View allAll Photos Tagged possible
Later construction of the St Helens – Wigan mainline railway and of the two weirs now to be found on the east side of the reservoir has eradicated all traces of the colliery railway's original route in the vicinity of Carr Mill Dam. Some smaller artefacts may, however, have survived...
In 2013 a pair of narrow (1ft 6 inch) gauge wagon wheels was found in a ditch near Blackleyhurst Farm. The 5-spoked design is similar to that seen on a photograph of a coal train on the 1 ft 6 inch-gauge Blackbrook Colliery railway in about 1902. The wheels are currently displayed at the Sankey Valley Visitor Centre at Blackbrook.
The older of the two weirs at Carr Mill Dam is partially constructed from sandstone blocks. Holes for railway sleeper shoes are clearly visible on many of the blocks topping the walls and lining the channel floor, and it is surmised* that they could have come from the Blackleyhurst Colliery railway after the tracks were lifted and/or it was converted to a different gauge. If this correct the sandstone may have been supplied originally by the Bispham Delf Co (“Delf Masters and Dealers in Flags, Slates and Stones”), in which Samuel Stock had been a partner with Liverpool coal merchant Richard Lewis Gossage and Winstanley land agent Thomas Tebay.**
My photographs were taken on 13 June (top) and 26 June 2023. To the right is an extract from the Ashton Tithe Map of 1838*** - Garswood Old Road is shown running horizontally across the middle of the extract, with Stock's colliery railway entering from top right and following a more or less straight course towards Carr Mill Dam before turning south at the boundary with Parr Township.
*Merseyside Environmental Advisory Service ref. MME12090.
**London Gazette, 20 September 1839.
***National Archives ref. IR 30/18/18; by Jonathan Binns of Lancaster, “copied from a map in the possession of Sir John Gerard Bart with amendments”.
Virginia National Guard Soldiers prepare for possible severe weather response operations Sept. 30, 2022, in Powhatan, Virginia. Soldiers assigned to the Powhatan-based 180th Engineer Company, 276th Engineer Battalion, 329th Regional Support Group are prepared to provide high mobility transport and debris reduction capabilities. The VNG has 50 Soldiers and Airmen staged and ready in the Roanoke, Richmond and Virginia Beach areas. A member of the Virginia Defense Force assisted with administrative processing for troops coming on duty. (U.S. National Guard photo by Mike Vrabel)
Honiton bobbin,quite well worn
You need to look closely to see the railway lines, the wheels on the lines a train engine, coal tender and a "carriage" whatever.
I hope i am not kidding myself as this is VERY different to the usual decoration. If you are "SD" I probably got these pictures from you
Brian
Drawn in Adobe Illustraor
Excavated from Site E2967, in the townland of Prumplestown Lower, Co. Kildare, contract 6.
Drawn by: Hannah Sims, 2010
Client: Kildare County Council
Funding body: National Roads Authority (NRA) with funds from the NDP and Transport 21
Georg Baselitz *1938 (Lena, 1992). Albertina, Sammlung Batliner (Batliner Collection)
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
Gottfried Helnwein (1948), Sleep, 2008 (oil, acrylic on canvas), Albertina
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
we are continuing our quest to be as safe and visible as possible, we have the neon tights, the neon tops, reflective belts, bands, etc, we have the ANSI / OSHA certified class III reflective vests, but we continue the quest to have outfits that are visible as well as comfortable to wear as we walk, run or bike.
These are the neon yellow outfits we have tried, from the company in Florida, we have some neon orange outfits, the neon orange color may be the better color for wear during the summer, as the orange contrasts with the greenery we have here on the Alabama Gulf Coast. The neon yellow appears better for the late afternoon, evening and nights when paired with reflective belts, bands and / or vests.
Since we both usually run in races together, the neon outfits we wear show up in the sea of black, and blues and white outfits. There have been a number of comments by local media about the couple with the neon yellow (or green or orange) outfit we may be wearing. One local station has made several comments how we stand out in the sea of runners, walkers, sorry we do not do bike races, to dangerous. We have a couple of other couples who run with us, along with their kids, and we all wear the same color outfits when we race, and we tend to run as a group, 10 runners in neon yellow tights and tops, grouped together really tend to stand out as a right spot in all the other non-neon clothing.
we have had a number of negative comments from some others who make fun of our visibility, like guys do not wear neon yellow, neon green or neon orange is the usual comment form the guys in their black shorts and tights. After several cyclists have been hit here in he Mobile area there appears to be a subtle change occurring, there are now a couple of others who have adopted neon yellow, green or orange. There are now a few more folks out for walks and runs with reflective materials.
as mentioned above, there are a few others who share the desire to be seen and safe.
older post below:
determined that I needed to be more visible while we rode out bicycles on and near roads.
most bikers wear a colored top, not necessarily neon and black shorts and bottoms, really not that visible. A lot of the colored tops act more like camouflage rather than being visible as a solid color would be.
we found the neon tops at a local sporting goods store and the tights come from a company in Florida. who has them in 51 colors, a number of them neon.
we have some zentari suits we wear that are neon, wearing over bike clothing stretches them in the waist and bottom area, kind of baggy for running, we found these work better able to replace as needed when worn.
we get stopped regularly by others who tell us we stand out from a long distance, we are quite visible..
