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I saw this MOC of a Lego Moog first on the Music Radar website and was so impressed by it, that I planned to build my own. But after studying all the photos I found in the internet I soon recognised that I wouldn’t manage to build it with the full functionality (working keyboard, pitch- and modulation wheels and controller knobs) like the one built by the Arvo brothers. So, my mod is simply a display piece.
You can find the original of the Arvo brothers here:
The Palatine Chapel, is the royal chapel of the Norman kings of Sicily situated on the first floor at the center of the Palazzo Reale in Palermo, southern Italy.
Commissioned by Roger II of Sicily in 1132 and built upon an older chapel (now the crypt) constructed around 1080.
The mosaics being only partially finished by 1143.
The sanctuary, dedicated to Saint Peter, is reminiscent of a domed basilica. It has three apses, as is usual in Byzantine architecture, with six pointed arches (three on each side of the central nave) resting on recycled classical columns.
The mosaics of the Palatine Chapel are of unparalleled elegance as concerns elongated proportions and streaming draperies of figures. They are also noted for subtle modulations of colour and luminance. The oldest are probably those covering the ceiling, the drum, and the dome. The shimmering mosaics of the transept, presumably dating from the 1140s and attributed to Byzantine artists, with an illustrated scene, along the north wall, of St. John in the desert and a landscape of Agnus Dei.
Below this are five saints, the Greek fathers of the church, St. Gregory of Nissa, St. Gregory the Theologian, St. Basil, St. John Chrysostom and St. Nicholas.
The three central figures, St. Gregory, St. Basil, St. John Chrysostom, allude to the Orthodox cult known as the Three Hierarchs, which originated fifty years earlier.
Roger II of Sicily depicted on the muqarnas ceiling in an Arabic style.
The rest of the mosaics, dated to the 1160s or the 1170s, is executed in a cruder manner and feature Latin (rather than Greek) inscriptions. Probably a work of local craftsmen, these pieces are more narrative and illustrative than transcendental.
The chapel combines harmoniously a variety of styles: the Norman architecture and door decor, the Arabic arches and script adorning the roof, the Byzantine dome and mosaics. For instance, clusters of four eight-pointed stars, typical for Muslim design, are arranged on the ceiling so as to form a Christian cross.
Muqarnas ceiling
The hundreds of facets were painted, notably with many purely ornamental vegetal and zoomorphic designs but also with scenes of daily life and many subjects that have not yet been explained. Stylistically influenced by Iraqi 'Abbasid art, these paintings are innovative in their more spatially aware representation of personages and of animals.
The chapel has been considered a union of a Byzantine church sanctuary and a Western basilica nave.
The sanctuary, is of an "Eastern" artistic nature, while the nave reflects "Western" influences.
Nave
The nave, constructed under Roger II, did not contain any Christian images.
These were added later by Roger II's successors, William I and William II.
The nave's ceiling consists of Greek, Latin and inscriptions.
The frame for the royal throne sets against the west wall of the nave.
There are six steps leading up to where the throne would be, along with two heraldic lions in two roundels upon the spandrels over the throne frame gabel.
Sanctuary
As an expression of Norman culture, St. Dionysius and St. Martin are represented in the sanctuary.
Mosaics are of Byzantine culture in their composition and subjects.
The apex of the dome consists of the Pantokrator, with rows of angels, prophets, evangelists and saints.
The Byzantine motif ends abruptly with scenes from Christ's life along the south wall of the southern transept arm, while the north wall consists of warrior saints
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/
Single RAW Exposure
©Jeremy Photography 2014
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iSwarm - Created by Professor Thomas Schroepfer & Professor Suranga Nanayakkara
together with their team from the Singapore University of Technology and Design (SUTD).
A swarm of luminous “sea creatures” that interact with passers-by. Subtle and hardly visible by day, iSwarm comes alive at night. As daylight fades, the cells of iSwarm illuminate the waters of Marina Bay with fluorescent light reminiscent of natural phenomena such as bioluminescent algae or the Aurora Borealis. iSwarm reacts to groups of visitors by detecting human presence and greeting them with subtle modulation of its light patterns.
Co-created with Philip Lighting
A chamfer* or ochava is an urban resource that consists in joining with an oblique line the sides of the blocks in their corners, eliminating these, in order to improve the circulation and its visibility and expand the crossings, which causes the plots located in those places they have special physical circumstances. The chamfer is a proper resource of the Spanish extensions, such as those of Barcelona, La Coruña, Gijón and Carrión. Stresses the theorization that made them Ildefonso Cerdá in his General Theory of Urbanization.
Also in urban planning, the chamfer is a modulation resource used together with others to vary the planimetry and create different acoustic effects in cities, whose diversity would not exist in totally homogeneous streets of parallel flat surfaces.2
Likewise, but on a smaller scale, the chamfer is the act of eliminating the corners of an object with a new oblique plane to the two originals, pursuing different objectives. For example, pieces of stone, wood or concrete, are usually chamfered to avoid wear or breakage of the edges, as well as to avoid damage to people by eventual blows or friction. To form the concrete creating these chamfers a few pieces called aubergines are used
Architect : Antonio Bonet
architecture.arqhys.com/architects/antoniobonet-biography...
