Basic weathering on. It's quite heavy like the

paint modulation as it'll be covered up by

a winter white wash finish.

The markings aren't accurate, just scraps from the

spares box but they'll mostly be covered up and just

leave a hint of something under the white wash.

GP500.Org Part # 21601 Yamaha motorcycle windshields

 

gp500.org

GP500 motorcycle windshields

The history of Yamaha Motorcycles

"I want to carry out trial manufacture of motorcycle engines." It was from these words spoken by Genichi Kawakami (Yamaha Motor's first president) in 1953, that today's Yamaha Motor Company was born.

"If you're going to do something, be the best."

Genichi Kawakami

Genichi Kawakami was the first son of Kaichi Kawakami, the third-generation president of Nippon Gakki (musical instruments and electronics; presently Yamaha Corporation). Genichi studied and graduated from Takachiho Higher Commercial School in March of 1934. In July of 1937, he was the second Kawakami to join the Nippon Gakki Company.

He quickly rose to positions of manager of the company's Tenryu Factory Company (musical instruments) and then Senior General Manager, before assuming the position of fourth-generation President in 1950 at the young age of 38.

In 1953, Genichi was looking for a way to make use of idle machining equipment that had previously been used to make aircraft propellers. Looking back on the founding of Yamaha Motor Company, Genichi had this to say. "While the company was performing well and had some financial leeway, I felt the need to look for our next area of business. So, I did some research." He explored producing many products, including sewing machines, auto parts, scooters, three-wheeled utility vehicles, and…motorcycles. Market and competitive factors led him to focus on the motorcycle market. Genichi actually visited the United States many times during this period.

When asked about this decision, he said, "I had my research division chief and other managers visit leading motorcycle factories around the country. They came back and told me there was still plenty of opportunity, even if we were entering the market late. I didn't want to be completely unprepared in this unfamiliar business so we toured to German factories before setting out to build our first 125cc bike. I joined in this tour around Europe during which my chief engineers learned how to build motorbikes. We did as much research as possible to insure that we could build a bike as good as any out there. Once we had that confidence, we started going."

The first Yamaha motorcycle... the YA-1.

"If you are going to make it, make it the very best there is." With these words as their motto, the development team poured all their energies into building the first prototype, and ten months later in August of 1954 the first model was complete. It was the Yamaha YA-1. The bike was powered by an air-cooled, 2-stroke, single cylinder 125cc engine. Once finished, it was put through an unprecedented 10,000 km endurance test to ensure that its quality was top-class. This was destined to be the first crystallization of what has now become a long tradition of Yamaha creativity and an inexhaustible spirit of challenge.

 

Then, in January of 1955 the Hamakita Factory of Nippon Gakki was built and production began on the YA-1. With confidence in the new direction that Genichi was taking, Yamaha Motor Co., Ltd. was founded on July 1, 1955. Staffed by 274 enthusiastic employees, the new motorcycle manufacturer built about 200 units per month.

That same year, Yamaha entered its new YA-1 in the two biggest race events in Japan. They were the 3rd Mt. Fuji Ascent Race and the 1st Asama Highlands Race. In these debut races Yamaha won the 125cc class. And, the following year the YA-1 won again in both the Light and Ultra-light classes of the Asama Highlands Race.

By 1956, a second model was ready for production. This was the YC1, a 175cc single cylinder two-stroke. In 1957 Yamaha began production of its first 250cc, two-stroke twin, the YD1.

The first Yamaha to compete in America (1957).

Based on Genichi's firm belief that a product isn't a product until it can hold it's own around the world, in 1958 Yamaha became the first Japanese maker to venture into the international race arena. The result was an impressive 6th place in the Catalina Grand Prix race in the USA. News of this achievement won immediate recognition for the high level of Yamaha technology not only in Japan but among American race fans, as well. This was only the start, however.

Yamaha took quick action using the momentum gained in the USA and began marketing their motorcycles through an independent distributor in California. In 1958, Cooper Motors began selling the YD-1 250 and the MF-1 (50cc, two-stroke, single cylinder, step through street bike). Then in 1960, Yamaha International Corporation began selling motorcycles in the USA through dealers.

With the overseas experiences under his belt, in 1960, Genichi then turned his attention to the Marine industry and the production of the first Yamaha boats and outboard motors. This was the beginning of an aggressive expansion into new fields utilizing the new engines and FRP (fiberglass reinforced plastic) technologies. The first watercraft model was the CAT-21, followed by the RUN-13 and the P-7 123cc outboard motor.

In 1963, Yamaha demonstrated its focus on cutting-edge, technological innovations by developing the Autolube System. This landmark solution was a separate oil injection system for two-stroke models, eliminating the inconvenience of pre-mixing fuel and oil.

Yamaha was building a strong reputation as a superior manufacturer which was reflected in its first project carried out in the new Iwata, Japan Plant, built in 1966. (The YMC headquarters was moved to Iwata in 1972.) Toyota and Yamaha teamed up to produce the highly regarded Toyota 2000 GT sports car. This very limited edition vehicle, still admired for its performance and craftsmanship, created a sensation among enthusiast in Japan and abroad.

 

Genichi said, "I believe that the most important thing when building a product is to always keep in mind the standpoint of the people who will use it." An example of the commitment to "walking in the customers' shoes" was the move in 1966 by Yamaha to continue its expansion. Overseas motorcycle manufacturing was established in Thailand and Mexico. In 1968, the globalization continued with Brazil and the Netherlands. With manufacturing bases, distributors and R&D operations in a market, Yamaha could be involved in grassroots efforts to build products that truly met the needs of each market by respecting and valuing the distinct national sensibilities and customs of each country. Yamaha continues that tradition, today.

By the late 1960s, Yamaha had quality products that had proven themselves in the global marketplace based on superior performance and innovation. Distribution and product diversity were on the right track. But Genichi knew that beyond quality, success would demand more. He had this view on the power of original ideas. "In the future, a company's future will hinge on ideas over and above quality. Products that have no character, nothing unique about them, will not sell no matter how well made or affordable…and that would spell doom for any company."

He also knew that forward vision, walking hand in hand with original ideas, would create an opportunity for the company and its customers that could mean years of happiness and memorable experiences. Genichi said, "In the business world today, so many people are obsessed with figures. They become fixated on the numbers of the minute and without them are too afraid to do any real work. But in fact, every situation is in flux from moment to moment, developing with a natural flow. Unless one reads that flow, it is impossible to start out in a new field of business."

A real-world illustration of this belief is the Yamaha DT-1. The world's first true off-road motorcycle debuted in 1968 to create an entirely new genre we know today as trail bikes. The DT-1 made a huge impact on motorcycling in the USA because it was truly dirt worthy. Yamaha definitely "read the flow" when it produced

"Make every challenge an opportunity."

Genichi Kawakami

the 250cc, single cylinder, 2-stroke, Enduro that put Yamaha On/Off-Road motorcycles on the map in the USA. The DT-1 exemplified the power of original ideas, forward vision, and quick action coupled with keeping in mind the customers' desires.

In years to come Yamaha continued to grow (and continues to this day). Diversity increased with the addition of products including snowmobiles, race kart engines, generators, scooters, ATVs, personal watercraft and more.

Genichi Kawakami set the stage for Yamaha Motor Company's success with his vision and philosophies. Total honesty towards the customer and making products that hold their own enables the company that serves people in thirty-three countries, to provide an improved lifestyle through exceptional quality, high performance products.

   

Yamaha Motor Corporation, USA Cypress, California

Genichi Kawakami's history with Yamaha was long and rich. He saw the new corporate headquarters in Cypress, California and the 25th Anniversary of Yamaha become a reality in 1980. He also watched bike #20 million roll off the assembly line in 1982. Genichi passed away on May 25, 2002 yet his vision lives on through the people and products of Yamaha, throughout the world.

History Timeline of Yamaha (USA)

Year Yamaha Motor Origin

1955

The first Yamaha motorized product was the YA-1 Motorcycle (125cc, 2-stroke, single cylinder, streetbike). It was produced and sold in Japan.

Year USA History

1958 The first Yamaha Motorcycles sold in the USA were by Cooper Motors, an independent distributor. The models were the YD1 (250cc, 2-stroke, twin cylinder, streetbike) and MF-1 (50cc, 2-stroke, single cylinder, streetbike, step-through).

1960 Yamaha International Corporation began selling motorcycles in the USA.

1968

The DT-1 Enduro was introduced. The world's first dual purpose motorcycle which had on & off-road capability. Its impact on Motorcycling in the USA was enormous.

Yamaha's first Snowmobile, the SL350 (2-stroke, twin cylinder) was introduced. This was the first Snowmobile with slide valve carburetors.

1970

Yamaha’s first 4-stroke motorcycle model, the XS-1 (650cc vertical twin) was introduced.

1971

The SR433 high performance Snowmobile was introduced.

1973 Yamaha continued expansion into new markets by introducing Generators (ET1200).

1975

Yamaha pioneered the very first single-shock, production motocross bikes. This was the beginning of the YZ Monocross machines that changed motocross forever.

1976 The legendary SRX440 snowmobile hits the market and quickly catapults Yamaha to the forefront of the snowmobile racing scene.

1977

Yamaha Motor Corporation, USA, was founded in order to better appeal to the American market and establish a separate identity (from music & electronics) for Yamaha motorized products.

  

1978

The XS1100 motorcycle (four cylinder, shaft drive) was introduced.

XS650 Special was introduced. This was the first production Cruiser built by a Japanese manufacturer.

Golf Cars were introduced in the USA with the G1 gas model.

1979

YICS (Yamaha Induction Control System), a fuel-saving engine system, was developed for 4-stroke engines.

1980

The new Yamaha Motor Corporation, USA, corporate office was opened in Cypress, California.

The first 3-wheel ATV was sold in USA… the Tri-Moto (YT125).

The G1-E electric powered Golf Car model was introduced.

1981

The first air-cooled, V-twin cruiser, the Virago 750, was introduced.

1984

The first production 5-valve per cylinder engine was introduced on the FZ750 motorcycle.

Yamaha’s first 4-wheel ATV, the YFM200, was introduced in the USA.

The Phazer snowmobile was introduced. Known for its light weight and agile handling.

Yamaha begins marketing Outboard Motors in the USA.

1985

The V-Max 1200 musclebike hits the streets.

1986

Yamaha Motor Manufacturing Corporation of America was founded in Newnan, Georgia.

1987

A new exhaust system for 4-stroke engines, “EXUP,” was developed to provide higher horsepower output throughout an engine's powerband.

Yamaha introduces personal watercraft...the sit-down WaveRunner and the stand-up WaveJammer.

Yamaha Motor Manufacturing Company begins Golf Car and Water Vehicle production for USA and overseas markets.

1992

The Vmax-4 Snowmobile (2-stroke, four cylinder) was introduced.

1994

Yamaha expands its product offerings by acquiring the Cobia boat company.

1995

The Century and Skeeter boat companies are acquired by Yamaha.

1996

Yamaha introduces its first Star model with the 1300cc, V4 Royal Star.

Tennessee Watercraft produces Sport Boats and later, the SUV WaveRunner.

1997

Yamaha acquires the G3 boat company.

At the Newnan, Georgia, manufacturing facility, the first ATV (the BearTracker) rolls off the assembly line.

Yamaha opens southeastern offices in Kennesaw, Georgia.

1998

The YZ400F four-stroke motocross bike was introduced. This was the first mass produced 4-stroke motocrosser.

The YZF-R1 sport bike was introduced. It set the standard for open class sport bikes for several years.

The Grizzly 600 4x4 ATV with Ultramatic transmission was introduced.

The EF2800i generator with Pulse Width Modulation (PWM) was introduced. PMW allows use with equipment that requires stable frequency and voltage.

  

2000

The Buckmaster® Edition Big Bear 400 4x4 was introduced. This was the first ATV with camouflage bodywork.

2002

The F225 Outboard was introduced. It was the largest 4-stroke Outboard at the time.

The FX140 WaveRunner (1000cc, 4-stroke, four cylinder) was introduced. The world's first high performance 4-stroke personal watercraft.

2003

The RX-1 Snowmbile (1000cc, 4-stroke, four cylinder) was introduced. The world's first high performance 4-stroke Snowmobile.

2004 Rhino Side x Side model introduced. Combined performance, terrainability, utility capabilities, and take-along-a-friend convenience to lead the way in a new category of off-road recreation.

 

FBI Stolen motorcycles

gp500.org/FBI_stolen_motorcycles.html

Motorcycles VIN Decoder

gp500.org/VIN_Decoder.html

  

The Yamaha THR10C is the vintage/boutique amp voiced variant of the THR guitar amp series. Along with amp simulations and several modulation and time-based effects, it also has a built-in tuner which doubles as a Tap Tempo for the delay and echo. It won't replace a tube amp in terms of tone and feel but this is a wonderfully voiced and dynamic little amp. It really responds well the the nuances of the player just like how a tube amp responds and the portability makes it a winner. So happy I was able to get a fairly priced 2nd hand unit in great condition.

a visual aid for a med tech inventor....

François-Auguste-René Rodin (1840 – 1917) To my mind this, the artists first full scale work, is his masterwork. Inspired my Michelangelo's bound slaves the naturalism of the figure is startling and inspiring. The perfect balance of form and subtle modeling without equal. This cast has an attractive patina that emphasizes the discrete modulations of the surface.

Acrylic on wood; 50 panels, each 16 x 16 in.

 

Julian Stanczak is an American painter and printmaker. The artist lives and works in Seven Hills, Ohio with his wife, the sculptor, Barbara Stanczak. He was born in eastern Poland in 1928. At the beginning of World War II, Stanczak was forced into a Siberian labor camp, where he permanently lost the use of his right arm. He had been right-handed. In 1942, aged thirteen, Stanczak escaped from Siberia to join the Polish army-in-exile in Persia. After deserting from the army, he spent his teenage years in a hut in a Polish refugee camp in Uganda. In Africa Stanczak learned to write and paint left-handed. He then spend some years in London, before moving to the United States in 1950. He settled in Cleveland, Ohio. Stanczak received his Bachelor of Fine Arts degree from the Cleveland Institute of Art, Cleveland Ohio in 1954, and then trained under Josef Albers and Conrad Marca-Relli at the Yale University, School of Art and Architecture, New Haven, where he received his Master of Fine Arts in 1956.

 

In 2007, Stanczak was interviewed by Brian Sherwin for Myartspace. During the interview Stanczak recalled his experiences with war and the loss of his right arm and how both influenced his art. Stanczak explained, "The transition from using my left hand as my right, main hand, was very difficult. My youthful experiences with the atrocities of the Second World War are with me,- but I wanted to forget them and live a "normal" life and adapt into society more fully. In the search for Art, you have to separate what is emotional and what is logical. I did not want to be bombarded daily by the past,- I looked for anonymity of actions through non-referential, abstract art.

 

The Op Art movement was named for his first major show, Julian Stanczak: Optical Paintings, held at the Martha Jackson Gallery in New York in 1964. His work was included in the Museum of Modern Art's 1965 exhibition The Responsive Eye. In 1966 he was named a "New Talent" by Art in America magazine. In the early 1960s he began to make the surface plane of the painting vibrate through his use of wavy lines and contrasting colors in works such as Provocative Current (1965). These paintings gave way to more complex compositions constructed with geometric rigidity yet softened with varying degrees of color transparency such as Netted Green (1972). In addition to being an artist, Stanczak was also a teacher, having worked at the Art Academy of Cincinnati from 1957–64 and as Professor of Painting, at the Cleveland Institute of Art, 1964-1995. He was named "Outstanding American Educator" by the Educators of America in 1970.

 

Stanczak uses repeating forms to create compositions that are manifestations of his visual experiences. Stanczak's work is an art of experience, and is based upon structures of color. In the 1980s and 1990s Stanczak retained his geometric structure and created compositions with bright or muted colors, often creating pieces in a series such as Soft Continuum (1981; Johnson and Johnson Co. CT, see McClelland pl. 50). More recently, Stanczak has been creating large-scale series, consisting of square panels on which he examines variations of hue and chroma in illusionistic color modulations, an example of which is Windows to the Past (2000; 50 panels).

 

There was nothing wrong with the Shimano BL-R600 levers I was first using (well, nothing apart from the huge SHIMANO script on the lever blades). I have had this new set of these levers just sitting in their box unused for several years.*

 

For me, there was one great (unintended) feature of these levers: the TEKTRO lettering painted on the blades instantly wiped away with a few drops of acetone, still leaving the protective anodized finish over the polished levers uncompromised.

 

The body of these levers is wide and made of some type of rigid plastic resin [please don't utter the word Delrin - that bane of Simplex derailleurs]. These give a comfortable feel similar to Campagnolo Ergo integrated levers. These also have a push button cable release feature which may be very useful for opening the cantilevers on this bike to remove a punctured tire. The lever blades are asymmetrical and are Right / Left specific. And, they have a couple finger tip "wave" indentations formed along the outer edges. Those edges also curve around to further increase finger comfort. The R-100 differs from the virtually identical R-200 in the "size". The R-100 is intended for smaller hands or shorter fingers unable to comfortably reach the blades of longer reach levers from inside the drops. The body is said to be slightly smaller, too... but, being accustomed to much older and truly thin levers I can't really appreciate this minor difference unless I grab an example of each for an immediate comparison. I wear a size 8 glove (fairly small for a man's hand) and these have by far the shortest lever reach I have ever used. Even with a gloved hand I can easily wrap the lever with my finger on the lowest indentation. And due to both the cantilevers and the mechanical advantage of these levers, only a light touch of the lever and a short pull is needed. So, good modulation of braking is still easily achieved despite the short pull. Vintage Mafac and Universal levers must have been made for giants with exceptionally long fingers... or maybe for E.T.

 

The (yes, dirty) white FIZIK handlebar wrap was re-used. I can clean away the grime left by my filthy hands and gloves with isopropyl alcohol dripped onto a clean cloth... otherwise, I would never use any white bar tape.

 

* Note:

Around 2011, the Tektro R100/R200 models were discontinued. The R200 was replaced with the RL340 and the R100 with the RL341. Both have a different shape for the lever blade and the newer body style is even wider at the front edge and longer overall. Cane Creek's SCR-5 lever is essentially the same as the Tektro R200 shape..

Oil on canvas; 50.5 x 75 cm.

 

Ernst Wilhelm Nay studied under Karl Hofer at the Berlin Art Academy from 1925 until 1928. His first sources of inspiration resulted from his preoccupation with Ernst Ludwig Kirchner and Henri Matisse as well as Caspar David Friedrich and Nicolas Poussin.

 

Nay's still lifes, portraits and landscapes were widely acclaimed. In 1931 Ernst Wilhelm Nay received a nine-months' study bursary to the Villa Massimo in Rome, where he began to paint in the abstract Surrealist manner. On the recommendation of the Lübeck museum director, C.G. Heise, Nay was given a work grant financed by Edvard Munch, which enabled Nay to spend time in Norway and on the Lofoten Islands in 1937. The "Fischer- und Lofotenbilder" represented a first pinnacle of achievement.

 

That same year, however, two of his works were shown in the notorious exhibition of "Degenerate Art" and Ernst Wilhelm Nay was forbidden to exhibit any longer. Conscripted into the German armed forces in 1940, Nay went with the infantry to France, where a French sculptor placed his studio at Nay's disposal. In the "Hekatebildern" (1945-48), featuring motifs from myth, legend and poetry, Nay worked through his war and postwar experiences.

 

The "Fugale Bilder" (1949-51) proclaim new beginnings in a fiery palette and entwined forms. In 1950 the Kestner Gesellschaft Hannover mounted a first retrospective of Nay's work. The following year the artist moved to Cologne, where, with the "Rhythmischen Bildern" he took the final step towards entirely non-representational painting. In them he began to use color purely as figurative values. From 1955 Nay's painted "Scheibenbilder", in which round color surfaces organize subtle modulations of space and color. These are developed further in 1963-64 in what are known as the "Augenbilder". A first one-man-show in America at the Kleeman Galleries, New York, in 1955, participation in the 1956 Venice Biennale and the Kassel "documenta" (1955, 1959 and 1964) are milestones marking Nay's breakthrough on the international art scene. Nay was awarded important prizes and is represented by work in nearly all major exhibitions of German art in Germany and abroad.

 

“Claremont Road” has five Arduino UNO microcontrollers which control train movements, along with PWM (servo adapted) points/turnouts, and signals according to pre-written programs or “sketches”. This is a completely different concept from DCC.

 

The master co-ordinating UNO gets feedback from the track through 14 enbedded infra-red proximity detectors,

 

Slaves 1-3 are UNO “train drivers”,

 

Slave 4 handles the display and lights. The orange display shows the current mode and commands being passed between the UNOs via a short-wire protocol known as I2C.

'Modifiers', 'Frequency cutoff, 'emphasis' 'envelope', - a whole new vocabulary for musicians in 1970.

 

Designed by Robert Moog in 1970, the Minimoog Model D synthesizer is still regarded as the Rolls Royce equivalent of analog keyboard-based synthesizers. Specifically designed for touring musicians, the minimoog exported electronic music experiments from university labs out to the masses - and her deep farting bass-sounds (think of Kraftwerk's Autobahn), lead and space bleeps and sweeps have become HUGELY popular over the last 38 years.

 

There were originally 13,000 minimoogs produced between 1970 and 1981. After a brief hiatus during the digital-synth craze in the 1980s, the minimoog enjoyed a resurgence of interest among musicians since the 1990s...and yes, it's becoming harder to get a hold on one.

 

I obtained this Mini from a studio garage sale back in 1989 for US$ 150 (in prime condition - save the crackling external input knob). After lying dormant for 7 years now, it's time to bring life back into this 1973 model D mini. Tropical humidity heavily damaged the furnishing. It needs re-tuning of the oscillators, cleaning of the electronic board, new switches for filter modulation, and thinking about a new base panel.

Acrylic on canvas; 152.7 x 203.5 cm.

 

Julian Stanczak is an American painter and printmaker. The artist lives and works in Seven Hills, Ohio with his wife, the sculptor, Barbara Stanczak. He was born in eastern Poland in 1928. At the beginning of World War II, Stanczak was forced into a Siberian labor camp, where he permanently lost the use of his right arm. He had been right-handed. In 1942, aged thirteen, Stanczak escaped from Siberia to join the Polish army-in-exile in Persia. After deserting from the army, he spent his teenage years in a hut in a Polish refugee camp in Uganda. In Africa Stanczak learned to write and paint left-handed. He then spend some years in London, before moving to the United States in 1950. He settled in Cleveland, Ohio. Stanczak received his Bachelor of Fine Arts degree from the Cleveland Institute of Art, Cleveland Ohio in 1954, and then trained under Josef Albers and Conrad Marca-Relli at the Yale University, School of Art and Architecture, New Haven, where he received his Master of Fine Arts in 1956.

 

In 2007, Stanczak was interviewed by Brian Sherwin for Myartspace. During the interview Stanczak recalled his experiences with war and the loss of his right arm and how both influenced his art. Stanczak explained, "The transition from using my left hand as my right, main hand, was very difficult. My youthful experiences with the atrocities of the Second World War are with me,- but I wanted to forget them and live a "normal" life and adapt into society more fully. In the search for Art, you have to separate what is emotional and what is logical. I did not want to be bombarded daily by the past,- I looked for anonymity of actions through non-referential, abstract art.

 

The Op Art movement was named for his first major show, Julian Stanczak: Optical Paintings, held at the Martha Jackson Gallery in New York in 1964. His work was included in the Museum of Modern Art's 1965 exhibition The Responsive Eye. In 1966 he was named a "New Talent" by Art in America magazine. In the early 1960s he began to make the surface plane of the painting vibrate through his use of wavy lines and contrasting colors in works such as Provocative Current (1965). These paintings gave way to more complex compositions constructed with geometric rigidity yet softened with varying degrees of color transparency such as Netted Green (1972). In addition to being an artist, Stanczak was also a teacher, having worked at the Art Academy of Cincinnati from 1957–64 and as Professor of Painting, at the Cleveland Institute of Art, 1964-1995. He was named "Outstanding American Educator" by the Educators of America in 1970.

 

Stanczak uses repeating forms to create compositions that are manifestations of his visual experiences. Stanczak's work is an art of experience, and is based upon structures of color. In the 1980s and 1990s Stanczak retained his geometric structure and created compositions with bright or muted colors, often creating pieces in a series such as Soft Continuum (1981; Johnson and Johnson Co. CT, see McClelland pl. 50). More recently, Stanczak has been creating large-scale series, consisting of square panels on which he examines variations of hue and chroma in illusionistic color modulations, an example of which is Windows to the Past (2000; 50 panels).

 

Pencil and ink on paper; 47.8 x 62.3 cm.

 

Ernst Wilhelm Nay studied under Karl Hofer at the Berlin Art Academy from 1925 until 1928. His first sources of inspiration resulted from his preoccupation with Ernst Ludwig Kirchner and Henri Matisse as well as Caspar David Friedrich and Nicolas Poussin.

 

Nay's still lifes, portraits and landscapes were widely acclaimed. In 1931 Ernst Wilhelm Nay received a nine-months' study bursary to the Villa Massimo in Rome, where he began to paint in the abstract Surrealist manner. On the recommendation of the Lübeck museum director, C.G. Heise, Nay was given a work grant financed by Edvard Munch, which enabled Nay to spend time in Norway and on the Lofoten Islands in 1937. The "Fischer- und Lofotenbilder" represented a first pinnacle of achievement.

 

That same year, however, two of his works were shown in the notorious exhibition of "Degenerate Art" and Ernst Wilhelm Nay was forbidden to exhibit any longer. Conscripted into the German armed forces in 1940, Nay went with the infantry to France, where a French sculptor placed his studio at Nay's disposal. In the "Hekatebildern" (1945-48), featuring motifs from myth, legend and poetry, Nay worked through his war and postwar experiences.

