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Click the link to watch a video and see how to quilt this cool design any where on your quilts! freemotionquilting.blogspot.com/2010/03/day-147-overlappi...
Armistice Day (which overlaps with Remembrance Day and Veterans Day) is celebrated every year on 11 November to commemorate the armistice signed between the Allies of World War I and Germany at Compiègne, France, for the cessation of hostilities on the Western Front of World War I, which took effect at eleven o'clock in the morning—the "eleventh hour of the eleventh day of the eleventh month" of 1918. While this official date to mark the end of the war reflects the ceasefire on the Western Front, hostilities continued in other regions, especially across the former Russian Empire and in parts of the old Ottoman Empire.
The date was declared a national holiday in many allied nations, to commemorate those members of the armed forces who were killed during war. An exception is Italy, where the end of the war is commemorated on 4 November, the day of the Armistice of Villa Giusti.
The Initial or Very First Armistice Day was held at Buckingham Palace commencing with King George V hosting a "Banquet in Honour of The President of the French Republic" during the evening hours of November 10 1919. The First Official Armistice Day was subsequently held on the Grounds of Buckingham Palace on the Morning of November 11th 1919. This would set the trend for a day of Remembrance for decades to come.
Most countries changed the name of the holiday after World War II, to honour veterans of that and subsequent conflicts. Most member states of the Commonwealth of Nations adopted the name Remembrance Day, while the United States chose All Veterans Day (later shortened to 'Veterans Day') to explicitly honour veterans of all conflicts. "Armistice Day" remains the name of the holiday in France, Belgium and New Zealand; and it has been a statutory holiday in Serbia since 2012.
In the U.S., the function of Veterans Day is subtly different from that of other 11 November holidays. Unlike the situation in other countries, where that calendar date is set aside specifically for honouring those who died in action, Veterans Day honors all American veterans, whether living, dead in action, or deceased from other causes. The official national remembrance of war dead is instead Memorial Day, originally called 'Decoration Day', from the practice of decorating the graves of soldiers, which originated in the years immediately following the American Civil War.
In many parts of the world, people observe two consecutive minutes moment of silence at 11:00 a.m. local time as a sign of respect in the first minute for the roughly 20 million people who died in the war, and in the second minute dedicated to the living left behind, generally understood to be wives, children and families left behind but deeply affected by the conflict. This gesture of respect was suggested by Edward George Honey in a letter to a British newspaper, although Wellesley Tudor Pole had established two ceremonial periods of remembrance based on events in 1917.
From the outset, many veterans in many countries have also used silence to pay homage to departed comrades. The toast of "Fallen" or "Absent Comrades" has always been honoured in silence at New Zealand veteran functions, while the news of a member’s death has similarly been observed in silence at meetings.
Similar ceremonies developed in other countries during the inter-war period. In South Africa, for example, the Memorable Order of Tin Hats had by the late 1920s developed a ceremony whereby the toast of "Fallen Comrades" was observed not only in silence but darkness, all except for the "Light of Remembrance", with the ceremony ending with the Order’s anthem "Old Soldiers Never Die". In Australia, meanwhile, the South Australian State Branch of the Returned Sailors & Soldiers' Imperial League of Australia similarly developed during the interwar period a simple ceremony of silence for departed comrades at 9 p.m., presumably to coincide with the traditional 11 a.m. time for Armistice ceremonies taking place in Europe (due to the ten-hour time difference between Eastern Australia and Europe).
In the United Kingdom, beginning in 1939, the two-minute silence was moved to the Sunday nearest to 11 November in order not to interfere with wartime production should 11 November fall on a weekday. After the end of World War II, most Armistice Day events were moved to the nearest Sunday and began to commemorate both World Wars. The change was made in many Commonwealth countries, as well as the United Kingdom, and the new commemoration was named Remembrance Sunday or Remembrance Day. Both Armistice Day and Remembrance Sunday are now commemorated formally in the UK. In recent years Armistice Day has become increasingly recognised, and many people now attend the 11am ceremony at the Cenotaph in London - an event organised by The Western Front Association, a UK charity dedicated to perpetuating the memory of those who served in the First World War.
LIVERPOOL ST. GEORGES HALL NOVEMBER 2013
From slightly higher up the hill, at Alamo Square, Robert Frank took a photograph in 1956 that became one of the eighty-three he would publish in The Americans.
In late October, I saw the original photo in a show of Frank's photos at Stanford University, and while I thought I recognized the apartment building and intersection at Steiner and Fulton Streets, I decided to investigate it the next time I was in the neighbourhood. I made my way to the park after renewing my drivers license in late November and confirmed what I had suspected, but also discovered that trees have grown in the intervening years to obscure the view that Frank had. I took a photo with my mobile at the time, but without a description, you would not be able to place the location.
A few weeks ago, I was in the neighbourhood again, with plans to walk to Alta Plaza Park, a little farther up Steiner, when I noticed that a large tree at the base of the hill at Alamo Square had been felled by winds during a recent storm. So, I scurried up the steps to see if the tree's absence made any difference in the view from what I had determined was Frank's location on the hill. Alas, it didn't.
