View allAll Photos Tagged methodical
He took a certain grim pleasure from impaling the apples on the skewer and methodically spinning them towards the peeling blade. It was a bizarre cross between Julia Child and every James Bond villain ever conceived.
He was entranced by the ribbons of peel that piled up on the counter. He carefully sifted through the varieties of apples for his creation; some were softer but more flavorful, some more firm but less zingy. He tossed in some mulling spices, a few cinnamon sticks, and a bit of brown sugar. Boil it down, mash it up, strain it...he sealed his creation in mason jars and sat back to plan his next evil scheme. Maybe something with potatoes.
9411-FGX (17) a Volvo B12M bendy bus on the extremely busy all stops service to Palma, seen here in Palmanova on the Ma-1C.
These incredibly long Volvos have a disabled bay in the rear section, which must make it very hard for the driver and user to use, as can be seen here quite often in bency operation is isn't possible to get the rear section level with the kerb, due to parked vehicles etc.
On a journey we had on one of these on the previous day the bus was paced and standing on the express 107 into Palma and was running around 25 mins late as all the buses were busy and the Summer timetable was not introduced yet (1st May).
The allocations seemed to make no difference to the route or any other kind of methodical thinking, you could get a high step entrance coach type vehicle like this in single and bendy style and then a low floor etc, an interesting place to be!
I'm not sure how the plant is going to fit in the car on the right!
www.phaselis.org/en/about/about-project
Phaselis Research
Phaselis
When compared with the previous period of research on the history of the city over the past quarter century it has undergone radical changes. While modern scientists follow the path of their predecessors in collecting data through systematic processes and methodically analysing them, they change the route whereby they approach the city as a context- and a process-oriented structure, having economic, social, cultural, political and environmental dimensions which come together at different levels.
This considerably more inclusive definition expands the discipline concerning the city’s historical research, which consists of archaeology, epigraphy, ancient history and the other ancillary sciences and it encourages scientists from the natural and health sciences to participate within these studies. This is because in the course of the exploration of an ancient settlement the study of both the environment and the ecological setting which make human life possible; together with health issues, such as diet and epidemics, form the context within which human beings live, and which are thereby as important as the human actors.
Within the context of the planned Phaselis Research, even certain knowledge such as the settlement’s appearing on the stage of history as a favorite break-point with its three natural harbours, it being famous for its roses, the frequent seismic upheavals at sea and on its shores and its citizens leaving their homes because of a devastating malaria epidemic suggest the necessity of the application of this multi-dimensional research methodology in order to understand more fully the historical adventure of this city.
By presenting this research project, we aim to implement and realize this multi-dimensional research method, which as yet lacks widespread application in the field in our country, however conceptually and practically with a multi-disciplinary research team consisting of both national and international scientists, we intend to register systematically every kind of data/information regarding all contexts of the city employing modern methods and to present the results to the scientific world in the form of regular reports and monographic studies, thus forming a strong tie between past and future research.
Phaselis Territorium
The boundaries of the ancient city of Phaselis’ territorium are today within the administrative borders of the township of Tekirova, in Kemer District, determined from the archaeological, epigraphic and historical-geographical evidence, reaching the Gökdere valley to the north, continue on a line drawn from Üç Adalar to Mount Tahtalı to the south and extend along the Çandır valley to the west.
Phaselis was discovered in 1811-1812 by Captain F. Beaufort during his work of charting the southern coastline of Asia Minor for the British Royal Navy. Beaufort drew Phaselis’ plan and in the course of conducting his cartographic studies, he saw the word Φασηλίτης ethnikon on the inscriptions and consequently identified these ruins with Phaselis. C. R. Cockerell, the English architect, archaeologist and author came to Phaselis by ship and met Beaufort there. Then in 1838 C. Fellows, the English archaeologist visited the city. He found the fragments of the dedicatory inscription over the monumental gate built in honour of the Emperor Hadrianus and mistakenly thought the Imperial Period main street was the stadion due to the seats-steps on either side of the street. In 1842 Lt. T. A. B. Spratt, the English hydrographer and geographer, and the Rev. E. Forbes, the naturalist came to Phaselis via the Olympos and Khimaira routes. Due to the fact that they all came by sea and they only stayed for a short time, their descriptions of the topography inland are without detailed and there are serious errors in orientation.
PhaselisThose researchers who visited Phaselis between the late 19th and the early 20th centuries concentrated primarily upon the discovery of inscriptions. In 1881-1882 while the Austrian archaeologist and the epigraphist O. Benndorf, the founder of the Austrian Archaeological Institute, and his team were conducting research in southwestern Asia Minor, they examined Phaselis. In the winter of 1883 and 1884 F. von Luschan from the Austrian team took the first photographs which provide information concerning the regional features of Phaselis’ shoreline. In the same year the French scientist V. Bérard also visited Phaselis. In 1892 the members of the Austrian research team, O. Benndorf, E. Kalinka and their colleagues continued their architectural, archaeological and epigraphical studies in Phaselis. In 1904 they were followed by D. G. Hogarth, R. Norton and A. W. van Buren from the British research team. In 1908 the Austrian classical philologist E. Kalinka visited the settlement again, collected epigraphic documents and conducted research on the history of city (published in TAM II in 1944). The Italian researchers R. Paribeni and P. Romanelli visited Phaselis in1913 and C. Anti in 1921. Anti returned to Antalya overland and in consequence discovered several epigraphs and the ruins of structures within the territorium of Phaselis.
Further archaeological, epigraphical and historical-geographical studies of Phaselis were conducted by the English researchers F. M. Stark and G. Bean, who came to the region after World War II. In 1968 H. Schläger, the German architect and underwater archaeologist began exploring the topographical and architectural structures of Phaselis’s harbours. After Schläger’s death in 1969, the research was conducted under the leadership of the archaeologist J. Schäfer in 1970. H. Schläger, J. Schäfer and their colleagues obtained important data concerning the architecture and history of Phaselis through the surface exploration of the city and its periphery. Following the excavations conducted along the main axial street of the city, in 1980 under the direction of Kayhan Dörtlük, the then Director of the Antalya Museum and between 1981-1985 under the leadership of the archaeologist Cevdet Bayburtluoğlu; underwater exploration was carried out in the South Harbour under the direction of Metin Pehlivaner, the then Director of the Antalya Museum.
A pictorial document (Aethergraph) from Transleithania. Circa 1870
This historic image shows perplexed research scientists methodically re-checking their apparatus & calibrations following an accident during preliminary testing of an experimental prototype for a Fluoroscopic Field Unit (mobile X-ray unit).
The unexpected results were later thought to be attributable to a passing electric storm, which probably caused a momentary power surge. Despite repeated attempts, similarly good results were never achieved again.
Created for the 48th Contest on Man Ray: Market Trolley
Credits to :- Paul Grand for use of the Trolley image. & to
uknown for image of monkey X-ray, valves & scientists
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.
12345678910»
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...
Saturday, February 11, 2012.Recap: No. 15 C'Town 87, No. 19 WC 69.By Brendan Hall..CHARLESTOWN, Mass. -- At this time last year, Charlestown made the trek West, down Route 146, to deliver a haymaker to a Whitinsville Christian squad considered the state's tallest lineup. ..This afternoon, the Crusaders came East to Bunker Hill, with a different look for the Townies -- smaller, quicker, more surgical -- and the result was very nearly a different outcome. The Crusaders hung with Charlestown through three quarters, before the Townies pulled away in the fourth, outscoring Whitinsville 31-14 in the final frame en route to an 87-69 victory. .."That team's very good, I thought that was the best shooting team we saw," Charlestown head coach Edson Cardoso said. "They're very well balanced, with a real good point guard, big man, two-guard, so I knew coming into this game it was going to be a battle. I told the guys, 'You're going to see a team like this in the state tournament, eventually down the line." ..The Townies (14-3), played just seven due to health (Jawhari Dawan-Abdullah, stomach bug) and off the court issues (Gary Braham, suspension). But they saw all five of their regular starters reach double-figures, with senior point guard Rony Fernandez (26 points, four assists) leading the way. Senior forward Tyrik Jackson (12 points, 13 rebounds) came up big on the glass again, while Tyrese Hoxter (16 points, seven assists), Omar Orriols (13 points) and Iser Barnes (12) contributed some big shots from the perimeter to keep the defense stretched out. ..But early on, the Crusaders (12-2) gave them fits with the methodical way they broke through the Townie's 2-3 zone with some of the most disciplined and precise ball movement they'd seen in a while. Junior point guard Colin Richey (23 points) funneled the offense down to the baseline, finding a player planted right in the heart of the zone and kicking to either the baseline or either wing. ..Whitinsville shot nearly 40 percent from the field, getting good looks from the short side from Tyler VandenAkker (12 points, eight rebounds) and Jesse Dykstra. Grant Brown (10 points) came up with some big shots from the perimeter as well. .."We decided to extend a little bit more on the short corner, because they hit about four shots in a row from the short corner," Cardoso said. "We also decided to have the opposite guard extend even more on shooter No. 2 (Tim Dufficey). So we made some extensions in the second half, did a little better job -- not a great job, but it helped us get the victory." ..To start the fourth quarter, Barnes completed a 6-0 run by ripping the ball out of his defender's hands at midcourt and landing a breakaway layup. A few possessions later, Hoxter found Jackson underneath the rim for an easy tip-in and 68-59 advantage. ..Then with 1:37 to go, sophomore Taris Wilson hit the first of two monster breakaway slams, this one making it 76-63 to essentially put the game in hand. ..Hot from the field: The Townies outrebounded the Crusaders 16-7 in the final frame, giving way to many key transition points that helped ice the lead and the win. From the glass, WC still held a slim 35-33 advantage. ..But down at the other end, the Townies had a terrific night from the field, shooting nearly 58 percent overall. That was aided by a 7-for-17 effort from three-point range, including three 3's each from Fernandez and Orriols. ..Praise for Richey: Last season, New Mission head coach Cory McCarthy was throwing around high praise for the then-sophomore Richey, calling him "a suburban kid that plays urban". ..Consider Cardoso another Boston City League coach that's a fan. .."He's tough," Cardoso said. "He's one of the toughest guards coming out of his league, and I think he's going give a lot of teams problems in the state tournament, because how do you stop a kid like that?" ..Turning point? Following last season's loss to Charlestown in its home gym, WC coach Jeff Bajema greeted his players in the locker room and told them, "Guys, we can win states." ..Sure enough, the Crusaders never lost another game the rest of the way, picking up their first Division 3 state title since 2005 at the DCU Center in Worcester. After that game, Bajema spoke to reporters about how much the whitewashing by Charlestown seasoned them for what to expect in the state tournament. ..Given how much more competitive the Crusaders were this time around, could this be seen as another momentum shift? .."Hopefully, a game like this will lead us to better things," Bajema said. "But we've got a tough one Tuesday (against Holy Name), so we'll see."
Shot at ISO 1600, Aperture of 3.5, Shutter speed of 1/800 and Focal Length of 24.0 mm
Taken with a 24-70mm F2.8 ZA SSM lens and processed by Aperture 3.2.2 on Saturday February-11-2012 16:34 EST PM
www.phaselis.org/en/about/about-project
Phaselis Research
Phaselis
When compared with the previous period of research on the history of the city over the past quarter century it has undergone radical changes. While modern scientists follow the path of their predecessors in collecting data through systematic processes and methodically analysing them, they change the route whereby they approach the city as a context- and a process-oriented structure, having economic, social, cultural, political and environmental dimensions which come together at different levels.
This considerably more inclusive definition expands the discipline concerning the city’s historical research, which consists of archaeology, epigraphy, ancient history and the other ancillary sciences and it encourages scientists from the natural and health sciences to participate within these studies. This is because in the course of the exploration of an ancient settlement the study of both the environment and the ecological setting which make human life possible; together with health issues, such as diet and epidemics, form the context within which human beings live, and which are thereby as important as the human actors.
Within the context of the planned Phaselis Research, even certain knowledge such as the settlement’s appearing on the stage of history as a favorite break-point with its three natural harbours, it being famous for its roses, the frequent seismic upheavals at sea and on its shores and its citizens leaving their homes because of a devastating malaria epidemic suggest the necessity of the application of this multi-dimensional research methodology in order to understand more fully the historical adventure of this city.
By presenting this research project, we aim to implement and realize this multi-dimensional research method, which as yet lacks widespread application in the field in our country, however conceptually and practically with a multi-disciplinary research team consisting of both national and international scientists, we intend to register systematically every kind of data/information regarding all contexts of the city employing modern methods and to present the results to the scientific world in the form of regular reports and monographic studies, thus forming a strong tie between past and future research.
Phaselis Territorium
The boundaries of the ancient city of Phaselis’ territorium are today within the administrative borders of the township of Tekirova, in Kemer District, determined from the archaeological, epigraphic and historical-geographical evidence, reaching the Gökdere valley to the north, continue on a line drawn from Üç Adalar to Mount Tahtalı to the south and extend along the Çandır valley to the west.
Phaselis was discovered in 1811-1812 by Captain F. Beaufort during his work of charting the southern coastline of Asia Minor for the British Royal Navy. Beaufort drew Phaselis’ plan and in the course of conducting his cartographic studies, he saw the word Φασηλίτης ethnikon on the inscriptions and consequently identified these ruins with Phaselis. C. R. Cockerell, the English architect, archaeologist and author came to Phaselis by ship and met Beaufort there. Then in 1838 C. Fellows, the English archaeologist visited the city. He found the fragments of the dedicatory inscription over the monumental gate built in honour of the Emperor Hadrianus and mistakenly thought the Imperial Period main street was the stadion due to the seats-steps on either side of the street. In 1842 Lt. T. A. B. Spratt, the English hydrographer and geographer, and the Rev. E. Forbes, the naturalist came to Phaselis via the Olympos and Khimaira routes. Due to the fact that they all came by sea and they only stayed for a short time, their descriptions of the topography inland are without detailed and there are serious errors in orientation.
PhaselisThose researchers who visited Phaselis between the late 19th and the early 20th centuries concentrated primarily upon the discovery of inscriptions. In 1881-1882 while the Austrian archaeologist and the epigraphist O. Benndorf, the founder of the Austrian Archaeological Institute, and his team were conducting research in southwestern Asia Minor, they examined Phaselis. In the winter of 1883 and 1884 F. von Luschan from the Austrian team took the first photographs which provide information concerning the regional features of Phaselis’ shoreline. In the same year the French scientist V. Bérard also visited Phaselis. In 1892 the members of the Austrian research team, O. Benndorf, E. Kalinka and their colleagues continued their architectural, archaeological and epigraphical studies in Phaselis. In 1904 they were followed by D. G. Hogarth, R. Norton and A. W. van Buren from the British research team. In 1908 the Austrian classical philologist E. Kalinka visited the settlement again, collected epigraphic documents and conducted research on the history of city (published in TAM II in 1944). The Italian researchers R. Paribeni and P. Romanelli visited Phaselis in1913 and C. Anti in 1921. Anti returned to Antalya overland and in consequence discovered several epigraphs and the ruins of structures within the territorium of Phaselis.
Further archaeological, epigraphical and historical-geographical studies of Phaselis were conducted by the English researchers F. M. Stark and G. Bean, who came to the region after World War II. In 1968 H. Schläger, the German architect and underwater archaeologist began exploring the topographical and architectural structures of Phaselis’s harbours. After Schläger’s death in 1969, the research was conducted under the leadership of the archaeologist J. Schäfer in 1970. H. Schläger, J. Schäfer and their colleagues obtained important data concerning the architecture and history of Phaselis through the surface exploration of the city and its periphery. Following the excavations conducted along the main axial street of the city, in 1980 under the direction of Kayhan Dörtlük, the then Director of the Antalya Museum and between 1981-1985 under the leadership of the archaeologist Cevdet Bayburtluoğlu; underwater exploration was carried out in the South Harbour under the direction of Metin Pehlivaner, the then Director of the Antalya Museum.
Migratory big white beautiful bird! They remain at White Rock Lake's Sunset Bay (Dallas, TX) until March or April. Click on image for best view.
One of the largest North American birds, the American White Pelican is majestic in the air. The birds soar with incredible steadiness on broad, white-and-black wings. Their large heads and huge, heavy bills give them a prehistoric look. On the water they dip their pouched bills to scoop up fish, or tip-up like an oversized dabbling duck. Sometimes, groups of pelicans work together to herd fish into the shallows for easy feeding. Look for them on inland lakes in summer and near coastlines in winter.
Size & Shape
A huge waterbird with very broad wings, a long neck, and a massive bill that gives the head a unique, long shape. They have thick bodies, short legs, and short, square tails. During the breeding season, adults grow an unusual projection or horn on the upper mandible near the tip of the bill.
