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Dan James' colt, Playboys Ginnin Buck, showed a lot of sensitivity, but Dan worked methodically to introduce to his new life as a riding horse.
The story of Margareten
For the first time in 1373 has been an estate named, the in contrast to an "upper court" at the height of the Viennese mountain (Wienerberg) as "lower court" on (today) Margaretenplatz is designated. 1395 donated Rudolf Tirna, an owner of the facility, together with his wife Anna and his brother Louis one to Saint Margaret of Antioch dedicated chapel. As other early mentions of the "Lower Court" and the chapel we find in 1411 the St. Margaretenkapelln to Metzleinstorff, 1548 St. Margareten, 1568 Sandt Margareten and in 1594 hoff to St Margareten. The around this Margaretner Hof in todays area Margaretenplatz - Hofgasse - Schlossgasse emerged estate hamlet constituted the starting point for the development of the suburb. The estate, it is shown on the circular plan of Niklas Meldemann in 1530 armed with a mighty tower, has been at the siege of 1529 of Turkish groups of fighters set on fire - a commemorative plaque on the house Margaretenplatz 3 remembers at it. The court subsequently changed hands several times until it purchsed Olav Nicholas, Archbishop of Gran, 1555 commercially. Olai had the courtyard and the chapel partially rebuild and he layed out a large castle garden.
He appointed settlers to Margareten and founded south of his farm Nikolsdorf. In the middle of the 17th Century, 1647-1667, finally completed the envoy to the Sublime Porte, Johann Rudolf Schmidt von Schwarzhorn the building. In the 1662 appeared "Topographia Archiducatus Austriae Inferioris Modernae" by Georg Matthäus Vischer the present castle is represented as a two-storey building whose siebenachsiger (7-axle) residential wing in the east is reinforced by a corner tower with loggia-like ambulatory and to the west is surmounted by an onion-shape crowned clock tower. In this figure, however, lacks the this very day preserved with mighty rusticaded stones cladded castle portal. After the destruction of the Türkenjahr (Siege of Vienna) 1683 the construction was rebuilt. Already about 1725 had in the front of the castle developed in the run of today Margaretenstraße through building development the methodic rectangular shape of today's Margaret Square.
1727 sold Earl of Sonnau the manorial system Margareten to the city of Vienna. Between 1749 and 1783 was located in the large deserted castle garden, which served partly as a grain field and pasture, the first Mulberry School in Vienna. In the premises of the castle in 1751 a factory of Leonean goods was established, but which burned down in 1768. 1786 Anton Schwarzleithner moved the factory to Mannersdorf (Lower Austria). Thereafter, the entire reality was measured and came up for auction. The largest parcel, the old castle at Margaretenplatz with the adjacent factory building at 23 Schlossgasse, bought the silk ribbon maker and judge of Margareten, Francis Plumper. By a daughter Prallers, Elizabeth, married Pichler, the building complex came into the possession of a book printer family, which to 1869 handled a print shop here. The new factory building at 21 Schlossgasse was purchased by auction by Johann Brauneck who in the same year petitioned for an increase. On the neighbouring to the west to the castle connecting parcel (Margaretenplatz 3) the silk stuff promoter Paul Hochholzer in 1787 by architect Johann Michael Adelpodinger the existing buildings had adapted, over the entrance gate the building inscription of the old castle of 1651 was immured. The to the west adjoining parcel with the in 1783 deconsecrated St Margaret's Chapel acquired the Samtmacher (velvet maker) Leopold Urspringer, who had the chapel demolished and the ground for the construction of a residential building (77 Margaret Street) used. Also the area of the small castle garden that had the Vienna municipal judge Leopold van Ghelen on lease, was parceled out and developed through newly created streets. In the period from 1781 to 1788 arised on the site of the great palace garden in the of the Gartengasse and Schlossgasse on the one hand and Margaretenstraße and Siebenbrunnengasse surrounded territory on the other not less than 41 parcels.
Margaretenplatz as a historical center of Margareten is particularly accentuated by the 1835/36 before the House Margaretenplatz 3 built well, on those square base the by Johann Nepomuk Schaller modelled statue of the over the dragon triumphant hl. Margaret, the eponym of the suburb rises. As part of the regulation of 1886, the Margaret Square fountain was offset by 20m to the southwest, and received its present location .
In the west the square is surrounded by the instead of the in 1883 demolished brewery according to plans of the architects Ferdinand Fellner and Hermann Helmer by builder Joseph Müller for Baroness Amalie Lipthay 1884/85 established Margartenhof. The castle-like complex occupies an extremely important position as regards urban development in the district. Historically, it represents the symbolic succession building of the old, today only in fragments existing Margaretner Castle (Margaretenplatz 2,3). The large residential complex with the street-like designed "Zierhof" is an early example of urban development concepts, which in Vienna otherwise only could unfold in the interwar period.
To the east the Margaretenplatz is dominated by an according to plans of Ferdinand Seif 1898 built monumental palace-like structured tenement, where forms of the Venetian city palace of the 16th Century were used. Buildings of the Gründerzeit round off the Margaretenplatz in the north.
On March 10, 2008, at age 70, Jairo Álvarez-Botero
published No Such Thing as Impossible: From Adversity
to Triumph, a thrilling autobiographical account of
his journey toward the American dream. Hailed for
its powerful message of personal triumph, Jairo’s book has inspired thousands of readers to face adversity with strength and confidence.
The recipient of numerous awards and honors for his work, Jairo continues to share his message of hope with audiences throughout the world. Frequently requested as a motivational speaker at conferences and schools, Jairo donates all proceeds from his book sales and speaking engagements to childhood education programs in South America.
Jairo’s inspirational message was borne from his own life experience: what he faced, what he learned and how each new challenge gave him an opportunity to better prepare for the next. Not inclined toward self-pity or excessive introspection, Jairo enthusiastically
advocates his “Triple A Formula” when faced with adversity: Accept the situation; Adapt as necessary; and finally, take Action to overcome the adverse situation. While the formula requires significant discipline and mental fortitude to follow, Jairo’s success in life is proof that it works. As an example, only 95 days after intensive prostate cancer surgery, Jairo participated in a cycling competition… and won the race.
Personal discipline and mental toughness are not conferred upon us in youth. These qualities must be attained. They are slowly, methodically developed through concentrated effort and sacrifice over years of life experience. throughout his life, Jairo Álvarez-Botero has accepted full responsibility for his actions, and in his book he shares the joy and benefits of personal accountability.
Now, more positive and optimistic than ever at age 73, his future has never looked brighter.
Vol. 35 No. 4
Official Newspaper of the South Wedge Since 1982
South Wedge Planning Committee
224 Mt. Hope Avenue
Rochester, New York 14620
August/September 2013
Non-Profit Organization
Wall/Therapy International Street Artist Gaia
Transforms SWPC Office on Mt. Hope Ave.
by Nancy O’Donnell
this is but a part of the article . . ..
The artist Gaia began with blue tape frames for his Wall/
Therapy project. Two stories up, atop a LDJ lift, the young artist methodically marked the wall of the South Wedge Planning Committee office building. In a day the frames multiplied. Another day and figures of the Greek god Mercury, rendered in a manner used by the 16th century painter Giambologna, were repeating across the wall. Finally, at the bottom, the head of a young African American man appeared.
For the South Wedge mural, Gaia began his usual process
of research. He is especially interested in how a community
develops around an industry, how it changes from 'labor intensive' industries to white collar and how it copes with the restructuring of the global economy.
"I looked at the waning sunset of Xerox and Kodak. I do a lot of Mercury. He figures prominently in my work and I was pleasantly surprised that there was a Mercury sculpture in Rochester. I thought that's clearly going to be the subject of this wall."
With that in mind, Gaia created 8x11 format patterns,
eight times, a painted photocopy of Mercury and at the bottom, the head of one young man, who is the question. "What place does he have in all this?" Gaia asked.
Finally, around the corner from the mural Gaia signed his name with the words above "Commerce is swifter than culture."
accessed 07.21.2015 swpc.org/wp-content/uploads/2013/08/Wedge_August_Septembe...
++ ++ ++ ++ ++
Every other image in the mural on the side of the South Wedge Planning Committee building on Mt. Hope Avenue is of the Giambologna Mercury figure. Interspersed are a few renderings of the Xerox building, as well as a teenager, in the bottom right corner.
Gaia, of Baltimore, Maryland, said he wanted the piece to show how macroeconomic forces affect local aspects of our lives. He also wanted to show the repercussions of moving from an industrial base into a more service-oriented economy.
“Commerce moves faster than people’s culture. Rochester has to re-imagine itself — re-adjust its economic base to a different global economy,” he said. ”The real question is: What is the future of a lot of rust belt cities, whether it be Cleveland, Cincinnati, southside Chicago, Gary, Akron, Youngstown, these are ostensibly obsolete places that people still call home. And how do they change to a more medical, lawyer, finance-oriented economy?”
The repeated figure on what appears to be resemble photocopied sheets of paper is, ostensibly, a nod to Xerox. And though it was Gaia’s first time in Rochester, he said that the city’s makeup reminded him of many that he’s traveled to, as well as his own hometown.
“Correlaries that you’d find in Cleveland also make a lot of sense here,” he said. ”It’s not just that aesthetically this is a lot like Cleveland, but it’s the same sort of… mettle, trajectory.”
Watch Gaia’s mural come to life at www.democratandchronicle.com/walltherapy.
++ ++ ++ ++ ++
image by Photo George
copyrighted: ©2015 GCheatle
all rights reserved
locator: GAC_2134
The story of Margareten
For the first time in 1373 has been an estate named, the in contrast to an "upper court" at the height of the Viennese mountain (Wienerberg) as "lower court" on (today) Margaretenplatz is designated. 1395 donated Rudolf Tirna, an owner of the facility, together with his wife Anna and his brother Louis one to Saint Margaret of Antioch dedicated chapel. As other early mentions of the "Lower Court" and the chapel we find in 1411 the St. Margaretenkapelln to Metzleinstorff, 1548 St. Margareten, 1568 Sandt Margareten and in 1594 hoff to St Margareten. The around this Margaretner Hof in todays area Margaretenplatz - Hofgasse - Schlossgasse emerged estate hamlet constituted the starting point for the development of the suburb. The estate, it is shown on the circular plan of Niklas Meldemann in 1530 armed with a mighty tower, has been at the siege of 1529 of Turkish groups of fighters set on fire - a commemorative plaque on the house Margaretenplatz 3 remembers at it. The court subsequently changed hands several times until it purchsed Olav Nicholas, Archbishop of Gran, 1555 commercially. Olai had the courtyard and the chapel partially rebuild and he layed out a large castle garden.
He appointed settlers to Margareten and founded south of his farm Nikolsdorf. In the middle of the 17th Century, 1647-1667, finally completed the envoy to the Sublime Porte, Johann Rudolf Schmidt von Schwarzhorn the building. In the 1662 appeared "Topographia Archiducatus Austriae Inferioris Modernae" by Georg Matthäus Vischer the present castle is represented as a two-storey building whose siebenachsiger (7-axle) residential wing in the east is reinforced by a corner tower with loggia-like ambulatory and to the west is surmounted by an onion-shape crowned clock tower. In this figure, however, lacks the this very day preserved with mighty rusticaded stones cladded castle portal. After the destruction of the Türkenjahr (Siege of Vienna) 1683 the construction was rebuilt. Already about 1725 had in the front of the castle developed in the run of today Margaretenstraße through building development the methodic rectangular shape of today's Margaret Square.
1727 sold Earl of Sonnau the manorial system Margareten to the city of Vienna. Between 1749 and 1783 was located in the large deserted castle garden, which served partly as a grain field and pasture, the first Mulberry School in Vienna. In the premises of the castle in 1751 a factory of Leonean goods was established, but which burned down in 1768. 1786 Anton Schwarzleithner moved the factory to Mannersdorf (Lower Austria). Thereafter, the entire reality was measured and came up for auction. The largest parcel, the old castle at Margaretenplatz with the adjacent factory building at 23 Schlossgasse, bought the silk ribbon maker and judge of Margareten, Francis Plumper. By a daughter Prallers, Elizabeth, married Pichler, the building complex came into the possession of a book printer family, which to 1869 handled a print shop here. The new factory building at 21 Schlossgasse was purchased by auction by Johann Brauneck who in the same year petitioned for an increase. On the neighbouring to the west to the castle connecting parcel (Margaretenplatz 3) the silk stuff promoter Paul Hochholzer in 1787 by architect Johann Michael Adelpodinger the existing buildings had adapted, over the entrance gate the building inscription of the old castle of 1651 was immured. The to the west adjoining parcel with the in 1783 deconsecrated St Margaret's Chapel acquired the Samtmacher (velvet maker) Leopold Urspringer, who had the chapel demolished and the ground for the construction of a residential building (77 Margaret Street) used. Also the area of the small castle garden that had the Vienna municipal judge Leopold van Ghelen on lease, was parceled out and developed through newly created streets. In the period from 1781 to 1788 arised on the site of the great palace garden in the of the Gartengasse and Schlossgasse on the one hand and Margaretenstraße and Siebenbrunnengasse surrounded territory on the other not less than 41 parcels.
Margaretenplatz as a historical center of Margareten is particularly accentuated by the 1835/36 before the House Margaretenplatz 3 built well, on those square base the by Johann Nepomuk Schaller modelled statue of the over the dragon triumphant hl. Margaret, the eponym of the suburb rises. As part of the regulation of 1886, the Margaret Square fountain was offset by 20m to the southwest, and received its present location .
In the west the square is surrounded by the instead of the in 1883 demolished brewery according to plans of the architects Ferdinand Fellner and Hermann Helmer by builder Joseph Müller for Baroness Amalie Lipthay 1884/85 established Margartenhof. The castle-like complex occupies an extremely important position as regards urban development in the district. Historically, it represents the symbolic succession building of the old, today only in fragments existing Margaretner Castle (Margaretenplatz 2,3). The large residential complex with the street-like designed "Zierhof" is an early example of urban development concepts, which in Vienna otherwise only could unfold in the interwar period.