- www.kevin-palmer.com - After this supercell passed north of McCook, it started cycling and was about to start producing tornadoes again. A possible funnel can be seen underneath the rear flank downdraft.
... con una sonrisa es posible alzar la mirada y comenzar dando gracias por un nuevo día. El camino está trazado, solamente tenemos que ponernos en marcha... si lo imaginamos, seguro que es posible. /
... with a smile can look up and start giving thanks for another day. The path is traced, we just have to get going ... if we imagine, certainly possible.
I uploaded a shot to Facebook the other day and my friend mentioned to me that it would be neat if I made a book containing my photographs of trains. This, not being a foreign idea to me, sounded like an interesting venture. I tooled around in CS5 and came up with this.
The book itself would contain basically what the title encompasses, railroading in Ontario, in the twenty first century. It would contain (the good) stuff from 2010-present...I guess.
No this isn't some Canadian Railway Observations or Canadian Trackside Guide (although those would most likely be referenced somewhere), it would just be a photo essay or something symbolic and heroic like that.
Hardcover.
$19.99 CAD.
POKEMON BLUE - Elite and Masterfully Inconvenient Challenges
-=-=-=-=-=-=-
Introduction
=-=-=-=-=-=-=
Most guides are written to make games easier. This guide is written to make
Pokemon as hard as possible, giving new life to a 13-year old game.
The challenges written here can help you have fresh fun with the same
cartridge that's been glued into your GBC for 13 years. The first,
Pokemon Blue: Elite Inconvenient Challenge, is the easiest of the two.
Both are difficult, requiring patience and self-control to complete.
Either of the tasks will afford you incredible bragging rights, and a
digital badge which you can collect at the end of the guide.
Interested? Great!
-=-=-=-
Index:
=-=-=-=
Introduction
Index
Pokemon Blue: Elite Challenge
Elite Challenge Sample Team
Pokemon Blue: Masterfully Inconvenient Challenge
Elite Badges
Masterfully Inconvenient Badges
Credits
Version History
Copyright Notice
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
Pokemon Blue: Elite Challenge
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
Rules:
-No catching allowed. All your pokemon must be obtained as in-game gifts.
That means you can have a starter, a magikarp (purchased for 500 yen in
the center outside Mt. Moon), an eevee (celadon, top floor of a large
building when entered through the backdoor), a lapras (Sliph Co.
building, from a man standing next to the warp that leads to Giovanni),
an Aerodactyl (resurrected from the old amber given to you in the museum
of Pewter city), and either a kabuto or an omanyte (from the dome or
helix fossil you collect in Mt. Moon). You cannot use the game corner
to attain pokemon.
-Must start with charmander
(Fire is not very effective against Rock/Water, making the first two gyms
a challenge. This requires you to level up charmander to level 9 -when he
learns ember- before facing Brock.)
-No use of the PC allowed whatsoever.
-No duplicate moves allowed
(You cannot have slash on both charizard and kabutops, for example)
-Set style only
(Available from the options menu, disables the ability to switch out
pokemon before facing a new opponent)
-No trading
-No unnecessary HMs (Flash/Fly)
Comments:
This challenge forces you to use moves that aren't normally seen, such as
bubblebeam. The pace is slow at first, and I usually end up at level 14 or
so before facing Brock. Leveling up magikarp can be a test of patience on
set style with only a charmeleon to swap out to...But once gyarados comes
into play the game moves quickly.
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
Elite Challenge Sample Team:
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
I found that creating movesets that didn't duplicate moves was refreshing.
Here is my current dream-team:
James (Charizard)
-Cut
-Flamethrower
-Body Slam
-Earthquake
Zappers (Jolteon)
-Thunderbolt
-quick attack
-pin missle
-double kick
Anglehair (Gyarados)
-Dragon rage
-strength
-bubble beam
-hyper beam
Pterrus (Aerodactyl)
-Wing Attack
-Bite
-take down
-fire blast
Silver (Lapras)
-surf
-ice beam
-psychic
-confuse ray
Sneakers (Kabutops)
-Slash
-Absorb
-hydro pump
-blizzard
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
Pokemon Blue: Masterfully Inconvenient Challenge
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
Rules:
-No catching allowed. All your pokemon must be obtained as in-game gifts.
