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Il 24 ottobre al Teatro Sociale di Como, Mika rivisiterà il suo repertorio di successi e proporrà nuove canzoni in chiave sinfonica con l’orchestra “Affinis Consort”, diretta da Simon Leclerc, creata appositamente per l’occasione da 81 professionisti internazionali: 65 strumentisti e 16 coristi.
Lo spettacolo nasce dal desiderio di Mika di replicare in Italia l’incredibile esperienza dei tre concerti sinfonici tenutisi a Montréal lo scorso febbraio, in cui ha confermato la sua versatilità e la qualità del suo repertorio pop, anche in chiave classica.
Il concerto arriva dopo i grandi successi estivi al Fabrique di Milano, al Teatro Antico di Taormina e all’Arena della Regina di Cattolica e le prossime tre date nei palasport di Milano (27 settembre), Roma (29 settembre) e Firenze (30 settembre). Le prevendite per la serata speciale partiranno da giovedì 1 ottobre.
Simon Leclerc è un affermato compositore di colonne sonore per la Paramount e direttore d’orchestra canadese a cui Mika ha affidato l’arrangiamento in chiave classica del suo repertorio. Dopo i concerti di Montreal, Mika ha entusiasticamente dichiarato: “Provenendo io stesso da una formazione professionale classica, per me è straordinario sentire le mie canzoni nelle veste classica che Simon ha dato loro, perché nella mia mente, le ho sempre immaginate così!”
Dal piccolo ensemble alla grande orchestra sinfonica. Dalle fondamenta classiche alle contaminazioni contemporanee e pop.
Affinis Consort racchiude nel suo dna la multiformità del suo essere.
L'unione di mondi, il Canada e l'Italia. Il superamento dei confini geografici e culturali. Il connubio e la condivisione delle esperienze che ogni singolo musicista porta sul palco, elevando le affinità.
Parma is a city in the Italian region of Emilia-Romagna famous for its ham, its cheese, its architecture and the fine countryside around it. This is the home of the University of Parma, one of the oldest universities in the world. Parma is divided into two parts by the little stream with the same name. Parma's Etruscan name was adapted by Romans to describe the round shield called Parma.The Italian poet Attilio Bertolucci (born in a hamlet in the countryside) wrote: "As a capital city it had to have a river. As a little capital it received a stream, which is often dry". The district on the far side of the river is Oltretorrente.
Parma è un comune italiano di 186.000 abitanti, capoluogo dell'omonima provincia in Emilia-Romagna.Antica capitale del ducato di Parma e Piacenza (1545-1859), la città di Parma è sede dell'omonima università.Sul territorio comunale sono presenti numerosi parchi, giardini e aree verdi, alcuni di notevole pregio storico e architettonico. La percentuale di verde urbano sulla superficie comunale è pari all'1,8% (ossia circa 4,68 km²) mentre ammonta a 26,6 m² il verde urbano per ogni abitante.] Il verde fruibile pro-capite nell'area urbana è di 14,57 m² per abitante e la città si è posizionata al 5º posto in Italia ed al 1º in Emilia-Romagna nel rapporto Ecosistema Urbano 2009. A Parma sono censiti 100.000 alberi, 28 milioni di m² di manto erboso, oltre 80 aree gioco per i bimbi allestite e situate in contesti verdi e una quarantina di aree dedicate ai cani.Le aristocratiche tradizioni ed una certa raffinatezza della vita sociale caratterizzano ancor oggi l'anima cittadina che si evidenzia in particolare con la passione dei parmigiani nei confronti della musica e dell'Opera, da secoli molto seguite ed apprezzate da vari strati della popolazione.Il primo letterato nativo di Parma di cui si abbia notizia fu Gaio Cassio Parmense (I secolo a.C.), appartenente ad una delle famiglie romane fondatrici della città e autore di tragedie ed elegie, ma la storia parmense si è col tempo arricchita del contributo intellettuale di numerosi artisti, poeti e pittori che ne hanno determinato l'intenso fervore nei confronti di multiformi interessi culturali, confermato dalla presenza in città di numerosi teatri, musei, manifestazioni e rassegne internazionali nel campo dell'arte e degli scambi commerciali. Benedetto Antelami, il Parmigianino, il Correggio, Ireneo Affò, Giovanni Battista Bodoni, Ferdinando Paër, Giuseppe Verdi, Arturo Toscanini, Ennemond Alexandre Petitot, Étienne Bonnot, abate di Condillac, Attilio Bertolucci, sono solo alcune delle personalità legate a Parma che hanno lasciato un'impronta importante nelle tradizioni artistiche e culturali cittadine.Parma fu magnificata da Stendhal che la visitò per la prima volta nel 1814 e la sognò nelle pagine della sua "Chartreuse" (La Certosa di Parma); successivamente fu desiderata da Marcel Proust nel suo Du côté de chez Swann (La strada di Swann).Nel XVIII secolo lo sviluppo dell'arte e delle istituzioni cittadine contribuirono a definire Parma "l'Atene d'Italia" mentre oggi, grazie al nuovo ruolo attribuitole all'interno dell'Unione Europea con l'assegnazione di un'importante agenzia comunitaria, la città sta preparando e progettando il proprio futuro in funzione di questa investitura destinata a produrre un processo di internazionalizzazione e crescita sociale e culturale, riaffermando l'antica tradizione di piccola capitale.
Specifications
Outside
The church is built over a cross-shaped floor plan. The focal point over the crossing is the central, slender dome on a high, octagonal drum with an octagonal lantern. The two three-storey façade towers are structured with pilasters and cornices, which in the lowest part enclose two figure niches and one window opening at the top. The capitals of the pilasters show Tuscan, Ionian and Corinthian forms in ascending order of the stories. The towers are crowned by high onion helmets. The oldest bell was cast in 1728 by Andreas Röder. The 900 kg crucifix and the 368 kg petrus bell were purchased in 1964. In the niches of the towers, three figures each are placed: at the north tower below a monk, probably St. Benedict or Francis of Assisi, above John the Baptist and on the outside a late Baroque Saint Ulrich. At the south tower are below the holy Ferdinand of Castile, above the holy Helena and outside a 1859 manufactured Antonius of Padua set. Between the towers, the curved façade on the ground floor has a rectangular porch above the entrance, on which stands an ecce homo group. The end of the central facade forms an aedicule with a figure niche, which contains an in 1929 by Jacob Campidell created figure of the Christ King in preacher gesture. On the underside of the portico is the multiform figure of Christ, painted in the first half of the 19th century. To the east of the northern facade tower is an oval connecting room that leads to the small, narrow-stretched Holy Cross Chapel with west choir, which is added on the north side of the church.
Inside
On the one and a half yoke long nave follows the crossing and the transept with semicircular apses. The two-bay choir ends in an apse and has on both sides of the second chancel square extensions with oratories on the upper floor. The walls are divided by pilasters with rich capitals, by a cranked, strongly projecting cornice with segmental arched windows above. Under the slightly swung organ loft, this shows the with "F. P. 1743" signed expulsion of the changers from the temple.
Baubeschreibung
Außen
Die Kirche ist über einem kreuzförmigen Grundriss gebaut. Mittelpunkt ist über der Vierung die zentrale schlanke Kuppel auf hohem, achteckigem Tambour mit einer achteckigen Laterne. Die zwei dreigeschossigen Fassadentürme sind mit Pilastern und Gesimsen gegliedert, die im untersten Teil zwei Figurennischen und oben je eine Fensteröffnungen umschließen. Die Kapitelle der Pilaster weisen in aufsteigender Folge der Geschosse toskanische, ionische und korinthische Formen auf. Die Türme werden von hohen Zwiebelhelmen bekrönt. Die älteste Glocke wurde 1728 von Andreas Röder gegossen. Die 900 kg schwere Kreuzglocke und die 368 kg schwere Petrusglocke wurden 1964 angeschafft. In den Nischen der Türme sind je drei Figuren aufgestellt: Am Nordturm unten ein Mönch, wohl der heilige Benedikt oder Franz von Assisi, oben Johannes der Täufer und an der Außenseite ein spätbarocker heiliger Ulrich. Am Südturm sind unten der heilige Ferdinand von Kastilien, oben die heilige Helena und außen ein 1859 gefertigter Antonius von Padua eingestellt. Zwischen den Türmen hat die eingeschwungene Fassade erdgeschossig einen rechteckigen Vorbau über dem Eingang, auf dem eine Ecce-homo-Gruppe steht. Den Abschluss der Mittelfassade bildet eine Ädikula mit einer Figurennische, die eine 1929 von Jacob Campidell geschaffene Figur des Christkönigs in Predigergestus birgt. Auf der Unterseite des Portikus ist die vielfigurige Anklage Christi gemalt, die in der ersten Hälfte des 19. Jahrhunderts entstand. Östlich des nördlichen Fassadenturms befindet sich ein ovaler Verbindungsraum, der in die kleine, schmalgestreckte Heiligenkreuzkapelle mit Westchor führt, die an der Nordseite der Kirche angebaut ist.
Innen
Auf das eineinhalb Joch lange Langhaus folgt die Vierung und das Querhaus mit halbrunden Apsiden. Der zweijochige Chor endet in einer Apsis und hat auf beiden Seiten des zweiten Chorjoches quadratische Anbauten mit Oratorien im Obergeschoss. Die Wände sind durch Pilaster mit reichen Kapitellen, durch ein verkröpftes, stark ausladendes Gesims mit segmentbogenförmigen Fenstern darüber gegliedert. Unter der leicht eingeschwungenen Orgelempore zeigt das mit „F. P. 1743“ signierte Gemälde die Vertreibung der Wechsler aus dem Tempel.
de.wikipedia.org/wiki/Heiligenkreuzkirche_Villach#Geschichte
Il Palazzo ex Reale venne acquistato nell'anno 1870 dal Demanio dello Stato per dismissione dei beni dell'ex Casa Reale, con le sue pertinenze, tra cui il Corpo di Guardia, che è l'attuale sede della Provincia.Dopo la Seconda Guerra Mondiale, demolito il Palazzo ex Reale colpito dai bombardamenti, il fabbricato, attuale sede della Provincia, venne prolungato verso Via Carducci; nella nuova ala si ricavò la Sala del Consiglio provinciale.Nell'edificio hanno sede il Presidente, alcuni assessori e uffici.
Parma is a city in the Italian region of Emilia-Romagna famous for its ham, its cheese, its architecture and the fine countryside around it. This is the home of the University of Parma, one of the oldest universities in the world. Parma is divided into two parts by the little stream with the same name. Parma's Etruscan name was adapted by Romans to describe the round shield called Parma.The Italian poet Attilio Bertolucci (born in a hamlet in the countryside) wrote: "As a capital city it had to have a river. As a little capital it received a stream, which is often dry". The district on the far side of the river is Oltretorrente.
Parma è un comune italiano di 186.000 abitanti, capoluogo dell'omonima provincia in Emilia-Romagna.Antica capitale del ducato di Parma e Piacenza (1545-1859), la città di Parma è sede dell'omonima università.Sul territorio comunale sono presenti numerosi parchi, giardini e aree verdi, alcuni di notevole pregio storico e architettonico. La percentuale di verde urbano sulla superficie comunale è pari all'1,8% (ossia circa 4,68 km²) mentre ammonta a 26,6 m² il verde urbano per ogni abitante.] Il verde fruibile pro-capite nell'area urbana è di 14,57 m² per abitante e la città si è posizionata al 5º posto in Italia ed al 1º in Emilia-Romagna nel rapporto Ecosistema Urbano 2009. A Parma sono censiti 100.000 alberi, 28 milioni di m² di manto erboso, oltre 80 aree gioco per i bimbi allestite e situate in contesti verdi e una quarantina di aree dedicate ai cani.Le aristocratiche tradizioni ed una certa raffinatezza della vita sociale caratterizzano ancor oggi l'anima cittadina che si evidenzia in particolare con la passione dei parmigiani nei confronti della musica e dell'Opera, da secoli molto seguite ed apprezzate da vari strati della popolazione.Il primo letterato nativo di Parma di cui si abbia notizia fu Gaio Cassio Parmense (I secolo a.C.), appartenente ad una delle famiglie romane fondatrici della città e autore di tragedie ed elegie, ma la storia parmense si è col tempo arricchita del contributo intellettuale di numerosi artisti, poeti e pittori che ne hanno determinato l'intenso fervore nei confronti di multiformi interessi culturali, confermato dalla presenza in città di numerosi teatri, musei, manifestazioni e rassegne internazionali nel campo dell'arte e degli scambi commerciali. Benedetto Antelami, il Parmigianino, il Correggio, Ireneo Affò, Giovanni Battista Bodoni, Ferdinando Paër, Giuseppe Verdi, Arturo Toscanini, Ennemond Alexandre Petitot, Étienne Bonnot, abate di Condillac, Attilio Bertolucci, sono solo alcune delle personalità legate a Parma che hanno lasciato un'impronta importante nelle tradizioni artistiche e culturali cittadine.Parma fu magnificata da Stendhal che la visitò per la prima volta nel 1814 e la sognò nelle pagine della sua "Chartreuse" (La Certosa di Parma); successivamente fu desiderata da Marcel Proust nel suo Du côté de chez Swann (La strada di Swann).Nel XVIII secolo lo sviluppo dell'arte e delle istituzioni cittadine contribuirono a definire Parma "l'Atene d'Italia" mentre oggi, grazie al nuovo ruolo attribuitole all'interno dell'Unione Europea con l'assegnazione di un'importante agenzia comunitaria, la città sta preparando e progettando il proprio futuro in funzione di questa investitura destinata a produrre un processo di internazionalizzazione e crescita sociale e culturale, riaffermando l'antica tradizione di piccola capitale.
(further pictures and information you can see if you go to the end of page and by clicking on the link...)
Belvedere
Belvedere Castle. Garden Front of the Lower Belvedere.
Belvedere Palace stands supposedly on the foundations of a Roman camp that had been erected here for strategic reasons. In 1693 Prince Eugene of Savoy acquired field and vineyard grounds between today's Rennweg and today's Gürtel. In 1700 Johann Lukas von Hildebrandt began with the construction of a palace garden (Lower Belvedere), whose in French-style layed out park was equipped with large water basins, an orangery with precious foreign plants and a menagerie. Prince Eugene was a great animal lover, and some animals in his collection could be fed exclusively by himself.
1720 the Prince conceived the plan the summer palace to supplement by a another palace building on the hill of the garden.
The 1721 by Johann Lukas von Hildebrandt begun works had been completed in 1724. The Upper Belvedere served in contrast to the Lower only representative purposes and was never meant to live.
The Prince and his architect managed a perfect symbiosis between architecture and garden. After the death of the Savoy (1736) inherited his niece Victoria of Savoy-Soisson, nee Princess Hildburghausen, all his possessions. From her the Habsburgs beginning of 1752 acquired the Belvedere. From 1755 Empress Maria Theresa moved the Arcierenleibgarde (Royal Company of the Archers) and the Galician Guard in the annex of the Belvedere. Besides, the castle stood almost empty.
Belvedere Castle. Engraving by Salomon Kleiner 1731/40 (left).
Vienna from the Belvedere. Coloured copper engraving by Carl Schütz, 1784 (right).
1770 Belvedere Palace was venue of brilliant festivities:
In castle and park the marriage of Archduchess Maria Antonia (Marie Antoinette) with the Dauphin of France by proxy (per procura) was celebrated. About 2,000 people were invited, more than 1,500 bottles of champagne, which was far from home in Vienna at that time,
were emptied. For hospitality of the guests, there were round tables, which were covered with silver. However, the Court of Vienna had a large part of the silver service to rent of nobles, because the stocks of the silver chamber were not sufficient. Finished was the festival by a magnificent fireworks.
1776, the imperial picture gallery from the Stallburg (home of the famous Lipizzan stallions) was transferred to the Upper Belvedere, the animals of the menagerie came to Schönbrunn. Shortly before the Congress of Vienna in 1814 in the Lower Belvedere the Ambras Collection was exposed. During the war against Napoleon (1805-1809), much of the collection of paintings had to be outsourced. The Corsican claimed 400 masterpieces for himself, but which after his defeat at Waterloo to the Habsburgs have been restituted. The after the French wars completely neglected building has been restored 1850-1866.
Castle Park with Upper Belvedere. Photograph, around 1890.
1819 Emperor Franz II (I) the Institute of Botany, University of Vienna, had given spacious grounds for enlargement of the Botanical Garden at Rennweg. Franz was very interested in botany and in accordance with a Habsburg House bill - every Archduke must learn a civilian job - has been educated for gardener. In an adjoining garden of Schloß Belvedere he had from his private funds laid out a botanical garden ("Flora Austriaca") which was left to the Institute of Botany for use.
During the cholera epidemic of 1831, the Belvedere served as well as Schönbrunn Palace the imperial family as a refuge; supposedly one was there protected from the bad air, which was attributed to the onset of the disease. Both castles lay in the "countryside", the air was much better here than in the densely populated city. During wartime, a hospital was set up in the castle.
As the space for the imperial collections became too small, it was thought to expand the Upper Belvedere by wing buildings. This plan was dropped for aesthetic reasons, however. After the expansion of the city (razing of the bastions and glacis) arose on the ring road the newly created Court Museums; moved there in 1891 the major part of the paintings.
Archduke-Heir to the Throne Franz Ferdinand of Austria-Este at folk and children's party in the park of the Belvedere Palace. Photograph, 1905.
To 1893/94 it is likely that Archduke Franz Ferdinand has chosen the Upper Belvedere to his residence in Vienna. Other sources say that it had been assigned to him by the Emperor Franz Joseph as a place to stay in Vienna. The rooms have been restored, adapted for residential purposes and supplemented with neo-Baroque furniture. The heir of the Este collections furnished his residence with numerous works of art. He had envisaged the castle for the accommodation of his collections; in 1893 were numerous boxes from India and Singapore in Belvedere stored. 1894 Emperor Franz Joseph could see the collection: "Yesterday I went to the Belvedere, where Franzi showed me his now quite and very nicely prepared collections. The same are as imposing as interesting by the incredible amount of objects and by the rarity and beauty of them. I believe that this exhibition would be interesting for you", wrote the monarch to his wife, Empress Elisabeth. That same year, Archduke Franz Ferdinand showed his collections his future wife, Sophie Chotková,
"Where I unaware of your fatigue with particular brutality you dragged from box to box" as he apologetically from Budweis wrote to the Countess.
Then the collections moved one the one hand to the Palais Modena in the Beatrixgasse, on the other hand to Konopischt. Only in 1898, Franz Ferdinand was granted by Emperor Franz Joseph to move into the Belvedere as Vienna Residence. More revitalization works were carried out and were also necessary. Technical modernization and preservation of the original building condition had priority - as always with the projects of Archduke Franz Ferdinand. As furnishings served still preserved furnitures from Schloss Hof, which were supplemented by new ones in old style. The private rooms in addition to electric lighting were equipped with central heating.
Belvedere Castle. Staircase in the Upper Belvedere (left).
Marble plastic "Apotheosis of Prince Eugene" by Balthasar Permoser in Gold Cabinet of the Lower Belvedere (right).
If his presence was needed in Vienna, Franz Ferdinand here could lead a normal family life and escape the pressures of court ceremonial, in which the to him in morganatic marriage affiliated wife was exposed to the evils of the courtiers. When the heir to the throne invited guests to the Belvedere, he was sitting opposite his wife as a hostess while she was ranked in the Hofburg always after the latest unmarried Archduchess. About the cozy family life at Belvedere reported Prince von Clary-Aldringens:
"Aunt Sophie invited us ... to snack into a Belvedere, unexpectedly, suddenly appeared the Archduke - we literally froze in our Hab-Acht-position (stand at attention). He greeted us warmly ... [I got to know] the Archduke as a friendly landlord, who was playing and laughing with his Children..."
Between 1899 and 1914 in the Lower Belvedere the military bureau of the heir to the throne was housed. Other well-known Residents - but of outbuildings - were Anton Bruckner, who in 1896 died in the Kustodenwohnung (guardian house), and Richard Strauss, who lived here from 1925 to 1944.
After the assassination of the Archduke and his wife in Sarajevo, the Belvedere should serve as the residence of the new heir to the throne, Archduke Karl and his family. This, however, preferred living in Schönbrunn and especially in the villa Wartholz. In 1917, Charles' brother Archduke Maximilian moved with his family into the Belvedere.
During World War II the castle was badly damaged by bombs, but rebuilt after the war ended immediately. On 15 May 1955 was the Marble Hall venue of the signing of the Austrian State Treaty. Today, the Upper Belvedere houses important art collections.
Excerpts from
Thus lived the Habsburgs - Imperial and Royal Palaces in the
Austro-Hungarian Monarchy
Ingrid Haslinger, Gerhard Trumler
Christian Brandstätter Verlag mbH
The publishing service for museums, businesses and
public bodies
www.brandstaetter - verlag.at
Denomination of the summer residence which Prince Eugene of Savoy himself had erected btw Rennweg and Swiss Garden. The term which refers to the unique view over Vienna dates from the time of Maria Theresa. Prinz Eugen bought in 1697 a plot of land at the Rennweg, which he extended to 1721 in four stages to the current area. Between 1714 and 1716 emerged the Lower Belvedere It is an elongated ground floor building, designed of a 7-axes central projection, two wings and two corner pavilions. The 3-axis central pavilion houses the Marble Hall. The castle the only rarely in Vienna sojourning builder served during the summer months as a pleasure palace.