Color Pattern
Adult American White Pelicans are snowy white with black flight feathers visible only when the wings are spread. A small patch of ornamental feathers on the chest can become yellow in spring. The bill and legs are yellow-orange. Immatures are mostly white as well, but the head, neck, and back are variably dusky.
Behavior
American White Pelicans feed from the water’s surface, dipping their beaks into the water to catch fish and other aquatic organisms. They often upend, like a very large dabbling duck, in this process. They do not plunge-dive the way Brown Pelicans do. They are superb soarers (they are among the heaviest flying birds in the world) and often travel long distances in large flocks by soaring. When flapping, their wingbeats are slow and methodical.
Habitat
American White Pelicans typically breed on islands in shallow wetlands in the interior of the continent. They spend winters mainly on coastal waters, bays, and estuaries, or a little distance inland.
"http://www.allaboutbirds.org"
(Egretta caerulea).
A small, dark heron arrayed in moody blues and purples, the Little Blue Heron is a common but inconspicuous resident of marshes and estuaries in the Southeast. They stalk shallow waters for small fish and amphibians, adopting a quiet, methodical approach that can make these gorgeous herons surprisingly easy to overlook at first glance. Reference www.allaboutbirds.org/guide/Little_Blue_Heron/id
Image - Copyright 2018 Alan Vernon
Lot-840-1: “Firemen of the Fleet,” August 18, 1943. In peace or war, there is one foe eternally feared by every man that goes to sea – fire. In wartime, fire is twice as deadly in peace. Ignited by enemy shells or bombs, the flames menace personnel already busy at their battle stations – and every man called from his post gives the foe that much more advantage during action. Thus the Navy has founded fire-fighting schools to train specialists in the grim art of extinguishing fires anywhere aboard ship quickly and methodically. Different methods are taught the seagoing fireman for combatting flames in different sections of the ship. To lend realism to the courses, substantial “mock-ups” of vessels have been built, in which the trainees learn their grim lessons, mater the use of their flame-fighting equipment. Shown: Armful of Mascots. Snugly cuddled in the asbestos helmet of Phil Barabas, 2/C, three Dalmatian pups born at the firefighting school look forward to careers as mascots of the organization. U.S. Navy Photograph. Courtesy of the Library of Congress. (2016/04/14). Photographed through Mylar sleeve.
Another baseball all-time great has joined Tom Seaver, Lou Brock and Bob Gibson in the Great Beyond—wherever that might be. He was born Edward Charles Ford but because of his pale blonde head of hair all of us in the knothole gang knew him as Whitey.
I hated the New York Yankees. By the time I was 15 the Yankees had won ten of the World Series played during my decade and a half on the planet. Year after year it seemed that a Yankee championship was inevitable. I rooted for underdogs, chiefly the Boston Red Sox, but my guys never won. Whitey Ford was a big reason why. He pitched 3,170 innings of major league baseball over 16 seasons between 1950 and 1967—every one of them as a New York Yankee.
Over his long career Ford recorded 236 regular-season victories—against just 106 losses. His ERA—-earned run average—was a measly 2.75. Three times he led the American League in victories; twice he led the way in innings pitched. In 1961, with 25 victories against just four losses, he won the AL Cy Young Award as the league's best pitcher.
I never managed to hate Whitey Ford as I did so many of his teammates. He was not a loudmouth, a showoff or a strutter. He went about his work quietly, methodically, brilliantly. Whenever Ford took to the mound New York fans justifiably felt that a win was in the bag. I understood: I felt the same way.
Ford was ushered into the Baseball Hall of Fame in 1974 together with his fellow-great Yankee teammate Mickey Mantle.
Whitey was born to be a Yankee: he took his first breath in the Queens borough of New York City and played his high school baseball at Aviation Tech HS in Manhattan. He had moved a little bit east by the end of his time. Whitey Ford passed out of this vale of tears at Lake Success NY on Long Island, twelve days short of his 92nd birthday.
Chaparral Cars was a United States automotive company which built prototype race cars from the 1960s through the early 1970s. Chaparral was founded by Jim Hall, a Texas oil magnate with an impressive combination of skills in engineering and race car driving. Throughout the 1960s and 1970s, Chaparral's distinctive race cars experienced strong success in both American and European racing circuits. Despite winning the Indy 500 in 1980, the Chaparrals left motor racing in 1982. Chaparral cars also featured in the SCCA/CASC CanAm series and in the European FIA Group 7.
Chaparral was the first to introduce effectively designed air dams and spoilers ranging from the tabs attached to the earliest 2 model to the driver-controlled high wing 'flipper' on the astoundingly different looking 2E, all the way through to Hall's most idealistically inspired creation, the 2J, the car that would forever be known as the 'vacuum cleaner'. The use by Jim Hall of a semi-automatic transmission in the Chaparral created flexibility in the use of adjustable aerodynamic devices.
The development of the Chaparral chronicles the key changes in race cars in the '60s and '70s in both aerodynamics and tires. Jim Hall's training as an engineer taught him to approach problems in a methodical manner and his access to the engineering team at Chevrolet as well as at Firestone changed aerodynamics and race car handling from an art to empirical science. The embryonic data acquisition systems created by the GM R&D group aided these efforts.
The Chaparral 1 was the first car to carry the Chaparral name and marked the transition of Jim Hall from an entrant to a constructor. Built by Troutman and Barnes, the Chaparral 1 was a conventional front-engined car, a development of the Scarab sport car first built for Lance Reventlow in 1957. Jim Hall raced it successfully through 1961, 1962 and 1963 while he created the design for Chaparral 2. As it was not a design owned by Jim Hall, other cars were sold to cut costs. It was the only Chaparral to be raced by someone other than Chaparral cars.
The Chaparral 2-Series was designed and built to compete in the United States Road Racing Championship and other sports car races of the time, particularly the West Coast Series that were held each fall. Following the lead of innovators like Bill Sadler from Canada and Colin Chapman who introduced rear engined cars to Grand Prix cars in Europe (where Jim Hall had raced in Formula 1), its basic design concept was a rear engined car.
First raced in 1963, it was developed into the dominant car in the series in 1964 and 1965. Designed for the 200 mile races of the sports car series, it was almost impossible to beat. It proved that in 1965 by winning the 12 Hours of Sebring on one of the roughest tracks in North America.
As the car was being developed, Jim Hall took the opportunity to implement his theories on aerodynamic force and rear wheel weight bias.
In addition, the Chaparral 2-Series featured the innovative use of fiberglass as a structural element. Hall also developed 2-Series cars with conventional aluminum chassis.
The 2E was based on the Chevrolet designed aluminum 2C chassis and presented Jim Hall's most advanced aerodynamic theories to the racing world in the 1966 inaugural Can Am championship. The 2E established the paradigm for virtually all racing cars built since. It was startling in appearance, with its radiators moved from the traditional location in the nose to two ducted pods on either side of the cockpit and a large wing mounted several feet above the rear of the car on struts. The wing was the opposite of an aircraft wing in that it generated downforce instead of lift and was attached directly to the rear hubs, loading the tires, for extra adhesion while cornering. A ducted nose channeled air from the front of the car up, creating extra downforce as well. By depressing a pedal that was in the position of the clutch pedal on a car with a manual transmission, Hall was able to feather, or flatten out, the angle of the wing when downforce was not needed, such as on a straight section of the track, to reduce drag and increase top speed. In addition, an interconnected air dam closed off the nose ducting for streamlining as well. When the pedal was released, the front ducting and wing returned to their full downforce position. It was a brilliant design. But the moveable-wing was banned by the FIA so Jim Hall had to make do with a fixed-wing which was not adjustable by the driver during the race. Within two years every sports racing car as well as formula one car had wings on tall struts, although many were not as well designed as Hall's and the resulting accidents from their failures caused the high wings to be outlawed by the sanctioning bodies.
The 2E scored only one win in Laguna Seca with Phil Hill driving, but the reason for this may have been the larger engines the other competitors were using. Hall stuck to an aluminum 5.3 liter Chevrolet engine in his lightweight racer while the other teams were using 6 and sometimes 7 liter iron engines, trading weight for power.
The 2E was a crowd favorite and remains Jim Hall's favorite car.
(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...
.... In June of 1962, wreckage of the plane that carried hockey player Bill Barilko and his friend, Dr. Henry Hudson to their deaths in 1951 was found 45 miles north of Cochrane, Ontario. The wreckage was spotted by a Department of Lands & Forests helicopter crew which had been flying over the desolate wilderness and spotted a smashed metal plane fuselage glinting in the sunlight. The plane was positively identified as having belonged to pilot, Dr. Hudson. By methodically piecing together parts of the fuselage discovered at the site, they were able to read the letters CF-FXT, the registration assigned to Hudson's Fairchild-24 floatplane.
Greater Manchester Police continue searching Saddleworth Moor.
The area of land around the primary scene is being searched by specialist officers and staff.
A meticulous examination of an initial area began last Friday (30 September 2022), after a member of the public researching the murder of Keith Bennett reported possible human remains.
Keith was 12-years-old when he went missing in 1964. He was one of five victims of Ian Brady and Myra Hindley – three of whom were found buried on Saddleworth Moor.
Samples obtained by the member of the public have been sent by GMP to accredited experts for analysis, which is ongoing.
Additional resources have been deployed to enable the completion of a more extensive examination of the area.
Senior Investigating Officer, Detective Chief Inspector Cheryl Hughes, of GMP’s Force Review Unit, said: “Forensic Archaeologists and Forensic Anthropologists have now completed a methodical archaeological excavation and examination of the area previously dug and refilled by the member of the public. No bones, fabric or items of interest were recovered from the soil.
“These accredited and certified forensic experts are now continuing with a methodical and controlled excavation of the area immediately surrounding the original site to provide a higher level of assurance of the presence or absence of any items of interest. Further soil samples have been taken for analysis, but at this time there is no visible evidence to suggest the presence of human remains. The scene examination is ongoing.
“A report of possible human remains is always treated with seriousness. As such, we have deployed police search advisors who can support our scenes of crimes officers – this will result in more visible and high profile tactics, such as officers walking in lines to identify any potential sites of focus.
“GMP is committed to providing Keith’s family with answers following this report, both from the physical excavation and subsequent analysis of samples. This will take some time but we will keep the family updated at every stage and request that their privacy is respected.
“We have seen the outpouring of support since this news broke so know how our communities feel about this case but we are asking members of the public not to travel to the area and can assure them that we will provide timely and appropriate updates.”
I always thought a narcissist was someone who liked to look at themselves in the mirror, originating from Greek mythology where Narcissus fell in love with his reflection in a river.
I had no idea a person could intentionally be so malicious and dishonest towards another.
Those evil monsters are so filled with rage and lacking of empathy they methodically plan the destruction of another for their own gratification.
Vasari desribes artists of the SECOND STAGE OF PAINTING'S REBIRTH (c. 1420-1500) as being very studious. They methodically studied optics and geometry to better represent the depth of space and the play of light across the varied surfaces of objects. They experimented with oils and other materials to simulate the varied surface textures and densities of different substances. They studied the art of classical antiquity in order to learn elegant formulas for representing human figures and architecture. They studied live persons in the workshop and in the street to analyze posture and expression. Some of them attended or even performed dissections to better understand the human body's structure and the logic governing its movement. Thus they made great strides in realism, "the imitation of nature," even though the studied quality of their painting left it somewhat "dry and labored." What if any details of this painting make it superior to Giotto's Ognissanti Madonna in terms of the lifelikeness of its spatial depth, and in the anatomy, movement, and expression of its figures?
I entered this photo in a contest where the subject was tombstones. I quickly learned that the 5 victims of a murder were buried here and this took on a different meaning for me. On the morning of June 20, 2001 at 9:50 A.M. Police responded to an emergency call at the Yates home in a suburb of Houston called Clear Lake. Andrea Pia Yates had made the call to 911 operators and told them "I just killed my children." Earlier in the morning Andrea Yates filled a bathtub and, one by one, methodically drowned her sons: Luke, two years old; Paul, three years old; John, five years old; and one daughter, Mary, six months old. After drowning each child she then picked them up and placed them on her bed and covered them with a sheet. Seven year old Noah, the oldest of the children, walked in and saw what his mother was doing and tried to run away. Andrea Yates ran after him and wrestled him back to the bathroom and drowned him also. Mrs. Yates was born in Houston, the youngest of five children. She had a nursing degree from The University of Texas Health Science Center. She married Rusty Yates from Nashville on April 17, 1993. Their first child, Noah was born in 1994. Andrea was diagnosed with depression in 1999 and later she was diagnosed with postpartum depression which, it is claimed, led to her killing her children. Andrea Pia Yates was found guilty of capital murder on Tuesday March 12, 2002. She was sentenced to life in prison on Friday, March 15, 2002. She must serve at least 40 years in prison before becoming eligible for parole. The children were remembered with a candlelight vigil outside of their home after the tragedy. A visitation was held on June 26, 2001 and a funeral was held on June 27, 2001 at Clear Lake Church of Christ in Clear Lake, Texas. The five caskets were white and arranged in a circle. Their father, Rusty Yates, talked about each child while standing at their casket, and then he kissed them goodbye. He had photographes on display showing the children at their most lively and beautiful selves. Later that day they were buried three on one side of a beautiful headstone, and two on the other side at Forest Park East Cemetery.
youtu.be/Spo6hrSm5c0 Full Feature.
Starring Edward Kemmer, Sally Fraser, Buddy Baer, Morris Ankrum, Bob Steele, Oliver Blake, Joline Brand, and Billy Dix. Directed by Richard E. Cunha.
Brief Synopsis
After the residents of the small mountain town of Pine Ridge anxiously gather to discuss the mysterious death of local Harold Banks, Sheriff Parker reveals that Banks died from a severe beating, prompting the townspeople to speculate over the recent spate of animal deaths and question whether the tales of an ancient Indian curse may be true. Teenage brother and sister Ann and Charlie Brown scoff at the legends, but Indian Joe declares that if the locals continue to disregard his ancestral burial grounds in Devil's Crag, there will be more violence. After Parker dismisses Joe's warning, a townsman advises the sheriff to question scientific researcher Wayne Brooks, who was seen quarreling with Banks earlier that week. When Parker questions Wayne, however, Wayne insists that he and Banks had a simple disagreement. Soon after, Professor Cleveland and his daughter Janet arrive in town and Wayne recognizes Cleveland as the famous archaeologist whose lectures he attended while in college. Wayne offers the professor his services and at dinner that night Cleveland explains that he and Janet have been searching for the remains of a Spanish conquistador, Vargas, later known as the Diablo Giant, who abandoned the military to hunt for gold in the mountains. Later, Wayne takes Cleveland and Janet to his cabin to show them the artifacts he has unearthed, the most important of which is a live reptile that Wayne believes is centuries old. Cleveland is excited by the reptile's discovery and after piecing together a European crucifix from Wayne's relics, insists that they return to the site where they were found. The next day after Wayne, Janet and Cleveland set up camp at Devil's Crag, Parker arrives and reprimands Wayne for leaving town without his permission. The following morning as Wayne prepares breakfast, he hears a gunshot and discovers Joe nearby. After Wayne explains that he and the Clevelands are searching for ancient artifacts and will respect the Indian burial grounds, Joe thanks him for his honesty, but cautions him that the area is dangerous. Later, Cleveland and Wayne begin a methodical search of the area which continues for several days without success. On their final afternoon, however, Janet detects a metal object underneath an enormous log. Wayne and Cleveland dig under the log and discover an armored helmet, breast plate and several weapons, which Cleveland establishes are of Spanish origin. The men are more excited when they discover a skeleton, and Cleveland returns to camp to catalog the artifacts and begin his scientific paper. That afternoon as a rain storm threatens the site, Wayne finds an ancient axe handle, but is unable to dislodge it from the ground. Wayne returns to the camp, and soon after, the storm breaks and a bolt of lightning strikes near the log. The enormous figure of Vargas, the Diablo Giant, then rises from the ground clutching the axe. The next morning Cleveland and Wayne are stunned to find the axe gone and the ground disturbed. A medallion on the ground confirms Vargas' identity, prompting the men to wonder if the giant, like Wayne's lizard, has returned to life. Later when young Charlie comes by the camp, Cleveland, Wayne and Janet ask him not to reveal their discovery of the Spanish armor, arguing that it will bring townspeople to disturb the site. That evening, Vargas stalks the campsite and when the men discover the armor and medallion missing, they remain on guard. Further down the hill, Charlie frets about leaving Ann alone as he prepares for work, but she assures him she is safe. The following morning, as Wayne tells Cleveland they should report their suspicions of the awakened giant to Parker, the sheriff arrives with the news that Ann has been found brutally murdered. Parker arrests Wayne, claiming that Ann was clutching the Spanish medallion, and reveals that Charlie identified it as the one found by Wayne. Insisting that he is innocent, Wayne suggests that whoever stole the armor and medallion must have killed Ann. Parker agrees to question Joe, but when they find him murdered in his cabin, Parker takes Wayne into Pine Ridge. Cleveland follows them into town and after his departure, Janet is abducted by Vargas. In town, when Parker leaves Wayne unattended in his car momentarily, Cleveland appears and drives Wayne back to Devil's Crag, where the professor reveals that he took a plaster cast of a huge footprint which he believes will confirm that Vargas has returned to life and perpetrated the murders. Parker and the townsmen follow Cleveland and Wayne, but when they learn of Janet's disappearance and hear Cleveland's story about Vargas, they help search for her. Soon the men corner Vargas, and he attacks and kills several before he is wounded and escapes, leaving Janet unhurt. While the injured men are taken back to town, Parker apologizes to Wayne for not believing in his innocence. Charlie asks to help search for Vargas in retaliation for Ann's death, but when Wayne and Parker refuse, sneaks away on his own. Later the sheriff, Wayne and Cleveland hear shots and find Charlie badly wounded . While Parker goes for help, Cleveland remains with Charlie and Wayne pursues Vargas alone. Wayne catches up to Vargas at a windmill and after a brief fight, chases the giant to a bridge across a dam. As Cleveland, Janet and Parker arrive, the wounded Vargas topples off the bridge into the water below.