 

The "Fugale Bilder" (1949-51) proclaim new beginnings in a fiery palette and entwined forms. In 1950 the Kestner Gesellschaft Hannover mounted a first retrospective of Nay's work. The following year the artist moved to Cologne, where, with the "Rhythmischen Bildern" he took the final step towards entirely non-representational painting. In them he began to use color purely as figurative values. From 1955 Nay's painted "Scheibenbilder", in which round color surfaces organize subtle modulations of space and color. These are developed further in 1963-64 in what are known as the "Augenbilder". A first one-man-show in America at the Kleeman Galleries, New York, in 1955, participation in the 1956 Venice Biennale and the Kassel "documenta" (1955, 1959 and 1964) are milestones marking Nay's breakthrough on the international art scene. Nay was awarded important prizes and is represented by work in nearly all major exhibitions of German art in Germany and abroad.

A small boat sets out from Waterford, upon a huge water, under the protection of the lighthouse at Hook Head. The old mariners’ hymn, Eternal Father, strong to save comes to mind; preferably accompanied by a brass band on a street corner on a cold day, the sidewalks still wet from recent rain, somewhere in working-class north-east England; all growling harmonies and that minor-key modulation, unique in hymn tunes, in the third line.

 

Let’s hope they return safely; on the day I’m sure they did for the weather turned out fine. But this is a fatal shore, unfriendly to misadventure and casual landings and with a long record of maritime losses.

 

Having owned the 2008 Kona Sutra for ten months, and just completed the first chain/cassette replacement, I thought it was about time for a long term review, to give other people an idea of what living with the Sutra has been like. My previous post explains why I chose the Sutra - I came up with what I thought was an impossibly eclectic list of requirements from a bicycle, and the Sutra ticked every single box.

  

Here's some specs, for the statophiles out there: Frame size C54cm Frame tubing Dedacciai COM 12.5 Butted Cromoly Fork Kona P2 700c TB Disc w/Lowrider Headset TH Crankarms FSA Gossamer MegaExo Chainrings 30/39/50 B/B FSA MegaExo Pedals Shimano PD-M520 SPD - Silver Chain Shimano HG53 --> Shimano HG93 XT Freewheel Shimano Deore (11-32, 9 Spd) --> Shimano XT M760 (11-32, 9spd) F/D Shimano Tiagra Triple R/D Shimano XT Shadow Shifters Shimano Bar-Con Handlebar FSA RD30 0S Stem FSA OS-190LX Grips Velo Wrap with Gel Brakes Avid BB7 Road Disc Brake Levers Shimano BLR-600 Front Hub Shimano M525 Disc Rear Hub Shimano M525 Disc Spokes DT Stainless 14g Tires Continental Contact 700 x 32C --> Schwalbe Marathon Plus 700x38c Rims Mavic A 317 Disc Saddle Selle Italia XO SE --> Brooks B17 Seatpost FSA SL-280 Seat Clamp Kona Clamp Rear Rack Tubus Logo Panniers Bikebins Computer Sigma DTS 1606 L Fenders SKS Chromoplastic

  

My primary (i.e. 99% of the time) use of the Sutra has been for commuting. I have covered over 2700 miles (4500km) in the time I have owned it. My commuting route through London is pretty tough on bikes - the roads south of the Thames are awful and full of potholes, through the City there is broken glass all over the place, and further north of the river there are speedbumps everywhere. When I first got the Sutra she was wearing Continental Contact tyres, and they were pretty poor for commuting. They punctured easily and transmitted the bumpiness of the road right up into my forearms. Not much fun. After one puncture too many I replaced the tyres with Schwalbe Marathon Pluses, in their largest diameter, and the difference was marked. The increased volume of air provides a lot more cushioning for the arms, and I have not had a single puncture yet, despite having pulled 6mm long pieces of glass out of the tyre surfaces. The tyres are relatively heavy, but then so is the rest of the bike, and extra weight makes you stronger!

  

The original rear rack was pretty flimsy, and it did not allow the attachment of the Bikebin panniers I bought to try and add some rigidity. I ended up having to angle grind chunks out of the rack to fit the panniers, which can't have improved their structural integrity. After a month of experiencing the odd sensation of the bike wagging its tail whenever I stood up to pedal hard, I bit the bullet and upgraded the rack to a Tubus Logo. It was a tight fit with the rear disc brake, but the difference was immense. Gone was the sensation of a jelly-like bike, to be replaced by a sensation of rigid stability. Whilst the rack was expensive, it made all the difference, and I would highly recommend it.

  

Speaking of the brakes, they have saved my life on more than one occasion, usually when a Taxi decides to perform an emergency stop to pick up a fare. The brakes stop consistently in all conditions, and so far I have not had to replace the pads, althoguh I think it will be time to do it soon. Not bad considering I have travelled almost five thousand kilometres in all weathers in the stop-start conditions of London. I was concerned that the brakes might be too powerful, but the modulation provided by the levers and the flex in the arm of the brake means that whilst the power is there if necessary, you have a lot of control over it. There is some disc drag, but this is owing more to my laziness than the brakes themselves, and seems to have little impact on cruising speeds.

  

Using the bike in all conditions has been excellent. The all-over fenders (something I have never fitted to a bike previously) really keep the rain off and eliminate spray from the road. I had to saw a bit of the front fender off to fit it over the larger tyres, and a little bit off the rear for the same reason, but after the modification they have been flawless.

  

I had heard reports of spokes snapping, and nothing happened to me until recently, when I noticed a detached spoke whilst replacing the rear cassette. I had no idea how long the spoke had been damaged for, and replaced it myself. The rear wheel is slightly askew, but it does not foul on anything, which is good considering the small tolerance between it and the fender. To be fair, I have been jumping off kerbs and sometimes it is impossible to miss a massive hole in the road when you are in busy traffic. An upgrade I am considering is a stronger rear wheel, although it is not pressingly urgent.

  

The ride of the bike is super smooth, and certainly not anything like the road bikes I am used to. I use my other road bike for triathlons, and whilst it is a lot more nimble, it is much less comfortable. The Sutra is comfortable all day long, owing in no small part to the Brooks B17 saddle, which took about two thousand miles to properly break in! It was worth it though - sitting on the bike is like sitting in an armchair (albeit a very odd armchair, but an armchair nonetheless). I tend to cruise at about 20mph on her, and my 10.5 mile commute to work takes about 37 minutes. I have started seeking out hills in preparation for some touring of Wales, and the sutra certainly loves to climb. The aggressive, mountain-bike-like frame geometry no doubt assists in this, and is confidence inspiring when climbing and descending. The bar-con shifters were a novelty for me, but they make a lot of sense, especially if replacement shifters were needed on a tour. There are even bosses on the downtube to fit truly old-school shifters in an emergency.

  

The weight of the bike was a shock initially - weighing in at 15kgs without the accessories, she weighs significantly more than my Specialized Hardrock mountain bike, which is saying something! Over time I have become accustomed to the weight, and now it feels normal. The main advantage of this is that when I ride anything else, it feels super light and goes very rapidly. This makes this bike an ideal training steed.

  

In conclusion, I have found a lot to love about the Kona Sutra - she's tough, strong and surprisingly fast. There were some niggles about fitting add-ons, but they were all easy to overcome, and the result has been a reliable bike that I think will keep delivering for years.

  

www.charlietyack.com

Las sombras mal proyectadas son como acentos sin rumbo,caidos en lugares donde no tienen peso, faltos de gravedad para apoyar y producir modulacion fonètica

The shades badly projected are like accents without course, fallens in places where they do not have weight, lacking of gravity to support and to produce fonètic modulation

Jose Gago Pesqueira

Here's the output of the Siglent SDG 1032X signal generator with a 1 MHz carrier with 5 KHz modulation impressed at 59%. The scope trace color indicates how much time is spent in that portion of the waveform (in a relative fashion.)

 

Signal generator

Transitional flow

Modulation passage

Connections between

 

Sample image taken with a Fujinon XF 56mm f1.2 R mounted on a Fujifilm XT1 body; each of these images is an out-of-camera JPEG with Lens Modulation Optimisation enabled. These samples and comparisons are part of my Fujinon XF 56mm f1.2 R review at:

 

cameralabs.com/reviews/Fujifilm_Fujinon_XF_56mm_f1-2_R/

 

Feel free to download the original image for evaluation on your own computer or printer, but please don't use it on another website or publication without permission from www.cameralabs.com/

Prague Castle (Pražský hrad)

For more than a thousand years, has the Prague Castle been an important symbol of the Czech state. Founded in the 9th century, it became the permanent seat of the Czech rulers and, most recently, also of the Presidents. One of the largest castle complexes in the world consists of palaces, offices, churches and fortification buildings, gardens and picturesque corners. The castle covers an area of ​​45 hectares. The unique view to the Prague Castle is one of the most amazing panorama views in the world.

Prague Castle is the most important folk-cultural and historical monument, and is the symbol of the more than one thousand years of development of the Czech and all-Czech states. It is a monumental symbol of the palace, church, fortification, official and residential buildings which represent very valuable monuments, included in all style epochs. It covers an area of ​​45 hectares, was the seat of the Bohemian princes, kings and emperors, and since the Republic was founded in 1918, it was also the residence of the presidents. Since 1962, the Prague Castle has been known for its archaeological discoveries.

History

The initial phases of the Prague Castle are connected with the first historically documented Přemyslid Bořivoj (Bořivoj I (Czech pronunciation: [ˈbɔr̝ɪvɔj], Latin: Borzivogius, c. 852 – c. 889) was the first historically documented Duke of Bohemia from about 870 and progenitor of the Přemyslid dynasty.] The Duchy of Bohemia was at those times subordinated to Great Moravia.). This one transferred in the 80s of the 9th century his original seat from Levý Hradec to the place where on the raised spot above the river Vltava/Moldau already existed a Slavic castle and was very well situated.

The first princely palace apparently only consisted of wood. The first stone building and the oldest Christian sanctuary was the Virgin Mary Church. Its remains have been found between the Second Courtyard and the Bastion garden (original name of the garden: Na Baště). This Bořivoj church was soon reconstructed by the prince Spytihněv I, who was buried here in 915. The second church in the castle was the St. George Basilica founded by Prince Vratislaus I. The next Přemyslide, Prince Wenceslas (Saint), the third sanctuary - the St Veit Rotunda - in the twenties of the 10th century nearby had built which in the 11th century by Prince Spytihnev II was transformed into a huge basilica.

In 973, when the bishopric was established in Prague, the castle was not only the seat of the head of state, but also the seat of the Prague bishop, the highest representative of the church. At the same time arose the first monastery in Bohemia at St. George's basilica.

In the 10th century the castle occupied an area of ​​about 6 ha. In the Romanesque epoch the former fortress, especially after the year 1135 thanks to Soběslaus I, as the stony princely palace and the new masonry fortified with some towers were erected, was turned into a fortified medieval castle. Of the towers is the eastern blacktower best preserved.

Very significantly the Gothic period in the appearance of Prague Castle intervened, most of all Charles IV (1346 - 1378), who, with his father, John of Luxemburg (1310 - 1346), obtained from the pope the promotion of the Prague bishopric to the archbishopric and laid the foundations for the construction of St. Vitus Cathedral. Under Charles IV, the castle for the first time was turned into the imperial residence. Charles IV the defense of the Prague Castle had consolidated, the Royal Palace with the Chapel of All Saints he rebuilt generously. The roofs he had covered with gilded plates, which were the foundation for the binding of words "Golden Prague". Since 1382, Bohemian rulers ceased to occupy the Prague Castle for more than 100 years. The royal court was moved to the place of today's Community hall and back to the Prague castle it came only in 1483 under Wladislaus from the Jagiellonian dynasty.

Although the ruler already in 1490 moved to Ofen (Buda), he had the Prague castle renovated in the late Gothic style under the supervision of Benedikt Ried. He was the master builder of the magnificent Vladislav Hall, the largest secular vaulted room of the then Europe, with which the first Renaissance signs came to Prague. He carried out major construction works, including the construction of a new masonry, the defensive towers and the expansion of the Royal Palace. At his time, the Gothic died away and a new architectural style, the Renaissance, gradually prevailed.

The direct influence of the Italian art on the new style was most frequently observed in Prague under the reign of Ferdinand I (von Habsburg) and after his departure from Prague under the influence of the governor Ferdinand of Tyrol. At that time, the medieval castle was converted into a comfortable Renaissance castle with gardens. The typical Italian architecture of the Royal Pleasure palace arose in the northern King's garden.

For a large building activity in 1541 contributed a fire devastating the castle objects as well as the surrounding area quite a lot. Within the framework of the restoration, both the housing estates and the church buildings were rebuilt. Under the reign of the first Habsburgs, nobility palaces were added to the castle grounds (for example, the Pernstein Palace - later Lobkowicz Palace, Rosenberg Palace and others). Horse stable buildings were built in the north-west.

Under the reign of the Emperor Rudolph II (1576 - 1611), the Renaissance and Mannerism transformation of the castle, which for the second time became the center of the empire, and especially the center of European culture and science, reached its peak. On the second courtyard, new rooms were built for the collections of Rudolph - the new (now Spanish) hall and the Rudolph gallery. Also arose the connection tract between the northwestern and the southwestern part of the castle. Just here the famous Kunstkammer (Art chamber) and other rooms for Rudolph's collective activities were located. Additionally further horse stable properties were built for his rare Spanish horses. During the Rudolph times also the foundation stone of the famous Golden Alley was laid. Laboratories of the Rudolph-Alchymists were supposed to have been in the Powder tower above the Hirschgraben (Deer's ditch). The castle suffered again considerable damages when it was occupied by the Saxon army in 1631 and by the Swedes in 1648 not only was occupied but also plundered. After the Thirty Years' War, the Habsburgs did not care too much about the Prague royal seat.

Only Maria Theresia carried out an extensive reconstruction of the Prague Castle from 1755 - 1775 into a representative castle complex. The reason for the massive construction action were war damages, caused by the intense bombing of the castle during war conflicts at the beginning of her reign. The reconstruction was designed by the Viennese architect Nicolo Pacassi, who also planned the first courtyard with the monumental entrance gate. From the time of the Theresian reconstruction stems also the chapel of the Holy Cross on the 2nd castle forecourt and other buildings, especially the noblewomen institute. The south wing he imprinted the uniform monumental late Baroque facade of a representative seat. His plans influenced by Viennese Rococo and French Classicism the builders Anselmo Lurago, Anton Kunz and Anton Haffenecker brought into life.

In the 19th century, the castle fell into ruin, in several objects after the Josephine reforms the army settled. In connection with the stay of Ferdinand I the Good in the castle after his abdication in 1848 and further in connection with the preparation for the coronation of Franz Joseph I in the sixties it came to building modifications of several objects. After 1859, when the community for the completion of St Veit cathedral emerged, began first the repair, and then, under the influence of the architect Joseph Mocker, the work on the actual completion of St Veit's cathedral was started, completed in 1929.

In the years 1920 - 35, carried out extensive regulations of the Prague Castle as the seat of the Czechoslovak President the great Slovenian architect Josip Plečnik, who masterfully combined the valuable historical space with modern civilization claims. His modifications mainly concerned the 1st and 3rd court, the southern gardens of the castle, the fourth forecourt with the Bastion garden as well as numerous interiors. He created e.g. the pillared hall, private rooms of the presidential residence, including the Masaryk workroom. His pupil, Otto Rothmayer, brought to an end the incomplete solutions of some castle interior spaces after the Second World War in comparable quality.

In 1936, Pavel Janák and after him, in 1959, Jaroslav Fragner became castle architect.

After the year of change of 1989, the Prague Castle was opened to the public in many places. During the term of President Havel, at the castle it came to modulations of the interiors and to the expansion of two new entrances into the second courtyard after the project of the creator and designer Bořek Šípek. The puncture through the rampart of the Powder bridge in Hirschgraben was rewarded with a significant prize (Arch. Josef Pleskot). Also interesting is the modern greenhouse of the world-famous architect Eva Jiřičná. The Georgian Square (Jiřské náměstí) was re-paved and modulated. The Mosaic of the Last Judgment was renovated in collaboration with the specialists from the Getti Institute. In 1990, the Prague Castle was solemnly illuminated and this situation lasts from dusk to midnight until today. In the main tourist season, the lighting time even lasts an hour longer until 1 o'clock. The tradition of electric lighting, but on a much smaller scale, began in 1928, when the lamps were installed for the 10th anniversary of the elevation to a Republic. A little bit the present daylight resembles of those from the end of the sixties, but today it is much more detailed and in communist times it was only switched on at solemn occasions. At that time, illuminative days were state holidays or significant day of republic, which, however, did not lack recognition from the communist point of view.

In recent years the reconstruction and renovation work has been developed in many buildings of the castle and a considerable attention has been devoted to the archaeological investigation, which has been going on since 1925 and has brought many insights into the history of the castle. The investigation as well as the renovation of the individual rooms and objects is motivated by the idea of ​​invigorating them as much as possible by making them accessible to the public.

 

Prager Burg (Pražský hrad)

Die Prager Burg ist seit über tausend Jahren ein bedeutendes Symbol des tschechischen Staates. Gegründet im 9. Jahrhundert wurde sie zum ständigen Sitz der tschechischen Herrscher und zuletzt auch der Präsidenten. Einer der größten Burgkomplexe weltweit setzt sich aus Palästen, Amts-, Kirchen- und Fortifikationsgebäuden, aus Gärten und malerischen Ecken zusammen. Die Burg erstreckt sich auf einer Fläche von 45 Hektar. Der alleinige Blick auf die Prager Burg stellt einen der überwältigendsten Panoramablicke der Welt dar.

Die Prager Burg ist das bedeutendste Volkskultur- und Historiedenkmal, sie ist das Symbol der mehr als eintausendjährigen Entwicklung des böhmischen sowie gesamttschechischen Staats. Es ist ein monumentales Symbol der Palast-, Kirchen-, Fortifikations-, Amts- und Wohngebäude, die sehr wertvolle Denkmäler darstellen, einbezogen auf alle Stilepochen. Sie erstreckt sich auf einer Fläche von 45 ha, war der Sitz der böhmischen Fürsten, Könige und Kaiser und seit der Republikentstehung im Jahre 1918 war sie auch die Residenz der Präsidenten. Seit 1962 steht die Prager Burg mit ihren archäologischen Funden als bekanntester.

Geschichte

Die Anfangszeiten der Prager Burg sind mit dem ersten historisch belegten Přemysliden Bořivoj verbunden. Dieser übertrug in den 80er Jahren des 9. Jahrhunderts seinen ursprünglichen Sitz von Levý Hradec an den Ort, wo auf der erhabenen Stelle über der Moldau eine slawische Burgstätte bereits bestand und sehr gut gelegen war.

Der erste Fürstenpalast bestand offenbar aus Holz. Der erste Steinbau und das älteste christliche Heiligtum war die Jungfrau Maria Kirche. Ihre Reste wurden zwischen dem II. Vorhof und dem Basteigarten (Originalname des Gartens: Na Baště) gefunden. Diese Bořivoj-Kirche wurde durch den hier im Jahre 915 beigesetzten Fürsten Spytihněv I. bald umgebaut. Die zweite Kirche im Burgraum war die vom Fürsten Vratislaus I. gegründete St. Georg Basilika. Der nächste Přemyslide, der Fürst Wenzel (der Heilige), ließ in der Nähe in den 20er Jahren des 10. Jahrhunderts das dritte Heiligtum - die St. Veit Rotunde - bauen, die im 11. Jahrhundert vom Fürsten Spytihněv II. zu einer gewaltigen Basilika umgebaut wurde.

Im Jahre 973, als in Prag das Bistum gegründet wurde, war die Burg nicht nur der Sitz des Staatsoberhaupts, sondern auch der Sitz des Prager Bischofs, des höchsten Repräsentanten der Kirche. Zu demselben Zeitpunkt entstand an der St. Georg Basilika das erste Kloster in Böhmen.

Im 10. Jahrhundert nahm die Burg eine Fläche von ca. 6 ha in Anspruch. In der romanischen Epoche wurde die einstige Burgstätte, insbesondere nach dem Jahr 1135 dank Soběslaus I., als der steinige Fürstenpalast und das neue mit einigen Türmen verstärkte Mauerwerk aufgebaut wurden, zu einer festen mittelalterlichen Burg umgebaut. Von den Türmen ist der östliche Schwarzturm am besten erhalten.

Sehr bedeutend griff ins Aussehen der Prager Burg die Gotikzeit ein, insbesondere Karl IV. (1346 - 1378), der mit seinem Vater Johann von Luxemburg (1310 - 1346) vom Papst die Beförderung des Prager Bistums zum Erzbistum erwirkte und den Grundstein für den Bau der St. Veit Kathedrale legte. Unter Karl IV. wurde die Burg zum ersten Mal zur Kaiserlichen Residenz. Karl IV. ließ die Verschanzung der Prager Burg festigen, den Königspalast mit der Kapelle Aller Heiligen baute er großzügig um. Die Dächer ließ er mit vergoldeten Blechen decken, die das Fundament für die Wörterbindung „Goldenes Prag“ darstellten. Seit 1382 hörten böhmische Herrscher auf, die Prager Burg für mehr als 100 Jahre zu bewohnen. Der Königshof wurde an den Ort des heutigen Gemeindehauses umgezogen und zurück auf die Prager Burg kehrte er erst im Jahre 1483 unter Wladislaus aus der Jagiellonen-Dynastie.

Obwohl der Herrscher bereits 1490 nach Ofen (Buda) umsiedelte, ließ er die Prager Burg im spätgotischen Stil unter der Bauleitung von Benedikt Ried umbauen. Er war der Baumeister des großartigen Wladislaus-Saals, des größten weltlichen gewölbten Raums des damaligen Europas, mit dem die ersten Renaissancezeichen nach Prag kamen. Er führte großartige Bauregelungen einschließlich des Ausbaus eines neuen Mauerwerks, der Wehrtürme und der Erweiterung des Königspalastes durch. Zu seiner Zeit klang die Gotik aus und es setzte sich allmählich ein neuer Baustil durch, die Renaissance.

Der direkte Einfluss der italienischen Kunst des neuen Stils wurde in Prag unter der Regierung von Ferdinand I. (von Habsburg) und nach seinem Weggang von Prag unter der Wirkung des Statthalters Ferdinand von Tirol am meisten beobachtet. Damals wurde die mittelalterliche Burg in ein bequemes Renaissanceschloss mit Gärten umgewandelt. Im nördlichen Königsgarten entstand die typisch italienische Architektur des Königlichen Lustschlosses.

Zu einer großen Bauaktivität trug im Jahre 1541 ein Brand bei, der die Burgobjekte sowie die Umgebung ziemlich viel kaputt machte. Im Rahmen der Wiederherstellung wurden sowohl die Wohnräume als auch die Kirchenobjekte umgebaut. Unter der Regierung der ersten Habsburger kamen ins Burggelände auch Adelspaläste dazu (zum Beispiel der Pernstein-Palast - später Lobkowicz-Palast, Rosenberg-Palast und weitere). Im Nordwesten wurden Pferdestallgebäude erbaut.

Unter der Regierung des Kaisers Rudolph II. (1576 - 1611) erreichte der Renaissance- und Manierismusumbau der Burg, die zum zweiten Mal zum Zentrum des Reiches und insbesondere zum Zentrum der europäischen Kultur und Wissenschaft wurde, seinen Gipfel. Auf dem II. Vorhof wurden neue Räume für die Sammlungen Rudolphs erbaut - der Neue (heute Spanische) Saal und die Rudolph-Galerie. Es entstand auch der Verbindungstrakt zwischen dem Nordwest- und dem Südwestteil der Burg. Eben hier befanden sich die berühmte Kunstkammer und weitere Räume für die Sammeltätigkeit Rudolphs. Es wurden auch weitere Pferdestallobjekte für seine seltenen spanischen Pferde aufgebaut. Während der Rudolph-Zeiten wurde auch der Grundstein der berühmten Goldenen Gasse gelegt. Laboratorien der Rudolph-Alchymisten sollen im Pulverturm über dem Hirschgraben gewesen sein. Die Burg erlitt erneut erhebliche Schäden, als sie 1631 vom sächsischen Heer und 1648 von den Schweden besetzt und ausgeplündert wurde. Nach dem Dreißigjährigen Krieg kümmerten sich die Habsburger um den Prager königlichen Sitz nicht allzu sehr.

Erst Maria Theresia führte in den Jahren 1755 - 1775 einen umfangreichen Umbau der Prager Burg zu einem repräsentativen Schlosskomplex durch. Der Grund für die massive Bauaktion waren Kriegsschäden, verursacht durch die intensive Bombardierung der Burg bei Kriegskonflikten zu Beginn ihrer Regierung. Den Umbau entwarf der Wiener Architekt Nicolo Pacassi, der auch den I. Vorhof mit dem monumentalen Eingangstor projektierte. Aus der Zeit des theresianischen Umbaus stammt auch die Kapelle des Heiligen Kreuzes auf dem II. Burgvorhof und weitere Gebäude, insbesondere die Edeldamenanstalt. Dem Südflügel prägte er die einheitliche monumentale Spätbarockfassade eines Repräsentationssitzes ein. Seine durch das Wiener Rokoko und den französischen Klassizismus beeinflussten Pläne brachten die Baumeister Anselmo Lurago, Anton Kunz und Anton Haffenecker zustande.

