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The inside of a c1929 Monotype brochure of typefaces and matrices - showing some great examples of the Monotype range from the then recently introduced Gill Sans family as well as the 'Ashley Crawford', very of its time and drawn by Ashley Havinden, of the Crawford advertising agency and originally developed for a Chrysler car advert.
« Créature de l'ombre toujours tu chériras les ténèbres, tes vestiges macabres d'une autres époque, d'un autre temps, d'une génération moins meurtrie par les vices, par la luxure et par la lâcheté, une vision lugubre ou se mêle la peur et l'angoisse de toute sa personne; l'immensité profonde de son être est telle qu'on n'atteindrait jamais son fond, bercé par une douce mélodie funeste, un requiem sinistre transcendant vers les cieux les plus infâmes que nul humain ne pourra le comprendre...
Silence de sa nature, roi de son royaume. »
Looking at the Super Caster Composition Head, used for casting the smaller composition size matrices with the comp moulds.
...When you try your best
But you don't succeed,
When you get what you want
But not what you need,
When you feel so tired
But you can't sleep,
Stuck in reverse.
And the tears come streaming down your face,
When you lose something you can't replace,
When you love someone but it goes to waste,
Could it be worse?
Lights will guide you home
And ignite your bones.
And I will try to fix you.
High up above or down below
When you're too in love
To let it go.
If you never try you'll never know
Just what you're worth.
Lights will guide you home
And ignite your bones.
And I will try to fix you.
Tears stream down your face
When you lose something you cannot replace.
Tears stream down your face
And I...
Tears stream down your face.
I promise you I will learn from my mistakes.
Tears stream down your face
And I...
Lights will guide you home
And ignite your bones.
And I will try to fix you...
St Mary and St Walstan, Bawburgh, Norfolk
There are islands off the coast of Norwich. Here we are in typical rural Norfolk, a quiet village set in a rolling landscape of farms and sprawling fields punctuated by woods and copses, the sound of traffic on the busy A11 and A47 not so very far off. And yet, we are very close to Norwich, but floating free from it thanks, perhaps to local authority planning.
Norfolk and Suffolk have their similarities of course. Norfolk is a lot bigger, and emptier, especially towards the west. But the biggest difference between the two counties is their relationship with their county towns. Ipswich, above all else, is Suffolk distilled and amplified, the working and historic county translated into an urban setting. Industrial Ipswich was the fountainhead of the county's agricultural production, the docks an interface between Suffolk and the world. To know brash and breezy Ipswich is to know what Suffolk was and is.
But Norwich is different to Ipswich, and it is different to the rest of Norfolk. As you enter the city you pass hoardings which proudly proclaim, in George Borrow's words, that you are entering Norwich, a Fine City! It is like crossing a forcefield. Norwich is a fine city, and it is also a small city, but as Norwich is so far from any other place of near-equivalent size - Ipswich is 40 miles away, Cambridge nearly 60 - it is completely out of scale to its population. If Norwich were dropped into South or West Yorkshire, or Greater Manchester, it would disappear. Here, it assumes the importance of a Leeds or a Sheffield, cities four times as big.
At times, Norwich can feel like a great European city, living a technicolour life in the soft, pastel setting of its rural hinterland. Its industrial past, in shoes, textiles and chocolate, was not grounded in the local countryside in the same way as the industry of Ipswich. In the 1960s the University of East Anglia came, and Norwich's nightlife is lived by people who have, in fair proportion, not grown up in Norfolk.
To set off from Norwich is to enter a countryside that feels different. It is like leaving a shore for the open sea, a sea with islands. The soft fields of Norfolk wash right up against the edge of the city, insulating villages that would have been absorbed if she had grown any larger. Just a mile or so from the edge is Bawburgh. Every island has a story, and Bawburgh's is the story of St Walstan.
St Walstan was a Prince, the son of Benedict and Blid of the royal house of East Anglia. Blid would herself become a Saint. Walstan was born in Bawburgh, or perhaps at the royal vill of Blythburgh in Suffolk. As a teenager, he followed Christ's instruction to renounce all he possessed and become a disciple. Giving up his claims to succession, he did not delay to reach northern parts, as the Nova Legenda Anglie tells us, and humbled himself to become a farmworker in central Norfolk.