(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...
Gandhara is the name given to an ancient region or province invaded in 326 B.C. by Alexander the Great, who took Charsadda (ancient Puskalavati) near present-day Peshawar (ancient Purusapura) and then marched eastward across the Indus into the Punjab as far as the Beas river (ancient Vipasa). Gandhara constituted the undulating plains, irrigated by the Kabul River from the Khyber Pass area, the contemporary boundary between Pakistan and Afganistan, down to the Indus River and southward towards the Murree hills and Taxila (ancient Taksasila), near Pakistan"s present capital, Islamabad. Its art, however, during the first centuries of the Christian era, had adopted a substantially larger area, together with the upper stretches of the Kabul River, the valley of Kabul itself, and ancient Kapisa, as well as Swat and Buner towards the north.
A great deal of Gandhara sculptures has survived dating from the first to probably as late as the sixth or even the seventh century but in a remarkably homogeneous style. Most of the arts were almost always in a blue-gray mica schist, though sometimes in a green phyllite or in stucco, or very rarely in terracotta. Because of the appeal of its Western classical aesthetic for the British rulers of India, schooled to admire all things Greek and Roman, a great deal found its way into private hands or the shelter of museums.
Gandhara sculpture primarily comprised Buddhist monastic establishments. These monasteries provided a never-ending gallery for sculptured reliefs of the Buddha and Bodhisattvas. The Gandhara stupas were comparatively magnified and more intricate, but the most remarkable feature, which distinguished the Gandhara stupas from the pervious styles were hugely tiered umbrellas at its peak, almost soaring over the total structure. The abundance of Gandharan sculpture was an art, which originated with foreign artisans.
In the excavation among the varied miscellany of small bronze figures, though not often like Alexandrian imports, four or five Buddhist bronzes are very late in date. These further illustrate the aura of the Gandhara art. Relics of mural paintings though have been discovered, yet the only substantial body of painting, in Bamiyan, is moderately late, and much of it belongs to an Iranian or central Asian rather than an Indian context. Non-narrative themes and architectural ornament were omnipresent at that time. Mythical figures and animals such as atlantes, tritons, dragons, and sea serpents derive from the same source, although there is the occasional high-backed, stylized creature associated with the Central Asian animal style. Moldings and cornices are decorated mostly with acanthus, laurel, and vine, though sometimes with motifs of Indian, and occasionally ultimately western Asian, origin: stepped merlons, lion heads, vedikas, and lotus petals. It is worth noting that architectural elements such as pillars, gable ends, and domes as represented in the reliefs tend to follow the Indian forms
.
Gandhara became roughly a Holy Land of Buddhism and excluding a handful of Hindu images, sculpture took the form either of Buddhist sect objects, Buddha and Bodhisattvas, or of architectural embellishment for Buddhist monasteries. The more metaphorical kinds are demonstrated by small votive stupas, and bases teeming with stucco images and figurines that have lasted at Jaulian and Mora Moradu, outpost monasteries in the hills around Taxila. Hadda, near the present town of Jalalabad, has created some groups in stucco of an almost rococo while more latest works of art in baked clay, with strong Hellenistic influence, have been revealed there, in what sums up as tiny chapels. It is not known exactly why stucco, an imported Alexandrian modus operandi, was used. It is true that grey schist is not found near Taxila, however other stones are available, and in opposition to the ease of operating with stucco, predominantly the artistic effects which can be achieved, must be set with its impermanence- fresh deposits frequently had to be applied. Excluding possibly at Taxila, its use emerges to have been a late expansion.
Architectural fundamentals of the Gandhara art, like pillars, gable ends and domes as showcased in the reliefs, were inclined to follow Indian outlines, but the pilaster with capital of Corinthian type, abounds and in one-palace scene Persepolitan columns go along with Roman coffered ceilings. The so-called Shrine of the Double-Headed Eagle at Sirkap, in actuality a stupa pedestal, well demonstrates this enlightening eclecticism- the double-headed bird on top of the chaitya arch is an insignia of Scythian origin, which appears as a Byzantine motif and materialises much later in South India as the ga1J.qa-bheru1J.qa in addition to atop European armorial bearings.
In Gandhara art the descriptive friezes were all but invariably Buddhist, and hence Indian in substance- one depicted a horse on wheels nearing a doorway, which might have represented the Trojan horse affair, but this is under scan. The Dioscuri, Castor and Pollux, familiar from the previous Greek-based coinage of the region, appeared once or twice as standing figurines, presumably because as a pair, they tallied an Indian mithuna couple. There were also female statuettes, corresponding to city goddesses. Though figures from Butkara, near Saidan Sharif in Swat, were noticeably more Indian in physical type, and Indian motifs were in abundance there. Sculpture was, in the main, Hellenistic or Roman, and the art of Gandhara was indeed "the easternmost appearance of the art of the Roman Empire, especially in its late and provincial manifestations". Furthermore, naturalistic portrait heads, one of the high-points of Roman sculpture, were all but missing in Gandhara, in spite of the episodic separated head, probably that of a donor, with a discernible feeling of uniqueness. Some constitutions and poses matched those from western Asia and the Roman world; like the manner in which a figure in a recurrently instanced scene from the Dipankara jataka had prostrated himself before the future Buddha, is reverberated in the pose of the defeated before the defeater on a Trojanic frieze on the Arch of Constantine and in later illustrations of the admiration of the divinised emperor. One singular recurrently occurring muscular male figure, hand on sword, witnessed in three-quarters view from the backside, has been adopted from western classical sculpture. On occasions standing figures, even the Buddha, deceived the elusive stylistic actions of the Roman sculptor, seeking to express majestas. The drapery was fundamentally Western- the folds and volume of dangling garments were carved with realness and gusto- but it was mainly the persistent endeavours at illusionism, though frequently obscured by unrefined carving, which earmarked the Gandhara sculpture as based on a western classical visual impact.
The distinguishing Gandhara sculpture, of which hundreds if not thousands of instances have outlived, is the standing or seated Buddha. This flawlessly reproduces the necessary nature of Gandhara art, in which a religious and an artistic constituent, drawn from widely varied cultures have been bonded. The iconography is purely Indian. The seated Buddha is mostly cross-legged in the established Indian manner. However, forthcoming generations, habituated to think of the Buddha as a monk, and unable to picture him ever possessing long hair or donning a turban, came to deduce the chigon as a "cranial protuberance", singular to Buddha. But Buddha is never depicted with a shaved head, as are the Sangha, the monks; his short hair is clothed either in waves or in taut curls over his whole head. The extended ears are merely due to the downward thrust of the heavy ear-rings worn by a prince or magnate; the distortion of the ear-lobes is especially visible in Buddha, who, in Gandhara, never wore ear-rings or ornaments of any kind. As Foucher puts it, the Gandhara Buddha is at a time a monk without shaving and a prince stripped off jewellery.
The western classical factor rests in the style, in the handling of the robe, and in the physiognomy of Buddha. The cloak, which covers all but the appendages (though the right shoulder is often bared), is dealt like in Greek and Roman sculptures; the heavy folds are given a plastic flair of their own, and only in poorer or later works do they deteriorate into indented lines, fairly a return to standard Indian practice. The "western" treatment has caused Buddha"s garment to be misidentified for a toga; but a toga is semicircular, while, Buddha wore a basic, rectangular piece of cloth, i.e., the samghiifi, a monk"s upper garment. The head gradually swerves towards a hieratic stylisation, but at its best, it is naturalistic and almost positively based on the Greek Apollo, undoubtedly in Hellenistic or Roman copies.
Gandhara art also had developed at least two species of image, i.e. not part of the frieze, in which Buddha is the fundamental figure of an event in his life, distinguished by accompanying figures and a detailed mise-en-scene. Perhaps the most remarkable amongst these is the Visit to the Indrasala Cave, of which the supreme example is dated in the year 89, almost unquestionably of the Kanishka period. Indra and his harpist are depicted on their visit in it. The small statuettes of the visitors emerge below, an elephant describing Indra. The more general among these detailed images, of which approximately 30 instances are known, is presumably related with the Great Miracle of Sravasti. In one such example, one of the adjoining Bodhisattvas is distinguished as Avalokiteshwara by the tiny seated Buddha in his headgear. Other features of these images include the unreal species of tree above Buddha, the spiky lotus upon which he sits, and the effortlessly identifiable figurines of Indra and Brahma on both sides.
Another important aspect of the Gandhara art was the coins of the Graeco-Bactrians. The coins of the Graeco-Bactrians - on the Greek metrological standard, equals the finest Attic examples and of the Indo-Greek kings, which have until lately served as the only instances of Greek art found in the subcontinent. The legendary silver double decadrachmas of Amyntas, possibly a remembrance issue, are the biggest "Greek" coins ever minted, the largest cast in gold, is the exceptional decadrachma of the same king in the Bibliotheque Nationale, with the Dioscuri on the inverse. Otherwise, there was scanty evidence until recently of Greek or Hellenistic influences in Gandhara. A manifestation of Greek metropolitan planning is furnished by the rectilinear layouts of two cities of the 1st centuries B.C./A.D.--Sirkap at Taxila and Shaikhan Pheri at Charsadda. Remains of the temple at Jandial, also at Taxila and presumably dating back to 1st century B.C., also includes Greek characteristics- remarkably the huge base mouldings and the Ionic capitals of the colossal portico and antechamber columns. In contrast, the columns or pilasters on the immeasurable Gandhara friezes (when they are not in a Indian style), are consistently coronated by Indo-Corinthian capitals, the local version of the Corinthian capital- a certain sign of a comparatively later date.
The notable Begram hoard confirms articulately to the number and multiplicity of origin of the foreign artefacts imported into Gandhara. This further illustrates the foreign influence in the Gandhara art. Parallel hoards have been found in peninsular India, especially in Kolhapur in Maharashtra, but the imported wares are sternly from the Roman world. At Begram the ancient Kapisa, near Kabul, there are bronzes, possibly of Alexandrian manufacture, in close proximity with emblemata (plaster discs, certainly meant as moulds for local silversmiths), bearing reliefs in the purest classical vein, Chinese lacquers and Roman glass. The hoard was possibly sealed in mid-3rd century, when some of the subjects may have been approximately 200 years old "antiques", frequently themselves replicates of classical Greek objects. The plentiful ivories, consisting in the central of chest and throne facings, engraved in a number of varied relief techniques, were credibly developed somewhere between Mathura and coastal Andhra. Some are of unrivalled beauty. Even though a few secluded instances of early Indian ivory carving have outlived, including the legendary mirror handle from Pompeii, the Begram ivories are the only substantial collection known until moderately in present times of what must always have been a widespread craft. Other sites, particularly Taxila, have generated great many instances of such imports, some from India, some, like the appealing tiny bronze figure of Harpocrates, undoubtedly from Alexandria. Further cultural influences are authenticated by the Scytho Sarmatian jewellery, with its characteristic high-backed carnivores, and by a statue of St. Peter. But all this should not cloud the all-important truth that the immediately identifiable Gandhara style was the prevailing form of artistic manifestation throughout the expanse for several centuries, and the magnitude of its influence on the art of central Asia and China and as far as Japan, allows no doubt about its integrity and vitality.
In the Gandhara art early Buddhist iconography drew heavily on traditional sources, incorporating Hindu gods and goddesses into a Buddhist pantheon and adapting old folk tales to Buddhist religious purposes. Kubera and Harm are probably the best-known examples of this process.
Five dated idols from Gandhara art though exist, however the hitch remains that the era is never distinguished. The dates are in figures under 100 or else in 300s. Moreover one of the higher numbers are debatable, besides, the image upon which it is engraved is not in the conventional Andhra style. The two low-number-dated idols are the most sophisticated and the least injured. Their pattern is classical Gandhara. The most undemanding rendition of their dates relates them to Kanishka and 78 A.D. is assumed as the commencement of his era. They both fall in the second half of the 2nd century A.D. and equally later, if a later date is necessitated for the beginning of Kanishka`s time. This calculation nearly parallels numismatics and archaeological evidences. The application of other eras, like the Vikrama (base date- 58 B.C.) and the Saka (base date- 78 A.D.), would place them much later. The badly battered figurines portray standing Buddhas, without a head of its own, but both on original figured plinths. They come to view as depicting the classical Gandhara style; decision regarding where to place these two dated Buddhas, both standing, must remain knotty till more evidence comes out as to how late the classical Gandhara panache had continued.
Methodical study of the Gandhara art, and specifically about its origins and expansion, is befuddled with numerous problems, not at least of which is the inordinately complex history and culture of the province. It is one of the great ethnical crossroads of the world simultaneously being in the path of all the intrusions of India for over three millennia. Bussagli has rightly remarked, `More than any other Indian region, Gandhara was a participant in the political and cultural events that concerned the rest of the Asian continent`.
However, Systematic study of the art of Gandhara, and particularly of its origins and development, is bedeviled by many problems, not the least of which is the extraordinarily complex history and culture of the region.
In spite of the labours of many scholars over the past hundred and fifty years, the answers to some of the most important questions, such as the number of centuries spanned by the art of Gandhara, still await, fresh archaeological, inscriptional, or numismatic evidence.
As much as I love making these blocks, I had a really hard time getting this going! The random thing just wore my brain out! lol :) I saw this fabulous quilt and it really helped me kind of work my random pattern methodically! ;)
Made by using the Mod Mosaic Floor Pillow tutorial at Oh, Fransson!
Made for Marci! :)
It's nearly one year ago to the day that I drove my car up a narrow, winding road about 20 minutes southeast of Jeju City. It was an uncharacteristically cold April morning, spring having yet to make it's appearance on the island.
I parked my car and struggled to the entrance of the Jeju April 3rd Peace Memorial Hall, relentless winds and freezing temperatures battering me along the way. It reminded me how perfectly the weather conditions matched this somber day.
Once inside, I made my way to a massive room where a large crowd of people had already formed. I scanned the room and my eyes were immediately drawn to the endless rows of names inscribed along its back wall. Flowers and offerings of fruit lay below the names, all of it lit by flickering candles. People had begun to pray.
This marked my introduction to a ceremony commemorating the 64 years since the Jeju Massacre, or "4.3", broke out on Jeju Island on April 3rd, 1948. One of the deadliest conflicts in Korean history, it continued for 6 bloody years, during which time an estimated 30,000 Jeju residents died at the hands of South Korean forces as punishment for perceived sympathy towards communism and the newly formed North Korea.
The conflict came to an end in 1954 but the pain and suffering caused by the loss of loved ones did not. How could something like this happen? For decades after any discussion of the massacre was censored with the threat of torture or imprisonment for those who chose to speak out.
The passage of time has healed some wounds. Since the 1990's the South Korean government has made a series of apologies and, in 2006, then President Roh Moo-Hyun officially apologized to the people of Jeju. But, apologies will never bring back those who lost their lives in the uprising.
With these thoughts in my mind, I slowly worked my way through the crowd and began to focus my attention on an elderly couple desperately trying to find the name of somebody lost in those attacks so many years ago. The pain of their loss clearly etched on their faces, they methodically scanned the names on the wall row by painstaking row.