Im 19. Jahrhundert verfiel die Burg, in mehreren Objekten ließ sich nach den josephinischen Reformen das Heer nieder. Zu Bauregelungen einiger Objekte kam es im Zusammenhang mit dem Aufenthalt von Ferdinand I. dem Guten auf der Burg nach seiner Abdikation im Jahre 1848 und weiter im Zusammenhang mit der Vorbereitung auf die vorgesehene Krönung von Franz Joseph I. in den 60er Jahren. Nach 1859, als die Gemeinde für die Fertigstellung der St. Veit Kathedrale entstand, begann zuerst die Reparatur und anschließend unter der Wirkung des Architekten Joseph Mocker wurde die Arbeit an der eigentlichen Fertigstellung der St. Veit Kathedrale aufgenommen, abgeschlossen im Jahre 1929.

In den Jahren 1920 - 35 führte ausgedehnte Regelungen der Prager Burg als des Sitzes des tschechoslowakischen Präsidenten der bedeutende slowenische Architekt Josip Plečnik durch, der den wertvollen historischen Raum mit modernen Zivilisationsansprüchen meisterlich zusammenfügte. Seine Regelungen betrafen vor allem den 1. und 3. Vorhof, die Südgärten der Burg, den 4. Vorhof mit dem Basteigarten sowie zahlreiche Innenräume. Er schuf z.B. die Säulenhalle, Privaträume der Präsidentenwohnung einschließlich des Arbeitszimmers Masaryks. Sein Schüler Otto Rothmayer brachte die unvollendeten Lösungen einiger Burginnenräume nach dem 2. Weltkrieg in vergleichbarer Qualität zu Ende.

Im Jahre 1936 ist Pavel Janák und nach ihm seit 1959 Jaroslav Fragner Burgarchitekt geworden.

Nach dem Wendejahr 1989 wurde die Prager Burg an vielen Stellen für die Öffentlichkeit geöffnet. Während der Amtszeit des Präsidenten Havel kam es auf der Burg zu Regelungen der Innenräume und zum Ausbau zweier neuer Eingänge in den 2. Vorhof nach dem Projekt des Bildners und Designers Bořek Šípek. Mit einem bedeutenden Preis wurde der Durchstich durch den Wall der Pulverbrücke im Hirschgraben belohnt (Arch. Josef Pleskot). Interessant ist auch das moderne Gewächshaus der weltberühmten Architektin Eva Jiřičná. Der Georg-Platz (Jiřské náměstí) wurde neu bepflastert und geregelt. In Zusammenarbeit mit den Fachleuten aus dem Getti-Institut wurde die Mosaik „des Letzten Gerichts“ renoviert. Im Jahre 1990 wurde die Prager Burg feierlich beleuchtet und dieser Zustand dauert von der Dämmerung bis zur Mitternacht bis heute. In der touristischen Hauptsaison dauert die Beleuchtungszeit sogar eine Stunde länger, bis 1 Uhr. Die Tradition der elektrischen Beleuchtung, jedoch im viel kleineren Umfang, begann im Jahre 1928, als die Lampen zum 10. Jubiläum der Republikentstehung installiert wurden. Ein wenig ähnelte die heutige feierliche Beleuchtung jener aus dem Ende der 60er Jahren, heute ist sie allerdings viel detaillierter und in den Kommunistenzeiten wurde sie nur bei feierlichen Gelegenheiten angemacht. Beleuchtungswürdige Tage waren damals Staatsfeiertage oder bedeutende Republiktage, denen allerdings aus der kommunistischen Sicht die Anerkennung nicht fehlte.

In den letzten Jahren entwickelte sich die Umbau- bzw. Renovierungstätigkeit in vielen Objekten der Burg und eine erhebliche Aufmerksamkeit wurde der archäologischen Untersuchung gewidmet, die bereits seit 1925 läuft und viele Erkenntnisse über die Burggeschichte brachte. Die Untersuchung sowie die Renovierung der einzelnen Räume und Objekte ist von der Idee motiviert, sie dadurch, dass sie der Öffentlichkeit zugänglich gemacht werden, möglichst viel zu beleben.

www.prague.eu/de/objekt/orte/31/prager-burg-prazsky-hrad

Bike seems totally ok, Enve rims so so. The brake performance is by far inferior to aluminum rims - no good modulation and awful noise. Looking at the wear of the pads after just a tiny little bit of mountain roads doesn't feel good either; and they are expensive Enve pads made for this rims. They aren't light but on the same level as my lighter aluminum rim wheels. So the only benefit I can see is that they are faster in the flats and that's something I don't care much

12th IA. Cavalry

The following information was provided by Ben F. Woods, Jf. (Joseph J. Woods was his Great Grandfathers brother):

Life of Colonel Joseph Jackson Woods

By: Major D. W. Reed, Twelfth Iowa

Colonel Joseph Jackson Woods was born January 11, 1823, on a farm in Brown County, Ohio. His ancestors came from Ireland but were not of the Irish race. Some of them were in Londonberry during the famous siege of that place in 1689. His grandfather, James Woods, came to America in 1773 and settled in Pennsylvania, where the father of the subject of this sketch, Samuel Woods, was born in the same year 1773. James Woods engaged during a part of the Revolution in furnishing supplies to the army.

The mother of Joseph J. Woods was born in Ireland in 1785, and came to America at the age of six or seven years; her maiden name was Richey. Joseph was the youngest son that arrived at mature age of a numerous family; his father being at the time of his birth fifty years old, and having been in his prime of more than average ability among the farming class to which he belonged, but while Joseph was yet young his father became a physical, financial, and mental wreck, so that at the age of ten years, Joseph was thrown on the world to succeed by his own resources.

He went with his older brother, John, just then married, to Rush County, Indiana, where they settled in a dense forest. He remained in Indiana two years and then returned to Ohio and lived with relatives until he was fourteen years old when he was apprenticed to Joseph Parish (late secretary to President Grant, to sign land patents) in Felicity, Clermont County, Ohio, to learn the saddlers trade.

In his early boyhood, while at school, which was but a small part of the time, he learned rapidly being advance of other children his age. He never attended the public school after his thirteenth year.

He served five years' apprenticeship with Mr. Parish, working for his board and clothing, and became very proficient in the trade. Working in the winter season until 9 o'clock p. m. five nights a week, he had but little time for mental culture, but fortunately his cousin, Dr. Allen Woods, about this time married a Miss Whipple of Vermont, a lady of culture, who, becoming interested in young Woods, proposed to become his private tutor.

Under this arrangement, by improving every spare moment, he completed a course in arithmetic, English grammar, geography, and obtained a fair knowledge of history from books kindly loaned from the library of Dr. J. M. Woods. At the expiration of his apprenticeship, the Rev. Irvine, Presbyterian minister and graduate of Ohio State University, informed young Woods that as he was about to review his Latin and Greek studies, he would willingly take a pupil and give instructions in those branches free of charge, as a more thorough method of making his review. Under this arrangement young Woods pursued his studies seven months, working mornings and evenings in the saddler's shop to pay his board.

The first Methodist College established in America was located at Augusta, Kentucky, seven miles from Felicity, Ohio. It was under the joint patronage of the Ohio and Kentucky conference of the Methodist Episcopal church, each conference being entitled to keep at college a certain number of students free of tuition, these to be selected by the presiding elders of the various districts from worthy young men of limited means.

The Rev. W. N. Roper, presiding elder over the district, gave young Woods the appointment and he entered the freshman class in that institution the same year. Although free tuition was provided , he found it difficult to provide for board and clothing and books, therefore by advise of Dr. Woods, he applied for an appointment to the United States Military Academy at West Point to take the place of U. S. Grant who would graduate the following June. His principle recommendations were from Hon. Alonzo Knowles, the leading Democratic politician at Felicity, Ohio, and Jesse R. Grant, Whig, then of Bethel, Ohio. There were several competitors for the appointment and Dr. Doan, member of Congress, declined to make a selection but sent the papers to the war department where the appointment was given to Woods and he entered the academy in June 1843.

Seventy-five were appointed to this class; thirty-eight graduated in it in 1847, Woods standing No. 3 in his class. During the last year at West Point he was assistant professor as well as student. July 1, 1847 he received his appointment as second lieutenant, in First Regiment United States Artillery.

The war with Mexico was in its height and he was ordered to New York Harbor to drill and organize recruits for the war, where he remained until October 10th, when out of these recruits companies L and M, First Artillery, were organized and Lieutenant Woods was ordered to proceed with these companies to Vera Cruz, Mexico, and join his company, C, to which he had been assigned, in Northern Mexico.

The command sailed from New York, October 10th, on the ship "Empire." The weather was boisterous and after four days of invisible sun the ship ran upon a coral reef--entirely covered by water--breaking a large hole in the vessel, when she settled down and broke in two. They were by captains reckoning, fifty miles from shore, but upon partially clearing off, they perceived a small uninhabited island called Fowl Key about one half mile distant and daylight brought to view Abaco, the largest of the Bahama group, at a distance of about five miles. Wreckers came to the assistance of the ship and about 10 o'clock a. m., they landed the soldiers on Fowl Key where they remained one week.

Vessels were then procured to take part of the command to Charleston, South Carolina. The balance with Lieutenant Woods was taken to Nassau, new Providence, since famous as the rendezvous for rebel cruisers. Remaining here eight days, he then in company with Lieutenant Morris, sailed for Charleston where they remained at Fort Moultrie until December 25, 1847, when they again sailed for Vera Cruz in the ship "Republic" sent out from New York for that purpose.

On January 1, 1848, as they were entering the port of Vera Cruz, a terrible "Norther" struck the vessel carrying them out to sea. They finally landed January 5th and found that a majority of the regiment to which the command was assigned was on garrison duty in the city, but Company C, to which Lieutenant Woods had been assigned was in northern Mexico. Woods was therefore transfered to Company M, and assigned to duty with the regiment at Vera Cruz. In May he had yellow fever and was very sick. About August 1, 1848, peace having been declared, Vera Cruz was evacuated and our troops immediately embarked for New York, companies L and M taking passage on the screw propeller "Massachusetts."

In October, 1848, Woods was promoted to first lieutenant, and November 10, 1848, embarked on board the "Massachusetts" with companies L and M for Oregon to quell disturbance recently arisen there, in which Dr. Whitman and a number of missionaries had been murdered.

The expedition was under the command of Brevet Major Hathaway, and Lieutenant Woods was a quartermaster and commissary. These were the first United States troops ever in Oregon. On the passage, about January 1st, the ship was put into port at Rio Janeiro, Brazil, and remained several days, giving the officers the opportunity of inspecting the city. Imperial Gardens, where all tropical fruits were growing, the foundries, and other places of interest. Lieutenant Woods was taken through the convent of the monks of St. Bernardine and was present at the Imperial Chapel when the Emperor and Empress partook of midnight mass, the going out of the year 1848.

Sailing out of Rio Janeiro they passed the Falkland Islands and entered the Straits of Magellan, with Patagonia on the right and Terra Del Fuego on the left, and were one week in the straights sailing only by daylight and such distances as would insure good harbors by night. There were two convict settlements on the straights and some Indians. The officers enjoyed frequent rambles on shore. At Valparaiso, Chili, they were shown specimens of gold recently taken from newly discovered gold mines in California.

The next point made was the Sandwich Islands, where they arrived in fifty-two days and remained eight days. They were constantly feted by the king as theirs was the first steamer ever seen by him. The officers gave the king and queen an excursion on board the steamer accompied by the royal retinue. The expedition reached the mouth of the Columbia River May 9, 1849--six months out of New York and having sailed twenty-two thousand miles--they proceeded up the river ninety miles to Fort Vancouver, the headquarters of the Hudson Bay Company, situated on the north bank of the Columbia River--what is now Washington. Here Company L, to which Woods now belonged landed, and Company M was ordered to Puget Sound.

In the spring of 1850 Lieutenant Woods with Company L was removed to Astoria near the mouth of the river and from this point Lieutenant Woods with two white men and two Indians attempted to find a practicable wagon road from Astoria to the plains across the coast range of mountains. They found the task more difficult than they anticipated and the party came near starving to death, living for some time on such provisions as they could find in the woods upon the mountains.

At another time Lieutenant Woods went in a row boat with the collector of the post of Astoria and a detail of men in the evening to seize a ship for violating the revenue laws. They ran along side the ship as she lay at anchor near the mouth of the river. The collector tried to climb the ladder hanging over the side but failed, when Lieutenant Woods and one man mounted the ladders and reached the deck when the ropes were cut by the ship's crew, the ladder fell into the collectors boat and he pulled for shore leaving the lieutenant on board but calling back to him that he would come for him in the morning.

The ship hoisted anchor and immediately put to sea. The collector secured a pilot boat armed with a cannon and gave chase, but after a few hours' pursuit and firing a few shots, the pilot boat gave up chase. After a tedious run the ship put into a recently discovered bay in the northern part of California, called Humboldt Bay, where several vessels were loading with timber for San Francisco. On one of these the lieutenant secured passage to San Francisco, and from there he secured passage to Astoria where he arrived after an involuntary absence of six weeks.

In April 1851, Lieutenant Woods was ordered with a detachment of men to the Dalles of the Columbia, east of the Cascade Range, where in the heart of Indian country he commanded a small post for eighteen months, the only military post at the time and he the only commissioned officer between the Cascade Mountains and Fort Laramie.

In September 1852, he returned to Fort Vancouver, which had now become a large post and headquarters for the Fourth United States Infantry, and at which place was then stationed several men since famous in history, among them Ulysses S. Grant. In February 1853, Lieutenant Woods received orders to report to the superintendent of the recruiting service at New York City. He sailed February 10th, and reached his destination via San Francisco and Panama.

In Jun 1853, he received leave of absence and visited Iowa and bought land in Clinton and Jackson counties. October 15, 1853, he resigned his commission and removed to his lands in Iowa and in September, 1856, married Miss Kezia Hight in Jones county, Iowa. He engaged in farming in Jackson County, Iowa, until the rebellion broke out, when he tendered his services to the Governor of Iowa and was commissioned Colonel of the 12th Iowa Infantry, Volunteers, October 23, 1861, and ordered to take immediate charge of the regiment then organizing at Camp Union, Dubuque, Iowa.

The regiment was mustered into the United States service by Captain Washington, Thirteenth United States Infantry, November 25, 1861, and on the 28th day of the same month broke camp at Dubuque and proceeded by rail to St. Louis, Missouri, where they arrived on the 30th and went immediately into camp of instruction at Benton Barracks. In January, 1862, the regiment was armed with Enfield rifles and fully equipped for the field.

January 27, 1862, Colonel Woods received orders to report his regiment to General Grant at Cairo, Illinois, where they arrived January 29, and were immediately embarked on board a steamer for Smithland, Kentucky, at the mouth of the Cumberland River, where the regiment established their first camp in the field, January 31, 1862. On the morning of February 5th, orders were received to embark on a steamer and join expedition fitting out for Tennessee River.

Arriving at Paducah, the regiment was assigned to Cook's Brigade and to C. F. Smith's division, and on the morning of February 6, landed four miles below Fort Henry, and took up a line of march to gain a position in the rear of the fort, but while floundering through the muddy swamps and almost impassable streams, the gunboats made the attack, drove the enemy from the works and captured the fort, most of the garrison escaping before the infantry reached their position in the rear.

February 12th, the command marched to Fort Donelson and were formed in line of battle, February 13th, on the extreme left, when they participated in the battle of the 13th, 14th and 15th, and followed the Second Iowa Infantry in their charge upon the works.

Colonel Woods in his official report says: About 2 o'clock p. m. of the 15th, the Twelfth Iowa, Fiftieth Illinois, and Birge's sharpshooters were ordered to make a faint attack to draw the enemy's fire. The men went cheerfully to the work and kept up a warm fire on the enemy while Colonel Lauman's brigade on our left advanced on the enemy and got possession of his outer works and hoisted thereon the American flag, when we were ordered to his support and moved rapidly by the left flank, charged over the fallen timber, while a galling fire of grape from the enemy was pouring in on us. On reaching the breastworks some confusion was caused by the retreat of a portion of Colonel Lauman's brigade, who having exhausted their ammunition, were compelled to fall back. By some exertion our men were rallied and opened a warm fire on the enemy which they returned from a battery on our right and musketry in front. In this cross fire we fought the enemy for two hours, advancing upon them to a deep ravine inside the works. Colonel Cook, who was commanding the brigade, in his report makes mention of Colonel Woods as deserving commendation for his gallant and efficient service.

At nightfall the regiment was withdrawn to the outer works of the enemy, where they remained through the night. Early in the morning of the 16th we were formed in a line to renew the battle, when a white flag appearing, the surrender was announced, and the regiment marched into the fort. With the exception of the Second Iowa Infantry, no troops were entitled to more credit for the capture of this stronghold than the Twelfth Iowa Infantry, and it being their first engagement, their steadiness and coolness was largely due to these qualities so prominent and marked in their commanding officer. The regiment was given quarters in log barracks occupied by rebels before the surrender, and remained in camp until March 12, 1862.

While at Fort Donelson, the regiment was visited by Samuel J. Kirkwood, governor of Iowa, and upon his return to Iowa he wrote to Colonel Woods as follows:

"Des Moines, Iowa, March 22, 1862.

"Dear Colonel Woods: Please apologize to your officers and men for not calling upon them again before I left Donelson. When at General Hurlbert's headquarters the steamboat "Conestoga" came down and the officer in command politely offered passage in his boat which he said would leave in forty minutes, so we had only time to get our troops on board. Please explain this and express my regret that I could not have spent some time with you.

"The Iowa troops made themselves and our state a glorious name. The Second Iowa had the best chance for the honors at Donelson, but the Seventh, Twelfth and Fourteenth did nobly. Dr. Hughs, surgeon general of Iowa, has a brother in the brigade with your regiment. He says he has just received a letter from his brother, who writes that the Twelfth Iowa is a splendid regiment and fought gallantly at Donelson. Please write me when convenient. Let me advise you to care for your health. I was much pleased to see on my visit to your camp, that you were having it cleaned up nicely. Yours was the only regiment that was doing this. With many wishes for your health and success, I am yours truly,

"Samuel J. Kirkwood"

Resolutions as follows were adopted by the legislature of Iowa:

Joint Resolution.

Resolved by the senate and house of representatives of the State of Iowa. First. That in the name of the whole people of the state, we thank the Iowa troops for their undaunted bravery and gallant conduct in the recent fight at Fort Donelson in which the post of honor they nobly sustained their own brilliant fame and won fresh and unfading laurels for the state. Second. That a copy of this resolution be forwarded of each of the Iowa regiments engaged in the battle of Fort Donelson.

Rush Clark,

Speaker House of Representatives

John R. Needham,

President of the Senate

Approved February 19, 1862,

Samuel J. Kirkwood.

State of Iowa, ss

I, Elijah Sells, Secretary of State, hereby certify that the foregoing is a true copy from the original enrolled resolution on file in my office. In testimony whereof I have hereunto set my hand and affixed the great seal of the State of Iowa. Done at Des Moines this 20th day of February, 1862.

Elijah Sells.

To Colonel Woods.

March 12, 1862, the command was reorganized and the Second, Seventh, Twelfth and Fourteenth Iowa infantries designated as the First Brigade, commanded by Colonel Tuttle of the Second Iowa, and assigned to Second division, commanded by General C. F. Smith.

Leaving Fort Donelson the division marched to Metal Landing on the Tennessee River and embarked on steamer for Pittsburgh Landing, where they established camp March 21, 1862, on the extreme right of Union line, near the river below the landing.

Early on the morning of April 6th, Colonel Woods formed his regiment on the parade ground and soon after, under the direction of brigade commander, moved to a position assigned to him in line of battle, occupying the left center of Tuttle's Brigade, forming the extreme left of W. H. L. Wallace's division, Fourteenth Iowa, next the left of Twelfth Iowa, formed the extreme left of its division and rested on the main road from the landing to Corinth.

The Twelfth Iowa was formed just behind the brow of a slight ridge, an open field in front of its right, a thick undergrowth in front of its left; in this position the troops were reviewed by General Grant, about 10 o'clock a. m., and were directed by him to hold the position at all hazards, and in this exposed position, across the Corinth road, the left brigade of W. H. L. Wallace's division, and right of Prentiss' division did sustain itself, not once being removed from its position, although repeatedly charged by the enemy until about 5:30 o'clock p. m. The persistent, desperate fighting done by these troops at this key of the position, delayed the whole Rebel army and saved the Federal army from being driven into the Tennessee River.

All the prominent confederate officers mention the fighting at this place. General Ruggles, commanding a division of Bragg's army, says, "I ordered my staff officers to bring forward all of the field guns that could be collected from the left, which resulted in the concentration of ten batteries and one section as follows: (enumerates them), concentrating their fire enfilading Prentiss' division on right flank, at this moment Second brigade and the Cresent Regiment pressed forward and cut off a considerable number of the enemy consisting of Prentiss'' division, who were surrendered to the Cresent Regiment.

General Polk, commanding army corps, says: "About 5 o'clock p. m., my line attacked the enemy's troops--the last that were left on the field. The attack was made in front and flank. The resistance was sharp and proved to be the commands of Generals Prentiss and W. H. L. Wallace. The latter was killed by troops of General Bragg, who was pressing him at the same time on his right."

Colonel Head, Seventeenth Louisiana Volunteers, says: "Between 1 and 2 o'clock on Sunday, we had carried all the enemy's camps except Prentiss'. At this point the enemy made a determined stand and fro two hours success at that point seemed doubtful. I was ordered by General Ruggles to immediately bring up all the artillery and concentrate it upon this point. Assisted by the artillery fire the infantry succeeded in carrying the position and capturing General Prentiss and about two thousand men."

General Gibbons, commanding brigade, admits that his brigade was repulsed four different times and because he felt sensitive over the matter of official reports, asked a court of inquiry. Several other officers admit their repulse and the complete demoralization of their forces at this point and so great was the slaughter of the enemy that they gave to that point of the line immediately in front of the Twelfth, Fourteenth and Eighth Iowa the title or name of "Hornets' Nest."

About 5:30 O'clock, General Wallace having been mortally wounded , General Tuttle succeeded to the command of the division, McClerand's division on our right and Hurlbert's on the left having fallen back to a new position near the river, Tuttle gave orders for his division to fall back, and the order was communicated to all regiments except the Twelfth and Fourteenth Iowa and they were safely conducted to the rear, but the aide sent to these regiments was killed before reaching them, General Tuttle claims, and they were left fighting the enemy in front until the enemy rushed around their flank exposed by withdrawal balance of division formed in the rear. Having just repulsed a desperate charge in front, the regiment was startled by the order given by Colonel Woods with no more excitement than when on parade. "Twelfth Iowa; about face; commence firing," when they beheld a full and perfect line of Grey formed in their rear. Delivering a few vollies into the face of this new enemy which broke their ranks, a charge was ordered.

Colonel Woods at the head of the regiment succeeded in cutting his way through the first line of enemy and arrived in the camp of the 3rd Iowa, near General Hurlbert's headquarters where they encountered another line of the enemy drawn up in order across the line of retreat. Here, hemmed in by a perfect wall of fire, Colonel Woods was twice wounded in quick succession and dismounted.

Command of regiment then devolved to Captain Edgerton, who finding it impossible to cut his way out, surrendered the remnant of the regiment prisoners of war. At the same time there was surrendered the Fourteenth Iowa of Wallace's division, and the Eighth Iowa and Fifty-eighth Illinois of Prentiss's division; in all about two thousand men. General Prentiss, was present at the time, and taken prisoner with the rest, speaks in the highest terms in the conduct of Colonel Woods and his regiment in the field and says that to the persistent fighting of these four regiments, holding their grounds against such fearful odds, is due to the failure of Beauregard to drive our forces into the Tennessee River.

General Tuttle in his official report says: "On the morning of the 6th I proceeded my brigade, consisting of the Second, Seventh, Twelfth and Fourteenth Iowa Infantry, under direction of W. H. L. Wallace, and formed line on extreme left of his division. We had been in line but a few moments when the enemy made his appearance and attacked my left wing, Twelfth and Fourteenth Iowa, who gallantly stood their ground and compelled the assailants to retire in confusion. They again formed under cover of a battery and renewed the attack upon my whole line but were repulsed as before. A third and fourth time they dashed upon us but were each time baffled and completely routed.

We held our position about six hours, when it became evident that the forces on each side of us had given away, so as to give the enemy an opportunity of turning both of our flanks. At this critical moment General Wallace gave orders for my brigade to retire which was done in good order. The Second and Seventh retired through a severe fire from both flanks, while the Twelfth and Fourteenth, who were delayed by their endeavor to save a battery, were completely surrounded and compelled to surrender. Colonel Woods of the Twelfth Iowa particularly distinguished himself, was twice wounded and when the enemy was driven back on Monday he was captured."

Colonel Woods lay on the field wounded and was assaulted by some Texas troops with evident design of taking his life, but just at that moment he was recognized by General Hardee, with whom he had been acquainted at West Point, who gave him a special guard, and permit to Woods' orderly to remain with him.

Soon after the surrender our gunboats commenced throwing shells into that vicinity, driving all the rebel troops from the field. None of the wounded were removed or cared for, but lay upon the field exposed to our shells and a severe rain storm all night. When our forces advanced Monday mourning, Colonel Woods was recaptured, wounds dressed, and a few days after he was sent north where he was detailed on recruiting service and remained on duty in the State of Iowa until about January 1, 1863. The men of his regiment who were captured at Shiloh, having been exchanged, he was ordered to Benton Barracks, St. Louis, Missouri, to reorganize his regiment, and soon after he was sent to Rolla, Missouri, where he remained a short time and then returned to St. Louis.

April 9, 1863, he embarked his regiment on board steamer under orders to join forces operating near Vicksburg, Mississippi.

He reported to General Grant at Duckport, Louisiana, April 14th at once was assigned to the command of the Third Brigade composed of the Eighth, Twelfth, and Thirty-Fifth Iowa infantries, Third Division, Fifteenth Army Corps. Heavy details were made from the brigade daily for guard and also work on the canal.