Only in 1720 commenced construction works for the Upper Belvedere, first drawings for this existed already in 1717. The in it extent and form language compared to the Lower Belvedere especially magnificent Upper Belvedere served primarily as a representative setting for grand receptions and festivities. The architectural history of the example due to the loss of the Eugenianischen Bauarchivs (construction archiv of Prince Eugene) cannot be explored in detail without any gaps. 1723 (according to Rizzi 1721/22) the Upper Belvedere s is considered complete. The architect Johann Lukas von Hildebrandt, who repeatedly worked for Prince Eugen, with the construction of the Belvedere has created his main work. It counts in its multiform architectonic as well as sculptural structure to the most important baroque buildings of the 18th century. The to the ensemble belonging, btw Upper and Lower Belvedere laying garden has been created by the Bavarian horticultural engineer D. Girard and today only in broad terms is original. The designs for the interior of the castle stem from C. le Fort du Plessy.
After the death of the prince the belvedere went into the possession of his sole heiress, Victoria Duchess of Saxe-Hildburghausen. She sold it in 1752 to Maria Theresa. At the behest of Joseph II from 1775 the imperial picture gallery was transferred here, which in 1781 for the first time was open to the public. had. Since 1806 was located in the Lower Belvedere the Ambras Collection. Both collections were in 1890 in the Museum of Art History transferred. In 1894, the palace became residence for the heir to the throne Archduke Franz Ferdinand.
After the first World War I the Republic of Austria in Belvedere installed the Austrian Gallery. 1945 suffered the Belvedere severe war damage. In 1950, the "Gold Cabinet" in the north-eastern corner pavilion of the Upper Belvedere was destroyed by fire and replaced by a copy. The since 1988 ongoing general renovation should have been completed in 1996.
aeiou - the cultural information system of the bm: bwk
14,000 key words and 2000 pictures from history, geography, politics and business in Austria
Austrian Gallery Belvedere
The in the center of Vienna situated Belvedere palaces with their extensive parks form an impressive baroque Gesamtkunstwerk. The Museum in the Upper and Lower Castle
provides an excellent overview of the Austrian Art from the Middle Ages to the present. the collections of the 19th and 20th Century also include an exquisite inventory of international art. World Famous works by Klimt, Schiele, Kokoschka, Renoir and Monet you can see in the upper
Belvedere, from where you can enjoy a spectacular view to the center of Vienna. In the historic rooms of the Lower Belvedere are shown works of art from the Middle Ages and Baroque.
Austrian Gallery Belvedere
Prinz Eugen -Strasse 27 , A - 1037 Wien
Phone +43 / ( 0) 1 / 79557-0
Fax +43 / (0) 1/79 84 337
Upper Belvedere
Collections of the 19th and 20th century
Prinz Eugen -Strasse 27 , A - 1037 Wien
Lower Belvedere
Baroque Museum, and Museum of Medieval Art
Rennweg 6a, A - 1030 Vienna
© sergione infuso - all rights reserved
follow me on www.sergione.info
You may not modify, publish or use any files on
this page without written permission and consent.
-----------------------------
Il 24 ottobre al Teatro Sociale di Como, Mika rivisiterà il suo repertorio di successi e proporrà nuove canzoni in chiave sinfonica con l’orchestra “Affinis Consort”, diretta da Simon Leclerc, creata appositamente per l’occasione da 81 professionisti internazionali: 65 strumentisti e 16 coristi.
Lo spettacolo nasce dal desiderio di Mika di replicare in Italia l’incredibile esperienza dei tre concerti sinfonici tenutisi a Montréal lo scorso febbraio, in cui ha confermato la sua versatilità e la qualità del suo repertorio pop, anche in chiave classica.
Il concerto arriva dopo i grandi successi estivi al Fabrique di Milano, al Teatro Antico di Taormina e all’Arena della Regina di Cattolica e le prossime tre date nei palasport di Milano (27 settembre), Roma (29 settembre) e Firenze (30 settembre). Le prevendite per la serata speciale partiranno da giovedì 1 ottobre.
Simon Leclerc è un affermato compositore di colonne sonore per la Paramount e direttore d’orchestra canadese a cui Mika ha affidato l’arrangiamento in chiave classica del suo repertorio. Dopo i concerti di Montreal, Mika ha entusiasticamente dichiarato: “Provenendo io stesso da una formazione professionale classica, per me è straordinario sentire le mie canzoni nelle veste classica che Simon ha dato loro, perché nella mia mente, le ho sempre immaginate così!”
Dal piccolo ensemble alla grande orchestra sinfonica. Dalle fondamenta classiche alle contaminazioni contemporanee e pop.
Affinis Consort racchiude nel suo dna la multiformità del suo essere.
L'unione di mondi, il Canada e l'Italia. Il superamento dei confini geografici e culturali. Il connubio e la condivisione delle esperienze che ogni singolo musicista porta sul palco, elevando le affinità.
Incansables, estos terribles reptiles telúricos, henchidos de multiformes cabezas en su interior, reptan atravesando estridentes los túneles metropolitanos, en busca del alimento que les proporcionan las cotidianas preocupaciones de los viajeros...
(further pictures and information you can see if you go to the end of page and by clicking on the link...)
Belvedere
Belvedere Castle. Garden Front of the Lower Belvedere.
Belvedere Palace stands supposedly on the foundations of a Roman camp that had been erected here for strategic reasons. In 1693 Prince Eugene of Savoy acquired field and vineyard grounds between today's Rennweg and today's Gürtel. In 1700 Johann Lukas von Hildebrandt began with the construction of a palace garden (Lower Belvedere), whose in French-style layed out park was equipped with large water basins, an orangery with precious foreign plants and a menagerie. Prince Eugene was a great animal lover, and some animals in his collection could be fed exclusively by himself.
1720 the Prince conceived the plan the summer palace to supplement by a another palace building on the hill of the garden.
The 1721 by Johann Lukas von Hildebrandt begun works had been completed in 1724. The Upper Belvedere served in contrast to the Lower only representative purposes and was never meant to live.
The Prince and his architect managed a perfect symbiosis between architecture and garden. After the death of the Savoy (1736) inherited his niece Victoria of Savoy-Soisson, nee Princess Hildburghausen, all his possessions. From her the Habsburgs beginning of 1752 acquired the Belvedere. From 1755 Empress Maria Theresa moved the Arcierenleibgarde (Royal Company of the Archers) and the Galician Guard in the annex of the Belvedere. Besides, the castle stood almost empty.
Belvedere Castle. Engraving by Salomon Kleiner 1731/40 (left).
Vienna from the Belvedere. Coloured copper engraving by Carl Schütz, 1784 (right).
1770 Belvedere Palace was venue of brilliant festivities:
In castle and park the marriage of Archduchess Maria Antonia (Marie Antoinette) with the Dauphin of France by proxy (per procura) was celebrated. About 2,000 people were invited, more than 1,500 bottles of champagne, which was far from home in Vienna at that time,
were emptied. For hospitality of the guests, there were round tables, which were covered with silver. However, the Court of Vienna had a large part of the silver service to rent of nobles, because the stocks of the silver chamber were not sufficient. Finished was the festival by a magnificent fireworks.
1776, the imperial picture gallery from the Stallburg (home of the famous Lipizzan stallions) was transferred to the Upper Belvedere, the animals of the menagerie came to Schönbrunn. Shortly before the Congress of Vienna in 1814 in the Lower Belvedere the Ambras Collection was exposed. During the war against Napoleon (1805-1809), much of the collection of paintings had to be outsourced. The Corsican claimed 400 masterpieces for himself, but which after his defeat at Waterloo to the Habsburgs have been restituted. The after the French wars completely neglected building has been restored 1850-1866.
Castle Park with Upper Belvedere. Photograph, around 1890.
1819 Emperor Franz II (I) the Institute of Botany, University of Vienna, had given spacious grounds for enlargement of the Botanical Garden at Rennweg. Franz was very interested in botany and in accordance with a Habsburg House bill - every Archduke must learn a civilian job - has been educated for gardener. In an adjoining garden of Schloß Belvedere he had from his private funds laid out a botanical garden ("Flora Austriaca") which was left to the Institute of Botany for use.
During the cholera epidemic of 1831, the Belvedere served as well as Schönbrunn Palace the imperial family as a refuge; supposedly one was there protected from the bad air, which was attributed to the onset of the disease. Both castles lay in the "countryside", the air was much better here than in the densely populated city. During wartime, a hospital was set up in the castle.
As the space for the imperial collections became too small, it was thought to expand the Upper Belvedere by wing buildings. This plan was dropped for aesthetic reasons, however. After the expansion of the city (razing of the bastions and glacis) arose on the ring road the newly created Court Museums; moved there in 1891 the major part of the paintings.
Archduke-Heir to the Throne Franz Ferdinand of Austria-Este at folk and children's party in the park of the Belvedere Palace. Photograph, 1905.
To 1893/94 it is likely that Archduke Franz Ferdinand has chosen the Upper Belvedere to his residence in Vienna. Other sources say that it had been assigned to him by the Emperor Franz Joseph as a place to stay in Vienna. The rooms have been restored, adapted for residential purposes and supplemented with neo-Baroque furniture. The heir of the Este collections furnished his residence with numerous works of art. He had envisaged the castle for the accommodation of his collections; in 1893 were numerous boxes from India and Singapore in Belvedere stored. 1894 Emperor Franz Joseph could see the collection: "Yesterday I went to the Belvedere, where Franzi showed me his now quite and very nicely prepared collections. The same are as imposing as interesting by the incredible amount of objects and by the rarity and beauty of them. I believe that this exhibition would be interesting for you", wrote the monarch to his wife, Empress Elisabeth. That same year, Archduke Franz Ferdinand showed his collections his future wife, Sophie Chotková,
"Where I unaware of your fatigue with particular brutality you dragged from box to box" as he apologetically from Budweis wrote to the Countess.
Then the collections moved one the one hand to the Palais Modena in the Beatrixgasse, on the other hand to Konopischt. Only in 1898, Franz Ferdinand was granted by Emperor Franz Joseph to move into the Belvedere as Vienna Residence. More revitalization works were carried out and were also necessary. Technical modernization and preservation of the original building condition had priority - as always with the projects of Archduke Franz Ferdinand. As furnishings served still preserved furnitures from Schloss Hof, which were supplemented by new ones in old style. The private rooms in addition to electric lighting were equipped with central heating.
Belvedere Castle. Staircase in the Upper Belvedere (left).
Marble plastic "Apotheosis of Prince Eugene" by Balthasar Permoser in Gold Cabinet of the Lower Belvedere (right).
If his presence was needed in Vienna, Franz Ferdinand here could lead a normal family life and escape the pressures of court ceremonial, in which the to him in morganatic marriage affiliated wife was exposed to the evils of the courtiers. When the heir to the throne invited guests to the Belvedere, he was sitting opposite his wife as a hostess while she was ranked in the Hofburg always after the latest unmarried Archduchess. About the cozy family life at Belvedere reported Prince von Clary-Aldringens:
"Aunt Sophie invited us ... to snack into a Belvedere, unexpectedly, suddenly appeared the Archduke - we literally froze in our Hab-Acht-position (stand at attention). He greeted us warmly ... [I got to know] the Archduke as a friendly landlord, who was playing and laughing with his Children..."
Between 1899 and 1914 in the Lower Belvedere the military bureau of the heir to the throne was housed. Other well-known Residents - but of outbuildings - were Anton Bruckner, who in 1896 died in the Kustodenwohnung (guardian house), and Richard Strauss, who lived here from 1925 to 1944.
After the assassination of the Archduke and his wife in Sarajevo, the Belvedere should serve as the residence of the new heir to the throne, Archduke Karl and his family. This, however, preferred living in Schönbrunn and especially in the villa Wartholz. In 1917, Charles' brother Archduke Maximilian moved with his family into the Belvedere.
During World War II the castle was badly damaged by bombs, but rebuilt after the war ended immediately. On 15 May 1955 was the Marble Hall venue of the signing of the Austrian State Treaty. Today, the Upper Belvedere houses important art collections.
Excerpts from
Thus lived the Habsburgs - Imperial and Royal Palaces in the
Austro-Hungarian Monarchy
Ingrid Haslinger, Gerhard Trumler
Christian Brandstätter Verlag mbH
The publishing service for museums, businesses and
public bodies
www.brandstaetter - verlag.at
Denomination of the summer residence which Prince Eugene of Savoy himself had erected btw Rennweg and Swiss Garden. The term which refers to the unique view over Vienna dates from the time of Maria Theresa. Prinz Eugen bought in 1697 a plot of land at the Rennweg, which he extended to 1721 in four stages to the current area. Between 1714 and 1716 emerged the Lower Belvedere It is an elongated ground floor building, designed of a 7-axes central projection, two wings and two corner pavilions. The 3-axis central pavilion houses the Marble Hall. The castle the only rarely in Vienna sojourning builder served during the summer months as a pleasure palace.
Only in 1720 commenced construction works for the Upper Belvedere, first drawings for this existed already in 1717. The in it extent and form language compared to the Lower Belvedere especially magnificent Upper Belvedere served primarily as a representative setting for grand receptions and festivities. The architectural history of the example due to the loss of the Eugenianischen Bauarchivs (construction archiv of Prince Eugene) cannot be explored in detail without any gaps. 1723 (according to Rizzi 1721/22) the Upper Belvedere s is considered complete. The architect Johann Lukas von Hildebrandt, who repeatedly worked for Prince Eugen, with the construction of the Belvedere has created his main work. It counts in its multiform architectonic as well as sculptural structure to the most important baroque buildings of the 18th century. The to the ensemble belonging, btw Upper and Lower Belvedere laying garden has been created by the Bavarian horticultural engineer D. Girard and today only in broad terms is original. The designs for the interior of the castle stem from C. le Fort du Plessy.
After the death of the prince the belvedere went into the possession of his sole heiress, Victoria Duchess of Saxe-Hildburghausen. She sold it in 1752 to Maria Theresa. At the behest of Joseph II from 1775 the imperial picture gallery was transferred here, which in 1781 for the first time was open to the public. had. Since 1806 was located in the Lower Belvedere the Ambras Collection. Both collections were in 1890 in the Museum of Art History transferred. In 1894, the palace became residence for the heir to the throne Archduke Franz Ferdinand.
After the first World War I the Republic of Austria in Belvedere installed the Austrian Gallery. 1945 suffered the Belvedere severe war damage. In 1950, the "Gold Cabinet" in the north-eastern corner pavilion of the Upper Belvedere was destroyed by fire and replaced by a copy. The since 1988 ongoing general renovation should have been completed in 1996.
aeiou - the cultural information system of the bm: bwk
14,000 key words and 2000 pictures from history, geography, politics and business in Austria
Austrian Gallery Belvedere
The in the center of Vienna situated Belvedere palaces with their extensive parks form an impressive baroque Gesamtkunstwerk. The Museum in the Upper and Lower Castle
provides an excellent overview of the Austrian Art from the Middle Ages to the present. the collections of the 19th and 20th Century also include an exquisite inventory of international art. World Famous works by Klimt, Schiele, Kokoschka, Renoir and Monet you can see in the upper
Belvedere, from where you can enjoy a spectacular view to the center of Vienna. In the historic rooms of the Lower Belvedere are shown works of art from the Middle Ages and Baroque.
Austrian Gallery Belvedere
Prinz Eugen -Strasse 27 , A - 1037 Wien
Phone 43 / ( 0) 1 / 79557-0
Fax 43 / (0) 1/79 84 337
Upper Belvedere
Collections of the 19th and 20th century
Prinz Eugen -Strasse 27 , A - 1037 Wien
Lower Belvedere
Baroque Museum, and Museum of Medieval Art
Rennweg 6a, A - 1030 Vienna
Cortinarius allutus Fr. ss. Moser non J. Lange, syn.: Phlegmacium allutum (Fr.) M.M. Moser,
Cortinarius melliolens Schäffer ex Orton, Cortinarius multiformis ss. CFP, Ricken
DE: Bereifter Schleimkopf
Slo.: poprhnjena koprenka
Dat.: Oct. 6. 2017
Lat.: 46.36139 Long.: 13.69922
Code: Bot_1093/2017_DSC9358
Habitat: Mixed wood, Fagus sylvatica dominant, Picea abies scattered; slightly inclined mountain slope, southeast aspect; calcareous, colluvial, shallow ground; relatively warm and dry place; partly protected from direct rain by tree canopies; average precipitations ~ 3.000 mm/year, average temperature 6-9 deg C, elevation 670 m (2.200 feet), alpine phytogeographical region.
Substratum: forest soil, leaf litter.
Place: Lower Trenta valley, right bank of river Soča; between villages Soča and Trenta; near the trail to settlement Na skalah, East Julian Alps, Posočje, Slovenia EC.
Comments: Genus Cortinarius is huge - more than 1.000 species, subspecies, var. and f. have been described. No wonder, there is confusion in their names. Index Fungorum recognizes Cortinarius allutus as a current name, while other authorities consider it as a synonym of Cortinarius multiformis (this too is a current name according to IF). Recent (2014) DNA phylogenetic studies (Ref.8) revealed that much more complex situation exists in the group of species similar to this find. Ref.8 considers now the name Cortinarius allutus as a misapplied name. Anyway, I will keep with Index Fungorum and use the name Cortinarius allutus. Macroscopic traits and spores fit well to the most of the descriptions found in literature.
There grew 6 or 7 pilei in an area of about 3 x 3 m. Habitat was montane Fagus sylvatica forest with a few Picea abies intermixed. In a distance of 0.3 - 3 m from the pilei two young, about 1-1.5 m tall and in a distance of about 5 m a grown up Picea abies three were present. Cortinarius allutus is supposed to be in mycorrhizal relation to conifers. Fruitbody description: pilei diameter 6 - 9 cm, trama thin near the edge of pilei, in the midrange about 8 mm thick, gills up to 10 mm broad, hut dry (after a several days long dry period); however, leaves and other debris were firmly 'glued' to the hut surface (ixocutis); stipe 4.2 - 6.5 cm long and 8 - 20 mm in diameter; when old stipe partly hollow; quite abruptly bulbous (with a few fruitbodies almost marginate); bulb from 1.6 to 1.9 times the diameter of the stipe; smell mild, pleasant, mushroomy, on leather?; taste not tested; 5% KOH reactions: on trama yellow-brown, not violent; on hut brownish, deepens the color of the hut; trama in the bulb brownish; on gills dark brown, almost blackish; Lugol reactions: on trama instant gold-yellowish, on pilei slightly yellowish, almost none; pilei do not bruise when handled except gills - they darken slightly; SP abundant, almost the same color as the whole fruitbodies, buff-fox color, oac714.
Spores minutely and uniformly warty. Dimensions: (7.8) 8 - 8.8 (9.1) x (4.5) 4.7 - 5 (5.2) microns; Q = (1.6) 1.7 - 1.8 (1.9); N = 35; Me = 8.5 x 4.8 microns; Qe = 1.8. Olympus CH20 , NEA 100x/1.25, magnification 1.000 x, oil; in water, fresh material. AmScope MA500 digital camera.
Herbarium: Mycotheca and lichen herbarium (LJU-Li) of Slovenian Forestry Institute, Večna pot 2, Ljubljana, Index Herbariorum LJF
Ref.:
(1) R.M.Daehncke, 1200 Pilze in Farbfotos, AT Verlag (2009), p 726.
(2) www.fichasmicologicas.com/?micos=1&alf=C&art=556 (accessed Oct.8. 2017)
www2.muse.it/bresadola/gallery.asp?code=87 (accessed Oct.8. 2017)
(3) R. Phillips, Mushrooms, Macmillan (2006), p 182.
(4)
www.nahuby.sk/obrazok_detail.php?obrazok_id=512681&po... (accessed Oct.8. 2017)
(5) www.123pilze.de/DreamHC/Download/OrangeseidigerKlumpfuss.htm (accessed Oct.8. 2017)
(6) www.pilzflora-ehingen.de/pilzflora/arthtml/callutus.html (accessed Oct.8. 2017)
(7) J. Breitenbach, F. Kraenzlin, Eds., Fungi of Switzerland, Vol.5. Verlag Mykologia (2000), p 164.
(8) T. E. Brandrud et all. Cortinarius subgenus Phlegmacium section Multiformes in Europe, (2014) Journal des J.E.C., No. 16, p.162–199. available at karl.soop.org/JEC16B_multif.pdf
fotografia di Michele Pelosi
poesia di Michela Famiglietti
online su michelepelosi.it
Panorama Frigento Materia Consistenza sottile della natura viva dell’universo, sostanza grezza del sapore infinito del tempo. Vista, olfatto, tatto, gusto, udito: strumenti di indagine, coordinate di analisi. Aria, acqua, terra, fuoco: elementi di costituzione, qualità dei risultati. La tavolozza del mondo, le pennellate dei sensi! Colori, sapori, odori si mescolano a impressioni tattili e uditive sul respiro caldo della vita, in cerca della sua fattura intima, della risposta ultima che compone ed assorbe il mistero irrisolto del tutto, la Materia vera della realtà, la sorgente indefinita del sogno, il borbottìo antico del mondo. Frigento: un luogo multiforme e multisensoriale, dove permearsi delle pure essenze della Materia. L’aria ben ossigenata e ventilata è la sua energia pulita, nutritiva e su cui investe. L’elevata posizione geografica conferisce una rivitalizzante umidità al suo territorio fertile, pur forte nella sua natura rocciosa. Un fuoco salubre concima segretamente le sue profondità, le sue varie espressioni fisiche: quel ‘ribollìo’ sulfureo in località Mefite (tempio della dea omonima), capricciosa sorgente di benessere, affascinante voce sotterranea di mistero e di storia. Frigento, Parco Urbano "Panorami" Linee sensoriali e mentali: testi, immagini e suggestioni dal territorio
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Piazzale della Pace è una grande area verde delimitata a ovest dal Palazzo della Pilotta e a nord dal palazzo dell’Indipendenza. Ci sono ampi giardini progettati secondo il modello inglese, alte piante poste all’interno di una grande fontana.Lo spazio verde contiene al suo interno il Monumento al Partigiano e uno dedicato al musicista Giuseppe Verdi.Sul lato opposto al palazzo della Pilotta, nel Palazzo di Riserva di via Garibaldi 15, si trova il Museo Glauco Lombardi.