That means you can have a starter, a magikarp (purchased for 500 yen in
the center outside Mt. Moon), an eevee (celadon, top floor of a large
building when entered through the backdoor), a lapras (Sliph Co.
building, from a man standing next to the warp that leads to Giovanni),
an Aerodactyl (resurrected from the old amber given to you in the museum
of Pewter city), and either a kabuto or an omanyte (from the dome or
helix fossil you collect in Mt. Moon). You cannot use the game corner
to attain pokemon.
-Must start with charmander
(Fire is not very effective against Rock/Water, making the first two gyms
a challenge. This requires you to level up charmander to level 9 -when he
learns ember- before facing Brock.)
-No use of the PC allowed whatsoever.
-No duplicate moves allowed
(You cannot have slash on both charizard and kabutops, for example)
-Set style only
(Available from the options menu, disables the ability to switch out
pokemon before facing a new opponent)
-No trading
-You may ONLY use items required to progress (HMS/key items.)
(No TMs, FLY/FLASH, Status healers such as potions/revives, repels
or other throwable items. This makes the early game a challenge. Don't
get poisoned or it's back to town for you. You are consequently not
allowed to buy items other than fresh water, which is needed to get into
Saffron City and may be purchased from the drink machine at the top of
the Celadon Dept. Store.)
-No evolutions.
(This forces you to keep a magikarp until the end of the game.)
Comments:
I have not managed to complete this one yet. The final team should look
like this:
Charmander, Magikarp, Eevee, Lapras, Aerodactyl, Kabuto/Omanyte
-=-=-=-=-=-=-
Elite Badges
=-=-=-=-=-=-=
You didn't really think you did all that for nothing did you?
If you took the Elite Inconvenient Challenge and want a badge,
you can follow the first link to copy HTML code to place the
badge in your signature or use the direct link to get your badge:
Eevee and Omastar:
Link to HTML: www.flickr.com/photos/29259359@N03/2733643062/sizes/o/
Direct link: farm4.static.flickr.com/3029/2733643062_9ac53235f0_o.jpg
Eevee and Kabutops:
Link to HTML: www.flickr.com/photos/29259359@N03/2732810569/sizes/o/
Direct link: farm4.static.flickr.com/3252/2732810569_da98258588_o.jpg
Vaporeon and Omastar:
Link to HTML: www.flickr.com/photos/29259359@N03/2732783975/sizes/o/
Direct link: farm4.static.flickr.com/3084/2732783975_feceedfe30_o.jpg
Vaporeon and Kabutops:
Link to HTML code: www.flickr.com/photos/29259359@N03/2733616262/sizes/o/
Direct link: farm4.static.flickr.com/3181/2733616262_8860b4c5dd_o.jpg
Flareon and Kabutops:
Link to HTML: www.flickr.com/photos/29259359@N03/2733616082/sizes/o/
Direct link: farm4.static.flickr.com/3152/2733616082_3b7622e1bd_o.jpg
Flareon and Omastar:
Link to HTML: www.flickr.com/photos/29259359@N03/2732783867/sizes/o/
Direct link: farm4.static.flickr.com/3003/2732783867_193230ab65_o.jpg
Jolteon and Omastar:
Link to HTML: www.flickr.com/photos/29259359@N03/2732783797/sizes/o/
Direct link: farm4.static.flickr.com/3090/2732783797_1ae742a6e1_o.jpg
Jolteon and Kabutops:
Link to HTML: www.flickr.com/photos/29259359@N03/2732783741/sizes/o/
Direct link: farm4.static.flickr.com/3129/2732783741_33fb3a1e97_o.jpg
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
Masterfully Inconvenient Badges
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
You didn't really think you did all that for nothing did you?
