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The thing about a recipe is that it is just a guide. I don't generally bother with them unless I'm working with something I've never seen before. Understanding why the recipe is the way it is, what the ingredients bring to the dish, the cooking sequence, and all that, is more important than the precise ingredients. If you get the technique, the why a thing is done and how to carry it off, then you can always work your way backwards, from the ingredients you have, to get the results you want.
With soups it's all about building flavors layer by layer. If you have looked at a lot of recipes you may have detected a pattern- with soups and sauces you start by extracting flavors from various aromatic vegetables. The classic combination here in the west is carrots, celery, and onion, but other vegetables like shallots, sweet peppers, fennel, celeriac, leeks, parsnips, or parsley root can be used too.
That base layer is then modified with pungent vegetables and herbs- a little something to kick everything in the ass- fresh herbs like rosemary, thyme, and bay, tied in a bundle so you can fish it out later easily, and garlic or ginger, and crushed red pepper flakes.
Then when everything is sweated a little in hot fat (with salt to help release moisture), so you can smell the flavors combining, and there's maybe a bit of brown stuff in the pan, you deglaze the pan with a splash of wine, water, or stock to pull that brown stuff up into solution, and your soup is on it's way. At this point you add whatever it is that will make up the bulky foody part of your soup, like beans in the recipe below (I'm getting to it) and top the pan off with enough liquid to make up your portions, plus enough for evaporation. Once your ingredients are all tender (you should be tasting every few minutes), then you can make any final additions like pasta or tender herbs and greens, which will only take about 10 minutes to cook (pasta turns into glue if you cook it too long). When the time is up, taste and add salt/pepper/vinegar as needed, pull out that herb bundle, garnish with some reserved pretty herbs and shredded cheese, and do what comes naturally...
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The Minestrone in the picture recipe.
1 small onion, chopped fine
1 rib celery, chopped fine
1 medium carrot, chopped fine (if you have one of those giant horse penis carrots, break a half or a third off and use that)
1 or 2 garlic cloves, crushed, sliced, or minced, as you like it. And for fucks sake only use the stuff in the jars if you have no choice.
1 big tomato chopped (no need to be neat here, it will break down as it cooks)
1 tablespoon of tomato paste (the stuff in the tube is more economical in the long run for singletons or small fluid family units)
1 herb bundle (or at least a bay leaf or two) composed of rosemary, thyme, and bay (use the parsley stems that you stripped the leaves off of too, come to think) The bay leaf is mandatory, fresh or dry. If you don't have fresh herbs, a good pinch of italian seasoning or herbs de provence will do too.
1/2 loose cup flat leaf or curly parsley, stripped off their stems and rough chopped.
kosher salt to taste- remember to just add a pinch at a time- you can always add salt but you can't take it away. i like kosher because it comes in bigger chunks than table salt, giving it a lot less volume and making it a lot harder to overseason.
5 cups liquid. Like half water and half stock, though the stock isn't strictly necessary. You might want to deglaze with a splash of wine too. Whatever you like to drink, though a heavy tannic red is probably a bad idea.
crushed red pepper- a pinch
1/2- 2/3 cup cooked beans*
1/2- 2/3 cup fun pasta shapes (i used Trottole)
vinegar (what you got, or even lemon juice) to taste.
a good grind of your favorite hard cheese to finish and garnish to taste as necessary
olive oil. enough. a good glug. a couple tablespoons. eyeball that shit.
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put a 4-5 quart heavy bottomed saucepan (with a tight fitting lid) on medium heat.
pour in your oil, and toss the bundle and crushed red pepper in. as the oil warms, the flavors infuse.
add the onion and a pinch of salt, when you just smell it, add the garlic (always add the garlic after- you don't want to burn it).
dump the celery and the carrots in, and stir that around and let that soften.
when the pan seems like it's getting dry, add the chopped tomato, and get that reducing.
when the pan is getting dry again, deglaze with a splash of wine or a bit of the liquid you have standing by and the tomato paste. Admire how glossy the sauce looks as the brown stuff goes into solution.
Add your beans, stir to warm through, then pour the rest of your liquid in. Turn the heat to high, and when it comes to a hard boil, cover it and turn the heat down to medium low.
Go hang out to about 20 minutes.
when you come back, give the mixture a taste, making sure your carrots are tender, add the pasta and most of the parsley, stir it in, cover, go hang out for 10 more minutes.
uncover and check your mixture- if it seems too thick, add a little liquid, if it's too thin, let it reduce a few minutes uncovered. adjust the seasoning, get rid of the herb bundle or the bay leaf, and serve it up, topping the bowl with a little cheese and the reserved parsley. This recipe should produce enough for two largish servings or 4 wimpy little cups sized ones.