ANTONIO BONET. In 1942, Bonet participates in the constitution of the Organization of the Integral House in the Argentine Republic. The idea of the formation of its work ties it with the ideas suggested by Him Corbusier throughout the process of preparation of the Plan of Buenos Aires. "the routine servitude of conception submissive the outsider does not exist any worthy of consideration argument seriously nor even in that some Argentineans live" So that the initial note of a universal modulation does not take place in our country, whose hope appears in the immediate perspective of the world: on the area in catastrophe of the cities martyred by the war, the genius of the man already begins to project the new forms of the human coexistence. On the contrary, the essential circumstance of our historical youth and the one of our adventurous peace, locate to us in the moral obligation to create new forms of life anticipating us to whatever of project and of dream it even subsists in a world of towns in flames and ruins. This thought of Bonet, is taken from the N° Notebook 1 of OVRA, titled Study of the Contemporary Problems for the organization of the integral house in the Argentine Republic. Without a doubt, the text gathers part of the optimism of the Austral Group. But while this one was directed to the architects and its problems, in the OVRA manifesto the horizon is ampler, next to certain discovered nonfree of messianism of the American, coincident with other similar initiatives in other places of the continent.
Reflections of Antonio Bonet on the architecture: "the architectonic elements that will form the new city will be formed by a series, numerous, of structures little systematized. Those structures will be able to arrive to the maximum from their aesthetic, technical perfection and economic, since besides to be placed in free lands, its study must be based on the progressive improvement of such types, so as it has become in the great architectures of the past. Within those structures, that will be the expression of the effort of the social man, to obtain the order and the harmony of its time, never will be obtained to a freedom reached after the development of the life of the man like individual, and the one of its institutions. It is well certain that we are even far from that stage, But does not fit doubt that once demonstrated that the modern buildings can be developed in simple structures, more and more seemed to each other, it will make the importance powerful of this system. Those buildings will be used and the equipped for but diverse uses, without aging with it, although they will have to work at a time whose social programs, industrial, etc., are in permanent evolution. I am going to finish with the confession of my conviction of which to group the programs for the unification of the structures, is something enormously difficult, but some is no doubt that it is the way that will take us forms to the true architectonic of our time. in that the diverse social programs will be developed freely, cultural hygienic, etc., that must form the structure of the new society.
Old Fuzzy.
Pen and ink on paper.
Copyright © 2012 by Ian J MacDonald. Permission required for any use. All rights reserved
The story of Old Fuzzy.
Once the life of the party and the center the home, OF always had an audience. He was born a true entertainer and loved the attention and the crowds. A sharp snap of his On switch and his dial lights glowed and brightened until he was fully warmed up and in his best voice.
Old Fuzzy played all the greats: the hottest big bands, the smoothest, velvetiest crooners, all the news fit for consumption, the tops of the pops stars, storied ball games, and endless hours of radio shows. Fuzzy consoled the family during the war. He was the trusted source for news of the thrusts and retreats of the fighting men overseas. His dial light glowed a soft orange onto the faces of the family as they brooded close to him, hanging on every word President Roosevelt...and later "Give Em Hell" Harry spoke, during nights with shades pulled tight and lights snuffed to deny enemy bombers any easy targets. When the war ended and dad returned home Old Fuzzy was the center of celebration, triumphantly playing at full volume while people danced in the living room.
Time, as it does, marched forward and technology and music changed. The Atomic Age arrived along with new wars, Civil Defense announcements...and new music! Good golly Miss Molly how things changed! Bands increasingly played without horns... only guitars, drums and basses...maybe a piano. Instruments became electric and louder, tempos increased and the bass drove the sound. Some guy with gyrating hips and legions of screaming girls played on every station! On the few stations where that young fellow in blue suede shoes wasn't playing, stern old reverends were lamenting the immorality of it all and warning of hell's fires for the young ladies led astray by his hips.
The Victrola was never any real competition for Fuzzy. However the coming of the transistor signaled the beginning of the end for Old Fuzzy. The Hi-Fi set gradually replaced Old Fuzzy's fine "Golden-Throated Monaural" technology. LPs and solid state circuitry came home to the shelf next to Fuzzy and they could play raucous Rock and Roll music much louder and clearer, just like ringing a bell. A new sound called Stereo filled the home with peace...but Old Fuzzy didn't love it despite the fact that it was all you apparently needed. The final straw was Frequency Modulation that the newest Hi-Fi recieved. FM was crystal clear, was in stereo and had no static at all...no static at all! Fuzzy couldn't recieve it. Fuzzy thought they'll miss me when they can't recieve shortwave bounced off the ionosphere from other countries around the world. Nope, they didn't.