As I was performing my "investigation", a woman with a stroller came along and soon after, a man looking at his phone. He spotted my Rolleicord and asked me if I was also looking for the spot from which Frank had taken his photo. (He had the 1956 photo on his phone.) I chuckled that there was someone else out there as geeky as I am about such stuff. I told him that I'd previously surveyed the area and that I thought the spot was a bit higher up the hill and to the right, basing it on the overlap of the buildings at the intersection below. I'm pretty sure that the path in Frank's photo is the one seen here (now paved), although it's entirely possible that the landscaping has moved the path (I don't think so).
He wandered away and I asked the woman if she minded if I took a photo of them. I was pretty sure he'd agree to it, so, I figured I'd ask her permission first.
It was a partly cloudy day, and at 3:30 or so, the sun was beginning to get pretty low in the sky, so, I was a bit afraid that this wouldn't come out very sharp. (I think I shot at 1/30th of a second.) The sun ducked behind some clouds just as I was shooting this, so it's a tad underexposed, but I'm otherwise fairly pleased. I photographed this on colour film, but I much prefer the black-and-white conversion.
A detail of a piece of Sue's called "Overlapping communities" constructed out of ort balls.
"Ort" is a very old word that once meant a scrap or remainder of food from a meal. It is now used by needle artists to refer to the little scraps of thread that end up getting clipped off. Sue has been collecting these from needle artists all around the country, often through my mother, who regularly attends national and regional seminars.
In this piece she ties the little orts together to make a longer thread, and then uses that to create brightly colored "balls of twine". Each ort ball is from a different set of orts, and so represents a person, or possibly even the remainders from a single project from a person.
Pyewacket says we need a bigger basket.
This shot was overexposed (I'd left the camera in exposure bracket mode) but with Pye yelling at me, it was my favorite. So I tried to recover it from the raw file and used enfuse on a few different levels to pull out as much as I could.
Photography, may point. Colors. Different lights will have different effects. The same people, as long as things in different perspective, it will produce different chemical `` `
摄影,可能角度.颜色.灯光不同就会有不同的效果.
人也一样,只要用不同角度看待事情,就会产生不同的化学作用```
I occasionally smack the ends of the fender stays and I've already lost the little rubber cap on that one side. I'll need to watch that or maybe adjust the stays.
Balcony gardening. Nice weather again. Hicima leaves are inedible.
ONLY the root portion of jicama is edible. The leaves, flowers and vines of the plant contain rotenone, a natural insecticide designed to protect the plant from predators. Eating any of these parts of the plant can cause a toxic reaction.
Pachyrhizus erosus, commonly known as jícama (/ˈhɪkəmə/ or /dʒɪˈkɑːmə/;[1] Spanish jícama [ˈxikama] (About this soundlisten); from Nahuatl xīcamatl, [ʃiːˈkamatɬ]), Mexican yam bean, or Mexican turnip, is the name of a native Mexican vine, although the name most commonly refers to the plant's edible tuberous root. Jícama is a species in the genus Pachyrhizus in the bean family (Fabaceae). Plants in this genus are commonly referred to as yam bean, although the term "yam bean" can be another name for jícama. The other major species of yam beans are also indigenous within the Americas. Pachyrhizus tuberosus[2] and Pachyrhizus ahipa are the other two cultivated species. The naming of this group of edible plants seems confused, with much overlap of similar or the same common names.
Pachyrhizus erosus
Pachyrhizus erosus Blanco2.249.png
Scientific classification:
Kingdom: (unranked):
Angiosperms: (unranked):
Eudicots: (unranked):
Rosids
Order: Fabales
Family: Fabaceae
Genus: Pachyrhizus
Species: P. erosus
Binomial name: Pachyrhizus erosus
(L.) Urb.
Flowers, either blue or white, and pods similar to lima beans, are produced on fully developed plants. Several species of jicama occur, but the one found in many markets is P. erosus. The two cultivated forms of P. erosus are jicama de aguaand jicama de leche, both named for the consistency of their juice. The leche form has an elongated root and milky juice, while the aguaform has a top-shaped to oblate root and a more watery, translucent juice, and is the preferred form for market.[3][4]
Botany:
Other names for jicama include Mexican potato, ahipa, saa got, Chinese potato, and sweet turnip. In Ecuador and Peru, the name jicama is used for the unrelated yacón or Peruvian ground apple, a plant of the sunflower family whose tubers are also used as food.[4]
Fresh jícama for sale at a farmers' market
The jícama vine can reach a height of 4–5 m given suitable support. Its root can attain lengths up to 2 m and weigh up to 20 kg. The heaviest jícama root ever recorded weighed 23 kg and was found in 2010 in the Philippines (where they are called singkamas).[5] Jicama is frost-tender and requires 9 months without frost for a good harvest of large tubers or to grow it commercially. It is worth growing in cooler areas that have at least 5 months without frost, as it will still produce tubers, but they will be smaller. Warm, temperate areas with at least 5 months without frost can start seed 8 to 10 weeks before the last spring frost. Bottom heat is recommended, as the seeds require warm temperatures to germinate, so the pots will need to be kept in a warm place. Jicama is unsuitable for areas with a short growing season unless cultured in a greenhouse. Growers in tropical areas can sow seed at any time of the year. Those in subtropical areas should sow seed once the soil has warmed in the spring.[6]
History:
The jicama originated in Mexico and central America.[7] It has been found at archaeological sites in Peru dating to 3000 BC.[7] In the 17th century, the jicama was introduced to Asia by the Spanish.[7]
In cooking:
Diced fresh jícama, seasoned with Tajín chili powder
The root's exterior is yellow and papery, while its inside is creamy white with a crisp texture that resembles raw potato or pear. The flavor is sweet and starchy, reminiscent of some apples or raw green beans, and it is usually eaten raw, sometimes with salt, lemon, or lime juice, alguashte, and chili powder. It is also cooked in soups and stir-fried dishes. Jícama is often paired with chilli powder, cilantro, ginger, lemon, lime, orange, red onion, salsa, sesame oil, grilled fish, and soy sauce.[8] It can be cut into thin wedges and dipped in salsa. In Mexico, it is popular in salads, fresh fruit combinations, fruit bars, soups, and other cooked dishes. In contrast to the root, the remainder of the jícama plant is very poisonous; the seeds contain the toxin rotenone, which is used to poison insects and fish.[9] The exterior of the seed pods are edible and can be used in cooking, for example the Ilocano dish “Bunga ng singkamas” where it is cooked in a stew as the main ingredient.