To the east the Margaretenplatz is dominated by an according to plans of Ferdinand Seif 1898 built monumental palace-like structured tenement, where forms of the Venetian city palace of the 16th Century were used. Buildings of the Gründerzeit round off the Margaretenplatz in the north.
The Morning Ritual of Elegance and Endurance
The morning sun filtered softly through the lace curtains of Clara and Sophie’s shared dressing room, casting golden streaks across the polished mahogany vanity. The air was thick with the mingling scents of perfume, hairspray, and the faint floral fragrance of their soaps. The heavy silence between them spoke volumes—neither wanted to go through this routine today.
Clara stood by the mirror, a towel wrapped tightly around her body, staring at her reflection with resigned exhaustion. The steam from their morning bath still clung to the air, the warmth settling uncomfortably against her freshly-shaven legs. She traced a careful fingertip along her calf, ensuring that not a single stray hair remained. Perfection was expected. Perfection was demanded.
Across the room, Sophie sat on the edge of the vanity stool, methodically running a fresh razor along her thigh. She had already done her underarms, her skin left smooth and slightly pink from the warm water and rich shaving cream. With each stroke, she felt her frustration simmering beneath the surface.
“This is ridiculous,” Sophie muttered, rinsing the razor under the water basin. “Why do we have to go through all this every single time?”
Clara sighed, picking up a bottle of rose-scented lotion and smoothing it over her legs, feeling the cool relief against her overheated skin. “Because Aunt Matilde would die before she let us leave the house looking anything less than impeccable.”
Sophie rolled her eyes. “She makes it sound like the world will collapse if we ever dared to have a single hair out of place. Or—God forbid—skip the stockings.”
Clara gave a humorless laugh, reaching for her perfume bottle and spritzing a delicate mist of Chanel No. 5 onto her wrists and neck. The classic scent wrapped around her like an obligation. “Oh, skipping stockings isn’t even an option. You know the rules. A lady is never bare-legged, regardless of season or circumstance.”
Sophie set down the razor with an irritated clink and turned to face her sister. “It’s August, Clara. People are out there wearing shorts, sundresses, sandals. Meanwhile, here we are, about to get stuffed into high collars, stockings, and skirts that trap every ounce of heat against our skin. Does that seem fair to you?”
Clara’s lips tightened as she began brushing out her long golden curls, carefully taming them into smooth, structured waves. “Of course it isn’t fair. But when has fairness ever mattered in this house?”
Sophie let out a slow, frustrated breath. She reached for her makeup compact, dabbing a powder puff over her already flushed cheeks. The foundation was light but perfectly blended, ensuring a flawless, porcelain-like finish. She followed it with a subtle touch of eyeliner and mascara, her brown eyes darkening as she stared at her reflection. The final touch was her signature red lipstick—too bold, according to Aunt Matilde, but Sophie wore it anyway. A quiet rebellion.
Clara finished her makeup—soft taupe eyeshadow, precisely shaped brows, and a delicate rose lipstick that enhanced her natural features. Her look was classic, understated, the perfect image of refinement.
Then came the worst part. The dressing.
Clara slipped into her white button-up blouse, feeling the crisp fabric settle over her arms like a second skin. She buttoned it all the way up to the stiff collar, sighing as she fastened the cuffs at her wrists. There was no comfort in this. No ease. It was structured, rigid, suffocating.
Sophie struggled with her own blouse, shaking her head as she tugged it into place. “Do you ever wonder what it would be like to just… not do this? To wear something light? Something that lets your skin breathe?”
“All the time,” Clara admitted, pulling on her high-waisted gray pencil skirt. The fabric hugged her hips and thighs, restrictive but perfectly tailored. She smoothed it down, already feeling the heat prickling against her skin.
Sophie stepped into her navy-blue pleated midi skirt, adjusting it carefully at the waist. The layers of fabric felt heavy even before she had finished fastening the last button. She could already imagine how it would cling to her legs in the sweltering afternoon heat.
And then, the stockings.
Sheer, black, unnecessary. Yet mandatory.
Clara rolled them up her legs with practiced ease, wincing slightly as the fabric stretched tight over her calves and thighs. The sensation was unbearable in the summer, like being wrapped in a layer of artificial heat.
Sophie groaned as she did the same. “I swear, if I get heatstroke today, I’m blaming Aunt Matilde.”
Clara let out a tired laugh. “She’d just say it’s a lesson in perseverance.”
Finally, they stepped into their glossy black stilettos, the pointed toes already pressing uncomfortably against their feet. These weren’t shoes for an afternoon in the park. They were for polished floors and controlled environments. But comfort was not part of the equation.
Sophie adjusted her cuffs, glancing at Clara in the mirror. “Do we look perfect enough now?”
Clara gave a resigned nod. “Perfect. And miserable.”
And with that, they braced themselves for the inevitable battle with Aunt Matilde—knowing full well that they had already lost before it had even begun.
Aunt Matilde’s Unyielding Standards
The argument had begun the moment Clara and Sophie descended the grand staircase of their aunt’s house, their outfits already a calculated rebellion against the unbearable August heat. They had wanted to be reasonable. They had hoped for a compromise. But Aunt Matilde had been waiting for them in the foyer, arms crossed, an unimpressed arch to her thin brows.
Clara, already bracing for battle, had spoken first. “It’s thirty-three degrees outside, Aunt Matilde. No one else will be dressed like this.”
Sophie, ever the diplomat, chimed in. “We could still look elegant in something lighter. A summer dress, maybe. Linen, cotton—still tasteful, just practical.”
Matilde’s lips pursed, a silent indication of the storm about to break. “Practical?” she repeated, voice measured but sharp. “Ladies, let me be painfully clear. I don’t care what everyone else is wearing. You will be dressed appropriately.”
Sophie sighed, already feeling the battle slipping away. “We are dressed appropriately. Just… more in line with the season.”
Matilde took a slow, deliberate step forward. “Do you think I don’t know what happens when standards start slipping? First, it’s ‘a little more in line with the season.’ Then, it’s ‘a little more comfortable.’ Then before you know it, you’re traipsing about in sundresses with spaghetti straps and bare legs like a pack of tourists.”
Clara folded her arms. “So? What if we were? What’s wrong with dressing for the weather?”
“What’s wrong is that it’s undignified,” Matilde snapped. “Respectable young women do not go gallivanting around in flimsy little dresses, no matter how hot it is. The world is watching. People notice when standards slip. You represent more than just yourselves.”
Sophie exhaled sharply. “But the dress code makes no sense in this weather!”
Matilde’s expression hardened. “The dress code exists precisely because it does not bend to fleeting inconveniences like weather or personal comfort. It is a mark of discipline, of self-respect. If you want to be taken seriously, you must always be impeccable.”
Clara clenched her jaw, heat rising—not just from the humidity, but from sheer frustration. “So we’re expected to suffer? To bake in stockings and long skirts while everyone else enjoys the breeze in light summer clothes?”
“Yes,” Matilde said simply. “Because you are better than that.”
The silence was thick, nearly suffocating.
Sophie finally spoke, voice tight with defeat. “So there’s no room for discussion.”
“None whatsoever.” Matilde’s gaze flicked over their outfits, searching for any final imperfections. “Stockings on. Shirts buttoned. Skirts long. Heels polished. And if I see so much as a single undone cuff, you will regret it.”
And so, with simmering resentment and no choice in the matter, Clara and Sophie left for the concert—dressed not for the sweltering August heat, but for the suffocating weight of unyielding tradition.
The Unforgiving Elegance of Clara and Sophie
The August sun bore down relentlessly, turning the park into a shimmering haze of heat. The air was thick and unmoving, heavy with the scent of cut grass, melting ice cream, and the distant metallic tang of an approaching thunderstorm. All around them, concertgoers fanned themselves lazily, the lucky ones wearing light cotton sundresses and linen shirts that billowed in the rare breeze. But Clara and Sophie had no such luxury.
They stood among the seated crowd, rigid in their refined, oppressive attire, their every movement dictated by an unyielding dress code that allowed no exception for weather, comfort, or personal preference.
Clara’s long, golden curls, usually the picture of poised elegance, clung stubbornly to the back of her neck, damp with sweat despite her best efforts. Her crisp white button-up shirt, starched to perfection in the morning, now felt suffocating, the stiff fabric resisting the natural movement of her shoulders. The high collar—fastened all the way up—prickled against her flushed skin, and though the cuffs of her sleeves were neatly buttoned, she could feel a slow trickle of sweat inching down her wrist.
Beneath the heavy cotton, her nude-colored bra stuck to her skin uncomfortably, the fabric absorbing the humid air like a sponge. Her high-waisted gray pencil skirt, form-fitting and unyielding, clung to her thighs like a second skin. The herringbone fabric, so sophisticated in cooler weather, felt thick and stifling now, trapping the heat against her legs. Her sheer black stockings, mandatory and merciless, wrapped her calves and thighs in a layer of unnecessary warmth, making her wish—desperately—that she could rip them off. But she couldn’t. She wasn’t allowed. The dress code was strict.
Her feet, encased in pointed black patent leather stilettos, burned inside their glossy prisons. The soft grass beneath them offered no relief—if anything, the heels only sank slightly into the ground, making her balance precarious. Every step was a reminder that these shoes weren’t meant for a summer afternoon in the park. They were meant for polished floors and air-conditioned hallways. But again, there was no room for compromise.
Beside her, Sophie was faring no better. Her long, dark waves, usually immaculately smooth, now stuck to her temples, framing a face damp with the unbearable heat. Her white button-up—identical to Clara’s—was just as stifling, and she could feel the fabric clinging to the small of her back. If she moved even slightly, she could feel the material shift against her skin, uncomfortably damp. Her navy-blue pleated midi skirt, chosen for its refined elegance, was nothing short of a furnace now, the thick pleats trapping the hot air against her legs. Like Clara, she, too, wore sheer black stockings, a requirement rather than a choice, and she, too, felt the relentless heat wrapping around her like a punishment.
Her feet ached inside her sharp-toed stilettos, the patent leather merciless against the swelling caused by the relentless humidity. She shifted her weight slightly, feeling the stockings rub against her skin, and resisted the overwhelming urge to kick her shoes off and let her overheated toes breathe.
Both of them wished—more than anything—that they could wear something light and effortless, something that wouldn’t turn them into walking ovens. A simple cotton summer dress. Sleeveless, airy, fluttering in the breeze. Sandals instead of suffocating heels. Bare legs instead of oppressive hosiery. But such thoughts were futile. Their dress code was unwavering, set in stone, unbending in the face of reason or comfort.
A bead of sweat slipped down Clara’s spine, disappearing beneath the waistband of her skirt. She exhaled sharply, glancing at Sophie, who looked just as miserable.
The concert had only just begun.
It was going to be a long afternoon.
A troupe of Squirrel Monkeys crosses a river, jumping from the end of one high branch to the heights of a tree on the other side. There must have been a score of monkeys methodically leaping one-by-one into thin air, confident of being able to grab the foliage on the other side. Most did.
Ryan Dungey faltered at the start of the second moto at Steel City, leaving Mike Alessi out in front. However, just as Tom Brady or Drew Brees march their teams down the field to score in the final seconds of the game when it really counts, Dungey just went to work, methodically picking his way forward until he was right on Alessi’s tail. Then, taking advantage of a sudden downpour, Dungey made his move, passing Alessi for the lead.
The story of Margareten
For the first time in 1373 has been an estate named, the in contrast to an "upper court" at the height of the Viennese mountain (Wienerberg) as "lower court" on (today) Margaretenplatz is designated. 1395 donated Rudolf Tirna, an owner of the facility, together with his wife Anna and his brother Louis one to Saint Margaret of Antioch dedicated chapel. As other early mentions of the "Lower Court" and the chapel we find in 1411 the St. Margaretenkapelln to Metzleinstorff, 1548 St. Margareten, 1568 Sandt Margareten and in 1594 hoff to St Margareten. The around this Margaretner Hof in todays area Margaretenplatz - Hofgasse - Schlossgasse emerged estate hamlet constituted the starting point for the development of the suburb. The estate, it is shown on the circular plan of Niklas Meldemann in 1530 armed with a mighty tower, has been at the siege of 1529 of Turkish groups of fighters set on fire - a commemorative plaque on the house Margaretenplatz 3 remembers at it. The court subsequently changed hands several times until it purchsed Olav Nicholas, Archbishop of Gran, 1555 commercially. Olai had the courtyard and the chapel partially rebuild and he layed out a large castle garden.
He appointed settlers to Margareten and founded south of his farm Nikolsdorf. In the middle of the 17th Century, 1647-1667, finally completed the envoy to the Sublime Porte, Johann Rudolf Schmidt von Schwarzhorn the building. In the 1662 appeared "Topographia Archiducatus Austriae Inferioris Modernae" by Georg Matthäus Vischer the present castle is represented as a two-storey building whose siebenachsiger (7-axle) residential wing in the east is reinforced by a corner tower with loggia-like ambulatory and to the west is surmounted by an onion-shape crowned clock tower. In this figure, however, lacks the this very day preserved with mighty rusticaded stones cladded castle portal. After the destruction of the Türkenjahr (Siege of Vienna) 1683 the construction was rebuilt. Already about 1725 had in the front of the castle developed in the run of today Margaretenstraße through building development the methodic rectangular shape of today's Margaret Square.