The tube tester was removed from the corner drug store and the radio store stopped carrying vacuum tubes. Now they could only be gotten from old Russian military surplus - the enemy that Old Fuzzy used to play civil defense drill warnings for, and now he was using their tubes. The soft light of tubes were fading and for a while he made a interesting plant stand. Eventually Fuzzy was relegated to the basement where he has sat ever since miserably pondering how it all came to this. Once he was swinging on top of the world and now a moldy relic too interesting to throw away but too old to be in the living room anymore.
Fuzzy's small consolation is that the record player, reel-to-reel, 8-track and cassette players all found their way to the county electronics recycling day. Fuzzy's deco styling, beautiful mahogany and maple veneers, Bakelite and mother-of-pearl inlays, made him too handsome for that. Thus he sits and hopes that maybe some day some hipster will haul him out again. After all fads come and go, but back in the good old days there was true style and true style never goes out of fashion!
See the others here: www.flickr.com/photos/ianmacdonald/sets/72157629372584685...
Jean Badovici studied architecture in Paris after World War I. Since 1923 he edited the important French magazine for avantgarde architecture L'Architecture Vivante. In Roquebrune-Cap-Martin he assisted Eileen Gray - they were lovers until 1932 - in designing and constructing a home for them, one of the important buildings of the International style, E1027:
E - Eileen
10 - Jean is the tenth letter in the alphabet
2 - Badovici is the second letter
7 - Gray is the seventh letter in the alphabet
E1027 is a modernist villa in the Alpes-Maritimes department of France. It was designed and built from 1926-29 by the Irish architect and furniture designer Eileen Gray.
L-shaped and flat-roofed with floor-to-ceiling windows and a spiral stairway to the guest room, E1027 was both open and compact. This is considered to be Gray's first major work, making indistinct the border between architecture and decoration, and highly personalized to be in accord with the lifestyle of its intended occupants.
“The poverty of modern architecture stems from the atrophy of sensuality. Everything is dominated by reason in order to create amazement without proper research. We must mistrust pictorial elements if they are not assimilated by instinct. It is not a matter of simply constructing beautiful ensembles of lines, but above all, dwellings for great people.” - Eileen Gray
E1027 was the first architectural work of the designer Eileen Gray, completed in 1929 when she was 51 years old. It was a pioneering and accomplished work of the modern movement in architecture, putting into practice ideas that were still new. More than that, it brought essential qualities into building that other modernists lacked. Gray talked of creating “a dwelling as a living organism” serving “the atmosphere required by inner life”. “The poverty of modern architecture,” she said, “stems from the atrophy of sensuality.” She criticised it for its obsession with hygiene: “Hygiene to bore you to death!”
E1027, which was built for Gray and her lover, Jean Badovici, grows from furniture into a building. She created a number of pieces of loose and built-in furniture for the house and installed others that she had previously designed, always with close attention to their interaction with the senses and the human body. She created a tea trolley with a cork surface, to reduce the rattling of cups, another trolley for taking a gramophone outside, and the E1027 table, whose height can be adjusted to suit different situations.
The house contained the Transat, a kind of exalted deckchair, and the Bibendum, which engulfs you in thick squishy tubes. She built a series of cupboards and storage units with minute consideration of such things as the way that the light falls on their contents, the integration of electrical fittings and radiators, the way that drawers might open on a corner, the arrangement of mirrors that would allow you to see the back of your head.
Such thinking expands into the building, with small windows located to allow a view when lying down, shutters allowing complex modulations of shadow and breeze, and the positioning of a fireplace next to large glass doors so that you can see firelight and natural light at once. A water tank, a humble functional thing, is placed so that it forms a shelter for an external dining area underneath. A rooftop glass enclosure for a spiral stair is a delicate work of steel and glass, also furniture-like.
The organisation of the house as a whole is then based on her studies of wind and sun, and on its position on a steep slope descending to the sea. The building is mostly white outside, its interior modulated with planes of slight pink or eau-de-nil, or a nocturnal blue or black. These colours are maritime, but subtly so, such as you might see in deep water, inside a seashell or after sunset. There is an acute awareness of surfaces, both inside and out, and their degrees of shine or roughness. On the back wall of the main living space, playfulness being part of her armoury, she placed a large nautical chart. This, she said, “evokes distant voyages and gives rise to reverie”.
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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.