Parma is a city in the Italian region of Emilia-Romagna famous for its ham, its cheese, its architecture and the fine countryside around it. This is the home of the University of Parma, one of the oldest universities in the world. Parma is divided into two parts by the little stream with the same name. Parma's Etruscan name was adapted by Romans to describe the round shield called Parma.The Italian poet Attilio Bertolucci (born in a hamlet in the countryside) wrote: "As a capital city it had to have a river. As a little capital it received a stream, which is often dry". The district on the far side of the river is Oltretorrente.
Parma è un comune italiano di 186.000 abitanti, capoluogo dell'omonima provincia in Emilia-Romagna.Antica capitale del ducato di Parma e Piacenza (1545-1859), la città di Parma è sede dell'omonima università.Sul territorio comunale sono presenti numerosi parchi, giardini e aree verdi, alcuni di notevole pregio storico e architettonico. La percentuale di verde urbano sulla superficie comunale è pari all'1,8% (ossia circa 4,68 km²) mentre ammonta a 26,6 m² il verde urbano per ogni abitante.] Il verde fruibile pro-capite nell'area urbana è di 14,57 m² per abitante e la città si è posizionata al 5º posto in Italia ed al 1º in Emilia-Romagna nel rapporto Ecosistema Urbano 2009. A Parma sono censiti 100.000 alberi, 28 milioni di m² di manto erboso, oltre 80 aree gioco per i bimbi allestite e situate in contesti verdi e una quarantina di aree dedicate ai cani.Le aristocratiche tradizioni ed una certa raffinatezza della vita sociale caratterizzano ancor oggi l'anima cittadina che si evidenzia in particolare con la passione dei parmigiani nei confronti della musica e dell'Opera, da secoli molto seguite ed apprezzate da vari strati della popolazione.
Il primo letterato nativo di Parma di cui si abbia notizia fu Gaio Cassio Parmense (I secolo a.C.), appartenente ad una delle famiglie romane fondatrici della città e autore di tragedie ed elegie, ma la storia parmense si è col tempo arricchita del contributo intellettuale di numerosi artisti, poeti e pittori che ne hanno determinato l'intenso fervore nei confronti di multiformi interessi culturali, confermato dalla presenza in città di numerosi teatri, musei, manifestazioni e rassegne internazionali nel campo dell'arte e degli scambi commerciali. Benedetto Antelami, il Parmigianino, il Correggio, Ireneo Affò, Giovanni Battista Bodoni, Ferdinando Paër, Giuseppe Verdi, Arturo Toscanini, Ennemond Alexandre Petitot, Étienne Bonnot, abate di Condillac, Attilio Bertolucci, sono solo alcune delle personalità legate a Parma che hanno lasciato un'impronta importante nelle tradizioni artistiche e culturali cittadine.Parma fu magnificata da Stendhal che la visitò per la prima volta nel 1814 e la sognò nelle pagine della sua "Chartreuse" (La Certosa di Parma); successivamente fu desiderata da Marcel Proust nel suo Du côté de chez Swann (La strada di Swann).Nel XVIII secolo lo sviluppo dell'arte e delle istituzioni cittadine contribuirono a definire Parma "l'Atene d'Italia" mentre oggi, grazie al nuovo ruolo attribuitole all'interno dell'Unione Europea con l'assegnazione di un'importante agenzia comunitaria, la città sta preparando e progettando il proprio futuro in funzione di questa investitura destinata a produrre un processo di internazionalizzazione e crescita sociale e culturale, riaffermando l'antica tradizione di piccola capitale.
(further pictures and information you can see if you go to the end of page and by clicking on the link...)
Belvedere
Belvedere Castle. Garden Front of the Lower Belvedere.
Belvedere Palace stands supposedly on the foundations of a Roman camp that had been erected here for strategic reasons. In 1693 Prince Eugene of Savoy acquired field and vineyard grounds between today's Rennweg and today's Gürtel. In 1700 Johann Lukas von Hildebrandt began with the construction of a palace garden (Lower Belvedere), whose in French-style layed out park was equipped with large water basins, an orangery with precious foreign plants and a menagerie. Prince Eugene was a great animal lover, and some animals in his collection could be fed exclusively by himself.
1720 the Prince conceived the plan the summer palace to supplement by a another palace building on the hill of the garden.
The 1721 by Johann Lukas von Hildebrandt begun works had been completed in 1724. The Upper Belvedere served in contrast to the Lower only representative purposes and was never meant to live.
The Prince and his architect managed a perfect symbiosis between architecture and garden. After the death of the Savoy (1736) inherited his niece Victoria of Savoy-Soisson, nee Princess Hildburghausen, all his possessions. From her the Habsburgs beginning of 1752 acquired the Belvedere. From 1755 Empress Maria Theresa moved the Arcierenleibgarde (Royal Company of the Archers) and the Galician Guard in the annex of the Belvedere. Besides, the castle stood almost empty.
Belvedere Castle. Engraving by Salomon Kleiner 1731/40 (left).
Vienna from the Belvedere. Coloured copper engraving by Carl Schütz, 1784 (right).
1770 Belvedere Palace was venue of brilliant festivities:
In castle and park the marriage of Archduchess Maria Antonia (Marie Antoinette) with the Dauphin of France by proxy (per procura) was celebrated. About 2,000 people were invited, more than 1,500 bottles of champagne, which was far from home in Vienna at that time,
were emptied. For hospitality of the guests, there were round tables, which were covered with silver. However, the Court of Vienna had a large part of the silver service to rent of nobles, because the stocks of the silver chamber were not sufficient. Finished was the festival by a magnificent fireworks.
1776, the imperial picture gallery from the Stallburg (home of the famous Lipizzan stallions) was transferred to the Upper Belvedere, the animals of the menagerie came to Schönbrunn. Shortly before the Congress of Vienna in 1814 in the Lower Belvedere the Ambras Collection was exposed. During the war against Napoleon (1805-1809), much of the collection of paintings had to be outsourced. The Corsican claimed 400 masterpieces for himself, but which after his defeat at Waterloo to the Habsburgs have been restituted. The after the French wars completely neglected building has been restored 1850-1866.
Castle Park with Upper Belvedere. Photograph, around 1890.
1819 Emperor Franz II (I) the Institute of Botany, University of Vienna, had given spacious grounds for enlargement of the Botanical Garden at Rennweg. Franz was very interested in botany and in accordance with a Habsburg House bill - every Archduke must learn a civilian job - has been educated for gardener. In an adjoining garden of Schloß Belvedere he had from his private funds laid out a botanical garden ("Flora Austriaca") which was left to the Institute of Botany for use.
During the cholera epidemic of 1831, the Belvedere served as well as Schönbrunn Palace the imperial family as a refuge; supposedly one was there protected from the bad air, which was attributed to the onset of the disease. Both castles lay in the "countryside", the air was much better here than in the densely populated city. During wartime, a hospital was set up in the castle.
As the space for the imperial collections became too small, it was thought to expand the Upper Belvedere by wing buildings. This plan was dropped for aesthetic reasons, however. After the expansion of the city (razing of the bastions and glacis) arose on the ring road the newly created Court Museums; moved there in 1891 the major part of the paintings.
Archduke-Heir to the Throne Franz Ferdinand of Austria-Este at folk and children's party in the park of the Belvedere Palace. Photograph, 1905.
To 1893/94 it is likely that Archduke Franz Ferdinand has chosen the Upper Belvedere to his residence in Vienna. Other sources say that it had been assigned to him by the Emperor Franz Joseph as a place to stay in Vienna. The rooms have been restored, adapted for residential purposes and supplemented with neo-Baroque furniture. The heir of the Este collections furnished his residence with numerous works of art. He had envisaged the castle for the accommodation of his collections; in 1893 were numerous boxes from India and Singapore in Belvedere stored. 1894 Emperor Franz Joseph could see the collection: "Yesterday I went to the Belvedere, where Franzi showed me his now quite and very nicely prepared collections. The same are as imposing as interesting by the incredible amount of objects and by the rarity and beauty of them. I believe that this exhibition would be interesting for you", wrote the monarch to his wife, Empress Elisabeth. That same year, Archduke Franz Ferdinand showed his collections his future wife, Sophie Chotková,
"Where I unaware of your fatigue with particular brutality you dragged from box to box" as he apologetically from Budweis wrote to the Countess.
Then the collections moved one the one hand to the Palais Modena in the Beatrixgasse, on the other hand to Konopischt. Only in 1898, Franz Ferdinand was granted by Emperor Franz Joseph to move into the Belvedere as Vienna Residence. More revitalization works were carried out and were also necessary. Technical modernization and preservation of the original building condition had priority - as always with the projects of Archduke Franz Ferdinand. As furnishings served still preserved furnitures from Schloss Hof, which were supplemented by new ones in old style. The private rooms in addition to electric lighting were equipped with central heating.
Belvedere Castle. Staircase in the Upper Belvedere (left).
Marble plastic "Apotheosis of Prince Eugene" by Balthasar Permoser in Gold Cabinet of the Lower Belvedere (right).
If his presence was needed in Vienna, Franz Ferdinand here could lead a normal family life and escape the pressures of court ceremonial, in which the to him in morganatic marriage affiliated wife was exposed to the evils of the courtiers. When the heir to the throne invited guests to the Belvedere, he was sitting opposite his wife as a hostess while she was ranked in the Hofburg always after the latest unmarried Archduchess. About the cozy family life at Belvedere reported Prince von Clary-Aldringens:
"Aunt Sophie invited us ... to snack into a Belvedere, unexpectedly, suddenly appeared the Archduke - we literally froze in our Hab-Acht-position (stand at attention). He greeted us warmly ... [I got to know] the Archduke as a friendly landlord, who was playing and laughing with his Children..."
Between 1899 and 1914 in the Lower Belvedere the military bureau of the heir to the throne was housed. Other well-known Residents - but of outbuildings - were Anton Bruckner, who in 1896 died in the Kustodenwohnung (guardian house), and Richard Strauss, who lived here from 1925 to 1944.
After the assassination of the Archduke and his wife in Sarajevo, the Belvedere should serve as the residence of the new heir to the throne, Archduke Karl and his family. This, however, preferred living in Schönbrunn and especially in the villa Wartholz. In 1917, Charles' brother Archduke Maximilian moved with his family into the Belvedere.
During World War II the castle was badly damaged by bombs, but rebuilt after the war ended immediately. On 15 May 1955 was the Marble Hall venue of the signing of the Austrian State Treaty. Today, the Upper Belvedere houses important art collections.
Excerpts from
Thus lived the Habsburgs - Imperial and Royal Palaces in the
Austro-Hungarian Monarchy
Ingrid Haslinger, Gerhard Trumler
Christian Brandstätter Verlag mbH
The publishing service for museums, businesses and
public bodies
www.brandstaetter - verlag.at
Denomination of the summer residence which Prince Eugene of Savoy himself had erected btw Rennweg and Swiss Garden. The term which refers to the unique view over Vienna dates from the time of Maria Theresa. Prinz Eugen bought in 1697 a plot of land at the Rennweg, which he extended to 1721 in four stages to the current area. Between 1714 and 1716 emerged the Lower Belvedere It is an elongated ground floor building, designed of a 7-axes central projection, two wings and two corner pavilions. The 3-axis central pavilion houses the Marble Hall. The castle the only rarely in Vienna sojourning builder served during the summer months as a pleasure palace.
Only in 1720 commenced construction works for the Upper Belvedere, first drawings for this existed already in 1717. The in it extent and form language compared to the Lower Belvedere especially magnificent Upper Belvedere served primarily as a representative setting for grand receptions and festivities. The architectural history of the example due to the loss of the Eugenianischen Bauarchivs (construction archiv of Prince Eugene) cannot be explored in detail without any gaps. 1723 (according to Rizzi 1721/22) the Upper Belvedere s is considered complete. The architect Johann Lukas von Hildebrandt, who repeatedly worked for Prince Eugen, with the construction of the Belvedere has created his main work. It counts in its multiform architectonic as well as sculptural structure to the most important baroque buildings of the 18th century. The to the ensemble belonging, btw Upper and Lower Belvedere laying garden has been created by the Bavarian horticultural engineer D. Girard and today only in broad terms is original. The designs for the interior of the castle stem from C. le Fort du Plessy.
After the death of the prince the belvedere went into the possession of his sole heiress, Victoria Duchess of Saxe-Hildburghausen. She sold it in 1752 to Maria Theresa. At the behest of Joseph II from 1775 the imperial picture gallery was transferred here, which in 1781 for the first time was open to the public. had. Since 1806 was located in the Lower Belvedere the Ambras Collection. Both collections were in 1890 in the Museum of Art History transferred. In 1894, the palace became residence for the heir to the throne Archduke Franz Ferdinand.
After the first World War I the Republic of Austria in Belvedere installed the Austrian Gallery. 1945 suffered the Belvedere severe war damage. In 1950, the "Gold Cabinet" in the north-eastern corner pavilion of the Upper Belvedere was destroyed by fire and replaced by a copy. The since 1988 ongoing general renovation should have been completed in 1996.
aeiou - the cultural information system of the bm: bwk
14,000 key words and 2000 pictures from history, geography, politics and business in Austria
Austrian Gallery Belvedere
The in the center of Vienna situated Belvedere palaces with their extensive parks form an impressive baroque Gesamtkunstwerk. The Museum in the Upper and Lower Castle
provides an excellent overview of the Austrian Art from the Middle Ages to the present. the collections of the 19th and 20th Century also include an exquisite inventory of international art. World Famous works by Klimt, Schiele, Kokoschka, Renoir and Monet you can see in the upper
Belvedere, from where you can enjoy a spectacular view to the center of Vienna. In the historic rooms of the Lower Belvedere are shown works of art from the Middle Ages and Baroque.
Austrian Gallery Belvedere
Prinz Eugen -Strasse 27 , A - 1037 Wien
Phone 43 / ( 0) 1 / 79557-0
Fax 43 / (0) 1/79 84 337
Upper Belvedere
Collections of the 19th and 20th century
Prinz Eugen -Strasse 27 , A - 1037 Wien
Lower Belvedere
Baroque Museum, and Museum of Medieval Art
Rennweg 6a, A - 1030 Vienna
The empty set for Blackout, at the Underbelly. Utterly briliant performance by teenage actors, from a script made up of extracts from interviews with a young guy from Glasgow who was charged with attempted murder.
Here's a review from The List:
Simple, brilliant, and in the second person
Imagine you’re Davey Anderson, a playwright whose work has never shied away from the realities of life in working class Glasgow. The National Theatre, in partnership with children’s charity Barnardo’s, puts you in touch with a teenager who you’re going to call ‘James’, who is serving a probationary sentence for a violent crime. Imagine James tells you his story over a cup of tea, and with his permission you write a monologue from it. The script is in the second person.
Imagine you’re the director of ThickSkin, a brand new theatre company, set up with the exclusive aim of creating innovative, visual work. You take the script and break up the lines between a cast of very young, Glasgow-based actors, almost none of whom are professionally-trained, not that you’d be able to tell from the power of their performances. Together you make the story of this skinhead kid, fascinated by facism and chock-full of pop culture, capable of that same sudden violence that thousands of kids like him are, into a beautiful piece of multimedia, multiform theatre.
Imagine you’re watching Tom Vernel, in the central role, snapping from innocence to unhinged malevolence with just a tiny flicker of his jaw, or Danielle Stewart steely and magnificent as his mother. Imagine that the other actors, morphing and moving around him, pulling him about on a set they shift and dance with, become his id, take on his triumphs and his glee, and hand them back to you.
Imagine you’re watching a piece that, with grace and unflinching clarity takes you right inside the head of someone you’d previously felt unable to sympathise with, if you’d thought about him at all. Imagine that his story is addressed directly to you, as though you’re the one who’s had all these experiences. Imagine that.
AT THE UNDERBELLY UNTIL 29th AUGUST
Second lab I took at the Bellaria Convention... the multiform, traditional and (more or less) easy trasformer model... I never did all the steps before... it was interesting and intriguing... I loved it! Many thanks to Nicoletta Bagarella who held the lab... there was this song when I was I child "To make a table you need the wood, to make the wood, you need the tree, to make the tree you need the seed, to make the seed you need the flower, to make everything you need the flower"... now I learnt that the song was wrong... to make everything you need the (origami) table... great idea and perfectly in the mood of the convention "Origami is transformation" D'ario Pedruzzi said during the first talk... and so it was for me all the rest of the convention "origami is transformation"... happy easter to everybody and happy everything for those that don't have easter... easter itself is said to be transformation... so... have a great week-end with or with out transformations :-)
Templo ubicado en las cercanías de la falda oriente del cerro del Tepeyac. Fue construido de 1777 a 1791 y diseñado por el arquitecto Francisco Guerrero y Torres.Fue edificado sobre un pozo de aguas consideradas milagrosas, así, pronto comenzaron las peregrinaciones al lugar.10 Gran cantidad de enfermos bebía y lavaba sus heridas en el mismo sitio, por lo que pronto se convirtió en foco de infecciones. Para controlar las epidemias se impidió el acceso directo al pozo y se construyó una techumbre sencilla, pero las peregrinaciones continuaron. Para 1777 se tomó la decisión de construir un templo en el sitio.
El sello particular de esta capilla pequeña, considerada joya arquitectónica del estilo barroco, es su forma pues su planta es la única de base circular o cántrica levantada durante el siglo XVIII que se conserva en México. Este carácter permite que el visitante perciba el espacio poco a poco, como si éste se escondiera. El movimiento que le imprime a la cúpula la decoración en zigzag, lo mismo que las líneas multiformes utilizadas en las ventanas contribuye a crear esta atmósfera de movimiento lento. Todos los símbolos que cargan los angelitos pintados en la cúpula, son los símbolos marianos que aparecen en la Letanía Lauretana, parte final del rezo del rosario: espejo de virtudes, torre de David, estrella de la mañana, etc. Otro elemento importante de la decoración es el Juan Diego que sostiene el púlpito de madera.10
En 1815 el insurgente José María Morelos se le permitió como última voluntad ir a orar a la Virgen de Guadalupe en este templo antes de ser ejecutado en una población cercana en el actual municipio de Ecatepec de Morelos.
Con las obras de creación del Atrio de las Américas en la década de 1950, el templo pasó de estar inmerso en la traza urbana a encontrarse aislado de ésta, tal como se lo contempla en la actualidad.
Southwell Minster is a minster and cathedral, in Southwell, Nottinghamshire, England. It is situated six miles from Newark-on-Trent and thirteen miles from Mansfield. It is the seat of the Bishop of Southwell and Nottingham and the Diocese of Southwell and Nottingham.
History
Middle Ages
The earliest church on the site is believed to have been founded in 627 by Paulinus, the first Archbishop of York, when he visited the area while baptising believers in the River Trent. The legend is commemorated in the Minster's baptistry window.[4]
In 956 King Eadwig gave land in Southwell to Oskytel, Archbishop of York, on which a minster church was established. The Domesday Book of 1086 recorded the Southwell manor in great detail. The Norman reconstruction of the church began in 1108, probably as a rebuilding of the Anglo-Saxon church, starting at the east end so that the high altar could be used as soon as possible and the Saxon building was dismantled as work progressed. Many stones from this earlier Anglo-Saxon church were reused in the construction. The tessellated floor and late 11th century tympanum in the north transept are the only parts of the Anglo-Saxon building remaining intact. Work on the nave began after 1120 and the church was completed by c.1150.[5]
The church was originally attached to the Archbishop of York's Palace which stood next door and is now ruined. It served the archbishop as a place of worship and was a collegiate body of theological learning, hence its designation as a minster. The minster draws its choir from the nearby school with which it is associated.[6]
The Norman chancel was square-ended. For a plan of the original church see Clapham (1936).[7] The chancel was replaced with another in the Early English style in 1234–51 because it was too small. The octagonal chapter house, built starting in 1288 with a vault in the Decorated Gothic style has naturalistic carvings of foliage (the 13th-century stonecarving includes several Green Men). The elaborately carved "pulpitum" or choir screen was built in 1320–40.[5]
Reformation and civil war
The church suffered less than many others in the English Reformation as it was refounded in 1543 by Act of Parliament.[8]
Southwell is where Charles I was captured during the English Civil War, in 1646. The fighting saw the church seriously damaged and the nave is said to have been used as stabling. The adjoining palace was almost completely destroyed, first by Scottish troops and then by the local people, with only the Hall of the Archbishop remaining as a ruined shell.[9] The Minster's financial accounts show that extensive repairs were necessary after this period[citation needed].
18th century
On 5 November 1711 the southwest spire was struck by lightning, and the resulting fire spread to the nave, crossing and tower destroying roofs, bells, clock and organ.[10]:118 By 1720 repairs had been completed, now giving a flat panelled ceiling to the nave and transepts.
Victorian
In 1805 Archdeacon Kaye gave the Minster the Newstead lectern; once owned by Newstead Abbey, it had been thrown into the Abbey fishpond by the monks to save it during the Dissolution of the Monasteries, then later discovered when the lake was dredged.[11] Henry Gally Knight in 1818 gave the Minster four panels of 16th century Flemish glass (which now fill the bottom part of the East window) which he had acquired from a Parisian pawnshop.[12]
In danger of collapse, the spires were removed in 1805 and re-erected in 1879–81 when the minster was extensively restored by Ewan Christian, an architect specialising in churches. The nave roof was replaced with a pitched roof[13] and the choir was redesigned and refitted.