1727 sold Earl of Sonnau the manorial system Margareten to the city of Vienna. Between 1749 and 1783 was located in the large deserted castle garden, which served partly as a grain field and pasture, the first Mulberry School in Vienna. In the premises of the castle in 1751 a factory of Leonean goods was established, but which burned down in 1768. 1786 Anton Schwarzleithner moved the factory to Mannersdorf (Lower Austria). Thereafter, the entire reality was measured and came up for auction. The largest parcel, the old castle at Margaretenplatz with the adjacent factory building at 23 Schlossgasse, bought the silk ribbon maker and judge of Margareten, Francis Plumper. By a daughter Prallers, Elizabeth, married Pichler, the building complex came into the possession of a book printer family, which to 1869 handled a print shop here. The new factory building at 21 Schlossgasse was purchased by auction by Johann Brauneck who in the same year petitioned for an increase. On the neighbouring to the west to the castle connecting parcel (Margaretenplatz 3) the silk stuff promoter Paul Hochholzer in 1787 by architect Johann Michael Adelpodinger the existing buildings had adapted, over the entrance gate the building inscription of the old castle of 1651 was immured. The to the west adjoining parcel with the in 1783 deconsecrated St Margaret's Chapel acquired the Samtmacher (velvet maker) Leopold Urspringer, who had the chapel demolished and the ground for the construction of a residential building (77 Margaret Street) used. Also the area of the small castle garden that had the Vienna municipal judge Leopold van Ghelen on lease, was parceled out and developed through newly created streets. In the period from 1781 to 1788 arised on the site of the great palace garden in the of the Gartengasse and Schlossgasse on the one hand and Margaretenstraße and Siebenbrunnengasse surrounded territory on the other not less than 41 parcels.
Margaretenplatz as a historical center of Margareten is particularly accentuated by the 1835/36 before the House Margaretenplatz 3 built well, on those square base the by Johann Nepomuk Schaller modelled statue of the over the dragon triumphant hl. Margaret, the eponym of the suburb rises. As part of the regulation of 1886, the Margaret Square fountain was offset by 20m to the southwest, and received its present location .
In the west the square is surrounded by the instead of the in 1883 demolished brewery according to plans of the architects Ferdinand Fellner and Hermann Helmer by builder Joseph Müller for Baroness Amalie Lipthay 1884/85 established Margartenhof. The castle-like complex occupies an extremely important position as regards urban development in the district. Historically, it represents the symbolic succession building of the old, today only in fragments existing Margaretner Castle (Margaretenplatz 2,3). The large residential complex with the street-like designed "Zierhof" is an early example of urban development concepts, which in Vienna otherwise only could unfold in the interwar period.
To the east the Margaretenplatz is dominated by an according to plans of Ferdinand Seif 1898 built monumental palace-like structured tenement, where forms of the Venetian city palace of the 16th Century were used. Buildings of the Gründerzeit round off the Margaretenplatz in the north.
Boudica showed up and methodically went about the business of running off all of the sub-adults, 13 of them, including several young boars who were carrying close to 300 lbs each...
Re-edited
With so few flowers in bloom at this time, I had to really be on the lookout for Hummers. The foraging Hummers also have to be on the lookout for any blooming plant.This lady was methodically sampling all of these red blooms on an ornamental shrub in my daughter's back yard. I saw only a few flying Hummers species (mostly female Anna's and Costa's). These ladies are segregated from each other for IDs mainly on their bill shapes. This bill is said to be straighter... but there is overlap.
IMG_9999; Anna's Hummingbird
Papers of Adrian Howells part of the Scottish Theatre Archive Ref: STA AHC
“The Adrian Howells’s collection holds a true legacy of Glasgow creative heritage. A world leading one to one performance artist who regularly performed at the Edinburgh Festival and The Arches, exploring themes of intimacy, privacy and touch. Since early 2016 I have been cataloguing Adrian's personal papers, helping the Scottish Theatre Archive preserve his creative essence. In addition his methodical creative personality has excelled my own artistic practice.”
- Peter Morphew, Cataloguing Archivist
View information about the Adrian Howells collection here: special.lib.gla.ac.uk/collections/sta/Collections/howells...
On October 1, 2012 I spent an interesting day out at the Marin Headlands watching the ingenious riggers of the Bigge Crane & Rigging Company move a 16” gun up the hill to Battery Townsley. Battery Townsley in the Marin Headlands and Battery Davis on San Francisco’s Ocean Beach were the two Bay Area batteries armed (of four planned) with 16” guns in World War II. Each battery had two gun emplacements within a huge concrete construction housing guns, munition storage, generators, and in the case of Townsley up to 150 resident troops.
Battery Townsley received its two guns in 1939 and was ready for action soon thereafter. Placing the guns was no small feat since they are the largest rifles ever made for the US arsenal. Each barrel weighed almost a quarter-million pounds and stretched 68 feet from breech to muzzle. The battery was decommissioned as an artillery emplacement by 1948 and its guns were cut up for scrap in that year.
Fast-forward to the current day, the Marin Headlands are now part of the Golden Gate National Recreation Area and visitors can take a short hike up the hill to see Battery Townsley. For several years now a group of park volunteers has been restoring the battery. If you time your visit to coincide with their open house days you can tour the interior of the installation – great fun. As part of this restoration project a plan was developed to install and display a surplus naval gun nearly identical to the guns originally mounted at Battery Townsley. The surplus gun was sourced from the Naval Weapons Depot in Hawthorne, Nevada where it had been stored since 1953. In one of those pleasant little turns of history the company that won the modern day bid to move the barrel from Nevada to the Marin Headlands was Bigge, the same company that moved the original guns in 1939.
These photographs were taken during a pleasant day watching the crew methodically move this huge gun up the hill and into its storage place next to the battery. I began the day with a series of pole photographs of the gun in the Rodeo Beach parking lot (there was no wind in the morning). In the early afternoon I shot a quick round of kite aerial photographs at Rodeo Beach, the gun was still at the Rodeo Beach trailhead while transport hydraulics were tuned. I then hiked up to Battery Townsley to photograph the placement of the gun. I had originally planned to shoot a quick series of the gun being pulled through one of the hairpin turns on the approach road but my timing was off and I did not want to add distraction to what was a rather intense hauling session.
On October 1, 2012 I spent an interesting day out at the Marin Headlands watching the ingenious riggers of the Bigge Crane & Rigging Company move a 16” gun up the hill to Battery Townsley. Battery Townsley in the Marin Headlands and Battery Davis on San Francisco’s Ocean Beach were the two Bay Area batteries armed (of four planned) with 16” guns in World War II. Each battery had two gun emplacements within a huge concrete construction housing guns, munition storage, generators, and in the case of Townsley up to 150 resident troops.
Battery Townsley received its two guns in 1939 and was ready for action soon thereafter. Placing the guns was no small feat since they are the largest rifles ever made for the US arsenal. Each barrel weighed almost a quarter-million pounds and stretched 68 feet from breech to muzzle. The battery was decommissioned as an artillery emplacement by 1948 and its guns were cut up for scrap in that year.
Fast-forward to the current day, the Marin Headlands are now part of the Golden Gate National Recreation Area and visitors can take a short hike up the hill to see Battery Townsley. For several years now a group of park volunteers has been restoring the battery. If you time your visit to coincide with their open house days you can tour the interior of the installation – great fun. As part of this restoration project a plan was developed to install and display a surplus naval gun nearly identical to the guns originally mounted at Battery Townsley. The surplus gun was sourced from the Naval Weapons Depot in Hawthorne, Nevada where it had been stored since 1953. In one of those pleasant little turns of history the company that won the modern day bid to move the barrel from Nevada to the Marin Headlands was Bigge, the same company that moved the original guns in 1939.
These photographs were taken during a pleasant day watching the crew methodically move this huge gun up the hill and into its storage place next to the battery. I began the day with a series of pole photographs of the gun in the Rodeo Beach parking lot (there was no wind in the morning). In the early afternoon I shot a quick round of kite aerial photographs at Rodeo Beach, the gun was still at the Rodeo Beach trailhead while transport hydraulics were tuned. I then hiked up to Battery Townsley to photograph the placement of the gun. I had originally planned to shoot a quick series of the gun being pulled through one of the hairpin turns on the approach road but my timing was off and I did not want to add distraction to what was a rather intense hauling session.
💡HOW 🔽
🔥ACTION ONE (5✔️) (👨🔧Preparation) Prepare the potatoes :
👣Step 1 (3,5✔️) 0:01
👣Step 2 (1,5✔️) 0:24
🔥ACTION TWO (5✔️) (👨🔧Preparation) Prepare the spices for the recipe :
👣Step 3 (5✔️) 0:24
🔥ACTION THREE (2✔️) (👨🔧Preparation) Prepare the potato dish before Baking :
👣Step 4 (2✔️) 0:24
🔥ACTION FOUR (3✔️) (👨🔧Baking) Bake your preparation of potatoes and spices :
👣Step 5 (3✔️) 0:24
✅Finish 2:55
➕15,5 ✔️Experience Points in cooking
👩🔬eXplanation :
Peel and cut the potatoes in small squares.
Then clean the potatoes with water several times.
Then put the potatoes in a drain, Wait about 10 minutes (So that the potatoes do not get wet when cooking).
Cut a clove of garlic (6 - 7g About).
Place your potato wedges in a big bowl and pour in 105 ml of olive oil. Then pour the garlic cut into the salad bowl (Already cut beforehand).
Mix the potatoes and add a lid and wait about 10 Minutes for the spices to impregnate the potatoes.
In a dish designed for cooking, add baking paper (so that the potatoes do not stick)
Spread the potatoes on the sulfuric paper.
Light your oven (at a temperature of: 200 ° C - 392 ° F).
Let the potatoes cook for 40 minutes (stirring the potatoes about every 10 minutes).
ℹ️1 Tablespoon = 15G - 15ML (About)
ℹ️1 Teaspoon = 5G - 5ML (About)
⚠️Remember to turn the potatoes regularly (About every 10 Minutes).
ℹ️Do not hesitate to divide the dosage according to the number of people who eat.
⏳Cook in Less Than 1 Minute : www.youtube.com/watch?v=W5M50VREHR4&list=PLCnt1yP-rsm...
🏆Difficulty :Easy (Level 2)
🎓Skills : Some little notions of cooking
️Senses : 👀Vision 👆To Touch 💃Proprioception 👃Smell ♨️Thermoception Equilibrioception 👅Taste
👩🏫Intelligences : Kinesthetic Body Intelligence
🔢Intelligence Logic Mathematics
💡Imagination
🙇State of Mind : 😶Focus
😔Patient
🤔Perfectionist
😵Methodical
😉Organize
💞Context (Example) : Accompaniment of a Dish
Recipe Garnishes
️Tools (🔨5) (1 #Optional)
🔨Cooking System
🔨Salad Bowl
🔨Drainer
🔨Dish for Cooking
🔨Baking Paper [So that does not stick] {If you do not have one, Stir potatoes regularly} (#Optional)
🍲Ingredients 7 (📜Recipe) : 1434 Calories
🍚Olive Oil 🔍105ML 630 Calories
🍚Salt 🔍4g 0 Calories
🍚Potato 🔍1Kg 770 Calories
🍚A Clove of Garlic 🔍7g 7 Calories
🍚Oregano 🔍7g 19 Calories
🍚Pepper 🔍2g 6 Calories
🍚Parsley 🔍7g 2 Calories
⚠️Consider nutrient intake too and not essentially calorie intake
📋WHAT 🔽
🍳How To Cook {8} Step by Step
🌟Baked Spice Potatoes
💫Potatoes World
🌌Accompaniment Galaxy
✨Cooking Universe (🍳)
📝Type : Cooking Potatoes (Accompaniment)
🎨Style : Cooking Potatoes with Olive Oil and Spices.
️Language : International (🇬🇧 description and steps in English, but comprehensible by the whole world)
️You can use your playlists as filters, to find what you're looking for exactly : www.youtube.com/channel/UCb1N-vNT8Y1-qx0PdlvLRpg/playlists
📖HOW MUCH 🔽
👣5 Steps
🔥4 Actions
✔️15,5 Experience Points
️5 tools (1 #Optional)
🍲7 Ingredients
1434 Calories (About)
🔍Dosage [Weight] (About) : (💧Liquid - 105ML) (Solid - 1027g) {Weight of total ingredients used}
👫How many people : 2-8 Persons (4 Medium) (Accompaniment)
⏱️Preparation Time : 9 Minutes Minimum - 22 Minutes Maximum
⏰Waiting Time : 20 Minutes
️ Cooking Time : 40 Minutes
️ Temperature Cooking : Bake : 200°C - 392°F
️7 Senses
👩🏫3 Intelligences
🙇5 State of Mind
WHO 🔽
👩🍳Cook by LG
🎥Filmed by LG : Go Pro Hero 5 (1080 - 60-Large)
📡Posted by LG
️Video made by LG (Windows Movie Maker 2017)
©Etoile Copyright (Cooking)
©Ikson (Music)
🎵Music Used Ikson - New Day
Support Ikson :
ℹ️ How to use music : iksonmusic.wordpress.com/
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🎼Music promoted 📂 by eMotion
️Video Link : youtu.be/aSWFk2Amv6o
❓WHY 🔽
Learn How To Cook Baked Spice Potatoes
📍WHERE 🔽
Pontault Combault (🇫🇷 France)
🇸🇪Sweden Music
🕓WHEN 🔽
📅28 December 2017
⌚Duration : 1.09 Hour Minimum ~ 1.22 Hour Maximum
⚠️The duration depends on the performance and tools used by the author. That is why this is indicated from the minimum to the maximum
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#HowToCook
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v.2.004#
On 25 Oct 1812, the frigate United States, commanded by Stephen Decatur, captured the British frigate Macedonian, west of the Canary Islands. Broadsiding the Macedonian, United States destroyed her mizzen top mast, which let her driver gaff fall. Using this advantage, United States methodically fired upon the ship. After surrender, Macedonian was repaired and placed into U.S. Naval service. USS United States versus HMS Macedonian, 25 October 1812. Artwork by Arthur N. Disney, Sr. Courtesy of the Navy Art Collection, NH 49848-KN (Color).
Paul Signac (French, 1863–1935)
Title
Notre-Dame-de-la-Garde (La Bonne-Mère), Marseilles
Date
1905–6
Medium
Oil on canvas
Dimensions
35 x 45 3/4 in. (88.9 x 116.2 cm)
Signac went even farther than Seurat in his methodical studies of the division of light into its components of pure color, and he arranged rectangular brushstrokes like tesserae in a mosaic. In 1901 Signac had painted a smaller and less vibrant version of this view of the Marseilles, crowned by the church of Notre Dame de la Garde. The luminosity and brilliant color of the present picture are dependent on his continued use of unmixed pigments, but also on his contact with the young Fauve painters Henri-Edmond Cross and Matisse and Saint-Tropez in summer 1904.