Spread to Asia:
Jícama
Yambean (jicama), raw
Nutritional value per 100 g (3.5 oz)
Energy: 159 kJ (38 kcal)
Carbohydrates: 8.82 g
Sugars: 1.8 g
Dietary fiber: 4.9 g
Fat: 0.09 g
Protein: 0.72 g
Vitamins: Quantity%DV†.
Thiamine (B1): 2%0.02 mg
Riboflavin (B2): 2%0.029 mg
Niacin (B3): 1%0.2 mg
Pantothenic acid (B5): 3%0.135 mg
Vitamin B6: 3%0.042 mg
Folate (B9): 3%12 μg
Choline: 3%13.6 mg
Vitamin C: 24%20.2 mg
Minerals: Quantity%DV†
Calcium: 1%12 mg
Iron: 5%0.6 mg
Magnesium: 3%12 mg
Manganese: 3%0.06 mg
Phosphorus: 3%18 mg
Potassium: 3%150 mg
Sodium: 0%4 mg
Zinc: 2%0.16 mg
Link to USDA Database entry
Units:
μg = micrograms • mg = milligrams
IU = International units
†Percentages are roughly approximated using US recommendations for adults.
Source: USDA Food Data Central
Spaniards spread cultivation of jícama from Mexico to the Philippines (where it is known as singkamas, from Nahuatl xicamatl),[10] from there it went to China and other parts of Southeast Asia, where notable uses of raw jícama include popiah, bola-bola (meatballs) and fresh lumpia in the Philippines, and salads in Indonesia, Singapore, and Malaysia such as yusheng and rojak.
In the Philippines, jícama is usually eaten fresh with condiments such as rice vinegar and sprinkled with salt, or with bagoong (shrimp paste). In Malay, it is known by the name ubi sengkuang. In Indonesia, jícama is known as bengkuang. This root crop is also known by people in Sumatra and Java,[citation needed] and eaten at fresh fruit bars or mixed in the rojak (a kind of spicy fruit salad). Padang, a city in West Sumatra, is called "the city of bengkuang". Local people might have thought that this jícama is the "indigenous crop" of Padang. The crop has been grown everywhere in this city and it has become a part of their culture.[11]
It is known by its Chinese name bang kuang to the ethnic Chinese in Southeast Asia. In Mandarin Chinese, it is known as dòushǔ (豆薯; lit. ‘bean potato’) or liáng shǔ (涼薯), as sa1 got (沙葛, same as "turnip") in Yue Chinese/Cantonese, and as mang-guang (芒光) in Teochew, where the word is borrowed from the Malay, and as dìguā (地瓜) in Guizhou province and several neighboring provinces of China, the latter term being shared with sweet potatoes. Jícama has become popular in Vietnamese food as an ingredient in pie, where it is called cây củ đậu (in northern Vietnam) or củ sắn or sắn nước (in southern Vietnam).
In Myanmar, it is called စိမ်းစားဥ (sane-saar-u). Its Thai name is มันแกว (man kaeo).[12] In Cambodia, it is known as ដំឡូងរលួស /dɑmlɔoŋ rəluəh/ or under its Chinese name as ប៉ិកួៈ ~ ប៉ិគក់ /peʔkŭəʔ/.[13]In Bengali, it is known as shankhalu (শাঁখ আলু), literally translating to "conch (shankha, শাঁখ) potato (alu, আলু)" for its shape, size, and colour. In Hindi, it is known as mishrikand (मिश्रीकंद). It is eaten during fast (उपवास) in Bihar (India) and is known as kesaur (केसौर). In Odia, it is known as (ଶଙ୍ଖ ସାରୁ) shankha saru. In Laos, it is called man phao (ມັນເພົາ),[14]smaller and tastes a little sweeter than the Mexican type. It is used as a snack by peeling off the outer layer of the skin, then cutting into bite sizes for eating like an apple or a pear.