May 1st, Colonel Mathias of the Fifth Iowa was assigned to command, and Colonel Woods returned to command his regiment and May 2, 1863, left Duckport, Louisiana, with his regiment and marched via Richmond, Louisiana, to Grand Gulf, thence to Jackson, Mississippi, where the Twelfth Iowa was engaged on the 14th in the battle of Jackson, Mississippi, on extreme right of the line. Companies B and C on the skirmish line were among the first troops inside the rebel works, and took possession of the rebel camp with all of its equipage complete and diner ready to be eaten.

The regiment remained in Jackson one and a half days, employed first day in destroying railroad running north, and forenoon of the 16th in destroying rebel camps and other property. At 12 o'clock orders were received to reinforce the other corps of the army near Champion Hill as speedily as possible.

Leaving Jackson, the regiment marched with scarcely a halt to near Champion Hill where they arrived about 2 o'clock in the morning of the 17th, and after a rest of two or three hours marched north to a position on extreme right of Grants line and at night crossed Black River at Bridgeport. On the 18th the Fifteenth Corps with First Division in advance, took the road at Walnut Hills, pressing the corps between the rebels in Vicksburg and those at Yazoo River until the head of the column reached the Mississippi above Vicksburg, and the left rested on Jackson road. On the 19th the Third Brigade was sent to Yazoo River and took possession of the forts there, and opened communication with our fleet and after dismantling the fort, the brigade returned to position in line investing Vicksburg, and participated as reserve in the assaults made upon the works on the 19th and 2nd of May.

About June 1st, Colonel Woods was again assigned to command the brigade, which had gained an advance position in the line of approaches, and furnished daily heavy details for guard and for work in the trenches. Nearly every night the whole brigade was called into line by some alarm on the picket post.

June 22d, the brigade was relieved from its place in front line and with the remainder of the Fifteenth Corps sent back to Black River to guard the rear from an attack by Johnson; very heavy guard and patrol duty was kept up then until July 4th. Vicksburg surrendered and Sherman moved immediately upon Johnson, forcing a crossing of Black River the same day, and pushing Johnson back until he reached Jackson, Mississippi, which had been again strongly fortified. Sherman invested the place July 10th, and commenced a regular siege.

On July 15th, General Tuttle reported sick and Colonel Woods was assigned to command of the division, and next day moved his division to the right and relieved General Osterhan's division from its place on the advance line.

On the 17th the rebels evacuated Jackson and burned the bridge over Pearl River, planting torpedo's in the approaches to the bridge and ferry. On the 19th, the Third Brigade, Third Division, Fifteenth Corps with some other troops, including cavalry and artillery, pursued the enemy to Brandon, Mississippi, driving them through the town and capturing considerable rebel property stored in the railroad depot and warehouses which were all destroyed, and the next day the troops returned to Jackson, and a few days thereafter evacuated Jackson and fell behind Black River and went into camp July 25, 1863. Colonel Woods commanded the division until sometime in October, when General Asboth was assigned to the command and Colonel Woods returned to the command of the brigade.

November 7th the division embarked for Memphis, Tennessee, and the Third Brigade was assigned to duty guarding the railroad from Lagrange to Corinth, each regiment at a different post. Frequent skirmishes were had with the enemy and one severe engagement lasting nearly all day, brought on by the enemy in force attempting to destroy the railroad.

The Twelfth Iowa, stationed at Chewalla, reenlisted December 25, 1863. January 29, 1864, the brigade was ordered to Vicksburg and were on duty at Black River one month, while Sherman's expedition was out of Meridian, Mississippi. Upon the return of said expedition, the non-veterans of the brigade were sent on an expedition up the Red River, the veterans ordered home on furlough. Reaching Davenport March 22nd, they were furloughed thirty days, at expiration of which time they returned to Davenport March 22d, and were assigned to the Third Brigade, Colonel Woods commanding; First Division, General J. A. Mower commanding; Sixteenth Army Corps, General A. J. Smith commanding. During the summer this command made two expeditions into the interior and July 13th, 14th and 15th, fought the battle of Tupelo, Mississippi, the Third Brigade doing most of the fighting and with their commander received great credit for their efficient service.

September 1st, the division embarked on steamer from Memphis and proceeded to Duvall's Bluffs, Arkansas, and marched thence north in pursuit of Price, who had crossed the Arkansas River and started on a trip through Missouri.

The command marched to Cape Girardeau, Missouri, three hundred and thirty six mile in seventeen days; from Cape Girardeau to St. Louis in a steamboat where they arrived October 8, 1864. General Mower was transfered to General Sherman's command at Atlanta, and Colonel Woods assigned to command of division and proceeded on steamer to Jefferson City, Missouri, arriving October 17th, and marched in pursuit of Price to Kansas City, thence south to Harrisonville, Missouri, keeping within sound of his guns but not succeeding in bringing him to battle. His command having been completely broken up, the infantry was ordered back to St. Louis, October 30th, marching via Sedalia and Jefferson City.

At Sedalia, Missouri, the troops were met by General McArthur, who had been assigned to command of division, and Colonel Woods returned to command of brigade, and through storms of snow and rain and fording streams filled with floating ice, marched his command back to St. Louis where they arrived November 15th, his brigade having marched within the last thirty days five hundred and forty three miles--within the last sixty days eight hundred and seventy-nine miles, and since June 16th, one thousand four hundred and nine miles.

At St. Louis, having served more than his full term of enlistment, Colonel Woods was mustered out of service, acceptably and with honor to himself and to the service.

Colonel Woods had a slender, stooping form, brown hair, light complexion, and mild blue eyes. He spoke slowly and kindly, and was accustomed to give his commands with great coolness and deliberation, never under the hottest fire varying in the least the modulation or deliberation of his orders.

His "Fall in, Twelfth Iowa!" on the 6th of April, 1862, or at time of a night alarm during the siege of Vicksburg, was heard by his men above every other sound, and always in the same tone as when on parade or review.

He had none of the style or austere manners of the regular army officers, and while very familiar and easy of approach by his subordinates, was a good disciplinarian and the men soon learned that he possessed great worth as a commanding officer, and while personally of the bravest and willing to lead his regiment to the severest contest, yet devoid of all rashness that would sacrifice his men without good reason.

His service richly merited recognition at Washington that he never received, but with him modestly blocked the wheels of promotion, and I doubt not it would be impossible to find any of his superior officers who would say that Colonel Woods ever sought promotion at their hands in any way but a faithful and earnest discharge of his duties in whatever command he was placed. His muster out was deeply regretted by all his old comrades, and especially by the men whom he had so often led and who had learned to appreciate the quiet but brave and generous Colonel Woods.

Upon his return home he removed from the farm in Maquoketa, where in company with C. F. McCarron, he purchased the "Maquoketa Excelsior," of which he became editor.

In the fall of 1867 he sold his interest in said paper and moved upon his farm in South Fork township, but in the next year returned to Maquoketa, and McCarron having failed to make payments on the paper and being involved in other losses where Woods was his security, he had to pay the loss. Woods again took control of the paper and published it until May, 1869, when he removed to Kansas.

In 1871 he was on the board of visitors at West Point, appointed by General Grant, and the same fall was one of three commissioners appointed by the Secretary of the Interior to appraise the Cherokee mutual lands in Indian Territory, west of the 96th meridian, and was also appointed the same fall, receiver of Humboldt land district, but declined the appointment. The same fall he was elected to the Kansas legislature, which convened in January, 1872. In March he was appointed one of the regents of the State University, He was a member of the Kansas legislature in 1875, and chairman of the committee on ways and means.

 

William Cutler wrote the following about this gentleman:

COL. J. J. WOODS, farmer and stock raiser, Section 8, Township 32, Range 21, P. O. Montana, came to Labette County, Kansas, June 11, 1869, and purchased his present farm which now consists of 760 acres of very fine improved land. He was born in Brown County, Ohio, January 11, 1823, is a son of Samuel and Allia Richey Woods, the father a native of Washington County, Pa., and the mother of Ireland, and when quite small came to America. They were married in Clermont County, Ohio, and settled on a farm, having a family of twelve children. J. J., eleven years of age, with a brother, went to Rush County, Ind., and remained two years, and then returned to Brown County, Ohio, and learned the saddler's and harness trade. When twenty years of age, he entered the Augusta College of Kentucky and after five months, received an appointment to West Point. He graduated there in the class of 1847, and was appointed Second Lieutenant in First Regiment Artillery, U. S. A., and did service in the Mexican war, August, 1848. He returned to the states and was promoted to First Lieutenant November 10, 1848, and assigned to the Pacific coast, remaining there until 1853, then returned to New York and resigned his commission. In the fall of 1853 he went to Jackson County, Iowa and engaged in farming. September 18, 1856, he married Miss K. C. Hight, a native of Defiance County, Ohio, born April 5, 1840. They have five children - Oscar E., born October 2, 1857; Lillia A., born December 23, 1859. Clara E., born October 8, 1868; Nellie E., born February 10, 1877; and Jennie L., born June 28, 1880. Lost two children. October, 1861, he received a Colonel's commission of the Twelfth Regiment Iowa Volunteer Company, and did active service for three years. He was many times in command of a brigade, participating in the engagements of Fort Henry, Donelson, Vicksburg and Shiloh, where he received two wounds. During 1864, he participated in the long and tedious marches through Missouri after General Sterling Price. After the command he returned to St. Louis, and was mustered out November 26, 1864 and returned to Iowa. In 1865, Mr. Woods became editor of the Maquoketa, Iowa, Excelsior, and continued to edit it with a short intermission, until he removed to Kansas. In 1871 he was appointed by the Secretary of the Interior, one of a commission of three to appraise the Cherokee lands west of the 96? degree in the Indian Territory, and in the same year was also one of the committee of seven, sent to West Point by General U. S. Grant. In 1872, was elected State Representative from Labette County, Kansas, and again in 1875, being Chairman of the Ways and Means Committee, and before the close of the legislative session of 1872, was appointed a Regent of the Kansas State University. He has filled many public offices in Kansas having been Notary Public some twelve years and is one of Labette's most representative men.

 

The Parsons Sun, Friday, Thursday, October 3, 1889, Pg. 1:

   

Death of Col. J. J. Woods

  

Col. J. J. Woods died at his residence in Montana township, of hemorage of the kidneys at the age of 66 years Friday morning, after an illness of ten days. Col. Woods was an old settler of this county, a substantial and highly respected citizen, and his death will be deplored throughout the entire county, his acquaintance extending into every township. He was a graduate of West Point, graduating in 1846, and was from the same congressional district from which Ulysses S. Grant went to West Point, the colonel being the next cadet chosen after Grant. After he graduated he was commissioned to a regiment in the Mexican war as a lieutenant and was placed in charge of the citadel near the city of Veracruz. After peace was declared he turned over the citadel to the Mexican authorities. At the breaking out of the rebellion he recruited the 12th Iowa infantry, of which he was made colonel. He was wounded twice at the battle of Shiloh and was taken prisoner alone with his regiment and held over night, but was recaptured the next morning by the Union forces and sent home, and as soon as his wounds would permit he recruited men for the war until his regiment was exchanged, when he again took command of it and fought, many a hard battle until the close of the war. He was twice appointed by President Grant to the office of inspector at West Point. He removed from Iowa to Kansas in May, 1869 and settled on the farm in Montana township, this county, where he died, and which is now occupied by his family, consisting of a wife and grown children. He was a staunch Republican, twice represented his district in the legislature, and was always prominent in politics. The remains were interred in the G. A. R. lot at Oakwood cemetery at 3 o’clock Saturday afternoon, the G. A. R. of this city forming in procession at their hall on Forest avenue and marching to the junction of the Johnson avenue road and the road leading to the cemetery, where they met and escorted the remains to the cemetery.

  

Madrid (Spain).

 

View Large On White

 

ENGLISH

DVB-T is an abbreviation for Digital Video Broadcasting —– Terrestrial; it is the DVB European-based consortium standard for the broadcast transmission of digital terrestrial television. This system transmits compressed digital audio, video and other data in an MPEG transport stream, using COFDM modulation.

 

Rather than carrying the data on a single radio frequency carrier, OFDM works by splitting the digital data stream into a large number of slower digital streams, each of which digitally modulate a set of closely spaced adjacent carrier frequencies. In the case of DVB-T, there are two choices for the number of carriers known as 2K-mode or 8K-mode. These are actually 1705 or 6817 carriers that are approximately 4 kHz or 1 kHz apart.

 

More info: en.wikipedia.org/wiki/DVB-T

 

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CASTELLANO

DVB-T (Digital Video Broadcasting – Terrestrial, en castellano Difusión de Video Digital - Terrestre) es el estándar para la transmisión de televisión digital terrestre creado por la organización europea DVB. Este sistema transmite audio, video y otros datos a través de un flujo MPEG, usando una modulación COFDM.

 

El estándar DVB-T está sustituyendo paulatinamente a las tecnologías analógicas que han provisto hasta ahora en Europa el servicio de radiodifusión televisiva, que eran el PAL (Phase Alternate Line) y el SECAM (en Francia, además de otros países no europeos).

 

El estándar DVB-T comprende tanto la modulación, como la codificación digital de las señales de video transportadas. En cuanto a la modulación, se utiliza una multiplexación por división de frecuencias ortogonales. Esto quiere decir que la señal digital completa se distribuye en múltiples frecuencias dentro del ancho de banda del canal, en lugar de enviar toda la información modulada en una sola frecuencia portadora. Cada frecuencia portadora es modulada por una secuencia digital (que es parte de la información) como si fuera un canal independiente, de forma que la totalidad de los datos son distribuidos entre todos esos "subcanales". Como consecuencia de ello, la velocidad de los símbolos (datos) transportados por cada "subcanal" es muy pequeña. La principal ventaja de este sistema es la protección contra interferencias causadas por la propagación multitrayecto (lo que en televisión analógica se vería como "imágenes fantasmas", es decir, aparecen "ecos" de la señal, deformando la imagen).

 

Además, hay un intervalo de guarda, que es un tiempo dentro del cual si se reciben ecos de la señal o se recibe la misma señal de otro repetidor, es interpretada como un mismo símbolo y por tanto la señal se suma, dando la impresión de que la potencia recibida es mayor.

 

El sistema de múltiples portadoras disminuye también las interferencias entre canales, lo que permite un mayor uso del espectro radioeléctrico sin temor a que canales cercanos "pisen" a otros, y sin que los amplificadores de recepción causen tantas interferencias destructivas.

 

A su vez, la secuencia digital que es distribuida entre las múltiples frecuencias portadoras es una secuencia digital que sigue el formato MPEG-2 y que incluye los datos de los programas, vídeo, audio, descripciones, etc. En gran medida, se comparte el formato de los DVD-Video.

 

El sistema permite gran libertad de elección acerca de los flujos de datos y su compresión, de manera que en el mismo ancho de banda utilizado por un canal analógico tradicional, es posible emitir varios programas simultáneamente, con varios idiomas, dependiendo de la resolución deseada y de la calidad de imagen.

 

Más info: es.wikipedia.org/wiki/DVB-T

 

Santa Monica Mountains. iphone5s, Hipstamatic, Tinto 1884, D-Type Plate and Jolly Rainbo 2X.

Prague Castle (Pražský hrad)

For more than a thousand years, has the Prague Castle been an important symbol of the Czech state. Founded in the 9th century, it became the permanent seat of the Czech rulers and, most recently, also of the Presidents. One of the largest castle complexes in the world consists of palaces, offices, churches and fortification buildings, gardens and picturesque corners. The castle covers an area of ​​45 hectares. The unique view to the Prague Castle is one of the most amazing panorama views in the world.

Prague Castle is the most important folk-cultural and historical monument, and is the symbol of the more than one thousand years of development of the Czech and all-Czech states. It is a monumental symbol of the palace, church, fortification, official and residential buildings which represent very valuable monuments, included in all style epochs. It covers an area of ​​45 hectares, was the seat of the Bohemian princes, kings and emperors, and since the Republic was founded in 1918, it was also the residence of the presidents. Since 1962, the Prague Castle has been known for its archaeological discoveries.

History

The initial phases of the Prague Castle are connected with the first historically documented Přemyslid Bořivoj (Bořivoj I (Czech pronunciation: [ˈbɔr̝ɪvɔj], Latin: Borzivogius, c. 852 – c. 889) was the first historically documented Duke of Bohemia from about 870 and progenitor of the Přemyslid dynasty.] The Duchy of Bohemia was at those times subordinated to Great Moravia.). This one transferred in the 80s of the 9th century his original seat from Levý Hradec to the place where on the raised spot above the river Vltava/Moldau already existed a Slavic castle and was very well situated.

The first princely palace apparently only consisted of wood. The first stone building and the oldest Christian sanctuary was the Virgin Mary Church. Its remains have been found between the Second Courtyard and the Bastion garden (original name of the garden: Na Baště). This Bořivoj church was soon reconstructed by the prince Spytihněv I, who was buried here in 915. The second church in the castle was the St. George Basilica founded by Prince Vratislaus I. The next Přemyslide, Prince Wenceslas (Saint), the third sanctuary - the St Veit Rotunda - in the twenties of the 10th century nearby had built which in the 11th century by Prince Spytihnev II was transformed into a huge basilica.

In 973, when the bishopric was established in Prague, the castle was not only the seat of the head of state, but also the seat of the Prague bishop, the highest representative of the church. At the same time arose the first monastery in Bohemia at St. George's basilica.

In the 10th century the castle occupied an area of ​​about 6 ha. In the Romanesque epoch the former fortress, especially after the year 1135 thanks to Soběslaus I, as the stony princely palace and the new masonry fortified with some towers were erected, was turned into a fortified medieval castle. Of the towers is the eastern blacktower best preserved.

Very significantly the Gothic period in the appearance of Prague Castle intervened, most of all Charles IV (1346 - 1378), who, with his father, John of Luxemburg (1310 - 1346), obtained from the pope the promotion of the Prague bishopric to the archbishopric and laid the foundations for the construction of St. Vitus Cathedral. Under Charles IV, the castle for the first time was turned into the imperial residence. Charles IV the defense of the Prague Castle had consolidated, the Royal Palace with the Chapel of All Saints he rebuilt generously. The roofs he had covered with gilded plates, which were the foundation for the binding of words "Golden Prague". Since 1382, Bohemian rulers ceased to occupy the Prague Castle for more than 100 years. The royal court was moved to the place of today's Community hall and back to the Prague castle it came only in 1483 under Wladislaus from the Jagiellonian dynasty.

Although the ruler already in 1490 moved to Ofen (Buda), he had the Prague castle renovated in the late Gothic style under the supervision of Benedikt Ried. He was the master builder of the magnificent Vladislav Hall, the largest secular vaulted room of the then Europe, with which the first Renaissance signs came to Prague. He carried out major construction works, including the construction of a new masonry, the defensive towers and the expansion of the Royal Palace. At his time, the Gothic died away and a new architectural style, the Renaissance, gradually prevailed.

The direct influence of the Italian art on the new style was most frequently observed in Prague under the reign of Ferdinand I (von Habsburg) and after his departure from Prague under the influence of the governor Ferdinand of Tyrol. At that time, the medieval castle was converted into a comfortable Renaissance castle with gardens. The typical Italian architecture of the Royal Pleasure palace arose in the northern King's garden.

For a large building activity in 1541 contributed a fire devastating the castle objects as well as the surrounding area quite a lot. Within the framework of the restoration, both the housing estates and the church buildings were rebuilt. Under the reign of the first Habsburgs, nobility palaces were added to the castle grounds (for example, the Pernstein Palace - later Lobkowicz Palace, Rosenberg Palace and others). Horse stable buildings were built in the north-west.

Under the reign of the Emperor Rudolph II (1576 - 1611), the Renaissance and Mannerism transformation of the castle, which for the second time became the center of the empire, and especially the center of European culture and science, reached its peak. On the second courtyard, new rooms were built for the collections of Rudolph - the new (now Spanish) hall and the Rudolph gallery. Also arose the connection tract between the northwestern and the southwestern part of the castle. Just here the famous Kunstkammer (Art chamber) and other rooms for Rudolph's collective activities were located. Additionally further horse stable properties were built for his rare Spanish horses. During the Rudolph times also the foundation stone of the famous Golden Alley was laid. Laboratories of the Rudolph-Alchymists were supposed to have been in the Powder tower above the Hirschgraben (Deer's ditch). The castle suffered again considerable damages when it was occupied by the Saxon army in 1631 and by the Swedes in 1648 not only was occupied but also plundered. After the Thirty Years' War, the Habsburgs did not care too much about the Prague royal seat.

Only Maria Theresia carried out an extensive reconstruction of the Prague Castle from 1755 - 1775 into a representative castle complex. The reason for the massive construction action were war damages, caused by the intense bombing of the castle during war conflicts at the beginning of her reign. The reconstruction was designed by the Viennese architect Nicolo Pacassi, who also planned the first courtyard with the monumental entrance gate. From the time of the Theresian reconstruction stems also the chapel of the Holy Cross on the 2nd castle forecourt and other buildings, especially the noblewomen institute. The south wing he imprinted the uniform monumental late Baroque facade of a representative seat. His plans influenced by Viennese Rococo and French Classicism the builders Anselmo Lurago, Anton Kunz and Anton Haffenecker brought into life.

In the 19th century, the castle fell into ruin, in several objects after the Josephine reforms the army settled. In connection with the stay of Ferdinand I the Good in the castle after his abdication in 1848 and further in connection with the preparation for the coronation of Franz Joseph I in the sixties it came to building modifications of several objects. After 1859, when the community for the completion of St Veit cathedral emerged, began first the repair, and then, under the influence of the architect Joseph Mocker, the work on the actual completion of St Veit's cathedral was started, completed in 1929.

In the years 1920 - 35, carried out extensive regulations of the Prague Castle as the seat of the Czechoslovak President the great Slovenian architect Josip Plečnik, who masterfully combined the valuable historical space with modern civilization claims. His modifications mainly concerned the 1st and 3rd court, the southern gardens of the castle, the fourth forecourt with the Bastion garden as well as numerous interiors. He created e.g. the pillared hall, private rooms of the presidential residence, including the Masaryk workroom. His pupil, Otto Rothmayer, brought to an end the incomplete solutions of some castle interior spaces after the Second World War in comparable quality.

In 1936, Pavel Janák and after him, in 1959, Jaroslav Fragner became castle architect.

After the year of change of 1989, the Prague Castle was opened to the public in many places. During the term of President Havel, at the castle it came to modulations of the interiors and to the expansion of two new entrances into the second courtyard after the project of the creator and designer Bořek Šípek. The puncture through the rampart of the Powder bridge in Hirschgraben was rewarded with a significant prize (Arch. Josef Pleskot). Also interesting is the modern greenhouse of the world-famous architect Eva Jiřičná. The Georgian Square (Jiřské náměstí) was re-paved and modulated. The Mosaic of the Last Judgment was renovated in collaboration with the specialists from the Getti Institute. In 1990, the Prague Castle was solemnly illuminated and this situation lasts from dusk to midnight until today. In the main tourist season, the lighting time even lasts an hour longer until 1 o'clock. The tradition of electric lighting, but on a much smaller scale, began in 1928, when the lamps were installed for the 10th anniversary of the elevation to a Republic. A little bit the present daylight resembles of those from the end of the sixties, but today it is much more detailed and in communist times it was only switched on at solemn occasions. At that time, illuminative days were state holidays or significant day of republic, which, however, did not lack recognition from the communist point of view.

In recent years the reconstruction and renovation work has been developed in many buildings of the castle and a considerable attention has been devoted to the archaeological investigation, which has been going on since 1925 and has brought many insights into the history of the castle. The investigation as well as the renovation of the individual rooms and objects is motivated by the idea of ​​invigorating them as much as possible by making them accessible to the public.

 

Prager Burg (Pražský hrad)

Die Prager Burg ist seit über tausend Jahren ein bedeutendes Symbol des tschechischen Staates. Gegründet im 9. Jahrhundert wurde sie zum ständigen Sitz der tschechischen Herrscher und zuletzt auch der Präsidenten. Einer der größten Burgkomplexe weltweit setzt sich aus Palästen, Amts-, Kirchen- und Fortifikationsgebäuden, aus Gärten und malerischen Ecken zusammen. Die Burg erstreckt sich auf einer Fläche von 45 Hektar. Der alleinige Blick auf die Prager Burg stellt einen der überwältigendsten Panoramablicke der Welt dar.

Die Prager Burg ist das bedeutendste Volkskultur- und Historiedenkmal, sie ist das Symbol der mehr als eintausendjährigen Entwicklung des böhmischen sowie gesamttschechischen Staats. Es ist ein monumentales Symbol der Palast-, Kirchen-, Fortifikations-, Amts- und Wohngebäude, die sehr wertvolle Denkmäler darstellen, einbezogen auf alle Stilepochen. Sie erstreckt sich auf einer Fläche von 45 ha, war der Sitz der böhmischen Fürsten, Könige und Kaiser und seit der Republikentstehung im Jahre 1918 war sie auch die Residenz der Präsidenten. Seit 1962 steht die Prager Burg mit ihren archäologischen Funden als bekanntester.

Geschichte

Die Anfangszeiten der Prager Burg sind mit dem ersten historisch belegten Přemysliden Bořivoj verbunden. Dieser übertrug in den 80er Jahren des 9. Jahrhunderts seinen ursprünglichen Sitz von Levý Hradec an den Ort, wo auf der erhabenen Stelle über der Moldau eine slawische Burgstätte bereits bestand und sehr gut gelegen war.