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* What? Sure, you can buy cooked beans, but fuck that- dried beans are cheaper and you get more variety that way- in this recipe I used a mixture of christmas lima, goats-eye, and great northern beans. Usually I make a few cups worth every week, then they are ready to use in sides or in soups or whatever.
Measure out your beans- keep in mind that the cooked beans get 2-4 times bigger than dry, so plan for that, pick them over, looking for rocks and sticks, give them a rinse, then place them in a non reactive vessel and cover them with plenty of water. let them hang out all night. in the morning, add/pour off enough liquid so that the beans are covered under an inch of water, add a sacrificial carrot, celery rib, and herb bundle, bring it to a hard boil, and back off the heat to medium low and cook for an hour. Do NOT add any salt or acid to the uncooked beans- it will prevent them from absorbing liquid and they will never get soft. Alternately, if you have a pressure cooker, do all the above and pressure cook it for 10 minutes or whatever the manual suggests. Drain off the liquid (or save that for the soup) and throw away the vegetables (or put them in the soup too).
Easy.
Sitzende Frau mit hochgeschobenem Kleid/Seated Woman with Dress Pushed up, 1914 (Bleistift, Aquarell und Deckfarben/Pencil, watercolor and gouache), Albertina
Spraying her legs, Schiele's Seated Woman exposes her genitalia, framed by her thinly painted thighs and the folds of the pleated dress, in a seemingly unintentional and yet precisely calculated pose. The dark lap corresponds formally with the dark hair on her head. The precise foreshortening of the legs and face complicate the rhombic shape of the figure. The hombus opens from the tips of both shoes to the knees, before it converges along the contours of the arms and shoulders to the top of her head.
Die Sitzende Frau zeigt ihr Genital wie unbeabsichtigt und doch wohlkalkuliert zwischen den abgespreizten Beinen: gerahmt von den kaum aquarellierten Oberschenkeln und dem gefältelten, gerafften Kleid. Dem dunkle Schoß entspricht formal das dunkle Haupthaar. Die präzise Verkürzung der Beine und des Gesichts verkomplizieren im Inneren die rautenförmige Gestalt der Figur. Der Geometrie steigt von der Spitze der beiden Schuhe zu den Knien an, eh sie sich wieder über den Umriss der Arme und Schultern zum Kopf hin verjüngt.
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.
An abandoned slate quarry somewhere in the Argentina Valley (Imperia, Liguria - Italy): I prefer to avoid to give a more precise localization for safety reasons.
An abandoned quarry is a very dangerous place, because it is possible to be hit by a falling block. They are no more checked for their stability and they are pretty heavy: the specific weight of slate is 2.6 tons for a cubic meter (168 pounds for a cubic feet, if you prefer) and they can fall from many meters, so it would be like to be hit by a very concentrate Mercedes and you camera could be damaged, too.
If you want to visit these places don't forget to wear safety steeltoe shoes (it is dark and you can easily hit a stone on the ground), a helmet (for falling cobbles or in case you scare the bats on the ceiling, to avoid their drops) and a high visibility jacket.
A flashlight torch is mandatory for a good focusing, even if you disable the autofocus.
Before to go deeper into a cave wait until your eyes will become used to darkness (your eyes pupils must reach f/1.2 or so). This lapse of time will also bring the camera to a better temperature to avoid condensation, because very often the air of these places is pretty damp.
Have a tripod with you because the right stone to leave the camera for a long exposure shot is always in the wrong place, or it has too much dust, or there is a bat sleeping just over it.
If you can find a retired miner who can guide you in the visit it would be a lot better.
Una cava di ardesia abbandonata da qualche parte in Valle Argentina (IM): non fornisco una localizzazione precisa per motivi di sicurezza.
Una cava abbandonata è un luogo molto pericoloso, perché è possibile essere travolti da un blocco di pietra. La stabilità dei blocchi non è più soggetta a controlli, e si tratta di blocchi molto pesanti: il peso specifico dell'ardesia è di 2600 kg/m³ e possono cadere da un'altezza considerevole, quindi sarebbe come essere investiti da un Mercedes molto concentrato e anche la vostra macchina foto potrebbe danneggiarsi.
Se volete visitare uno di questi posti non dimenticate di indossare calzature antinfortunistiche con la punta in acciaio (è buio ed è facile colpire una pietra al suolo), un elmetto (per la caduta di piccoli sassi o, in caso spaventiate i pipistrelli sul soffitto, per evitare le loro deiezioni) e un giubbotto ad alta visibilità (quello che tenete sotto il sedile dell'auto va bene).