After a series of adventures which revealed his saintly character, one of which involved him being rewarded with a pair of young oxen, he received news in about 1015 from an Angel. He would die and be received into heaven in three days time. With typical East Anglian stoicism, he nodded his head and left his scythe to go and find a Priest to receive the Last Rites. Unfortunately, the Priest had no water, but, magically, a spring welled up where they stood.
This was in Taverham, and when Walstan died the two oxen carried his body on a cart to be buried at Bawburgh. On the way, they stopped to rest in Costessey, where another spring sprang up. At last, they came to Bawburgh. They stopped outside the church, and a third spring appeared, the biggest. And then, the Nova Legenda Anglie tells us, Angells opened the walls in hast, and the two oxen with their burden walked into the church. Walstan's body was placed in the church, becoming a site of pilgrimage for people who sought miracles and healing. Eleven miracles have been handed down to us.
The St Walstan legend is interesting for all sorts of reasons. Compared with the West Country, survivals of local Saints' cults are very rare in East Anglia. This part of Norfolk was strongly recusant during the penal years, and it is likely that local people kept stories of Walstan in their tradition even after the practice of devotion to him became impossible. When the penal years ended, the new Catholic church at Costessey in 1841 was dedicated to Our Lady and St Walstan.
Although there is no evidence that the Saint was part of the original dedication of Bawburgh church, the foundations of which certainly predate the St Walstan legend, it bears the name today, and that is because the relics of St Walstan continued to be important right up to the Reformation. Bequests made to the shrine are recorded in late Medieval wills, and these in turn were noted by 18th century antiquarians who restored dedications to parish churches, not always very accurately, after the long puritan night.
During the late 14th century, when acts of pilgrimage were at their most significant, thousands of people must have made their way every year. On the north side of the church was the chapel that contained his bones. From this, a sunken pathway led down the steep hill to the well on the site of the third spring. Incredibly, this pathway was destroyed as recently as 1999, to be replaced by a sterile driveway that circumnavigates the farm to the north of the church.
The date of the Walstan legend is interesting, right on the eve of the Norman settlement of England. It is almost exactly contemporary with that much more famous legend, the founding of the shrine at Walsingham by Lady Richeldis. Could it be that these cults endured partly as a form of resistance by the Saxons, popular local legends in the face of Norman cultural hegemony? Or was it that the Normans themselves who ensured that these popular pieties continued, nurturing them in the place of surviving neo-pagan practices?
We can never know, but what is certain is that St Walstan's legend recommended him as a Saint of the ordinary people, a worker Saint if you will, which may explain his almost complete disappearance from popular English story after the Reformation.
Two excellent books by local author Carol Twinch have helped popularise this very East Anglian figure. And, interestingly, in the latter half of the 20th century his cult has been explored increasingly by the Anglicans, at a time when devotion to Saints seems to be going out of fashion in that Communion. There are popular pilgrimages here every year still under the auspices of the Anglican Diocese of Norwich. Perhaps it is the simplicity of Walstan's life, and the healing nature of his miracles, that lend themselves particularly to the quiet nature of modern Anglican spirituality.
You approach the church from the village street and your first sight of it is from the south-east, looking down into the churchyard. What a beautiful church it is! It must be among the loveliest of all East Anglia's 160-odd round-towered churches. The idiosyncratic stepped gables, the red roof of the nave and a little flame-like pinnacle on the cap of the tower are memorable, particularly in this dramatic setting on the steeply-pitched side of the ridge. The graveyard falls away dramatically on the northern side, and from there St Mary and St Walstan appears fortress-like.
You step into a wide, simple interior, white walls and bare wood setting into relief sudden flashes of colour. How much of this church was here when Walstan's body was brought here? Probably, none of it. The archway to the tower is 13th century, and the windows suggest that the rest of the building is early 14th century. Quite probably, the whole church was rebuilt as a result of the prosperity brought about by the shrine of St Walstan. On the north side of the nave there is a large archway, a filled-in opening. It is tempting to think this is the wall that the Angells had opened in hast, but it was probably the entrance to the later chapel of St Walstan, since this wall post-dates the St Walstan legend by 300 years.