I followed them for nearly 30 minutes until, finally, the husband's eyes showed a spark of recognition and his arm shot up into the air, his finger shaking as it pointed at a name on the wall. I saw a brief flicker of satisfaction, even triumph, on the elderly couples' faces that, after so many years, at least they could pay their respects to a fallen loved one.
It was at this moment I took a photo, my best of the day and one that would win at prize in the 2012 Jeju Sasam Photo Contest. When I look at that photo today I'm reminded of magnitude of the loss this terrible event had on so many families on Jeju Island and I pray that nothing like this will ever happen again.
Please view my stream LARGE on black:
Catacombs, Montparnasse, Paris
'Listen, dry bones,
listen to the voice of the Lord,
the powerful God of our ancestors,
who with his breath created all beings.
Rejoin your separated nerves
put back on new flesh
the skin will form on them!
bare bones, relive.'
I decided that today was a day for going underground, and I set off to Montparnasse to visit the catacombs. These are a vast maze of tunnels under Paris originally used for quarrying the stone out of which the city's main buildings are constructed. In the late 18th Century, the state of the city's churchyards had become so disgusting that the city removed the bones from all of them. They were brought here at night, the carts coming from the centre of the city accompanied by torch-bearing acolytes and priests chanting the requiem Mass. A skull count showed that almost six million corpses were removed in this way. They were buried deep underground, but these people being Parisians the skulls and bones were arranged in a neat and methodical way, a meaningful chaos. Layers of tibia and femurs are crowned by a layer of pelvises and skulls, and so on. Each churchyard was grouped together, and a plaque shows which parish provided the skeletons.
The work was interrupted by the French Revolution,which provided plenty more corpses for when the work was resumed. Altogether about a kilometre and a half of tunnels were filled with the remains of dead Parisians, and you can walk through them on a winding route under the streets around Montparnasse station. In fact, this is just a tiny fraction of the tunnels. The catacombs extend for hundreds of kilometres under the city, many of them rarely explored and difficult of access. Because of this, they are regularly broken into by intrepid adventurers, and many legends have grown up about parts of the network. However, my favourite story is one which is true.
In 2004, a group of police cadets on a training exercise were given the task of tracking an imaginary criminal in a part of the network which was little known. They got into the system through a manhole, and when they were about a hundred feet underground something rather odd happened. They triggered a motion sensor which set off the sound of barking dogs. Thinking that it was part of the exercise, they headed onwards only to come out into a vast cavern which had been fully equipped as a cinema. An anteroom had been equipped and fully stocked as a bar, and there was also a film storage room. When the cadets reported what they had seen, the electricity board were sent in to work out where the invaders were getting their electricity from. Instead, they found the wires all cut, the equipment removed, and a sign saying 'Don't try to follow us. You'll never find us.'
Perhaps the cineastes had got fed up with waiting to get into the system officially, because this was the only place all week that I encountered a serious queue. Worse, I was just in front of a small group of people who talked constantly in very loud voices. She was an American who obviously lived in Paris, and they appeared to be young relatives who'd come to stay. She was taking them down the catacombs, and the price to be paid for this by the poor kids was to suffer her pretentious nonsense. She went on about spirituality, and homeopathy, and psychoanalysis, and the inner energy, and so on. Fair play to the kids, they responded enthusiastically enough.
And then she got out some of her stream of consciousness poetry, and started reading it in a loud voice. Well, goodness me. I was put in mind of something the graphic artist Alan Moore said when he was in Hollywood helping turn his 'V for Vendetta' into a film, and he was asked at a director's lunch why he lived in Northampton, England. "Because it keeps me grounded", he replied, and I thought that this was exactly right. It was like the opposite of this pompous woman, although to be fair to her I expect that if I went to live in Paris I would also disappear up my own backside.
The catacombs are brilliant, worth every minute of the queuing time, worth every insufferable stream of consciousness adjective. And then I went and did some shopping.
You can read my account of my travels at pariswander.blogspot.co.uk.
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.
It is a warm summer twilight. Folks way down the river are fishing. One is catching up on the Internet. And I am photographing pivotal Civil War history at the Dover Hotel, nicknamed the Surrender House.
I have been to Fort Donelson National Battlefield in Tennessee several times. To my eyes, Fort Donelson was an incredibly fortified fortress. It was there to protect Nashville. The earthworks that face both river and land are amazing! Those huge cannons! And the long list of heavy-weight Confederate commanders leading a large Confederate army that the young and largely unknown new General U.S. Grant was up against is jaw-dropping: e.g., Generals Albert Sidney Johnston, former U.S. Secretary of War and Virginia Governor John Floyd, top-level Mexican-American War hero and commander Gideon Pillow, engineering General Bushrod Johnson, Military Academy friend of Grant's Simon Bolivar Buckner, and the aggressive Lieutenant-Colonel Nathan Bedford Forrest. Since these commanders lost to the upstart Grant, they are largely discredited by many now†, but back then, wow, what a Confederate lineup for protecting Nashville and Tennessee!
Grant did not follow conventional generalship thought in wanting to take Fort Donelson. No. He wanted to deprive Major General Albert Johnston of his army. Grant unconventionally wanted the entire Confederate garrison of some 16,000 men to surrender rather than have the Union just possess the fortification.
It is hard to imagine how anyone could win against the robust Confederate fortification, command, and troops. But win is exactly what Grant did.
"Too many cooks" is one rationalization that I have heard in a Civil War history video on how such an assembly of Confederate leaders could lose to Grant.
My photograph is of the Dover Hotel, which was the headquarters of Confederate commander General John Floyd. This is where the largely unknown General Ulysses S. Grant became a national star. Nicknamed the Surrender House, this was the site where General Ulysses S. Grant met with General Simon Bolivar Buckner to work out the unconditional surrender of all remaining Confederate soldiers of the defeated Army of Central Kentucky.†† Nearly 13,000 Confederate soldiers would be loaded on boats and taken to U.S. prisons. That included Grant's pre-Civil War friend, General Simon Bolivar Buckner. After this date, the Army of Central Kentucky ceased to be. The capital of Tennessee, Nashville, surrendered. And President Abraham Lincoln would appoint former Tennessee governor Andrew Johnson to be Tennessee's provisional governor.
General Grant would insist on dissolving the entire Confederate field armies that his army had defeated. Enemy soldiers would not be let go to fight another day. Early in the Civil War, there was the Army of Central Kentucky that surrendered unconditionally to Grant. Its troops were then sent off to prison. The Army of Mississippi was another field army that surrendered to Grant. And in April 1865 at Appomattox Court House, Grant required the Army of Northern Virginia to officially surrender. These all ceased to be.
Even when a win was lopsided, getting an agile Confederate field army to cease to be was quite difficult. For example, late in the war in a failed attempt to try to retake an occupied Nashville that had been occupied since the fall of Fort Donelson, the invading Confederate Army of Tennessee was essentially destroyed by U.S. troops under the slow, methodical, and devastating General George Henry Thomas. However, some of the army escaped. That decimated army would later surrender to General William Tecumseh Sherman in the East, not General Thomas. In fairness, Sherman also had an opportunity to pursue the beaten Army of Tennessee in Atlanta until it surrendered, but that army escaped him then. Grant then gave Thomas that job.
---------------------
†Note: Three generals seem to have escaped a ding to their reputation for the loss at Fort Donelson. Along with nearly 13,000 soldiers of the Army of Central Kentucky, Confederate General Simon Bolivar Buckner served time in a U.S. prison. General Bushrod Johnson also marched with Simon Bolivar Buckner and his fellow troops to U.S. prison. However, although he was an elite leader from Nashville, Bushrod Johnson had an Ohio accent since he was born and raised in Ohio. He managed somehow to escape on his march to prison. He would command Confederate troops again. And finally, for some reason, Nathan Bedford Forrest escaped reputational damage. The colonel refused orders by his commanding council of generals to surrender. Forrest escaped with his quick, high-seated cavalry through wetland and river while abandoning thousands upon thousands, lower-to-the-ground, slower infantry. Forrest, one of the richest men in the South, said it was not in his constitution to surrender. I suspect it was not in the constitution of the lowly infantryman to surrender either. In fairness to Forrest, his cavalry did bring several hundred infantrymen with them in their escape, which would have come in handy should they have met and had to engage the enemy.
††There was a bit of a public relations war between the sides to claim the size of their state allegiances. The Confederate Army of Central Kentucky was made up of Confederate forces gathered from many states who were fighting in the Western region and against the United States in Union-aligned Central Kentucky. It was part of Confederate Department No. 2 or the Western Department. Central Kentuckian Simon Bolivar Buckner would be appointed commander of all Confederate troops fighting in Central Kentucky, a section of Division 2, which would be known as the Army of Central Kentucky.
youtu.be/Spo6hrSm5c0 Full Feature.
Starring Edward Kemmer, Sally Fraser, Buddy Baer, Morris Ankrum, Bob Steele, Oliver Blake, Joline Brand, and Billy Dix. Directed by Richard E. Cunha.
Brief Synopsis
After the residents of the small mountain town of Pine Ridge anxiously gather to discuss the mysterious death of local Harold Banks, Sheriff Parker reveals that Banks died from a severe beating, prompting the townspeople to speculate over the recent spate of animal deaths and question whether the tales of an ancient Indian curse may be true. Teenage brother and sister Ann and Charlie Brown scoff at the legends, but Indian Joe declares that if the locals continue to disregard his ancestral burial grounds in Devil's Crag, there will be more violence. After Parker dismisses Joe's warning, a townsman advises the sheriff to question scientific researcher Wayne Brooks, who was seen quarreling with Banks earlier that week. When Parker questions Wayne, however, Wayne insists that he and Banks had a simple disagreement. Soon after, Professor Cleveland and his daughter Janet arrive in town and Wayne recognizes Cleveland as the famous archaeologist whose lectures he attended while in college. Wayne offers the professor his services and at dinner that night Cleveland explains that he and Janet have been searching for the remains of a Spanish conquistador, Vargas, later known as the Diablo Giant, who abandoned the military to hunt for gold in the mountains. Later, Wayne takes Cleveland and Janet to his cabin to show them the artifacts he has unearthed, the most important of which is a live reptile that Wayne believes is centuries old. Cleveland is excited by the reptile's discovery and after piecing together a European crucifix from Wayne's relics, insists that they return to the site where they were found. The next day after Wayne, Janet and Cleveland set up camp at Devil's Crag, Parker arrives and reprimands Wayne for leaving town without his permission. The following morning as Wayne prepares breakfast, he hears a gunshot and discovers Joe nearby. After Wayne explains that he and the Clevelands are searching for ancient artifacts and will respect the Indian burial grounds, Joe thanks him for his honesty, but cautions him that the area is dangerous. Later, Cleveland and Wayne begin a methodical search of the area which continues for several days without success. On their final afternoon, however, Janet detects a metal object underneath an enormous log. Wayne and Cleveland dig under the log and discover an armored helmet, breast plate and several weapons, which Cleveland establishes are of Spanish origin. The men are more excited when they discover a skeleton, and Cleveland returns to camp to catalog the artifacts and begin his scientific paper. That afternoon as a rain storm threatens the site, Wayne finds an ancient axe handle, but is unable to dislodge it from the ground. Wayne returns to the camp, and soon after, the storm breaks and a bolt of lightning strikes near the log. The enormous figure of Vargas, the Diablo Giant, then rises from the ground clutching the axe. The next morning Cleveland and Wayne are stunned to find the axe gone and the ground disturbed. A medallion on the ground confirms Vargas' identity, prompting the men to wonder if the giant, like Wayne's lizard, has returned to life. Later when young Charlie comes by the camp, Cleveland, Wayne and Janet ask him not to reveal their discovery of the Spanish armor, arguing that it will bring townspeople to disturb the site. That evening, Vargas stalks the campsite and when the men discover the armor and medallion missing, they remain on guard. Further down the hill, Charlie frets about leaving Ann alone as he prepares for work, but she assures him she is safe. The following morning, as Wayne tells Cleveland they should report their suspicions of the awakened giant to Parker, the sheriff arrives with the news that Ann has been found brutally murdered. Parker arrests Wayne, claiming that Ann was clutching the Spanish medallion, and reveals that Charlie identified it as the one found by Wayne. Insisting that he is innocent, Wayne suggests that whoever stole the armor and medallion must have killed Ann. Parker agrees to question Joe, but when they find him murdered in his cabin, Parker takes Wayne into Pine Ridge. Cleveland follows them into town and after his departure, Janet is abducted by Vargas. In town, when Parker leaves Wayne unattended in his car momentarily, Cleveland appears and drives Wayne back to Devil's Crag, where the professor reveals that he took a plaster cast of a huge footprint which he believes will confirm that Vargas has returned to life and perpetrated the murders. Parker and the townsmen follow Cleveland and Wayne, but when they learn of Janet's disappearance and hear Cleveland's story about Vargas, they help search for her. Soon the men corner Vargas, and he attacks and kills several before he is wounded and escapes, leaving Janet unhurt. While the injured men are taken back to town, Parker apologizes to Wayne for not believing in his innocence. Charlie asks to help search for Vargas in retaliation for Ann's death, but when Wayne and Parker refuse, sneaks away on his own. Later the sheriff, Wayne and Cleveland hear shots and find Charlie badly wounded . While Parker goes for help, Cleveland remains with Charlie and Wayne pursues Vargas alone. Wayne catches up to Vargas at a windmill and after a brief fight, chases the giant to a bridge across a dam. As Cleveland, Janet and Parker arrive, the wounded Vargas topples off the bridge into the water below.
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.
I posted a photo of this grave marker recently only because it caught my eye as "Private Major". I've since done some research on him and he was an exceptional man. I found the following:
Birth: Jul. 13, 1888
Groom Creek
Yavapai County
Arizona, USA
Death: Nov. 12, 1942
Cottonwood (Yavapai County)
Yavapai County
Arizona, USA
Benjamin F. Major, aged forty-five, miner, helped to save John H. Stout from an explosion, Jerome, Arizona May 4, 1933. (See Award 2867.) Major sustained no injuries except superficial burns on his hands. Stout, Jones, Benjamin F. Major, and seven other men were igniting fuses attached to charges of dynamite in boulders containing copper ore that lay on a flat area on a hillside. One of the charges exploded prematurely, throwing Stout to the ground beside a large boulder. A piece of rock, three feet in diameter , fell on Stout's legs, pinning him to the ground. He called for help. Jones and Major responded and tried briefly to free Stout, but they were unable to move the rock. The other men hurried away. Jones and Major then began to pull the fuses from the dynamite charges. Both worked frantically. Thirty-five fuses with a radius of thirty feet of Stout had been ignited. At times sticks of dynamite were pulled with the fuses, and the men threw them as far as possible. Each pulled ten fuses. Knowing he had no time to remove others, Major lay down close to Stout to protect him. Jones ran a few feet to get a bar with which to pry the rock from Stout. An explosion then occurred: and within a half a minute fifteen explosions occurred, throwing rock in all directions. Jones was knocked down by the concussion. For several seconds small fragments of rock fell on the three men. None was injured. Jones sustained slight burns on his hands from handling the fuses. Other men arrived after the explosions, and Stout was freed within ten minutes. ( Both men won a Bronze Medal and $1,000 toward the purchase of a home or other worthy purpose as needed.)
From Cottonwood Newspaper:
Two Clarkdale Miners Laude:
Carnegie Medals awarded To David Jones, Ben Major for Saving UV Workman's Life
CLARKDALE, Arizona, Nov. 2. Two Clarkdale miners were listed among the nation's heroes today because, in a hail of stones, they methodically pulled lighted fuses from dynamite sticks to save the life of a fellow workman trapped by a premature blast.
Bronze hero medals yesterday were awarded by the Carnegie hero commission in Cleveland to David H. Jones and Benjamin F. Major, who on May 4, 1933, saved the life of John H. Stout in the United Verde mine at Jerome.
Unaware of the award until advised by the Associated Press, Jones related details of the incident as he recalled them after two and one half years.
The three men, with other miners, were working in an open pit at the United Verde mine, when Stout was trapped by a premature explosion that pinned his legs.
Stout was lying in a field planted with dynamite sticks that were due to explode momentarily. Unable to free him Jones and Major pulled lighted fuses from the dynamite explosive within a radius of 30 feet. Major then lay down beside Stout to protect him from a shower of stones that was due to follow from other blasts nearby, and Jones ran for a crowbar to remove the boulder.
Fifteen explosions occurred outside of the 30-foot radius within half a minute, bringing a hail of stones down upon them. Ten minutes later other workmen arrived and Stout was freed.