Una torcia elettrica è praticamente obbligatoria per la messa a fuoco, anche se disabilitate l'autofocus.
Prima di avventurarsi più in profondità in una cava aspettate fino a quando i vostri occhi siano abituati all'oscurità (le pupille arriveranno a f/1.2 più o meno). Questo intervallo di tempo serve anche per portare la macchina a una migliore temperatura per evitare condensazioni, perché molto spesso l'aria di questi posti è decisamente umida.
Portatevi un cavalletto perché la pietra giusta dove lasciare la macchina per una posa lunga è sempre nel posto sbagliato, o c'è troppa polvere sopra, oppure c'è un pipistrello che dorme proprio sulla verticale.
Se trovate un minatore in pensione che vi possa guidare nella visita sarebbe molto meglio.
In the quiet woods, nature’s most efficient handyman gets to work. A determined woodpecker grips a heavy cordless drill like a seasoned carpenter, boring a perfect round entryway into the tree. Wood chips scatter, echoing his rhythm of precise craftsmanship. Today’s project: a custom luxury penthouse nest, complete with reinforced walls and impeccable design. With safety goggles unseen but spirit strong, the forest’s tiniest contractor proves—sometimes, power tools make nest-building a whole lot easier.
Laon and its Cathedral
The hilly district of Laon has always had some strategic importance. In the time of Julius Caesar there was a Gallic village where the Remis (inhabitants of the country round Reims) had to meet the onset of the confederated Belgae. Whatever may have been the precise locality of that battlefield, Laon was fortified by the Romans, and successively checked the invasions of the Franks, Burgundians, Vandals, Alans and Huns. At that time it was known as Alaudanum or Lugdunum Clavatum.
Today, Laon is the préfecture (capital) of the Aisne département in the Picarde region of and has a population of about 26,000.
The old town is situated on an isolated ridge, forming two sides of a triangle, which rises some 100m above the surrounding plain and the little river of Ardon. I believe it is called the “witness’ hill” (“Zeugenberg”).
The cathedral of Laon is one of the most important gothic creations of the 12th and 13th centuries, ranking on par with the cathedrals of Saint-Étienne of Sens and Notre Dame of Paris. Laon Cathedral is known for its imposing towers, its beautiful Gothic architecture, and its importance as a major stop on the medieval pilgrimage route to Santiago.
It also influenced cathedral building from Reims, to Chartres to Bamberg and other places.
Construction of Notre-Dame cathedral began around 1160, on the site of an ancient basilica that had burned down in 1111 during an insurrection. The new cathedral was completed in 1230. The second half of the 13th century saw the start of work on the side chapels. Considerable reconstruction was done in the early 14th century on the south and north façades.
In the 18th century, the chancel received decorative work. During the French Revolution, the cathedral was damaged and some of the statues on the portals were lost.
After being listed as a Historical Monument in 1840, a restoration program began in 1846. It was finished a little before 1914. The cathedral of Laon escaped World War I unharmed.
The building is cruciform, and the choir terminates in a straight wall instead of in an apse. Of the six towers flanking the facades, only four are complete to the height of the base of the spires, two at the west front with huge figures of oxen beneath the arcades of their upper portion, and one at each end of the transept. A square central tower forms a lantern within the church.
The towers and uniquely ornate, light and airy. Statues of oxen decorate the top of the façade towers, a tribute to the animals that provided so much labour towards the construction of the church.
There are many other things to look on the complex exterior, including a finely carved portal and a rhinoceros gargoyle!
The understated purity of the cathedral's interior, reinforced by white stone, gives it a remarkable luminosity.
The western front with its three porches ranks next to that of Notre-Dame at Paris in purity. The central porch has a fine rose window.
Notable interior features include the stained glass (the western rose window dates to 1210), panels dating from the 13th century, a Serbian icon of the Holy Face, and an 18th-century choir grille.
The chapter-house and the cloister contain beautiful specimens of the architecture of the beginning of the 13th century. The old episcopal palace, contiguous to the cathedral, is now used as a court-house. The front, flanked by turrets, is pierced by great pointed windows. There is also a Gothic cloister and an old chapel of two storeys, of a date anterior to the cathedral.
[DSC_1919a]
How precise is that! Taken on a drive around the South West in October, 1988. I doubt this mileage is 'as the crow flies', a ridiculous metaphor to any self respecting bird watcher! Still, some nice signage here!
Welcome to the most precise heart rate monitor available for Windows Phone 8.
Connect your HxM heart rate Monitor to your device, and track your heart rate over time!
Do you need one?