The remains of the 15th century roodscreen are made up rather dramatically into an early 20th century screen with bubbly cusping and a canopy of honour above, all of it unpainted. It is difficult to know how they resisted painting it, but it suits the simplicity of the building just as it is. And there are plenty of survivals here of Bawburgh's colourful Catholic past. Most interesting of all, the collection of brasses. Bawburgh has two shroud brasses and a chalice brass. The biggest of these is above a memorial inscription to Thomas Tyard who died in 1505. It is 60cm long, and he lies with the shroud partly open, his hands crossed in an act of piety. Beneath it is the inscription plate, but it seems likely to me that the inscription and the shrouded figure do not belong together, given the differences in the quality of the two. As if to confirm this, a surviving brass rivet in the stone above the figure's head suggests the loss of another brass, presumably Tyard's.
The other shroud brass is unidentified, and quite different. It depicts a smaller figure sewn tightly into a shroud, with just the face peeking out. It is so like the figures mounted on the wall at Yoxford in Suffolk that I assume it is a figure adrift from a larger collection, perhaps representing one of the dead children of a larger figure.
Set in between them is a late 17th century brass inscription and shield to a minister of this church, Philip Tenison. It is quite fitting that it should be here, because Tenison was an antiquarian at a time when such things were looked on with grave suspicion, and Carol Twinch notes that he recorded information about the Walstan shrine here that might otherwise have been lost to us. Deprived of his living by the Puritans, he later became an Archdeacon after the Restoration, in which case the date of 1660 here is obviously wrong.
I think that all five of these brasses were reset here from elsewhere in the church by the Victorians. The chalice brass may well be in its original position. It is to the Priest William Rechers, and is right on the eve of the Reformation, 1531, so he would have been one of the last Priests to be commemorated in this fashion. As at Little Walsingham, two hands are shown holding the base of the chalice, elevating it.
In the nave, there are three further pre-Reformation brass inscriptions, at least two of which are on their original matrices, and one of which retains one of the two figures commemorated, Robert Grote, who died in 1500. His wife is missing, as is the Priest Edward Kightling, whose empty matrix shows that he was wearing priestly vestments.
This is a wonderful collection of late medieval brasses, and is extraordinary that so much has survived. Only a couple have been stolen, but it is clear an attempt has been made on the life of the smaller shroud brass. It has been broken in half, and the lower part protrudes upwards. These chancel brasses have also suffered very badly from being covered by carpets, the underlay breaking up and soaking with moisture to scour the brass. On my most recent visit, the churchwarden agreed that to would be better to remove the carpet altogether, and I do hope that this will happen.
But the most vivid memory of the past at Bawburgh is the superb collection of late medieval glass in the nave. Best of all is the wonderful St Barbara, as good as anything else in Norfolk. She stands proudly, holding her church. Across the nave is a lovely fragment of an Annunciation scene. Mary stands in front of a pot of lilies, and a scroll declares Ecce Ancilla Domini Fiat ('Behold the Handmaid of the Lord, Let it be so'). A crowned female head nearby is probably from a Coronation of the Blessed Virgin.
There are floating angels, perhaps censing or collecting the precious blood at the crucifixion, and a king who may be Christ from the same Coronation scene. There is larger, crowned, bearded king, perhaps God the Father, some fragments of St Catherine and perhaps St Gregory, and a lay figure in late medieval dress who might just be a pilgrim to the Shrine of St Walstan. Perhaps most pleasing, because it is so complete, is a set of roundels featuring the words of the Nunc Dimmitis, Simeon's prayer on seeing the infant Christ for the first time. It is rather moving to find them in the same window as the Annunciation, which features words which would be familiar to pilgrims from both the Ave Maria and the Magnificat. It is easy to imagine them sitting telling their beads at a journey's end, contemplating this glass.
At the west end of the church is a small patch of wall painting which defies easy interpretation. It is obviously at least three separate subjects, the most recent being part of an Elizabethan text, below that apparently two figures embracing, the lowest a roundel topped by indecipherable text. It is likely that there is part of a Seven Works of Mercy sequence, which was often placed on the western wall of a smaller church like this.