Der erste Fürstenpalast bestand offenbar aus Holz. Der erste Steinbau und das älteste christliche Heiligtum war die Jungfrau Maria Kirche. Ihre Reste wurden zwischen dem II. Vorhof und dem Basteigarten (Originalname des Gartens: Na Baště) gefunden. Diese Bořivoj-Kirche wurde durch den hier im Jahre 915 beigesetzten Fürsten Spytihněv I. bald umgebaut. Die zweite Kirche im Burgraum war die vom Fürsten Vratislaus I. gegründete St. Georg Basilika. Der nächste Přemyslide, der Fürst Wenzel (der Heilige), ließ in der Nähe in den 20er Jahren des 10. Jahrhunderts das dritte Heiligtum - die St. Veit Rotunde - bauen, die im 11. Jahrhundert vom Fürsten Spytihněv II. zu einer gewaltigen Basilika umgebaut wurde.

Im Jahre 973, als in Prag das Bistum gegründet wurde, war die Burg nicht nur der Sitz des Staatsoberhaupts, sondern auch der Sitz des Prager Bischofs, des höchsten Repräsentanten der Kirche. Zu demselben Zeitpunkt entstand an der St. Georg Basilika das erste Kloster in Böhmen.

Im 10. Jahrhundert nahm die Burg eine Fläche von ca. 6 ha in Anspruch. In der romanischen Epoche wurde die einstige Burgstätte, insbesondere nach dem Jahr 1135 dank Soběslaus I., als der steinige Fürstenpalast und das neue mit einigen Türmen verstärkte Mauerwerk aufgebaut wurden, zu einer festen mittelalterlichen Burg umgebaut. Von den Türmen ist der östliche Schwarzturm am besten erhalten.

Sehr bedeutend griff ins Aussehen der Prager Burg die Gotikzeit ein, insbesondere Karl IV. (1346 - 1378), der mit seinem Vater Johann von Luxemburg (1310 - 1346) vom Papst die Beförderung des Prager Bistums zum Erzbistum erwirkte und den Grundstein für den Bau der St. Veit Kathedrale legte. Unter Karl IV. wurde die Burg zum ersten Mal zur Kaiserlichen Residenz. Karl IV. ließ die Verschanzung der Prager Burg festigen, den Königspalast mit der Kapelle Aller Heiligen baute er großzügig um. Die Dächer ließ er mit vergoldeten Blechen decken, die das Fundament für die Wörterbindung „Goldenes Prag“ darstellten. Seit 1382 hörten böhmische Herrscher auf, die Prager Burg für mehr als 100 Jahre zu bewohnen. Der Königshof wurde an den Ort des heutigen Gemeindehauses umgezogen und zurück auf die Prager Burg kehrte er erst im Jahre 1483 unter Wladislaus aus der Jagiellonen-Dynastie.

Obwohl der Herrscher bereits 1490 nach Ofen (Buda) umsiedelte, ließ er die Prager Burg im spätgotischen Stil unter der Bauleitung von Benedikt Ried umbauen. Er war der Baumeister des großartigen Wladislaus-Saals, des größten weltlichen gewölbten Raums des damaligen Europas, mit dem die ersten Renaissancezeichen nach Prag kamen. Er führte großartige Bauregelungen einschließlich des Ausbaus eines neuen Mauerwerks, der Wehrtürme und der Erweiterung des Königspalastes durch. Zu seiner Zeit klang die Gotik aus und es setzte sich allmählich ein neuer Baustil durch, die Renaissance.

Der direkte Einfluss der italienischen Kunst des neuen Stils wurde in Prag unter der Regierung von Ferdinand I. (von Habsburg) und nach seinem Weggang von Prag unter der Wirkung des Statthalters Ferdinand von Tirol am meisten beobachtet. Damals wurde die mittelalterliche Burg in ein bequemes Renaissanceschloss mit Gärten umgewandelt. Im nördlichen Königsgarten entstand die typisch italienische Architektur des Königlichen Lustschlosses.

Zu einer großen Bauaktivität trug im Jahre 1541 ein Brand bei, der die Burgobjekte sowie die Umgebung ziemlich viel kaputt machte. Im Rahmen der Wiederherstellung wurden sowohl die Wohnräume als auch die Kirchenobjekte umgebaut. Unter der Regierung der ersten Habsburger kamen ins Burggelände auch Adelspaläste dazu (zum Beispiel der Pernstein-Palast - später Lobkowicz-Palast, Rosenberg-Palast und weitere). Im Nordwesten wurden Pferdestallgebäude erbaut.

Unter der Regierung des Kaisers Rudolph II. (1576 - 1611) erreichte der Renaissance- und Manierismusumbau der Burg, die zum zweiten Mal zum Zentrum des Reiches und insbesondere zum Zentrum der europäischen Kultur und Wissenschaft wurde, seinen Gipfel. Auf dem II. Vorhof wurden neue Räume für die Sammlungen Rudolphs erbaut - der Neue (heute Spanische) Saal und die Rudolph-Galerie. Es entstand auch der Verbindungstrakt zwischen dem Nordwest- und dem Südwestteil der Burg. Eben hier befanden sich die berühmte Kunstkammer und weitere Räume für die Sammeltätigkeit Rudolphs. Es wurden auch weitere Pferdestallobjekte für seine seltenen spanischen Pferde aufgebaut. Während der Rudolph-Zeiten wurde auch der Grundstein der berühmten Goldenen Gasse gelegt. Laboratorien der Rudolph-Alchymisten sollen im Pulverturm über dem Hirschgraben gewesen sein. Die Burg erlitt erneut erhebliche Schäden, als sie 1631 vom sächsischen Heer und 1648 von den Schweden besetzt und ausgeplündert wurde. Nach dem Dreißigjährigen Krieg kümmerten sich die Habsburger um den Prager königlichen Sitz nicht allzu sehr.

Erst Maria Theresia führte in den Jahren 1755 - 1775 einen umfangreichen Umbau der Prager Burg zu einem repräsentativen Schlosskomplex durch. Der Grund für die massive Bauaktion waren Kriegsschäden, verursacht durch die intensive Bombardierung der Burg bei Kriegskonflikten zu Beginn ihrer Regierung. Den Umbau entwarf der Wiener Architekt Nicolo Pacassi, der auch den I. Vorhof mit dem monumentalen Eingangstor projektierte. Aus der Zeit des theresianischen Umbaus stammt auch die Kapelle des Heiligen Kreuzes auf dem II. Burgvorhof und weitere Gebäude, insbesondere die Edeldamenanstalt. Dem Südflügel prägte er die einheitliche monumentale Spätbarockfassade eines Repräsentationssitzes ein. Seine durch das Wiener Rokoko und den französischen Klassizismus beeinflussten Pläne brachten die Baumeister Anselmo Lurago, Anton Kunz und Anton Haffenecker zustande.

Im 19. Jahrhundert verfiel die Burg, in mehreren Objekten ließ sich nach den josephinischen Reformen das Heer nieder. Zu Bauregelungen einiger Objekte kam es im Zusammenhang mit dem Aufenthalt von Ferdinand I. dem Guten auf der Burg nach seiner Abdikation im Jahre 1848 und weiter im Zusammenhang mit der Vorbereitung auf die vorgesehene Krönung von Franz Joseph I. in den 60er Jahren. Nach 1859, als die Gemeinde für die Fertigstellung der St. Veit Kathedrale entstand, begann zuerst die Reparatur und anschließend unter der Wirkung des Architekten Joseph Mocker wurde die Arbeit an der eigentlichen Fertigstellung der St. Veit Kathedrale aufgenommen, abgeschlossen im Jahre 1929.

In den Jahren 1920 - 35 führte ausgedehnte Regelungen der Prager Burg als des Sitzes des tschechoslowakischen Präsidenten der bedeutende slowenische Architekt Josip Plečnik durch, der den wertvollen historischen Raum mit modernen Zivilisationsansprüchen meisterlich zusammenfügte. Seine Regelungen betrafen vor allem den 1. und 3. Vorhof, die Südgärten der Burg, den 4. Vorhof mit dem Basteigarten sowie zahlreiche Innenräume. Er schuf z.B. die Säulenhalle, Privaträume der Präsidentenwohnung einschließlich des Arbeitszimmers Masaryks. Sein Schüler Otto Rothmayer brachte die unvollendeten Lösungen einiger Burginnenräume nach dem 2. Weltkrieg in vergleichbarer Qualität zu Ende.

Im Jahre 1936 ist Pavel Janák und nach ihm seit 1959 Jaroslav Fragner Burgarchitekt geworden.

Nach dem Wendejahr 1989 wurde die Prager Burg an vielen Stellen für die Öffentlichkeit geöffnet. Während der Amtszeit des Präsidenten Havel kam es auf der Burg zu Regelungen der Innenräume und zum Ausbau zweier neuer Eingänge in den 2. Vorhof nach dem Projekt des Bildners und Designers Bořek Šípek. Mit einem bedeutenden Preis wurde der Durchstich durch den Wall der Pulverbrücke im Hirschgraben belohnt (Arch. Josef Pleskot). Interessant ist auch das moderne Gewächshaus der weltberühmten Architektin Eva Jiřičná. Der Georg-Platz (Jiřské náměstí) wurde neu bepflastert und geregelt. In Zusammenarbeit mit den Fachleuten aus dem Getti-Institut wurde die Mosaik „des Letzten Gerichts“ renoviert. Im Jahre 1990 wurde die Prager Burg feierlich beleuchtet und dieser Zustand dauert von der Dämmerung bis zur Mitternacht bis heute. In der touristischen Hauptsaison dauert die Beleuchtungszeit sogar eine Stunde länger, bis 1 Uhr. Die Tradition der elektrischen Beleuchtung, jedoch im viel kleineren Umfang, begann im Jahre 1928, als die Lampen zum 10. Jubiläum der Republikentstehung installiert wurden. Ein wenig ähnelte die heutige feierliche Beleuchtung jener aus dem Ende der 60er Jahren, heute ist sie allerdings viel detaillierter und in den Kommunistenzeiten wurde sie nur bei feierlichen Gelegenheiten angemacht. Beleuchtungswürdige Tage waren damals Staatsfeiertage oder bedeutende Republiktage, denen allerdings aus der kommunistischen Sicht die Anerkennung nicht fehlte.

In den letzten Jahren entwickelte sich die Umbau- bzw. Renovierungstätigkeit in vielen Objekten der Burg und eine erhebliche Aufmerksamkeit wurde der archäologischen Untersuchung gewidmet, die bereits seit 1925 läuft und viele Erkenntnisse über die Burggeschichte brachte. Die Untersuchung sowie die Renovierung der einzelnen Räume und Objekte ist von der Idee motiviert, sie dadurch, dass sie der Öffentlichkeit zugänglich gemacht werden, möglichst viel zu beleben.

www.prague.eu/de/objekt/orte/31/prager-burg-prazsky-hrad

 

Serotonin is a monoamine neurotransmitter. Biochemically derived from tryptophan, serotonin is primarily found in the gastrointestinal (GI) tract, platelets, and in the central nervous system (CNS) of animals including humans. It is popularly thought to be a contributor to feelings of well-being and happiness.

Approximately 90% of the human body's total serotonin is located in the enterochromaffin cells in the alimentary canal (gut), where it is used to regulate intestinal movements. The remainder is synthesized in serotonergic neurons of the CNS, where it has various functions. These include the regulation of mood, appetite, and sleep. Serotonin also has some cognitive functions, including memory and learning. Modulation of serotonin at synapses is thought to be a major action of several classes of pharmacological antidepressants.

 

Robert Delaunay chose the view into the ambulatory of the Parisian Gothic church Saint-Séverin as the subject of his first series of paintings, in which he charted the modulations of light streaming through the stained-glass windows and the resulting perceptual distortion of the architecture. The subdued palette and the patches of color that fracture the smooth surface of the floor point to the influence of Paul Cézanne as well as to the stylistic elements of Georges Braque’s early Cubist landscapes. Delaunay said that the Saint-Séverin theme in his work marked “a period of transition from Cézanne to Cubism.”

 

The artist’s attraction to windows and window views, linked to the Symbolists’ use of glass panes as metaphors for the transition from internal to external states, culminated in his Simultaneous Windows series. (The series derives its name from the French scientist Michel-Eugène Chevreul’s theory of simultaneous contrasts of color, which explores how divergent hues are perceived at once.) Delaunay stated that these works began his “constructive” phase, in which he juxtaposed and overlaid translucent contrasting complementary colors to create a synthetic, harmonic composition. Guillaume Apollinaire wrote a poem about these paintings and coined the word Orphism to describe Delaunay’s endeavor, which he believed was as independent of descriptive reality as was music (the name derives from Orpheus, the mythological lyre player). Although Simultaneous Windows (2nd Motif, 1st Part) contains a vestigial green profile of the Eiffel Tower, it is one of the artist’s last salutes to representation before his leap to complete abstraction.

:-) And she did sing! The performances at Esquina Carlos Gardel tango-restaurant ended with this lady singing, and it was great! I didn't understand a word of it, but her expressions, her voice modulation and the music were just amazing.

 

Please find more description here and here. :-)

 

This OFFICIALLY ends my Buenos Aires trip's photostream! See you next from India in a few weeks' time!! I am so excited - going home has never been so exciting in my 11 years of staying away from home!

 

*This and the pic below are in AdobeRGB format, please view in Mozilla Firefox for true colors*

The latest automotive lighting systems use LEDs.

 

Some LED lighting needs to have two levels of brightness: tail/stop or sidelight/daytime running light.

 

"LEDs can be dimmed in two ways: analog and pulse-width modulation (PWM) dimming. Analog dimming changes LED light output by simply adjusting the DC current in the string, while PWM dimming achieves the same effect by varying the duty cycle of a constant current in the string to effectively change the average current in the string. Despite its attractive simplicity, analog dimming is inappropriate for many applications.

 

Analog dimming is inappropriate for many applications because it loses dimming accuracy by about 25 percent+ at only 10:1 brightness levels, and it skews the color of the LEDs. In contrast, PWM dimming can produce 3000:1 and higher dimming ratios (at 100Hz) without any significant loss of accuracy, and no change in LED color."

 

The pulse-width modulation has been captured by my camera as a series of rapid light pulses (which is exactly what it is!).

 

www.electronicdesign.com/automotive/led-drivers-expand-co...

A kit I have had sitting around for about 7 years, guess better late than never to finish it!

Some detailing, stowage and weathering to go!

Paint is olive drab with two lighter shades for colour modulation.

Different sources of light on this morning's Arriva 127 bus. The LED destination sign lighting is controlled by Pulse Width Modulation hence its appearance.

Arduino UNO does PWM (pulse width modulation) – 16mm scale.

 

This test board has a UNO configured to provide 6 PWM servo outputs as a microcontroller for points (turnouts) and/or signals on my 16mm scale narrow gauge exhibit. Two vero strip boards incorporate the required crossovers to provide Futaba/Hitec/etc format servo pinouts on the UNO’s digital output sockets.

 

Each of the UNO’s analogue inputs is held at intermediate potential by a pair of 1 Kohm resistors. The remote commander has a 20 foot wander lead and its four momentary push buttons short out one or other 1 Kohm resistor to take the analogue input to LOW or HIGH potential as a tri-state switch. The UNO picks up the change in potential and moves the corresponding servo through the number of degrees pre-programmed in the sketch, via the selected PWM output.

 

This basic setup will enable the option of automated signal and point control on the 16mm scale exhibition layout by linking the UNO's analogue inputs to other sensors.

Prague Castle (Pražský hrad)

For more than a thousand years, has the Prague Castle been an important symbol of the Czech state. Founded in the 9th century, it became the permanent seat of the Czech rulers and, most recently, also of the Presidents. One of the largest castle complexes in the world consists of palaces, offices, churches and fortification buildings, gardens and picturesque corners. The castle covers an area of ​​45 hectares. The unique view to the Prague Castle is one of the most amazing panorama views in the world.

Prague Castle is the most important folk-cultural and historical monument, and is the symbol of the more than one thousand years of development of the Czech and all-Czech states. It is a monumental symbol of the palace, church, fortification, official and residential buildings which represent very valuable monuments, included in all style epochs. It covers an area of ​​45 hectares, was the seat of the Bohemian princes, kings and emperors, and since the Republic was founded in 1918, it was also the residence of the presidents. Since 1962, the Prague Castle has been known for its archaeological discoveries.

History

The initial phases of the Prague Castle are connected with the first historically documented Přemyslid Bořivoj (Bořivoj I (Czech pronunciation: [ˈbɔr̝ɪvɔj], Latin: Borzivogius, c. 852 – c. 889) was the first historically documented Duke of Bohemia from about 870 and progenitor of the Přemyslid dynasty.] The Duchy of Bohemia was at those times subordinated to Great Moravia.). This one transferred in the 80s of the 9th century his original seat from Levý Hradec to the place where on the raised spot above the river Vltava/Moldau already existed a Slavic castle and was very well situated.

The first princely palace apparently only consisted of wood. The first stone building and the oldest Christian sanctuary was the Virgin Mary Church. Its remains have been found between the Second Courtyard and the Bastion garden (original name of the garden: Na Baště). This Bořivoj church was soon reconstructed by the prince Spytihněv I, who was buried here in 915. The second church in the castle was the St. George Basilica founded by Prince Vratislaus I. The next Přemyslide, Prince Wenceslas (Saint), the third sanctuary - the St Veit Rotunda - in the twenties of the 10th century nearby had built which in the 11th century by Prince Spytihnev II was transformed into a huge basilica.

In 973, when the bishopric was established in Prague, the castle was not only the seat of the head of state, but also the seat of the Prague bishop, the highest representative of the church. At the same time arose the first monastery in Bohemia at St. George's basilica.

In the 10th century the castle occupied an area of ​​about 6 ha. In the Romanesque epoch the former fortress, especially after the year 1135 thanks to Soběslaus I, as the stony princely palace and the new masonry fortified with some towers were erected, was turned into a fortified medieval castle. Of the towers is the eastern blacktower best preserved.

Very significantly the Gothic period in the appearance of Prague Castle intervened, most of all Charles IV (1346 - 1378), who, with his father, John of Luxemburg (1310 - 1346), obtained from the pope the promotion of the Prague bishopric to the archbishopric and laid the foundations for the construction of St. Vitus Cathedral. Under Charles IV, the castle for the first time was turned into the imperial residence. Charles IV the defense of the Prague Castle had consolidated, the Royal Palace with the Chapel of All Saints he rebuilt generously. The roofs he had covered with gilded plates, which were the foundation for the binding of words "Golden Prague". Since 1382, Bohemian rulers ceased to occupy the Prague Castle for more than 100 years. The royal court was moved to the place of today's Community hall and back to the Prague castle it came only in 1483 under Wladislaus from the Jagiellonian dynasty.

Although the ruler already in 1490 moved to Ofen (Buda), he had the Prague castle renovated in the late Gothic style under the supervision of Benedikt Ried. He was the master builder of the magnificent Vladislav Hall, the largest secular vaulted room of the then Europe, with which the first Renaissance signs came to Prague. He carried out major construction works, including the construction of a new masonry, the defensive towers and the expansion of the Royal Palace. At his time, the Gothic died away and a new architectural style, the Renaissance, gradually prevailed.

The direct influence of the Italian art on the new style was most frequently observed in Prague under the reign of Ferdinand I (von Habsburg) and after his departure from Prague under the influence of the governor Ferdinand of Tyrol. At that time, the medieval castle was converted into a comfortable Renaissance castle with gardens. The typical Italian architecture of the Royal Pleasure palace arose in the northern King's garden.

For a large building activity in 1541 contributed a fire devastating the castle objects as well as the surrounding area quite a lot. Within the framework of the restoration, both the housing estates and the church buildings were rebuilt. Under the reign of the first Habsburgs, nobility palaces were added to the castle grounds (for example, the Pernstein Palace - later Lobkowicz Palace, Rosenberg Palace and others). Horse stable buildings were built in the north-west.

Under the reign of the Emperor Rudolph II (1576 - 1611), the Renaissance and Mannerism transformation of the castle, which for the second time became the center of the empire, and especially the center of European culture and science, reached its peak. On the second courtyard, new rooms were built for the collections of Rudolph - the new (now Spanish) hall and the Rudolph gallery. Also arose the connection tract between the northwestern and the southwestern part of the castle. Just here the famous Kunstkammer (Art chamber) and other rooms for Rudolph's collective activities were located. Additionally further horse stable properties were built for his rare Spanish horses. During the Rudolph times also the foundation stone of the famous Golden Alley was laid. Laboratories of the Rudolph-Alchymists were supposed to have been in the Powder tower above the Hirschgraben (Deer's ditch). The castle suffered again considerable damages when it was occupied by the Saxon army in 1631 and by the Swedes in 1648 not only was occupied but also plundered. After the Thirty Years' War, the Habsburgs did not care too much about the Prague royal seat.

Only Maria Theresia carried out an extensive reconstruction of the Prague Castle from 1755 - 1775 into a representative castle complex. The reason for the massive construction action were war damages, caused by the intense bombing of the castle during war conflicts at the beginning of her reign. The reconstruction was designed by the Viennese architect Nicolo Pacassi, who also planned the first courtyard with the monumental entrance gate. From the time of the Theresian reconstruction stems also the chapel of the Holy Cross on the 2nd castle forecourt and other buildings, especially the noblewomen institute. The south wing he imprinted the uniform monumental late Baroque facade of a representative seat. His plans influenced by Viennese Rococo and French Classicism the builders Anselmo Lurago, Anton Kunz and Anton Haffenecker brought into life.

In the 19th century, the castle fell into ruin, in several objects after the Josephine reforms the army settled. In connection with the stay of Ferdinand I the Good in the castle after his abdication in 1848 and further in connection with the preparation for the coronation of Franz Joseph I in the sixties it came to building modifications of several objects. After 1859, when the community for the completion of St Veit cathedral emerged, began first the repair, and then, under the influence of the architect Joseph Mocker, the work on the actual completion of St Veit's cathedral was started, completed in 1929.

In the years 1920 - 35, carried out extensive regulations of the Prague Castle as the seat of the Czechoslovak President the great Slovenian architect Josip Plečnik, who masterfully combined the valuable historical space with modern civilization claims. His modifications mainly concerned the 1st and 3rd court, the southern gardens of the castle, the fourth forecourt with the Bastion garden as well as numerous interiors. He created e.g. the pillared hall, private rooms of the presidential residence, including the Masaryk workroom. His pupil, Otto Rothmayer, brought to an end the incomplete solutions of some castle interior spaces after the Second World War in comparable quality.

In 1936, Pavel Janák and after him, in 1959, Jaroslav Fragner became castle architect.

After the year of change of 1989, the Prague Castle was opened to the public in many places. During the term of President Havel, at the castle it came to modulations of the interiors and to the expansion of two new entrances into the second courtyard after the project of the creator and designer Bořek Šípek. The puncture through the rampart of the Powder bridge in Hirschgraben was rewarded with a significant prize (Arch. Josef Pleskot). Also interesting is the modern greenhouse of the world-famous architect Eva Jiřičná. The Georgian Square (Jiřské náměstí) was re-paved and modulated. The Mosaic of the Last Judgment was renovated in collaboration with the specialists from the Getti Institute. In 1990, the Prague Castle was solemnly illuminated and this situation lasts from dusk to midnight until today. In the main tourist season, the lighting time even lasts an hour longer until 1 o'clock. The tradition of electric lighting, but on a much smaller scale, began in 1928, when the lamps were installed for the 10th anniversary of the elevation to a Republic. A little bit the present daylight resembles of those from the end of the sixties, but today it is much more detailed and in communist times it was only switched on at solemn occasions. At that time, illuminative days were state holidays or significant day of republic, which, however, did not lack recognition from the communist point of view.

In recent years the reconstruction and renovation work has been developed in many buildings of the castle and a considerable attention has been devoted to the archaeological investigation, which has been going on since 1925 and has brought many insights into the history of the castle. The investigation as well as the renovation of the individual rooms and objects is motivated by the idea of ​​invigorating them as much as possible by making them accessible to the public.

 

Prager Burg (Pražský hrad)

Die Prager Burg ist seit über tausend Jahren ein bedeutendes Symbol des tschechischen Staates. Gegründet im 9. Jahrhundert wurde sie zum ständigen Sitz der tschechischen Herrscher und zuletzt auch der Präsidenten. Einer der größten Burgkomplexe weltweit setzt sich aus Palästen, Amts-, Kirchen- und Fortifikationsgebäuden, aus Gärten und malerischen Ecken zusammen. Die Burg erstreckt sich auf einer Fläche von 45 Hektar. Der alleinige Blick auf die Prager Burg stellt einen der überwältigendsten Panoramablicke der Welt dar.

Die Prager Burg ist das bedeutendste Volkskultur- und Historiedenkmal, sie ist das Symbol der mehr als eintausendjährigen Entwicklung des böhmischen sowie gesamttschechischen Staats. Es ist ein monumentales Symbol der Palast-, Kirchen-, Fortifikations-, Amts- und Wohngebäude, die sehr wertvolle Denkmäler darstellen, einbezogen auf alle Stilepochen. Sie erstreckt sich auf einer Fläche von 45 ha, war der Sitz der böhmischen Fürsten, Könige und Kaiser und seit der Republikentstehung im Jahre 1918 war sie auch die Residenz der Präsidenten. Seit 1962 steht die Prager Burg mit ihren archäologischen Funden als bekanntester.

Geschichte

Die Anfangszeiten der Prager Burg sind mit dem ersten historisch belegten Přemysliden Bořivoj verbunden. Dieser übertrug in den 80er Jahren des 9. Jahrhunderts seinen ursprünglichen Sitz von Levý Hradec an den Ort, wo auf der erhabenen Stelle über der Moldau eine slawische Burgstätte bereits bestand und sehr gut gelegen war.