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if you want to try the app
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(The precise date of the photo is uncertain, but it is probably before 1948.) The instrumentation that was carried aboard the aircraft to gather data is on display. The aircraft data was recorded on oscillograph film that was read, calibrated, and converted into meaningful parameters for the engineers to evaluate from each research flight-un-edited-Not part of my personal collection
Keith Haring used his journals to carefully document his aesthetic discoveries through precise notes and careful illustrations. One of the early artistic experiments that he detailed in his journal was his focused exploration on a set number of geometric forms. The group of twenty-five red gouache works on view here illustrates the diversity of the forms that he developed. The forms range from a simple L shape to more complicated designs. This alphabet of shapes could be assembled in various combinations to create patterns. Haring spent a good deal of time thinking about the spatial layout of the forms and how they could be combined or separated, leaving a negative form in between.
Keith Haring: 1978–1982, on display from March 16 to July 8, 2012 in the Morris A. and Meyer Schapiro Wing of the Brooklyn Museum, was the first large-scale exhibition to explore the early career of the artist. Curated by Raphaela Platow, the exhibition includes 155 works on paper, numerous experimental videos, and over 150 archival objects, including rarely seen sketchbooks, journals, exhibition flyers, posters, subway drawings, and documentary photographs.
Keith Haring (May 4, 1958 – February 16, 1990), a Pennsylvania native, moved to New York in 1978 and with his trademark creations across a variety of media, quickly made his mark in the thriving alternative art community that was developing outside the gallery and museum system. Haring was known for his subway graffiti, but instead of painting subway cars with spraypaint, he mostly drew with white chalk on the black paper pasted on unused advertising spaces. His distinctive style became widely known by those who never knew his identity. In his later years, he took on a more activist role, contributing works to hospitals and charities. In 1989, after being diagnosed with AIDS, he founded the Keith Haring Foundation, which supports organizations involved in AIDS education and outreach.
The Brooklyn Museum, sitting at the border of Prospect Heights and Crown Heights near Prospect Park, is the second largest art museum in New York City. Opened in 1897 under the leadership of Brooklyn Institute of Arts and Sciences president John B. Woodward, the 560,000-square foot, Beaux-Arts building houses a permanent collection including more than one-and-a-half million objects, from ancient Egyptian masterpieces to contemporary art.
LDD trick #12 Half LDU precise move quick template (0.5 LDraw Unit = 1/16 plate)
From left to right, simply make the green template by 4 steps. Please make sure that there is a gap between tile and technic brick.
No precise date for this one taken at Boston, but Thomson B1 61264 is carrying AWS so we think it is the early 60's.
The loco was new from the North British to the LNER in December 1947 as 1264. Withdrawl was in December 1965 and the loco went into departmental use as a mobile boiler for heating Carriages as 29 until July 1967. In 1968 it became the only LNER loco to be sent to Woodhams at Barry where it was bought from in 1973. Today the loco is at the Great Central Nottingham undergoing an overhaul including a new Inner Firebox, tender tanks and new tyres. It will also be fitted out for using Digital Signals.
Image from a negative in my collection taken by an unknown photographer.
Struggling to get a precise location. One thing's for certain, this postcard was sent on 9th May 1938 from Claygate Motors to a Miss R Palmer in Bournemouth about her interest in and possible purchase of a Ford 8. Apparently they had ordered it for her and expected its arrival on 20th May and were going to keep it there until she wanted it. The postmark is of Esher in Surrey so one can only presume the garage premises were near there. Anyway, it's a lovely photo of excellent quality and of an era when a garage could have some creeping plants growing up the front and just a single car on view in the showroom. Cleveland, National, Esso and Shell on sale on the forecourt. In just over a year it would be all change as the war broke out, rationing and pool petrol was introduced and car sales would have been a thing of the past.
The first Ford Capri to bear that precise name was introduced in January 1969 at the Brussels Motor Show, with sales starting the following month. The intention was to reproduce in Europe the success Ford had had with the North American Ford Mustang; to produce a European pony car. It was mechanically based on the Cortina and built in Europe at the Dagenham and Halewood plants in the United Kingdom, the Genk plant in Belgium, and the Saarlouis and Cologne plants in Germany. The car was named Colt during development stage, but Ford were unable to use the name, as it was trademarked by Mitsubishi.
(Wikipedia)
- - -
Der Capri wurde im Januar 1969 auf dem Brüsseler Autosalon offiziell präsentiert, der Verkauf begann im Februar. Mit dem Capri wollte Ford den Erfolg, den das Unternehmen mit dem Ford Mustang in den USA erzielt hatte, in Europa wiederholen und eine Art europäisches „Pony Car“ anbieten. Das Fahrwerk wurde vom englischen Ford Cortina übernommen, die Motoren zum Teil vom deutschen Ford Taunus. Hergestellt wurde er in den britischen Werken Dagenham und Halewood, im belgischen Genk und in den deutschen Ford-Fabriken Saarlouis und Köln. Der Entwicklungsname des Capri lautete Colt; da der Name aber rechtlich von Mitsubishi geschützt war, konnte Ford ihn für sein Serienmodell nicht verwenden.