There is much else besides. The people here were obviously very pleased at the 1660 Restoration, and immediately erected a new set of royal arms to Charles II. You can't help thinking of Philip Tenison, and how it might just be his influence that the people were pleased to see the back of puritanism. One old bench end with an inscription is marooned on the wall, curiously in the shape and location of a holy water stoup (is it covering it?) and there's a nice European roundel in the chancel, which I take to be from a series of Stations of the Cross. Otherwise all is Victorian, or the influence of Victorians. And then you spot the 17th century poorbox fashioned like a newel post, still secured in the east end of the nave. It is from the protestant days of this church, but it is still a reminder of charity, and the offerings of generations of pilgrims that made this one of Norfolk's most significant shrines, and still a beautiful and interesting church today.
El calor era impresionante......la imagen increible.
Un hombre enfrentado y dominando al metal fundido, casi como en una lucha de titanes
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9 years ... (!) ... I had to wait nine years to relive the excitement of reviewing this imaginative very particular Sicilian popular feast of Fiumedinisi town (Messina): the Sicilian town celebrates it in honor of Her patron saint Virgin Mary Annunciated; Fiumedinisi celebrated it last time in 2007, fortunately I was there and I realized a small report I posted on Flickr. This is a report about the feast of August 14, 2016: it takes place in two stages along an almost straight path that joins two churches, road called precisely '' the road of float" (the same path is achieved by kneeling worshipers during the mystical procession called "of kneelings" or even understood as "travels", that this year, unlike the other editions, was made just the previous evening of this long-awaited edition, also this procession "of kneeling" I described here on Flickr). Initially the Float Feast was celebrated in Fiumedinisi on March 25, when there is the ricorrence of the religious feast of the Annunciation of the Lord, only towards the end of the nineteenth century the feast was moved to August to allow so many emigrants to took part to it. The living float of Fiumedinisi is a heavy votive machine built in wood and iron that is carried on the shoulders of about 150 men (Its curb weight is around 2.8 tons, 12 meters long and 8 meters high), three children take place on it, they personify the Eternal Father, the Archangel Gabriel and the Blessed Virgin Mary, in addition to the archpriest of Fiumedinisi, the bishop of Messina, and other devotees also they have the role of monitoring-reassure very young children who play the role of Angels. The feast of the Annunciation of the Virgin Mary, patron saint of Fiumedinisi, founded in the sixteenth century during the Spanish rule, then it consists of a first part with participants don't wear traditional clothes, which takes place starting around 11:00 am, begins from the square in front of the twelfth-century Sanctuary dedicated to the Virgin Mary Annunciated, to arrive in a little square in front of the church of St. Peter; then in the early afternoon, always along the same path, there is a second part with all devotees who wear the traditional dresses. When all have taken their places, three hammer blows kick off at the start, the very big-heavy float is carried on the shoulder of devotees, while people waving handkerchiefs as he passed; the representation finds its maximum intensity, and closes with a song dialect of great beauty and sweetness, in an atmosphere of complete silence, handed down for centuries, in the form of "dialogue" between the Blessed Virgin Mary and the Archangel Gabriel who is announcing to Mary with his sweet song about the mistery of Conception of Son of God, he is kneeling and gives Her the lily, in memory of the purity that Mary will not never lose (iconography that we find in Sacred Representations).