Der erste Fürstenpalast bestand offenbar aus Holz. Der erste Steinbau und das älteste christliche Heiligtum war die Jungfrau Maria Kirche. Ihre Reste wurden zwischen dem II. Vorhof und dem Basteigarten (Originalname des Gartens: Na Baště) gefunden. Diese Bořivoj-Kirche wurde durch den hier im Jahre 915 beigesetzten Fürsten Spytihněv I. bald umgebaut. Die zweite Kirche im Burgraum war die vom Fürsten Vratislaus I. gegründete St. Georg Basilika. Der nächste Přemyslide, der Fürst Wenzel (der Heilige), ließ in der Nähe in den 20er Jahren des 10. Jahrhunderts das dritte Heiligtum - die St. Veit Rotunde - bauen, die im 11. Jahrhundert vom Fürsten Spytihněv II. zu einer gewaltigen Basilika umgebaut wurde.

Im Jahre 973, als in Prag das Bistum gegründet wurde, war die Burg nicht nur der Sitz des Staatsoberhaupts, sondern auch der Sitz des Prager Bischofs, des höchsten Repräsentanten der Kirche. Zu demselben Zeitpunkt entstand an der St. Georg Basilika das erste Kloster in Böhmen.

Im 10. Jahrhundert nahm die Burg eine Fläche von ca. 6 ha in Anspruch. In der romanischen Epoche wurde die einstige Burgstätte, insbesondere nach dem Jahr 1135 dank Soběslaus I., als der steinige Fürstenpalast und das neue mit einigen Türmen verstärkte Mauerwerk aufgebaut wurden, zu einer festen mittelalterlichen Burg umgebaut. Von den Türmen ist der östliche Schwarzturm am besten erhalten.

Sehr bedeutend griff ins Aussehen der Prager Burg die Gotikzeit ein, insbesondere Karl IV. (1346 - 1378), der mit seinem Vater Johann von Luxemburg (1310 - 1346) vom Papst die Beförderung des Prager Bistums zum Erzbistum erwirkte und den Grundstein für den Bau der St. Veit Kathedrale legte. Unter Karl IV. wurde die Burg zum ersten Mal zur Kaiserlichen Residenz. Karl IV. ließ die Verschanzung der Prager Burg festigen, den Königspalast mit der Kapelle Aller Heiligen baute er großzügig um. Die Dächer ließ er mit vergoldeten Blechen decken, die das Fundament für die Wörterbindung „Goldenes Prag“ darstellten. Seit 1382 hörten böhmische Herrscher auf, die Prager Burg für mehr als 100 Jahre zu bewohnen. Der Königshof wurde an den Ort des heutigen Gemeindehauses umgezogen und zurück auf die Prager Burg kehrte er erst im Jahre 1483 unter Wladislaus aus der Jagiellonen-Dynastie.

Obwohl der Herrscher bereits 1490 nach Ofen (Buda) umsiedelte, ließ er die Prager Burg im spätgotischen Stil unter der Bauleitung von Benedikt Ried umbauen. Er war der Baumeister des großartigen Wladislaus-Saals, des größten weltlichen gewölbten Raums des damaligen Europas, mit dem die ersten Renaissancezeichen nach Prag kamen. Er führte großartige Bauregelungen einschließlich des Ausbaus eines neuen Mauerwerks, der Wehrtürme und der Erweiterung des Königspalastes durch. Zu seiner Zeit klang die Gotik aus und es setzte sich allmählich ein neuer Baustil durch, die Renaissance.

Der direkte Einfluss der italienischen Kunst des neuen Stils wurde in Prag unter der Regierung von Ferdinand I. (von Habsburg) und nach seinem Weggang von Prag unter der Wirkung des Statthalters Ferdinand von Tirol am meisten beobachtet. Damals wurde die mittelalterliche Burg in ein bequemes Renaissanceschloss mit Gärten umgewandelt. Im nördlichen Königsgarten entstand die typisch italienische Architektur des Königlichen Lustschlosses.

Zu einer großen Bauaktivität trug im Jahre 1541 ein Brand bei, der die Burgobjekte sowie die Umgebung ziemlich viel kaputt machte. Im Rahmen der Wiederherstellung wurden sowohl die Wohnräume als auch die Kirchenobjekte umgebaut. Unter der Regierung der ersten Habsburger kamen ins Burggelände auch Adelspaläste dazu (zum Beispiel der Pernstein-Palast - später Lobkowicz-Palast, Rosenberg-Palast und weitere). Im Nordwesten wurden Pferdestallgebäude erbaut.

Unter der Regierung des Kaisers Rudolph II. (1576 - 1611) erreichte der Renaissance- und Manierismusumbau der Burg, die zum zweiten Mal zum Zentrum des Reiches und insbesondere zum Zentrum der europäischen Kultur und Wissenschaft wurde, seinen Gipfel. Auf dem II. Vorhof wurden neue Räume für die Sammlungen Rudolphs erbaut - der Neue (heute Spanische) Saal und die Rudolph-Galerie. Es entstand auch der Verbindungstrakt zwischen dem Nordwest- und dem Südwestteil der Burg. Eben hier befanden sich die berühmte Kunstkammer und weitere Räume für die Sammeltätigkeit Rudolphs. Es wurden auch weitere Pferdestallobjekte für seine seltenen spanischen Pferde aufgebaut. Während der Rudolph-Zeiten wurde auch der Grundstein der berühmten Goldenen Gasse gelegt. Laboratorien der Rudolph-Alchymisten sollen im Pulverturm über dem Hirschgraben gewesen sein. Die Burg erlitt erneut erhebliche Schäden, als sie 1631 vom sächsischen Heer und 1648 von den Schweden besetzt und ausgeplündert wurde. Nach dem Dreißigjährigen Krieg kümmerten sich die Habsburger um den Prager königlichen Sitz nicht allzu sehr.

Erst Maria Theresia führte in den Jahren 1755 - 1775 einen umfangreichen Umbau der Prager Burg zu einem repräsentativen Schlosskomplex durch. Der Grund für die massive Bauaktion waren Kriegsschäden, verursacht durch die intensive Bombardierung der Burg bei Kriegskonflikten zu Beginn ihrer Regierung. Den Umbau entwarf der Wiener Architekt Nicolo Pacassi, der auch den I. Vorhof mit dem monumentalen Eingangstor projektierte. Aus der Zeit des theresianischen Umbaus stammt auch die Kapelle des Heiligen Kreuzes auf dem II. Burgvorhof und weitere Gebäude, insbesondere die Edeldamenanstalt. Dem Südflügel prägte er die einheitliche monumentale Spätbarockfassade eines Repräsentationssitzes ein. Seine durch das Wiener Rokoko und den französischen Klassizismus beeinflussten Pläne brachten die Baumeister Anselmo Lurago, Anton Kunz und Anton Haffenecker zustande.

Im 19. Jahrhundert verfiel die Burg, in mehreren Objekten ließ sich nach den josephinischen Reformen das Heer nieder. Zu Bauregelungen einiger Objekte kam es im Zusammenhang mit dem Aufenthalt von Ferdinand I. dem Guten auf der Burg nach seiner Abdikation im Jahre 1848 und weiter im Zusammenhang mit der Vorbereitung auf die vorgesehene Krönung von Franz Joseph I. in den 60er Jahren. Nach 1859, als die Gemeinde für die Fertigstellung der St. Veit Kathedrale entstand, begann zuerst die Reparatur und anschließend unter der Wirkung des Architekten Joseph Mocker wurde die Arbeit an der eigentlichen Fertigstellung der St. Veit Kathedrale aufgenommen, abgeschlossen im Jahre 1929.

In den Jahren 1920 - 35 führte ausgedehnte Regelungen der Prager Burg als des Sitzes des tschechoslowakischen Präsidenten der bedeutende slowenische Architekt Josip Plečnik durch, der den wertvollen historischen Raum mit modernen Zivilisationsansprüchen meisterlich zusammenfügte. Seine Regelungen betrafen vor allem den 1. und 3. Vorhof, die Südgärten der Burg, den 4. Vorhof mit dem Basteigarten sowie zahlreiche Innenräume. Er schuf z.B. die Säulenhalle, Privaträume der Präsidentenwohnung einschließlich des Arbeitszimmers Masaryks. Sein Schüler Otto Rothmayer brachte die unvollendeten Lösungen einiger Burginnenräume nach dem 2. Weltkrieg in vergleichbarer Qualität zu Ende.

Im Jahre 1936 ist Pavel Janák und nach ihm seit 1959 Jaroslav Fragner Burgarchitekt geworden.

Nach dem Wendejahr 1989 wurde die Prager Burg an vielen Stellen für die Öffentlichkeit geöffnet. Während der Amtszeit des Präsidenten Havel kam es auf der Burg zu Regelungen der Innenräume und zum Ausbau zweier neuer Eingänge in den 2. Vorhof nach dem Projekt des Bildners und Designers Bořek Šípek. Mit einem bedeutenden Preis wurde der Durchstich durch den Wall der Pulverbrücke im Hirschgraben belohnt (Arch. Josef Pleskot). Interessant ist auch das moderne Gewächshaus der weltberühmten Architektin Eva Jiřičná. Der Georg-Platz (Jiřské náměstí) wurde neu bepflastert und geregelt. In Zusammenarbeit mit den Fachleuten aus dem Getti-Institut wurde die Mosaik „des Letzten Gerichts“ renoviert. Im Jahre 1990 wurde die Prager Burg feierlich beleuchtet und dieser Zustand dauert von der Dämmerung bis zur Mitternacht bis heute. In der touristischen Hauptsaison dauert die Beleuchtungszeit sogar eine Stunde länger, bis 1 Uhr. Die Tradition der elektrischen Beleuchtung, jedoch im viel kleineren Umfang, begann im Jahre 1928, als die Lampen zum 10. Jubiläum der Republikentstehung installiert wurden. Ein wenig ähnelte die heutige feierliche Beleuchtung jener aus dem Ende der 60er Jahren, heute ist sie allerdings viel detaillierter und in den Kommunistenzeiten wurde sie nur bei feierlichen Gelegenheiten angemacht. Beleuchtungswürdige Tage waren damals Staatsfeiertage oder bedeutende Republiktage, denen allerdings aus der kommunistischen Sicht die Anerkennung nicht fehlte.

In den letzten Jahren entwickelte sich die Umbau- bzw. Renovierungstätigkeit in vielen Objekten der Burg und eine erhebliche Aufmerksamkeit wurde der archäologischen Untersuchung gewidmet, die bereits seit 1925 läuft und viele Erkenntnisse über die Burggeschichte brachte. Die Untersuchung sowie die Renovierung der einzelnen Räume und Objekte ist von der Idee motiviert, sie dadurch, dass sie der Öffentlichkeit zugänglich gemacht werden, möglichst viel zu beleben.

www.prague.eu/de/objekt/orte/31/prager-burg-prazsky-hrad

 

3 Cathodes stuck together with one battery, which is heavy enough to warrant needing to be carried in waist-pouch. But it's rechargeable, so it'll save a few 9V PPS3s.

 

Now I want to try and connect these things to an Arduino board and see if it's possible to make a cathode version of a V24, and use pulse width modulation to produce a colour cycling sort of effect. Theoretically it's possible, but the sticking point will probably be the rate at which the cathodes can turn on and off. If anyone has any experience with trying to strobe a cathode tube, I'd be very glad to hear any thoughts on the matter.

YSE cumple cuatro (4) aniversarios y lo festeja en su lanzamiento #17, mess-up mess-age issue, con un CD de temas originales compuestos y ejecutados para la ocasión por Nevus Project/Albert Jordà -gratuito, por supuesto-. Cada track del CD fue hecho en función de la temática de cada uno de los números de Y SIN EMBARGO.

 

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YSE celebrates its 4th anniversary with the release of YSE magazine #17 and also gives you a CD with YSE original music. Free, of(f) course). The whole CD was made, track by track, according to each issue of Y SIN EMBARGO.

 

Download FULL CD (166 Mb)

Download PDF cover (9.6 mB)

Front cover JPG (2.1 Mb)

Stream (320 Kbps)

 

Música escrita por Albert Jordà excepto #10, Gymnopédies, nº 1, música original Eric Satie.

Letras escritas por Albert Jordà excepto #10, Son Corps Leger, de Gherasim Luca.

 

Albert Jordà: Sintetizadores, guitarras, bajo, voces, theremin, beats, soundscapes, efectos, ukulele, armónica, percusión.

Benn Lawrence: Bajo en #12.

Juan Moreno: Beats en #14.

Luminita Jiorica "Lumi”: Voz en #15.

Julia Medina: Flauta en #17.

UBU WEB: Samplers en #06 y #10.

Freshwidow.com: Sampler en #16

Soundscapes #07, #08, #11, #12, #15, grabados por Albert Jordà.

 

Producido y arreglado por Nevus Project.

Grabado en Nevus Lab H.S., Tarragona y Reus (Spain), desde septiembre de 2004 a septiembre 2008.

Mezclado & masterizado en Nevus Lab H.S. Reus, septiembre de 2008.

 

Nevus Project

www.myspace.com/nevuslab

 

Albert Jordà

www.myspace.com/albertjorda

 

Fotografías: Fernando Prats

www.fernandoprats.com

 

Dirección de arte y diseño: Estudi Prats

estudiprats.com

   

Acerca de este CD, por Albert Jordà:

01.

El tema original consistía en un loop interminable cada vez que el lector de YSE entraba a la web. Basándonos en este loop como base rítmica, ahora la pieza transcurre sobre una capa más terrenal, utilizando sonidos armónicos más crudos y analógicos para que fuera menos monótona.

 

*1.The original theme consisted on an interminable loop every time an YSE reader entered the web. Basing us on this loop as rhythmical base, now the piece goes by over a more earthly layer, using a more raw and analogue harmonic sounds, to make it less monotonous.

  

02.

Y sin embargo conserva la melodía como frase principal, apoyado esta vez sobre un riff completamente nuevo. La pieza se divide en tres partes: la primera y la última nos llevan a un lugar no definido, con una modulación tensa y variable y la segunda parte digamos que corresponde a la parte original, el estribillo.

 

*2. However, it keeps melody as the main phase, based this time on a completely new riff. The piece is divided in three parts: the first one and the last one lead us to an undefined place, with a tense and variable modulation and the second part, let’s say it belongs to the original theme, the chorus.

 

03.

Como dice el título de la canción el riff principal desarrollado al unísono por un bajo eléctrico y otro de sintetizador están copiados y pegados, cosidos a un nueva base rítmica, envueltos en una capa sintética “on the run” para elevarlos del suelo.

 

* 3. As the song title says, the main riff developed in unison by an electric bass and another one of a synthesizer are copied and pasted, sewed to a new rhythmic base, wrapped ‘on the run’ on a synthetic layer to raise them from the floor.

 

04.

Primero de los temas “-trance”, con connotaciones tecno envueltas en frases extraídas de anuncios de teletienda y de algún que otro programa de telebasura. Un pieza que a priori no nos lleva a ninguna parte pero que al final nos deja alguna que otra mora-leja.

 

*4. First of the ‘trance’ tracks, with techno connotations wrapped in rhythmical phrases extracted from teleshop commercials and some other teletrash program. A piece which, a priori, doesn’t take us anywhere, but leaves us some or other moral in the end.

 

05.

De Hannoversal a Harmonirsal. Una canción suave siguiendo un patrón de blues cointerpretada por una armónica filtrada por pedales y efectos y un piano de largo sustain.

 

*5. From Hannoversal to Harmonirsal. A soft song following a blues pattern, co-performed by a harmonica, filtered by effects and pedals, and a long sustained piano.

 

06.

Podemos estar cómodos y sonreír en un entorno confortable como éste. Al igual que la primera canción, conserva el loop original aunque la melodía se ha visto reforzada por más sintes y guitarras eléctricas. Contiene sampler de "Zzzzz" de Ron Padgett, del LP Sugar, Alcohol. & Meat, Giorno Poetry Systems Institute GPS-018-019, 1980. Agradecimientos a UbuWeb.

 

*6. We can feel comfortable and smile in such a cosy environment as this one. Like the first song, it keeps the original loop, although the melody has been forced by more electric guitars and synthesis. It contains a Ron Padgett ‘Zzzzz’ sampler, from the Sugar LP, Alcohol & Meat, Giorno Poetry Systems Institute GPS-018-019, 1980. Special thanks to UbuWeb.

 

07.

El único tema del disco en que todos los ingredientes son acústicos. Nos introducimos en un mercado de una ciudad cualquiera, escuchamos de fondo el tema original y luego como si allí mismo pasara, encontramos guitarristas y percusionistas. Jota de vacindade es un guiño a Chega de Saudade.

 

*7. The only track from the record in which all the ingredients are acoustic. We got into a market from an ordinary city, listened to original theme as background and then, as it was happening right there, we found guitarists and percussionists. Jota de vacindade is a wink to Chega de Saudade.

 

08.

El desorden sonoro agrupado y repartido en fragmentos cortos que entran y salen sobre una base rítmicamente monótona pero que la lleva en brazos. Los sonidos están captados en distintos establecimientos comerciales.

 

*8. Sound disorder grouped and scattered in short fragments coming in and out over a rhythmically monotonous base which carries them in her arms. Sounds are captured on different commercial establishments.

 

09.

Un leitmotiv musical llevado acabo por un piano y acompañado por una guitarra y un vocoder. Aunque se repite constantemente, se supone que no cansa al oyente.

 

* 9. A musical leitmotiv carried out by a piano accompanied by a guitar and a vocoder. Even if it’s constantly repeated, it’s supposed not to tire the listener out.

 

10.

Esta pieza se compone de tres partes: (la primera) el poema Ghérasim Luca, (la segunda) la versión para guitarra de Erik Satie Gymnopedie Nº 1 y (la tercera) el theremin, que une a las dos anteriores. Las vidas del poeta rumano Ghérasim Luca y de Satie parecían estar predestinadas. De ahí la unión en este tema. Contiene sampler de Erik Satie - Gymnopedie_No1 (Pièces pour Guitare, Played by Pierre Laniau EMI, 1982) / Ghérasim Luca - Son Corps Leger (Ghérasim Luca, 1913 - 1994. La Fin Du Monde, 1969, In Parallpomenes, Paris). Agradecimientos a UbuWeb.

 

*10. This piece consists of three parts: (the first one) the poem Ghérasim Luca (the second one) the guitar version of Erik Satie Gymnopedie Nº1 and (the third one) the theremin, which links the previous two. Ghérasim Luca and Satie’s lives seemed to be predestined. Hence the union on this track. It contains Erik Satie - Gymnopedie_No1 (Pièces pour Guitare, Played by Pierre Laniau EMI, 1982) / Ghérasim Luca - Son Corps Leger (Ghérasim Luca, 1913 - 1994. La Fin Du Monde, 1969, In Parallpomenes, Paris) samplers. Special thanks to UbuWeb.

 

11.

Escrita originalmente en 1996, reescrita para la ocasión en 2007 y regrabada ahora. Describe el momento en que cuando mejor estamos, desearíamos congelar el tiempo y que nunca finalizase.

 

*11. Originally written on 1996, re-written for the occasion on 2007 and re-recorded now. It describes the moment in which we feel at our best, wishing to freeze time and make it last forever.

 

12.

Sencilla melodía de suave ejecución que contrasta con algún que otro ruido de la calle -pero que al fin y al cabo habitan dentro del mismo hábitat-. La casa abierta a la calle, la calle abierta al hogar. Un feedback en el cual nos hemos acostumbrado a convivir.

Benn Lawrence: bajo.

 

*12. Simple melody of soft performance contrasting with some street noise –but which, in the end, inhabit the same habitat- The house opened to the street, the street opened to our homes. A feedback in which we’ve got used to live in.

Bass: Ben Lawrence.

 

13.

Segundo de los temas “-trance”. En este caso, con un guiño a J.S. Bach pero transformándolo en una continua y pesada repetición capaz de odiar la construcción musical como si de música máquina se tratase.

 

*13. Second of the ‘trance’ tracks. In this case, giving a wink to J.S. Bach but transforming it on a continuous and heavy repetition, able to hate musical construction as if it was machine music.

 

14.

Acumulación. Bytes, beats, números y todo tipo de datos manipulados en tiempo real. El tema cabalga en un elegante riff de bajo sintetizado.

Juan Moreno: beats.

 

*14. Accumulation. Bytes, beats, numbers and all sort of real time manipulated data. The theme rides on a fancy synthesized bass riff.

Beats: Juan Moreno.

 

15.

Voces entrando y saliendo en distintos idiomas. Una va contando del uno al quince en castellano y rumano. Esta voz aparece puntualmente cada ocho compases.

Luminita Jiorica "Lumi": voz

 

*15. Voices coming in and out in different languages. One counts from one to fifteen in Spanish and Rumanian. This voice punctually appears every eight compasses.

Voice: Luminita Jiorica ‘Lumi’

 

16.

Canción un tanto shoegazing, cargada de espesas capas de guitarra y teclados envolventes, asciende a medida que va avanzando. Un crescendo cada vez más ruidoso e impenetrable. El tema es introducido por el propio Marcel Duchamp. Se agradece.

 

*16. A bit shoe-gazing song, loaded of thick guitar layers and surrounding keyboards, ascends while m forward. A more and more noisier and impenetrable crescendo. The theme is introduced by Marcel Duchamp himself. We are grateful.

 

17.

Para esta entrega de Y SIN EMBARGO, hemos vuelto a la calma. Bueno, a la calma tensa. Música repetitiva, minimalista llevada a cabo por una flauta y acompañada -como no podía ser menos-por molestos sonidos contemporáneos luchando para llevarse la mejor posición en panorámica y profundidad.

Julia Medina: flauta.

 

*17. For this Y SIN EMBARGO issue, we’ve calmed ourselves down. Well, with a tense calm. Repetitive minimalistic music, carried out by a flute accompanied –couldn’t be less- by disturbing contemporary sounds fighting to take the best position in perspective and depth.

Flute: Julia Medina.

 

Phase III : Fully Active 4 x way crossover

 

- Bass JBL 2205a - PR15, 220l enclosure . Active crossover 20-160hz /18db.

 

- Mid Bass Fish Horns - TAD TM 1201h 12" drivers - Active crossover 160hz/6db - 1200hz/12db.

Sicomin epoxy & mica pearlescent coating.

Central antiresonant phase plug DIY made from a Perrier Plastic bottle armed plaster coupound filled, Sicomin epoxy with anti-slip surf board powder & mica pearlescent coating.

 

- Mid High JBL 2450 j - Truextent beryllium diaphragms - Aart Biradial horns - Active crossover 1200hz/12db - 5000hz/12db.

 

- High BMS 4540nd & Arai A-10K horn massive billet oak - Active crossover 5000Hz/18db - 30 000Hz/Flat.

 

- Electronic crossover Pioneer D23 fully restored (all new caps : Silmic II, Muse, Black Gate & Mundorf).

- Mc Intosh MC 2255 caps & lamps fully restored for Bass.

- Mc Intosh MC 2255 caps & lamps fully restored for MidBass.

- Hiraga 15w le monstre regulated power supply for MidHigh & High left chanel.

- Hiraga 15w le monstre regulated power supply for MidHigh & High right chanel.

 

Modulation cables : AudioQuest Sky

Speaker cables :

Bass : 16AWG solid core silver teflon insulated.

MidBass : AQ WildWood.

MidHigh & High : DIY solid OCC solid core pure silver 18,20,22,24AWG cotton insulated, AQ configuration with 72v Dbs.

 

Many thanks to :

- Mr Dominique Petoin for his Audio Website & his help :

www.petoindominique.fr

- Mr Ruichi Arai designer of High Frequencies Horns :

www.geocities.jp/arai401204/Horn/A10K/A10K.html

Sample image taken with a Fujinon XF 56mm f1.2 R mounted on a Fujifilm XT1 body; each of these images is an out-of-camera JPEG with Lens Modulation Optimisation enabled. These samples and comparisons are part of my Fujinon XF 56mm f1.2 R review at:

 

cameralabs.com/reviews/Fujifilm_Fujinon_XF_56mm_f1-2_R/

 

Feel free to download the original image for evaluation on your own computer or printer, but please don't use it on another website or publication without permission from www.cameralabs.com/

detail: untitled (searching)

2016_08_13

charcoal pastel and graphite on manila tagboard

12" x 12" (30.48 x 30.48)cm

Matt Niebuhr

West Branch Studio

www.mattniebuhr.com

shop.mattniebuhr.com

The Panzer II hit with Panzer grey and two modulation layers.

Have also started work on the diorama base. As this build will be done crossing a trench during a training exercise before the war.

Prague Castle (Pražský hrad)

For more than a thousand years, has the Prague Castle been an important symbol of the Czech state. Founded in the 9th century, it became the permanent seat of the Czech rulers and, most recently, also of the Presidents. One of the largest castle complexes in the world consists of palaces, offices, churches and fortification buildings, gardens and picturesque corners. The castle covers an area of ​​45 hectares. The unique view to the Prague Castle is one of the most amazing panorama views in the world.

Prague Castle is the most important folk-cultural and historical monument, and is the symbol of the more than one thousand years of development of the Czech and all-Czech states. It is a monumental symbol of the palace, church, fortification, official and residential buildings which represent very valuable monuments, included in all style epochs. It covers an area of ​​45 hectares, was the seat of the Bohemian princes, kings and emperors, and since the Republic was founded in 1918, it was also the residence of the presidents. Since 1962, the Prague Castle has been known for its archaeological discoveries.

History

The initial phases of the Prague Castle are connected with the first historically documented Přemyslid Bořivoj (Bořivoj I (Czech pronunciation: [ˈbɔr̝ɪvɔj], Latin: Borzivogius, c. 852 – c. 889) was the first historically documented Duke of Bohemia from about 870 and progenitor of the Přemyslid dynasty.] The Duchy of Bohemia was at those times subordinated to Great Moravia.). This one transferred in the 80s of the 9th century his original seat from Levý Hradec to the place where on the raised spot above the river Vltava/Moldau already existed a Slavic castle and was very well situated.