(Wikipedia)
Micro-Nikkor AF 70-180mm f/4.5-5.6 D ED (front) and Sigma AF 150mm f/2.8 APO EX HSM macro DG D (back); both tripod collars have an RRS plate attached.
The Micro-Nikkor AF 70-180mm f/4.5-5.6D ED is a unique lens - it is the only true macro zoom lens around with a max. object magnification of 1:1.3 (the 6T close-up lens is required to get to 1:1). In terms of useability it is the only macro lens which allows precise framing (if framing and not precise magnification ratio is of significance) without having to change working distance and refocus. This is an advantage in the field especially when working from a tripod since framing and focusing can be achieved without having to move the assembly back and forth. Attaching an Arca-Swiss-type plate to the tripod mount makes the system a lot more stable - the original foot is a tad short.
The Nikkor has a rather long focus path (roughly 200 degrees) which is nice for precise manual focusing. On the downside the AF (via the slotted drive screw operated by the camera) is relatively slow and noisy. A focus limiter helps to reduce excessive focus hunting in non-macro situations.
The image shows the lens focused to its minimum focus distance of 0.37m (the working distance then is a scant 11cm); at the longest focal length, this equates to a 1:1.33 magnification ratio (1:3.21 at 70mm). When focused to infinity, the front retracts almost completely into the lens barrel. One characteristic of this zoom is that the effective aperture doesn't change as a function of the focus distance - probably because the focal length is substantially shortened in the process of focusing closer (which is indicated by the close working distance); I read somewhere that at the 180mm setting and closest focus distance, the focal length is around 90mm. As I said, it's a unique lens.
The Sigma is an IF (internal focusing) design and loses about 1.5 stops when focusing from infinity to its closest focus distance of 0.38m (at which point the magnification is 1:1 and the working distance about twice that of the Nikkor). The HSM makes focusing virtually silent (though not necessarily quick - but the three-stage focus limiter helps but takes getting used to (full-range, 0.52m-infinity and 0.38-0.52m)). The Sigma tripod collar is removable - a big plus; it's also quite sturdy. Unfortunately, due to the IF design, working off a tripod when trying to maintain framing is an exercise in frustration - a macro rail is an absolute must. Really too bad that the lens that works great on a tripod (the Nikkor) has a weak tripod mount (that isn't removable to add insult to injury) whereas the one that drives one nuts on a tripod (the Sigma) has an excellent one.
The Sigma is a tad shorter than the Nikkor but takes 72mm filters to the Nikkor's 62mm. The Nikkor weighs about 1kg, the Sigma is about 100g lighter.
The Nikkor has an unusually low distortion for a zoom over the entire focal length range - the Sigma has virtually none. Optically, both lenses are excellent - with the Sigma taking the crown.
For general (non-macro or non-close-up) shooting, the Nikkor is a slow variable aperture zoom whereas the Sigma is a fast (f/2.8) medium tele with a very nice bokeh. The Nikkor is no slouch in terms of bokeh either - but has the disadvantage of being between 1 1/3 to 2 stops slower.
www.flickr.com/groups/nikond700/discuss/72157624431662720...
March 2013: Realizing that most (of the little) close-up work I shoot can be accomplished with either lens (and me not really utilizing the strengths the zoom offers in that aspect because I mostly shoot handheld) as well as finding that the prime is more useful to me in general shooting (now that I own the 70-200/2.8 AF-S VR), I decided it was time to part with the 70-180 that I owned for about 12 years. It's an excellent and unique lens, but that's not enough reason to keep owning it for me.
October 2015: traded the Sigma 150/2.8 for its successor, the 150/2.8 OS. Significantly larger and heavier but optically as good as the non-OS version.
To be precise, I was tagged 4 times. LOL
If I tag you and you have done this already or don't want to bother with it...then just ignore it. :) Okay, here we go:
1- I hate pictures of myself...so this took a little courage to upload 2 of these.
2- I studied Fine Arts with an emphasis in Illustration.
3- I work as a Production Artist at a printing company currently.
4- I love my husband so much! He makes me laugh and he is my best friend.
5- I am incredibly indecisive.
