomes frighteningly real.
Two Lilliputians sit on the Giant Grandmother's knee during the Memories of August 1914 event in Liverpool . Note her trusty pipe in her left hand .
Batu Caves, Malaysia
Standing at 42.7 m (140 ft) high, the world's tallest statue of Lord Murugan, a Hindu deity.
"Flowers construct the most charming geometries: circles like the sun, ovals, cones, curlicues and a variety of triangular eccentricities, which when viewed with the eye of a magnifying glass seem a Lilliputian frieze of psychedelic silhouettes." - Duane Michals, The Vanishing Act
Happy Sliders Sunday everyone! The kaleidoscope image is a Dahlia flower I took in a nearby park this summer. The photo was processed using Corel's AfterShot and PaintShop Pro programs. The original photo can be found here for comparison: www.flickr.com/photos/144303013@N02/30579687684/in/datepo...
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