Its formal Japanese common name is kuzu-imo (葛芋, lit. =‘kudzu vine’+ ‘tuber’), though it may be referred to as benkowan (ベンコワン) or bankuan (バンクアン) after the Indonesian name bengkuang or as hikama (ヒカマ) as in the Mexican name.[15]
Nutrition:
Jícama is high in carbohydrates in the form of dietary fiber (notably inulin).[16] It is composed of 86–90% water; it contains only trace amounts of protein and lipids. Its sweet flavor comes from the oligofructose inulin (also called fructo-oligosaccharide), which is a prebiotic. Jícama is very low in saturated fat and sodium. It is also a good source of vitamin C.[17]
Storage:
Learn more:
This section does not cite any sources. (July 2017)
Jícama should be stored dry, between 12 and 16 °C (53 and 60 °F). As colder temperatures will damage the roots, whole unpeeled jicama root should not be refrigerated. A fresh root stored at an appropriate temperature will keep for a month or two.
References:
^ Collins English Dictionary – Complete and Unabridged, 12th Edition 2014. S.v. "Jicama." Retrieved July 18, 2017 from www.thefreedictionary.com/jicama
^ Pachyrhizus tuberosus
^ Johnson, Hunter. "Extension Vegetable Specialist". UC-Davis.
^ a b "Globalization of Foods-Jicama". Global Bhasin. Archived from the original on 11 January 2014. Retrieved 31 July 2013.
^ 'Heaviest' Singkamas Found in Ilocos
^ "Jicama Growing Information". Green Harvest. Retrieved 31 July 2013.
^ a b c Sanderson, Helen (2005). Prance, Ghillean; Nesbitt, Mark (eds.). The Cultural History of Plants. Routledge. p. 67. ISBN 0415927463.
^ Green, Aliza (2004). Field Guide to Produce. Quirk Books. p. 194. ISBN 1-931686-80-7.
^ Duke, James A. (1992). "Handbook of phytochemical constituents of GRAS herbs and other economic plants". Dr. Duke's Phytochemical and Ethnobotanical Databases. CRC Press. Archived from the original on September 23, 2015. Retrieved June 25, 2010.
^ "Singkamas". Merriam-Webster. Retrieved 2 January 2015.
^ "What is Jicama?". Innovateus. Retrieved 30 July 2013.
^ So Sethaputra, New Model Thai-English Dictionary, Bangkok: Thai Watana Panich, 1965, p. 366.
^ Pauline Dy Phon, វចនានុក្រមរុក្ខជាតិប្រើប្រាស់ក្នុងប្រទេសកម្ពុជា, Dictionnaire des Plantes utilisées au Cambodge, Dictionary of Plants used in Cambodia, ភ្នំពេញ Phnom Penh, បោះពុម្ពលើកទី ១, រោងពុម្ព ហ ធីម អូឡាំពិក (រក្សាសិទ្ធិ៖ អ្នកគ្រូ ឌី ផុន) គ.ស. ២០០០, ទំព័រ ៤៨៥, 1st edition: 2000, Imprimerie Olympic Hor Thim (© Pauline Dy Phon), 1er tirage : 2000, Imprimerie Olympic Hor Thim, p. 485; វចនានុក្រមខ្មែរ ពុទ្ធសាសនបណ្ឌិត្យ ភ្នំពេញ ព.ស. ២៥១០-២៥១១ គ.ស. ១៩៦៧-១៩៦៨ ទំព័រ ៦២៧, ១០១៣, Dictionnaire cambodgien, Institut bouddhique de Phnom Penh, 1967-1968, p. 627, 1013.
^ Reinhorn, Marc, Dictionnaire laotien-français, Paris: CNRS, 1970, p. 1635.
^ Mitsubishi UFJ Research & Consulting (February 2019), Baiomasu nenryō bi anteichōtatsu/jizokukanōsei ni kakawaru chōsa バイオマス燃料の安定調達・持続可能性等に係る調査 [Study regarding the stable procurement, sustainability, etc., of biomass fuels] (PDF), p. 16, n9
^ Hughes SR, Qureshi N, López-Núñez JC, Jones MA, Jarodsky JM, Galindo-Leva LÁ, Lindquist MR (2017). "Utilization of inulin-containing waste in industrial fermentations to produce biofuels and bio-based chemicals". World Journal of Microbiology & Biotechnology. 33 (4): 48. doi:10.1007/s11274-017-2241-6. PMID 28341907. S2CID 23678976.
^ "Nutrition Data: Yambean (jicama), raw". Nutrition Data. Retrieved 11 July 2014.
i just cant stop snapping these gorgeous pink and white tulips. just adore the patterns!
+10 macro filter
floriade
13/10/07
My voightlander perkeo II is a great camera. I can't cheat it. Every time I tried to cheat it's frame counter, I'd got an overlapping. I'll respect it's pace.
Anyway I like this one.
Downtown Winnipeg during the holiday season. Shot with a Fuji X-T2 and an adapted, 50 year old Nikkor 55mm f/1.2.
Leica M6 TTL
Leica Elmarit 28mm f/2.8 III
Kodak Tri-X 400
Kodak HC-110 Dil B (1+31)
7 min 30 sec 20°C
Scan from negative film
Fine feathers on the back of the baby pigeon rescued during our evening walk down my street. He was sitting all alone on a fence that I'd just photographed (you can see him halfway down), and was shivering in the cooling air. He clambered onto my fingers, pooped on my sleeve, and then climbed up to my shoulder.
I took him home and he's resting in a nice dark box, on a nest made of old socks, lined with paper towels. He's got water and some whole grain bread. Hope he survives the night. Fingers crossed.