It was estimated that Jones and Major each pulled 10 fuses. In doing so, they suffered slight burns on their hands. Stout was in a hospital for a week. An Indian workman was struck in the back with a rock and spent six months in a hospital.
Jones and Major are now employed at the United Verde smelter here. Jones has been working in Northern Arizona mines 13 years. Major, a native of Arizona, also has been a miner for many years. _
11. OBI:
Death certificate #477
Benjamin Franklin Major died at the U.V. Hospital in Jerome, Yavapai county, Arizona at age 54. He usually lived on Lawrence Avenue in Cottonwood. He died of general perontitis folling a ruptured gastric ulcer. He was the husband of Ina Marie Major age 41. He was born 13 July 1888 in Prescott, Arizona and was a power house engineer in a copper smelter. He was the son of Benjamin Franklin Major born in Wooster, Ohio and Mary Elizabeth Barrington born in Little Rock Arkansas. The body was removed to Cottonwood on 14 November 1942 by Scott and McMillan, undertakers. Informant was Charles N. Major of Clarkdale, Arizona. He had been in the hospital for 4 days. He was a World War Veteran.
My note here... in spite of his service to his country and other heroic deeds, his first name is misspelled on his grave marker. That's just not right.
www.phaselis.org/en/about/about-project
Phaselis Research
Phaselis
When compared with the previous period of research on the history of the city over the past quarter century it has undergone radical changes. While modern scientists follow the path of their predecessors in collecting data through systematic processes and methodically analysing them, they change the route whereby they approach the city as a context- and a process-oriented structure, having economic, social, cultural, political and environmental dimensions which come together at different levels.
This considerably more inclusive definition expands the discipline concerning the city’s historical research, which consists of archaeology, epigraphy, ancient history and the other ancillary sciences and it encourages scientists from the natural and health sciences to participate within these studies. This is because in the course of the exploration of an ancient settlement the study of both the environment and the ecological setting which make human life possible; together with health issues, such as diet and epidemics, form the context within which human beings live, and which are thereby as important as the human actors.
Within the context of the planned Phaselis Research, even certain knowledge such as the settlement’s appearing on the stage of history as a favorite break-point with its three natural harbours, it being famous for its roses, the frequent seismic upheavals at sea and on its shores and its citizens leaving their homes because of a devastating malaria epidemic suggest the necessity of the application of this multi-dimensional research methodology in order to understand more fully the historical adventure of this city.
By presenting this research project, we aim to implement and realize this multi-dimensional research method, which as yet lacks widespread application in the field in our country, however conceptually and practically with a multi-disciplinary research team consisting of both national and international scientists, we intend to register systematically every kind of data/information regarding all contexts of the city employing modern methods and to present the results to the scientific world in the form of regular reports and monographic studies, thus forming a strong tie between past and future research.
Phaselis Territorium
The boundaries of the ancient city of Phaselis’ territorium are today within the administrative borders of the township of Tekirova, in Kemer District, determined from the archaeological, epigraphic and historical-geographical evidence, reaching the Gökdere valley to the north, continue on a line drawn from Üç Adalar to Mount Tahtalı to the south and extend along the Çandır valley to the west.
Phaselis was discovered in 1811-1812 by Captain F. Beaufort during his work of charting the southern coastline of Asia Minor for the British Royal Navy. Beaufort drew Phaselis’ plan and in the course of conducting his cartographic studies, he saw the word Φασηλίτης ethnikon on the inscriptions and consequently identified these ruins with Phaselis. C. R. Cockerell, the English architect, archaeologist and author came to Phaselis by ship and met Beaufort there. Then in 1838 C. Fellows, the English archaeologist visited the city. He found the fragments of the dedicatory inscription over the monumental gate built in honour of the Emperor Hadrianus and mistakenly thought the Imperial Period main street was the stadion due to the seats-steps on either side of the street. In 1842 Lt. T. A. B. Spratt, the English hydrographer and geographer, and the Rev. E. Forbes, the naturalist came to Phaselis via the Olympos and Khimaira routes. Due to the fact that they all came by sea and they only stayed for a short time, their descriptions of the topography inland are without detailed and there are serious errors in orientation.
PhaselisThose researchers who visited Phaselis between the late 19th and the early 20th centuries concentrated primarily upon the discovery of inscriptions. In 1881-1882 while the Austrian archaeologist and the epigraphist O. Benndorf, the founder of the Austrian Archaeological Institute, and his team were conducting research in southwestern Asia Minor, they examined Phaselis. In the winter of 1883 and 1884 F. von Luschan from the Austrian team took the first photographs which provide information concerning the regional features of Phaselis’ shoreline. In the same year the French scientist V. Bérard also visited Phaselis. In 1892 the members of the Austrian research team, O. Benndorf, E. Kalinka and their colleagues continued their architectural, archaeological and epigraphical studies in Phaselis. In 1904 they were followed by D. G. Hogarth, R. Norton and A. W. van Buren from the British research team. In 1908 the Austrian classical philologist E. Kalinka visited the settlement again, collected epigraphic documents and conducted research on the history of city (published in TAM II in 1944). The Italian researchers R. Paribeni and P. Romanelli visited Phaselis in1913 and C. Anti in 1921. Anti returned to Antalya overland and in consequence discovered several epigraphs and the ruins of structures within the territorium of Phaselis.
Further archaeological, epigraphical and historical-geographical studies of Phaselis were conducted by the English researchers F. M. Stark and G. Bean, who came to the region after World War II. In 1968 H. Schläger, the German architect and underwater archaeologist began exploring the topographical and architectural structures of Phaselis’s harbours. After Schläger’s death in 1969, the research was conducted under the leadership of the archaeologist J. Schäfer in 1970. H. Schläger, J. Schäfer and their colleagues obtained important data concerning the architecture and history of Phaselis through the surface exploration of the city and its periphery. Following the excavations conducted along the main axial street of the city, in 1980 under the direction of Kayhan Dörtlük, the then Director of the Antalya Museum and between 1981-1985 under the leadership of the archaeologist Cevdet Bayburtluoğlu; underwater exploration was carried out in the South Harbour under the direction of Metin Pehlivaner, the then Director of the Antalya Museum.
Schweiz / Berner Oberland - Jungfrau
seen on the way from Allmendhubel to Grütschalp
gesehen auf dem Weg vom Allmendhubel zur Grütschalp
The Jungfrau (YOONG-frow[c], German pronunciation: [ˈjʊŋˌfʁaʊ̯], transl. "maiden, virgin"), at 4,158 meters (13,642 ft) is one of the main summits of the Bernese Alps, located between the northern canton of Bern and the southern canton of Valais, halfway between Interlaken and Fiesch. Together with the Eiger and Mönch, the Jungfrau forms a massive wall of mountains overlooking the Bernese Oberland and the Swiss Plateau, one of the most distinctive sights of the Swiss Alps.
The summit was first reached on August 3, 1811, by the Meyer brothers of Aarau and two chamois hunters from Valais. The ascent followed a long expedition over the glaciers and high passes of the Bernese Alps. It was not until 1865 that a more direct route on the northern side was opened.
The construction of the Jungfrau Railway in the early 20th century, which connects Kleine Scheidegg to the Jungfraujoch, the saddle between the Mönch and the Jungfrau, made the area one of the most-visited places in the Alps. Along with the Aletsch Glacier to the south, the Jungfrau is part of the Jungfrau-Aletsch area, which was declared a World Heritage Site in 2001.
Etymology
The name Jungfrau ("maiden, virgin"), which refers to the highest of the three prominent mountains overlooking the Interlaken region, along with the Mönch ("monk") and the Eiger ("ogre"), is most likely derived from the name Jungfrauenberg given to Wengernalp, the alpine meadow directly facing the huge northern side of the Jungfrau, across the Trummelbach gorge. Wengernalp was so named for the nuns of Interlaken Monastery, its historical owner. Contrary to popular belief, the name did not originate from the appearance of the snow-covered mountain, the latter looking like a veiled woman.
The "virgin" peak was heavily romanticized as "goddess" or "priestess" in late 18th to 19th century Romanticism. Its summit, considered inaccessible, remained untouched until the 19th century. After the first ascent in 1811 by Swiss alpinist Johann Rudolf Meyer, the peak was jokingly referred to as "Mme Meyer" (Mrs. Meyer).
Geographic setting
Politically, the Jungfrau (and its massif) is split between the municipalities of Lauterbrunnen (Bern) and Fieschertal (Valais). It is the third-highest mountain of the Bernese Alps after the nearby Finsteraarhorn and Aletschhorn, respectively 12 and 8 km (7.5 and 5 mi) away. But from Lake Thun, and the greater part of the canton of Bern, it is the most conspicuous and the nearest of the Bernese Oberland peaks; with a height difference of 3,600 m (11,800 ft) between the summit and the town of Interlaken. This, and the extreme steepness of the north face, secured for it an early reputation for inaccessibility.
The Jungfrau is the westernmost and highest point of a gigantic 10 km (6.2 mi) wall dominating the valleys of Lauterbrunnen and Grindelwald. The wall is formed by the alignment of some of the biggest north faces in the Alps, with the Mönch (4,107 m or 13,474 ft) and Eiger (3,967 m or 13,015 ft) to the east of the Jungfrau, and overlooks the valleys to its north by a height of up to 3 km (1.9 mi). The Jungfrau is approximately 6 km (3.7 mi) from the Eiger; with the summit of the Mönch between the two mountains, 3.5 km (2.2 mi) from the Jungfrau. The Jungfraujoch is the saddle between the Jungfrau and the Mönch and the Eigerjoch is the saddle between the Mönch and the Eiger. The wall is extended to the east by the Fiescherwand and to the west by the Lauterbrunnen Wall, although it follows different directions from the Jungfrau and the Eiger.
The difference of altitude between the deep valley of Lauterbrunnen (800 m or 2,600 ft) and the summit is particularly visible from the area of Mürren. From the valley floor, west of the massif, the altitude gain is more than 3 km (1.9 mi) for a horizontal distance of 4 km (2.5 mi).
The landscapes around the Jungfrau are extremely contrasted. In contrast to the vertiginous precipices of its northwest, the mountain's southeastern side emerges from the upper snows of the Jungfraufirn, one of the main feeders of the Aletsch Glacier, at around 3,500 meters (11,500 ft). The 20-kilometer-long (12 mi) valley of Aletsch on the southeast is completely uninhabited, and is surrounded by neighboring valleys with similar landscapes. The area as a whole constitutes the largest glaciated area not just in the Alps, but in Europe as well.
Climbing history
In 1811, the brothers Johann Rudolf (1768–1825) and Hieronymus Meyer, sons of Johann Rudolf Meyer (1739–1813), the head of a rich merchant family of Aarau, along with several servants and a porter picked up at Guttannen, first reached the Valais by way of the Grimsel, and crossed the Beich Pass, a glacier pass over the Oberaletsch Glacier, to the head of the Lötschen valley. There, they added two local chamois hunters, Alois Volken and Joseph Bortis, to their party and traversed the Lötschenlücke before reaching the Aletschfirn (the west branch of the Aletsch Glacier), where they established the base camp, north of the Aletschhorn. After the Guttannen porter was sent back alone over the Lötschenlücke, the party finally reached the summit of the Jungfrau by the Rottalsattel on August 3. They then recrossed the two passes named to their point of departure in Valais, and went home again over the Grimsel.
The journey was a most extraordinary one for the time, and some persons threw doubts at its complete success. To settle these, another expedition was undertaken in 1812. In this the two sons, Rudolf (1791–1833) and Gottlieb (1793–1829), of Johann Rudolf Meyer, played the chief parts. After an unsuccessful attempt, defeated by bad weather, in the course of which the Oberaarjoch was crossed twice (this route being much more direct than the long detour through the Lötschental), Rudolf, with the two Valais hunters (Alois Volker and Joseph Bortis), a Guttannen porter named Arnold Abbühl, and a Hasle man, bivouacked on a depression on the southeast ridge of the Finsteraarhorn. Next day (August 16) the whole party attempted the ascent of the Finsteraarhorn from the Studer névé on the east by way of the southeast ridge, but Meyer, exhausted, remained behind. The following day the party crossed the Grünhornlücke to the Aletsch Glacier, but bad weather then put an end to further projects. At a bivouac, probably just opposite the present Konkordia Hut, the rest of the party, having come over the Oberaarjoch and the Grünhornlücke, joined the Finsteraarhorn party. Gottlieb, Rudolf's younger brother, had more patience than the rest and remained longer at the huts near the Märjelensee, where the adventurers had taken refuge. He could make the second ascent (September 3) of the Jungfrau, the Rottalsattel being reached from the east side as is now usual, and his companions being the two Valais hunters.
The third ascent dates from 1828, when several men from Grindelwald, headed by Peter Baumann, planted their flag upon the summit. Next came the ascent by Louis Agassiz, James David Forbes, Heath, Desor, and Duchatelier in 1841, recounted by Desor in his Excursions et Séjours dans les Glaciers. Gottlieb Samuel Studer published an account of the next ascent made by himself and Bürki in 1842.
In 1863, a party consisting of three young Oxford University graduates and three Swiss guides successfully reached the summit and returned to the base camp of the Faulberg (located near the present position of the Konkordia Hut) in less than 11 hours (see the section below, The 1863 Ascent). In the same year Mrs Stephen Winkworth became the first woman to climb the Jungfrau. She also slept overnight in the Faulberg cave prior to the ascent as there was no hut at that time.
Before the construction of the Jungfraujoch railway tunnel, the approach from the glaciers on the south side was very long. The first direct route from the valley of Lauterbrunnen was opened in 1865 by Geoffrey Winthrop Young, H. Brooke George with the guide Christian Almer. They had to carry ladders with them in order to cross the many crevasses on the north flank. Having spent the night on the rocks of the Schneehorn (3,402 m or 11,161 ft) they gained next morning the Silberlücke, the depression between the Jungfrau and Silberhorn, and thence in little more than three hours reached the summit. Descending to the Aletsch Glacier they crossed the Mönchsjoch, and passed a second night on the rocks, reaching Grindelwald next day. This route became a usual until the opening of the Jungfraujoch.
The first winter ascent was made on 23 January 1874, by Meta Brevoort and W. A. B. Coolidge with guides Christian and Ulrich Almer. They used a sled to reach the upper Aletsch Glacier, and were accompanied by Miss Brevoort's favorite dog, Tschingel.
The Jungfrau was climbed via the west side for the first time in 1885 by Fritz and Heinrich von Allmen, Ulrich Brunner, Fritz Graf, Karl Schlunegger and Johann Stäger—all from Wengen. They ascended the Rottal ridge (Innere Rottalgrat) and reached the summit on 21 September. The more difficult and dangerous northeast ridge that connects the summit from the Jungfraujoch was first climbed on 30 July 1911 by Albert Weber and Hans Schlunegger.
In July 2007, six Swiss Army recruits, part of the Mountain Specialists Division 1, died in an accident on the normal route. Although the causes of the deaths was not immediately clear, a report by the Swiss Federal Institute for Snow and Avalanche Research concluded that the avalanche risk was unusually high due to recent snowfall, and that there was "no other reasonable explanation" other than an avalanche for the incident.
The 1863 Ascent
The Führerbuch of the Alpine guide Peter Baumann records an ascent of the Jungfrau made by himself with three men from England in July 1863. The foreign climbers were long thought to have been John Tyndall, J.J. Hornby and T.H. Philpott, until in 1958 the records were checked by the Alpine Club and the following conclusion was reached:
On July 23, 1963, Phillpotts, with James Robertson and H.J. Chaytor, climbed the Jungfrau (the entry shown in A.J. 32. 227 was wrongly transcribed by Montagnier, who says ‘T.H. Philpott’ for J.S. Phillpotts). The entry in Peter Baumann’s Führerbuch (facsimile in A.C. archives) says that the trio crossed the Strahlegg Pass and the Oberaarjoch, and then climbed the Jungfrau from the Eggishorn.
Tyndall, Hornby and Philpott were well-known Alpinists, but there is no record of their having attempted the Jungfrau in 1863. Robertson, Chaytor and Phillpotts were novices; they had recently graduated from Oxford University where they had all been keen members of the Oxford University Boat Club.
William Robertson (1839–1892), the leader of the expedition (wrongly called ‘James’ in the Note quoted above), was an Australian by birth, and the first non-British national to take part in the Oxford and Cambridge Boat Race. He later became a barrister and member of parliament in Australia. He and H.J. Chaytor (possibly the father of the medievalist Henry John Chaytor) were both members of the victorious Oxford team in the 1861 Boat Race. James Surtees Phillpotts (1839–1930) was the third member of the team; he would later become headmaster of Bedford School. The trio had three Swiss guides, Peter Baumann, Peter Kaufmann ("Grabipeter", father of Peter Kaufmann the younger) and Rubi.