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9 anni…(!)… ho dovuto aspettare ben 9 anni per rivivere l’emozione di rivedere la immaginifica festa popolare e religiosa Siciliana che la cittadina di Fiumedinisi (Messina) celebra in onore della sua patrona Maria Santissima Annunziata: 9 anni infatti sono passati dall’ultima volta che Fiumedinisi celebrò questa sua festa, io c’ero e vi realizzai un piccolo report che postai qui su Flickr. Questo è un report della festa, realizzata quest’anno il 14 Agosto 2016: essa si svolge in due tempi con “una andata ed un ritorno” lungo un percorso quasi rettilineo che unisce due chiese, chiamata appunto “strada ‘a vara” (lo stesso percorso viene realizzato in ginocchio dai fedeli durante quella processione mistica chiamata “degli inginocchiati” od anche intesa come “i viaggi”, che quest’anno, a differenza delle altre edizioni, è stata realizzata proprio la sera precedente di questa tanto attesa edizione, anche questa processione “degli inginocchiati” ho descritto in un passato post qui su Flickr). Inizialmente la Festa della Vara veniva celebrata a Fiumedinisi il 25 marzo, proprio in concomitanza con la ricorrenza religiosa dell'Annunciazione del Signore, soltanto verso al fine del XIX secolo la Festa venne spostata ad agosto per consentire ai tanti emigrati di prendevi parte. La Vara di Fiumedinisi è una pesantissima macchina votiva costruita in legno e ferro che viene portata in spalla da circa 150 uomini (Il suo peso a vuoto si aggira intorno alle 2,8 tonnellate, lunga m 12 e alta m 8), su di essa prendono posto tre bambini tra i 10 e i 14 anni che impersonano il Padre Eterno, l'Arcangelo Gabriele e la Vergine Maria, oltre all'arciprete di Fiumedinisi, al vescovo di Messina, ed altri devoti che hanno anche il compito di sorvegliare-rassicurare i giovanissimi bimbi che rivestono il ruolo di Angioletti. La festività dell’Annunciazione di Maria Vergine, patrona di Fiumedinisi, istituita nel XVI secolo durante la dominazione spagnola, si compone quindi di una “andata” senza che i partecipanti indossano gli abiti tradizionali, partenza che avviene attorno alle ore 11,00, inizia dalla piazza antistante il Santuario del XII secolo dedicato alla Madonna Annunziata, per giungere nel largo posto davanti la chiesa di San Pietro; poi nel primo pomeriggio, sempre lungo lo stesso percorso vi è un “ritorno con tutti i devoti che, questa volta, indossano gli abiti tradizionali, i portatori sono completamente vestiti di bianco e scalzi, mentre Maria, l’Arcangelo Gabriele ed il Padre Eterno vestono i loro caratteristici costumi. Quando tutti hanno preso posto, ecco che tre colpi di martello danno il via alla partenza, l’enorme vara viene portata in spalla alla volta della chiesa Matrice, mentre la gente sventola fazzoletti al suo passaggio; la rappresentazione trova la sua massima intensità, e si chiude, con un canto dialettale di grande suggestione e dolcezza, in un contesto di assoluto silenzio, tramandato da secoli, in forma di “dialogo” tra la Beata Vergine Maria e l’Arcangelo Gabriele, il quale dopo aver annunciato a Maria col suo dolcissimo canto del concepimento del Figlio dell'Altissimo, inginocchiandosi le porge il giglio, in ricordo della purità che Maria non perderà (iconografia che ritroviamo nelle Sacre Rappresentazioni).
L'unité de l'Etat:
François Ier en empereur romain
Fontainebleau, 1540-1547
Francesco Primatice (1504-1570), dessin
Claude Baudouin
(prouvé 1535-1550), entre autres, carton
Jean et Pierre Le Bries (établie 1540-1559), tisserands
Laine, soie, fils d'or et d'argent (Gold- und Silberlahn)
La Galerie du palais de Fontainebleau, près de Paris, 1528-1530 fut équipée par des artistes italiens. Architecture, peinture et sculpture fusionnèrent en une scène pour les spectacles du roi français, qui est aussi thématiquement dans le centre de la décoration. Peu de temps après, l'équipement a été utilisé comme matrice pour une série de tapisseries, un procédé unique dans ce domaine.
Die Einheit des Staates:
König Franz I. als römischer Imperator
Fontainebleau, zwischen 1540 und 1547
Francesco Primaticcio (1504-1570);
Entwurf Claude Badouin
(nachgewiesen 1535-1550) u.a., Karton
Jean und Pierre Le Bries (nachgewiesen 1540-1559), Wirker
Wolle, Seide, Gold- und Silberlahn
Die Galerie des Schlosses Fontainebleau in der Nähe von Paris wurde zwischen 1528 und 1530 von italienischen Künstlern ausgestattet. Architektur, Malerei und Plastik verschmolzen dabei zu einer Bühne für die Auftritte des französischen Königs, der auch thematisch im Zentrum der Dekoration steht. Kurz darauf diente die Ausstattung als Vorlage für eine Serie von Wandbehängen, ein auf diesem Gebiet einzigartiger Vorgang.
Chamber of Art Vienna
The Chamber of Art of Vienna is a collection of the Kunsthistorisches Museum (Museum of Art History) in Vienna. It is the portrayal of the art and curiosities chambers of the late Middle Ages, the Renaissance and the Baroque period and it mainly goes back to the earlier collections of the Habsburgs.