What is Neuromodulation Therapy? youtu.be/qTI6lwoDNl4 What is Neuromodulation Therapy? and how does it work ? Neuromodulation therapy is a type of technology that acts directly upon nerves. It is the direct modulation of nerve activity through electrical or pharmaceutical stimulation directly to a target area. Neuromodulation works by using electrical stimulation to improve control of an existing part of the nervous system. Examples include spinal cord stimulation systems used for chronic pain management that block pain signals to the brain and gastric stimulation systems, which are used to block the signals of hunger. There are three different types of neuromodulation therapy: • Deep brain stimulation (DBS) • Transcranial magnetic stimulation (TMS) • Vagal nerve stimulation Deep brain stimulation (DBS) This involves the placement of an electrode inside the brain with a wire running down the neck connected to a battery pack or pulse generator under the skin in the chest or abdomen. Currently used to treat Parkinson's disease, epilepsy, stroke and severe obsessive compulsive disorders. Research is underway into its use to treat obesity, Tourette's syndrome, anorexia, addictions. Transcranial Magnetic Stimulation When a strong, rapid current is passed through a stimulating coil (top), a rapidly changing magnetic field is produced, which induces current into the brain (bottom). Transcranial magnetic stimulation (TMS) This involves the application of a magnetic field to induce electrical currents into the brain. It is a non-invasive procedure. Currently used in several countries to treat depression, or to enhance cognitive functions such as attention, understanding, perception. Future applications may include treatment for severe migraines. There is significant interest in the development of TMS to enhance mood and cognitive skills such as problem-solving and memory. TCMS requires hospital visits 5 x 40 min visits each week for up to six weeks As a result of this ion flow, action potentials are triggered in neurons that are within the induced current field, along with a subsequent period of deactivation, presumably through prolonged IPSPs. Because normal ongoing brain activity is disrupted by this induced current, TMS provides a way for investigators to produce a transient and reversible period of brain disruption or “virtual lesion.” Thus, unlike other experimental techniques [e.g., functional magnetic resonance imaging (fMRI), electroencephalography (EEG)/event-related potentials (ERPs)], TMS can assess whether a given brain area is necessary for a given function rather than simply correlated with it. Vagus Nerve Stimulation Used to treat refractory epilepsy, produces a 40% reduction in fits in 40% of patients Vagus nerve is both motor and sensory Brain-machine interfaces (BMIs) devices that detect intent—typically intended movement—from brain activity, and translate it into an output action, such as control of a cursor on a screen or a robotic arm. 1) acquiring a neural signal that can be consciously controlled; 2) analyzing that signal to identify an intended motor output; and 3) executing the intended action NeuroPharmaceuticals is an emerging field of therapy, applied through the use of devices combined with pharmaceuticals, particularly for cognition and emotional treatments. Examples include pumps for baclofen to treat spasticity or morphine for chronic pain. Intrathecal pump delivers medication to spinal fluid. There is no feedback loop. www.neuromodulation.com/ en.wikipedia.org/wiki/Neuromodulation_(medicine) weillcornellpainmedicine.com/health-library/neuromodulation neuromodulation devices neuromodulation journal neuromodulation medtronic neuromodulation companies neuromodulation surgery neuromodulation technique neuromodulation medical devices neuromodulation implant neuromodulation therapy neuromodulation therapies
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.
Op-Ed Daily Times
Dr Ghulam Nabi Kazi
MARCH 31, 2021
She was a princess while her mother was the uncrowned queen of broadcasting in Pakistan. The mother Mohini Das had joined All India Radio in 1938 at the age of 16 years as a drama artist and later compere its children’s program from Lahore with the pseudonym “Apa Shameem”. She would perform the latter role for an uninterrupted 39 years. Meanwhile she married Mr. A. Hameed and came to be called Mohini Hameed. On Independence in 1947, she became the first woman broadcaster of Pakistan, and soon came to be known as the Nightingale of Broadcasting. In 1948, her princess given the name of Kanwal was born.
The Radio Pakistan, more specifically its boss Mr. Ahmed Shah ‘Patras’ Bokhari was impressed by her speeches and recognized the gifts within her, making sure her talents were utilized almost everywhere; be it in dramas and special announcements or other work. By 1963, BBC was calling Mohini Hameed the Golden Voice of Asia and she was decorated twice by the President of Pakistan with the ‘Tamgha-e-Imtiaz’, in addition to several other awards and accolades. Meanwhile her daughter Kanwal had taken to broadcasting since she was only seven years old from Radio Pakistan, Lahore.
The President of Pakistan Mohammad Ayub Khan indicated his willingness to inaugurate the television project in Lahore on November 26, 1964 and it was only that day that when a senior radio producer Mr. Fazal Kamal, who had been assigned to PTV, realized that only with two fixed cameras in the studio and with Mr. Tariq Aziz escorting the Presidential entourage, there would be no announcer within the studio to go live. He hurried to Mohini Hameed and said, “Apa, can we avail the services of Kanwal for just one day as she is quite articulate. I promise we will make the necessary arrangements from tomorrow onwards.” Kanwal Hameed was then only 16 or exactly the same as her mother’s age when the latter started her broadcasting career!
The initial announcement was terse, simple and delivered in flawless Urdu: “Assalam-o-Alaikum – this is Kanwal Hameed. I welcome you to the NEC Pilot Project and congratulate you on the launching of television in Pakistan.” As she would later recall, by the time she said this, the young Kanwal had nearly passed out as President Ayub Khan along with the Governor of West Pakistan the Nawab of Kalabagh, Foreign Minister Zulfikar Ali Bhutto and Finance Minister Muhammad Shoaib, in addition to several other dignitaries had entered the studio and were standing behind her.