Taken with iPhone 3GS with a home-made macro lens from a disposable camera.
You see what you want to see in a KCR carriage. Tracks inside the carriage; luggage, girls twiddling their hair, mobile phone entertainment
Graffitiwear - 100% Original mesh halter top coms with a HUD of 18 textures. Available in solid colors and 2 sets of prints.
> Maitreya & Petite
> LaraX & Petite
> Legacy
> Reborn
> Prima Busty & Petite
marketplace.secondlife.com/p/Graffitiwear-Overlap-Top-DEM...
pane di sega(le)
overlapping the sheets
the meaning changed
from rye bread
to saw (or handjob or wank) bread
Armistice Day (which overlaps with Remembrance Day and Veterans Day) is celebrated every year on 11 November to commemorate the armistice signed between the Allies of World War I and Germany at Compiègne, France, for the cessation of hostilities on the Western Front of World War I, which took effect at eleven o'clock in the morning—the "eleventh hour of the eleventh day of the eleventh month" of 1918. While this official date to mark the end of the war reflects the ceasefire on the Western Front, hostilities continued in other regions, especially across the former Russian Empire and in parts of the old Ottoman Empire.
The date was declared a national holiday in many allied nations, to commemorate those members of the armed forces who were killed during war. An exception is Italy, where the end of the war is commemorated on 4 November, the day of the Armistice of Villa Giusti.
The Initial or Very First Armistice Day was held at Buckingham Palace commencing with King George V hosting a "Banquet in Honour of The President of the French Republic" during the evening hours of November 10 1919. The First Official Armistice Day was subsequently held on the Grounds of Buckingham Palace on the Morning of November 11th 1919. This would set the trend for a day of Remembrance for decades to come.
Most countries changed the name of the holiday after World War II, to honour veterans of that and subsequent conflicts. Most member states of the Commonwealth of Nations adopted the name Remembrance Day, while the United States chose All Veterans Day (later shortened to 'Veterans Day') to explicitly honour veterans of all conflicts. "Armistice Day" remains the name of the holiday in France, Belgium and New Zealand; and it has been a statutory holiday in Serbia since 2012.
In the U.S., the function of Veterans Day is subtly different from that of other 11 November holidays. Unlike the situation in other countries, where that calendar date is set aside specifically for honouring those who died in action, Veterans Day honors all American veterans, whether living, dead in action, or deceased from other causes. The official national remembrance of war dead is instead Memorial Day, originally called 'Decoration Day', from the practice of decorating the graves of soldiers, which originated in the years immediately following the American Civil War.
In many parts of the world, people observe two consecutive minutes moment of silence at 11:00 a.m. local time as a sign of respect in the first minute for the roughly 20 million people who died in the war, and in the second minute dedicated to the living left behind, generally understood to be wives, children and families left behind but deeply affected by the conflict. This gesture of respect was suggested by Edward George Honey in a letter to a British newspaper, although Wellesley Tudor Pole had established two ceremonial periods of remembrance based on events in 1917.
From the outset, many veterans in many countries have also used silence to pay homage to departed comrades. The toast of "Fallen" or "Absent Comrades" has always been honoured in silence at New Zealand veteran functions, while the news of a member’s death has similarly been observed in silence at meetings.
Similar ceremonies developed in other countries during the inter-war period. In South Africa, for example, the Memorable Order of Tin Hats had by the late 1920s developed a ceremony whereby the toast of "Fallen Comrades" was observed not only in silence but darkness, all except for the "Light of Remembrance", with the ceremony ending with the Order’s anthem "Old Soldiers Never Die". In Australia, meanwhile, the South Australian State Branch of the Returned Sailors & Soldiers' Imperial League of Australia similarly developed during the interwar period a simple ceremony of silence for departed comrades at 9 p.m., presumably to coincide with the traditional 11 a.m. time for Armistice ceremonies taking place in Europe (due to the ten-hour time difference between Eastern Australia and Europe).
In the United Kingdom, beginning in 1939, the two-minute silence was moved to the Sunday nearest to 11 November in order not to interfere with wartime production should 11 November fall on a weekday. After the end of World War II, most Armistice Day events were moved to the nearest Sunday and began to commemorate both World Wars. The change was made in many Commonwealth countries, as well as the United Kingdom, and the new commemoration was named Remembrance Sunday or Remembrance Day. Both Armistice Day and Remembrance Sunday are now commemorated formally in the UK. In recent years Armistice Day has become increasingly recognised, and many people now attend the 11am ceremony at the Cenotaph in London - an event organised by The Western Front Association, a UK charity dedicated to perpetuating the memory of those who served in the First World War.
LIVERPOOL ST. GEORGES HALL NOVEMBER 2013
The Lobkowicz Palace[1] (Czech: Lobkowický palác) is a part of the Prague Castle complex in Prague, Czech Republic. It is the only privately owned building in the Prague Castle complex and houses the Lobkowicz Collections and Museum.
The palace was built in the second half of the 16th century by the Czech nobleman Jaroslav of Pernštejn (1528–1569) and completed by his brother, Vratislav of Pernštejn (1530–1582), the chancellor of the Czech Kingdom. It was opened to the public for the first time on 2 April 2007 as the Lobkowicz Palace Museum. Set in 22 galleries, the museum displays a selection of pieces from the Lobkowicz Collections, including works by artists such as Antonio Canaletto, Pieter Brueghel the Elder, Lucas Cranach the Elder, and Diego Velázquez, as well as decorative art, military paraphernalia, musical instruments, and original scores of composers including Beethoven and Mozart.