Ecclesiastical history
Collegiate church
Southwell Minster was served by prebendaries from the early days of its foundation. By 1291 there were 16 Prebends of Southwell mentioned in the Taxation Roll.[14]:19–20
In August 1540, as the dissolution of the monasteries was coming to an end, and despite its collegiate rather than monastic status, Southwell Minster was suppressed specifically in order that it could be included in the plans initiated by King Henry VIII to create several new cathedrals. It appears to have been proposed as the see for a new diocese comprising Nottinghamshire and Derbyshire, as a replacement for Welbeck Abbey which had been dissolved in 1538 and which by 1540 was no longer owned by the Crown.[15][16]
The plan for the minster's elevation did not proceed, so in 1543 Parliament reconstituted its collegiate status as before. In 1548 it again lost its collegiate status under the 1547 Act of King Edward VI which suppressed (among others) almost all collegiate churches: at Southwell the prebendaries were given pensions and the estates sold, while the church continued as the parish church on the petitions of the parishioners[14]:32.
By an Act of Philip and Mary in 1557, the minster and its prebends were restored[citation needed]. In 1579 a set of statutes was promulgated by Queen Elizabeth I and the chapter operated under this constitution until it was dissolved in 1841[14]:36-38. The Ecclesiastical Commissioners made provision for the abolition of the chapter as a whole; the death of each canon after this time resulted in the extinction of his prebend. The chapter came to its appointed end on 12 February 1873 with the death of Thomas Henry Shepherd, rector of Clayworth and prebendary of Beckingham.[17]
Cathedral
Despite the August 1540 plans to make Southwell Minster a cathedral not initially coming to fruition at the time, in 1884, 344 years later, Southwell Minster became a cathedral proper for Nottinghamshire and a part of Derbyshire including the city of Derby[10]:126–127. The diocese was divided in 1927 and the Diocese of Derby was formed.[18][19] The diocese's centenary was commemorated by a royal visit to distribute Maundy money. George Ridding, the first Bishop of Southwell, designed and paid for the grant of Arms now used as the diocesan coat of arms.[20]
Architecture
Compartments of the nave, interior and exterior[21]
The nave, transepts, central tower and two western towers of the Norman church which replaced the Saxon minster remain as an outstanding achievement of severe Romanesque design. With the exception of fragments mentioned above, they are the oldest part of the existing church.
The Nave is of seven bays, plus a separated western bay. The columns of the arcade are short and circular, with small scalloped capitals. The triforium has a single large arch in each bay. The clerestory has small round-headed windows. The external window openings are circular. There is a tunnel-vaulted passage between the inside and outside window openings of the clerestory. The nave aisles are vaulted, the main roof of the nave is a trussed rafter roof, with tie-beams between each bay – a late C19 replacement.[5][22][23]
By contrast with the nave arcade, the arches of the crossing are tall, rising to nearly the full height of the nave walls. The capitals of the east crossing piers depict scenes from the life of Jesus.[24] Two stages of the inside of the central tower can be seen at the crossing, with cable and wave decoration on the lower order and zigzag on the upper. The transepts have three stories with semi-circular arches, like the nave, but without aisles.[5]
Rib vault of Southwell Minster choir
The western facade has pyramidal spires on its towers – a unique feature today, though common in the C12.[5] The existing spires date only from 1880, but they replace those destroyed by fire in 1711, which are documented in old illustrations.[25] The large west window dates from the C15.[5] The central tower's two ornamental stages place it high among England's surviving Norman towers. The lower order has intersecting arches, the upper order plain arches. The north porch has a tunnel vault, and is decorated with intersecting arches.[5]
The choir is Early English in style, and was completed in 1241. It has transepts, thus separating the choir into a western and eastern arm. The choir is of two stories, with no gallery or triforium. The lower storey has clustered columns with multiform pointed arches, the upper storey has twin lancet arches in each bay. The rib vault of the choir springs from clustered shafts which rest on corbels. The vault has ridge ribs. The square east end of the choir has two stories each of four lancet windows.[5]
Entrance portal of the Chapter House with the famous carved foliage
Chapter house capital with carving of hops
Southwell rood screen (pulpitum) from the choir
In the 14th century the chapter house and the choir screen were added. The chapter house, started in 1288, is in an early decorated style, octagonal, with no central pier. It is reached from the choir by a passage and vestibule, through an entrance portal. This portal has five orders, and is divided by a central shaft into two subsidiary arches with a circle with quatrefoil above. Inside the chapter house, the stalls fill the octagonal wall sections, each separated by a single shaft with a triangular canopy above. The windows are of three lights, above them two circles with trefoils and above that a single circle with quatrefoil[5][10]:87–105. This straightforward description gives no indication of the glorious impression, noted by so many writers[10]:91, of the elegant proportions of the space, and of the profusion (in vestibule and passage, not just in the chapter house) of exquisitely carved capitals and tympana, mostly representing leaves in a highly naturalistic and detailed representation. The capitals in particular are deeply undercut, adding to the feeling of realism. Individual plant species such as ivy, maple, oak, hop, hawthorn can often be identified. The botanist Albert Seward published a detailed description of the carvings and their identification in 1935[26] and Nikolaus Pevsner wrote the classic description entitled The Leaves of Southwell, with photographs by Frederick Attenborough, in 1945.[27]
The rood screen dates from 1320 to 1340, and is an outstanding example of the Decorated style.[5] It has an east and west facade, separated by a vaulted space with flying ribs. The east facade, of two stories, is particularly richly decorated, with niches on the lower story with ogee arches, and openwork gables on the upper storey. The central archway rises higher than the lower storey, with an ogee arch surmounted by a cusped gable.[5]
The finest memorial in the minster is the alabaster tomb of Edwin Sandys, Archbishop of York (died 1588).[23]
Parma is a city in the Italian region of Emilia-Romagna famous for its ham, its cheese, its architecture and the fine countryside around it. This is the home of the University of Parma, one of the oldest universities in the world. Parma is divided into two parts by the little stream with the same name. Parma's Etruscan name was adapted by Romans to describe the round shield called Parma.The Italian poet Attilio Bertolucci (born in a hamlet in the countryside) wrote: "As a capital city it had to have a river. As a little capital it received a stream, which is often dry". The district on the far side of the river is Oltretorrente.
Parma è un comune italiano di 186.000 abitanti, capoluogo dell'omonima provincia in Emilia-Romagna.Antica capitale del ducato di Parma e Piacenza (1545-1859), la città di Parma è sede dell'omonima università.Sul territorio comunale sono presenti numerosi parchi, giardini e aree verdi, alcuni di notevole pregio storico e architettonico. La percentuale di verde urbano sulla superficie comunale è pari all'1,8% (ossia circa 4,68 km²) mentre ammonta a 26,6 m² il verde urbano per ogni abitante.] Il verde fruibile pro-capite nell'area urbana è di 14,57 m² per abitante e la città si è posizionata al 5º posto in Italia ed al 1º in Emilia-Romagna nel rapporto Ecosistema Urbano 2009. A Parma sono censiti 100.000 alberi, 28 milioni di m² di manto erboso, oltre 80 aree gioco per i bimbi allestite e situate in contesti verdi e una quarantina di aree dedicate ai cani.Le aristocratiche tradizioni ed una certa raffinatezza della vita sociale caratterizzano ancor oggi l'anima cittadina che si evidenzia in particolare con la passione dei parmigiani nei confronti della musica e dell'Opera, da secoli molto seguite ed apprezzate da vari strati della popolazione.Il primo letterato nativo di Parma di cui si abbia notizia fu Gaio Cassio Parmense (I secolo a.C.), appartenente ad una delle famiglie romane fondatrici della città e autore di tragedie ed elegie, ma la storia parmense si è col tempo arricchita del contributo intellettuale di numerosi artisti, poeti e pittori che ne hanno determinato l'intenso fervore nei confronti di multiformi interessi culturali, confermato dalla presenza in città di numerosi teatri, musei, manifestazioni e rassegne internazionali nel campo dell'arte e degli scambi commerciali. Benedetto Antelami, il Parmigianino, il Correggio, Ireneo Affò, Giovanni Battista Bodoni, Ferdinando Paër, Giuseppe Verdi, Arturo Toscanini, Ennemond Alexandre Petitot, Étienne Bonnot, abate di Condillac, Attilio Bertolucci, sono solo alcune delle personalità legate a Parma che hanno lasciato un'impronta importante nelle tradizioni artistiche e culturali cittadine.Parma fu magnificata da Stendhal che la visitò per la prima volta nel 1814 e la sognò nelle pagine della sua "Chartreuse" (La Certosa di Parma); successivamente fu desiderata da Marcel Proust nel suo Du côté de chez Swann (La strada di Swann).Nel XVIII secolo lo sviluppo dell'arte e delle istituzioni cittadine contribuirono a definire Parma "l'Atene d'Italia" mentre oggi, grazie al nuovo ruolo attribuitole all'interno dell'Unione Europea con l'assegnazione di un'importante agenzia comunitaria, la città sta preparando e progettando il proprio futuro in funzione di questa investitura destinata a produrre un processo di internazionalizzazione e crescita sociale e culturale, riaffermando l'antica tradizione di piccola capitale.
OUT NOW!!! "S Y N" Struttura G0056.
Sin- [dal gr. σύν «con, insieme»; lat. scient. syn-]. Prefisso di parole composte derivate dal greco o formate modernamente, che indica unione, connessione, coesione, completamento, complessità, contemporaneità. La mia ultima opera a #Bressanone, multiforme e comunicativa è un’estensione della struttura e del paesaggio naturalistico in cui si collega. Un luogo di incontro e unione di molte realtà giovanili e culturali di Bressanone, che, attraverso questo intervento sempre più tra Arte e Architettura, acquisisce un chiaro e forte senso identitario che parla alla comunità.
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"Unione, connessione, coesione, completamento, complessità, contemporaneità: questi sono i significati che Giulio Vesprini porta con la sua nuova opera “SYN” nella città di Bressanone.
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Street Artist: Giulio Vesprini
Location: Centro Ricreativo e Culturale Don Bosco
Città: Bressanone / Brixen
Curated by: Outbox - Urban Art in South Tyrol
Photo WIP: Outbox - Urban Art in South Tyrol
Photo ufficiali: Luca Guadagnigni
Video: Andrea Spreafico
Produced in collaboration with: Younginside Coop
Technical assistance: Matteo Eg Anna Carol Bernard
Thanks to: Politiche giovanili - Alto Adige Alperia Stiftung Südtiroler Sparkasse – Fondazione Cassa di Risparmio di Bolzano Federservizi Ard Raccanello Spa
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Il 24 ottobre al Teatro Sociale di Como, Mika rivisiterà il suo repertorio di successi e proporrà nuove canzoni in chiave sinfonica con l’orchestra “Affinis Consort”, diretta da Simon Leclerc, creata appositamente per l’occasione da 81 professionisti internazionali: 65 strumentisti e 16 coristi.
Lo spettacolo nasce dal desiderio di Mika di replicare in Italia l’incredibile esperienza dei tre concerti sinfonici tenutisi a Montréal lo scorso febbraio, in cui ha confermato la sua versatilità e la qualità del suo repertorio pop, anche in chiave classica.
Il concerto arriva dopo i grandi successi estivi al Fabrique di Milano, al Teatro Antico di Taormina e all’Arena della Regina di Cattolica e le prossime tre date nei palasport di Milano (27 settembre), Roma (29 settembre) e Firenze (30 settembre). Le prevendite per la serata speciale partiranno da giovedì 1 ottobre.
Simon Leclerc è un affermato compositore di colonne sonore per la Paramount e direttore d’orchestra canadese a cui Mika ha affidato l’arrangiamento in chiave classica del suo repertorio. Dopo i concerti di Montreal, Mika ha entusiasticamente dichiarato: “Provenendo io stesso da una formazione professionale classica, per me è straordinario sentire le mie canzoni nelle veste classica che Simon ha dato loro, perché nella mia mente, le ho sempre immaginate così!”
Dal piccolo ensemble alla grande orchestra sinfonica. Dalle fondamenta classiche alle contaminazioni contemporanee e pop.
Affinis Consort racchiude nel suo dna la multiformità del suo essere.
L'unione di mondi, il Canada e l'Italia. Il superamento dei confini geografici e culturali. Il connubio e la condivisione delle esperienze che ogni singolo musicista porta sul palco, elevando le affinità.
(further pictures and information you can see if you go to the end of page and by clicking on the link...)
Belvedere
Belvedere Castle. Garden Front of the Lower Belvedere.
Belvedere Palace stands supposedly on the foundations of a Roman camp that had been erected here for strategic reasons. In 1693 Prince Eugene of Savoy acquired field and vineyard grounds between today's Rennweg and today's Gürtel. In 1700 Johann Lukas von Hildebrandt began with the construction of a palace garden (Lower Belvedere), whose in French-style layed out park was equipped with large water basins, an orangery with precious foreign plants and a menagerie. Prince Eugene was a great animal lover, and some animals in his collection could be fed exclusively by himself.
1720 the Prince conceived the plan the summer palace to supplement by a another palace building on the hill of the garden.
The 1721 by Johann Lukas von Hildebrandt begun works had been completed in 1724. The Upper Belvedere served in contrast to the Lower only representative purposes and was never meant to live.
The Prince and his architect managed a perfect symbiosis between architecture and garden. After the death of the Savoy (1736) inherited his niece Victoria of Savoy-Soisson, nee Princess Hildburghausen, all his possessions. From her the Habsburgs beginning of 1752 acquired the Belvedere. From 1755 Empress Maria Theresa moved the Arcierenleibgarde (Royal Company of the Archers) and the Galician Guard in the annex of the Belvedere. Besides, the castle stood almost empty.
Belvedere Castle. Engraving by Salomon Kleiner 1731/40 (left).
Vienna from the Belvedere. Coloured copper engraving by Carl Schütz, 1784 (right).
1770 Belvedere Palace was venue of brilliant festivities:
In castle and park the marriage of Archduchess Maria Antonia (Marie Antoinette) with the Dauphin of France by proxy (per procura) was celebrated. About 2,000 people were invited, more than 1,500 bottles of champagne, which was far from home in Vienna at that time,
were emptied. For hospitality of the guests, there were round tables, which were covered with silver. However, the Court of Vienna had a large part of the silver service to rent of nobles, because the stocks of the silver chamber were not sufficient. Finished was the festival by a magnificent fireworks.
1776, the imperial picture gallery from the Stallburg (home of the famous Lipizzan stallions) was transferred to the Upper Belvedere, the animals of the menagerie came to Schönbrunn. Shortly before the Congress of Vienna in 1814 in the Lower Belvedere the Ambras Collection was exposed. During the war against Napoleon (1805-1809), much of the collection of paintings had to be outsourced. The Corsican claimed 400 masterpieces for himself, but which after his defeat at Waterloo to the Habsburgs have been restituted. The after the French wars completely neglected building has been restored 1850-1866.
Castle Park with Upper Belvedere. Photograph, around 1890.
1819 Emperor Franz II (I) the Institute of Botany, University of Vienna, had given spacious grounds for enlargement of the Botanical Garden at Rennweg. Franz was very interested in botany and in accordance with a Habsburg House bill - every Archduke must learn a civilian job - has been educated for gardener. In an adjoining garden of Schloß Belvedere he had from his private funds laid out a botanical garden ("Flora Austriaca") which was left to the Institute of Botany for use.
During the cholera epidemic of 1831, the Belvedere served as well as Schönbrunn Palace the imperial family as a refuge; supposedly one was there protected from the bad air, which was attributed to the onset of the disease. Both castles lay in the "countryside", the air was much better here than in the densely populated city. During wartime, a hospital was set up in the castle.
As the space for the imperial collections became too small, it was thought to expand the Upper Belvedere by wing buildings. This plan was dropped for aesthetic reasons, however. After the expansion of the city (razing of the bastions and glacis) arose on the ring road the newly created Court Museums; moved there in 1891 the major part of the paintings.
Archduke-Heir to the Throne Franz Ferdinand of Austria-Este at folk and children's party in the park of the Belvedere Palace. Photograph, 1905.
To 1893/94 it is likely that Archduke Franz Ferdinand has chosen the Upper Belvedere to his residence in Vienna. Other sources say that it had been assigned to him by the Emperor Franz Joseph as a place to stay in Vienna. The rooms have been restored, adapted for residential purposes and supplemented with neo-Baroque furniture. The heir of the Este collections furnished his residence with numerous works of art. He had envisaged the castle for the accommodation of his collections; in 1893 were numerous boxes from India and Singapore in Belvedere stored. 1894 Emperor Franz Joseph could see the collection: "Yesterday I went to the Belvedere, where Franzi showed me his now quite and very nicely prepared collections. The same are as imposing as interesting by the incredible amount of objects and by the rarity and beauty of them. I believe that this exhibition would be interesting for you", wrote the monarch to his wife, Empress Elisabeth. That same year, Archduke Franz Ferdinand showed his collections his future wife, Sophie Chotková,
"Where I unaware of your fatigue with particular brutality you dragged from box to box" as he apologetically from Budweis wrote to the Countess.
Then the collections moved one the one hand to the Palais Modena in the Beatrixgasse, on the other hand to Konopischt. Only in 1898, Franz Ferdinand was granted by Emperor Franz Joseph to move into the Belvedere as Vienna Residence. More revitalization works were carried out and were also necessary. Technical modernization and preservation of the original building condition had priority - as always with the projects of Archduke Franz Ferdinand. As furnishings served still preserved furnitures from Schloss Hof, which were supplemented by new ones in old style. The private rooms in addition to electric lighting were equipped with central heating.
Belvedere Castle. Staircase in the Upper Belvedere (left).
Marble plastic "Apotheosis of Prince Eugene" by Balthasar Permoser in Gold Cabinet of the Lower Belvedere (right).
If his presence was needed in Vienna, Franz Ferdinand here could lead a normal family life and escape the pressures of court ceremonial, in which the to him in morganatic marriage affiliated wife was exposed to the evils of the courtiers. When the heir to the throne invited guests to the Belvedere, he was sitting opposite his wife as a hostess while she was ranked in the Hofburg always after the latest unmarried Archduchess. About the cozy family life at Belvedere reported Prince von Clary-Aldringens:
"Aunt Sophie invited us ... to snack into a Belvedere, unexpectedly, suddenly appeared the Archduke - we literally froze in our Hab-Acht-position (stand at attention). He greeted us warmly ... [I got to know] the Archduke as a friendly landlord, who was playing and laughing with his Children..."
Between 1899 and 1914 in the Lower Belvedere the military bureau of the heir to the throne was housed. Other well-known Residents - but of outbuildings - were Anton Bruckner, who in 1896 died in the Kustodenwohnung (guardian house), and Richard Strauss, who lived here from 1925 to 1944.
After the assassination of the Archduke and his wife in Sarajevo, the Belvedere should serve as the residence of the new heir to the throne, Archduke Karl and his family. This, however, preferred living in Schönbrunn and especially in the villa Wartholz. In 1917, Charles' brother Archduke Maximilian moved with his family into the Belvedere.
During World War II the castle was badly damaged by bombs, but rebuilt after the war ended immediately. On 15 May 1955 was the Marble Hall venue of the signing of the Austrian State Treaty. Today, the Upper Belvedere houses important art collections.
Excerpts from
Thus lived the Habsburgs - Imperial and Royal Palaces in the
Austro-Hungarian Monarchy
Ingrid Haslinger, Gerhard Trumler
Christian Brandstätter Verlag mbH
The publishing service for museums, businesses and
public bodies
www.brandstaetter - verlag.at
Denomination of the summer residence which Prince Eugene of Savoy himself had erected btw Rennweg and Swiss Garden. The term which refers to the unique view over Vienna dates from the time of Maria Theresa. Prinz Eugen bought in 1697 a plot of land at the Rennweg, which he extended to 1721 in four stages to the current area. Between 1714 and 1716 emerged the Lower Belvedere It is an elongated ground floor building, designed of a 7-axes central projection, two wings and two corner pavilions. The 3-axis central pavilion houses the Marble Hall. The castle the only rarely in Vienna sojourning builder served during the summer months as a pleasure palace.
Only in 1720 commenced construction works for the Upper Belvedere, first drawings for this existed already in 1717. The in it extent and form language compared to the Lower Belvedere especially magnificent Upper Belvedere served primarily as a representative setting for grand receptions and festivities. The architectural history of the example due to the loss of the Eugenianischen Bauarchivs (construction archiv of Prince Eugene) cannot be explored in detail without any gaps. 1723 (according to Rizzi 1721/22) the Upper Belvedere s is considered complete. The architect Johann Lukas von Hildebrandt, who repeatedly worked for Prince Eugen, with the construction of the Belvedere has created his main work. It counts in its multiform architectonic as well as sculptural structure to the most important baroque buildings of the 18th century. The to the ensemble belonging, btw Upper and Lower Belvedere laying garden has been created by the Bavarian horticultural engineer D. Girard and today only in broad terms is original. The designs for the interior of the castle stem from C. le Fort du Plessy.
After the death of the prince the belvedere went into the possession of his sole heiress, Victoria Duchess of Saxe-Hildburghausen. She sold it in 1752 to Maria Theresa. At the behest of Joseph II from 1775 the imperial picture gallery was transferred here, which in 1781 for the first time was open to the public. had. Since 1806 was located in the Lower Belvedere the Ambras Collection. Both collections were in 1890 in the Museum of Art History transferred. In 1894, the palace became residence for the heir to the throne Archduke Franz Ferdinand.
After the first World War I the Republic of Austria in Belvedere installed the Austrian Gallery. 1945 suffered the Belvedere severe war damage. In 1950, the "Gold Cabinet" in the north-eastern corner pavilion of the Upper Belvedere was destroyed by fire and replaced by a copy. The since 1988 ongoing general renovation should have been completed in 1996.
aeiou - the cultural information system of the bm: bwk
14,000 key words and 2000 pictures from history, geography, politics and business in Austria
Austrian Gallery Belvedere
The in the center of Vienna situated Belvedere palaces with their extensive parks form an impressive baroque Gesamtkunstwerk. The Museum in the Upper and Lower Castle
provides an excellent overview of the Austrian Art from the Middle Ages to the present. the collections of the 19th and 20th Century also include an exquisite inventory of international art. World Famous works by Klimt, Schiele, Kokoschka, Renoir and Monet you can see in the upper
Belvedere, from where you can enjoy a spectacular view to the center of Vienna. In the historic rooms of the Lower Belvedere are shown works of art from the Middle Ages and Baroque.