Furthermore, her lovely voice modulations, perfect pronunciation and equal ease with which she could speak in English, Urdu or Punjabi soon made her a household name in Pakistan. Not yet realizing her potential and the mentorship capacity of Mr. Aslam Azhar, Kanwal made her mark very soon. The ‘arrangements’ promised by Mr. Fazal Kamal to her mother never materialized and were doomed to failure as nobody was good enough to replace her. Kanwal Hameed, later assuming the name of Kanwal Naseer on marrying an Army officer, would remain in Pakistan Television not just as an announcer but as an anchor, newscaster, drama artist and program compere as well. Her association with television and broadcasting would last for over 57 years until the time of her death.
Still in her teens, Kanwal had the good fortune to interact with personalities such as Madam Noor Jehan, Amanat Ali Khan, Reshma and Mehdi Hassan who had enchanted the country with their melodious voices. Her life was caught up between home, school, radio and later television. Faiz Ahmed Faiz lived very near the radio station and his daughter Moneeza would compere a children’s programme on every Sunday. She also came in touch with famous people like Yasmin Tahir, Naeem Tahir, Khalid Saeed Butt, Dr Anwar Sajjad and Ejaz Shafi. After a long innings with PTV she retired but remained associated with the organization in many ways. Like her mother, she was also decorated twice by the President of Pakistan. Kanwal Naseer’s name is today synonymous in Pakistan with television and broadcasting. Following in her mother’s footstep, Kanwal Naseer became a legend in her own right. She also worked as a stage compere in countless events, mainly in the Pakistan National Council of the Arts.
I first met Ms. Kanwal Naseer around three years ago in 2018 during the course of our organization’s End-TB efforts, which revealed to me the humanist side of her nature. She soon acquired the position of a celebrity Stop TB Ambassador and was so comfortable and knowledgeable with Tuberculosis facts that it was apparent she was absolutely dedicated to the elimination of this disease. She injected life even into listless sentences and read them with such emotion and passion that could mobilize her listeners to action. She was at the height of her maturity and would always perform at her best in any undertaking. Later on she linked up with Mr. Farooq Qaiser of Uncle Sargam fame to develop some marvelous skits that could easily appeal to the audience of any age group in Pakistan, as all of us have seen these eminent personalities ever since we were growing up. She never had any qualms or inhibitions about traveling to far flung places with us to organize TB awareness sessions in association with governmental authorities. We never failed to notice her attention to detail in all respects on all occasions be it in her speeches or demeanor. What struck us the most was her modest and down-to-earth nature. She always focused on the realities of life, and pride or self-importance were never a part of her character. She also had a very charitable nature known to her entire neighborhood. Wherever she accompanied us, she would run into persons who knew her and were evidently in awe of her. However, her disarming nature always made them very comfortable. She was always very proper, dignified and embodied the portrait of a lady!
Even during the COVID-19 pandemic, which struck Pakistan around 12th March 2020, did not deter her from planning World TB Day activities on and around the 24th of March last year. I last met her in early March this year and though absolutely fit, she seemed to have lost a lot of weight. Around that time, she jokingly told a female colleague of mine that when I die you must come to my place and weep. The remark was made in a light vein and was dismissed accordingly. This year, despite being on her deathbed, TB was on her mind. When I went for a radio talk on the SunoFM channel on World TB Day, I was deeply touched about her comments concerning myself to the compere of the program that very morning while she was in the Intensive Care Unit. And the next day she was gone! It came as a sharp blow to all of us just as if we had lost a family member. Condolences came from far and wide including Dr Lucica Ditiu the Executive Director of the Geneva-based Stop TB Partnership and several others. If I could take the liberty to just change a few words from Shakespeare to sum up a tribute to her unique personality, it would be:
Her life was gentle, and the elements
So mix’d in her that Nature might stand up
And say to all the world, “This was a woman!”
Farewell Ma’am Kanwal Naseer – we will always remember your wonderful accomplishments and health efforts with enormous gratitude and not allow them to go in vain!
The writer is a senior public health and public policy expert in Pakistan and can be reached at gnkaziumkc@gmail.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.
This shot used two remote controlled speed lights. One was tripod mounted to her left at about the 11 o'clock position and one set on the ground behind her. Unfortunately, almost right out of the gate, one of the lights started having issues which included a combination of over flashing and inability to respond to decreased power settings. I think the light may have lost modulation capability. So I had to abandon a lot of the planned pics for this set.
Free download under CC Attribution (CC BY 2.0). Please credit the artist and rawpixel.com
Hu Zhengyan (c. 1584-1674) was a Chinese traditional painter, calligrapher, seal carver and publisher during the transition of the Ming and Qing dynasties. He produced China’s first printed publication in color, and was famous for his incredible techniques achieving gradation and modulation of shades in woodblock prints.
Higher resolutions with no attribution required can be downloaded: rawpixel
Video HERE
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Features:
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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.
Musée des Arts et Métiers. Paris. France
Used by:
itallstartswithasong.wordpress.com/2012/10/10/targeting-t...
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www.storystudiochicago.com/2012/12/pbr-and-npr-merging-st...