History
Lobkowicz Palace was built in the second half of the 16th century by the Czech nobleman Jaroslav of Pernštejn (1528-1569) and completed by his brother, Vratislav of Pernštejn (1530–1582), the chancellor of the Czech Kingdom. Vratislav's wife, Maria Maximiliana Manrique de Lara y Mendoza, brought the Infant Jesus of Prague statue, thought to have healing powers, from her homeland of Spain to the Palace. The statue was later given by Vratislav and Maria Maximiliana's daughter, Polyxena (1566-1642), to the Church of Our Lady Victorious in Prague, where it remains on display as a popular tourist attraction. A replica of the Infant Jesus of Prague is on permanent display in the Lobkowicz Palace Museum.
Martinic, in the Lobkowicz Palace on 23 May 1618, Rudolf Vejrych after Václav Brožík
The Palace came into the Lobkowicz family through the marriage of Polyxena to Zdeněk Vojtěch, 1st Prince Lobkowicz (1568-1628). In 1618, Protestant rebels threw the Catholic Imperial Ministers from the windows of the Royal Palace at Prague Castle, known as the Second Defenestration of Prague. Surviving the fall, the ministers took refuge in Lobkowicz Palace, where they were protected from further assault by Polyxena.
Following the defeat of the Protestant faction at the Battle of White Mountain in 1620, the Catholic Lobkowicz family grew in influence and power for the next three centuries. Lobkowicz Palace took on a more formal, imperial role and functioned as the Prague residence when the family needed to be present at the seat of Bohemian power for political and ceremonial purposes. With the exception of the 63 years (1939-2002) during which the property was confiscated and held by Nazi and then Communist authorities, the Palace has belonged to the Lobkowicz family.
After World War I, and the abolition of hereditary titles in 1918, Maximilian Lobkowicz (1888-1967), son of Ferdinand Zdenko, 10th Prince Lobkowicz (1858-1938), demonstrated his support for the fledgling First Republic of Czechoslovakia by making several rooms at the palace available to the government headed by Tomas G. Masaryk. In 1939, the occupying Nazi forces confiscated the Palace, along with all other Lobkowicz family properties. The Palace was returned in 1945, only to be seized again after the Communist takeover in 1948. For the next forty years, the Palace was used for a variety of purposes, including State offices and as a museum of Czech history.
After the Velvet Revolution of 1989 and the fall of the Communist government, President Václav Havel enacted a series of laws that allowed for the restitution of confiscated properties. Following a twelve-year restitution process, the palace returned to the ownership of the Lobkowicz family in 2002. On 2 April 2007, after four years of restoration and refurbishment, the palace was opened to the public for the first time as the Lobkowicz Palace Museum, home to one part of The Lobkowicz Collections. The 17th century baroque Concert Hall of the Lobkowicz Palace hosts regular concerts of classical music, and the premises are also used for weddings.
Architecture
After the Thirty Years War, the Palace underwent a number of significant changes, particularly under Václav Eusebius, 2nd Prince Lobkowicz. He was responsible for the palace’s significant baroque alterations and some of its more lavishly decorated salons. Václav Eusebius redesigned the palace in the Italianate style. His design influence can be seen today in the Imperial Hall, whose walls are painted in fresco with trompe l'oeil statues of emperors surrounded by geometric designs, floral and other decorative motifs. Additional examples of the Italianate style are the Concert Hall and the Balcony Room, whose ceilings are adorned with elaborate painted stuccowork and frescoes by F.V. Harovník.
In the 18th century, Joseph František Maximilian, 7th Prince Lobkowicz commissioned the reconstruction of the exterior of the Palace in preparation for the coronation at Prague Castle of Emperor Leopold II as King of Bohemia in 1791. The alterations included the addition of the palace's panoramic balconies. Despite the various alterations made through the years, remnants of original 16th-century murals and graffito work can still be seen in both of the interior courtyards.
The Lobkowicz Collection
Haymaking, Pieter Brueghel the Elder, oil on panel, The Lobkowicz Collections
The oldest and largest privately owned art collection in the Czech Republic, the Lobkowicz Collection draws its significance from its comprehensive nature, reflecting the cultural, social, political and economic life of Central Europe for over seven centuries. In 1907, Max Dvořák, a prominent member of the Vienna School of Art History, created the first complete catalogue of The Collections.[2] After the restitution laws in the early 1990s, the Lobkowicz family was able to reassemble most of the collection, subsequently making it available to the public for the first time.
Paintings
The Lobkowicz Collections comprise approximately 1,500 paintings, including famous works by artists including Pieter Brueghel the Elder, Pieter Brueghel the Younger, Jan Brueghel the Elder, Bellotto,[which?] Lucas Cranach the Elder, Lucas Cranach the Younger, Diego Velázquez Peter Paul Rubens, Paolo Veronese and Canaletto. The collections also include: an extensive collection of Spanish portraits; Central European portraits by Hans von Aachen and the School of Prague; Dutch, Flemish and German genre paintings; and over 50 paintings and watercolors of Lobkowicz residences by Carl Robert Croll.