Austrian Gallery Belvedere
Prinz Eugen -Strasse 27 , A - 1037 Wien
Phone 43 / ( 0) 1 / 79557-0
Fax 43 / (0) 1/79 84 337
Upper Belvedere
Collections of the 19th and 20th century
Prinz Eugen -Strasse 27 , A - 1037 Wien
Lower Belvedere
Baroque Museum, and Museum of Medieval Art
Rennweg 6a, A - 1030 Vienna
Templo ubicado en las cercanías de la falda oriente del cerro del Tepeyac. Fue construido de 1777 a 1791 y diseñado por el arquitecto Francisco Guerrero y Torres.Fue edificado sobre un pozo de aguas consideradas milagrosas, así, pronto comenzaron las peregrinaciones al lugar.10 Gran cantidad de enfermos bebía y lavaba sus heridas en el mismo sitio, por lo que pronto se convirtió en foco de infecciones. Para controlar las epidemias se impidió el acceso directo al pozo y se construyó una techumbre sencilla, pero las peregrinaciones continuaron. Para 1777 se tomó la decisión de construir un templo en el sitio.
El sello particular de esta capilla pequeña, considerada joya arquitectónica del estilo barroco, es su forma pues su planta es la única de base circular o cántrica levantada durante el siglo XVIII que se conserva en México. Este carácter permite que el visitante perciba el espacio poco a poco, como si éste se escondiera. El movimiento que le imprime a la cúpula la decoración en zigzag, lo mismo que las líneas multiformes utilizadas en las ventanas contribuye a crear esta atmósfera de movimiento lento. Todos los símbolos que cargan los angelitos pintados en la cúpula, son los símbolos marianos que aparecen en la Letanía Lauretana, parte final del rezo del rosario: espejo de virtudes, torre de David, estrella de la mañana, etc. Otro elemento importante de la decoración es el Juan Diego que sostiene el púlpito de madera.10
En 1815 el insurgente José María Morelos se le permitió como última voluntad ir a orar a la Virgen de Guadalupe en este templo antes de ser ejecutado en una población cercana en el actual municipio de Ecatepec de Morelos.
Con las obras de creación del Atrio de las Américas en la década de 1950, el templo pasó de estar inmerso en la traza urbana a encontrarse aislado de ésta, tal como se lo contempla en la actualidad.
Há nichos multiformes escavados nos paredões de arenito onde as araras azuis de lear dormem e nidificam. Não pudemos vê-las pois saem cedo e retornam ao final da tarde mas o cenário vale a visita.
Southwell Minster is a minster and cathedral, in Southwell, Nottinghamshire, England. It is situated six miles from Newark-on-Trent and thirteen miles from Mansfield. It is the seat of the Bishop of Southwell and Nottingham and the Diocese of Southwell and Nottingham.
History
Middle Ages
The earliest church on the site is believed to have been founded in 627 by Paulinus, the first Archbishop of York, when he visited the area while baptising believers in the River Trent. The legend is commemorated in the Minster's baptistry window.[4]
In 956 King Eadwig gave land in Southwell to Oskytel, Archbishop of York, on which a minster church was established. The Domesday Book of 1086 recorded the Southwell manor in great detail. The Norman reconstruction of the church began in 1108, probably as a rebuilding of the Anglo-Saxon church, starting at the east end so that the high altar could be used as soon as possible and the Saxon building was dismantled as work progressed. Many stones from this earlier Anglo-Saxon church were reused in the construction. The tessellated floor and late 11th century tympanum in the north transept are the only parts of the Anglo-Saxon building remaining intact. Work on the nave began after 1120 and the church was completed by c.1150.[5]
The church was originally attached to the Archbishop of York's Palace which stood next door and is now ruined. It served the archbishop as a place of worship and was a collegiate body of theological learning, hence its designation as a minster. The minster draws its choir from the nearby school with which it is associated.[6]
The Norman chancel was square-ended. For a plan of the original church see Clapham (1936).[7] The chancel was replaced with another in the Early English style in 1234–51 because it was too small. The octagonal chapter house, built starting in 1288 with a vault in the Decorated Gothic style has naturalistic carvings of foliage (the 13th-century stonecarving includes several Green Men). The elaborately carved "pulpitum" or choir screen was built in 1320–40.[5]
Reformation and civil war
The church suffered less than many others in the English Reformation as it was refounded in 1543 by Act of Parliament.[8]
Southwell is where Charles I was captured during the English Civil War, in 1646. The fighting saw the church seriously damaged and the nave is said to have been used as stabling. The adjoining palace was almost completely destroyed, first by Scottish troops and then by the local people, with only the Hall of the Archbishop remaining as a ruined shell.[9] The Minster's financial accounts show that extensive repairs were necessary after this period[citation needed].
18th century
On 5 November 1711 the southwest spire was struck by lightning, and the resulting fire spread to the nave, crossing and tower destroying roofs, bells, clock and organ.[10]:118 By 1720 repairs had been completed, now giving a flat panelled ceiling to the nave and transepts.
Victorian
In 1805 Archdeacon Kaye gave the Minster the Newstead lectern; once owned by Newstead Abbey, it had been thrown into the Abbey fishpond by the monks to save it during the Dissolution of the Monasteries, then later discovered when the lake was dredged.[11] Henry Gally Knight in 1818 gave the Minster four panels of 16th century Flemish glass (which now fill the bottom part of the East window) which he had acquired from a Parisian pawnshop.[12]
In danger of collapse, the spires were removed in 1805 and re-erected in 1879–81 when the minster was extensively restored by Ewan Christian, an architect specialising in churches. The nave roof was replaced with a pitched roof[13] and the choir was redesigned and refitted.
Ecclesiastical history
Collegiate church
Southwell Minster was served by prebendaries from the early days of its foundation. By 1291 there were 16 Prebends of Southwell mentioned in the Taxation Roll.[14]:19–20
In August 1540, as the dissolution of the monasteries was coming to an end, and despite its collegiate rather than monastic status, Southwell Minster was suppressed specifically in order that it could be included in the plans initiated by King Henry VIII to create several new cathedrals. It appears to have been proposed as the see for a new diocese comprising Nottinghamshire and Derbyshire, as a replacement for Welbeck Abbey which had been dissolved in 1538 and which by 1540 was no longer owned by the Crown.[15][16]
The plan for the minster's elevation did not proceed, so in 1543 Parliament reconstituted its collegiate status as before. In 1548 it again lost its collegiate status under the 1547 Act of King Edward VI which suppressed (among others) almost all collegiate churches: at Southwell the prebendaries were given pensions and the estates sold, while the church continued as the parish church on the petitions of the parishioners[14]:32.
By an Act of Philip and Mary in 1557, the minster and its prebends were restored[citation needed]. In 1579 a set of statutes was promulgated by Queen Elizabeth I and the chapter operated under this constitution until it was dissolved in 1841[14]:36-38. The Ecclesiastical Commissioners made provision for the abolition of the chapter as a whole; the death of each canon after this time resulted in the extinction of his prebend. The chapter came to its appointed end on 12 February 1873 with the death of Thomas Henry Shepherd, rector of Clayworth and prebendary of Beckingham.[17]
Cathedral
Despite the August 1540 plans to make Southwell Minster a cathedral not initially coming to fruition at the time, in 1884, 344 years later, Southwell Minster became a cathedral proper for Nottinghamshire and a part of Derbyshire including the city of Derby[10]:126–127. The diocese was divided in 1927 and the Diocese of Derby was formed.[18][19] The diocese's centenary was commemorated by a royal visit to distribute Maundy money. George Ridding, the first Bishop of Southwell, designed and paid for the grant of Arms now used as the diocesan coat of arms.[20]
Architecture
Compartments of the nave, interior and exterior[21]
The nave, transepts, central tower and two western towers of the Norman church which replaced the Saxon minster remain as an outstanding achievement of severe Romanesque design. With the exception of fragments mentioned above, they are the oldest part of the existing church.
The Nave is of seven bays, plus a separated western bay. The columns of the arcade are short and circular, with small scalloped capitals. The triforium has a single large arch in each bay. The clerestory has small round-headed windows. The external window openings are circular. There is a tunnel-vaulted passage between the inside and outside window openings of the clerestory. The nave aisles are vaulted, the main roof of the nave is a trussed rafter roof, with tie-beams between each bay – a late C19 replacement.[5][22][23]
By contrast with the nave arcade, the arches of the crossing are tall, rising to nearly the full height of the nave walls. The capitals of the east crossing piers depict scenes from the life of Jesus.[24] Two stages of the inside of the central tower can be seen at the crossing, with cable and wave decoration on the lower order and zigzag on the upper. The transepts have three stories with semi-circular arches, like the nave, but without aisles.[5]
Rib vault of Southwell Minster choir
The western facade has pyramidal spires on its towers – a unique feature today, though common in the C12.[5] The existing spires date only from 1880, but they replace those destroyed by fire in 1711, which are documented in old illustrations.[25] The large west window dates from the C15.[5] The central tower's two ornamental stages place it high among England's surviving Norman towers. The lower order has intersecting arches, the upper order plain arches. The north porch has a tunnel vault, and is decorated with intersecting arches.[5]
The choir is Early English in style, and was completed in 1241. It has transepts, thus separating the choir into a western and eastern arm. The choir is of two stories, with no gallery or triforium. The lower storey has clustered columns with multiform pointed arches, the upper storey has twin lancet arches in each bay. The rib vault of the choir springs from clustered shafts which rest on corbels. The vault has ridge ribs. The square east end of the choir has two stories each of four lancet windows.[5]
Entrance portal of the Chapter House with the famous carved foliage
Chapter house capital with carving of hops
Southwell rood screen (pulpitum) from the choir
In the 14th century the chapter house and the choir screen were added. The chapter house, started in 1288, is in an early decorated style, octagonal, with no central pier. It is reached from the choir by a passage and vestibule, through an entrance portal. This portal has five orders, and is divided by a central shaft into two subsidiary arches with a circle with quatrefoil above. Inside the chapter house, the stalls fill the octagonal wall sections, each separated by a single shaft with a triangular canopy above. The windows are of three lights, above them two circles with trefoils and above that a single circle with quatrefoil[5][10]:87–105. This straightforward description gives no indication of the glorious impression, noted by so many writers[10]:91, of the elegant proportions of the space, and of the profusion (in vestibule and passage, not just in the chapter house) of exquisitely carved capitals and tympana, mostly representing leaves in a highly naturalistic and detailed representation. The capitals in particular are deeply undercut, adding to the feeling of realism. Individual plant species such as ivy, maple, oak, hop, hawthorn can often be identified. The botanist Albert Seward published a detailed description of the carvings and their identification in 1935[26] and Nikolaus Pevsner wrote the classic description entitled The Leaves of Southwell, with photographs by Frederick Attenborough, in 1945.[27]
The rood screen dates from 1320 to 1340, and is an outstanding example of the Decorated style.[5] It has an east and west facade, separated by a vaulted space with flying ribs. The east facade, of two stories, is particularly richly decorated, with niches on the lower story with ogee arches, and openwork gables on the upper storey. The central archway rises higher than the lower storey, with an ogee arch surmounted by a cusped gable.[5]
The finest memorial in the minster is the alabaster tomb of Edwin Sandys, Archbishop of York (died 1588).[23]
Thirteenth century originally, though much of the glass is probably later replacement. A wonderful cut-out doily - finicky and multiform, but to me without the fantasy that makes Chartres so special, or the strong continuous curves of the tracery found in some of the Ile de France roses.
Coleção Stripes Verão 2011 com Alinne Moraes.
Fluidez, maciez e flexibilidade são as palavras que melhor definem a romântica linha Stripes. Os nove, modelos, com delicadas listras em fios tintos, foram confeccionados com um tecido extremamente leve e de toque gelado e agradável. A tanga e o sutiã Multiformas, para acompanhar vários tipos de decotes, merecem atenção.
As peças da Stripes apresentam um elástico trabalhado em composição com a exclusiva renda estreita de fios Cordonê e com o delicado laço de organza e bordado sobreposto.
The modules for this model is from one of the models derived from the Multiform Model. Some of the models derived from the Multiform Model are the Pajarita, Sailboat, Catamaran, Vase, and the Windmill. I have already tinkered with the Pajarita and the Windmill models to use as modules and recently José Meeusen made used for the "Sailboat" model to form her Pajarita Star. This model is from the "Vase" model derived from the Multiform model. The 8 modules are folded from 7.5cm Kami squares.
Tischler - C.R.
Convenio Fundación HIVOS y MADC.
7 de Febrero al 5 de abril
Sala I, II, III, IV
Artistas: Regina Aguilar, Gustavo Araujo, Patricia Belli, Bayardo Blandino, Andrés Carranza, Isabel de Obaldía, Sandra Eleta, Dario Escobar, Luis González Palma, Walterio Iraheta, Rodolfo Molina, Priscilla Monge, Yasser Musa, Raúl Quintanilla, Isabel Ruíz, Karla Solano, Cinthya Soto, Gilvano Swawey, Jaime David Tischler, Patricia Villalobos.
Curaduría: Rolando Barahona y Tahituey Ribot.
Parma is a city in the Italian region of Emilia-Romagna famous for its ham, its cheese, its architecture and the fine countryside around it. This is the home of the University of Parma, one of the oldest universities in the world. Parma is divided into two parts by the little stream with the same name. Parma's Etruscan name was adapted by Romans to describe the round shield called Parma.The Italian poet Attilio Bertolucci (born in a hamlet in the countryside) wrote: "As a capital city it had to have a river. As a little capital it received a stream, which is often dry". The district on the far side of the river is Oltretorrente.
Parma è un comune italiano di 186.000 abitanti, capoluogo dell'omonima provincia in Emilia-Romagna.Antica capitale del ducato di Parma e Piacenza (1545-1859), la città di Parma è sede dell'omonima università.Sul territorio comunale sono presenti numerosi parchi, giardini e aree verdi, alcuni di notevole pregio storico e architettonico. La percentuale di verde urbano sulla superficie comunale è pari all'1,8% (ossia circa 4,68 km²) mentre ammonta a 26,6 m² il verde urbano per ogni abitante.] Il verde fruibile pro-capite nell'area urbana è di 14,57 m² per abitante e la città si è posizionata al 5º posto in Italia ed al 1º in Emilia-Romagna nel rapporto Ecosistema Urbano 2009. A Parma sono censiti 100.000 alberi, 28 milioni di m² di manto erboso, oltre 80 aree gioco per i bimbi allestite e situate in contesti verdi e una quarantina di aree dedicate ai cani.Le aristocratiche tradizioni ed una certa raffinatezza della vita sociale caratterizzano ancor oggi l'anima cittadina che si evidenzia in particolare con la passione dei parmigiani nei confronti della musica e dell'Opera, da secoli molto seguite ed apprezzate da vari strati della popolazione.Il primo letterato nativo di Parma di cui si abbia notizia fu Gaio Cassio Parmense (I secolo a.C.), appartenente ad una delle famiglie romane fondatrici della città e autore di tragedie ed elegie, ma la storia parmense si è col tempo arricchita del contributo intellettuale di numerosi artisti, poeti e pittori che ne hanno determinato l'intenso fervore nei confronti di multiformi interessi culturali, confermato dalla presenza in città di numerosi teatri, musei, manifestazioni e rassegne internazionali nel campo dell'arte e degli scambi commerciali. Benedetto Antelami, il Parmigianino, il Correggio, Ireneo Affò, Giovanni Battista Bodoni, Ferdinando Paër, Giuseppe Verdi, Arturo Toscanini, Ennemond Alexandre Petitot, Étienne Bonnot, abate di Condillac, Attilio Bertolucci, sono solo alcune delle personalità legate a Parma che hanno lasciato un'impronta importante nelle tradizioni artistiche e culturali cittadine.Parma fu magnificata da Stendhal che la visitò per la prima volta nel 1814 e la sognò nelle pagine della sua "Chartreuse" (La Certosa di Parma); successivamente fu desiderata da Marcel Proust nel suo Du côté de chez Swann (La strada di Swann).Nel XVIII secolo lo sviluppo dell'arte e delle istituzioni cittadine contribuirono a definire Parma "l'Atene d'Italia" mentre oggi, grazie al nuovo ruolo attribuitole all'interno dell'Unione Europea con l'assegnazione di un'importante agenzia comunitaria, la città sta preparando e progettando il proprio futuro in funzione di questa investitura destinata a produrre un processo di internazionalizzazione e crescita sociale e culturale, riaffermando l'antica tradizione di piccola capitale.
Quintanilla
Convenio Fundación HIVOS y MADC.
7 de Febrero al 5 de abril
Sala I, II, III, IV
Artistas: Regina Aguilar, Gustavo Araujo, Patricia Belli, Bayardo Blandino, Andrés Carranza, Isabel de Obaldía, Sandra Eleta, Dario Escobar, Luis González Palma, Walterio Iraheta, Rodolfo Molina, Priscilla Monge, Yasser Musa, Raúl Quintanilla, Isabel Ruíz, Karla Solano, Cinthya Soto, Gilvano Swawey, Jaime David Tischler, Patricia Villalobos.
Curaduría: Rolando Barahona y Tahituey Ribot.
Belvedere Palace stands supposedly on the foundations of a Roman camp that had been erected here for strategic reasons. In 1693 Prince Eugene of Savoy acquired field and vineyard grounds between today's Rennweg and today's Gürtel. In 1700 Johann Lukas von Hildebrandt began with the construction of a palace garden (Lower Belvedere), whose in French-style layed out park was equipped with large water basins, an orangery with precious foreign plants and a menagerie. Prince Eugene was a great animal lover, and some animals in his collection could be fed exclusively by himself.
1720 the Prince conceived the plan the summer palace to supplement by a another palace building on the hill of the garden.
The 1721 by Johann Lukas von Hildebrandt begun works had been completed in 1724. The Upper Belvedere served in contrast to the Lower only representative purposes and was never meant to live.
The Prince and his architect managed a perfect symbiosis between architecture and garden. After the death of the Savoy (1736) inherited his niece Victoria of Savoy-Soisson, nee Princess Hildburghausen, all his possessions. From her the Habsburgs beginning of 1752 acquired the Belvedere. From 1755 Empress Maria Theresa moved the Arcierenleibgarde (Royal Company of the Archers) and the Galician Guard in the annex of the Belvedere. Besides, the castle stood almost empty.
Belvedere Castle. Engraving by Salomon Kleiner 1731/40 (left).
Vienna from the Belvedere. Coloured copper engraving by Carl Schütz, 1784 (right).
1770 Belvedere Palace was venue of brilliant festivities:
In castle and park the marriage of Archduchess Maria Antonia (Marie Antoinette) with the Dauphin of France by proxy (per procura) was celebrated. About 2,000 people were invited, more than 1,500 bottles of champagne, which was far from home in Vienna at that time,
were emptied. For hospitality of the guests, there were round tables, which were covered with silver. However, the Court of Vienna had a large part of the silver service to rent of nobles, because the stocks of the silver chamber were not sufficient. Finished was the festival by a magnificent fireworks.
1776, the imperial picture gallery from the Stallburg (home of the famous Lipizzan stallions) was transferred to the Upper Belvedere, the animals of the menagerie came to Schönbrunn. Shortly before the Congress of Vienna in 1814 in the Lower Belvedere the Ambras Collection was exposed. During the war against Napoleon (1805-1809), much of the collection of paintings had to be outsourced. The Corsican claimed 400 masterpieces for himself, but which after his defeat at Waterloo to the Habsburgs have been restituted. The after the French wars completely neglected building has been restored 1850-1866.
Castle Park with Upper Belvedere. Photograph, around 1890.
1819 Emperor Franz II (I) the Institute of Botany, University of Vienna, had given spacious grounds for enlargement of the Botanical Garden at Rennweg. Franz was very interested in botany and in accordance with a Habsburg House bill - every Archduke must learn a civilian job - has been educated for gardener. In an adjoining garden of Schloß Belvedere he had from his private funds laid out a botanical garden ("Flora Austriaca") which was left to the Institute of Botany for use.
During the cholera epidemic of 1831, the Belvedere served as well as Schönbrunn Palace the imperial family as a refuge; supposedly one was there protected from the bad air, which was attributed to the onset of the disease. Both castles lay in the "countryside", the air was much better here than in the densely populated city. During wartime, a hospital was set up in the castle.
As the space for the imperial collections became too small, it was thought to expand the Upper Belvedere by wing buildings. This plan was dropped for aesthetic reasons, however. After the expansion of the city (razing of the bastions and glacis) arose on the ring road the newly created Court Museums; moved there in 1891 the major part of the paintings.
Archduke-Heir to the Throne Franz Ferdinand of Austria-Este at folk and children's party in the park of the Belvedere Palace. Photograph, 1905.
To 1893/94 it is likely that Archduke Franz Ferdinand has chosen the Upper Belvedere to his residence in Vienna. Other sources say that it had been assigned to him by the Emperor Franz Joseph as a place to stay in Vienna. The rooms have been restored, adapted for residential purposes and supplemented with neo-Baroque furniture. The heir of the Este collections furnished his residence with numerous works of art. He had envisaged the castle for the accommodation of his collections; in 1893 were numerous boxes from India and Singapore in Belvedere stored. 1894 Emperor Franz Joseph could see the collection: "Yesterday I went to the Belvedere, where Franzi showed me his now quite and very nicely prepared collections. The same are as imposing as interesting by the incredible amount of objects and by the rarity and beauty of them. I believe that this exhibition would be interesting for you", wrote the monarch to his wife, Empress Elisabeth. That same year, Archduke Franz Ferdinand showed his collections his future wife, Sophie Chotková,
"Where I unaware of your fatigue with particular brutality you dragged from box to box" as he apologetically from Budweis wrote to the Countess.