There realy can only be so mvch pvrsvit inuoluing intimacy til the flesh of the nose liues pinched against said object in indentation, svffocation.
the conflict has stolen many more than seueral nights from the painter, borrowing the beavtybody of his uisions it seems withovt euer the promise of a paint retvrn. his idleness peeks back, again peeks back vntil cock-eyed it glares at times daring grauity be magnified. pace the grovnds, rvb one ovt, shackled to a window▿, again vncapping oil tvbes that staue the uentilation of his fvckin’ nostrils.
a real place on earth, yeah, materialises for real eyes. yov were there; this is the sovrce - yov barefooted the Ligurian rocks althovgh yov cannot swim. what yov mvst determine is whether the sovrce is reliably worth resovrce, can it be fvckin’ trvsted . . . . a circvit uiuisecting the 2-Dness of the old sleepy colovr wheel, the landscape reformed by the methodical trauelling rovndabovt while it consvmes the thvmbscrews of his own heart at the easel, how well we know, avtocannibalistically.
- Mesirow▿
A film biography of Formula 1 champion driver Niki Lauda and the 1976 crash that almost claimed his life. Mere weeks after the accident, he got behind the wheel to challenge his rival, James Hunt.
Directed by Ron Howard, he and the cars from that fateful season descended upon the race track at Snetterton to recreate Fuji 1976, these are a few snapshots from that day - 1/5/2012.
Set against the sexy, glamorous golden age of Formula 1 racing in 1976. Based on the true story of a great sporting rivalry between handsome English playboy James Hunt (Chris Hemsworth), and his methodical, brilliant opponent Niki Lauda, (Daniel Bruhl). The story follows their distinctly different personal styles on and off the track, their loves and the astonishing season in which both drivers were willing to risk everything to become world champion in a sport with no margin for error: if you make a mistake, you die.
When your child dies,
you bury him in your heart,
he only dies the day you die.
At least 141 people, most of them children (132), died when Taliban gunmen attacked the school in the morning. The overwhelming majority of the victims were students at the school, which has children and teenagers in grades 1-10.
It was an attack so horrifying, so shocking and numbing that the mind struggles to comprehend it. Helpless schoolchildren hunted down methodically and relentlessly by militants determined to kill as many as quickly as possible.
As a country looked on in shock yesterday, the death count seemed to increase by the minute. First a few bodies, dead schoolchildren in bloodied uniforms, then more bodies, and then more and more until the number became so large that even tracking it seemed obscene.
Peshawar has suffered before, massively. But nothing compares to the horror of what took place yesterday in Army Public School, Warsak Road. The militants found the one target in which all the fears of Pakistan could coalesce: young children in school, vulnerable, helpless and whose deaths will strike a collective psychological blow that the country will take a long time to recover from, if ever.
DAILY DAWN editorial
somebody, it seems, has methodically pulled off the "ivory" covering the keys, so they are now just wood keys. shame.
who would do such a thing, and why? I struggle to understand the mentality that revels in wanton pointless destruction
Yamaha factory rider Ben Spies at La Chapelle - Le Mans. Tall for a rider, Spies tends to stick his knees and elbows out in the corners. It doesn't seem to stop him going fast though.
The Texan is known for his reserved persona and methodical work ethic. He's also a top level cyclist.
Courtney Segrest
Reminiscence
Ceramic
25" x 23" x 16"
$250
Edmond, OK
"Meditating on time and our passages within it, my practice focuses on nostalgia and the web work of memories that come to formulate our psyche. My inspiration is drawn from the sentiment of the past, and the need to preserve moments from it. Relying on a process that is repetitive and methodical, I incorporate layers of detail to depict textural patterns pulled from natural and familiar imagery, in an effort to encapsulate comfort."
On March 10, 2008, at age 70, Jairo Álvarez-Botero
published No Such Thing as Impossible: From Adversity
to Triumph, a thrilling autobiographical account of
his journey toward the American dream. Hailed for
its powerful message of personal triumph, Jairo’s book has inspired thousands of readers to face adversity with strength and confidence.
The recipient of numerous awards and honors for his work, Jairo continues to share his message of hope with audiences throughout the world. Frequently requested as a motivational speaker at conferences and schools, Jairo donates all proceeds from his book sales and speaking engagements to childhood education programs in South America.
Jairo’s inspirational message was borne from his own life experience: what he faced, what he learned and how each new challenge gave him an opportunity to better prepare for the next. Not inclined toward self-pity or excessive introspection, Jairo enthusiastically
advocates his “Triple A Formula” when faced with adversity: Accept the situation; Adapt as necessary; and finally, take Action to overcome the adverse situation. While the formula requires significant discipline and mental fortitude to follow, Jairo’s success in life is proof that it works. As an example, only 95 days after intensive prostate cancer surgery, Jairo participated in a cycling competition… and won the race.
Personal discipline and mental toughness are not conferred upon us in youth. These qualities must be attained. They are slowly, methodically developed through concentrated effort and sacrifice over years of life experience. throughout his life, Jairo Álvarez-Botero has accepted full responsibility for his actions, and in his book he shares the joy and benefits of personal accountability.
Now, more positive and optimistic than ever at age 73, his future has never looked brighter.
Granite rock, which is brought in by barge, is methodically placed in the Piankatank River near Gwynn’s Island in Mathews County Virginia. The rock is the basis for the newest, 25-acre oyster reef in the Chesapeake Bay Watershed. The Norfolk District, U.S. Army Corps of Engineers, is overseeing the more than $2 million sanctuary reef project in partnership with the Virginia Marine Resources Commission and the Nature Conservancy. (U.S. Army photo/Patrick Bloodgood)
Modern and Contemporary Art
The origins of the Moravian Gallery collections go back to the Francis Museum (now the Moravian Provincial Museum) in Brno, established in 1818. However, systematic acquisition only started under Dr. Jaroslav Helfert, the first director of the museum (from 1923) and curator of its picture gallery. His methodical approach enabled a more consistent structure to be brought to the collections and their expansion with topical works representing Czech modernism. The first acquisitions included, for example, the sculpture Before the Bath (1906) by Jan Štursa. The picture gallery permanent exhibition was installed in the Dietrichstein Palace in the late 1920's.
Helfert's successor in the gallery management was Dr. Albert Kutal, who (apart from building a collection of Moravian Gothic art) compiled a series of modern Czech art at the end of the 1920's and the beginning of the 1930's. Among major acquisitions in these years were Procházka's Players (1909) and Prometheus (1911), as well as further works of Czech modernism by Emil Filla, Josef Šíma and Jaroslav Král.
In 1948 Albert Kutal was succeeded by Dr. Karel Krejčí, followed by Dr. Jiří Hlušička, Dr. Vlasta Kratinová, Dr. Marie Dohnalová, Dr. Kateřina Svobodová and Dr. Jitka Sedlářová. The period after 1945 was associated with unprecedented expansion of the collections; for example, in 1945 the gallery received donations of Kubišta's Still Life with a Lamp (1909), and in 1948 Haymaking (1939) by Jaroslav Král. The complicated administrative situation of the picture gallery, part of the Moravian Provincial Museum, improved under Director Jiří Hlušička in 1961 when the Moravian Gallery in Brno came into existence, through the separation of the picture gallery of the museum and its merging with the Museum of Applied Arts.
The gallery activities centre upon the documentation of the main features of the development of 20th- and 21st-century art. A remarkable series of sculptures and a collection of drawings and graphic art gradually developed alongside the painting collection. The first permanent exhibition of Czech 20th-century art was created in 1970 (in the Moravian Provincial Museum building) by Jiří Hlušička; the collection had later to be stored in a depository.
The collection of modern and contemporary art boasts masterpieces by the luminaries of Czech modern art: Jan Štursa, Jan Preisler, Josef Mařatka and František Bílek, leading protagonist of Czech symbolism. It contains a series of major works by the members of the Osma [Eight] group and the Group of Visual Artists (paintings by Filla, Kubišta, Kubín, Špála, Čapek, early pieces by Antonín Procházka and Jan Zrzavý and cubist sculptures by Otto Gutfreund such as Anxiety, 1911). A large collection of works by Antonín Procházka enables viewers to observe changes in his artistic approaches, largely associated with Brno culture. The Czech interwar avant-garde is represented by works of Czech poetism, by the artificialism of Jindřich Štyrský and Toyen (Dawn, 1931) and reflections of surrealism (sculpture Girl with Child by Vincenc Makovský, Josef Šíma's painting Europe, works by František Muzika, František Foltýn and others). The 1940's are represented by echoes of the war (Emil Filla, Jan Bauch), works by members of Skupina 42 [Group 42] (František Gross, Bohumír Matal, Jan Smetana and others) and the Ra Group (Bohdan Lacina, Václav Zykmund). The Czech informel is illustrated with works of Mikuláš Medek, Robert Piesen, Josef Istler and others, while art trends in the second half of the 20th century are represented by selected works by Adriena Šimotová, Jiří John, Václav Boštík, Jiří Kolář, Michael Rittstein, Brno artists Dalibor Chatrný, Miroslav Štolfa and others.
A new permanent exhibition of modern and contemporary Czech art was opened in 1994 in the reconstructed Pražák Palace. A section mapping the late 19th century and the first half of the 20th century was opened, in revised form, in 2001. A year later it was supplemented with a further section spanning the mid-20th century and the present.
www.moravska-galerie.cz/moravska-galerie/o-galerii/sbirky...
Oiled sorbent boom at Bay Jimmy. Crews methodically work to recover oiled boom washed into the marshes (see other photo with crew on site). Aug 2, 2010 by Tom MacKenzie, USFWS 7607
This first year Bald Eagle spent quite some time methodically eating a prey that was on the other side of branches for me to see clearly. I kept 3 shots to help identify the prey (are those feather bits or fin bits?) They are in comments for the two shots I actually like.
On March 10, 2008, at age 70, Jairo Álvarez-Botero
published No Such Thing as Impossible: From Adversity
to Triumph, a thrilling autobiographical account of
his journey toward the American dream. Hailed for
its powerful message of personal triumph, Jairo’s book has inspired thousands of readers to face adversity with strength and confidence.
The recipient of numerous awards and honors for his work, Jairo continues to share his message of hope with audiences throughout the world. Frequently requested as a motivational speaker at conferences and schools, Jairo donates all proceeds from his book sales and speaking engagements to childhood education programs in South America.
Jairo’s inspirational message was borne from his own life experience: what he faced, what he learned and how each new challenge gave him an opportunity to better prepare for the next. Not inclined toward self-pity or excessive introspection, Jairo enthusiastically
advocates his “Triple A Formula” when faced with adversity: Accept the situation; Adapt as necessary; and finally, take Action to overcome the adverse situation. While the formula requires significant discipline and mental fortitude to follow, Jairo’s success in life is proof that it works. As an example, only 95 days after intensive prostate cancer surgery, Jairo participated in a cycling competition… and won the race.
Personal discipline and mental toughness are not conferred upon us in youth. These qualities must be attained. They are slowly, methodically developed through concentrated effort and sacrifice over years of life experience. throughout his life, Jairo Álvarez-Botero has accepted full responsibility for his actions, and in his book he shares the joy and benefits of personal accountability.
Now, more positive and optimistic than ever at age 73, his future has never looked brighter.
April 7, 2019 / 4:44 PM / 2 days ago
Manipulation suspicions mount in Thailand's post-coup election
Patpicha Tanakasempipat, Panarat Thepgumpanat
BANGKOK (Reuters) - Thailand’s first general election since a 2014 army coup has been touted by the ruling military junta as a return to democratic rule, but two weeks after the vote, results are still unclear and allegations of manipulation are mounting.
Since the March 24 vote, figures linked to a “democratic front” of opposition parties say they have come under increasing pressure from police and the military.
The Election Commission has also indicated it would use a complex allocation formula for 150 “party seats” in the House of Representatives in a way that would likely dilute the opposition alliance’s seats in the 500-seat lower house.
The Election Commission has said it won’t announce even provisional winners of the 150 party seats until May 9, saying it needs time to order by-elections and vote recounts as well as to disqualify candidates who broke election laws.
But critics say the time gap allows the military-royalist establishment to manipulate results and disqualify opponents of the pro-army Palang Pracharat party that seeks to keep junta leader Prayuth Chan-ocha in power as an elected prime minister.
The leading opposition Pheu Thai party, made up of loyalists to army-ousted Prime Minister Thaksin Shinawatra, sees the delays and legal actions as an attempt to deny the “democratic front” enough seats in the House needed to block the main junta-linked party from unrestrained lawmaking power.
“After the election ... the majority of the people feels a sense of hopelessness and distrust for the election process,” said Pheu Thai’s secretary-general, Phumtham Wechayachai.
“People are talking about the Election Commission’s part in supporting the extension of power by the National Council for Peace and Order,” he said, using the junta’s formal name.
- - - - - - -
General decline: Thailand’s bogus election
The vote does not mark a return to democracy, but a new phase in military misrule
Mar 14th 2019 The Economist
IT SHOULD BE a triumphant return. On March 24th Thai voters will elect a new parliament, putting an end to five years of direct military rule (see article). But the MPs they pick will have nowhere to meet. King Vajiralongkorn has appropriated the old parliament building, which stands on royal property, for some unspecified purpose that, under the country’s harsh lèse-majesté laws, no one dares question. The military junta has yet to finish building a new parliament house.
That the newly chosen representatives of the Thai people will be homeless stands as a symbol for how hollow the election will be, and how contemptuous the generals are of democracy, even as they claim to be restoring it. They have spent the past five years methodically rigging the system to ensure that the will of voters is thwarted, or at least fiercely circumscribed. In particular, they want to foil Thaksin Shinawatra, a former prime minister, now in exile, whose supporters have won every election since 2001. The result will be a travesty of democracy in a country that was once an inspiration for South-East Asia. It is bad news not only for the 69m Thais but also for the entire region.....