6- I was diagnosed with General Anxiety Disorder not long after starting college. I used to have panic attacks on an almost daily basis and I dropped down to 85lbs before I got help. I am better now, in fact I need to lose weight now. :P
7- I LOVE to sing!!! I am one of those crazy people you see driving along with the music blaring and singing my heart out. I can sing though. Really! I was in choir for a number of years and did a little competition in high school as well. I love all kinds of music ( Rock, Heavy Metal, Gospel, Techno, Opera, Jazz...) except for Rap and Country...especially Country. BLEH!
8- I love to read. We could practically have a small library with how many books we have.
9- I am a sucker for Dark Chocolate!!! <3
10- I am a Christian woman, and I will never deny that.
11- I am very eclectic.
12- I have waaayyy too many unfinished projects lying around (arts and crafts that is).
13- I grew up with frogs as pets...love them! They are too cool and too cute.
14- I am a dog person. I don't mind cats, just not crazy about them.
15- When it comes to cute things...I am very two-faced. If that makes sense. Some things are just too cute and makes me think: BLEH!
16- I hate the color pink. I like some girly things like wearing dresses, but I CANNOT stand the color pink unless it is in small doses or has some sort of attitude in how it is presented. Like pink and brown or pink and skulls are good combos. Anything too girly or frilly makes me gag. LOL
17- Halloween is my favorite holiday. I love Christmas as much as the next person, but I love to dress up or be in costume.
18- I am an absolute perfectionist, but I am seriously unorganized. :P
19- I am addicted to Coke. No, not the illegal drug, the drink. LOL I have cut down though to one or two cans a day and I switched to caffeine free.
20- I could sleep all day. Seriously. Most weekends I don't wake up until 10am and that is because I asked my husband to wake me. Maybe I am just one of those odd people who need more sleep...I dunno. I just know I sleep like a rock and have to have multiple alarms to get up.
21- I could care less about sports...and I have never been good at them either.
22- Terrible at math, but I have always aced English and spelling.
23- I am VERY much a family person.
24- I am a very shy person (if you couldn't tell from my earlier comments).
25- ummm...I am a major geek? Kind of running out of steam. OH! I am 29.
25 things about me was more difficult than I thought it would be... and a LOT more personal. Wow...
The furious Fury, a name that rocked the American automotive industry for the best part of 20 years, powerful and precise, and a true car of evolution.
Originally when it was launched in 1956, the Plymouth Fury was a contemporary space-age looking runaround, similar in fashion to the Cadillacs and Chryslers of the time. It was a very pretty car, as were pretty much all cars from back then, but the change of style didn't do the Plymouth any favours. The fins and space lines of the 50's gave way to the angles of the early-60's, and many Chrysler products of this period were maligned heavily for it, the 3rd Generation Fury being no exception. A comeback however was made with the 4th Generation, which presented us with the symbolic vertical headlight layout that would be iconised in the Dukes of Hazzard, as a slew of Police Vehicles.
The 1969 models featured Chrysler's new round-sided "Fuselage" styling. The Fury was again available as a 2-door coupe, 2-door convertible, 4-door hardtop, 4-door sedan, and 4-door station wagon. For 1970, the VIP was discontinued and a 4-door hardtop was added to the Sport Fury range, which also gained a new hardtop coupe. This was available in "GT" trim; 1970–71 Sport Fury GT models were powered by the 7.2L engine, which in 1970 could be ordered "6-barrel" carburetion consisting of three 2-barrel carburetors.
With the introduction of the 1969 body style, trim lines once again included the fleet-intended Fury I, volume models Fury II and Fury III, the sport-model Sport Fury and the top-line VIP. For 1970, the VIP was dropped, with the Sport Fury line expanded to include a four-door hardtop sedan. An optional Brougham package, which included individually-adjustable split bench seats with passenger recliner and luxurious trim comparable to the former VIP series, was available on Sport Furys; a Sport Fury GT and S/23 models took over the sport model space in the lineup. The S/23 was dropped for 1971, with new options including an electric sunroof (for top-line models) and a stereo tape player with a microphone, to allow drivers to record off the radio or take dictation.
For 1972, the Fury was facelifted with a large chrome twin-loop bumper design with a small insignia space between the loops and hidden headlamps as standard equipment on the Sport Suburban, and the newly introduced Fury Gran Coupe and Gran Sedan, which eventually would become the Plymouth Gran Fury; the Sport Fury and GT models were dropped, with the new Fury Gran series having the Brougham package available. Later in the year, hidden headlamps became an option on all models.[citation needed] For 1973, the front end was redesigned again with a new grille and headlamp setup, along with federally mandated 5mph bumpers.