Then the collections moved one the one hand to the Palais Modena in the Beatrixgasse, on the other hand to Konopischt. Only in 1898, Franz Ferdinand was granted by Emperor Franz Joseph to move into the Belvedere as Vienna Residence. More revitalization works were carried out and were also necessary. Technical modernization and preservation of the original building condition had priority - as always with the projects of Archduke Franz Ferdinand. As furnishings served still preserved furnitures from Schloss Hof, which were supplemented by new ones in old style. The private rooms in addition to electric lighting were equipped with central heating.
Belvedere Castle. Staircase in the Upper Belvedere (left).
Marble plastic "Apotheosis of Prince Eugene" by Balthasar Permoser in Gold Cabinet of the Lower Belvedere (right).
If his presence was needed in Vienna, Franz Ferdinand here could lead a normal family life and escape the pressures of court ceremonial, in which the to him in morganatic marriage affiliated wife was exposed to the evils of the courtiers. When the heir to the throne invited guests to the Belvedere, he was sitting opposite his wife as a hostess while she was ranked in the Hofburg always after the latest unmarried Archduchess. About the cozy family life at Belvedere reported Prince von Clary-Aldringens:
"Aunt Sophie invited us ... to snack into a Belvedere, unexpectedly, suddenly appeared the Archduke - we literally froze in our Hab-Acht-position (stand at attention). He greeted us warmly ... [I got to know] the Archduke as a friendly landlord, who was playing and laughing with his Children..."
Between 1899 and 1914 in the Lower Belvedere the military bureau of the heir to the throne was housed. Other well-known Residents - but of outbuildings - were Anton Bruckner, who in 1896 died in the Kustodenwohnung (guardian house), and Richard Strauss, who lived here from 1925 to 1944.
After the assassination of the Archduke and his wife in Sarajevo, the Belvedere should serve as the residence of the new heir to the throne, Archduke Karl and his family. This, however, preferred living in Schönbrunn and especially in the villa Wartholz. In 1917, Charles' brother Archduke Maximilian moved with his family into the Belvedere.
During World War II the castle was badly damaged by bombs, but rebuilt after the war ended immediately. On 15 May 1955 was the Marble Hall venue of the signing of the Austrian State Treaty. Today, the Upper Belvedere houses important art collections.
Excerpts from
Thus lived the Habsburgs - Imperial and Royal Palaces in the
Austro-Hungarian Monarchy
Ingrid Haslinger, Gerhard Trumler
Christian Brandstätter Verlag mbH
The publishing service for museums, businesses and
public bodies
www.brandstaetter - verlag.at
Denomination of the summer residence which Prince Eugene of Savoy himself had erected btw Rennweg and Swiss Garden. The term which refers to the unique view over Vienna dates from the time of Maria Theresa. Prinz Eugen bought in 1697 a plot of land at the Rennweg, which he extended to 1721 in four stages to the current area. Between 1714 and 1716 emerged the Lower Belvedere It is an elongated ground floor building, designed of a 7-axes central projection, two wings and two corner pavilions. The 3-axis central pavilion houses the Marble Hall. The castle the only rarely in Vienna sojourning builder served during the summer months as a pleasure palace.
Only in 1720 commenced construction works for the Upper Belvedere, first drawings for this existed already in 1717. The in it extent and form language compared to the Lower Belvedere especially magnificent Upper Belvedere served primarily as a representative setting for grand receptions and festivities. The architectural history of the example due to the loss of the Eugenianischen Bauarchivs (construction archiv of Prince Eugene) cannot be explored in detail without any gaps. 1723 (according to Rizzi 1721/22) the Upper Belvedere s is considered complete. The architect Johann Lukas von Hildebrandt, who repeatedly worked for Prince Eugen, with the construction of the Belvedere has created his main work. It counts in its multiform architectonic as well as sculptural structure to the most important baroque buildings of the 18th century. The to the ensemble belonging, btw Upper and Lower Belvedere laying garden has been created by the Bavarian horticultural engineer D. Girard and today only in broad terms is original. The designs for the interior of the castle stem from C. le Fort du Plessy.
After the death of the prince the belvedere went into the possession of his sole heiress, Victoria Duchess of Saxe-Hildburghausen. She sold it in 1752 to Maria Theresa. At the behest of Joseph II from 1775 the imperial picture gallery was transferred here, which in 1781 for the first time was open to the public. had. Since 1806 was located in the Lower Belvedere the Ambras Collection. Both collections were in 1890 in the Museum of Art History transferred. In 1894, the palace became residence for the heir to the throne Archduke Franz Ferdinand.
After the first World War I the Republic of Austria in Belvedere installed the Austrian Gallery. 1945 suffered the Belvedere severe war damage. In 1950, the "Gold Cabinet" in the north-eastern corner pavilion of the Upper Belvedere was destroyed by fire and replaced by a copy. The since 1988 ongoing general renovation should have been completed in 1996.
aeiou - the cultural information system of the bm: bwk
14,000 key words and 2000 pictures from history, geography, politics and business in Austria
Austrian Gallery Belvedere
The in the center of Vienna situated Belvedere palaces with their extensive parks form an impressive baroque Gesamtkunstwerk. The Museum in the Upper and Lower Castle
provides an excellent overview of the Austrian Art from the Middle Ages to the present. the collections of the 19th and 20th Century also include an exquisite inventory of international art. World Famous works by Klimt, Schiele, Kokoschka, Renoir and Monet you can see in the upper
Belvedere, from where you can enjoy a spectacular view to the center of Vienna. In the historic rooms of the Lower Belvedere are shown works of art from the Middle Ages and Baroque.
Austrian Gallery Belvedere
Prinz Eugen -Strasse 27 , A - 1037 Wien
Phone 43 / ( 0) 1 / 79557-0
Fax 43 / (0) 1/79 84 337
Upper Belvedere
Collections of the 19th and 20th century
Prinz Eugen -Strasse 27 , A - 1037 Wien
Lower Belvedere
Baroque Museum, and Museum of Medieval Art
Rennweg 6a, A - 1030 Vienna
Belice.
Convenio Fundación HIVOS y MADC.
7 de Febrero al 5 de abril
Sala I, II, III, IV
Artistas: Regina Aguilar, Gustavo Araujo, Patricia Belli, Bayardo Blandino, Andrés Carranza, Isabel de Obaldía, Sandra Eleta, Dario Escobar, Luis González Palma, Walterio Iraheta, Rodolfo Molina, Priscilla Monge, Yasser Musa, Raúl Quintanilla, Isabel Ruíz, Karla Solano, Cinthya Soto, Gilvano Swawey, Jaime David Tischler, Patricia Villalobos.
Curaduría: Rolando Barahona y Tahituey Ribot.
Convenio Fundación HIVOS y MADC.
7 de Febrero al 5 de abril
Sala I, II, III, IV
Artistas: Regina Aguilar, Gustavo Araujo, Patricia Belli, Bayardo Blandino, Andrés Carranza, Isabel de Obaldía, Sandra Eleta, Dario Escobar, Luis González Palma, Walterio Iraheta, Rodolfo Molina, Priscilla Monge, Yasser Musa, Raúl Quintanilla, Isabel Ruíz, Karla Solano, Cinthya Soto, Gilvano Swawey, Jaime David Tischler, Patricia Villalobos.
Curaduría: Rolando Barahona y Tahituey Ribot.
La Fiesta de la Historia es una manifestación multiforme que pretende convertir a Sevilla en la “capital de la Historia”. La Universidad Pablo de Olavide participa en este evento que se celebra en la ciudad hispalense por vez primera a iniciativa de la asociación “Historia y Ciudadanía”, fundada entre otros por la antigua alumna de la UPO Olga Moreno Fernández. En aulas, teatros, museos, iglesias, salas públicas, calles y plazas se celebrarán conferencias, debates, visitas, conciertos, espectáculos y exposiciones temáticas que vinculan las experiencias personales y colectivas a los acontecimientos presentes y futuros, poniendo en valor el patrimonio cultural y la historia de la ciudad como patrimonio común de la ciudadanía.
The Palazzo del Governatore ("Governor's Palace"), dating from the 13th century.
Located on the northern side of Piazza Garibaldi, the palace used to be the seat of the Capitano del Popolo and combines two buildings dating to 13th century. After undergoing several transformations, it was redesigned in 1760 by Ennemond Alexandre Petitot, a French architect working at the court of Philip of Bourbon. The baroque tower built in 1763 preserves in the belfry the original bell of the civic tower, collapsed in 1606, while a crowned Virgo situated in the bell tower niche was made by the French sculptor J. B. Boudard. Worth of notice, two sundials on the facade dating back to 1829. The Governor's palace, after many years of restoration works, has opened again in January 16 2010 with the Nove100 exhibition. The palace is an important venue of modern and comtemporary art, where besides the calendar of temporary exhibitions, there will be notable events such as workshops and meetings.
Parma is a city in the Italian region of Emilia-Romagna famous for its ham, its cheese, its architecture and the fine countryside around it. This is the home of the University of Parma, one of the oldest universities in the world. Parma is divided into two parts by the little stream with the same name. Parma's Etruscan name was adapted by Romans to describe the round shield called Parma.The Italian poet Attilio Bertolucci (born in a hamlet in the countryside) wrote: "As a capital city it had to have a river. As a little capital it received a stream, which is often dry". The district on the far side of the river is Oltretorrente.
Situato sul lato settentrionale di Piazza Garibaldi unisce, nel lungo prospetto di linee classicheggianti, due corpi di fabbrica di origini duecentesche.
Sede del Capitano del Popolo alla fine del XII secolo, il palazzo subì numerosi rifacimenti fino al 1760, anno in cui fu modificato nell'attuale aspetto ad opera di Ennemond Alexandre Petitot, architetto francese alla corte di Filippo di Borbone, cui si deve gran parte dell'urbanistica della città.
La torre barocca, risalente al 1763, conserva nella cella campanaria la campana dell'altissima torre civica crollata nel 1606. La Vergine incoronata nella nicchia del campanile è opera dello scultore francese J.B. Boudard. Degne di nota, infine, sono le due meridiane risalenti al 1829.
Il Palazzo del Governatore, dopo anni di restauro, ha riaperto al pubblico il 16 gennaio 2010 con la Mostra Nove100. Il palazzo è un prestigioso luogo d’arte moderna e contemporanea dove, oltre alla programmazione di mostre temporanee, si terranno importanti iniziative come laboratori, residenze d’artista e workshop.
Parma è un comune italiano di 186.000 abitanti, capoluogo dell'omonima provincia in Emilia-Romagna.Antica capitale del ducato di Parma e Piacenza (1545-1859), la città di Parma è sede dell'omonima università.Sul territorio comunale sono presenti numerosi parchi, giardini e aree verdi, alcuni di notevole pregio storico e architettonico. La percentuale di verde urbano sulla superficie comunale è pari all'1,8% (ossia circa 4,68 km²) mentre ammonta a 26,6 m² il verde urbano per ogni abitante.] Il verde fruibile pro-capite nell'area urbana è di 14,57 m² per abitante e la città si è posizionata al 5º posto in Italia ed al 1º in Emilia-Romagna nel rapporto Ecosistema Urbano 2009. A Parma sono censiti 100.000 alberi, 28 milioni di m² di manto erboso, oltre 80 aree gioco per i bimbi allestite e situate in contesti verdi e una quarantina di aree dedicate ai cani.Le aristocratiche tradizioni ed una certa raffinatezza della vita sociale caratterizzano ancor oggi l'anima cittadina che si evidenzia in particolare con la passione dei parmigiani nei confronti della musica e dell'Opera, da secoli molto seguite ed apprezzate da vari strati della popolazione.
Il primo letterato nativo di Parma di cui si abbia notizia fu Gaio Cassio Parmense (I secolo a.C.), appartenente ad una delle famiglie romane fondatrici della città e autore di tragedie ed elegie, ma la storia parmense si è col tempo arricchita del contributo intellettuale di numerosi artisti, poeti e pittori che ne hanno determinato l'intenso fervore nei confronti di multiformi interessi culturali, confermato dalla presenza in città di numerosi teatri, musei, manifestazioni e rassegne internazionali nel campo dell'arte e degli scambi commerciali. Benedetto Antelami, il Parmigianino, il Correggio, Ireneo Affò, Giovanni Battista Bodoni, Ferdinando Paër, Giuseppe Verdi, Arturo Toscanini, Ennemond Alexandre Petitot, Étienne Bonnot, abate di Condillac, Attilio Bertolucci, sono solo alcune delle personalità legate a Parma che hanno lasciato un'impronta importante nelle tradizioni artistiche e culturali cittadine.Parma fu magnificata da Stendhal che la visitò per la prima volta nel 1814 e la sognò nelle pagine della sua "Chartreuse" (La Certosa di Parma); successivamente fu desiderata da Marcel Proust nel suo Du côté de chez Swann (La strada di Swann).Nel XVIII secolo lo sviluppo dell'arte e delle istituzioni cittadine contribuirono a definire Parma "l'Atene d'Italia" mentre oggi, grazie al nuovo ruolo attribuitole all'interno dell'Unione Europea con l'assegnazione di un'importante agenzia comunitaria, la città sta preparando e progettando il proprio futuro in funzione di questa investitura destinata a produrre un processo di internazionalizzazione e crescita sociale e culturale, riaffermando l'antica tradizione di piccola capitale.
www.youtube.com/watch?v=PIzsFeFoIv8
www.360cities.net/image/garibaldi-square-governors-palace...
Punto in Movimento/Shiftingpoint circuitoteatro
Big Band Ritmo Sinfonica Città di Verona
presentano:
CANTO DI NATALE di Charles Dickens
Reading musicale in chiave blues
Musiche di repertorio jazz e blues a cura di Big Band Ritmo Sinfonica Città di Verona
Direttore d’orchestra Marco Pasetto
Regia Roberto Totola
Attori:
Roberto Totola e Marina Furlani
Dickens affronta ne “Il Canto di Natale” tematiche sociali, mettendo in discussione il rapporto tra le classi sociali, il lavoro minorile in fabbrica (che lui stesso aveva dovuto sopportare, perché costretto dal padre), la povertà.
Da questo presupposto è nata l'idea di sonorizzare in chiave blues e jazz il racconto. Il canto afroamericano ben si collega alle atmosfere affascinanti e misteriose del racconto di Dickens. Nello spettacolo le varie sonorità del racconto si dipanano per mezzo del multiforme universo del blues strumentale. Le parole e la musica diventano un tutt’uno.
Parma is a city in the Italian region of Emilia-Romagna famous for its ham, its cheese, its architecture and the fine countryside around it. This is the home of the University of Parma, one of the oldest universities in the world. Parma is divided into two parts by the little stream with the same name. Parma's Etruscan name was adapted by Romans to describe the round shield called Parma.The Italian poet Attilio Bertolucci (born in a hamlet in the countryside) wrote: "As a capital city it had to have a river. As a little capital it received a stream, which is often dry". The district on the far side of the river is Oltretorrente.
Parma è un comune italiano di 186.000 abitanti, capoluogo dell'omonima provincia in Emilia-Romagna.Antica capitale del ducato di Parma e Piacenza (1545-1859), la città di Parma è sede dell'omonima università.Sul territorio comunale sono presenti numerosi parchi, giardini e aree verdi, alcuni di notevole pregio storico e architettonico. La percentuale di verde urbano sulla superficie comunale è pari all'1,8% (ossia circa 4,68 km²) mentre ammonta a 26,6 m² il verde urbano per ogni abitante.] Il verde fruibile pro-capite nell'area urbana è di 14,57 m² per abitante e la città si è posizionata al 5º posto in Italia ed al 1º in Emilia-Romagna nel rapporto Ecosistema Urbano 2009. A Parma sono censiti 100.000 alberi, 28 milioni di m² di manto erboso, oltre 80 aree gioco per i bimbi allestite e situate in contesti verdi e una quarantina di aree dedicate ai cani.Le aristocratiche tradizioni ed una certa raffinatezza della vita sociale caratterizzano ancor oggi l'anima cittadina che si evidenzia in particolare con la passione dei parmigiani nei confronti della musica e dell'Opera, da secoli molto seguite ed apprezzate da vari strati della popolazione.Il primo letterato nativo di Parma di cui si abbia notizia fu Gaio Cassio Parmense (I secolo a.C.), appartenente ad una delle famiglie romane fondatrici della città e autore di tragedie ed elegie, ma la storia parmense si è col tempo arricchita del contributo intellettuale di numerosi artisti, poeti e pittori che ne hanno determinato l'intenso fervore nei confronti di multiformi interessi culturali, confermato dalla presenza in città di numerosi teatri, musei, manifestazioni e rassegne internazionali nel campo dell'arte e degli scambi commerciali. Benedetto Antelami, il Parmigianino, il Correggio, Ireneo Affò, Giovanni Battista Bodoni, Ferdinando Paër, Giuseppe Verdi, Arturo Toscanini, Ennemond Alexandre Petitot, Étienne Bonnot, abate di Condillac, Attilio Bertolucci, sono solo alcune delle personalità legate a Parma che hanno lasciato un'impronta importante nelle tradizioni artistiche e culturali cittadine.Parma fu magnificata da Stendhal che la visitò per la prima volta nel 1814 e la sognò nelle pagine della sua "Chartreuse" (La Certosa di Parma); successivamente fu desiderata da Marcel Proust nel suo Du côté de chez Swann (La strada di Swann).Nel XVIII secolo lo sviluppo dell'arte e delle istituzioni cittadine contribuirono a definire Parma "l'Atene d'Italia" mentre oggi, grazie al nuovo ruolo attribuitole all'interno dell'Unione Europea con l'assegnazione di un'importante agenzia comunitaria, la città sta preparando e progettando il proprio futuro in funzione di questa investitura destinata a produrre un processo di internazionalizzazione e crescita sociale e culturale, riaffermando l'antica tradizione di piccola capitale.
(further pictures and information you can see if you go to the end of page and by clicking on the link...)
Belvedere
Belvedere Castle. Garden Front of the Lower Belvedere.
Belvedere Palace stands supposedly on the foundations of a Roman camp that had been erected here for strategic reasons. In 1693 Prince Eugene of Savoy acquired field and vineyard grounds between today's Rennweg and today's Gürtel. In 1700 Johann Lukas von Hildebrandt began with the construction of a palace garden (Lower Belvedere), whose in French-style layed out park was equipped with large water basins, an orangery with precious foreign plants and a menagerie. Prince Eugene was a great animal lover, and some animals in his collection could be fed exclusively by himself.
1720 the Prince conceived the plan the summer palace to supplement by a another palace building on the hill of the garden.
The 1721 by Johann Lukas von Hildebrandt begun works had been completed in 1724. The Upper Belvedere served in contrast to the Lower only representative purposes and was never meant to live.
The Prince and his architect managed a perfect symbiosis between architecture and garden. After the death of the Savoy (1736) inherited his niece Victoria of Savoy-Soisson, nee Princess Hildburghausen, all his possessions. From her the Habsburgs beginning of 1752 acquired the Belvedere. From 1755 Empress Maria Theresa moved the Arcierenleibgarde (Royal Company of the Archers) and the Galician Guard in the annex of the Belvedere. Besides, the castle stood almost empty.
Belvedere Castle. Engraving by Salomon Kleiner 1731/40 (left).
Vienna from the Belvedere. Coloured copper engraving by Carl Schütz, 1784 (right).
1770 Belvedere Palace was venue of brilliant festivities:
In castle and park the marriage of Archduchess Maria Antonia (Marie Antoinette) with the Dauphin of France by proxy (per procura) was celebrated. About 2,000 people were invited, more than 1,500 bottles of champagne, which was far from home in Vienna at that time,
were emptied. For hospitality of the guests, there were round tables, which were covered with silver. However, the Court of Vienna had a large part of the silver service to rent of nobles, because the stocks of the silver chamber were not sufficient. Finished was the festival by a magnificent fireworks.
1776, the imperial picture gallery from the Stallburg (home of the famous Lipizzan stallions) was transferred to the Upper Belvedere, the animals of the menagerie came to Schönbrunn. Shortly before the Congress of Vienna in 1814 in the Lower Belvedere the Ambras Collection was exposed. During the war against Napoleon (1805-1809), much of the collection of paintings had to be outsourced. The Corsican claimed 400 masterpieces for himself, but which after his defeat at Waterloo to the Habsburgs have been restituted. The after the French wars completely neglected building has been restored 1850-1866.
Castle Park with Upper Belvedere. Photograph, around 1890.
1819 Emperor Franz II (I) the Institute of Botany, University of Vienna, had given spacious grounds for enlargement of the Botanical Garden at Rennweg. Franz was very interested in botany and in accordance with a Habsburg House bill - every Archduke must learn a civilian job - has been educated for gardener. In an adjoining garden of Schloß Belvedere he had from his private funds laid out a botanical garden ("Flora Austriaca") which was left to the Institute of Botany for use.
During the cholera epidemic of 1831, the Belvedere served as well as Schönbrunn Palace the imperial family as a refuge; supposedly one was there protected from the bad air, which was attributed to the onset of the disease. Both castles lay in the "countryside", the air was much better here than in the densely populated city. During wartime, a hospital was set up in the castle.
As the space for the imperial collections became too small, it was thought to expand the Upper Belvedere by wing buildings. This plan was dropped for aesthetic reasons, however. After the expansion of the city (razing of the bastions and glacis) arose on the ring road the newly created Court Museums; moved there in 1891 the major part of the paintings.