Vicksburg, Mississippi est. 1825, pop. (2013) 23,542 • MS Delta
U.S.S. Cairo Museum: The War on the Inland Waters
"To control the Mississippi the Confederates depended on fortified strongholds along the river’s length, supported by gunboats and rams.
"Slowly and methodically, the combined operations of Union land and naval forces forced the surrender of one Confederate bastion after another.
"The Confederate Navy fought valiantly but was no math for the heavily armored Union fleets. The Confederate fortifications resisted punishing bombardment by Union gunboats, the deep-water navy’s mortar schooners and scows, and land-based artillery, but fell in the end to Union mobility and fire power."
• U.S.S. Cairo [photo] one of seven ironclad "city class" gunboats named for towns on the upper Mississippi & Ohio rivers, each w/thirteen cannon • built by the U.S. during the American Civil War to regain control of the lower Mississippi River & split the Confederacy in two
• designed by naval architect Samuel M. Pook (1804-1878) • built by river engineer James B. Eads (1820-1887), James B. Eads & Co., Mound City, IL • commissioned January, 1862 • saw limited action at Plum Point & the Battle of Memphis
• Cairo's skipper, Lt. Commander Thomas O. Selfridge, Jr. (1836-1924) was an aggressive & promising young officer • 12 Dec., 1862, he led a small flotilla up the Yazoo River to destroy Confederate batteries & clear the channel of torpedoes (naval mines) • 7 mi. north of Vicksburg, the Cairo came under fire & was rocked by 2 explosions which tore holes in the ship's hull • within 12 min. sank into 6 fathoms (36 feet) of water without loss of life • thought to have been the first ship in history sunk by an electrically detonated torpedo
• Confederate operative Thomas Weldon (1816-1865) is said to have been instrumental in developing the electric spark underwater torpedo that is believed to have sunk the Cairo • "USS Cairo gunboat sunk by an IED" —Standing Well Back
• the gunboat was soon forgotten, a time capsule covered by silt & sand • found, 1956, using maps & divers • raised 1964 • transported to the Vicksburg National Military Park, 1977, where it was partially reconstructed • new lumber replaced rotted timbers, although some original wood remains • "city class" gunboats had colored bands on their smokestacks — the Cairo's were gray
• shelter to cover the vessel completed, 1980 • adjacent museum built to exhibit recovered artifacts • video: Salvage of the Gunboat Cairo (3:26)
• National Register # 71000068, 1971
• Vicksburg National Military Park preserves the site of the American Civil War Battle of Vicksburg (1863) • the 47-day Union siege ended in the Confederate surrender of the city. Victory here & at Port Hudson, LA, gave the Union control of the Mississippi River • park includes 1,325 historic monuments & markers, 20 miles (32 km) of Civil War era trenches & earthworks, 144 cannons & the USS Cairo, a restored gunboat... read on
• originally established in 1899 • 5th national military park under the control of the U.S. War Department • ownership transferred to the U.S. Department of the Interior & the National Park Service, 1933 • 8th oldest National Park • Facebook
• the military leaders of the Battle of Vicksburg [photos]
• National Register # 66000100, 1966
Ancient Thonetschlössl, District Museum
Object ID: 32954 Josef Deutsch-Platz 2
Former Capuchin monastery of 1631, 1785 secularized and acquired in 1786 by Giacomo Cagliano. Altgräfin (grandduchess) Elise von Salm the building had rebuilt similar to a castle. In 1889, it was acquired by the Thonet family, 1930/31 by the Savings Bank of the City of Mödling that housed there the since 1904 existing District Museum.
de.wikipedia.org/wiki/Liste_der_denkmalgesch%C3%BCtzten_O...
(further information you can get by clicking on the link at the end of page!)
History
Plaque to the founder of the Hyrtl'schen orphanage Joseph Hyrtl and Joseph Schöffel
© IMAREAL / E. Vavra
The Biedermeier-influenced city on the edge of the Vienna Woods is the capital of the district Mödling in the south of Vienna. The town has experienced in its 1100-year history since the first mention very different phases: in the Middle Ages briefly Babenberg residence, for centuries an economically potent wine market, from the 19th Century summer resort and industrial center, since 1875 town, in the 20th Century for almost two decades XXIVth district of Vienna, since 1954 again an independent municipality of Lower Austria and as a school and garden city popular residential area in the vicinity of Vienna.
Mödling has partnerships with cities in France, Belgium, Luxembourg, Germany, Hungary, Czech Republic, Serbia, Bulgaria and Italy.
The historical tradition of Mödling goes back far beyond the first written mention, how settlement finds from the Neolithic Age, Hallstatt period (eg calendar mountain) and Roman times as well as the great Avar burial ground "at the Golden Staircase" from the 7/8th Century BCE prove. In the year 903 Mödling is first mentioned (Medilihha). The later settlement was probably made in the 11th Century beneath an early castle building on the church mountain (Kirchenberg), where later a Romanesque predecessor of Othmar church was built.
In the late 12th century Mödling was for a few decades the residence of a Babenberg branch line. Henry the Elder, a brother of Duke Leopold V., had since the 1170 century belongings in and around Mödling. He and his son Henry the Younger, calling himself "Duke of Mödling", resided on the castle probably built around 1150 in the Klausen, among whose most famous visitors was Walther von der Vogelweide. With the death of Henry the Younger in 1236 extinguished the Mödlinger line of the Babenberg and the reign became princely domain. The time of the Babenberg commemorates the in late 12th Century built Romanesque ossuary at Othmar church - a circular building with an apse - as well as the denomination "Babenberg".
In the late Middle Ages, Medlich developed into a major wine market (1343 mention of market town) which in the 15th Century as one of the four princely spell markets was also represented in the Parliament - in addition to Gumpoldskirchen, Langenlois and Perchtoldsdorf. For centuries shaped the wine-growing the economy and social structure. The Mödlinger wine was good and helped the market particularly in the 15th and 16th Century to its prosperity. The settlement reached at the end of the Middle Ages that extent, which until the 19th Century should remain essentially unchanged. The center formed the area around the Schrannenplatz with a dense stand of late medieval and early modern town houses that bear evidence of the wealth and self-confidence of the citizens of the market town. From the late medieval Schrannen building, the official residence of the market judge, was created in 1548 the representative Renaissance town hall with loggia.
The elevated lying Othmar church became in the 15th Century by transferring the rights of the church of St. Martin parish church of Mödling. The massive late Gothic church was built in a nearly 70-year construction period from 1454 to 1523 on the walls of six predecessors and able to resist fortified. As Mödling was destroyed in 1529 by the Ottomans, the just completed church lost its roof and remained for over a century till the restoration in 1660/70 a ruin. On the Merian engraving from 1649 the uncovered Othmar church on the left side is clearly visible. As a temporary parish church served the about 1450 built late-Gothic hospital church.
The internal conditions at this time were mainly marked of the clashes of the market with the princely rule Burg Mödling - since 1558 combined with the rule of Liechtenstein - which reached its climax in 1600 under the energetic administrator Georg Wiesing (1593-1611). During the Reformation, the market largely became Protestant. In the course of recatholicization a Capuchin monastery was founded in 1631, which served as a factory after the repeal under Joseph II and was then bought by the Thonet family (so-called Thonet Schlössel, today Bezirksmuseum).
In Türkenjahr 1683 (besiegement of the Turks) took place in the Othmar church a horrific bloodbath, in which hundreds of people who had sought refuge there were killed. The church was destroyed again, but this time built up rapidly with the market judge Wolfgang Ignaz Viechtl in a few years.
End of the 18th Century occurred in Mödling the settlement of industrial enterprises, especially textile mills that took advantage of the cheaper production possibilities and also its proximity to Vienna. Was decisively shaped the character of the place but by the rise to a summer resort, initiated by Prince Johann I of Liechtenstein beginning of the 19th Century, which acquired in 1807 the rule of Liechtenstein-Mödling with the former family ancestral home. He had the area under enormous cost reforested (Schirmföhren/pinus mugo, acacia, etc.) and transformed to a public park in Romantic style with promenade paths, steep paths and artificial constructions (Black tower, amphitheater, Husarentempel). The ruined castles Mödling and Liechtenstein were restored. The former Liechtenstein'sche landscape park is considered a remarkable example of the garden culture in 1800 and is now a popular tourist destination (1974 Natural Preserve Föhrenberge).
Since the Biedermeier Mödling in the summer was an extremely popular artist hangout. Among the most famous artists of the 19th Century who were inspired by the romantic nature here, were Franz Schubert, Franz Grillparzer, Ferdinand Waldmüller, Ferdinand Raimund and Ludwig van Beethoven, who here worked on one of his major works, the "Missa Solemnis". In the 20th Century settled inter alia Arnold Schönberg, Anton von Webern, Anton Wildgans, Franz Theodor Csokor and Albert Drach temporarily or permanently down. To Beethoven, Schönberg and Wildgans memorials have been established (Beethoven House, Schönberg House, Wildgans archive).
In the second half of the 19th Century Mödling became administrative center (District Court, District administration) and an industrial site and educational location with high schools and colleges (eg educational establishment Francisco-Josephinum). The good traffic situation at the southern railway, the progressive industrialization and the expansion of health facilities (park, Kursalon) led to a rapid expansion of the hitherto for centuries unchanged market. Under mayor Joseph Schöffel (1873-1882), who became famous because of his successful engagement against the deforestation of the Vienna Woods as the "savior of the Vienna Woods", followed the methodical installation of the so-called Schoeffel(before) city - Schöffelvorstadt (New Mödling) east of the Southern Railway and the establishment of workers' settlements. Later followed the exclusive residential areas of the turn of the century with their representative residential buildings. Probably the most important building of the late 19th Century is the Hyrtl'sche orphanage (1886-1889), founded by the Viennese anatomist, Joseph Hyrtl and Joseph Schöffel. The Orphanage church St. Joseph was built on the in 1787 demolished Martin Church.
On 18th November 1875 the emerging market town was raised to the status of a city, two years later the incorporation of Klausen and Vorderbrühl took place. Through the establishment of Great-Vienna under the Nazi regime on 15th October 1938 the young city for 16 years lost its municipal autonomy; 1954 it became again a part of Lower Austria.
Symbol for the characteristic environment of Mödling was the "width pine" on the Anninger whose age goes back to the 16th Century (around 1550). It was a well-known natural landmark and has become the symbol of the city. 1988 died the tree and it had to be removed in 1997 for safety reasons. The remains are now in the Lower Austrian Provincial Museum.
geschichte.landesmuseum.net/index.asp?contenturl=http://g...
Construction is steadily moving forward on the 18,000 sq. ft. Possum Creek Skatepark in Gainesville, Florida.
Led by Spohn Ranch's COO, Mark Bradford, the crews in Gainesville are quickly turning what were once just some dreams scribbled on paper into one of Florida's premiere concrete skateparks.
Through a combination of advanced pre-cast concrete technology and methodical on-site concrete pours, the skatepark is nearing a flawless finish with less than 30 days on site.
These colors and so soothing! Set of two mini embroidery wrapped vintage metal hoops.
Pastel colored embroidery threads of various textures and thickness. Methodically wrapped around a 4" metal hoop. The debt of the layers vary with each hoop.
Perfect for any shelf or brightly colored room in your space.
Shipping is always FREE and immediate!
www.etsy.com/listing/82695087/set-of-2-embroidery-thread-...
Modern and Contemporary Art
The origins of the Moravian Gallery collections go back to the Francis Museum (now the Moravian Provincial Museum) in Brno, established in 1818. However, systematic acquisition only started under Dr. Jaroslav Helfert, the first director of the museum (from 1923) and curator of its picture gallery. His methodical approach enabled a more consistent structure to be brought to the collections and their expansion with topical works representing Czech modernism. The first acquisitions included, for example, the sculpture Before the Bath (1906) by Jan Štursa. The picture gallery permanent exhibition was installed in the Dietrichstein Palace in the late 1920's.
Helfert's successor in the gallery management was Dr. Albert Kutal, who (apart from building a collection of Moravian Gothic art) compiled a series of modern Czech art at the end of the 1920's and the beginning of the 1930's. Among major acquisitions in these years were Procházka's Players (1909) and Prometheus (1911), as well as further works of Czech modernism by Emil Filla, Josef Šíma and Jaroslav Král.
In 1948 Albert Kutal was succeeded by Dr. Karel Krejčí, followed by Dr. Jiří Hlušička, Dr. Vlasta Kratinová, Dr. Marie Dohnalová, Dr. Kateřina Svobodová and Dr. Jitka Sedlářová. The period after 1945 was associated with unprecedented expansion of the collections; for example, in 1945 the gallery received donations of Kubišta's Still Life with a Lamp (1909), and in 1948 Haymaking (1939) by Jaroslav Král. The complicated administrative situation of the picture gallery, part of the Moravian Provincial Museum, improved under Director Jiří Hlušička in 1961 when the Moravian Gallery in Brno came into existence, through the separation of the picture gallery of the museum and its merging with the Museum of Applied Arts.
The gallery activities centre upon the documentation of the main features of the development of 20th- and 21st-century art. A remarkable series of sculptures and a collection of drawings and graphic art gradually developed alongside the painting collection. The first permanent exhibition of Czech 20th-century art was created in 1970 (in the Moravian Provincial Museum building) by Jiří Hlušička; the collection had later to be stored in a depository.