When the new bodystyle was introduced in 1969, the 225 cubic-inch six-cylinder engine continued as standard on the Fury I, II and select III models, with the 318 cubic-inch V8 standard on the Sport Fury, some Fury III models and all VIP models plus the station wagon; a three-speed manual transmission was standard, with TorqueFlite transmission optional. The six-cylinder engine/three-speed manual transmission power team, along with the three-speed manual transmission on the 318 cubic-inch V8, continued to be available until midway through the 1971 model year, after which all full-sized Plymouths were built with a V8 engine and TorqueFlite transmission. Unlike its Chevrolet and Ford full-sized rivals, it does not appear that any full-sized Plymouths had a six-cylinder/manual transmission power team available in 1972.
The Plymouth Fury would soldier on for another two generations before being killed off in 1978. The name was revived briefly in the 1980's as the Gran Fury, variants of the Dodge Diplomat four-door saloon. The Plymouth Fury however is most famously recognised in its first generation as Christine, the sentient and murderous car from Stephen King's novel and movie of the same name.
Kamera: Zenza Bronica SQ-Ai
Linse: Zenzanon PS 50mm + extension tube
Film: Rollei Retro 400S @ ISO 400
Kjemi: Rodinal (1:25 / 10:30 min. @ 20°C)
-Monday 19 February 2024: I have just watched the whole proceedings of today’s opening statements by Palestine in the International Court of Justice in Den Haag, where in this new case the legality, policies and practices of Israel in the Occupied Palestinian Territories are in question.
This is truly an historic moment. And the presentation today was immensely powerful. I was so impressed by the whole legal team and the entire presentation of the case. In particular, I was blown away by the sharp and precise presentation by the lawyer Paul Reichler and the emotional appeal of Riyad Mansour. This was monumental.
Together with South Africa’s separate genocide case against Israel, I am certain we are finally witnessing the beginning of the end of the Zionist regime and justice at last for the Palestinian people. Today Palestine had 3 hours of presentation. In the next few days, more than 50 additional countries will also present their statements.
Here is history in the making.
International Court of Justice: Opening hearing on the legal consequences of Israel's occupation of Palestinian territories (publ. 19 February 2024) [Video]
International Court of Justice: Legal Consequences arising from the Policies and Practices of Israel in the Occupied Palestinian Territory, including East Jerusalem [Transcripts and Documents]
Mr REICHLER:
3. THE ILLEGALITY OF ISRAEL’S PROLONGED OCCUPATION, ANNEXATION AND SETTLEMENT OF THE OCCUPIED PALESTINIAN TERRITORY
1. Mr President, Members of the Court, it is an honour for me to appear before you, and a privilege to speak on behalf of the State of Palestine.
2. I will address the legality of Israel’s prolonged occupation, annexation and settlement of the Occupied Palestinian Territory. In so doing, I will identify the elements that determine whether, and in what circumstances, a belligerent occupation is, or becomes, unlawful under international law; I will then review the evidence to assess whether those elements are present here; and I will show that, based on the applicable law and the well-established and undisputed facts, Israel’s 56-year occupation of Palestinian territory is manifestly and gravely unlawful, and that international law requires that it be brought to an end, completely and unconditionally.
I. The applicable rule of law
3. The applicable rule of law is straightforward. As Pictet wrote in 1958, “occupation . . . is essentially a temporary . . . situation”. This remains the law. In December 2022, the General Assembly, in resolution 77/126, recognized that “the occupation of a territory is to be a temporary, de facto situation, whereby the occupying Power can neither claim possession nor exert its sovereignty over the territory it occupies”. This rule is neatly explained in the Written Statement of Switzerland:
“The laws of occupation are built on the idea that occupation is only a temporary situation. They are based on four fundamental principles . . .: 1) the occupying power does not acquire sovereignty over the territory it occupies . . . 2) the occupying power must maintain the status quo ante and must not take any measures which might bring about permanent changes”.
The law is thus crystal clear: occupation can only be a temporary state of affairs. A permanent occupation is a legal oxymoron.
II. The permanent character of the Israeli occupation
4. Mr President, what makes Israel’s ongoing occupation of the Palestinian territory unlawful is precisely its permanent character, and what demonstrates its permanence are:
(i) Israel’s de jure and de facto annexation of Jerusalem and the West Bank;
(ii) its claims of sovereignty over these areas, which it refers to by their biblical names, Judea and Samaria, and considers integral parts of the State of Israel;
(iii) its establishment of hundreds of permanent Israeli settlements, with over 700,000 Israeli settlers, who have been promised by successive Israeli governments that they will never be removed; and
(iv) the multitude of official statements and documents that openly declare Israel’s intention to incorporate all of the occupied territory east of the Green Line into the State of Israel as a permanent part of a single Jewish State extending from the Jordan River to the Mediterranean Sea.