Archduke-Heir to the Throne Franz Ferdinand of Austria-Este at folk and children's party in the park of the Belvedere Palace. Photograph, 1905.
To 1893/94 it is likely that Archduke Franz Ferdinand has chosen the Upper Belvedere to his residence in Vienna. Other sources say that it had been assigned to him by the Emperor Franz Joseph as a place to stay in Vienna. The rooms have been restored, adapted for residential purposes and supplemented with neo-Baroque furniture. The heir of the Este collections furnished his residence with numerous works of art. He had envisaged the castle for the accommodation of his collections; in 1893 were numerous boxes from India and Singapore in Belvedere stored. 1894 Emperor Franz Joseph could see the collection: "Yesterday I went to the Belvedere, where Franzi showed me his now quite and very nicely prepared collections. The same are as imposing as interesting by the incredible amount of objects and by the rarity and beauty of them. I believe that this exhibition would be interesting for you", wrote the monarch to his wife, Empress Elisabeth. That same year, Archduke Franz Ferdinand showed his collections his future wife, Sophie Chotková,
"Where I unaware of your fatigue with particular brutality you dragged from box to box" as he apologetically from Budweis wrote to the Countess.
Then the collections moved one the one hand to the Palais Modena in the Beatrixgasse, on the other hand to Konopischt. Only in 1898, Franz Ferdinand was granted by Emperor Franz Joseph to move into the Belvedere as Vienna Residence. More revitalization works were carried out and were also necessary. Technical modernization and preservation of the original building condition had priority - as always with the projects of Archduke Franz Ferdinand. As furnishings served still preserved furnitures from Schloss Hof, which were supplemented by new ones in old style. The private rooms in addition to electric lighting were equipped with central heating.
Belvedere Castle. Staircase in the Upper Belvedere (left).
Marble plastic "Apotheosis of Prince Eugene" by Balthasar Permoser in Gold Cabinet of the Lower Belvedere (right).
If his presence was needed in Vienna, Franz Ferdinand here could lead a normal family life and escape the pressures of court ceremonial, in which the to him in morganatic marriage affiliated wife was exposed to the evils of the courtiers. When the heir to the throne invited guests to the Belvedere, he was sitting opposite his wife as a hostess while she was ranked in the Hofburg always after the latest unmarried Archduchess. About the cozy family life at Belvedere reported Prince von Clary-Aldringens:
"Aunt Sophie invited us ... to snack into a Belvedere, unexpectedly, suddenly appeared the Archduke - we literally froze in our Hab-Acht-position (stand at attention). He greeted us warmly ... [I got to know] the Archduke as a friendly landlord, who was playing and laughing with his Children..."
Between 1899 and 1914 in the Lower Belvedere the military bureau of the heir to the throne was housed. Other well-known Residents - but of outbuildings - were Anton Bruckner, who in 1896 died in the Kustodenwohnung (guardian house), and Richard Strauss, who lived here from 1925 to 1944.
After the assassination of the Archduke and his wife in Sarajevo, the Belvedere should serve as the residence of the new heir to the throne, Archduke Karl and his family. This, however, preferred living in Schönbrunn and especially in the villa Wartholz. In 1917, Charles' brother Archduke Maximilian moved with his family into the Belvedere.
During World War II the castle was badly damaged by bombs, but rebuilt after the war ended immediately. On 15 May 1955 was the Marble Hall venue of the signing of the Austrian State Treaty. Today, the Upper Belvedere houses important art collections.
Excerpts from
Thus lived the Habsburgs - Imperial and Royal Palaces in the
Austro-Hungarian Monarchy
Ingrid Haslinger, Gerhard Trumler
Christian Brandstätter Verlag mbH
The publishing service for museums, businesses and
public bodies
www.brandstaetter - verlag.at
Denomination of the summer residence which Prince Eugene of Savoy himself had erected btw Rennweg and Swiss Garden. The term which refers to the unique view over Vienna dates from the time of Maria Theresa. Prinz Eugen bought in 1697 a plot of land at the Rennweg, which he extended to 1721 in four stages to the current area. Between 1714 and 1716 emerged the Lower Belvedere It is an elongated ground floor building, designed of a 7-axes central projection, two wings and two corner pavilions. The 3-axis central pavilion houses the Marble Hall. The castle the only rarely in Vienna sojourning builder served during the summer months as a pleasure palace.
Only in 1720 commenced construction works for the Upper Belvedere, first drawings for this existed already in 1717. The in it extent and form language compared to the Lower Belvedere especially magnificent Upper Belvedere served primarily as a representative setting for grand receptions and festivities. The architectural history of the example due to the loss of the Eugenianischen Bauarchivs (construction archiv of Prince Eugene) cannot be explored in detail without any gaps. 1723 (according to Rizzi 1721/22) the Upper Belvedere s is considered complete. The architect Johann Lukas von Hildebrandt, who repeatedly worked for Prince Eugen, with the construction of the Belvedere has created his main work. It counts in its multiform architectonic as well as sculptural structure to the most important baroque buildings of the 18th century. The to the ensemble belonging, btw Upper and Lower Belvedere laying garden has been created by the Bavarian horticultural engineer D. Girard and today only in broad terms is original. The designs for the interior of the castle stem from C. le Fort du Plessy.
After the death of the prince the belvedere went into the possession of his sole heiress, Victoria Duchess of Saxe-Hildburghausen. She sold it in 1752 to Maria Theresa. At the behest of Joseph II from 1775 the imperial picture gallery was transferred here, which in 1781 for the first time was open to the public. had. Since 1806 was located in the Lower Belvedere the Ambras Collection. Both collections were in 1890 in the Museum of Art History transferred. In 1894, the palace became residence for the heir to the throne Archduke Franz Ferdinand.
After the first World War I the Republic of Austria in Belvedere installed the Austrian Gallery. 1945 suffered the Belvedere severe war damage. In 1950, the "Gold Cabinet" in the north-eastern corner pavilion of the Upper Belvedere was destroyed by fire and replaced by a copy. The since 1988 ongoing general renovation should have been completed in 1996.
aeiou - the cultural information system of the bm: bwk
14,000 key words and 2000 pictures from history, geography, politics and business in Austria
Austrian Gallery Belvedere
The in the center of Vienna situated Belvedere palaces with their extensive parks form an impressive baroque Gesamtkunstwerk. The Museum in the Upper and Lower Castle
provides an excellent overview of the Austrian Art from the Middle Ages to the present. the collections of the 19th and 20th Century also include an exquisite inventory of international art. World Famous works by Klimt, Schiele, Kokoschka, Renoir and Monet you can see in the upper
Belvedere, from where you can enjoy a spectacular view to the center of Vienna. In the historic rooms of the Lower Belvedere are shown works of art from the Middle Ages and Baroque.
Austrian Gallery Belvedere
Prinz Eugen -Strasse 27 , A - 1037 Wien
Phone +43 / ( 0) 1 / 79557-0
Fax +43 / (0) 1/79 84 337
Upper Belvedere
Collections of the 19th and 20th century
Prinz Eugen -Strasse 27 , A - 1037 Wien
Lower Belvedere
Baroque Museum, and Museum of Medieval Art
Rennweg 6a, A - 1030 Vienna
Nomi, cose, città… animali feroci. ABECEDARIO MOOK
Inaugurazione venerdì 29 ottobre ore 18.00
Assemblare, Bestioline, Conservare, Disegnare… un ricchissimo Abecedario di ventisei lettere per ventisei interventi d’autore (installazioni, sculture e grafiche) sul tema del riciclaggio artistico e sul recupero dei vecchi oggetti: recupero di una memoria storica in un’ottica contemporanea, a volte un po’ ironica a volte un po’ provocatoria.
È la mostra G come gioco. Nomi, cose, città… animali feroci che si tiene dal 29 ottobre 2010 al 30 gennaio 2011 al Museo Nazionale delle Arti e Tradizioni Popolari in collaborazione col Ministero per i Beni e le Attività Culturali – Istituto Centrale per la Demoetnoantropologia, un’esposizione singolare e originalissima che lega i temi dell’arte e della valorizzazione del patrimonio culturale, della tutela dell’ambiente e della didattica per bambini e ragazzi.
Una multiforme narrazione ideata da Mook - Carlo Nannetti e Francesca Crisafulli -, moderni esploratori in cerca di materiali “scaricati dal tempo”: trovati e raccolti in spiagge o discariche o in fabbriche e luoghi abbandonati le cose e gli oggetti trovano nuova vita – e nuovi significati - in composizioni-creature stupefacenti; assemblati e rimodellati, tagliati e incisi diventano pezzi unici nati dalla esuberante verve creativa, scherzosa e talvolta irriverente degli autori.
"Southwell Minster (/ˈsʌðəl, ˈsaʊθwɛl/) is a minster and cathedral, in Southwell, Nottinghamshire, England. It is situated six miles from Newark-on-Trent and thirteen miles from Mansfield. It is the seat of the Bishop of Southwell and Nottingham and the Diocese of Southwell and Nottingham.
In 1884 Southwell Minster became a cathedral proper for Nottinghamshire and a part of Derbyshire including the city of Derby:126–127. The diocese was divided in 1927 and the Diocese of Derby was formed. The diocese's centenary was commemorated by a royal visit to distribute Maundy money. George Ridding, the first Bishop of Southwell, designed and paid for the grant of Arms now used as the diocesan coat of arms.
The nave, transepts, central tower and two western towers of the Norman church which replaced the Saxon minster remain as an outstanding achievement of severe Romanesque design. With the exception of fragments mentioned above, they are the oldest part of the existing church.
The Nave is of seven bays, plus a separated western bay. The columns of the arcade are short and circular, with small scalloped capitals. The triforium has a single large arch in each bay. The clerestory has small round-headed windows. The external window openings are circular. There is a tunnel-vaulted passage between the inside and outside window openings of the clerestory. The nave aisles are vaulted, the main roof of the nave is a trussed rafter roof, with tie-beams between each bay – a late C19 replacement.
By contrast with the nave arcade, the arches of the crossing are tall, rising to nearly the full height of the nave walls. The capitals of the east crossing piers depict scenes from the life of Jesus. Two stages of the inside of the central tower can be seen at the crossing, with cable and wave decoration on the lower order and zigzag on the upper. The transepts have three stories with semi-circular arches, like the nave, but without aisles.
The western facade has pyramidal spires on its towers – a unique feature today, though common in the C12. The existing spires date only from 1880, but they replace those destroyed by fire in 1711, which are documented in old illustrations. The large west window dates from the C15. The central tower's two ornamental stages place it high among England's surviving Norman towers. The lower order has intersecting arches, the upper order plain arches. The north porch has a tunnel vault, and is decorated with intersecting arches.
The choir is Early English in style, and was completed in 1241. It has transepts, thus separating the choir into a western and eastern arm. The choir is of two stories, with no gallery or triforium. The lower storey has clustered columns with multiform pointed arches, the upper storey has twin lancet arches in each bay. The rib vault of the choir springs from clustered shafts which rest on corbels. The vault has ridge ribs. The square east end of the choir has two stories each of four lancet windows.
Southwell (/ˈsaʊθwɛl, ˈsʌðəl/) is a town in Nottinghamshire, England, the site of Southwell Minster, the cathedral of the Anglican Diocese of Southwell and Nottingham. A population of under 7,000 rose to 7,297 at the 2011 Census. The origin of the name is unclear. It lies on the River Greet, about 14 miles (22 km) north-east of Nottingham. Other historic buildings include prebendal houses in Church Street and Westgate and the Methodist church, which has a right of way beneath it, so that the upper floor seats more than the lower. The workhouse (1824) was a prototype for many others. Owned by the National Trust, it shows its appearance in the 19th century. Behind the Minster is a partly ruined palace, once a residence of the Archbishop of York. It includes the recently restored State Chamber, Cardinal Wolsey's former dining room, and gardens among the ruins." - info from Wikipedia.
Summer 2019 I did a solo cycling tour across Europe through 12 countries over the course of 3 months. I began my adventure in Edinburgh, Scotland and finished in Florence, Italy cycling 8,816 km. During my trip I took 47,000 photos.
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"Southwell Minster (/ˈsʌðəl, ˈsaʊθwɛl/) is a minster and cathedral, in Southwell, Nottinghamshire, England. It is situated six miles from Newark-on-Trent and thirteen miles from Mansfield. It is the seat of the Bishop of Southwell and Nottingham and the Diocese of Southwell and Nottingham.
In 1884 Southwell Minster became a cathedral proper for Nottinghamshire and a part of Derbyshire including the city of Derby:126–127. The diocese was divided in 1927 and the Diocese of Derby was formed. The diocese's centenary was commemorated by a royal visit to distribute Maundy money. George Ridding, the first Bishop of Southwell, designed and paid for the grant of Arms now used as the diocesan coat of arms.
The nave, transepts, central tower and two western towers of the Norman church which replaced the Saxon minster remain as an outstanding achievement of severe Romanesque design. With the exception of fragments mentioned above, they are the oldest part of the existing church.
The Nave is of seven bays, plus a separated western bay. The columns of the arcade are short and circular, with small scalloped capitals. The triforium has a single large arch in each bay. The clerestory has small round-headed windows. The external window openings are circular. There is a tunnel-vaulted passage between the inside and outside window openings of the clerestory. The nave aisles are vaulted, the main roof of the nave is a trussed rafter roof, with tie-beams between each bay – a late C19 replacement.
By contrast with the nave arcade, the arches of the crossing are tall, rising to nearly the full height of the nave walls. The capitals of the east crossing piers depict scenes from the life of Jesus. Two stages of the inside of the central tower can be seen at the crossing, with cable and wave decoration on the lower order and zigzag on the upper. The transepts have three stories with semi-circular arches, like the nave, but without aisles.
The western facade has pyramidal spires on its towers – a unique feature today, though common in the C12. The existing spires date only from 1880, but they replace those destroyed by fire in 1711, which are documented in old illustrations. The large west window dates from the C15. The central tower's two ornamental stages place it high among England's surviving Norman towers. The lower order has intersecting arches, the upper order plain arches. The north porch has a tunnel vault, and is decorated with intersecting arches.
The choir is Early English in style, and was completed in 1241. It has transepts, thus separating the choir into a western and eastern arm. The choir is of two stories, with no gallery or triforium. The lower storey has clustered columns with multiform pointed arches, the upper storey has twin lancet arches in each bay. The rib vault of the choir springs from clustered shafts which rest on corbels. The vault has ridge ribs. The square east end of the choir has two stories each of four lancet windows.
Southwell (/ˈsaʊθwɛl, ˈsʌðəl/) is a town in Nottinghamshire, England, the site of Southwell Minster, the cathedral of the Anglican Diocese of Southwell and Nottingham. A population of under 7,000 rose to 7,297 at the 2011 Census. The origin of the name is unclear. It lies on the River Greet, about 14 miles (22 km) north-east of Nottingham. Other historic buildings include prebendal houses in Church Street and Westgate and the Methodist church, which has a right of way beneath it, so that the upper floor seats more than the lower. The workhouse (1824) was a prototype for many others. Owned by the National Trust, it shows its appearance in the 19th century. Behind the Minster is a partly ruined palace, once a residence of the Archbishop of York. It includes the recently restored State Chamber, Cardinal Wolsey's former dining room, and gardens among the ruins." - info from Wikipedia.
Summer 2019 I did a solo cycling tour across Europe through 12 countries over the course of 3 months. I began my adventure in Edinburgh, Scotland and finished in Florence, Italy cycling 8,816 km. During my trip I took 47,000 photos.
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Become a patron to my photography on Patreon.
(further pictures and information you can see if you go to the end of page and by clicking on the link...)
Belvedere
Belvedere Castle. Garden Front of the Lower Belvedere.
Belvedere Palace stands supposedly on the foundations of a Roman camp that had been erected here for strategic reasons. In 1693 Prince Eugene of Savoy acquired field and vineyard grounds between today's Rennweg and today's Gürtel. In 1700 Johann Lukas von Hildebrandt began with the construction of a palace garden (Lower Belvedere), whose in French-style layed out park was equipped with large water basins, an orangery with precious foreign plants and a menagerie. Prince Eugene was a great animal lover, and some animals in his collection could be fed exclusively by himself.
1720 the Prince conceived the plan the summer palace to supplement by a another palace building on the hill of the garden.
The 1721 by Johann Lukas von Hildebrandt begun works had been completed in 1724. The Upper Belvedere served in contrast to the Lower only representative purposes and was never meant to live.
The Prince and his architect managed a perfect symbiosis between architecture and garden. After the death of the Savoy (1736) inherited his niece Victoria of Savoy-Soisson, nee Princess Hildburghausen, all his possessions. From her the Habsburgs beginning of 1752 acquired the Belvedere. From 1755 Empress Maria Theresa moved the Arcierenleibgarde (Royal Company of the Archers) and the Galician Guard in the annex of the Belvedere. Besides, the castle stood almost empty.
Belvedere Castle. Engraving by Salomon Kleiner 1731/40 (left).
Vienna from the Belvedere. Coloured copper engraving by Carl Schütz, 1784 (right).
1770 Belvedere Palace was venue of brilliant festivities:
In castle and park the marriage of Archduchess Maria Antonia (Marie Antoinette) with the Dauphin of France by proxy (per procura) was celebrated. About 2,000 people were invited, more than 1,500 bottles of champagne, which was far from home in Vienna at that time,
were emptied. For hospitality of the guests, there were round tables, which were covered with silver. However, the Court of Vienna had a large part of the silver service to rent of nobles, because the stocks of the silver chamber were not sufficient. Finished was the festival by a magnificent fireworks.
1776, the imperial picture gallery from the Stallburg (home of the famous Lipizzan stallions) was transferred to the Upper Belvedere, the animals of the menagerie came to Schönbrunn. Shortly before the Congress of Vienna in 1814 in the Lower Belvedere the Ambras Collection was exposed. During the war against Napoleon (1805-1809), much of the collection of paintings had to be outsourced. The Corsican claimed 400 masterpieces for himself, but which after his defeat at Waterloo to the Habsburgs have been restituted. The after the French wars completely neglected building has been restored 1850-1866.
Castle Park with Upper Belvedere. Photograph, around 1890.
1819 Emperor Franz II (I) the Institute of Botany, University of Vienna, had given spacious grounds for enlargement of the Botanical Garden at Rennweg. Franz was very interested in botany and in accordance with a Habsburg House bill - every Archduke must learn a civilian job - has been educated for gardener. In an adjoining garden of Schloß Belvedere he had from his private funds laid out a botanical garden ("Flora Austriaca") which was left to the Institute of Botany for use.
During the cholera epidemic of 1831, the Belvedere served as well as Schönbrunn Palace the imperial family as a refuge; supposedly one was there protected from the bad air, which was attributed to the onset of the disease. Both castles lay in the "countryside", the air was much better here than in the densely populated city. During wartime, a hospital was set up in the castle.
As the space for the imperial collections became too small, it was thought to expand the Upper Belvedere by wing buildings. This plan was dropped for aesthetic reasons, however. After the expansion of the city (razing of the bastions and glacis) arose on the ring road the newly created Court Museums; moved there in 1891 the major part of the paintings.
Archduke-Heir to the Throne Franz Ferdinand of Austria-Este at folk and children's party in the park of the Belvedere Palace. Photograph, 1905.
To 1893/94 it is likely that Archduke Franz Ferdinand has chosen the Upper Belvedere to his residence in Vienna. Other sources say that it had been assigned to him by the Emperor Franz Joseph as a place to stay in Vienna. The rooms have been restored, adapted for residential purposes and supplemented with neo-Baroque furniture. The heir of the Este collections furnished his residence with numerous works of art. He had envisaged the castle for the accommodation of his collections; in 1893 were numerous boxes from India and Singapore in Belvedere stored. 1894 Emperor Franz Joseph could see the collection: "Yesterday I went to the Belvedere, where Franzi showed me his now quite and very nicely prepared collections. The same are as imposing as interesting by the incredible amount of objects and by the rarity and beauty of them. I believe that this exhibition would be interesting for you", wrote the monarch to his wife, Empress Elisabeth. That same year, Archduke Franz Ferdinand showed his collections his future wife, Sophie Chotková,
"Where I unaware of your fatigue with particular brutality you dragged from box to box" as he apologetically from Budweis wrote to the Countess.
Then the collections moved one the one hand to the Palais Modena in the Beatrixgasse, on the other hand to Konopischt. Only in 1898, Franz Ferdinand was granted by Emperor Franz Joseph to move into the Belvedere as Vienna Residence. More revitalization works were carried out and were also necessary. Technical modernization and preservation of the original building condition had priority - as always with the projects of Archduke Franz Ferdinand. As furnishings served still preserved furnitures from Schloss Hof, which were supplemented by new ones in old style. The private rooms in addition to electric lighting were equipped with central heating.
Belvedere Castle. Staircase in the Upper Belvedere (left).
Marble plastic "Apotheosis of Prince Eugene" by Balthasar Permoser in Gold Cabinet of the Lower Belvedere (right).
If his presence was needed in Vienna, Franz Ferdinand here could lead a normal family life and escape the pressures of court ceremonial, in which the to him in morganatic marriage affiliated wife was exposed to the evils of the courtiers. When the heir to the throne invited guests to the Belvedere, he was sitting opposite his wife as a hostess while she was ranked in the Hofburg always after the latest unmarried Archduchess. About the cozy family life at Belvedere reported Prince von Clary-Aldringens:
"Aunt Sophie invited us ... to snack into a Belvedere, unexpectedly, suddenly appeared the Archduke - we literally froze in our Hab-Acht-position (stand at attention). He greeted us warmly ... [I got to know] the Archduke as a friendly landlord, who was playing and laughing with his Children..."
Between 1899 and 1914 in the Lower Belvedere the military bureau of the heir to the throne was housed. Other well-known Residents - but of outbuildings - were Anton Bruckner, who in 1896 died in the Kustodenwohnung (guardian house), and Richard Strauss, who lived here from 1925 to 1944.