The three most prestigious artworks in the collection are Haymaking (1565) by Pieter Brueghel the Elder, and two panoramic views of London by Canaletto. Other notable works include: Hygieia Nourishing the Sacred Serpent (c. 1614) by the Flemish master, Peter Paul Rubens; The Virgin and Child with Saints Barbara and Catherine (c. 1520) by Lucas Cranach the Elder; Christ and the Woman Taken in Adultery (c. 1530) by Lucas Cranach the Younger; Caritas Romana (early-mid 16th century) by Georg Pencz and smaller paintings such as A Village in Winter (c. 1600) by Pieter Brueghel the Younger and St. Martin Dividing his Cloak (1611) by Jan Brueghel the Elder. Venetian painting of the 16th century is represented by Paolo Veronese's David with the Head of Goliath (1575).
The Italian baroque collection includes a prayerful Madonna by Giovanni Battista Salvi, and paintings by Francesco del Cairo, Antonio Zanchi and Giovanni Paolo Pannini. The principal Lobkowicz residences and estates—Roudnice nad Labem, Nelahozeves, Jezeří and Bílina—are depicted in oils and watercolors, commissioned from the 19th-century German painter Carl Robert Croll.
The portraits contained in The Collections reflect the Lobkowicz family's participation in European political and cultural life. The collection includes full-length Spanish portraits of Pernstejns, Lobkowiczes, Rožmberks and related members of European and ruling Habsburg dynasties by painters such as Alonso Sánchez Coello, Juan Pantoja de la Cruz, Jacob Seisenegger and Hans Krell. Among the 17th and the 18th century works in the collection is the Spanish Infanta Margarita Theresa (c. 1655), attributed to Diego Velázquez. Later portraits of members of the Lobkowicz family are by Viennese portraitists of the 19th century such as Franz Schrotzberg and Friedrich von Amerling.
The collection of paintings is accompanied by an extensive collection of graphics and drawings, including a set of engravings of Rome by Giovanni Battista Piranesi.
Decorative Arts
While not as well known as the paintings, books and music associated with the Lobkowiczes, decorative and sacred arts objects, dating from the 13th through the 20th centuries, form a significant part of The Collections.
During the Nazi occupation of Czechoslovakia and the later period of Communist rule, the private chapels in the family’s principal residences were desecrated and their contents dispersed. Important artefacts survived, including a 12th-century reliquary cross of rock crystal and gilded copper. The gold reliquary head of a female saint, possibly St. Ursula, dated c. 1300 and known as the Jezeri Bust, was found in a trunk of theatrical props. It is now on display in the Lobkowicz Palace.
Late-Renaissance and early-baroque ceramics from Italy feature prominently in the collections. Several pieces of colorful Deruta ware are considered to be among the earliest Italian ceramics brought back to Bohemia. Ordered during a trip to Italy in 1551, the pieces are colourfully decorated with an image of a bull, which was the Pernstejn family crest.
By the late 17th century, Chinese hard-paste porcelain had become the great obsession of European rulers and aristocrats. The Dutch workshops at Delft created tin-glazed earthenware that was an early European imitation of the expensive Chinese ware. Around 1680 when he was Imperial Envoy to the Netherlands, Wenzel Ferdinand, Count Lobkowicz of Bilina, commissioned a personalized work, designed with intricate overlapping letters of his initials WL. With 150 pieces, the set is the largest surviving Delft dinner service. A selection of pieces are on display at the Lobkowicz Palace Museum. In the spring of 2000, over sixty pieces from this service were lent to the Rijksmuseum, Amsterdam, to be displayed as part of the "Glory of the Golden Age" exhibition.
The Meissen factory outside Dresden discovered how to produce hard-paste porcelain in the first decade of the 18th century, for the first time outside of Asia. As a result of the factory’s proximity to the Lobkowicz landholdings and castles, 18th and 19th century examples of these porcelain works are prevalent in the collections, ranging from the earlier delicate chinoiserie motifs to the more traditional European elements and designs with fruits and flowers.
Some of the cabinetmaking and marquetry in the Collections come from the Eger craftsmen who worked in Western Bohemia in the 17th century. Several Eger jewelry cabinets are considered among the finest ever produced.[citation needed] Other pieces include caskets, tables and games boards, which are lavishly inlaid with ivory, mother-of-pearl and tortoiseshell, depicting landscapes, animals and classical motifs.
Music
The Music Archive of the Lobkowicz Collection holds over 5,000 items. Originally housed in The Lobkowicz Library at the principal family seat of Roudnice Castle, the entire archive was confiscated, first by the Nazis in 1941, and again by the Communist regime, which sent it to the Museum of Czech Music. In October 1998, the Music Archive was returned to the family in its entirety and moved to Nelahozeves Castle under the auspices of the Roudnice-Lobkowicz Foundation.
The Music Archive, established by Ferdinand August, 3rd Prince of Lobkowicz, was assembled over three centuries by principal members of the family who were not only enthusiastic collectors, but patrons of the arts and also often talented performers. The Music Archive contains works by over five hundred composers and musicians. These include a rare collection of late 17th- and early 18th-century lute, mandolin and guitar scores. This collection, regarded as the world’s largest private collection of baroque music for plucked instruments, has a particularly extensive collection of works by French composers, including Denis and Ennemond Gaultier, St. Luc, Charles Mouton, and Jacques Gallot. The Music Archive is most noted, however, for its late 18th- and early 19th-century collection, including works by Handel, Mozart, Haydn and Beethoven, including Beethoven’s Third (Eroica), Fourth and Fifth symphonies, and Mozart’s hand written re-orchestration of Handel’s Messiah.