The collection of modern and contemporary art boasts masterpieces by the luminaries of Czech modern art: Jan Štursa, Jan Preisler, Josef Mařatka and František Bílek, leading protagonist of Czech symbolism. It contains a series of major works by the members of the Osma [Eight] group and the Group of Visual Artists (paintings by Filla, Kubišta, Kubín, Špála, Čapek, early pieces by Antonín Procházka and Jan Zrzavý and cubist sculptures by Otto Gutfreund such as Anxiety, 1911). A large collection of works by Antonín Procházka enables viewers to observe changes in his artistic approaches, largely associated with Brno culture. The Czech interwar avant-garde is represented by works of Czech poetism, by the artificialism of Jindřich Štyrský and Toyen (Dawn, 1931) and reflections of surrealism (sculpture Girl with Child by Vincenc Makovský, Josef Šíma's painting Europe, works by František Muzika, František Foltýn and others). The 1940's are represented by echoes of the war (Emil Filla, Jan Bauch), works by members of Skupina 42 [Group 42] (František Gross, Bohumír Matal, Jan Smetana and others) and the Ra Group (Bohdan Lacina, Václav Zykmund). The Czech informel is illustrated with works of Mikuláš Medek, Robert Piesen, Josef Istler and others, while art trends in the second half of the 20th century are represented by selected works by Adriena Šimotová, Jiří John, Václav Boštík, Jiří Kolář, Michael Rittstein, Brno artists Dalibor Chatrný, Miroslav Štolfa and others.
A new permanent exhibition of modern and contemporary Czech art was opened in 1994 in the reconstructed Pražák Palace. A section mapping the late 19th century and the first half of the 20th century was opened, in revised form, in 2001. A year later it was supplemented with a further section spanning the mid-20th century and the present.
www.moravska-galerie.cz/moravska-galerie/o-galerii/sbirky...
Kostkahaus
Object ID: 32903 Liberty Square 6
In the 16th Century converted building complex, in the core from the 13th Century, with two rectangular courtyards
de.wikipedia.org/wiki/Liste_der_denkmalgesch%C3%BCtzten_O...
(further information you can get by clicking on the link at the end of page!)
History
Plaque to the founder of the Hyrtl'schen orphanage Joseph Hyrtl and Joseph Schöffel
© IMAREAL / E. Vavra
The Biedermeier-influenced city on the edge of the Vienna Woods is the capital of the district Mödling in the south of Vienna. The town has experienced in its 1100-year history since the first mention very different phases: in the Middle Ages briefly Babenberg residence, for centuries an economically potent wine market, from the 19th Century summer resort and industrial center, since 1875 town, in the 20th Century for almost two decades XXIVth district of Vienna, since 1954 again an independent municipality of Lower Austria and as a school and garden city popular residential area in the vicinity of Vienna.
Mödling has partnerships with cities in France, Belgium, Luxembourg, Germany, Hungary, Czech Republic, Serbia, Bulgaria and Italy.
The historical tradition of Mödling goes back far beyond the first written mention, how settlement finds from the Neolithic Age, Hallstatt period (eg calendar mountain) and Roman times as well as the great Avar burial ground "at the Golden Staircase" from the 7/8th Century BCE prove. In the year 903 Mödling is first mentioned (Medilihha). The later settlement was probably made in the 11th Century beneath an early castle building on the church mountain (Kirchenberg), where later a Romanesque predecessor of Othmar church was built.
In the late 12th century Mödling was for a few decades the residence of a Babenberg branch line. Henry the Elder, a brother of Duke Leopold V., had since the 1170 century belongings in and around Mödling. He and his son Henry the Younger, calling himself "Duke of Mödling", resided on the castle probably built around 1150 in the Klausen, among whose most famous visitors was Walther von der Vogelweide. With the death of Henry the Younger in 1236 extinguished the Mödlinger line of the Babenberg and the reign became princely domain. The time of the Babenberg commemorates the in late 12th Century built Romanesque ossuary at Othmar church - a circular building with an apse - as well as the denomination "Babenberg".
In the late Middle Ages, Medlich developed into a major wine market (1343 mention of market town) which in the 15th Century as one of the four princely spell markets was also represented in the Parliament - in addition to Gumpoldskirchen, Langenlois and Perchtoldsdorf. For centuries shaped the wine-growing the economy and social structure. The Mödlinger wine was good and helped the market particularly in the 15th and 16th Century to its prosperity. The settlement reached at the end of the Middle Ages that extent, which until the 19th Century should remain essentially unchanged. The center formed the area around the Schrannenplatz with a dense stand of late medieval and early modern town houses that bear evidence of the wealth and self-confidence of the citizens of the market town. From the late medieval Schrannen building, the official residence of the market judge, was created in 1548 the representative Renaissance town hall with loggia.
The elevated lying Othmar church became in the 15th Century by transferring the rights of the church of St. Martin parish church of Mödling. The massive late Gothic church was built in a nearly 70-year construction period from 1454 to 1523 on the walls of six predecessors and able to resist fortified. As Mödling was destroyed in 1529 by the Ottomans, the just completed church lost its roof and remained for over a century till the restoration in 1660/70 a ruin. On the Merian engraving from 1649 the uncovered Othmar church on the left side is clearly visible. As a temporary parish church served the about 1450 built late-Gothic hospital church.
The internal conditions at this time were mainly marked of the clashes of the market with the princely rule Burg Mödling - since 1558 combined with the rule of Liechtenstein - which reached its climax in 1600 under the energetic administrator Georg Wiesing (1593-1611). During the Reformation, the market largely became Protestant. In the course of recatholicization a Capuchin monastery was founded in 1631, which served as a factory after the repeal under Joseph II and was then bought by the Thonet family (so-called Thonet Schlössel, today Bezirksmuseum).
In Türkenjahr 1683 (besiegement of the Turks) took place in the Othmar church a horrific bloodbath, in which hundreds of people who had sought refuge there were killed. The church was destroyed again, but this time built up rapidly with the market judge Wolfgang Ignaz Viechtl in a few years.
End of the 18th Century occurred in Mödling the settlement of industrial enterprises, especially textile mills that took advantage of the cheaper production possibilities and also its proximity to Vienna. Was decisively shaped the character of the place but by the rise to a summer resort, initiated by Prince Johann I of Liechtenstein beginning of the 19th Century, which acquired in 1807 the rule of Liechtenstein-Mödling with the former family ancestral home. He had the area under enormous cost reforested (Schirmföhren/pinus mugo, acacia, etc.) and transformed to a public park in Romantic style with promenade paths, steep paths and artificial constructions (Black tower, amphitheater, Husarentempel). The ruined castles Mödling and Liechtenstein were restored. The former Liechtenstein'sche landscape park is considered a remarkable example of the garden culture in 1800 and is now a popular tourist destination (1974 Natural Preserve Föhrenberge).
Since the Biedermeier Mödling in the summer was an extremely popular artist hangout. Among the most famous artists of the 19th Century who were inspired by the romantic nature here, were Franz Schubert, Franz Grillparzer, Ferdinand Waldmüller, Ferdinand Raimund and Ludwig van Beethoven, who here worked on one of his major works, the "Missa Solemnis". In the 20th Century settled inter alia Arnold Schönberg, Anton von Webern, Anton Wildgans, Franz Theodor Csokor and Albert Drach temporarily or permanently down. To Beethoven, Schönberg and Wildgans memorials have been established (Beethoven House, Schönberg House, Wildgans archive).
In the second half of the 19th Century Mödling became administrative center (District Court, District administration) and an industrial site and educational location with high schools and colleges (eg educational establishment Francisco-Josephinum). The good traffic situation at the southern railway, the progressive industrialization and the expansion of health facilities (park, Kursalon) led to a rapid expansion of the hitherto for centuries unchanged market. Under mayor Joseph Schöffel (1873-1882), who became famous because of his successful engagement against the deforestation of the Vienna Woods as the "savior of the Vienna Woods", followed the methodical installation of the so-called Schoeffel(before) city - Schöffelvorstadt (New Mödling) east of the Southern Railway and the establishment of workers' settlements. Later followed the exclusive residential areas of the turn of the century with their representative residential buildings. Probably the most important building of the late 19th Century is the Hyrtl'sche orphanage (1886-1889), founded by the Viennese anatomist, Joseph Hyrtl and Joseph Schöffel. The Orphanage church St. Joseph was built on the in 1787 demolished Martin Church.
On 18th November 1875 the emerging market town was raised to the status of a city, two years later the incorporation of Klausen and Vorderbrühl took place. Through the establishment of Great-Vienna under the Nazi regime on 15th October 1938 the young city for 16 years lost its municipal autonomy; 1954 it became again a part of Lower Austria.
Symbol for the characteristic environment of Mödling was the "width pine" on the Anninger whose age goes back to the 16th Century (around 1550). It was a well-known natural landmark and has become the symbol of the city. 1988 died the tree and it had to be removed in 1997 for safety reasons. The remains are now in the Lower Austrian Provincial Museum.
geschichte.landesmuseum.net/index.asp?contenturl=http://g...
The set was inspired by the eighteen equally intricate designed dollhouse-style interiors made by Frances Glessner Lee, which she titled "The Nutshell Studies of Unexplained Death" Her sets consist of a series of eighteen intricately designed dollhouse-style dioramas created by the greatest and my favorite doll house interior designer Frances Glessner Lee, a millionaire heiress with an interest in forensic science.
Her dioramas are detailed representations of death scenes that are composites of actual court cases, created by Glessner Lee on a 1 inch to 1 foot (1 : 12) scale./same as mine/ She attended autopsies to ensure accuracy, and her attention to detail extended to having a wall calendar include the pages after the month of the incident, constructing openable windows, and wearing out-of-date clothing to obtain realistically worn fabric. She called them the Nutshell Studies because the purpose of a forensic investigation is said to be to "convict the guilty, clear the innocent, and find the truth in a nutshell. Students were instructed to study the scene methodically—she suggested moving the eyes in a clockwise spiral—and draw conclusions from the visual evidence. At conferences hosted by Glessner Lee, prominent crime-scene investigators were given 90 minutes to study each diorama.
The dioramas show tawdry and in many cases disheveled living spaces very different from Glessner Lee's own background. The dead include prostitutes and victims of domestic violence.
Glessner Lee used her inheritance to set up Harvard's department of legal medicine, and donated the Nutshell dioramas in 1945 for use in lectures on the subject of crime scene investigation. In 1966 the department was dissolved and the sets were placed in storage. Presently the dioramas can be viewed by appointment at the Maryland Medical Examiner’s Office in Baltimore. A exhibit well worth while to visit for those interested in doll house interiors.Those wishing to view these sets, I strongly suggest making an appointment well before setting out to view them.
We are once again, after many years revisiting my own sets, each with it's own story connected to real life events and sharing them with some of my flickr. friends who expressed interest in viewing them.
None of the renderings have previously been exhibited or published.
I am most interested in your comments for we are once again entertaining the thought of publishing them with their stories in book form.
Thank you!
thank you for your interest.
The story of Margareten
For the first time in 1373 has been an estate named, the in contrast to an "upper court" at the height of the Viennese mountain (Wienerberg) as "lower court" on (today) Margaretenplatz is designated. 1395 donated Rudolf Tirna, an owner of the facility, together with his wife Anna and his brother Louis one to Saint Margaret of Antioch dedicated chapel. As other early mentions of the "Lower Court" and the chapel we find in 1411 the St. Margaretenkapelln to Metzleinstorff, 1548 St. Margareten, 1568 Sandt Margareten and in 1594 hoff to St Margareten. The around this Margaretner Hof in todays area Margaretenplatz - Hofgasse - Schlossgasse emerged estate hamlet constituted the starting point for the development of the suburb. The estate, it is shown on the circular plan of Niklas Meldemann in 1530 armed with a mighty tower, has been at the siege of 1529 of Turkish groups of fighters set on fire - a commemorative plaque on the house Margaretenplatz 3 remembers at it. The court subsequently changed hands several times until it purchsed Olav Nicholas, Archbishop of Gran, 1555 commercially. Olai had the courtyard and the chapel partially rebuild and he layed out a large castle garden.
He appointed settlers to Margareten and founded south of his farm Nikolsdorf. In the middle of the 17th Century, 1647-1667, finally completed the envoy to the Sublime Porte, Johann Rudolf Schmidt von Schwarzhorn the building. In the 1662 appeared "Topographia Archiducatus Austriae Inferioris Modernae" by Georg Matthäus Vischer the present castle is represented as a two-storey building whose siebenachsiger (7-axle) residential wing in the east is reinforced by a corner tower with loggia-like ambulatory and to the west is surmounted by an onion-shape crowned clock tower. In this figure, however, lacks the this very day preserved with mighty rusticaded stones cladded castle portal. After the destruction of the Türkenjahr (Siege of Vienna) 1683 the construction was rebuilt. Already about 1725 had in the front of the castle developed in the run of today Margaretenstraße through building development the methodic rectangular shape of today's Margaret Square.
1727 sold Earl of Sonnau the manorial system Margareten to the city of Vienna. Between 1749 and 1783 was located in the large deserted castle garden, which served partly as a grain field and pasture, the first Mulberry School in Vienna. In the premises of the castle in 1751 a factory of Leonean goods was established, but which burned down in 1768. 1786 Anton Schwarzleithner moved the factory to Mannersdorf (Lower Austria). Thereafter, the entire reality was measured and came up for auction. The largest parcel, the old castle at Margaretenplatz with the adjacent factory building at 23 Schlossgasse, bought the silk ribbon maker and judge of Margareten, Francis Plumper. By a daughter Prallers, Elizabeth, married Pichler, the building complex came into the possession of a book printer family, which to 1869 handled a print shop here. The new factory building at 21 Schlossgasse was purchased by auction by Johann Brauneck who in the same year petitioned for an increase. On the neighbouring to the west to the castle connecting parcel (Margaretenplatz 3) the silk stuff promoter Paul Hochholzer in 1787 by architect Johann Michael Adelpodinger the existing buildings had adapted, over the entrance gate the building inscription of the old castle of 1651 was immured. The to the west adjoining parcel with the in 1783 deconsecrated St Margaret's Chapel acquired the Samtmacher (velvet maker) Leopold Urspringer, who had the chapel demolished and the ground for the construction of a residential building (77 Margaret Street) used. Also the area of the small castle garden that had the Vienna municipal judge Leopold van Ghelen on lease, was parceled out and developed through newly created streets. In the period from 1781 to 1788 arised on the site of the great palace garden in the of the Gartengasse and Schlossgasse on the one hand and Margaretenstraße and Siebenbrunnengasse surrounded territory on the other not less than 41 parcels.