Look into the Vienna Chamber of Art
Marble sculpture of the Giulia Albani degli Abati Olivieri by Camillo Rusconi (Rome, 1719 ) in the Chamber of Art of Vienna
Equipment for perspective drawing of Jost Bürgi (Kassel, 1604) in the Chamber of Art of Vienna
Ivory statuette "Apollo and Daphne" by Jakob Auer (Vienna, 1688/90) in the Chamber of Art of Vienna
Collection History
The Chamber of Art of Vienna grew out of several individual collections, which have been collected by various clients. The following collections are the foundation for today's Chamber of Art:
The Chamber of Art and Curiosities of Ferdinand II of Tyrol (1529-1595). It was originally housed at Schloss Ambras near Innsbruck. From this stems the larger part of the surviving pieces from older collections of Emperors Frederick III, Maximilian I and Ferdinand I.
The Kunstkammer of Rudolf II (1552-1612), which was compiled in Prague. Many of the treasures of Rudolph went lost in the Thirty Years War in the sack of the Prague Castle, but this were enriched from the previously to Vienna transported collections with works of the goldsmithing and gem carving art of the time around 1600 as well as to bronzes.
In the 17th century the collections from the Kunstkammer of Archduke Leopold Wilhelm (1614-1662) have been added. He is considered as one of the fathers of today in the Cultural History Museum housed paintings gallery, but also acquired Renaissance bronzes mostly of Italian origin and small sculptures made of stone and wood.
Into the Treasury Chamber in the Swiss Wing of the Vienna Hofburg in the 17th century also came at that time popular works of semi-precious stones, fine works of ivory, rhinoceros horn carvings and miniature-like wax models.
The collection at Ambras Castle in 1806 in front of Napoleon's troops was brought to Vienna in safety, where it initially in the Lower Belvedere Palace kept its independence. Only the under the reign of Emperor Franz Joseph I from 1875 tackled major reform of the imperial collections finally united all the Treasure Chamber collections in the 1891 opened Kunsthistorisches Museum and left only the objects with insignia character and those that are reminiscent of members of the imperial family in the Treasury Chamber.
The newly formed collection found its place on the mezzanine floor of the building and was initially referred to as "collection of art industrial objects". In 1919, it was named "collection for sculpture and arts and crafts". Since this collection but only to a small extent contains large sculptures and objects for a specific purpose of arts and crafts, this name was considered to be inappropriate and in 1990 it was decided to return to the naming of "Kunstkammer".
After the collapse of the monarchy in 1918 the collections of the sideline Austria-Este was affiliated to the Viennese Kunstkammer, in 1921 the Tapisseriensammlung (collection of tapestries) consisting of 800 tapestries was added, which originally had served the design of the imperial palaces. This collection is in addition to the one in possession of the Spanish crown one of the most important of its kind. In 1938 Gustav von Benda with a bequest the collection donated more important works of the Florentine Early Renaissance. The Second World War the art collection survived with very low losses. Only parts of the Tapisseriensammlung, which had to be given as a loan to Berlin and to the the facilities of Goering's hunting lodge Carin Hall, since the end of war are considered to be lost.
Since 1963, all stores of the collection are reunited in the Kunsthistorisches Museum in Vienna. 2002 the structural and technical conditions required the temporary closure of the Kunstkammer. This was followed by a major renovation and expansion of the premises as well as the restructuring and up-to-date presentation of the objects. To the artistically significant exhibits belong gold works like the famous Saliera by Benvenuto Cellini, sculptures such as the Madonna of Krumlov, bronze figures, ivory objects and stone vessels, but also watches, mechanical machines, scientific instruments, gadgets and much more.
After in December 2012 in a public premiere presentation the first room of the museum could be visited, the as one of the most important art collections of the world considered Vienna Chamber of Art on 1 March 2013 was reopened. In the future, on an area of around 2,700 m² more than 2,200 objects can be seen, which are presented in 20 theme rooms.
de.wikipedia.org/wiki/Kunstkammer_Wien
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
Since 2009: Sabine Haag as general director
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
A flyer inserted in a 1935 commercial and graphic art magazine to sell Monotype's services and type matrices.