A description of the ascent of the Jungfrau is contained in a letter dated Sunday 26 July which Phillpotts wrote to his friend Alexander Potts (later to become the first headmaster of Fettes College). The letter is now in the possession of the Alpine Club. The following extracts are from that letter.
The Virgin certainly did not smile on the poor "fools who rushed in" on her sacred heights, i.e. in plain British, we had the treadmill slog, the biting wind, the half frost-bitten feet and the flayed faces that generally attend an Alpine ascent.
We got to the Faulberg hole about dark, and enjoyed the coffee the longman (Kauffmann) made, as one would in a hole in a rock in a cold evening. The "Faulberg Nachtlager" consists of two holes and a vestibule to the upper hole. The Upper Hole in which we lodged just contained Chay[tor], the Guv [Robertson] and myself, stretched at full length on a little hay over a hard rock mattress, convex instead of concave at the point where one likes to rest one's weight. Chaytor was in the middle, and as we were very close was warm and slept. The Guv and I courted Nature's soft nurse in vain. At two we got up and methodically put our feet into the stocks, i.e. our boots, breakfasted and shivered, then started (unwashed of course, as the cold gave us malignant hydrophobia) a little after 3:30.
The hole was about 150 feet [46 m] up one of the loose stone cliffs one now knows so well. So we groped our way down it and over the moraine – the stars still lingering, as day was just dawning. We could not start at 1:30, the proper time, as there was no moon and we wanted light as we had to tramp the glacier at once. Rubi led, and off we went, roped and in Indian file, in the old treadmill way over the slippery plowed-field-like snow that lay on the upper glacier, for a pull without a check of one or two hours.
At last we came to the region of bergschrunds and crevasses. They seemed to form at first an impassable labyrinth, but gradually the guides wound in and out between the large rifts, which were exquisitely lovely with their overhanging banks of snow and glittering icicles, and then trod as on pins and needles over a snowbridge here and there, or had to take a jump over the more feasible ones – and we found ourselves at the foot of the mountain; trudged up on the snow which ought to have been crisp but was even then more or less fresh fallen and sloppy; had to creep over about three crevasses, and after a tiresome pull, dragging one leg after another out of ankle or knee deep snow, we got on a crest of snow at right angles to the slope we had just come up. That slope with its crevasses on one side, and on the other a shorter and much steeper one which led in a few steps to a precipice.
All along this crest went a snakelike long crevasse, for which we had continually to sound, and go first one side and then the other; then we got to the foot of the saddle. Some twenty or thirty steps, some cut, some uncut, soon took us up a kind of hollow, and we got on a little sloping plateau of some six feet [1.8 m] large, where we left the grub and the knapsack, keeping my small flask of cognac only. Then up a steep ice slope, very steep I should say, down which the bits of ice cut out of the steps hopped and jumped at full gallop and then bounded over to some bottomless place which we could not see down. Their pace gave one an unpleasant idea of the possible consequence of a slip.
Here we encountered a biting bitter wind. Peter Baumann cut magnificent steps, at least he and Rubi did between them, the one improving on the other's first rough blows. After Rubi came Chaytor with Kauffmann behind him, then the Guv, and then myself, the tail of the string. Each step was a long lift from the last one, and as the snow was shallow they had to be cut in the ice which was like rock on this last slope.
Suddenly there burst upon us, on lifting our heads over the ridge, the green and cheerful valleys of Lauterbrunnen and Interlaken, of Grindelwald and a distant view of others equally beautiful stretching on for ever in one vast panorama. On the other side in grim contrast there was a wild and even awful scene. One gazed about one and tried in vain to see to the bottom of dark yawning abysses and sheer cliffs of ice or rock.
Tourism
Named after the Jungfrau, the Jungfrau Region of the Bernese Oberland is a major tourist destination in the Alps and includes a large number of railways and other facilities. While the mountain peak was once difficult to access, the Jungfrau Railway, a rack railway, now goes to the Jungfraujoch railway station at 3,454 m (11,332 ft), therefore providing an easy access to the upper Aletsch Glacier and a relatively short access to the Jungfrau itself, the height difference between the station and the summit being only 704 metres and the horizontal distance being slightly less than 2 kilometres. As a result, in the popular mind, the Jungfrau has become a mountain associated with the Bernese Oberland and Interlaken, rather than with Upper Valais and Fiesch.
In 1893, Adolf Guyer-Zeller conceived of the idea of a railway tunnel to the Jungfraujoch to make the glaciated areas on its south side more accessible. The building of the tunnel took 16 years and the summit station was not opened before 1912. The goal was in fact to reach the summit of the Jungfrau with an elevator from the highest railway station, located inside the mountain. The complete project was not realized because of the outbreak of the World War I. Nevertheless, it was at the time one of the highest railways in the world and remains today the highest in Europe and the only (non-cable) railway on Earth going well past the perennial snow-line.
The Jungfrau Railway leaves from Kleine Scheidegg, which can be reached from both sides by trains from Grindelwald, and Lauterbrunnen via Wengen. The train enters the Jungfrau Tunnel running eastward through the Eiger just above Eigergletscher, which is, since 2020, also accessible by aerial tramway from Grindelwald. Before arriving at the Jungfraujoch, it stops for a few minutes at two other stations, Eigerwand (on the north face of the Eiger) and Eismeer (on the south side), where passengers can see through the holes excavated from the mountain. The journey from Kleine Scheidegg to Jungfraujoch takes approximately 50 minutes including the stops; the downhill return journey taking only 35 minutes.
A large complex of tunnels and buildings has been constructed at the Jungfraujoch, referred to as the "Top of Europe". There are several restaurants and bars, shops, multimedia exhibitions, a post office, and a research station with dedicated accommodation facilities. An elevator enables access to the top of the Sphinx and its observatory, at 3,571 m (11,716 ft), the highest viewing platform of the area. Outside, at the level of the Jungfraujoch, there is a ski school, and the "Ice Palace", a collection of elaborate ice sculptures displayed inside the Aletsch Glacier. Another tunnel leads to the east side of the Sphinx, where one can walk on the glacier up to the Mönchsjoch Hut, the only hotel infrastructure in the area.
Apart from the Jungfraujoch, many facilities have been built in the Jungfrau Region, including numerous mountain railways. In 1908, the first public cable car in the world, the Wetterhorn Elevator, opened at the foot of the Wetterhorn, but was closed seven years later. The Schilthorn above Mürren, the Männlichen above Wengen, and the Schynige Platte above Wilderswil, offer good views of the Jungfrau and the Lauterbrunnen valley. On the south side, the Eggishorn above Fiesch also offers views of the Jungfrau, across the Aletsch Glacier.
Climbing routes
The normal route follows the traces of the first climbers, but the long approach on the Aletsch Glacier is no longer necessary. From the area of the Jungfraujoch the route to the summit takes only a few hours. Most climbers start from the Mönchsjoch Hut. After a traverse of the Jungfraufirn the route heads to the Rottalsattel (3,885 m or 12,746 ft), from where the southern ridge leads to the Jungfrau. It is not considered a very difficult climb but it can be dangerous on the upper section above the Rottalsattel, where most accidents happen. The use of the Jungfrau Railway instead of the much more gradual approach from Fiesch (or Fieschertal), via the Konkordia Hut, can cause some acclimatization troubles as the difference of altitude between the railway stations of Interlaken and Jungfraujoch is almost 3 km (1.9 mi).
(Wikipedia)
Die Jungfrau ist ein Berg in der Schweiz. Sie ist mit 4158 m ü. M. der dritthöchste Berg der Berner Alpen und bildet zusammen mit Eiger und Mönch eine markante Dreiergruppe, ein sogenanntes «Dreigestirn».
Am 13. Dezember 2001 wurde die Jungfrau zusammen mit südlich angrenzenden Gebieten als Schweizer Alpen Jungfrau-Aletsch in die Liste als UNESCO-Weltnaturerbe aufgenommen.
Lage und Umgebung
Über den Jungfrau-Gipfel verläuft die Grenze zwischen den Kantonen Bern und Wallis. Der Berg ist ausserordentlich vielgestaltig. Im Norden und Nordwesten, auf ihrer „weiblichen“ Schauseite (vgl. Foto) sind ihr Wengen-Jungfrau, Schneehorn, das Silberhorn, das Chly Silberhoren und der „Schwarzmönch“ vorgelagert sowie die zerrissenen Kühlauenen- und Giessengletscher. Im Westen erhebt sie sich fast eisfrei volle 3250 Meter über dem hinteren Lauterbrunnental. Es ist dies (nach dem Mont Blanc) der zweithöchste direkte Abhang in den Alpen. Ihre Südwand erhebt sich über dem versteckten Rottalgletscher und ihre Ostwand über den Firnen am Jungfraujoch.
Die Pläne, auf die Jungfrau eine Bergbahn zu bauen, wurden aufgrund finanzieller Schwierigkeiten nicht realisiert. Die ursprünglich bis unter den Gipfel geplante Jungfraubahn wurde bis 1912 mit Endstation Jungfraujoch fertiggestellt.
Auf dem untersten Absatz des Nordostgrats haben die PTT einen Funk-Umsetzer auf 3777 m ü. M. installiert.
Geologie
Die Jungfrau liegt im nördlichen Randbereich des Aarmassivs, eines der sogenannten Zentralmassive der Schweizer Alpen. Ihre höheren Lagen (Silberhorn, Wengen-Jungfrau und Hauptgipfel) sowie ihre Westflanke bis hinunter zum oberen Ende des Lauterbrunnentals sind weit überwiegend aus kristallinem Grundgebirge (prä-triassische Gneise, Glimmerschiefer u. ä.) der Helvetischen Zone aufgebaut. Die Nordwestflanke hingegen, der ganze «Vorbau» (Schwarzmönch, Rotbrett und Schneehorn) besteht aus sedimentärem, überwiegend jurassischem und kretazischem Deckgebirge des Helvetikums. Eine Besonderheit der Jungfrau ist, dass dort zwischen dem prinzipiell autochthonen Gipfel-Kristallin und dessen Deckschichten ein Überschiebungs-kontakt besteht; somit ist das Grundgebirge geringfügig auf sein Deckgebirge überschoben worden.
Name
Der Name Jungfrau dürfte sich von der Wengernalp am Fusse des Berges ableiten, die – nach den Besitzerinnen, den Nonnen vom Kloster Interlaken – früher Jungfrauenberg genannt wurde. Einer anderen Quelle zufolge leitet sich der Name vom Aussehen des Nordhanges des Berges ab, der aus der Ferne dem Schleier eines Mädchens ähneln soll.
Nach dem Berg ist die Jungfrau-Region benannt, die Tourismusorganisation der Orte Grindelwald, Wengen, Mürren und Lauterbrunnen, ausserdem die Jungfraubahn Holding AG, die neben der Jungfraubahn selbst auch die anderen Bergbahnen in der Region betreibt.
Besteigungsgeschichte
Bergsteiger auf dem Gipfel im Jahr 1878
Erstbesteiger waren Johann Rudolf Meyer und sein Bruder Hieronymus mit den Führern Joseph Bortis und Alois Volken, die am 3. August 1811 vom Lötschental her den Berg von Süden erklommen hatten. Sie folgten ungefähr der heutigen Normalroute. Der Volksmund taufte daraufhin die bis dahin unberührte Jungfrau «Madame Meyer».
1874 erfolgte die Winter-Erstbesteigung durch die Alpinistin Margaret Claudia Brevoort.
Die Jungfrau gilt, obwohl leicht erreichbar, als unfallträchtiger Berg. Bei einem der schwersten Unglücke stürzten am 12. Juli 2007 sechs Rekruten der Gebirgsspezialisten-Rekrutenschule Andermatt vom Rottalsattel 1000 Meter auf den darunterliegenden Rottalgletscher in den Tod, nachdem sie eine Lawine ausgelöst hatten. Das urteilende Militärgericht ging von einem falsch eingeschätzten, heimtückischen Lawinenrisiko aus und sprach in der Folge die verantwortlichen Bergführer frei.
Routen
Rottalsattel und Südostgrat (Normalroute)
Schwierigkeit: ZS-
Zeitaufwand: 4–5 Std. von der Mönchsjochhütte, 3½–4½ Std. vom Jungfraujoch
Ausgangspunkt: Mönchsjochhütte (3657 m)
Talort: Grindelwald (1034 m)
Innere Rottalgrat
Schwierigkeit: ZS
Zeitaufwand: 6–7 Stunden
Ausgangspunkt: Rottalhütte (2755 m)
Talort: Stechelberg (919 m)
Nordwestgrat oder „Rotbrettgrat“
Schwierigkeit: S
Zeitaufwand: 8–12 Stunden
Ausgangspunkt: Silberhornhütte (2663 m)
Talort: Stechelberg (919 m)
Nordostgrat
Schwierigkeit: S+, mit IV. UIAA-Grad Felskletterei
Zeitaufwand: 8–10 Stunden
Ausgangspunkt: Jungfraujoch (3454 m)
Talort: Grindelwald (1034 m)
Kunst
Erwähnt ist die Jungfrau unter anderem bei Friedrich Schiller, Wilhelm Tell, Vers 628 (1804). Lord Byrons Drama Manfred (1817) spielt am Fuss und auf dem Gipfel des Massivs. Ferdinand Hodler hat die Jungfrau mehrfach gemalt, darunter die perspektivisch verfremdete «Jungfrau über dem Nebelmeer». Alex Diggelmann gab 1958 eine Lithographienmappe unter dem Titel Die Jungfrau, mein Berg heraus. Stephan Bundi gestaltete 2005 eine Schweizer Gedenkmünze mit dem Bergmotiv.
Im Januar 2012 wurde zum 100-jährigen bestehen der Jungfraubahn eine übergrosse Schweizer Flagge vom Lichtkünstler Gerry Hofstetter an den Gipfel projiziert. Zeitweise waren neben dem Schweizer Kreuz auch ein Porträt des Zürcher Unternehmers Adolf Guyer-Zeller sowie ein Bild von einem der Züge zu sehen.
(Wikipedia)
Nikon F4s
Tokina 100mm f/2.8
Fujifilm Superia Xtra 400 35mm film
Scanned digitally with Nikon D800E and Tokina 100mm f/2.8.
Part of the "Humans of Stony Brook" project:
"I was a liberal arts student previously at Suffolk County Community College and transferred over here. So I had gotten all of my DECs out of the way and now I'm basically just taking science and math courses. And the disconnect that I'm facing now between what I was experiencing at Suffolk when I was taking a wide variety of courses is pretty...disconnecting. It feels like this is taking away from what it means to be a human being. When I sit down, memorize information, I become so methodical in my learning process rather than being creative. There's a different side of my brain I'm working with and now as a transfer student... as a new student at Stony Brook I'm trying to learn how to adjust to this new way of behaving. My experience at Stony Brook starves my soul, and now what I have to do is go outside of this place to find ways to feed myself."
“What do you do to replenish?”
"I'm a musician. I play music. I make music. I play mostly acoustic guitar. I also play the musical saw. You can pretty much use any saw. You take it, you bend it in a certain way, and you take a bass or cello bow and play it. It makes this beautiful sound kind of like a ghost shrieking. Sound is one of the most fascinating things to experiment with in this dimension. I'm not religious, but if you ever read the Book of John in the Gospel, it reads sort of like a psychedelic experience from the beginning. First there is the word, and then the word became flesh. There is a frequency...a vibration that is underlying all things, and that is the driving force behind all things. And what we're actually trying to acquire from the atomic level of atoms becoming in neutral states with their electron configurations matching up to each other...and with human beings we're always searching for someone else to complete ourselves. What we really want is harmony. Music is the study and interplay of this harmony. We're finding different sounds and experimenting with how they coincide with each other. I think it's probably the most perfect art form."
One of calming activities is finding nice sticks while out on walks, taking the bark off and letting them dry in the sun. Then I spend days/weeks/months sitting outside slowly and methodically sanding them down. I work in stages increasing the fineness of the grit to nearly buffing it. I then use local beeswax (often infused with herbs or hemp) and a microfiber cloth to bring the surface to a protected smooth shine. There is no “purpose” to this really, just something nice to do with my hands when my anxiety is high. Plus other than keeping stocked on sandpaper and beeswax, it’s more or less a free activity which I also love.
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.
This survey exhibition at the Galerie Rudolfinum is Neo Rauch’s largest one-man show to date in a Czech museum context. Organized in close collaboration with Kunstmuseum Wolfsburg, it brings together some 40 paintings.