If you took the Masterfully Inconvenient Challenge and want a badge,
you can follow the first link to copy HTML code to place the
badge in your signature or use the direct link to get your badge:
If you picked Kabuto:
Link to HTML: www.flickr.com/photos/29259359@N03/2733615866/sizes/o/
Direct link: farm4.static.flickr.com/3276/2733615866_ba90299ab6_o.jpg
If you picked Omastar:
Link to HTML: www.flickr.com/photos/29259359@N03/2733615792/sizes/o/
Direct link: farm4.static.flickr.com/3151/2733615792_986087ff98_o.jpg
-=-=-=-=
Credits
=-=-=-=-
Nintendo/Gamefreak
-For creating an excellent game that is still enjoyable 13 years after release
Serebii.net
-For their excellent search program I used to create my dream team
Psypoke.com
-Provided Game sprites for the badges
Flickr.com
-Hosts our beloved badges
God
-=-=-=-=-=-=-=-=
Version History
=-=-=-=-=-=-=-=-
Version 0.50
-Completed the Introduction
-Completed the rules for both challenges
Version 0.75
-Badges uploaded to flickr and linked to in the guide
version 0.90
-Formatted guide to meet Gamefaqs standards
Version 1.0
-Guide uploaded to Gamefaqs
-=-=-=-=-=-=-=-=-=-=-=
Copyright Information
=-=-=-=-=-=-=-=-=-=-=-
This guide may be used for personal, noncomercial use only. It may
be reproduced on a personal website so long as the text remains unaltered.
All trademarks and copyrights contained in this document are owned by their
respective trademark and copyright holders.
Copyright 2008, Brandon Schievenin
Our pastors want this image used in my artwork for an upcoming bulletin cover. The series is called "Unreasonable." The whole idea that smart people cannot be Christians or that you have to turn your brain off to go into service. They want it very logical and 3D. However, they are stuck on this image for me to work on because it is a semi-human head (no brain), and it has lines on the skull to break up the brain functions. I have told them this is an image of phrenology which is of a non-scientic study method and that it wouldn't be a good representation for what they are wanting to pull off.
So, what should I do? Could I still use this image and the congregation not think what I am thinking?
March 22, 2014
I took this photo of one of my friends and a nude sculpture at the Toledo Art Museum. The idea of nudity in art is seen more as an idea of beauty, whereas nudity in real life is looked down on upon and even disgusting. I was thinking about having one of my girlfriends to look up at the sculpture, but instead I had one of my male friends look up at the sculpture. I did this because it raises the question,“Is he looking at the sculpture as a symbol of sex or as a piece of art?”
Day 203 - Wed, July 22
I'm a huge fan of Bill Maher, and last week's show was the best one yet - New Rules segment. I laughed so hard, I've watched it a few times since.
Here it is:
Possible design for my next quilt!
Blogged: www.needleandspatula.com/2011/05/rainbow-rail-quilt-progr...
Kim has had a lot of adventures in her life and a lot of things have happen to her over the years. One of the biggest was when she was fighting Dr. Drakken. He was tired of constantly losing to a girl, so he invented a ray to change Kim into a boy just to help his ego. Kim tracked him down and in the process of trying to figure out what he was up to she was hit by the ray. Surprisingly enough to everyone it didn't seem to work and after a fight she defeated Dr. Drakken and Shego along with destroying the ray and the hideout. It wasn't until that night when something actually happened, but not the result Drakken was going for. She changed, but just a little, into a herm not a boy. Freaking out, her parents tried to help, but couldn't do anything for her. She spent a little time attempting to track down Dr. Drakken, but in the process she actually started to enjoy the new her. Keeping her change a secret, but only for a little while. Sharing with Bonnie, and Monique, and even Shego. Her and Ron broke up, but remained friends. lt really wasn't to hard for him to move on since he was on the football team and could say he dated Kim. Now she is older and still out saving the world, though she is on her own now on the front lines. Wade still has her tech support covered and she manages to have her fun whenever she can.
Sandy, Oregon
October 2013
A beetle grub found under a layer of rotting bark on the forest floor. The grub has a set of unusual prongs on its abdomen. In this photo an adhesive organ on the underside of the grub's abdomen is also visible. Many beetle larvae use this adhesive organ like a seventh leg to grip surfaces and propel themselves forward.
Update: As suggested by Allan Lance, this may be a species of wireworm (a type of click beetle). I have changed the image name accordingly.
Kim Possible by Kyrramarie
Anime Expo 2018 Cosplay
AX 2018
Manny Llanura Photography
Los Angeles Convention Center
The Alentejo region of Portugal is mainly rolling farmland, dotted with olive trees, vineyards and cork trees.
I liked the way the sun was hitting the hillside, with the clouds bringing rain in the distance, so I stopped the car and took this shot from a farm track.
WIP USDF Dropship Trooper
Just a basic fig for a possible USDF contest
This looks a lot better in person, and the final version will have a straightened decal as well as possibly knee pads.
Also my first decal drawn in Inkscape (I didn't try to color-match this at all :P)
Another view of possible Guastavino tile. Located outdoors in the archway ceiling. The building above connects the church and the rectory.