MP-1982.69.5
Record Matrix Room, Berliner Gramophone Company, Montreal, QC, 1910
Anonyme - Anonymous
1910, 20th century
Notman photographic Archives - McCord Museum
MP-1982.69.5
Salle des matrices, Berliner Gramophone Company, Montréal, QC, 1910
Anonyme - Anonymous
1910, 20e siècle
Archives photographiques Notman - Musée McCord
To see the image file on the McCord Museum website, click on the following link: www.mccord-museum.qc.ca/en/collection/artifacts/MP-1982.69.5
Pour voir la fiche descriptive de cette photographie sur le site Web du Musée McCord, cliquer le lien suivant:
www.mccord-museum.qc.ca/fr/collection/artefacts/MP-1982.69.5
Nicolas is a unique design inspired by 12th century Mosan lettering, particularly Nicolas Verdun's lettering at the alter piece Klosterneuvurg Austria. Designed by Russell Maret for use in his award winning book Specimens of Diverse Characters, and engraved & cast at The Dale Guild Type Foundry. Nicolas is the first new typeface issued by DGTF in over ten years.
From the June 1930 Commercial Art magazine an advert for the Monotype range of typefaces, available for hiring. It shows Braggadocio, Blado, Colonna, Poliphilus, Cochin, Cochin Italic, Bodoni Heavy, Gill Sans Bold, Gill Sans lowercase and the futuristic Ashley Crawford typeface.
Of these the Gill Sans was a relatively new typeface and those mentioned here were issued as part of a growing family of this Sans designed by Eric Gill. The Ashley-Crawford was designed by Ashley Havendin (1903 - 1973), an influential graphic designer who for many years was associated with the agency W S Crawford, and this lettering was initially seen as part of a Chrysler car advert series from c1925 onwards before being picked up by Monotype and issued as a commercial typeface,
An infinite spiral of matrices - what fun! :P
Trying out the Escher Droste effect using GIMP and MathMap (with the Droste Effect script)
A set of adverts from the 1958 Penrose Annual showing the various post-war type faces of the Società Nebiolo Turin with many of the named typefaces having been designed in-house by Alessandro Butti (1893 - 1959) and Aldo Novarese (1920 - 1995). The company's origin's date back to 1852 when Giovanni Nebiolo purchased an existing type foundery in Turin. The company expanded to produce not only type matrices but also printing presses and paper machinery.
It became the Società Nebiolo in 1916 and was purchased by the industrial conglomerate Fiat in 1978. The machinery part of concern is still in business and I think the type matrices are now owned by Stempel.
The Jenson Initials are copies of selected initials designed by William Morris for use at Kelmscott Press. Made by Dickinson Type Foundry in Boston circa 1893-4, under J.W. Phinney's supervision the electro-deposited matrices were made in 30, 48 and 72pt.
Fonts consist of 2 lines of type, weighing 1.25 lbs including one of each initial. There is no V or X for the 30pt., the matrices were never part of the font. The 30pt. fonts are the first of the three sizes to be issued in very limited castings by The Dale Guild Type Foundry, 48pt. to come next year.
The 30pt. Jenson Initials fonts are hand cast and dressed using The Dale Guild Type Foundry's MacKellar, Smiths & Jordan pivotal caster.
Available for purchase here.
Castel Gardena è situato all’ingresso di Selva sul fronte sud, sotto il pendio d’alberi dominato dalla maestosa roccia del Sassolungo. Il suo vero nome è “Fischburg” (Castello della pesca). E’ un castello di caccia e residenza estiva in stile rinascimentale che nella sua monumentalità nasconde un'attitudine alle armi di matrice medievale. Il nome "Fischburg" deriva dai numerosi laghetti artificiali in cui si praticava un allevamento di trote. Il castello venne eretto tra il 1622 e il 1641 dal Barone Engelhard Theodor Dietrich, dopo che il vecchio Castello di Selva in Vallunga non era più abitabile. Il Castel Gardena è formato da una cappella, due cortili a logge, diverse torri, due appartamenti con ambienti improntati allo stile del rinascimento italiano.
The Gardena Castel is located at the southern front of Selva, under the slope of trees dominated by the majestic mountain rock of Sassolungo. His real name is "Fischburg" (castle of fishing). It's a hunting lodge and summer residence in the Renaissance style that hides in its attitude to the monumental medieval weapons array. The name "Fischburg" comes from the many artificial lakes in which thare is practiced a trout farm. The castle was built between 1622 and 1641 by baron Theodor Dietrich Engelhard, after the old Castle of Wolkestein in Vallunga was no longer habitable. Gardena Castle consists of a chapel, two courtyards with loggias, several towers, two apartments with areas marked by the style of the Italian Renaissance.