Free download under CC Attribution (CC BY 2.0). Please credit the artist and rawpixel.com
Hu Zhengyan (c. 1584-1674) was a Chinese traditional painter, calligrapher, seal carver and publisher during the transition of the Ming and Qing dynasties. He produced China’s first printed publication in color, and was famous for his incredible techniques achieving gradation and modulation of shades in woodblock prints.
Higher resolutions with no attribution required can be downloaded: rawpixel
Free download under CC Attribution (CC BY 2.0). Please credit the artist and rawpixel.com
Hu Zhengyan (c. 1584-1674) was a Chinese traditional painter, calligrapher, seal carver and publisher during the transition of the Ming and Qing dynasties. He produced China’s first printed publication in color, and was famous for his incredible techniques achieving gradation and modulation of shades in woodblock prints.
Higher resolutions with no attribution required can be downloaded: rawpixel
Free download under CC Attribution (CC BY 2.0). Please credit the artist and rawpixel.com
Hu Zhengyan (c. 1584-1674) was a Chinese traditional painter, calligrapher, seal carver and publisher during the transition of the Ming and Qing dynasties. He produced China’s first printed publication in color, and was famous for his incredible techniques achieving gradation and modulation of shades in woodblock prints.
Higher resolutions with no attribution required can be downloaded: rawpixel
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/
Cycles is a unique step sequencer for crafting complex and experimental percussion patterns on the iPad. This is a proof of concept in the early stages of development.
On Friday 2nd December 2016 I was down in London-town for the service to mark the memorial stone to Philip Larkin in Westminster Abbey's Poet's Corner. Quite a day out, revived lots of memories of my days in the Smoke.
DAYS
What are days for?
Days are where we live.
They come, they wake us
Time and time over.
They are to be happy in:
Where can we live but days?
Ah solving that question
Brings the priest and the doctor
In their long coats
Running over the fields.
A favourite Larkin poem and one of several read at the dedication service held in Poets Corner in the architectural and theistic splendour of Westminster Abbey. It was read quite superbly by Sir Tom Courtenay whose vocal modulations and control brings a deeper clearer meaning to everything he does.
The memorialising followed Evensong in the North Lantern of the Abbey. On the way-in I exchanged a few words with Alan Bennett, as he rested on a bench close to Abbey entrance, though as I was saying to Prince Philip only the other day I have an abiding aversion to name-droppers. Anyway,
I enquired of our greatest living diarist whether he was here for Mr. Larkin? No he replied, I'm just waiting, just waiting'. I passed on, a little surprised remembering that in the introduction to his most recently published bible-sized volume (Keeping On Keeping On) he recounts his fishing expedition through Larkins Whitson Weddings in search of a title for this latest iteration of his diaries. Larkin has failed the test it would seem. And in retrospect his remark seems strange as in due course he sat with Melvyn Bragg in one of the best seats in the house. Still it was good to see them turning out to add some northern heft to the proceedings, Baroness Bottomley was good value too, and I noticed Anthony Thwaite who read from Larkins great poem 'Church Going' (A serious house on serious earth it is) was accompanied by his lovely wife the biographer Anne. Anthony Thwaite is one of Larkin's literary executors, a duty shared with the best of our recent Poet Laureate's - Andrew Motion, who was as far as I could see not in attendance, nor was (with the same caveat), James Booth the most recent of Larkin's biographers.
Grayson Perry read from Letters to Monica and was much enjoyed, this being the first time I have seen him out of girly weeds while just opposite me sat Lord Saatchi, I must admit it took me a while to match his name and face and he had about him that slightly foxed expression suggesting he was grappling with a similar problem regarding me!
Other readers performed over Philip's stone as we all crowded around Chaucer's tomb and all the markers to the great poets of our ages: the recent seem to catch the eye most - Auden, D H Lawrence and Ted Hughes are prominent though its possible Larkin might not be overjoyed at being next to Ted 'the incredible hulk', he called him. Yet death equals us all out and has some claim to a democracy and I reckon Philip Larkin would be pleased to know he made it in the end, on this the 31st anniversary of his death. It took Shakespeare a lot longer than that.
Philip Larkin 1927 - 1985.
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Hu Zhengyan (c. 1584-1674) was a Chinese traditional painter, calligrapher, seal carver and publisher during the transition of the Ming and Qing dynasties. He produced China’s first printed publication in color, and was famous for his incredible techniques achieving gradation and modulation of shades in woodblock prints.
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Free download under CC Attribution (CC BY 2.0). Please credit the artist and rawpixel.com
Hu Zhengyan (c. 1584-1674) was a Chinese traditional painter, calligrapher, seal carver and publisher during the transition of the Ming and Qing dynasties. He produced China’s first printed publication in color, and was famous for his incredible techniques achieving gradation and modulation of shades in woodblock prints.
Higher resolutions with no attribution required can be downloaded: rawpixel
Free download under CC Attribution (CC BY 2.0). Please credit the artist and rawpixel.com
Hu Zhengyan (c. 1584-1674) was a Chinese traditional painter, calligrapher, seal carver and publisher during the transition of the Ming and Qing dynasties. He produced China’s first printed publication in color, and was famous for his incredible techniques achieving gradation and modulation of shades in woodblock prints.