The first princely palace apparently only consisted of wood. The first stone building and the oldest Christian sanctuary was the Virgin Mary Church. Its remains have been found between the Second Courtyard and the Bastion garden (original name of the garden: Na Baště). This Bořivoj church was soon reconstructed by the prince Spytihněv I, who was buried here in 915. The second church in the castle was the St. George Basilica founded by Prince Vratislaus I. The next Přemyslide, Prince Wenceslas (Saint), the third sanctuary - the St Veit Rotunda - in the twenties of the 10th century nearby had built which in the 11th century by Prince Spytihnev II was transformed into a huge basilica.

In 973, when the bishopric was established in Prague, the castle was not only the seat of the head of state, but also the seat of the Prague bishop, the highest representative of the church. At the same time arose the first monastery in Bohemia at St. George's basilica.

In the 10th century the castle occupied an area of ​​about 6 ha. In the Romanesque epoch the former fortress, especially after the year 1135 thanks to Soběslaus I, as the stony princely palace and the new masonry fortified with some towers were erected, was turned into a fortified medieval castle. Of the towers is the eastern blacktower best preserved.

Very significantly the Gothic period in the appearance of Prague Castle intervened, most of all Charles IV (1346 - 1378), who, with his father, John of Luxemburg (1310 - 1346), obtained from the pope the promotion of the Prague bishopric to the archbishopric and laid the foundations for the construction of St. Vitus Cathedral. Under Charles IV, the castle for the first time was turned into the imperial residence. Charles IV the defense of the Prague Castle had consolidated, the Royal Palace with the Chapel of All Saints he rebuilt generously. The roofs he had covered with gilded plates, which were the foundation for the binding of words "Golden Prague". Since 1382, Bohemian rulers ceased to occupy the Prague Castle for more than 100 years. The royal court was moved to the place of today's Community hall and back to the Prague castle it came only in 1483 under Wladislaus from the Jagiellonian dynasty.

Although the ruler already in 1490 moved to Ofen (Buda), he had the Prague castle renovated in the late Gothic style under the supervision of Benedikt Ried. He was the master builder of the magnificent Vladislav Hall, the largest secular vaulted room of the then Europe, with which the first Renaissance signs came to Prague. He carried out major construction works, including the construction of a new masonry, the defensive towers and the expansion of the Royal Palace. At his time, the Gothic died away and a new architectural style, the Renaissance, gradually prevailed.

The direct influence of the Italian art on the new style was most frequently observed in Prague under the reign of Ferdinand I (von Habsburg) and after his departure from Prague under the influence of the governor Ferdinand of Tyrol. At that time, the medieval castle was converted into a comfortable Renaissance castle with gardens. The typical Italian architecture of the Royal Pleasure palace arose in the northern King's garden.

For a large building activity in 1541 contributed a fire devastating the castle objects as well as the surrounding area quite a lot. Within the framework of the restoration, both the housing estates and the church buildings were rebuilt. Under the reign of the first Habsburgs, nobility palaces were added to the castle grounds (for example, the Pernstein Palace - later Lobkowicz Palace, Rosenberg Palace and others). Horse stable buildings were built in the north-west.

Under the reign of the Emperor Rudolph II (1576 - 1611), the Renaissance and Mannerism transformation of the castle, which for the second time became the center of the empire, and especially the center of European culture and science, reached its peak. On the second courtyard, new rooms were built for the collections of Rudolph - the new (now Spanish) hall and the Rudolph gallery. Also arose the connection tract between the northwestern and the southwestern part of the castle. Just here the famous Kunstkammer (Art chamber) and other rooms for Rudolph's collective activities were located. Additionally further horse stable properties were built for his rare Spanish horses. During the Rudolph times also the foundation stone of the famous Golden Alley was laid. Laboratories of the Rudolph-Alchymists were supposed to have been in the Powder tower above the Hirschgraben (Deer's ditch). The castle suffered again considerable damages when it was occupied by the Saxon army in 1631 and by the Swedes in 1648 not only was occupied but also plundered. After the Thirty Years' War, the Habsburgs did not care too much about the Prague royal seat.

Only Maria Theresia carried out an extensive reconstruction of the Prague Castle from 1755 - 1775 into a representative castle complex. The reason for the massive construction action were war damages, caused by the intense bombing of the castle during war conflicts at the beginning of her reign. The reconstruction was designed by the Viennese architect Nicolo Pacassi, who also planned the first courtyard with the monumental entrance gate. From the time of the Theresian reconstruction stems also the chapel of the Holy Cross on the 2nd castle forecourt and other buildings, especially the noblewomen institute. The south wing he imprinted the uniform monumental late Baroque facade of a representative seat. His plans influenced by Viennese Rococo and French Classicism the builders Anselmo Lurago, Anton Kunz and Anton Haffenecker brought into life.

In the 19th century, the castle fell into ruin, in several objects after the Josephine reforms the army settled. In connection with the stay of Ferdinand I the Good in the castle after his abdication in 1848 and further in connection with the preparation for the coronation of Franz Joseph I in the sixties it came to building modifications of several objects. After 1859, when the community for the completion of St Veit cathedral emerged, began first the repair, and then, under the influence of the architect Joseph Mocker, the work on the actual completion of St Veit's cathedral was started, completed in 1929.

In the years 1920 - 35, carried out extensive regulations of the Prague Castle as the seat of the Czechoslovak President the great Slovenian architect Josip Plečnik, who masterfully combined the valuable historical space with modern civilization claims. His modifications mainly concerned the 1st and 3rd court, the southern gardens of the castle, the fourth forecourt with the Bastion garden as well as numerous interiors. He created e.g. the pillared hall, private rooms of the presidential residence, including the Masaryk workroom. His pupil, Otto Rothmayer, brought to an end the incomplete solutions of some castle interior spaces after the Second World War in comparable quality.

In 1936, Pavel Janák and after him, in 1959, Jaroslav Fragner became castle architect.

After the year of change of 1989, the Prague Castle was opened to the public in many places. During the term of President Havel, at the castle it came to modulations of the interiors and to the expansion of two new entrances into the second courtyard after the project of the creator and designer Bořek Šípek. The puncture through the rampart of the Powder bridge in Hirschgraben was rewarded with a significant prize (Arch. Josef Pleskot). Also interesting is the modern greenhouse of the world-famous architect Eva Jiřičná. The Georgian Square (Jiřské náměstí) was re-paved and modulated. The Mosaic of the Last Judgment was renovated in collaboration with the specialists from the Getti Institute. In 1990, the Prague Castle was solemnly illuminated and this situation lasts from dusk to midnight until today. In the main tourist season, the lighting time even lasts an hour longer until 1 o'clock. The tradition of electric lighting, but on a much smaller scale, began in 1928, when the lamps were installed for the 10th anniversary of the elevation to a Republic. A little bit the present daylight resembles of those from the end of the sixties, but today it is much more detailed and in communist times it was only switched on at solemn occasions. At that time, illuminative days were state holidays or significant day of republic, which, however, did not lack recognition from the communist point of view.

In recent years the reconstruction and renovation work has been developed in many buildings of the castle and a considerable attention has been devoted to the archaeological investigation, which has been going on since 1925 and has brought many insights into the history of the castle. The investigation as well as the renovation of the individual rooms and objects is motivated by the idea of ​​invigorating them as much as possible by making them accessible to the public.

 

Prager Burg (Pražský hrad)

Die Prager Burg ist seit über tausend Jahren ein bedeutendes Symbol des tschechischen Staates. Gegründet im 9. Jahrhundert wurde sie zum ständigen Sitz der tschechischen Herrscher und zuletzt auch der Präsidenten. Einer der größten Burgkomplexe weltweit setzt sich aus Palästen, Amts-, Kirchen- und Fortifikationsgebäuden, aus Gärten und malerischen Ecken zusammen. Die Burg erstreckt sich auf einer Fläche von 45 Hektar. Der alleinige Blick auf die Prager Burg stellt einen der überwältigendsten Panoramablicke der Welt dar.

Die Prager Burg ist das bedeutendste Volkskultur- und Historiedenkmal, sie ist das Symbol der mehr als eintausendjährigen Entwicklung des böhmischen sowie gesamttschechischen Staats. Es ist ein monumentales Symbol der Palast-, Kirchen-, Fortifikations-, Amts- und Wohngebäude, die sehr wertvolle Denkmäler darstellen, einbezogen auf alle Stilepochen. Sie erstreckt sich auf einer Fläche von 45 ha, war der Sitz der böhmischen Fürsten, Könige und Kaiser und seit der Republikentstehung im Jahre 1918 war sie auch die Residenz der Präsidenten. Seit 1962 steht die Prager Burg mit ihren archäologischen Funden als bekanntester.

Geschichte

Die Anfangszeiten der Prager Burg sind mit dem ersten historisch belegten Přemysliden Bořivoj verbunden. Dieser übertrug in den 80er Jahren des 9. Jahrhunderts seinen ursprünglichen Sitz von Levý Hradec an den Ort, wo auf der erhabenen Stelle über der Moldau eine slawische Burgstätte bereits bestand und sehr gut gelegen war.

Der erste Fürstenpalast bestand offenbar aus Holz. Der erste Steinbau und das älteste christliche Heiligtum war die Jungfrau Maria Kirche. Ihre Reste wurden zwischen dem II. Vorhof und dem Basteigarten (Originalname des Gartens: Na Baště) gefunden. Diese Bořivoj-Kirche wurde durch den hier im Jahre 915 beigesetzten Fürsten Spytihněv I. bald umgebaut. Die zweite Kirche im Burgraum war die vom Fürsten Vratislaus I. gegründete St. Georg Basilika. Der nächste Přemyslide, der Fürst Wenzel (der Heilige), ließ in der Nähe in den 20er Jahren des 10. Jahrhunderts das dritte Heiligtum - die St. Veit Rotunde - bauen, die im 11. Jahrhundert vom Fürsten Spytihněv II. zu einer gewaltigen Basilika umgebaut wurde.

Im Jahre 973, als in Prag das Bistum gegründet wurde, war die Burg nicht nur der Sitz des Staatsoberhaupts, sondern auch der Sitz des Prager Bischofs, des höchsten Repräsentanten der Kirche. Zu demselben Zeitpunkt entstand an der St. Georg Basilika das erste Kloster in Böhmen.

Im 10. Jahrhundert nahm die Burg eine Fläche von ca. 6 ha in Anspruch. In der romanischen Epoche wurde die einstige Burgstätte, insbesondere nach dem Jahr 1135 dank Soběslaus I., als der steinige Fürstenpalast und das neue mit einigen Türmen verstärkte Mauerwerk aufgebaut wurden, zu einer festen mittelalterlichen Burg umgebaut. Von den Türmen ist der östliche Schwarzturm am besten erhalten.

Sehr bedeutend griff ins Aussehen der Prager Burg die Gotikzeit ein, insbesondere Karl IV. (1346 - 1378), der mit seinem Vater Johann von Luxemburg (1310 - 1346) vom Papst die Beförderung des Prager Bistums zum Erzbistum erwirkte und den Grundstein für den Bau der St. Veit Kathedrale legte. Unter Karl IV. wurde die Burg zum ersten Mal zur Kaiserlichen Residenz. Karl IV. ließ die Verschanzung der Prager Burg festigen, den Königspalast mit der Kapelle Aller Heiligen baute er großzügig um. Die Dächer ließ er mit vergoldeten Blechen decken, die das Fundament für die Wörterbindung „Goldenes Prag“ darstellten. Seit 1382 hörten böhmische Herrscher auf, die Prager Burg für mehr als 100 Jahre zu bewohnen. Der Königshof wurde an den Ort des heutigen Gemeindehauses umgezogen und zurück auf die Prager Burg kehrte er erst im Jahre 1483 unter Wladislaus aus der Jagiellonen-Dynastie.

Obwohl der Herrscher bereits 1490 nach Ofen (Buda) umsiedelte, ließ er die Prager Burg im spätgotischen Stil unter der Bauleitung von Benedikt Ried umbauen. Er war der Baumeister des großartigen Wladislaus-Saals, des größten weltlichen gewölbten Raums des damaligen Europas, mit dem die ersten Renaissancezeichen nach Prag kamen. Er führte großartige Bauregelungen einschließlich des Ausbaus eines neuen Mauerwerks, der Wehrtürme und der Erweiterung des Königspalastes durch. Zu seiner Zeit klang die Gotik aus und es setzte sich allmählich ein neuer Baustil durch, die Renaissance.

Der direkte Einfluss der italienischen Kunst des neuen Stils wurde in Prag unter der Regierung von Ferdinand I. (von Habsburg) und nach seinem Weggang von Prag unter der Wirkung des Statthalters Ferdinand von Tirol am meisten beobachtet. Damals wurde die mittelalterliche Burg in ein bequemes Renaissanceschloss mit Gärten umgewandelt. Im nördlichen Königsgarten entstand die typisch italienische Architektur des Königlichen Lustschlosses.

Zu einer großen Bauaktivität trug im Jahre 1541 ein Brand bei, der die Burgobjekte sowie die Umgebung ziemlich viel kaputt machte. Im Rahmen der Wiederherstellung wurden sowohl die Wohnräume als auch die Kirchenobjekte umgebaut. Unter der Regierung der ersten Habsburger kamen ins Burggelände auch Adelspaläste dazu (zum Beispiel der Pernstein-Palast - später Lobkowicz-Palast, Rosenberg-Palast und weitere). Im Nordwesten wurden Pferdestallgebäude erbaut.

Unter der Regierung des Kaisers Rudolph II. (1576 - 1611) erreichte der Renaissance- und Manierismusumbau der Burg, die zum zweiten Mal zum Zentrum des Reiches und insbesondere zum Zentrum der europäischen Kultur und Wissenschaft wurde, seinen Gipfel. Auf dem II. Vorhof wurden neue Räume für die Sammlungen Rudolphs erbaut - der Neue (heute Spanische) Saal und die Rudolph-Galerie. Es entstand auch der Verbindungstrakt zwischen dem Nordwest- und dem Südwestteil der Burg. Eben hier befanden sich die berühmte Kunstkammer und weitere Räume für die Sammeltätigkeit Rudolphs. Es wurden auch weitere Pferdestallobjekte für seine seltenen spanischen Pferde aufgebaut. Während der Rudolph-Zeiten wurde auch der Grundstein der berühmten Goldenen Gasse gelegt. Laboratorien der Rudolph-Alchymisten sollen im Pulverturm über dem Hirschgraben gewesen sein. Die Burg erlitt erneut erhebliche Schäden, als sie 1631 vom sächsischen Heer und 1648 von den Schweden besetzt und ausgeplündert wurde. Nach dem Dreißigjährigen Krieg kümmerten sich die Habsburger um den Prager königlichen Sitz nicht allzu sehr.

Erst Maria Theresia führte in den Jahren 1755 - 1775 einen umfangreichen Umbau der Prager Burg zu einem repräsentativen Schlosskomplex durch. Der Grund für die massive Bauaktion waren Kriegsschäden, verursacht durch die intensive Bombardierung der Burg bei Kriegskonflikten zu Beginn ihrer Regierung. Den Umbau entwarf der Wiener Architekt Nicolo Pacassi, der auch den I. Vorhof mit dem monumentalen Eingangstor projektierte. Aus der Zeit des theresianischen Umbaus stammt auch die Kapelle des Heiligen Kreuzes auf dem II. Burgvorhof und weitere Gebäude, insbesondere die Edeldamenanstalt. Dem Südflügel prägte er die einheitliche monumentale Spätbarockfassade eines Repräsentationssitzes ein. Seine durch das Wiener Rokoko und den französischen Klassizismus beeinflussten Pläne brachten die Baumeister Anselmo Lurago, Anton Kunz und Anton Haffenecker zustande.

Im 19. Jahrhundert verfiel die Burg, in mehreren Objekten ließ sich nach den josephinischen Reformen das Heer nieder. Zu Bauregelungen einiger Objekte kam es im Zusammenhang mit dem Aufenthalt von Ferdinand I. dem Guten auf der Burg nach seiner Abdikation im Jahre 1848 und weiter im Zusammenhang mit der Vorbereitung auf die vorgesehene Krönung von Franz Joseph I. in den 60er Jahren. Nach 1859, als die Gemeinde für die Fertigstellung der St. Veit Kathedrale entstand, begann zuerst die Reparatur und anschließend unter der Wirkung des Architekten Joseph Mocker wurde die Arbeit an der eigentlichen Fertigstellung der St. Veit Kathedrale aufgenommen, abgeschlossen im Jahre 1929.

In den Jahren 1920 - 35 führte ausgedehnte Regelungen der Prager Burg als des Sitzes des tschechoslowakischen Präsidenten der bedeutende slowenische Architekt Josip Plečnik durch, der den wertvollen historischen Raum mit modernen Zivilisationsansprüchen meisterlich zusammenfügte. Seine Regelungen betrafen vor allem den 1. und 3. Vorhof, die Südgärten der Burg, den 4. Vorhof mit dem Basteigarten sowie zahlreiche Innenräume. Er schuf z.B. die Säulenhalle, Privaträume der Präsidentenwohnung einschließlich des Arbeitszimmers Masaryks. Sein Schüler Otto Rothmayer brachte die unvollendeten Lösungen einiger Burginnenräume nach dem 2. Weltkrieg in vergleichbarer Qualität zu Ende.

Im Jahre 1936 ist Pavel Janák und nach ihm seit 1959 Jaroslav Fragner Burgarchitekt geworden.

Nach dem Wendejahr 1989 wurde die Prager Burg an vielen Stellen für die Öffentlichkeit geöffnet. Während der Amtszeit des Präsidenten Havel kam es auf der Burg zu Regelungen der Innenräume und zum Ausbau zweier neuer Eingänge in den 2. Vorhof nach dem Projekt des Bildners und Designers Bořek Šípek. Mit einem bedeutenden Preis wurde der Durchstich durch den Wall der Pulverbrücke im Hirschgraben belohnt (Arch. Josef Pleskot). Interessant ist auch das moderne Gewächshaus der weltberühmten Architektin Eva Jiřičná. Der Georg-Platz (Jiřské náměstí) wurde neu bepflastert und geregelt. In Zusammenarbeit mit den Fachleuten aus dem Getti-Institut wurde die Mosaik „des Letzten Gerichts“ renoviert. Im Jahre 1990 wurde die Prager Burg feierlich beleuchtet und dieser Zustand dauert von der Dämmerung bis zur Mitternacht bis heute. In der touristischen Hauptsaison dauert die Beleuchtungszeit sogar eine Stunde länger, bis 1 Uhr. Die Tradition der elektrischen Beleuchtung, jedoch im viel kleineren Umfang, begann im Jahre 1928, als die Lampen zum 10. Jubiläum der Republikentstehung installiert wurden. Ein wenig ähnelte die heutige feierliche Beleuchtung jener aus dem Ende der 60er Jahren, heute ist sie allerdings viel detaillierter und in den Kommunistenzeiten wurde sie nur bei feierlichen Gelegenheiten angemacht. Beleuchtungswürdige Tage waren damals Staatsfeiertage oder bedeutende Republiktage, denen allerdings aus der kommunistischen Sicht die Anerkennung nicht fehlte.

In den letzten Jahren entwickelte sich die Umbau- bzw. Renovierungstätigkeit in vielen Objekten der Burg und eine erhebliche Aufmerksamkeit wurde der archäologischen Untersuchung gewidmet, die bereits seit 1925 läuft und viele Erkenntnisse über die Burggeschichte brachte. Die Untersuchung sowie die Renovierung der einzelnen Räume und Objekte ist von der Idee motiviert, sie dadurch, dass sie der Öffentlichkeit zugänglich gemacht werden, möglichst viel zu beleben.

www.prague.eu/de/objekt/orte/31/prager-burg-prazsky-hrad

 

Sample image taken with a Fujinon XF 56mm f1.2 R mounted on a Fujifilm XT1 body; each of these images is an out-of-camera JPEG with Lens Modulation Optimisation enabled. These samples and comparisons are part of my Fujinon XF 56mm f1.2 R review at:

 

cameralabs.com/reviews/Fujifilm_Fujinon_XF_56mm_f1-2_R/

 

Feel free to download the original image for evaluation on your own computer or printer, but please don't use it on another website or publication without permission from www.cameralabs.com/

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GP500 motorcycle windshields

GP500.Org Part # 22600 Yamaha motorcycle windshields

The history of Yamaha Motorcycles

"I want to carry out trial manufacture of motorcycle engines." It was from these words spoken by Genichi Kawakami (Yamaha Motor's first president) in 1953, that today's Yamaha Motor Company was born.

"If you're going to do something, be the best."

Genichi Kawakami

Genichi Kawakami was the first son of Kaichi Kawakami, the third-generation president of Nippon Gakki (musical instruments and electronics; presently Yamaha Corporation). Genichi studied and graduated from Takachiho Higher Commercial School in March of 1934. In July of 1937, he was the second Kawakami to join the Nippon Gakki Company.

He quickly rose to positions of manager of the company's Tenryu Factory Company (musical instruments) and then Senior General Manager, before assuming the position of fourth-generation President in 1950 at the young age of 38.

In 1953, Genichi was looking for a way to make use of idle machining equipment that had previously been used to make aircraft propellers. Looking back on the founding of Yamaha Motor Company, Genichi had this to say. "While the company was performing well and had some financial leeway, I felt the need to look for our next area of business. So, I did some research." He explored producing many products, including sewing machines, auto parts, scooters, three-wheeled utility vehicles, and…motorcycles. Market and competitive factors led him to focus on the motorcycle market. Genichi actually visited the United States many times during this period.

When asked about this decision, he said, "I had my research division chief and other managers visit leading motorcycle factories around the country. They came back and told me there was still plenty of opportunity, even if we were entering the market late. I didn't want to be completely unprepared in this unfamiliar business so we toured to German factories before setting out to build our first 125cc bike. I joined in this tour around Europe during which my chief engineers learned how to build motorbikes. We did as much research as possible to insure that we could build a bike as good as any out there. Once we had that confidence, we started going."

The first Yamaha motorcycle... the YA-1.

"If you are going to make it, make it the very best there is." With these words as their motto, the development team poured all their energies into building the first prototype, and ten months later in August of 1954 the first model was complete. It was the Yamaha YA-1. The bike was powered by an air-cooled, 2-stroke, single cylinder 125cc engine. Once finished, it was put through an unprecedented 10,000 km endurance test to ensure that its quality was top-class. This was destined to be the first crystallization of what has now become a long tradition of Yamaha creativity and an inexhaustible spirit of challenge.

 

Then, in January of 1955 the Hamakita Factory of Nippon Gakki was built and production began on the YA-1. With confidence in the new direction that Genichi was taking, Yamaha Motor Co., Ltd. was founded on July 1, 1955. Staffed by 274 enthusiastic employees, the new motorcycle manufacturer built about 200 units per month.

That same year, Yamaha entered its new YA-1 in the two biggest race events in Japan. They were the 3rd Mt. Fuji Ascent Race and the 1st Asama Highlands Race. In these debut races Yamaha won the 125cc class. And, the following year the YA-1 won again in both the Light and Ultra-light classes of the Asama Highlands Race.

By 1956, a second model was ready for production. This was the YC1, a 175cc single cylinder two-stroke. In 1957 Yamaha began production of its first 250cc, two-stroke twin, the YD1.

The first Yamaha to compete in America (1957).

Based on Genichi's firm belief that a product isn't a product until it can hold it's own around the world, in 1958 Yamaha became the first Japanese maker to venture into the international race arena. The result was an impressive 6th place in the Catalina Grand Prix race in the USA. News of this achievement won immediate recognition for the high level of Yamaha technology not only in Japan but among American race fans, as well. This was only the start, however.

Yamaha took quick action using the momentum gained in the USA and began marketing their motorcycles through an independent distributor in California. In 1958, Cooper Motors began selling the YD-1 250 and the MF-1 (50cc, two-stroke, single cylinder, step through street bike). Then in 1960, Yamaha International Corporation began selling motorcycles in the USA through dealers.

With the overseas experiences under his belt, in 1960, Genichi then turned his attention to the Marine industry and the production of the first Yamaha boats and outboard motors. This was the beginning of an aggressive expansion into new fields utilizing the new engines and FRP (fiberglass reinforced plastic) technologies. The first watercraft model was the CAT-21, followed by the RUN-13 and the P-7 123cc outboard motor.

In 1963, Yamaha demonstrated its focus on cutting-edge, technological innovations by developing the Autolube System. This landmark solution was a separate oil injection system for two-stroke models, eliminating the inconvenience of pre-mixing fuel and oil.

Yamaha was building a strong reputation as a superior manufacturer which was reflected in its first project carried out in the new Iwata, Japan Plant, built in 1966. (The YMC headquarters was moved to Iwata in 1972.) Toyota and Yamaha teamed up to produce the highly regarded Toyota 2000 GT sports car. This very limited edition vehicle, still admired for its performance and craftsmanship, created a sensation among enthusiast in Japan and abroad.

 

Genichi said, "I believe that the most important thing when building a product is to always keep in mind the standpoint of the people who will use it." An example of the commitment to "walking in the customers' shoes" was the move in 1966 by Yamaha to continue its expansion. Overseas motorcycle manufacturing was established in Thailand and Mexico. In 1968, the globalization continued with Brazil and the Netherlands. With manufacturing bases, distributors and R&D operations in a market, Yamaha could be involved in grassroots efforts to build products that truly met the needs of each market by respecting and valuing the distinct national sensibilities and customs of each country. Yamaha continues that tradition, today.