Neo Rauch was born in 1960 in Leipzig. He studied under Arno Rink, whose assistant he later became. Following the collapse of the East German Communist regime, he quickly emerged as one of the most important artists of his generation and his work was featured in numerous group shows. The majority of Rauch’s paintings are large-format compositions rendered in a muted palette; his influences include Surrealism and comic-book imagery. Always figurative, his canvases are populated by characters busily performing strange, indefinable tasks in post-industrial settings.
Rauch draws his subject matter from the well of images from the past. The echoes of realism in his work are unmistakable – both in terms of ‘high’ art and commercial graphics – but at the same time his figures with their friendly, somewhat robotic appearance recall American advertising campaigns of the 1950s and 60s. Rauch uses the entire vocabulary of the unconscious (and thus latent) language of visual signs to create new settings and puzzling scenes, in a manner that is wholly unpretentious. The individual elements in his paintings have a powerful symbolic charge. The curiously old-fashioned objects his characters deal with seem to have come from a bizarre collection of theatrical props, and often vary considerably in terms of scale. This makes them appear out of proportion with the depicted figures and transforms them into surreal utensils – magical and mysterious at once. The painted scenes have a dream-like quality, and Rauch himself has said: “For me, painting is the continuation of a dream with other means.”
The main criterion for selecting paintings for this exhibition was the significance of each individual work within the artist’s oeuvre. As a result, the chosen pieces represent all the major phases of Neo Rauch’s work to date, making it possible to trace the development within the oeuvre and to grasp its coherence and complexity. Extremely large-format paintings will also be shown here, signalling a new direction in Neo Rauch’s practice and underlining the singular nature of this exhibition.
In the catalogue to accompany the exhibition, Markus Brüderlin, the director of the Kunstmuseum Wolfsburg, writes: “Rauch’s forced illusionism, which broke off from abstraction, corresponds in a curious way with the epoch-making methodical change known as the Iconic Turn which has attracted wide attention over the past few years and replaced the linguistic structuralism that long dominated artistic discourses. The transformation from the text-based information society of the Gutenberg Age to the more image-oriented society of digital media found a fervent advocate in Neo Rauch’s pictorial style. His artworks provide the most diverse answers to the fundamental question ‘What is a picture?’”
A comprehensive catalogue to accompany the exhibition has been published by DuMont Kunst- und Literaturverlag, Köln 2006. With a preface by Markus Brüderlin, the 192-page publication includes contributions by Harald Kunde, Holger Broeker, Gottfried Boehm, Donald Kuspit, Gernot Böhme and Wolfgang Büscher.
(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...
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.
12345678910»
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...
***UPDATE*** Gaurav methodically set his set sights on this specific sofa, and so this one is very deservingly leaving for San Francisco. Thank you immensely for the trust.
i was tagged by erica ann for ten facts about me. you'd think i'd know things about myself by now but apparently it takes me DAYS to formulate ten interesting facts...
1. i have recently become a HUGE fan of avocados.
2. i'm very methodical when doing crossword puzzles. i work the clues across and then
down. and then across. and then down. i don't start in the middle.
3. I am currently reading a book about elizabeth I.
4. i think sweet tea is gross. i mean, why not just eat a dozen spoonfuls of sugar?
5. I can’t listen to music while running. I always feel like I need to keep pace with the
songs and that usually means running faster than I am capable, thus wearing myself out
early on, which means I end up walking for the majority of my “run.” It’s a slippery
slope.
6. I’m not as accepting of change as I used to be. Dramatic change, that is. I like my daily
routines, but big change sometimes overwhelms me.
7. chores i hate doing include washing dishes and folding laundry.
8. i switch my perfume up each season...i mainly use "classic" by banana republic but now i'm wearing "vanilla noir" by bath and body works.
9. i prefer wearing heels to flat shoes. i find them more comfortable...which i recently learned is probably because wearing heels shortens your calves and then wearing flat shoes can feel unnatural. something to that effect.
10. my go-to snack: tortilla chips and sour cream.
description
KingdomAnimalia
PhylumChordata
ClassAves
OrderCiconiiformes
FamilyThreskiornithidae
GenusPlatalea (1)
The distinctively spatulate bill of the Eurasian spoonbill lends this tall, pure white waterbird a slightly comical appearance (3). During the breeding season, adults develop a crest of pointed and drooping plumes, as well as patches of yellow on the upper breast and the tip of the bill (2) (3) (4) (5). The rest of the bill is black, as are the long legs. The sexes are similar in overall appearance but the male is somewhat larger than the female, with a longer bill and longer legs (2). Juveniles resemble the non-breeding adults, but have pinkish bills and black tips to the wing feathers (2) (5). Four subspecies, with distinct breeding ranges, are currently recognised: Platalea leucorodia leucorodia, P. l. major, P. l. balsaci, and P. l. archeri (5).
Also known as
European spoonbill, spoonbill.
French
Spatule blanche.
Size
Length: 70 - 95 cm (2)
Weight
1130 - 1960 g (2)
biology
The Eurasian spoonbill forages alone or in small groups, wading methodically through shallow water whilst sweeping its distinctive bill from side to side in search of prey (2). Small fish, aquatic insects, shrimp and other invertebrates comprise the bulk of its diet, but it will also take algae and fragments of aquatic plants, although these may just be accidentally ingested (2) (6). Foraging activity generally peaks around morning and evening, except in coastal areas, where it is governed by the timing of low tide (6).
Populations in the north of this species’ range breed during the spring, whilst in the tropics the timing of the breeding season coincides with the rains. Most breeding pairs nest in monospecific colonies, or mixed species colonies in which they tend to form small monospecific groups. The nest is a platform of twigs, sticks and other bits of vegetation located on the ground on a small island, or up to five metres above the ground in dense reed, bushes, trees or mangroves (2) (6). The female usually lays three to four eggs which are incubated for around 24 to 25 days before hatching (2).
Except for the Northwest Africa (P. l. balsaci) and Red Sea (P. l. archeri) populations, which are sedentary, the Eurasian spoonbill is migratory throughout its range, (5). During migration this species generally flies in formation at considerable height, and, on long-distance flights, uses sites along the way to stopover and recover energy (2).
Top
Eurasian spoonbill range
The wide but fragmented breeding range of the Eurasian spoonbill extends from Europe to northwest Africa, the Red Sea, India and China. Wintering areas include the Atlantic coast of Europe, the Mediterranean, sub-Saharan Africa, southwest Asia, India, Sri Lanka, southern China, and Japan (5).
habitat
The Eurasian spoonbill inhabits fresh and saltwater marshes, estuaries, deltas, tidal creeks, rivers, lakes, reservoirs and mangrove swamps (5) (6). It shows a particular preference for shallow wetlands with a mud, clay or fine sand bottom, as well as islands, dense reedbeds, and scattered trees and shrubs for nesting
Eurasian spoonbill threats
With the notable exception of the western European population (P. l. leucorodia), which appears to be increasing in size, most populations of the Eurasian spoonbill are declining. The subspecies P. l. balsaci is most at risk, with the remaining 750 breeding pairs (as of 2008) restricted to a single site in Mauritania, which faces an increasing risk of flooding due to sea-level rise. Furthermore, a large proportion of the juveniles at this site are killed by predators, such as jackals (5). Elsewhere across its range, the Eurasian spoonbill is threatened by habitat loss and degradation, human disturbance, pollution, hunting, and exploitation of eggs (2) (5) (6).
Top
Eurasian spoonbill conservation
The Eurasian spoonbill is listed under Appendix II of the Convention on the Conservation of Migratory Species of Wild Animals (CMS), which aims to conserve migratory species throughout their range (7). Furthermore, it is also listed under the associated Agreement on the Conservation of African-Eurasian Migratory Waterbirds (AEWA), which calls upon parties to engage in a range of conservation actions to help protect and conserve bird species that are dependent on wetlands for at least part of their annual cycle (8). An action plan for the Eurasian spoonbill was published by the International Spoonbill Working Group in 2008, setting out measures to increase the number of breeding pairs in populations that are currently under threat. This includes habitat rehabilitation and protection, control of predators, protection of Eurasian spoonbills from persecution, and further research into the migratory movements of each subspecies
12 декабря 2019, Методическая встреча «Пакистанская миссия» с участием студента МДА Аарона Самуэля / 12 December 2019, Methodical meeting “Pakistan Mission” with the participation of MTA student Aaron Samuel
Saturday, February 11, 2012.Recap: No. 15 C'Town 87, No. 19 WC 69.By Brendan Hall..CHARLESTOWN, Mass. -- At this time last year, Charlestown made the trek West, down Route 146, to deliver a haymaker to a Whitinsville Christian squad considered the state's tallest lineup. ..This afternoon, the Crusaders came East to Bunker Hill, with a different look for the Townies -- smaller, quicker, more surgical -- and the result was very nearly a different outcome. The Crusaders hung with Charlestown through three quarters, before the Townies pulled away in the fourth, outscoring Whitinsville 31-14 in the final frame en route to an 87-69 victory. .."That team's very good, I thought that was the best shooting team we saw," Charlestown head coach Edson Cardoso said. "They're very well balanced, with a real good point guard, big man, two-guard, so I knew coming into this game it was going to be a battle. I told the guys, 'You're going to see a team like this in the state tournament, eventually down the line." ..The Townies (14-3), played just seven due to health (Jawhari Dawan-Abdullah, stomach bug) and off the court issues (Gary Braham, suspension). But they saw all five of their regular starters reach double-figures, with senior point guard Rony Fernandez (26 points, four assists) leading the way. Senior forward Tyrik Jackson (12 points, 13 rebounds) came up big on the glass again, while Tyrese Hoxter (16 points, seven assists), Omar Orriols (13 points) and Iser Barnes (12) contributed some big shots from the perimeter to keep the defense stretched out. ..But early on, the Crusaders (12-2) gave them fits with the methodical way they broke through the Townie's 2-3 zone with some of the most disciplined and precise ball movement they'd seen in a while. Junior point guard Colin Richey (23 points) funneled the offense down to the baseline, finding a player planted right in the heart of the zone and kicking to either the baseline or either wing. ..Whitinsville shot nearly 40 percent from the field, getting good looks from the short side from Tyler VandenAkker (12 points, eight rebounds) and Jesse Dykstra. Grant Brown (10 points) came up with some big shots from the perimeter as well. .."We decided to extend a little bit more on the short corner, because they hit about four shots in a row from the short corner," Cardoso said. "We also decided to have the opposite guard extend even more on shooter No. 2 (Tim Dufficey). So we made some extensions in the second half, did a little better job -- not a great job, but it helped us get the victory." ..To start the fourth quarter, Barnes completed a 6-0 run by ripping the ball out of his defender's hands at midcourt and landing a breakaway layup. A few possessions later, Hoxter found Jackson underneath the rim for an easy tip-in and 68-59 advantage. ..Then with 1:37 to go, sophomore Taris Wilson hit the first of two monster breakaway slams, this one making it 76-63 to essentially put the game in hand. ..Hot from the field: The Townies outrebounded the Crusaders 16-7 in the final frame, giving way to many key transition points that helped ice the lead and the win. From the glass, WC still held a slim 35-33 advantage. ..But down at the other end, the Townies had a terrific night from the field, shooting nearly 58 percent overall. That was aided by a 7-for-17 effort from three-point range, including three 3's each from Fernandez and Orriols. ..Praise for Richey: Last season, New Mission head coach Cory McCarthy was throwing around high praise for the then-sophomore Richey, calling him "a suburban kid that plays urban". ..Consider Cardoso another Boston City League coach that's a fan. .."He's tough," Cardoso said. "He's one of the toughest guards coming out of his league, and I think he's going give a lot of teams problems in the state tournament, because how do you stop a kid like that?" ..Turning point? Following last season's loss to Charlestown in its home gym, WC coach Jeff Bajema greeted his players in the locker room and told them, "Guys, we can win states." ..Sure enough, the Crusaders never lost another game the rest of the way, picking up their first Division 3 state title since 2005 at the DCU Center in Worcester. After that game, Bajema spoke to reporters about how much the whitewashing by Charlestown seasoned them for what to expect in the state tournament. ..Given how much more competitive the Crusaders were this time around, could this be seen as another momentum shift? .."Hopefully, a game like this will lead us to better things," Bajema said. "But we've got a tough one Tuesday (against Holy Name), so we'll see."
Shot at ISO 1600, Aperture of 3.2, Shutter speed of 1/500 and Focal Length of 26.0 mm
Taken with a 24-70mm F2.8 ZA SSM lens and processed by Aperture 3.2.2 on Saturday February-11-2012 17:05 EST PM
www.phaselis.org/en/about/about-project
Phaselis Research
Phaselis
When compared with the previous period of research on the history of the city over the past quarter century it has undergone radical changes. While modern scientists follow the path of their predecessors in collecting data through systematic processes and methodically analysing them, they change the route whereby they approach the city as a context- and a process-oriented structure, having economic, social, cultural, political and environmental dimensions which come together at different levels.
This considerably more inclusive definition expands the discipline concerning the city’s historical research, which consists of archaeology, epigraphy, ancient history and the other ancillary sciences and it encourages scientists from the natural and health sciences to participate within these studies. This is because in the course of the exploration of an ancient settlement the study of both the environment and the ecological setting which make human life possible; together with health issues, such as diet and epidemics, form the context within which human beings live, and which are thereby as important as the human actors.
Within the context of the planned Phaselis Research, even certain knowledge such as the settlement’s appearing on the stage of history as a favorite break-point with its three natural harbours, it being famous for its roses, the frequent seismic upheavals at sea and on its shores and its citizens leaving their homes because of a devastating malaria epidemic suggest the necessity of the application of this multi-dimensional research methodology in order to understand more fully the historical adventure of this city.
By presenting this research project, we aim to implement and realize this multi-dimensional research method, which as yet lacks widespread application in the field in our country, however conceptually and practically with a multi-disciplinary research team consisting of both national and international scientists, we intend to register systematically every kind of data/information regarding all contexts of the city employing modern methods and to present the results to the scientific world in the form of regular reports and monographic studies, thus forming a strong tie between past and future research.
Phaselis Territorium
The boundaries of the ancient city of Phaselis’ territorium are today within the administrative borders of the township of Tekirova, in Kemer District, determined from the archaeological, epigraphic and historical-geographical evidence, reaching the Gökdere valley to the north, continue on a line drawn from Üç Adalar to Mount Tahtalı to the south and extend along the Çandır valley to the west.
Phaselis was discovered in 1811-1812 by Captain F. Beaufort during his work of charting the southern coastline of Asia Minor for the British Royal Navy. Beaufort drew Phaselis’ plan and in the course of conducting his cartographic studies, he saw the word Φασηλίτης ethnikon on the inscriptions and consequently identified these ruins with Phaselis. C. R. Cockerell, the English architect, archaeologist and author came to Phaselis by ship and met Beaufort there. Then in 1838 C. Fellows, the English archaeologist visited the city. He found the fragments of the dedicatory inscription over the monumental gate built in honour of the Emperor Hadrianus and mistakenly thought the Imperial Period main street was the stadion due to the seats-steps on either side of the street. In 1842 Lt. T. A. B. Spratt, the English hydrographer and geographer, and the Rev. E. Forbes, the naturalist came to Phaselis via the Olympos and Khimaira routes. Due to the fact that they all came by sea and they only stayed for a short time, their descriptions of the topography inland are without detailed and there are serious errors in orientation.
PhaselisThose researchers who visited Phaselis between the late 19th and the early 20th centuries concentrated primarily upon the discovery of inscriptions. In 1881-1882 while the Austrian archaeologist and the epigraphist O. Benndorf, the founder of the Austrian Archaeological Institute, and his team were conducting research in southwestern Asia Minor, they examined Phaselis. In the winter of 1883 and 1884 F. von Luschan from the Austrian team took the first photographs which provide information concerning the regional features of Phaselis’ shoreline. In the same year the French scientist V. Bérard also visited Phaselis. In 1892 the members of the Austrian research team, O. Benndorf, E. Kalinka and their colleagues continued their architectural, archaeological and epigraphical studies in Phaselis. In 1904 they were followed by D. G. Hogarth, R. Norton and A. W. van Buren from the British research team. In 1908 the Austrian classical philologist E. Kalinka visited the settlement again, collected epigraphic documents and conducted research on the history of city (published in TAM II in 1944). The Italian researchers R. Paribeni and P. Romanelli visited Phaselis in1913 and C. Anti in 1921. Anti returned to Antalya overland and in consequence discovered several epigraphs and the ruins of structures within the territorium of Phaselis.