Higher resolutions with no attribution required can be downloaded: rawpixel
Free download under CC Attribution (CC BY 2.0). Please credit the artist and rawpixel.com
Hu Zhengyan (c. 1584-1674) was a Chinese traditional painter, calligrapher, seal carver and publisher during the transition of the Ming and Qing dynasties. He produced China’s first printed publication in color, and was famous for his incredible techniques achieving gradation and modulation of shades in woodblock prints.
Higher resolutions with no attribution required can be downloaded: rawpixel
Free download under CC Attribution (CC BY 2.0). Please credit the artist and rawpixel.com
Hu Zhengyan (c. 1584-1674) was a Chinese traditional painter, calligrapher, seal carver and publisher during the transition of the Ming and Qing dynasties. He produced China’s first printed publication in color, and was famous for his incredible techniques achieving gradation and modulation of shades in woodblock prints.
Higher resolutions with no attribution required can be downloaded: rawpixel
I suppose I could have saved this for October, but as it presented itself today, I figured I'd get to it now.
My son and I were watching Don't Look Back today, when I decided to go through my collection of cassette recordings of Bob Dylan I amassed many years ago. This one is an audience tape from the very first Dylan show I attended. Upon seeing the ticket, I couldn't believe that even as long ago as 1978, a Dylan ticket went for only $10.00.
I was in school at Bowling Green State University at the time, and a bunch of us made the thirty-mile drive to Toledo to see the show. I smuggled my tape recorder in beneath my coat and we snuggled in to our Centennial Hall (which is called something else now, I believe) seats, almost even with Dylan's stage position, in the mezzanine section to stage left.
I had recorded concerts before but I was very much looking forward to this one as I was a pretty serious player in the Dylan "underground" tape scene at the time. The tour was in promotion of his Street Legal LP, but much of the media reports had been focused on Dylan's "Vegas" presentation. He dressed in a white, spangly jumpsuit (à la Elvis) and was rather caked in eye makeup. I don't recall if he wore his leather jacket for the shows I saw (I saw him the next night in Dayton as well), but he is wearing it in many of the photos I've seen from the tour over the years. Another of the knocks that the media was laying on Dylan at the time regarded his (sometimes major) overhauling of the arrangements of many of his better-known songs.
My tape recorder wasn't the best, nor was the microphone I had with me, and as I didn't think to bring a flashlight to look at my recorder's VU meter (I guess it wasn't that bad of a recorder if it had one of those, huh?), I had to record the show on Auto-Level, which tended to not be able to make quick recoveries when the music made transitions from loud to quiet and vice versa. Still, I would find when I listened to the show upon getting home that my recording wasn't horrible.
Also upon returning home, however, I discovered that my tape of the first half of the show was missing. I about had a heart attack. I had taken two 90-minute tapes with me with the plan of flipping the first one over at about the 40-minute mark, hoping to avoid running out of tape mid-song. I also brought a second set of batteries with me to avoid running out of juice mid-show. The only thing I apparently hadn't planned on was tucking the first tape safely away so that it wouldn't get dropped and lost, which is what seems to have happened.
That week, I placed a classified ad in the University of Toledo student paper looking for the lost cassette, and lo and behold, I got a call from someone who had only the first half of the show. I was suspicious at first that he had found my tape, but when I met him to get the recording, he showed me his recorder and told me how he'd run out of battery power. As I recall, the brand of tape was of a lower grade than I'd used, so it was just dumb luck that we each had each other's missing halves. In return for his half of the show, I gave him a copy of my tape so that he would also have a full show.
A couple of days later, I got another call from someone else who had recorded the show – in stereo – from the arena's floor with what was probably the top-of-the-line Nakamichi tape deck, with what seems to have been high-quality microphones. (A trader friend of mine in Nürnberg still tells me that this is one of his favourite recordings from that tour.) I went to his house and he dubbed a copy of the show for me and I was ecstatic, particularly because his audio levels were perfectly set, which meant that his recording of "Tangled Up In Blue" was flawless.
"Tangled Up In Blue" was one of the songs which Dylan reworked in a major way. It sounded nothing like the original Blood On The Tracks version and for my money, the new arrangement was better. It featured Dylan on electric guitar, Steve Douglas on Saxophone and Alan Pasqua on the swirling, swelling Hammond B3 organ. It was genius. I loved it!
Several times a week, I would receive recordings from other concerts from the tour and the first thing I did was to fast forward to "Tangled Up In Blue" to see how it compared with the Toledo offering. The rendition from the concert the night before in Cleveland was respectable, but Toledo was better. Dayton (a show I also attended and recorded) was pretty good, but didn't quite meet the Toledo standard. (Actually, nothing before Cleveland even came close.) A week later, a friend recorded the show in Carbondale, Illinois, however, that – despite one moment of over-modulation in the recording – remains my favourite performance of the song from the tour.