As Albert-Jan Pool pointed out on this photo, the widely internationally distributed Fette Kursiv-Grotesk typeface originated at the J. John Söhne type foundry in Hamburg in 1892. One of the many other type foundries to eventually carry that design – under one name or another, in one language or another – was Wilhelm Gronau’s type foundry in Berlin-Schöneberg.
The Deutsches Technikmuseum has a bound collection of loose specimen sheets of Gronau types, bound together in a book called “Neuheiten” (“novelties” in English, but here it means recent releases). The museum dates the binding to about 1905, and I presume that this collection shows most or all the typefaces that Gronau began carrying between 1891 and 1905ish. In 1891, Gronau published a lovely bound catalog of most or all the types it had sold up until that point (see this post for more details).
Anyway, this c. 1905 volume at the Technikmuseum has the page you can see here. What is interesting is that this specimen sheet is an exact copy of a specimen sheet that J. John Söhne printed for Fette Kursiv-Grotesk (originally spelled Fette Cursiv Grotesque). What I mean is, the sample text in each type size is the same on both company’s specimens,and the layout of each size in relation to each other is also the same on both specimens.
A line of text at the bottom of this page reads “Original-Matrizen,” or “original matrices.” I take this to mean that Gronau bought legitimate duplicate matrices of these types from J. John Söhne, and not “illictly” copying the typeface via electrotyping themselves.
The text at the bottom of the J. John Söhne specimen sheet (which I do not have permission to publish online) reads “Originalschrift unseres Hauses. Eigetragen in das Muster-Register.” (“Original typeface from our house. Registered with the Design Patent Office.”)
Pedazo de plantilla gigante la que nos brinda nuestro amigo ErrE en el paseo marítimo en la zona de la Maestranza. Ocupa toda la puerta de acceso a un garaje comunitario.
The Matrice di Erice is also known as the Duomo dell'Assunta or, as the name suggests, the Mother Church. Gothic in style, it is magnificent inside.
The Torrione is a Norman castle of which there are official traces only from the XIV century. The Chiesa Matrice ( Mother church) is in the background on the left.
Avetrana Puglia Italy
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All images are exclusive property and may not be copied, downloaded, reproduced, transmitted, manipulated or used in any way without expressed, written permission of the photographer.
The Chiesa Matrice is a church in Erice, Sicily, southern Italy. It dates back the beginning of the 15th century (an original fresco dates back to 1420) and is built in the shape of a Latin cross with two entrances. The church is enriched by numerous Baroque altars and paintings from the 17th century. A silver statue of St. Anthony of Padua dates back 17th century and is an example of Neapolitan silver-craft.
We started our training of OSP today via interactive webinar from threecanoes.com.
Here are my notes. There were four other programmy people in the room who fundamentally understand a lot of what was covered. I belong in the category of instructional designer who gets the sense of what's going on and was able to follow along until we got into the "predicate" discussion portion (see bottom right).
Essentially, here's the scoop, as I understand it- Sakai (our learning management system, called Isaak here at Brock) has optional tool called Open Source Portfolio (OSP) which allows you to plug in Resources (primary place for files) and Assignments (primary place to accept files/text from students) into a larger assessment framework. The primary mode of assessment is through Matrices which allow you to set up via Forms a structure for the criteria at a course, program or university-wide level.
The forms are created by the developer using XML.
For those of you still with me, XML is a hierarchal, markup language that consists of artifact, meta-data, structured data, schema.
Sample forms exist in the tools that we can customize as per our needs. We are currently running a pilot with Psychology 4th year capstone class with Dr. Tanya Martini. Ideally, she will consult with us on desired inputs and the developers will modify the xslt templates to create a structure that works with her desired assessment.
Users will then interact with the matrices to complete the forms which will include instructions and the option to multiple select or answer via free text.
The primary means of showcasing the data is via the portfolio itself. Which if rendered properly should look just like a nice clean webpage that links to all the input the user has entered.
That's as much as I understand. I'm expecting Matt to now chime in with some of his notes and then we'll have a fuller picture. I may have to edit this as a result :)