Margaretenplatz as a historical center of Margareten is particularly accentuated by the 1835/36 before the House Margaretenplatz 3 built well, on those square base the by Johann Nepomuk Schaller modelled statue of the over the dragon triumphant hl. Margaret, the eponym of the suburb rises. As part of the regulation of 1886, the Margaret Square fountain was offset by 20m to the southwest, and received its present location .
In the west the square is surrounded by the instead of the in 1883 demolished brewery according to plans of the architects Ferdinand Fellner and Hermann Helmer by builder Joseph Müller for Baroness Amalie Lipthay 1884/85 established Margartenhof. The castle-like complex occupies an extremely important position as regards urban development in the district. Historically, it represents the symbolic succession building of the old, today only in fragments existing Margaretner Castle (Margaretenplatz 2,3). The large residential complex with the street-like designed "Zierhof" is an early example of urban development concepts, which in Vienna otherwise only could unfold in the interwar period.
To the east the Margaretenplatz is dominated by an according to plans of Ferdinand Seif 1898 built monumental palace-like structured tenement, where forms of the Venetian city palace of the 16th Century were used. Buildings of the Gründerzeit round off the Margaretenplatz in the north.
Yes, plants contain active compounds. No, you can't just crush up a herb and inject it. That could kill you. The careful extraction of active compounds and their methodical assessment to find the correct dosage is called medicine. Yes, the big evil non-alternative kind that comes in generic boxes and bottles and doesn't have soothing pictures on the container.
On a February morning, hundreds lined the streets in Williamsburg to watch the Bray School’s slow and methodical move when the building was relocated to a lot in Colonial Williamsburg’s Historic Area where it will be preserved and interpreted. Later that day, W&M President Katherine A. Rowe spoke to a crowd gathered on the lawn of the Art Museums of Colonial Williamsburg for the Williamsburg Bray School Preservation Launch.
Photo by Stephen Salpukas
Stitched Panorama
On October 1, 2012 I spent an interesting day out at the Marin Headlands watching the ingenious riggers of the Bigge Crane & Rigging Company move a 16” gun up the hill to Battery Townsley. Battery Townsley in the Marin Headlands and Battery Davis on San Francisco’s Ocean Beach were the two Bay Area batteries armed (of four planned) with 16” guns in World War II. Each battery had two gun emplacements within a huge concrete construction housing guns, munition storage, generators, and in the case of Townsley up to 150 resident troops.
Battery Townsley received its two guns in 1939 and was ready for action soon thereafter. Placing the guns was no small feat since they are the largest rifles ever made for the US arsenal. Each barrel weighed almost a quarter-million pounds and stretched 68 feet from breech to muzzle. The battery was decommissioned as an artillery emplacement by 1948 and its guns were cut up for scrap in that year.
Fast-forward to the current day, the Marin Headlands are now part of the Golden Gate National Recreation Area and visitors can take a short hike up the hill to see Battery Townsley. For several years now a group of park volunteers has been restoring the battery. If you time your visit to coincide with their open house days you can tour the interior of the installation – great fun. As part of this restoration project a plan was developed to install and display a surplus naval gun nearly identical to the guns originally mounted at Battery Townsley. The surplus gun was sourced from the Naval Weapons Depot in Hawthorne, Nevada where it had been stored since 1953. In one of those pleasant little turns of history the company that won the modern day bid to move the barrel from Nevada to the Marin Headlands was Bigge, the same company that moved the original guns in 1939.
These photographs were taken during a pleasant day watching the crew methodically move this huge gun up the hill and into its storage place next to the battery. I began the day with a series of pole photographs of the gun in the Rodeo Beach parking lot (there was no wind in the morning). In the early afternoon I shot a quick round of kite aerial photographs at Rodeo Beach, the gun was still at the Rodeo Beach trailhead while transport hydraulics were tuned. I then hiked up to Battery Townsley to photograph the placement of the gun. I had originally planned to shoot a quick series of the gun being pulled through one of the hairpin turns on the approach road but my timing was off and I did not want to add distraction to what was a rather intense hauling session.
Dressed for Departure
The first light of dawn seeped through the tall windows of their Venetian hotel suite, casting a pale glow over the elegantly furnished room. Outside, the canals were still and hushed, the city not yet woken from its slumber. Today marked their departure—Venice would fade into memory as the train carried them north to Munich, and Clara would do so as she had arrived: in exquisite, controlled perfection.
She rose from the bed with quiet grace, slipping out from beneath the silk sheets and padding across the cool marble floor. The suite’s en-suite bathroom awaited, where her morning ritual would begin. She turned on the taps, allowing warm water to fill the basin as steam curled into the air. With slow, practiced movements, she lathered a fine-milled rose-scented soap between her palms, smoothing the delicate foam over her skin. The warm water kissed her collarbone, her arms, her legs as she worked methodically, ensuring she emerged as flawlessly polished as the garments that awaited her.
She reached for the ivory-handled razor, dragging it carefully along her legs, each stroke revealing perfectly smooth skin beneath. Her armpits received the same treatment, every trace of imperfection erased with meticulous precision. When she finished, she patted herself dry with a thick, warmed towel before moving to the vanity, where her reflection awaited its transformation.
Clara began with a layer of fine moisturizer, allowing it to settle into her skin before applying her foundation—a flawless canvas. A soft flush of blush followed, bringing warmth to her cheeks, while her brows were carefully shaped and filled to emphasize their natural arch. Her eyes, framed with the faintest touch of taupe shadow, were defined by a precise flick of liner, just enough to enhance without overwhelming. And finally, the finishing stroke—deep red lipstick, the same rich hue she had worn throughout Venice, painted onto her lips with steady, deliberate care.
Her nails, polished in the same striking shade, gleamed as she reached for her perfume. A soft dab at the pulse points—behind her ears, at the hollow of her throat, along her wrists—left her subtly enveloped in the sophisticated blend of bergamot, jasmine, and vanilla.
With her makeup perfected, she turned to her hair. She brushed through the golden-brown strands with long, fluid strokes before twisting them into a structured, low chignon at the nape of her neck. The arrangement was severe yet elegant, ensuring every strand remained firmly in place beneath the silk headscarf she would soon don.
Only now did she turn to the garments Freddy had laid out for her the night before—a testament to both his expectations and her discipline.
Her lingerie came first—a matching ivory set, designed as much for control as for beauty. The high-waisted shapewear briefs hugged her figure with firm precision, smoothing every line beneath the structured garments that would follow. The bra, lined with delicate lace yet stiffly reinforced, lifted and shaped her bust into sculpted perfection. Once secured, she reached for her stockings—sheer, in the faintest shade of champagne, whispering against her freshly shaven legs as she rolled them upwards, fastening them into place with slim garter straps.
Then came the heart of her ensemble: a tailored skirt suit in deep navy, structured and severe in its refinement. Clara hesitated for a moment before picking up the high-waisted pencil skirt, the fabric firm beneath her fingertips. The impeccably tailored skirt, pencil-thin, clung to her hips before cascading into a demure hem just below her knees. Each pleat and seam had been pressed into immaculate alignment, ensuring not a wrinkle marred its perfect composition. She stepped into it with care, securing the hidden fastenings before smoothing it over her thighs.
The crisp white blouse came next, its fabric thick yet breathable, its design meant to hold her posture as rigidly as any corset. The high collar framed her throat with stern precision, its pearl buttons fastened to the very top. The long sleeves, tailored to perfection, ended in neatly buttoned cuffs at her wrists, sealing her in layers of control. Tucking the blouse firmly into the waistband of her skirt, she reached for the suit jacket, a sharply tailored blazer in deep navy. The structured shoulders defined her posture, the fitted waist accentuating her silhouette before flaring slightly at the hips. The notched lapels framed the crisp precision of her blouse, and the polished buttons gleamed as she fastened them with deliberate care. Its tailored fit only further refined her silhouette, drawing her into a poised, commanding elegance.
But Freddy was not done with her. Despite the warmth of the Venetian morning, he had insisted on the final layer—a classic trench coat in the same deep navy as her suit. The belt cinched tightly at her waist, ensuring not a single element of her attire appeared uncomposed. The silk lining whispered against her blouse as she adjusted the collar, already knowing that its presence would weigh upon her throughout the journey.
She turned toward the mirror, lifting the final accessory—a silk headscarf in soft ivory. She folded it carefully before draping it over her hair, tying it neatly beneath her chin in a perfect knot. The silk contrasted beautifully with the severity of her suit, a whisper of femininity against the rigid precision of her ensemble.
Finally, she reached for her gloves—short, pristine white kid leather, as immaculate as the rest of her attire. She slid her hands into them, pressing each finger into place before smoothing them over her wrists. The final touch, the last seal of her refined imprisonment.
She turned to the full-length mirror, regarding herself with measured composure. Every element was as it should be—controlled, disciplined, poised. And yet, beneath the meticulous perfection, she felt the weight of each layer, the unyielding embrace of her garments. Her stockings clung to her legs with every movement, her blouse hugged her torso in unwavering stiffness, her gloves shielded her hands from the world, and her trench coat enveloped her in its heavy restraint.
Freddy approached from behind, his bare hands coming to rest on her waist, his warmth radiating through the layers of fabric. He studied her through the mirror, his eyes filled with quiet admiration.
“You look magnificent,” he murmured, his lips grazing the side of her headscarf.
Clara exhaled slowly, her gloved fingers flexing against the polished leather of her purse. “I look… bound.”
Freddy chuckled, his fingers tracing down the sleeve of her coat, savoring the texture of the fabric. “You wouldn’t have it any other way.”
She let out a soft sigh, though she knew he was right. She was elegance itself, a vision of structured refinement, and despite the heat, despite the weight of it all, she could not bring herself to resist.
With one last glance at her reflection, she straightened her posture, lifted her chin, and turned toward the door.
“Let’s go,” she said, her voice steady.
And with Freddy by her side, she stepped out of their Venetian suite, into the awaiting journey ahead.
High energy (and skill) shenanigans from 'Kin' by Barely Methodical Troupe which is part of the The Underbelly Circus Hub at this year's Edinburgh Fringe.
This show is oodles of fun.