As Dylan got deeper into the tour (Toledo was 26th of 65 cities/dates) , the shows became more automatic and less "different," except that Dylan began talking a bit more between songs, and began making frequent changes to lines in "Tangled Up In Blue," substituting "Then she opened up a book of poems / And handed it to me / Written by an Italian poet / From the thirteenth century..." to (variations of) "Then she opened up the Bible / And she started quoting it to me / Jeremiah, Chapter 13 / Verses 21 and 33..." (This, of course, was just prior to his infamous conversion to Christianity.)
Thanks to YouTube, there is a recording online of "Tangled Up In Blue" from later in the tour, in Charlotte, North Carolina. Dylan's voice was raspier and less singer-ly than his Toledo appearance, but the arrangement is the same. [Update: recording removed]
Free download under CC Attribution (CC BY 2.0). Please credit the artist and rawpixel.com
Hu Zhengyan (c. 1584-1674) was a Chinese traditional painter, calligrapher, seal carver and publisher during the transition of the Ming and Qing dynasties. He produced China’s first printed publication in color, and was famous for his incredible techniques achieving gradation and modulation of shades in woodblock prints.
Higher resolutions with no attribution required can be downloaded: rawpixel
Free download under CC Attribution (CC BY 2.0). Please credit the artist and rawpixel.com
Hu Zhengyan (c. 1584-1674) was a Chinese traditional painter, calligrapher, seal carver and publisher during the transition of the Ming and Qing dynasties. He produced China’s first printed publication in color, and was famous for his incredible techniques achieving gradation and modulation of shades in woodblock prints.
Higher resolutions with no attribution required can be downloaded: rawpixel
See the most recent month of data at
www.flickr.com/photos/eastpole/6312718230/in/photostream
Grey bar represents the theoretical maximum capacity at the time.
2008 saw the total wind power generation capacity in Ontario double (again -- it also doubled in 2007.) On the best day, we can now exceed 800 MW. On the worst day, the entire province's wind turbines put out, basically, 0 MW.
Can the rest of the system adapt to this variability?
So far, of course it can. Note that the power generators already need to deal with demand variability that can go from 13 GW to 25 GW daily. You can see some of this output modulation occurring at a coal plant:
www.flickr.com/photos/eastpole/3064004004/
And it turns out natural gas power plants can and do modulate up and down much faster than coal plants, so the replacement of coal with natural gas means more stability for the grid, as well as cleaner emissions and somewhat less CO2 per kilowatt*hour. In Ontario, this replacement is almost complete.
Note that Ontario gained additional ability to handle load and wind variability on 11 Sep 2013 when OPA introduced curtailment, a policy that lets the system operator turn off production at wind farms when demand is low and total production is higher than needed.
www.energy.gov.on.ca/index.cfm?fuseaction=english.news&am...
Scripty goodness, based on data from:
www.theimo.com/imoweb/pubs/marketreports/download/HourlyW...
#!/bin/sh
# Datasource:
# www.theimo.com/imoweb/pubs/marketreports/download/HourlyW...
logfile="/home/tai/bin/HourlyWindGen_20090106.csv"
lineswanted=`cat $logfile | wc -l | tr -d " "`
output="/home/tai/bin/ontario-wind.png"
spline="1E-21"
/usr/bin/gnuplot << EOF
# A Gnuplot script, ontario-wind.plt
set terminal png giant size 1024,768 nocrop
# set terminal dumb
set output "$output"
# set output
set title "IESO data from all Ontario wind farms \n generated by $0 at `date +"%F %T"` \n from $lineswanted lines of $logfile"
set xdata time
# set timefmt is for INPUT
# 1205349849
# set timefmt "%s"
# 2008-03-12 15:06:56
# set timefmt "%Y-%m-%d %H:%M:%S"
# 2008-03-12
# set timefmt "%Y-%m-%d"
set timefmt "%d-%b-%y,%H"
# 16/12/08 24 222 # is that right!??
# 31-Dec-08,24,78 # that looks more like it.
#
# set format x is for OUTPUT
set format x "%b%y"
set datafile separator ","
set ylabel "Megawatts"
# set yrange [15:70]
# set xrange ["15/02/06":"15/01/09"]
set xlabel "Date"
# Linestyle!
set style line 1 lt 2 lw 4 lc rgb "#1111FF"
# Why is it 1:3? Note space within date. $2 is the time column
# \ because we must escape the shell var name. Wheee!
plot "$logfile" using 1:(\$3) \
with points \
pointsize 0.3 \
title "Total wind farm output", \
"" using 1:3:($spline) \
smooth acspline \
with line ls 1 \
title "spline fit"
EOF
Free download under CC Attribution (CC BY 2.0). Please credit the artist and rawpixel.com
Hu Zhengyan (c. 1584-1674) was a Chinese traditional painter, calligrapher, seal carver and publisher during the transition of the Ming and Qing dynasties. He produced China’s first printed publication in color, and was famous for his incredible techniques achieving gradation and modulation of shades in woodblock prints.
Higher resolutions with no attribution required can be downloaded: rawpixel