Philip Hyacinth, 4th Prince of Lobkowicz, and his second wife, Anna Wilhelmina Althan, were both distinguished lutenists and the prince an accomplished composer as well. Both were both taught by some of the finest contemporary lutenists, including Sylvius Leopold Weiss and Andreas Bohr, and their fine period instruments remain part of the collections. Their son, Ferdinand Philip, the sixth prince, played the glass harmonica and championed the son of one of the family's foresters, the opera composer Christoph Willibald Gluck.
The family member who had the greatest impact on the history of Western music, however, was the 7th Prince, Joseph Franz Maximilian. A talented singer, violinist and cellist, the 7th Prince was the major patron of Beethoven, who dedicated his Third (Eroica), Fifth, and Sixth (Pastoral) symphonies to the Prince, as well as other works. It was the annual stipend provided by the Prince (and continued by his son until the composer’s death), supplemented by support from the Archduke Rudolf and Prince Kinsky, that allowed Beethoven the freedom to compose without dependence on commissions and time-consuming teaching.[citation needed]
In addition to the manuscripts and printed music, the Collections include musical instruments from house orchestras that performed in the various family residences at Jezeří and Roudnice nad Labem in Northern Bohemia, as well as in Vienna. Also on display are lutes from the 16th and 17th centuries by Maler, Tieffenbrucker and Unverdorben; a 17th-century guitar; violins of Italian, German and Czech origin (Gasparo da Salo, Jacob Stainer, Eberle, Hellmer, Rauch); contrabasses from Edlinger[disambiguation needed] and Jacob Stainer; Guarneri and Kulik violoncelli; 18th-century Viennese wind instruments and a pair of copper martial kettledrums. A rare item in the collection is a suite of six elaborately decorated silver trumpets made in 1716 by Michael Leichamschneider of Vienna – one of only two documented sets in existence.
The Nelahozeves Castle Music Room displays a spinet, a contrabass by Posch[disambiguation needed] and other string instruments as well as two pairs of copper and bronze kettledrums.
Military equipment
Hunting was an important activity for Central European nobility from the late Renaissance period onwards, and all of the major Lobkowicz properties served as venues for hunting. Bearing witness to these hunting parties and their participants are hundreds of mounted trophies in the Lobkowicz Collections, dating from the 18th to the early 20th centuries. The social aspects of the hunt are also reflected in the numerous paintings and graphics by local artists in the collection, among them pictures of favourite horses, dogs and trophies. The central part of the hunting-related exhibitions, however, is the firearms themselves, which are displayed in two armoury rooms at Lobkowicz Palace, while further items from the collection are held at Nelahozeves Castle.
The majority of these rifles and pistols were produced locally for the family between 1650 and 1750, by the 17th-century Prague workshops of Adam Brand, Paul Ignatius Poser, the Neireiter family and Leopold Becher, as well as Roudnice craftsmen such as Johannes Lackner and Adel Friedrich during the mid-18th century. These exhibits reflect the patronage of the Lobkowicz family, who provided the gun makers with large orders for guns for many centuries.
The collection features a group of identical flintlock rifles produced for the Lobkowicz Militia in the 18th century, one of the largest collections of such items. Additional weapons came from Silesia, while the most elaborate 18th-century rifles and pistols (some in the Turkish manner) with mother-of-pearl inlay were produced in Vienna. Goldsmiths and silversmiths specializing in inlay were employed to decorate guns, rifles, crossbows and powder flasks of the finest quality.
The palace housed an exhibition of the work Illustrated geography and history of Bohemia by Bavarian cartographer Mauritius Vogt. The exhibition ran until 31 May 2015.
Lobkowicz Collections o.p.s.
In 1994, a non-profit organisation, Lobkowicz Collections o.p.s. (previously the Roudnice Lobkowicz Foundation), was established to curate and maintain the Lobkowicz Collection, recently returned to the family after the Velvet Revolution. The organisation also works to provide access to the art, music and literature contained in the collection to academic researchers and the general public. Lobkowicz Collections o.p.s. has co-ordinated the installation of the collections at both Lobkowicz Palace and Nelahozeves Castle.
The organisation's responsibilities include:
•overseeing the preservation and installation of the objects in The Collections
•developing education programs for students
•promoting and facilitating academic research around The Collections
•administering loans to other cultural institutions
•curating exhibitions of works included in the collections for the public
Significant restoration projects include the restoration of Peter Paul Rubens’ Hygieia Nourishing the Sacred Serpent, restored by Hubert von Sonnenburg of the Metropolitan Museum of Art. This project was funded by the American Friends for the Preservation of Czech Culture (AFPCC).
Lobkowicz Collections o.p.s. also administers lending of artworks to exhibitions. Since 1993, over 200 works of art have been lent to museums in the Czech Republic and abroad, including the Metropolitan Museum of Art in New York, the National Gallery of Art in Washington DC, the Royal Academy of Art in London and the Rijksmuseum in Amsterdam.