You can book tickets here: www.underbellyedinburgh.co.uk/whats-on/kin
kceyagi: isanah: belakqwa: isanah: medievalpoc: belakqwa: medievalpoc: via EvilMarguerite on Twitter I’m against putting POC characters in tales of European origin, because, y’know, historical and ethnic accuracy is an actual thing. It’s folklore and it comes from this or that European culture so, yes, accuracy IS a thing. BUT. I’m all for making more movies based on mythology and folklore of other cultures, for example, African or Native American ones. This I support, it would be a great thing. Because, in all honesty, no one needs Black or Asian Cinderella, that’s just stupid (and, yes, inaccurate). but everyone needs more tales about a child lost in the forest meeting spirits and forest gods. Or at least lets make a movie using an Asian variant of Cinderella fairy tale, there’s more than one, y’know? Because I’m all for accuracy and I’m all for representing more than one dominant culture in multicultural society. Are you for real? I bolded the above statements because you know what? *I* needed a Black Cinderella. And I bet a lot of readers here did, too. We still do. Because of colonialism, most of us have been force-fed European history, mythology, fairy tales, and Medievalism; told it’s the best, the highest, the only. It’s everywhere we look: movies, cartoons, books, tv shows, and we’re told that this is something you are required to learn, and in some cases, the only context you’re allowed for your imagination, but it’s not really for you. It’s not about you. Because you aren’t “Historically Accurate.” That can go to hell and so can you. Because you know what? Our histories, once again, because of colonialism, kidnapping, enslavement, genocide, are marginalized, misunderstood, and misrepresented. They’re stolen from us and given to white people considered “more qualified” to tell them, and they make millions of dollars off of those misrepresentations. Entire libraries and histories were purposely, methodically burned in order to disempower people of color. These stories, when they survive, are made illegal to teach, specifically because they empower people of color! People of color are removed from their own stories and their own contexts and replaced with white people, because Ridley Scott “can’t mount a film of this budget, where I have to rely on tax rebates in Spain, and say that my lead actor is Mohammad so-and-so from such-and-such.I’m just not going to get it financed.” You claim you’re all for accuracy? And yet, a “Black or Asian Cinderella” is in your words, “just stupid”??? None of these women are “Accurate” to base a Cinderella on?? [source] [source] [source] [source] All of these women are just automatically disqualified from having their own Cinderella Story because of their races? No matter how “Historically Accurate” they are? [source on all images here] I think we can have both, all, and more. We can tell our own stories, make our own media, AND have a Black AND and Asian AND a Native American AND a Pacific Islander AND a Latina and any other Cinderella we choose. Our stories are worth telling, and for some of us, whose cultures have been crushed by multiple genocides, who have been colonized, who have had our imaginations replaced with Eurocentrism, we are allowed and entitled to our own Cinderella stories, whatever new and beautiful form they take. Also, guess what? There is, in fact, at least ONE Asian Cinderella, told centuries before Perrault’s version. It takes place in China. Did you miss the part where I talked about Asian version of Cinderella and other versions on purpose? Because either you didn’t see it even though it’s a black text on a white background and it’s really hard not to notice or you ignored this part on purpose. Anyway. You are free to read my posts in my folklore tag. I already explained everything enough times to the people who only read those parts of my comments that let them be angry as they like. Ah, yes, you did. My mistake. But why did you call it a variant, when others have existed prior to Perrault’s for centuries and you still call it historically inaccurate to have black or Asian Cinderellas? Okay, but OP states from their original post: “Because, in all honesty, no one needs Black or Asian Cinderella, that’s just stupid (and, yes, inaccurate).” In my experience, using the word “stupid” to describe something is entirely about shutting down other people’s opinions/thoughts and dismissing them despite the evidence that they’re wrong. I skimmed through the folklore tag of the OP and it looks like they’re against racebending stating that people should be represented with their own culture’s stories. Which I guess makes sense from a non-US point of view. But what about the kids growing up in the US who may not feel like just one type of story from their culture is enough representation? And it’s like OP’s forgetting that white people (I know OP isn’t white) borrow/steal aspects of other cultures and mash them together into awful adaptions. Firefly? Cinder? Big Hero 6? Pretty sure nobody was trying to be accurate or respectful of sharing aspects from another culture when those came out. Other than some confusion over who exactly is being addressed as “OP”, I really must say the backpedaling here is more or less what I expected. "Keep white Cinderella white" with a smattering of "make your own!" isn’t exactly the answer to needing more representation. Black and Asian Cinderella isn’t inaccurate, it isn’t "stupid", and removing the context of the actual current situation doesn’t help fix it either. Here: Western Neutral: Separating Common Culture From “Whiteness” ^ If anyone needs help reframing this discussion. I’m saying that people of color DO NOT HAVE TO BE OTHERED TO BE ACCURATE. We don’t need “exotic retellings” or “other versions” or “YOUR culture’s story”. People of color can JUST be “Cinderella”. This whole thread ^ is how marginalization works. I am pushing back against that. And I will keep providing as much visual, cultural, and textual ballast as is required to help any and every Cinderella out there feel empowered to claim it. I want people of color to stop being pushed OUT. I want people of color to feel entitled to Cinderella. Saying that people should be represented with “their own cultures stories” ignores the lived reality of people living in diasporas, in a global age, in a postcolonial reality. It strips people of the culture they live in. Are you really going to make a case that literally anything about say, the American Disney Cinderella from 1950, is a cultural claim for people in some time in Europe? It’s definitely not Medieval. It’s definitely not Victorian. It’s not set in a particular nation. As a matter of fact, note the poster’s claim: Because let’s stop mincing words. There’s no specific cultural claim here. It’s not a claim for “European only” because Europeans of color exist. This is a claim for whiteness. It’s part of the cultural claim that specifically American white people feel toward European History. The myth of the monochrome Middle Ages, in which the medieval is originary, pure, and white, transcends geographical and temporal boundaries. It is attached, through supposed biological descent, to white bodies, wherever and whenever they go, even into the apparently non-corporeal digital realms of fan-forums, television and video-games. There are many fans of color of popular culture medievalisms, but a hostile milieu which consistently repeats the messages that ‘you don’t belong in the Middle Ages’ and the ‘the Middle Ages are not yours’ actively discourages setting out on, let alone completing, a journey from interested fan to professional scholar. And I know that there are many Europeans of color who feel differently, identify differently, and have an entirely different relationship with their heritage. There are many, many, many discussions that people attempt to have with me that cannot and SHOULD NOT be had with me, or this blog. Here’s a message, shared with permission: (this is in response to your post medievalpoc.tumblr.com/post/105371046543/belakqwa-medieva...) I totally agree with ”we can have all and more” and you have some good info/arguments. However, you need to understand the essence of the discomfort that a lot of us (non american and some american) black people have in regards to seeing ourselves only in a European narratives. Black people have lives and cultures outside of Europe/America. I’m tired of seeing black princess in European garbs. I want to see more princesses celebrating cultures from Africa. I want to see the clothes and the jewelery from OUR continent. I want to see the tales of OUR continent on OUR continent. We had cultures and history just as much as medieval Europeans did. European cultures have enough exposure in the world. We are not defined by our presence in Europe. Our history doesn’t start when we had first contact with Europeans. All of these paintings are nice, but I don’t feel valued by them. All these people came from somewhere (or had non European origins) and their cultures where never valued in these representations. If we’ve been kicked out of our own stories, I want first and foremost to be put back in them. I want the priority to be put in my narrative before constantly being mirrored into a foreign European one. Yes we have a presence in Europe, yes we have cultural influence in Europe, yes its not inaccurate to have a black princess is Elizabethan or Victorian dresses. But Europe is not essentially us. Our African cultures and heritage are always erased just to prove we had some kind of prestige in Europe too. I know you’re not black and you might not get this. The opinions are mitigated and Black people in America seem to forget that blackness isn’t just them and they cannot define blackness for the rest of us non-Americans. ( you can publicly post this if you want)— sailorpoompoom (^ Please take care to note the above; I am not Black and discussions of Black identity should not involve me. “People of color” is generally considered an American identity, born of necessity in our sociopolitical and cultural situation.) And there’s is always room for these discussions. One thing’s validity doesn’t make the other moot. One is not more important than the other. One discussion doesn’t eclipse the other. One issue’s existence doesn’t negate the other. Many Americans are mixed-race and/or multicultural in and of themselves. Some of us do not know what race we are, what culture we come from, or have access to these kinds of connections with history. Too many of us have had cultures we should be entitled to denied to us. We are put in categories based on our appearance, regardless of heritage or cultural ties. Essentially, this has become a discussion over which “race”, however it’s categorized, owns the idea of Cinderella. My answer, which is EVERYONE, should not be controversial in my humble opinion. However, it has become obvious that it IS controversial for some people. Critical thinking demands that we ask ourselves why. We all speak from our own knowledge and our own experience, and I’m no exception. What I am trying to speak on is the importance of diversity in perspectives. I am trying to show how psychologically, physically, and spiritually damaging it is to say something is only for white people, because of the entire context of history and social reality of white supremacy. Medievalpoc is only capable of addressing a tiny and very specific fragment of a massive issue*. It’s my hope that people can see this as evidence as the work that needs to be done, as opposed to a failure of work that has been done so far. No one source is good enough to meet every need. It’s not about closing down discussions, but about diversifying the perspectives of the discussions at hand, and that the people affected by them are the ones having the discussions. ________ *Using what is here to address other issues is definitely possible, but is not its purpose, and harm can be caused when using a screwdriver to perform surgery, to use a rather ugly metaphor. That does not, however, render screwdrivers universally unnecessary, or people who use screwdrivers for their intended purposes blameworthy.
After a brief repose which followed our initial ascent up the Longji terraced fields, our band of three left the hotel to resume again our hiking. To catch the setting sun, we set off for the high western hills that lay directly behind our residence. Another group of ardent Hong Kong tourists joined us on this trek.
Though we neither anticipated such an arduous journey, nor did we bring enough water to satisfy our parched lips, we nonetheless reached the peak of the acclivity without too much ennui to warrant a hasty departure. As if crack troops on the watch, we bunkered down on our hill, affectionately called "47," and from there we waited for the sun's final languid descent into obscurity.
No sooner had we made ourselves quite comfortable, exploring the adjacent mounds and running along the ridge while emoting in our Braveheart impersonations, than we noticed the ominous smoke billowing into the sky from the nearby mountaintops. The concentrated haze, the result of controlled brushfires, we concluded, was moving closer and closer towards us. Eventually, the crackling from the intense combustion of browned and dry foliage, that had been methodically placed on certain declivities, tinged our ears; and the smoke, which had so far been blown away by an easter gale whose ferocity also invited a biting cold to hill 47, at length enveloped our position, compromising our ability to remain there any longer. But by this time thankfully, the meek sun had ambled its way into the opaque distance and with our primary objective met, we gladly capitulated our untenable camp to our fiery nemesis. As the dark blanket of dusk settled on Longji, we swiftly fell back into the dimming wood, eager to return to our lodgings for a hot meal.
Cup of the Day #26
Green Palm by Gwyneth Leech, 2010
Colored India ink on white paper coffee cup
I was walking home from the studio in the pouring rain the other day and passed one of my local deli-men. He was carrying an umbrella and wearing a black and white satchel over his shoulder - a 2010 Census satchel! He has embarked on a new, temporary career going door to door chasing up non-responders.
I was in his shoes at the beginning of April, although it wasn't door-to-door then, but a matter of waiting outside soup kitchens and shelters for the intensive shelter-based enumeration at the start of the census period. We trained at Truro college in Lower Manhattan - hundreds of us all at once, spending long days in windowless rooms going methodically through handbooks. This was not a job to be taken lightly, even though our crew leader, Lisa Kaplan, a stand-up comedienne by profession, did her dry best to make it palatable. At the training our group of 30 or so included under-employed singers, actors, writers and artists, some of whom I already knew from around my neighborhood or from my choral singing job.
Lunch breaks were a highlight of the training and Bean and Bean, at 71 Broadway, a pleasant discovery. They are an all-organic coffee bar and roast their beans right on the spot. You can see the Digital Roaster, the Pro 2500, sitting in shiny glory in a glass-walled room at the back of the shop. It made me feel quite confident about the expensive product I carried away with me.
Once training was complete, the actual enumeration job involved traveling to multiple sites around the city, long waits, false starts, lots of paperwork and some heart ache, but all the information is confidential and I can't share any of the stories I heard on threat of imprisonment or fine. However, I can say that the wind blew, rain lashed down and enumeration forms turned to mush as we tried to fill them in while counting people outside several famous sites, such as the McAuley Water Street Mission, the Salvation Army on 14th Street and the Bowery Mission - which lives up to it's knock-about reputation despite the shiny presence of the New Museum literally two doors away.
I saw a cluster of enumerators on a stoop up the block yesterday. I stopped to commiserate. How many times do they have to come back to any given apartment if they get no response? Six times. That's a lot of leg work!
So give them a break - if you still haven't filled in that census form, do it now.
More cup drawings and NYC stories about art, life, tea and coffee
*Endeavour*: On April 3, 1768, the Earl of Pembroke, an ungainly-looking
North Sea coal carrier, was put into dry dock. Stout and heavy-timbered,
with a bluff bow and a narrow stern, she was intended for a singularly
adventurous role - would carry a hand-picked group of naval officers and
scientists to the farthest reaches of the Pacific to conduct vital
astronomical studies and to make yet another search for the continent
identified on the maps as Terra Australis Incognita. She was selected
because she could hold the large quantities of supplies and scientific
equipment the voyagers would require, and also because she was
flat-bottomed and was able to take the punishment of an accidental
grounding. She was renamed the Endeavour, and within four weeks her hull
had been sheathed with a second layer of planking to protect against
tropical sea worms. Her masts and yards were scrapped for fresh-cut
spars, and all her rigging was replaced with new hempen lines. The
selection of Lieutenant James Cook as leader of the expedition to the
Pacific was even more surprising than the Admiralty's choice of the
Endeavour. At the age of 39, Cook was virtually unknown to his
countrymen, came from the lower ranks of society, was haphazardly
educated and had not even spent his whole career in the Royal Navy: His
training had been in the merchant marine.
Cook would become the greatest explorer of his time - and the greatest
Pacific explorer of all time. As captain of the Endeavour, he would
sight and survey hundreds of landfalls that no Westerner had ever laid
eyes on. And though the Endeavour would never fire her guns at another
ship in battle, Cook's epochal voyage aboard the converted collier was
destined to bring under George III's sovereignty more land and wealth
than any single naval victory of the powerful British fleet. But the
most important prize of this and the two subsequent voyages that Cook
would make was measured not in territory but in knowledge. Patient and
methodical where his predecessors had been hasty and disorganized, he
would sweep away myths and illusions on a prodigious scale, and in the
end would give to the world a long-sought treasure: a comprehensive map
of the Pacific. Cook didn't find the fabled "Great Southland", but he
discovered - in Australia - a country equally deserving of such a title!
It is worth mentioning here that a piece of his original ship "The
Endeavour", a converted coal-carrier, was taken into orbit aboard the
Space-Shuttle of the same name.
*Sydney Harbour Bridge*: opened in 1932 and until 1967 was the city's
tallest structure. It is the world's widest long-span bridge and the
tallest steel arch bridge, measuring 429.6 ft from top to water level.
It is also the fourth-longest spanning-arch bridge in the world. The
bridge deck portion of the highway is 0.73 miles long, is concrete and
lies on trimmers (beams that run along the length of the bridge). The
trimmers themselves rest on steel beams that run along the width of the
bridge. The arch is composed of two 28-panel arch trusses. Their heights
vary from 55.8 ft at the centre of the arch to 176.7 ft (beside the
pylons). The arch span is 503 m and the weight of the steel arch is
39,000 tons. The arch's summit is 440 ft above mean sea level, though it
can increase by as much as 7 in on hot days as the result of steel
expanding in heat. Two large metal hinges at the base of the bridge
accommodate these expansions and contractions and thereby prevent the
arch from being damaged. About 79% of the steel came from Middlesbrough,
in the North East of England. The rest was Australian-made. The total
weight of the bridge is 52,800 tonnes, and six million hand-driven
rivets hold the bridge together. The rivets were made at the Park Bridge
Ironworks in Lancashire England. At each end of the bridge stands a pair
of 276 ft high concrete and granite pylons. Abutments, which support the
ends of the bridge, are contained at the base of the pylons. They
prevent the bridge from stretching or compressing due to temperature
variations. Otherwise, the pylons serve no structural purpose and are
primarily to visually balance the bridge itself. They were never an
essential part of the design but were added to allay concerns about
structural integrity.
*Jacaranda*: is a genus of 49 species of flowering plants in the family
Bignoniaceae, native to tropical and subtropical regions of South and
Central America, Mexico, and the Caribbean. The species are shrubs to
large trees ranging in size from 2 to 30 m tall. The leaves are
bipinnate in most species, pinnate or simple in a few species. The
flowers are produced in conspicuous large panicles, each flower with a
five-lobed blue to purple-blue corolla; a few species have white
flowers. The fruit is an oblong to oval flattened capsule containing
numerous slender seeds.
**
“A” Company of the Special Operations Regiment, together with Unit 302 of the Coalition’s Counter-Terrorism Division, was tasked with a village clearance operation aimed at disrupting insurgent networks and degrading their ability to launch coordinated attacks.
After 2nd Platoon established blocking positions around the village and set the conditions for the Ground Assault Force (GAF), 1st Platoon and Unit 302 launched the assault in the middle of the night. Unit 302 led the charge, clearing the first series of buildings.
Contact was made almost immediately as the assault teams advanced into the village, but the assault force quickly returned fire, clearing each structure methodically.
To be continued…
Note: This story, including all names, characters, and incidents, is entirely fictitious.