1545 Tremont St, Boston MA 02120
Partner, what do you think of this combination - a linen/cotton blend in a natural/grey combo with blue and aqua patchwork. Do you like it or would you prefer something more colorful? Also if you like the color scheme generally but dislike any of the particular fabrics please let me know...
um outro futuro é possível.
série de estampas desenvolvidas para a Redley, que tem a preservação do planeta como tema desde sua criação.
Is it possible to fall in love with a virtual mate? In Second Life, couples prove that theory on a regular basis. They do fall in love. Sometimes, it lasts and sometimes it doesn't.
Those that last are a remarkable group of couples. They are remarkable both in SL and RL where the divorce rate matches the break-ups in SL!
My partner, Xavier and I enjoy SL very much. We dance, we explore, we network, we chill, we love and we have a blast doing silly things.
So many places offer romantic areas such as ballrooms, chill zones and explorations. Here are some of our favorites...
Avilion Ballroom is a special favorite of mine. It's where I first danced with my first crush... and now I dance here with my partner. Recently, renovated, the Avilion offers a beautiful place to romance each other.
Phatland is another. More jazz music than Avilion, Phat's is a sophisticated club for couples. Beautifully built, we seem to frequent this place a lot.
Another great ballroom venue is Frank's Place. A lot of avies hang out here, so do prepare for a bit of lag. I suggest that you arrive early so that you can grab a spot on the dance floor.
A smaller club that we frequent regularly is the MMAC Jazz Link. Every week, DJ VJ Shojo spins an eclectic set of jazz and indie tunes. Very chill and very romantic little jazz club. Dash Renoir is the perfect host there.
Then there's the beautiful Ballroom">Palace, where grand is an understatement. We usually arrive to a nearly empty place dancing alone in our own world. Very romantic.
But, the most grand of all is a recent discovery. Tempura Island and Ballroom is the epitome of a lover's paradise. Grand and magnificent, the ballroom is done in gold gilt, with a beautiful ceiling and wall textures. The stairs leading to the ballroom and castle are simple but ever so opulent. This is an LM that I have sent to all my friends! LOL!
And we still frequent the clubs that offer a place for us. A place where we can be a couple without the drama that other places bring...
We hit Dorian Gray for DJ Barbs set and Xavier set off his JMD particle hud for a romantic interlude on the dance floor. So fun!
A big thanks to DJ Dint Talon for an awesome night over at IPR365 Milky Way Entertainment complex's K-Lounge. OMG, we had a blast! DJ Dint was spinning an incredible set of jungle, tribal, trance... you name it, he was spinning it! We stayed until the end!
We also went to Bogart's Cafe which is kinda a ballroom and kinda a lounge setting. You can dress in ballroom or cocktail dress there. We often go in between clubbing for a quick ballroom dance to lovely jazz music.
We usually stop off at Spanish DJ Sonar Halsey's Future Club. It is always psy heaven there! And BassLine Island for some hardcore tunes to get the blood pumping. Both are fun clubs for couples to hang at and dance.
And when we explore, we always seem to find the cutest places such as Midnight City for NBC's romantic dinner club, Rainbow Room Dining and the Italian pizza place that reminds me of North Beach in San Francisco!
The other night, Xavi took me to NOAA, the National Oceanic and Atmospheric Administration's build featuring an interactive floor of of the entire world's atmosphere! Wow! This from the US Department of Commerce!
And, when we chill at home we can be silly and set off our particles and dance or pull all our emotes and gestures for hours of silliness.
Couples in Second Life are just like couples in real life. They play, they love, they emote real emotions towards each other... and as best friends, they share the best of Second Life together.
After taking genetic information from a same-sex couple to generate DNA data for the children they might have together, the results were used to produce “family photographs.” Though a same-sex couple cannot conceive a child using current technology, based on the genetic information it is possible to predict what kind of baby they would have. After obtaining the couple’s DNA data from a genetic analysis service called “23andMe” and uploading it to the *(Im)possible Baby* Simulator, the program randomly generated genetic profiles for their children. With advances in stem-cell research, having children may no longer be a fantasy for same-sex couples.
credit: Ai Hasegawa
I am going to view this car tomorrow after college, it is relatively local and I like the look of it. Any thoughts? This will be my first car :D
Bemidji, Minnesota
Fall 2014
A peculiar Nematoceran fly with very long legs and very small wings. It appears to have claspers at the end of it abdomen, making it a male. Despite the reduced size of its wings, the fly was able to hover well enough that it was difficult to photograph.
The two knobs immediately behind the front wings are modified hind wings called halteres. All winged flies have halteres, setting them apart from other insect orders. In flight, halteres vibrate and function as stabilizers.