By the late 1960s, Yamaha had quality products that had proven themselves in the global marketplace based on superior performance and innovation. Distribution and product diversity were on the right track. But Genichi knew that beyond quality, success would demand more. He had this view on the power of original ideas. "In the future, a company's future will hinge on ideas over and above quality. Products that have no character, nothing unique about them, will not sell no matter how well made or affordable…and that would spell doom for any company."

He also knew that forward vision, walking hand in hand with original ideas, would create an opportunity for the company and its customers that could mean years of happiness and memorable experiences. Genichi said, "In the business world today, so many people are obsessed with figures. They become fixated on the numbers of the minute and without them are too afraid to do any real work. But in fact, every situation is in flux from moment to moment, developing with a natural flow. Unless one reads that flow, it is impossible to start out in a new field of business."

A real-world illustration of this belief is the Yamaha DT-1. The world's first true off-road motorcycle debuted in 1968 to create an entirely new genre we know today as trail bikes. The DT-1 made a huge impact on motorcycling in the USA because it was truly dirt worthy. Yamaha definitely "read the flow" when it produced

"Make every challenge an opportunity."

Genichi Kawakami

the 250cc, single cylinder, 2-stroke, Enduro that put Yamaha On/Off-Road motorcycles on the map in the USA. The DT-1 exemplified the power of original ideas, forward vision, and quick action coupled with keeping in mind the customers' desires.

In years to come Yamaha continued to grow (and continues to this day). Diversity increased with the addition of products including snowmobiles, race kart engines, generators, scooters, ATVs, personal watercraft and more.

Genichi Kawakami set the stage for Yamaha Motor Company's success with his vision and philosophies. Total honesty towards the customer and making products that hold their own enables the company that serves people in thirty-three countries, to provide an improved lifestyle through exceptional quality, high performance products.

   

Yamaha Motor Corporation, USA Cypress, California

Genichi Kawakami's history with Yamaha was long and rich. He saw the new corporate headquarters in Cypress, California and the 25th Anniversary of Yamaha become a reality in 1980. He also watched bike #20 million roll off the assembly line in 1982. Genichi passed away on May 25, 2002 yet his vision lives on through the people and products of Yamaha, throughout the world.

History Timeline of Yamaha (USA)

Year Yamaha Motor Origin

1955

The first Yamaha motorized product was the YA-1 Motorcycle (125cc, 2-stroke, single cylinder, streetbike). It was produced and sold in Japan.

Year USA History

1958 The first Yamaha Motorcycles sold in the USA were by Cooper Motors, an independent distributor. The models were the YD1 (250cc, 2-stroke, twin cylinder, streetbike) and MF-1 (50cc, 2-stroke, single cylinder, streetbike, step-through).

1960 Yamaha International Corporation began selling motorcycles in the USA.

1968

The DT-1 Enduro was introduced. The world's first dual purpose motorcycle which had on & off-road capability. Its impact on Motorcycling in the USA was enormous.

Yamaha's first Snowmobile, the SL350 (2-stroke, twin cylinder) was introduced. This was the first Snowmobile with slide valve carburetors.

1970

Yamaha’s first 4-stroke motorcycle model, the XS-1 (650cc vertical twin) was introduced.

1971

The SR433 high performance Snowmobile was introduced.

1973 Yamaha continued expansion into new markets by introducing Generators (ET1200).

1975

Yamaha pioneered the very first single-shock, production motocross bikes. This was the beginning of the YZ Monocross machines that changed motocross forever.

1976 The legendary SRX440 snowmobile hits the market and quickly catapults Yamaha to the forefront of the snowmobile racing scene.

1977

Yamaha Motor Corporation, USA, was founded in order to better appeal to the American market and establish a separate identity (from music & electronics) for Yamaha motorized products.

  

1978

The XS1100 motorcycle (four cylinder, shaft drive) was introduced.

XS650 Special was introduced. This was the first production Cruiser built by a Japanese manufacturer.

Golf Cars were introduced in the USA with the G1 gas model.

1979

YICS (Yamaha Induction Control System), a fuel-saving engine system, was developed for 4-stroke engines.

1980

The new Yamaha Motor Corporation, USA, corporate office was opened in Cypress, California.

The first 3-wheel ATV was sold in USA… the Tri-Moto (YT125).

The G1-E electric powered Golf Car model was introduced.

1981

The first air-cooled, V-twin cruiser, the Virago 750, was introduced.

1984

The first production 5-valve per cylinder engine was introduced on the FZ750 motorcycle.

Yamaha’s first 4-wheel ATV, the YFM200, was introduced in the USA.

The Phazer snowmobile was introduced. Known for its light weight and agile handling.

Yamaha begins marketing Outboard Motors in the USA.

1985

The V-Max 1200 musclebike hits the streets.

1986

Yamaha Motor Manufacturing Corporation of America was founded in Newnan, Georgia.

1987

A new exhaust system for 4-stroke engines, “EXUP,” was developed to provide higher horsepower output throughout an engine's powerband.

Yamaha introduces personal watercraft...the sit-down WaveRunner and the stand-up WaveJammer.

Yamaha Motor Manufacturing Company begins Golf Car and Water Vehicle production for USA and overseas markets.

1992

The Vmax-4 Snowmobile (2-stroke, four cylinder) was introduced.

1994

Yamaha expands its product offerings by acquiring the Cobia boat company.

1995

The Century and Skeeter boat companies are acquired by Yamaha.

1996

Yamaha introduces its first Star model with the 1300cc, V4 Royal Star.

Tennessee Watercraft produces Sport Boats and later, the SUV WaveRunner.

1997

Yamaha acquires the G3 boat company.

At the Newnan, Georgia, manufacturing facility, the first ATV (the BearTracker) rolls off the assembly line.

Yamaha opens southeastern offices in Kennesaw, Georgia.

1998

The YZ400F four-stroke motocross bike was introduced. This was the first mass produced 4-stroke motocrosser.

The YZF-R1 sport bike was introduced. It set the standard for open class sport bikes for several years.

The Grizzly 600 4x4 ATV with Ultramatic transmission was introduced.

The EF2800i generator with Pulse Width Modulation (PWM) was introduced. PMW allows use with equipment that requires stable frequency and voltage.

  

2000

The Buckmaster® Edition Big Bear 400 4x4 was introduced. This was the first ATV with camouflage bodywork.

2002

The F225 Outboard was introduced. It was the largest 4-stroke Outboard at the time.

The FX140 WaveRunner (1000cc, 4-stroke, four cylinder) was introduced. The world's first high performance 4-stroke personal watercraft.

2003

The RX-1 Snowmbile (1000cc, 4-stroke, four cylinder) was introduced. The world's first high performance 4-stroke Snowmobile.

2004 Rhino Side x Side model introduced. Combined performance, terrainability, utility capabilities, and take-along-a-friend convenience to lead the way in a new category of off-road recreation.

 

FBI Stolen motorcycles

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Motorcycles VIN Decoder

gp500.org/VIN_Decoder.html

 

On the right-horizon is Great Blue Hill in the Blue Hills in Quincy. Pasting from Wikipedia Great Blue Hill:

 

• • • • •

Great Blue Hill (Native Americans called it Massachusett) is a hill of 635 feet (194 m) located within the Blue Hills Reservation in the eastern part of the U.S. state of Massachusetts, 10 miles (15 km) southwest of Boston. It is the highest point in Norfolk County. The modern name for the hill was given by early European explorers who, while sailing along the coastline, noticed the bluish hue of the exposed granite faces when viewed from a distance.The Blue Hills's eastern slopes face the ocean and lie within Quincy Massachusetts. This area later spawned a massive industry for its sought after "blue granite".[2] The name of the now-extinct Massachusett Indian tribe and their language (and thus the name of the Bay, Colony, state, etc.) derive from the Massachusett name of the hill: massa-adchu-es-et, where massa- is "large", -adchu- is "hill", -es- is a diminutive suffix meaning "small", and -et is a locative suffix, identifying a place.[3]

 

The north and west sides of Great Blue Hill drain into the Neponset River, and thence into Boston Harbor. The south and east sides of Great Blue Hill drain into the Blue Hill River, thence into the Farm River, Monatiquot River, Weymouth Fore River, and into Boston Harbor.

 

Its summit is the highest point in Norfolk County and also the highest within 10 miles of the Atlantic coast south of central Maine. For this reason, American meteorologist Abbott Lawrence Rotch chose Great Blue Hill as the site for an observatory, which became known as the Blue Hill Meteorological Observatory after its completion in 1885. Rotch conducted ground-breaking studies of the atmosphere at Blue Hill for many years, and the National Weather Service still gathers data at the site. From the modern — albeit somewhat neglected — Eliot Tower at the summit, one can often see the city of Boston and many of the surrounding hills of the Milton and Canton area.

 

Great Blue Hill, and the Blue Hills Reservation in general, is a popular hiking destination, valued as much for its splendid trails and views as for its proximity to the metropolitan area. There is also alpine skiing available at Blue Hills Ski Area, consisting of eight trails served by a double chair and two surface lifts.

 

The well-known Boston public television and radio station WGBH takes its call letters from Great Blue Hill, the original location of the station's FM and TV transmitters. WGBH-FM still transmits from the site and has a backup transmitter there as well. The TV station moved its antenna to a taller tower in the 1960s.[4]

 

• • • • •

 

The Arboretum has an interactive map on their web site. This map is found at the Arborway Gate.

 

Pasting from Wikipedia: Arnold Arboretum:

 

• • • • •

 

The Arnold Arboretum of Harvard University is an arboretum located in the Jamaica Plain and Roslindale sections of Boston, Massachusetts. It was designed by Frederick Law Olmsted and is the second largest "link" in the Emerald Necklace.

 

History

 

The Arboretum was founded in 1872 when the President and Fellows of Harvard College became trustees of a portion of the estate of James Arnold (1781–1868).

 

In 1842, Benjamin Bussey (1757–1842), a prosperous Boston merchant and scientific farmer, donated his country estate Woodland Hill and a part of his fortune to Harvard University "for instruction in agriculture, horticulture, and related subjects". Bussey had inherited land from fellow patriot Eleazer Weld in 1800 and further enlarged his large estate between 1806 and 1837 by acquiring and consolidating various farms that had been established as early as the seventeenth century. Harvard used this land for the creation of the Bussey Institute, which was dedicated to agricultural experimentation. The first Bussey Institute building was completed in 1871 and served as headquarters for an undergraduate school of agriculture.

 

Sixteen years after Bussey's death, James Arnold, a New Bedford, Massachusetts whaling merchant, specified that a portion of his estate was to be used for "...the promotion of Agricultural, or Horticultural improvements". In 1872, when the trustees of the will of James Arnold transferred his estate to Harvard University, Arnold’s gift was combined with 120 acres (0.49 km2) of the former Bussey estate to create the Arnold Arboretum. In the deed of trust between the Arnold trustees and the College, income from Arnold’s legacy was to be used for establishing, developing and maintaining an arboretum to be known as the Arnold Arboretum which "shall contain, as far as practicable, all the trees [and] shrubs ... either indigenous or exotic, which can be raised in the open air of West Roxbury". The historical mission of the Arnold Arboretum is to increase knowledge of woody plants through research and to disseminate this knowledge through education.

 

Charles Sprague Sargent was appointed director and Arnold Professor of Botany shortly after the establishment of the institution in 1872.[2] Together with landscape architect Frederick Law Olmsted he developed the road and pathway system and delineated the collection areas by family and genus, following the then current and widely accepted classification system of Bentham and Hooker. The Hunnewell building was designed by architect Alexander Wadsworth Longfellow, Jr. in 1892 and constructed with funds donated by H. H. Hunnewell in 1903. From 1946 to 1950 the landscape architect Beatrix Farrand was the landscape design consultant for the Arboretum. Her early training in the 1890s included time with Charles Sprague Sargent and chief propagator and superintendent Jackson Thornton Johnson.[3] Today the Arboretum occupies 265 acres (107 hectares) of land divided between four parcels, viz. the main Arboretum and the Peters Hill, Weld-Walter and South Street tracts. The collections, however, are located primarily in the main Arboretum and on the Peters Hill tract. The Arboretum remains one of the finest examples of a landscape designed by Frederick Law Olmsted and it is a Frederick Law Olmsted National Historic Site) and a National Historic Landmark.

 

Robert E. Cook is the seventh and current Director of the Arnold Arboretum. He is also the Director of the Harvard University Herbaria located in Cambridge, Massachusetts.

 

Status

 

The Arboretum is privately endowed as a department of Harvard University. The land, however, was deeded to the City of Boston in 1882 and incorporated into the so-called "Emerald Necklace". Under the agreement with the City, Harvard University was given a thousand-year lease on the property, and the University, as trustee, is directly responsible for the development, maintenance, and operation of the Arboretum; the City retains responsibility for water fountains, benches, roads, boundaries, and policing. The annual operating budget of $7,350,644 (fiscal year 2003) is largely derived from endowment, which is also managed by the University, and all Arboretum staff are University employees. Other income is obtained through granting agencies and contributors.

 

Location

 

The main Arborway gate is located on Route 203 a few hundred yards south of its junction with the Jamaicaway. Public transportation to the Arboretum is available on the MBTA Orange Line to its terminus at Forest Hills Station and by bus (#39) to the Monument in Jamaica Plain. The Arboretum is within easy walking distance from either of these points.

 

Hours

 

The grounds are open free of charge to the public from sunrise to sunset 365 days of the year. The Visitor's Center in the Hunnewell Building, 125 Arborway, is open Monday through Friday 9 a.m.–4 p.m.; Saturdays 10 a.m.–4 p.m.; Sundays 12 p.m.–4 PM. The Visitor’s Center is closed on holidays. The Library, located in the Hunnewell Building, is open Monday through Saturday, 10 a.m.–4 p.m.. The Library is closed on Sundays and holidays. Stacks are closed and the collection does not circulate.

 

Area

 

Two hundred and sixty-five acres (107 hectares) in the Jamaica Plain and Roslindale sections of Boston, Massachusetts, located at 42°19′N 71°5′W / 42.317°N 71.083°W / 42.317; -71.083, with altitudes ranging from 46 feet (15 m) in the meadow across the drive from the Hunnewell Building to 240 feet (79 m) at the top of Peters Hill.

 

Climate

 

Average yearly rainfall is 43.63 inches (1,102 mm); average snowfall, 40.2 inches (102 centimeters). Monthly mean temperature is 51.5 °F (10.8 °C); July's mean temperature is 73.5 °F (23 °C); January's is 29.6 °F (-1.3 °C). The Arboretum is located in USDA hardiness zone 6 (0 to −10 °F, −18 to −23 °C).

 

Collections (as of September 14, 2007)

 

At present, the living collections include 15,441 individual plants (including nursery holdings) belonging to 10,216 accessions representing 4,099 taxa; with particular emphasis on the ligneous species of North America and eastern Asia. Historic collections include the plant introductions from eastern Asia made by Charles Sprague Sargent, Ernest Henry Wilson, William Purdom, Joseph Hers, and Joseph Rock. Recent introductions from Asia have resulted from the 1977 Arnold Arboretum Expedition to Japan and Korea, the 1980 Sino-American Botanical Expedition to western Hubei Province, and more recent expeditions to China and Taiwan.

 

Comprehensive collections are maintained and augmented for most genera, and genera that have received particular emphasis include: Acer, Fagus, Carya, Forsythia, Taxodium, Pinus, Metasequoia, Lonicera, Magnolia, Malus, Quercus, Rhododendron, Syringa, Paulownia, Albizia, Ilex, Gleditsia and Tsuga. Other comprehensive collections include the Bradley Collection of Rosaceous Plants, the collection of conifers and dwarf conifers, and the Larz Anderson Bonsai Collection. Approximately 500 accessions are processed annually.

 

Collections policy

 

The mission of the Arnold Arboretum is to increase our knowledge of the evolution and biology of woody plants. Historically, this research has investigated the global distribution and evolutionary history of trees, shrubs and vines, with particular emphasis on the disjunct species of East Asia and North America. Today this work continues through molecular studies of the evolution and biogeography of the floras of temperate Asia, North America and Europe.

 

Research activities include molecular studies of gene evolution, investigations of plant-water relations, and the monitoring of plant phenology, vegetation succession, nutrient cycling and other factors that inform studies of environmental change. Applied work in horticulture uses the collections for studies in plant propagation, plant introduction, and environmental management. This diversity of scientific investigation is founded in a continuing commitment to acquire, grow, and document the recognized species and infraspecific taxa of ligneous plants of the Northern Hemisphere that are able to withstand the climate of the Arboretum’s 265-acre (1.07 km2) Jamaica Plain/Roslindale site.

 

As a primary resource for research in plant biology, the Arboretum’s living collections are actively developed, curated, and managed to support scientific investigation and study. To this end, acquisition policies place priority on obtaining plants that are genetically representative of documented wild populations. For each taxon, the Arnold Arboretum aspires to grow multiple accessions of known wild provenance in order to represent significant variation that may occur across the geographic range of the species. Accessions of garden or cultivated provenance are also acquired as governed by the collections policies herein.

 

For all specimens, full documentation of both provenance and history within the collection is a critical priority. Curatorial procedures provide for complete and accurate records for each accession, and document original provenance, locations in the collections, and changes in botanical identity. Herbarium specimens, DNA materials, and digital images are gathered for the collection and maintained in Arboretum data systems and the herbarium at the Roslindale site.

 

Research

 

Research on plant pathology and integrated pest management for maintenance of the living collections is constantly ongoing. Herbarium-based research focuses on the systematics and biodiversity of both temperate and tropical Asian forests, as well as the ecology and potential for sustainable use of their resources. The Arboretum's education programs offer school groups and the general public a wide range of lectures, courses, and walks focusing on the ecology and cultivation of plants. Its quarterly magazine, Arnoldia, provides in-depth information on horticulture, botany, and garden history. Current Research Initiatives

 

Plant Records

 

Plant records are maintained on a computerized database, BG-BASE 6.8 (BG-Base Inc.), which was initiated in 1985 at the request of the Arnold Arboretum and the Threatened Plants Unit (TPU) of the World Conservation Monitoring Centre (WCMC). A computerized mapping program (based on AutoCAD (Autodesk)) is linked to BG-BASE, and each accession is recorded on a series of maps at a scale of 1-inch (25 mm) to 20 feet (1:240) or 1-inch (25 mm) to 10 feet (1:120). A computer-driven embosser generates records labels. All accessioned plants in the collections are labeled with accession number, botanical name, and cultivar name (when appropriate), source information, common name, and map location. Trunk and/or display labels are also hung on many accessions and include botanical and common names and nativity. Stake labels are used to identify plants located in the Leventritt Garden and Chinese Path.

 

Grounds Maintenance

 

The grounds staff consists of the superintendent and assistant superintendent, three arborists, and ten horticultural technologists. A service garage is adjacent to the Hunnewell Building, where offices and locker rooms are located. During the summer months ten horticultural interns supplement the grounds staff. A wide array of vehicles and modern equipment, including an aerial lift truck and a John Deere backhoe and front loader, are used in grounds maintenance. Permanent grounds staff, excluding the superintendents, are members of AFL/CIO Local 615, Service Employees International Union (SEIU).

 

Nursery and Greenhouse Facilities

 

The Dana Greenhouses, located at 1050 Centre Street (with a mailing address of 125 Arborway), were completed in 1962. They comprise four service greenhouses totaling 3,744 square feet (348 m²), the headhouse with offices, cold rooms, storage areas, and a classroom. Staffing at the greenhouse includes the manager of greenhouses and nurseries, the plant propagator, two assistants, and, during the summer months, two horticultural interns. Adjacent to the greenhouse is a shade house of 3,150 square feet (293 m²), a 12,600 cubic foot (357 m³) cold storage facility, and three irrigated, inground nurseries totaling approximately one and one-half acres (6,000 m²). Also located in the greenhouse complex is the bonsai pavilion, where the Larz Anderson Bonsai Collection is displayed from the middle of April to the end of October. During the winter months the bonsai are held in the cold storage unit at temperatures slightly above freezing.

 

Isabella Welles Hunnewell Internship Program

 

The living collections department of the Arnold Arboretum offers a paid summer internship program [2] that combines hands-on training in horticulture with educational courses. Intern trainees will be accepted for 12- to 24-week appointments. Ten interns will work with the grounds maintenance department and two in the Dana Greenhouses.

 

As part of the training program, interns participate in mandatory instructional sessions and field trips in order to develop a broader sense of the Arboretum’s horticultural practices as well as those of other institutions. Sessions and field trips are led by Arnold staff members and embrace an open question and answer format encouraging all to participate. Interns often bring experience and knowledge that everyone, including staff, benefits from. It is a competitive-free learning environment.

 

Horticultural Apprenticeship

 

The Arboretum created the horticultural apprenticeship program in 1997 to provide hands-on experience in all aspects of the development, curation, and maintenance of the Arboretum's living collections to individuals interested in pursuing a career in an arboretum or botanical garden.

 

The Living Collections department of the Arnold Arboretum offers a summer internship program[4] that combines practical hands-on training in horticulture with educational courses. Fourteen Interns/Horticultural Trainees are accepted for twelve to twenty-four week appointments. Interns receive the majority of their training in one of three departments: Grounds Maintenance, Nursery and Greenhouse, or Plant Records.

 

Lilac Sunday

 

The second Sunday in May every year is "Lilac Sunday". This is the only day of the year that picnicing is allowed. In 2008, on the 100th anniversary of Lilac Sunday, the Arboretum website touted:

 

Of the thousands of flowering plants in the Arboretum, only one, the lilac, is singled out each year for a daylong celebration. On Lilac Sunday, garden enthusiasts from all over New England gather at the Arboretum to picnic, watch Morris dancing, and tour the lilac collection. On the day of the event, which takes place rain or shine, the Arboretum is open as usual from dawn to dusk.[5]

 

Associated Collections

 

The Arboretum's herbarium in Jamaica Plain holds specimens of cultivated plants that relate to the living collections (ca. 160,000). The Jamaica Plain herbarium, horticultural library, archives, and photographs are maintained in the Hunnewell building at 125 Arborway; however, the main portions of the herbarium and library collections are housed in Cambridge on the campus of Harvard University, at 22 Divinity Avenue.

 

Publications

 

The inventory of living collections is updated periodically and made available to sister botanical gardens and arboreta on request; it is also available on the Arboretum’s website (searchable inventory). Arnoldia, the quarterly magazine of the Arnold Arboretum, frequently publishes articles relating to the living collections. A Reunion of Trees[6] by Stephen A. Spongberg (curator emeritus) recounts the history of the introduction of many of the exotic species included in the Arobretum’s collections. New England Natives[7] written by horticultural research archivist Sheila Connor describes many of the trees and shrubs of the New England flora and the ways New Englanders have used them since prehistoric times. Science in the Pleasure Ground[8] by Ida Hay (former curatorial associate) constitutes an institutional biography of the Arboretum.

 

Institutional Collaborations

 

The Arboretum maintains an institutional membership in the American Public Garden Association (APGA) and the International Association of Botanical Gardens and Arboreta. Additionally, members of the staff are associated with many national and international botanical and horticultural organizations. The Arboretum is also a cooperating institution with the Center for Plant Conservation (CPC), and as an active member of the North American Plant Collections Consortium (NAPCC), it is committed to broadening and maintaining its holdings of: Acer, Carya, Fagus, Stewartia, Syringa, and Tsuga for the purposes of plant conservation, evaluation, and research. The Arboretum is also a member of the North American China Plant Exploration Consortium (NACPEC).

 

See also

 

Larz Anderson Bonsai Collection, donated by businessman and ambassador Larz Anderson

The Case Estates of the Arnold Arboretum

List of botanical gardens in the United States

North American Plant Collections Consortium

Adams-Nervine_Asylum

 

External links

 

Arnold Arboretum Official Website

Arnold Arboretum Visitor Information

Harvard University Herbaria

American Public Gardens Association (APGA)

Flora of China

Virtual Information Access (VIA) Catalog of visual resources at Harvard University.

Garden and Forest A Journal of Horticulture, Landscape Art, and Forestry (1888–1897)

Boston's Arnold Arboretum: A Place for Study and Recreation, a National Park Service Teaching with Historic Places (TwHP) lesson plan

The Emerald Necklace: Boston's Green Connection, a National Park Service Teaching with Historic Places (TwHP) lesson plan

Tiziano Vecelli or Tiziano Vecellio,better known as Titian, was the leading painter of the 16th-century Venetian school of the Italian Renaissance. Recognized by his contemporaries as "the sun amidst small stars" (recalling the famous final line of Dante's Paradiso), Titian was one of the most versatile of Italian painters, equally adept with portraits, landscape backgrounds, and mythological and religious subjects. His painting methods, particularly in the application and use of colour, would exercise a profound influence not only on painters of the Italian Renaissance, but on future generations of Western art.

 

During the course of his long life Titian's artistic manner changed drastically[ but he retained a lifelong interest in color. Although his mature works may not contain the vivid, luminous tints of his early pieces, their loose brushwork and subtlety of polychromatic modulations are without precedent in the history of Western art.

The ARRIS® SURFboard mAX™ Gigabit Wi-Fi® Pro and Plus systems are the first true tri-band Wi-Fi 6 mesh systems, and will be available at major retailers and SURFboard.com this month.

 

ARRIS built both systems around the newest Wi-Fi 6 standard featuring the latest wireless and modulation technologies including OFDMA and High Order Modulation. Wi-Fi 6 enables multi-Gigabit speeds across a growing range of connected devices to accelerate everything that consumers do online today—from video streaming, to smart home automation, to gaming and downloads. Wi-Fi 6 also unlocks a new set of future services and experiences—including 8K, augmented reality, advanced smart cloud services, and more.