Further archaeological, epigraphical and historical-geographical studies of Phaselis were conducted by the English researchers F. M. Stark and G. Bean, who came to the region after World War II. In 1968 H. Schläger, the German architect and underwater archaeologist began exploring the topographical and architectural structures of Phaselis’s harbours. After Schläger’s death in 1969, the research was conducted under the leadership of the archaeologist J. Schäfer in 1970. H. Schläger, J. Schäfer and their colleagues obtained important data concerning the architecture and history of Phaselis through the surface exploration of the city and its periphery. Following the excavations conducted along the main axial street of the city, in 1980 under the direction of Kayhan Dörtlük, the then Director of the Antalya Museum and between 1981-1985 under the leadership of the archaeologist Cevdet Bayburtluoğlu; underwater exploration was carried out in the South Harbour under the direction of Metin Pehlivaner, the then Director of the Antalya Museum.
The Model 30 represents the successful gamble by Bell Aircraft Corporation founder Lawrence Bell to enter the nascent helicopter market of the mid-1940s. While this aircraft was only a demonstration prototype, its production variant, the Model 47, has managed to remain in service in one form or another longer than any other helicopter type, and some are still operating at the start of the twenty-first century. A unique pool of talent, brought together by Lawrence Bell included the helicopter pioneer, Arthur Young, and a superb engineer, Bartram Kelley, was responsible for the success of the Model 30 and its descendents.
Arthur Young’s career as a helicopter pioneer began with an intense intellectual compulsion to address the technical problems of the age. In the late 1920s, he realized that a stable, controllable helicopter was one of the few technological challenges of the time that had not shown signs of significant progress, and set about finding a solution. Young approached the development of a practical helicopter in a methodical and scientific manner that was not common practice among many of his fellow pioneers, who relied on trial and error, using full-scale aircraft. Instead, Young used inexpensive, and easily-constructed, remotely-controlled models to test the validity of his theories. This simple expedient allowed him to refine his designs rapidly, and to become recognized as a leader in solving the technical hurdles that had kept helicopter development stagnant for decades. By 1941, Young was flying 1/6-scale models that demonstrated levels of stability and control that were unprecedented in previous helicopter designs. He effectively incorporated Igor Sikorsky’s tail rotor concept, at a time when most helicopter pioneers viewed it as impractical.
Young’s most innovative design feature was to incorporate a stabilizer bar on the rotor mast perpendicular to the rotor blades. This counterbalance system caused the rotor to teeter when the airframe of the helicopter moved in response to turbulence, or control inputs, and dampened further oscillation. This feature allowed an unprecedented level of stability. Other designers were still using hinges to create rotor stability, but those designs relied on a significant lag time in rotor response, which Young had revealed in his experiments to be minimal.
Meanwhile, Lawrence Bell had come to the conclusion that, after the war ended, Americans would begin to rely on personal aircraft for personal and that the helicopter offered the most practical means to achieve it. He realized that the military contracts that had sustained his business thus far would dry up as soon as peace was declared, and that his company’s only hope for continued survival was to find a product for which there would be a great deal of commercial demand. However, Bell had no experience with helicopter design and was looking for someone with a workable concept, when he was introduced to Arthur Young. Bell was immediately impressed with Young’s latest flying model, and they quickly came to an agreement for construction of two full-scale aircraft. The first helicopter was to be a single-seat demonstration aircraft, followed by a two-seat version.
By June 1942 construction had begun on Young’s first full-scale prototype, known as the Model 30 Ship 1. The rollout was a mere six months later. The airframe consisted of a steel tube structure with a specially manufactured magnesium tail boom. Rotor blades were made of a wooden laminate with a metal spar leading edge and balsa filler in the trailing edge. The 160 hp Franklin motor was mounted vertically, which was an improvement over earlier Sikorsky models that required additional weight-consuming gearing for their horizontally mounted engines. Landing gear initially consisted of four spider-like skids. Larry Bell wanted the flight controls to be more like those of an automobile than an airplane, thus the collective pitch lever moved side to side as a replacement for rudder pedals that were likely to be mishandled by novice private pilots who were used to automobile pedals. This feature was later abandoned when it became apparent that the configuration pioneered by Sikorsky would be the industry standard.
Shortly after Ship 1’s first flight on December 29, 1942, the tail boom was destroyed in a crash. It was replaced by an open inverted triangular steel-tube truss that would later become a hallmark of the Model 47. The design team then traded the skid landing gear for a conventional tricycle undercarriage. The tail was destroyed for a second time in a September 1943 crash. At this point Ship 2 had been almost completed and took up the testing slack while Ship 1 was repaired. Upon completion of its repairs, a newly designated Ship 1A rolled out of the shop wearing a new magnesium-skin tail, as well as a strengthened rotor system and landing gear. Ship 1A flew in a series of public demonstrations designed to generate public enthusiasm for the new form of aerial transport, while Young and his workers completed a third Model 30 variant. Ship 3 was a three-seat no-frills version that took full advantage of the lessons learned on the two earlier models. On one occasion, this design flew with seven people on board, most of whom were hanging off the side. This demonstration dramatically the improvements that had been made over the Sikorsky R-4 and R-6 series that could barely lift two people.
By war’s end, Bell was ready to begin production of a new design, designated the Model 42. This luxury sedan of the skies proved to be a dismal failure. While Young and Kelley were working on theoretical studies, Bell’s production engineers, whose experience was limited to airplanes, worked on the design of the Model 42. Their inexperience resulted in an unreliable and under-powered aircraft that was priced well beyond the reach of most private citizens. The only hope for Bell’s future in the helicopter industry was to put the Model 30 Ship 3 into production as a military and commercial utility helicopter. This decision resulted in the Model 47, which became the world’s first commercially certified helicopter on March 8, 1946.
Ironically, the same military contracts that Larry Bell did not want to depend on in the post-war marketplace were the salvation of the company’s financial success, and established it as a leading helicopter manufacturer. The superb Model 47 did not fare much better than the Model 42 when it first appeared, largely because the value of the helicopter to the business community had not been established by Bell and other manufacturers, who had instead focused their efforts on private users. As the military’s Sikorsky R-6s began to wear out, a search began for a new liaison and light medevac helicopter. The Model 47 was chosen over the similar Hiller Model 360, and a short time later, established a sterling reputation as a flying ambulance in Korea. After the Model 47 gained notoriety in Korea and in demonstrations of industrial applications, the type became an outstanding success, with a total of 5,000 sold to military and commercial users.
After its useful days had ended, the Model 30 Ship 1 was donated to the Franklin Institute. In 1964, on the 20th Anniversary of the American Helicopter Society, it was given to the Smithsonian Institution along with the Piasecki PV-2 (see NASM collection). The stability and smooth handling of the Model 30 and its successors were qualities that were essential if the helicopter was to establish a niche in the civil market. The unique combination of Arthur Young’s inventive genius and Bell’s marketing skills created a product that quickly transformed an experimental category of aircraft into a safe, and reliable machine with unprecedented utility. After the creation of the Model 30, helicopter development was not left to individual dreamers, but was embraced by many of the giants in the aviation industry as an essential element in maintaining their position in the aviation industry.
Rotor Diameter: 9.98 m (32 ft 9 in)
Length: 8.19 m (26 ft 10.5 in)
Height: 2.62 m (8 ft 7 in)
Weight: Empty, 521.6 kg (1150 lb)
Gross, 737.1 kg (1625 lb)
Engine: Franklin Model O-298, 165 hp (takeoff power)
155 hp (maximum continuous)
Othmarhof
Object ID: 32939 Herzoggasse 1
1564-1569 built three-wing Renaissance building with sgraffito facade
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.
Chaparral Cars was a United States automotive company which built prototype race cars from the 1960s through the early 1970s. Chaparral was founded by Jim Hall, a Texas oil magnate with an impressive combination of skills in engineering and race car driving. Throughout the 1960s and 1970s, Chaparral's distinctive race cars experienced strong success in both American and European racing circuits. Despite winning the Indy 500 in 1980, the Chaparrals left motor racing in 1982. Chaparral cars also featured in the SCCA/CASC CanAm series and in the European FIA Group 7.
Chaparral was the first to introduce effectively designed air dams and spoilers ranging from the tabs attached to the earliest 2 model to the driver-controlled high wing 'flipper' on the astoundingly different looking 2E, all the way through to Hall's most idealistically inspired creation, the 2J, the car that would forever be known as the 'vacuum cleaner'. The use by Jim Hall of a semi-automatic transmission in the Chaparral created flexibility in the use of adjustable aerodynamic devices.
The development of the Chaparral chronicles the key changes in race cars in the '60s and '70s in both aerodynamics and tires. Jim Hall's training as an engineer taught him to approach problems in a methodical manner and his access to the engineering team at Chevrolet as well as at Firestone changed aerodynamics and race car handling from an art to empirical science. The embryonic data acquisition systems created by the GM R&D group aided these efforts.
The Chaparral 1 was the first car to carry the Chaparral name and marked the transition of Jim Hall from an entrant to a constructor. Built by Troutman and Barnes, the Chaparral 1 was a conventional front-engined car, a development of the Scarab sport car first built for Lance Reventlow in 1957. Jim Hall raced it successfully through 1961, 1962 and 1963 while he created the design for Chaparral 2. As it was not a design owned by Jim Hall, other cars were sold to cut costs. It was the only Chaparral to be raced by someone other than Chaparral cars.
The Chaparral 2-Series was designed and built to compete in the United States Road Racing Championship and other sports car races of the time, particularly the West Coast Series that were held each fall. Following the lead of innovators like Bill Sadler from Canada and Colin Chapman who introduced rear engined cars to Grand Prix cars in Europe (where Jim Hall had raced in Formula 1), its basic design concept was a rear engined car.
First raced in 1963, it was developed into the dominant car in the series in 1964 and 1965. Designed for the 200 mile races of the sports car series, it was almost impossible to beat. It proved that in 1965 by winning the 12 Hours of Sebring on one of the roughest tracks in North America.
As the car was being developed, Jim Hall took the opportunity to implement his theories on aerodynamic force and rear wheel weight bias.
In addition, the Chaparral 2-Series featured the innovative use of fiberglass as a structural element. Hall also developed 2-Series cars with conventional aluminum chassis.
The 2E was based on the Chevrolet designed aluminum 2C chassis and presented Jim Hall's most advanced aerodynamic theories to the racing world in the 1966 inaugural Can Am championship. The 2E established the paradigm for virtually all racing cars built since. It was startling in appearance, with its radiators moved from the traditional location in the nose to two ducted pods on either side of the cockpit and a large wing mounted several feet above the rear of the car on struts. The wing was the opposite of an aircraft wing in that it generated downforce instead of lift and was attached directly to the rear hubs, loading the tires, for extra adhesion while cornering. A ducted nose channeled air from the front of the car up, creating extra downforce as well. By depressing a pedal that was in the position of the clutch pedal on a car with a manual transmission, Hall was able to feather, or flatten out, the angle of the wing when downforce was not needed, such as on a straight section of the track, to reduce drag and increase top speed. In addition, an interconnected air dam closed off the nose ducting for streamlining as well. When the pedal was released, the front ducting and wing returned to their full downforce position. It was a brilliant design. But the moveable-wing was banned by the FIA so Jim Hall had to make do with a fixed-wing which was not adjustable by the driver during the race. Within two years every sports racing car as well as formula one car had wings on tall struts, although many were not as well designed as Hall's and the resulting accidents from their failures caused the high wings to be outlawed by the sanctioning bodies.
The 2E scored only one win in Laguna Seca with Phil Hill driving, but the reason for this may have been the larger engines the other competitors were using. Hall stuck to an aluminum 5.3 liter Chevrolet engine in his lightweight racer while the other teams were using 6 and sometimes 7 liter iron engines, trading weight for power.
The 2E was a crowd favorite and remains Jim Hall's favorite car.
youtu.be/Spo6hrSm5c0 Full Feature.
Starring Edward Kemmer, Sally Fraser, Buddy Baer, Morris Ankrum, Bob Steele, Oliver Blake, Joline Brand, and Billy Dix. Directed by Richard E. Cunha.
Brief Synopsis
After the residents of the small mountain town of Pine Ridge anxiously gather to discuss the mysterious death of local Harold Banks, Sheriff Parker reveals that Banks died from a severe beating, prompting the townspeople to speculate over the recent spate of animal deaths and question whether the tales of an ancient Indian curse may be true. Teenage brother and sister Ann and Charlie Brown scoff at the legends, but Indian Joe declares that if the locals continue to disregard his ancestral burial grounds in Devil's Crag, there will be more violence. After Parker dismisses Joe's warning, a townsman advises the sheriff to question scientific researcher Wayne Brooks, who was seen quarreling with Banks earlier that week. When Parker questions Wayne, however, Wayne insists that he and Banks had a simple disagreement. Soon after, Professor Cleveland and his daughter Janet arrive in town and Wayne recognizes Cleveland as the famous archaeologist whose lectures he attended while in college. Wayne offers the professor his services and at dinner that night Cleveland explains that he and Janet have been searching for the remains of a Spanish conquistador, Vargas, later known as the Diablo Giant, who abandoned the military to hunt for gold in the mountains. Later, Wayne takes Cleveland and Janet to his cabin to show them the artifacts he has unearthed, the most important of which is a live reptile that Wayne believes is centuries old. Cleveland is excited by the reptile's discovery and after piecing together a European crucifix from Wayne's relics, insists that they return to the site where they were found. The next day after Wayne, Janet and Cleveland set up camp at Devil's Crag, Parker arrives and reprimands Wayne for leaving town without his permission. The following morning as Wayne prepares breakfast, he hears a gunshot and discovers Joe nearby. After Wayne explains that he and the Clevelands are searching for ancient artifacts and will respect the Indian burial grounds, Joe thanks him for his honesty, but cautions him that the area is dangerous. Later, Cleveland and Wayne begin a methodical search of the area which continues for several days without success. On their final afternoon, however, Janet detects a metal object underneath an enormous log. Wayne and Cleveland dig under the log and discover an armored helmet, breast plate and several weapons, which Cleveland establishes are of Spanish origin. The men are more excited when they discover a skeleton, and Cleveland returns to camp to catalog the artifacts and begin his scientific paper. That afternoon as a rain storm threatens the site, Wayne finds an ancient axe handle, but is unable to dislodge it from the ground. Wayne returns to the camp, and soon after, the storm breaks and a bolt of lightning strikes near the log. The enormous figure of Vargas, the Diablo Giant, then rises from the ground clutching the axe. The next morning Cleveland and Wayne are stunned to find the axe gone and the ground disturbed. A medallion on the ground confirms Vargas' identity, prompting the men to wonder if the giant, like Wayne's lizard, has returned to life. Later when young Charlie comes by the camp, Cleveland, Wayne and Janet ask him not to reveal their discovery of the Spanish armor, arguing that it will bring townspeople to disturb the site. That evening, Vargas stalks the campsite and when the men discover the armor and medallion missing, they remain on guard. Further down the hill, Charlie frets about leaving Ann alone as he prepares for work, but she assures him she is safe. The following morning, as Wayne tells Cleveland they should report their suspicions of the awakened giant to Parker, the sheriff arrives with the news that Ann has been found brutally murdered. Parker arrests Wayne, claiming that Ann was clutching the Spanish medallion, and reveals that Charlie identified it as the one found by Wayne. Insisting that he is innocent, Wayne suggests that whoever stole the armor and medallion must have killed Ann. Parker agrees to question Joe, but when they find him murdered in his cabin, Parker takes Wayne into Pine Ridge. Cleveland follows them into town and after his departure, Janet is abducted by Vargas. In town, when Parker leaves Wayne unattended in his car momentarily, Cleveland appears and drives Wayne back to Devil's Crag, where the professor reveals that he took a plaster cast of a huge footprint which he believes will confirm that Vargas has returned to life and perpetrated the murders. Parker and the townsmen follow Cleveland and Wayne, but when they learn of Janet's disappearance and hear Cleveland's story about Vargas, they help search for her. Soon the men corner Vargas, and he attacks and kills several before he is wounded and escapes, leaving Janet unhurt. While the injured men are taken back to town, Parker apologizes to Wayne for not believing in his innocence. Charlie asks to help search for Vargas in retaliation for Ann's death, but when Wayne and Parker refuse, sneaks away on his own. Later the sheriff, Wayne and Cleveland hear shots and find Charlie badly wounded . While Parker goes for help, Cleveland remains with Charlie and Wayne pursues Vargas alone. Wayne catches up to Vargas at a windmill and after a brief fight, chases the giant to a bridge across a dam. As Cleveland, Janet and Parker arrive, the wounded Vargas topples off the bridge into the water below.