After the assassination of the Archduke and his wife in Sarajevo, the Belvedere should serve as the residence of the new heir to the throne, Archduke Karl and his family. This, however, preferred living in Schönbrunn and especially in the villa Wartholz. In 1917, Charles' brother Archduke Maximilian moved with his family into the Belvedere.
During World War II the castle was badly damaged by bombs, but rebuilt after the war ended immediately. On 15 May 1955 was the Marble Hall venue of the signing of the Austrian State Treaty. Today, the Upper Belvedere houses important art collections.
Excerpts from
Thus lived the Habsburgs - Imperial and Royal Palaces in the
Austro-Hungarian Monarchy
Ingrid Haslinger, Gerhard Trumler
Christian Brandstätter Verlag mbH
The publishing service for museums, businesses and
public bodies
www.brandstaetter - verlag.at
Denomination of the summer residence which Prince Eugene of Savoy himself had erected btw Rennweg and Swiss Garden. The term which refers to the unique view over Vienna dates from the time of Maria Theresa. Prinz Eugen bought in 1697 a plot of land at the Rennweg, which he extended to 1721 in four stages to the current area. Between 1714 and 1716 emerged the Lower Belvedere It is an elongated ground floor building, designed of a 7-axes central projection, two wings and two corner pavilions. The 3-axis central pavilion houses the Marble Hall. The castle the only rarely in Vienna sojourning builder served during the summer months as a pleasure palace.
Only in 1720 commenced construction works for the Upper Belvedere, first drawings for this existed already in 1717. The in it extent and form language compared to the Lower Belvedere especially magnificent Upper Belvedere served primarily as a representative setting for grand receptions and festivities. The architectural history of the example due to the loss of the Eugenianischen Bauarchivs (construction archiv of Prince Eugene) cannot be explored in detail without any gaps. 1723 (according to Rizzi 1721/22) the Upper Belvedere s is considered complete. The architect Johann Lukas von Hildebrandt, who repeatedly worked for Prince Eugen, with the construction of the Belvedere has created his main work. It counts in its multiform architectonic as well as sculptural structure to the most important baroque buildings of the 18th century. The to the ensemble belonging, btw Upper and Lower Belvedere laying garden has been created by the Bavarian horticultural engineer D. Girard and today only in broad terms is original. The designs for the interior of the castle stem from C. le Fort du Plessy.
After the death of the prince the belvedere went into the possession of his sole heiress, Victoria Duchess of Saxe-Hildburghausen. She sold it in 1752 to Maria Theresa. At the behest of Joseph II from 1775 the imperial picture gallery was transferred here, which in 1781 for the first time was open to the public. had. Since 1806 was located in the Lower Belvedere the Ambras Collection. Both collections were in 1890 in the Museum of Art History transferred. In 1894, the palace became residence for the heir to the throne Archduke Franz Ferdinand.
After the first World War I the Republic of Austria in Belvedere installed the Austrian Gallery. 1945 suffered the Belvedere severe war damage. In 1950, the "Gold Cabinet" in the north-eastern corner pavilion of the Upper Belvedere was destroyed by fire and replaced by a copy. The since 1988 ongoing general renovation should have been completed in 1996.
aeiou - the cultural information system of the bm: bwk
14,000 key words and 2000 pictures from history, geography, politics and business in Austria
Austrian Gallery Belvedere
The in the center of Vienna situated Belvedere palaces with their extensive parks form an impressive baroque Gesamtkunstwerk. The Museum in the Upper and Lower Castle
provides an excellent overview of the Austrian Art from the Middle Ages to the present. the collections of the 19th and 20th Century also include an exquisite inventory of international art. World Famous works by Klimt, Schiele, Kokoschka, Renoir and Monet you can see in the upper
Belvedere, from where you can enjoy a spectacular view to the center of Vienna. In the historic rooms of the Lower Belvedere are shown works of art from the Middle Ages and Baroque.
Austrian Gallery Belvedere
Prinz Eugen -Strasse 27 , A - 1037 Wien
Phone 43 / ( 0) 1 / 79557-0
Fax 43 / (0) 1/79 84 337
Upper Belvedere
Collections of the 19th and 20th century
Prinz Eugen -Strasse 27 , A - 1037 Wien
Lower Belvedere
Baroque Museum, and Museum of Medieval Art
Rennweg 6a, A - 1030 Vienna
Southwell Minster is a minster and cathedral, in Southwell, Nottinghamshire, England. It is situated six miles from Newark-on-Trent and thirteen miles from Mansfield. It is the seat of the Bishop of Southwell and Nottingham and the Diocese of Southwell and Nottingham.
History
Middle Ages
The earliest church on the site is believed to have been founded in 627 by Paulinus, the first Archbishop of York, when he visited the area while baptising believers in the River Trent. The legend is commemorated in the Minster's baptistry window.[4]
In 956 King Eadwig gave land in Southwell to Oskytel, Archbishop of York, on which a minster church was established. The Domesday Book of 1086 recorded the Southwell manor in great detail. The Norman reconstruction of the church began in 1108, probably as a rebuilding of the Anglo-Saxon church, starting at the east end so that the high altar could be used as soon as possible and the Saxon building was dismantled as work progressed. Many stones from this earlier Anglo-Saxon church were reused in the construction. The tessellated floor and late 11th century tympanum in the north transept are the only parts of the Anglo-Saxon building remaining intact. Work on the nave began after 1120 and the church was completed by c.1150.[5]
The church was originally attached to the Archbishop of York's Palace which stood next door and is now ruined. It served the archbishop as a place of worship and was a collegiate body of theological learning, hence its designation as a minster. The minster draws its choir from the nearby school with which it is associated.[6]
The Norman chancel was square-ended. For a plan of the original church see Clapham (1936).[7] The chancel was replaced with another in the Early English style in 1234–51 because it was too small. The octagonal chapter house, built starting in 1288 with a vault in the Decorated Gothic style has naturalistic carvings of foliage (the 13th-century stonecarving includes several Green Men). The elaborately carved "pulpitum" or choir screen was built in 1320–40.[5]
Reformation and civil war
The church suffered less than many others in the English Reformation as it was refounded in 1543 by Act of Parliament.[8]
Southwell is where Charles I was captured during the English Civil War, in 1646. The fighting saw the church seriously damaged and the nave is said to have been used as stabling. The adjoining palace was almost completely destroyed, first by Scottish troops and then by the local people, with only the Hall of the Archbishop remaining as a ruined shell.[9] The Minster's financial accounts show that extensive repairs were necessary after this period[citation needed].
18th century
On 5 November 1711 the southwest spire was struck by lightning, and the resulting fire spread to the nave, crossing and tower destroying roofs, bells, clock and organ.[10]:118 By 1720 repairs had been completed, now giving a flat panelled ceiling to the nave and transepts.
Victorian
In 1805 Archdeacon Kaye gave the Minster the Newstead lectern; once owned by Newstead Abbey, it had been thrown into the Abbey fishpond by the monks to save it during the Dissolution of the Monasteries, then later discovered when the lake was dredged.[11] Henry Gally Knight in 1818 gave the Minster four panels of 16th century Flemish glass (which now fill the bottom part of the East window) which he had acquired from a Parisian pawnshop.[12]
In danger of collapse, the spires were removed in 1805 and re-erected in 1879–81 when the minster was extensively restored by Ewan Christian, an architect specialising in churches. The nave roof was replaced with a pitched roof[13] and the choir was redesigned and refitted.
Ecclesiastical history
Collegiate church
Southwell Minster was served by prebendaries from the early days of its foundation. By 1291 there were 16 Prebends of Southwell mentioned in the Taxation Roll.[14]:19–20
In August 1540, as the dissolution of the monasteries was coming to an end, and despite its collegiate rather than monastic status, Southwell Minster was suppressed specifically in order that it could be included in the plans initiated by King Henry VIII to create several new cathedrals. It appears to have been proposed as the see for a new diocese comprising Nottinghamshire and Derbyshire, as a replacement for Welbeck Abbey which had been dissolved in 1538 and which by 1540 was no longer owned by the Crown.[15][16]
The plan for the minster's elevation did not proceed, so in 1543 Parliament reconstituted its collegiate status as before. In 1548 it again lost its collegiate status under the 1547 Act of King Edward VI which suppressed (among others) almost all collegiate churches: at Southwell the prebendaries were given pensions and the estates sold, while the church continued as the parish church on the petitions of the parishioners[14]:32.
By an Act of Philip and Mary in 1557, the minster and its prebends were restored[citation needed]. In 1579 a set of statutes was promulgated by Queen Elizabeth I and the chapter operated under this constitution until it was dissolved in 1841[14]:36-38. The Ecclesiastical Commissioners made provision for the abolition of the chapter as a whole; the death of each canon after this time resulted in the extinction of his prebend. The chapter came to its appointed end on 12 February 1873 with the death of Thomas Henry Shepherd, rector of Clayworth and prebendary of Beckingham.[17]
Cathedral
Despite the August 1540 plans to make Southwell Minster a cathedral not initially coming to fruition at the time, in 1884, 344 years later, Southwell Minster became a cathedral proper for Nottinghamshire and a part of Derbyshire including the city of Derby[10]:126–127. The diocese was divided in 1927 and the Diocese of Derby was formed.[18][19] The diocese's centenary was commemorated by a royal visit to distribute Maundy money. George Ridding, the first Bishop of Southwell, designed and paid for the grant of Arms now used as the diocesan coat of arms.[20]
Architecture
Compartments of the nave, interior and exterior[21]
The nave, transepts, central tower and two western towers of the Norman church which replaced the Saxon minster remain as an outstanding achievement of severe Romanesque design. With the exception of fragments mentioned above, they are the oldest part of the existing church.
The Nave is of seven bays, plus a separated western bay. The columns of the arcade are short and circular, with small scalloped capitals. The triforium has a single large arch in each bay. The clerestory has small round-headed windows. The external window openings are circular. There is a tunnel-vaulted passage between the inside and outside window openings of the clerestory. The nave aisles are vaulted, the main roof of the nave is a trussed rafter roof, with tie-beams between each bay – a late C19 replacement.[5][22][23]
By contrast with the nave arcade, the arches of the crossing are tall, rising to nearly the full height of the nave walls. The capitals of the east crossing piers depict scenes from the life of Jesus.[24] Two stages of the inside of the central tower can be seen at the crossing, with cable and wave decoration on the lower order and zigzag on the upper. The transepts have three stories with semi-circular arches, like the nave, but without aisles.[5]
Rib vault of Southwell Minster choir
The western facade has pyramidal spires on its towers – a unique feature today, though common in the C12.[5] The existing spires date only from 1880, but they replace those destroyed by fire in 1711, which are documented in old illustrations.[25] The large west window dates from the C15.[5] The central tower's two ornamental stages place it high among England's surviving Norman towers. The lower order has intersecting arches, the upper order plain arches. The north porch has a tunnel vault, and is decorated with intersecting arches.[5]
The choir is Early English in style, and was completed in 1241. It has transepts, thus separating the choir into a western and eastern arm. The choir is of two stories, with no gallery or triforium. The lower storey has clustered columns with multiform pointed arches, the upper storey has twin lancet arches in each bay. The rib vault of the choir springs from clustered shafts which rest on corbels. The vault has ridge ribs. The square east end of the choir has two stories each of four lancet windows.[5]
Entrance portal of the Chapter House with the famous carved foliage
Chapter house capital with carving of hops
Southwell rood screen (pulpitum) from the choir
In the 14th century the chapter house and the choir screen were added. The chapter house, started in 1288, is in an early decorated style, octagonal, with no central pier. It is reached from the choir by a passage and vestibule, through an entrance portal. This portal has five orders, and is divided by a central shaft into two subsidiary arches with a circle with quatrefoil above. Inside the chapter house, the stalls fill the octagonal wall sections, each separated by a single shaft with a triangular canopy above. The windows are of three lights, above them two circles with trefoils and above that a single circle with quatrefoil[5][10]:87–105. This straightforward description gives no indication of the glorious impression, noted by so many writers[10]:91, of the elegant proportions of the space, and of the profusion (in vestibule and passage, not just in the chapter house) of exquisitely carved capitals and tympana, mostly representing leaves in a highly naturalistic and detailed representation. The capitals in particular are deeply undercut, adding to the feeling of realism. Individual plant species such as ivy, maple, oak, hop, hawthorn can often be identified. The botanist Albert Seward published a detailed description of the carvings and their identification in 1935[26] and Nikolaus Pevsner wrote the classic description entitled The Leaves of Southwell, with photographs by Frederick Attenborough, in 1945.[27]
The rood screen dates from 1320 to 1340, and is an outstanding example of the Decorated style.[5] It has an east and west facade, separated by a vaulted space with flying ribs. The east facade, of two stories, is particularly richly decorated, with niches on the lower story with ogee arches, and openwork gables on the upper storey. The central archway rises higher than the lower storey, with an ogee arch surmounted by a cusped gable.[5]
The finest memorial in the minster is the alabaster tomb of Edwin Sandys, Archbishop of York (died 1588).[23]
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Il 24 ottobre al Teatro Sociale di Como, Mika rivisiterà il suo repertorio di successi e proporrà nuove canzoni in chiave sinfonica con l’orchestra “Affinis Consort”, diretta da Simon Leclerc, creata appositamente per l’occasione da 81 professionisti internazionali: 65 strumentisti e 16 coristi.
Lo spettacolo nasce dal desiderio di Mika di replicare in Italia l’incredibile esperienza dei tre concerti sinfonici tenutisi a Montréal lo scorso febbraio, in cui ha confermato la sua versatilità e la qualità del suo repertorio pop, anche in chiave classica.
Il concerto arriva dopo i grandi successi estivi al Fabrique di Milano, al Teatro Antico di Taormina e all’Arena della Regina di Cattolica e le prossime tre date nei palasport di Milano (27 settembre), Roma (29 settembre) e Firenze (30 settembre). Le prevendite per la serata speciale partiranno da giovedì 1 ottobre.
Simon Leclerc è un affermato compositore di colonne sonore per la Paramount e direttore d’orchestra canadese a cui Mika ha affidato l’arrangiamento in chiave classica del suo repertorio. Dopo i concerti di Montreal, Mika ha entusiasticamente dichiarato: “Provenendo io stesso da una formazione professionale classica, per me è straordinario sentire le mie canzoni nelle veste classica che Simon ha dato loro, perché nella mia mente, le ho sempre immaginate così!”
Dal piccolo ensemble alla grande orchestra sinfonica. Dalle fondamenta classiche alle contaminazioni contemporanee e pop.
Affinis Consort racchiude nel suo dna la multiformità del suo essere.
L'unione di mondi, il Canada e l'Italia. Il superamento dei confini geografici e culturali. Il connubio e la condivisione delle esperienze che ogni singolo musicista porta sul palco, elevando le affinità.
Silvia Avallone, Lucio Dalla, Duccio Canestrini, Vito Mancuso, Angelo Varni raccontano la città del futuro in una serata condotta da Camila Raznovich Giovedì 10 novembre, ore 20.00 presso l'Oratorio San Filippo Neri l'Ordine degli Ingegneri di Bologna promuove questo incontro che ha per tema il futuro delle nostre città, a cominciare proprio da Bologna.
A parlarne sono stati invitati non addetti ai lavori, ovvero personaggi del mondo della cultura e dell'arte che a vario titolo hanno una stretta connessione con il capoluogo emiliano. Sono la giovane scrittrice Silvia Avallone, che sotto le Due Torri è arrivata come studentessa fuori sede e ha trovato la notorietà con il suo "Acciaio", romanzo che si è qualificato secondo al Premio Strega 2010 e che ha vinto il Premio Campiello Opera Prima. Accanto a lei Vito Mancuso, teologo docente presso l'Università Vita-Salute San Raffaele di Milano, autore di "L'anima e il suo destino" che ha avuto uno straordinario successo editoriale, da poco trasferitosi a Bologna. Poi Lucio Dalla, il cantautore, attore e regista, artista a tutto tondo che da Bologna, con il suo lavoro, ha solcato il mondo. Infine, Angelo Varni, storico (Università di Bologna) e presidente dell'Ibc. Quella tra loro sarà una conversazione guidata da Camila Ravnovich, noto volto televisivo conduttrice di programmi di successo.
Ha aperto la serata l'antropologo Duccio Canestrini che, con una breve conferenza scenica che con musiche e immagini ci accompagnerà tra le fantasie di futuropoli, un suggestivo viaggio nell'immaginario di quell' 'animale' multiforme e mutante che è la città, dalle sue origini ai giorni nostri.Silvia Avallone, Lucio Dalla, Duccio Canestrini, Vito Mancuso, Angelo Varni raccontano la città del futuro in una serata condotta da Camila Raznovich Giovedì 10 novembre, ore 20.00 presso l'Oratorio San Filippo Neri l'Ordine degli Ingegneri di Bologna promuove questo incontro che ha per tema il futuro delle nostre città, a cominciare proprio da Bologna.
A parlarne sono stati invitati non addetti ai lavori, ovvero personaggi del mondo della cultura e dell'arte che a vario titolo hanno una stretta connessione con il capoluogo emiliano. Sono la giovane scrittrice Silvia Avallone, che sotto le Due Torri è arrivata come studentessa fuori sede e ha trovato la notorietà con il suo "Acciaio", romanzo che si è qualificato secondo al Premio Strega 2010 e che ha vinto il Premio Campiello Opera Prima. Accanto a lei Vito Mancuso, teologo docente presso l'Università Vita-Salute San Raffaele di Milano, autore di "L'anima e il suo destino" che ha avuto uno straordinario successo editoriale, da poco trasferitosi a Bologna. Poi Lucio Dalla, il cantautore, attore e regista, artista a tutto tondo che da Bologna, con il suo lavoro, ha solcato il mondo. Infine, Angelo Varni, storico (Università di Bologna) e presidente dell'Ibc. Quella tra loro sarà una conversazione guidata da Camila Razvnovich, noto volto televisivo conduttrice di programmi di successo.
Ha aperto la serata l'antropologo Duccio Canestrini che, con una breve conferenza scenica che con musiche e immagini ci accompagnerà tra le fantasie di futuropoli, un suggestivo viaggio nell'immaginario di quell' 'animale' multiforme e mutante che è la città, dalle sue origini ai giorni nostri.
"Southwell Minster (/ˈsʌðəl, ˈsaʊθwɛl/) is a minster and cathedral, in Southwell, Nottinghamshire, England. It is situated six miles from Newark-on-Trent and thirteen miles from Mansfield. It is the seat of the Bishop of Southwell and Nottingham and the Diocese of Southwell and Nottingham.
In 1884 Southwell Minster became a cathedral proper for Nottinghamshire and a part of Derbyshire including the city of Derby:126–127. The diocese was divided in 1927 and the Diocese of Derby was formed. The diocese's centenary was commemorated by a royal visit to distribute Maundy money. George Ridding, the first Bishop of Southwell, designed and paid for the grant of Arms now used as the diocesan coat of arms.
The nave, transepts, central tower and two western towers of the Norman church which replaced the Saxon minster remain as an outstanding achievement of severe Romanesque design. With the exception of fragments mentioned above, they are the oldest part of the existing church.
The Nave is of seven bays, plus a separated western bay. The columns of the arcade are short and circular, with small scalloped capitals. The triforium has a single large arch in each bay. The clerestory has small round-headed windows. The external window openings are circular. There is a tunnel-vaulted passage between the inside and outside window openings of the clerestory. The nave aisles are vaulted, the main roof of the nave is a trussed rafter roof, with tie-beams between each bay – a late C19 replacement.
By contrast with the nave arcade, the arches of the crossing are tall, rising to nearly the full height of the nave walls. The capitals of the east crossing piers depict scenes from the life of Jesus. Two stages of the inside of the central tower can be seen at the crossing, with cable and wave decoration on the lower order and zigzag on the upper. The transepts have three stories with semi-circular arches, like the nave, but without aisles.
The western facade has pyramidal spires on its towers – a unique feature today, though common in the C12. The existing spires date only from 1880, but they replace those destroyed by fire in 1711, which are documented in old illustrations. The large west window dates from the C15. The central tower's two ornamental stages place it high among England's surviving Norman towers. The lower order has intersecting arches, the upper order plain arches. The north porch has a tunnel vault, and is decorated with intersecting arches.
The choir is Early English in style, and was completed in 1241. It has transepts, thus separating the choir into a western and eastern arm. The choir is of two stories, with no gallery or triforium. The lower storey has clustered columns with multiform pointed arches, the upper storey has twin lancet arches in each bay. The rib vault of the choir springs from clustered shafts which rest on corbels. The vault has ridge ribs. The square east end of the choir has two stories each of four lancet windows.
Southwell (/ˈsaʊθwɛl, ˈsʌðəl/) is a town in Nottinghamshire, England, the site of Southwell Minster, the cathedral of the Anglican Diocese of Southwell and Nottingham. A population of under 7,000 rose to 7,297 at the 2011 Census. The origin of the name is unclear. It lies on the River Greet, about 14 miles (22 km) north-east of Nottingham. Other historic buildings include prebendal houses in Church Street and Westgate and the Methodist church, which has a right of way beneath it, so that the upper floor seats more than the lower. The workhouse (1824) was a prototype for many others. Owned by the National Trust, it shows its appearance in the 19th century. Behind the Minster is a partly ruined palace, once a residence of the Archbishop of York. It includes the recently restored State Chamber, Cardinal Wolsey's former dining room, and gardens among the ruins." - info from Wikipedia.
Summer 2019 I did a solo cycling tour across Europe through 12 countries over the course of 3 months. I began my adventure in Edinburgh, Scotland and finished in Florence, Italy cycling 8,816 km. During my trip I took 47,000 photos.
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