A. Declarations of permanence by Israel’s highest authorities
5. As I will show you, the evidence is overwhelming and leaves no room for serious dispute about Israel’s actions or its intentions. As Israel’s Cabinet Secretary wrote in June of last year:
“Judea and Samaria were not seized from a sovereign state recognized by international law, and the State of Israel has a right to impose its sovereignty over these areas as they comprise the cradle of history of the Jewish people and are an inseparable part of the Land of Israel.”
As purported legal authority, the Cabinet Secretary invoked the First Book of Maccabees, written in the year 100 BC, chapter 15, verse 33:
“It is not a foreign land we have taken nor have we seized the property of foreigners, but only our ancestral heritage, which for a time had been unjustly occupied by our enemies.”
6. This was followed in August of last year by a message broadcast on Israel’s Army Radio by Israel’s Heritage Minister:
“Sovereignty must be extended within the borders of the West
Bank . . . and in the most prudent way, to create international recognition that this place is ours . . . There is no Green Line, it is a fictitious line that creates a distorted reality and must be erased.”
7. In September 2023, Israel’s Prime Minister literally erased the Green Line, in his presentation to the United Nations General Assembly. As you saw earlier, he depicted the State of Israel as extending from the Jordan River to the Mediterranean Sea, eliminating not only the Green Line but all traces of Palestine. This was no oversight; it was an act of the Head of Government, with all the attribution that it implies. The same message was delivered by Israel’s Finance Minister in Paris, six months earlier, when he denied the existence of Palestine and declared that Palestinians do not constitute a people. Previously, he said:
“We are here to stay. We will make it clear that our national ambition for a Jewish State from the river to the sea is an accomplished fact, a fact not open to discussion or negotiation.”
This has been Israel’s consistent position. Here is the map of Israel produced by its armed forces and published by the Government in 2021. One State, Israel, from the river to the sea. There is no Green Line; there is no Palestine. Instead, Palestine has been replaced by “Judea” and “Samaria”, which, according to Israel’s highest officials, are now integral parts of the State of Israel.
B. Annexation and settlement of Jerusalem
8. As these official statements and maps demonstrate, Israel makes no secret of its intention to retain permanently the entire area east of the Green Line. Its annexation of occupied Palestinian territory began in 1967 with legislation annexing East Jerusalem, which Israel increased eleven-fold in size to incorporate not only the Holy City but also vast areas of the West Bank surrounding the City. Its Defence Minister, Moshe Dayan, declared at the time:
“The Israel Defence Forces have liberated Jerusalem . . . We have returned to this most sacred shrine, never to part from it again.”
In 1990, the Israeli Cabinet instructed the Foreign Minister to notify the Secretary-General of the United Nations that
“Jerusalem is not, in any part, ‘occupied territory’; it is the sovereign capital of Israel”.
In June 1996, the Guidelines of the incoming Israeli Government stated:
“Jerusalem, the capital of Israel, is one city, whole and undivided, and will remain forever under Israel’s sovereignty.”
More recently, in assuming office in December 2022, the current Prime Minister declared that
“[t]he Jewish people are not occupiers in their own land nor occupiers in our eternal capital Jerusalem”.
As these official statements make clear, Israel’s dominion over Jerusalem and the incorporated area of the West Bank is not intended to be temporary. It has been repeatedly proclaimed by Israel’s highest authorities to be “eternal”.
9. In furtherance of this end, more than 230,000 Israeli Jewish settlers - encouraged, subsidized and protected by the Israeli Government and occupation forces - have been installed in East Jerusalem, dramatically altering the demographic composition of the Holy City by creating an Israeli Jewish majority.
C. Annexation and settlement of the West Bank
10. Israel has been equally clear in declaring its permanence in the West Bank, where more than 465,000 Israeli Jewish settlers have been implanted with the support of every Israeli government since 1967, in over 270 ever-expanding settlements, spread throughout this territory, in what can only be described as a vast colonial enterprise. These settlements, whose accelerated growth and distribution over the years are illustrated on your screens now, are a key instrument of Israel’s annexation of the West Bank; this is both their purpose and their effect.
11. As the Secretary-General reported to the General Assembly in 2015:
“Occupation is supposed to be temporary because the annexation or acquisition of territory by force is strictly prohibited under international law . . . In the West Bank, including East Jerusalem, the establishment and maintenance of the settlements amount to a slow, but steady annexation of the occupied Palestinian territory.”
12. Israel has made no secret of the intended permanence of these settlements. In 2010, Prime Minister Netanyahu told Israeli settlers in the West Bank:
“Our message is clear. ‘We are planting here, we will stay here, we will build here. This place will be an inseparable part of the State of Israel for eternity.’”
In August 2019, the Prime Minister announced that:
“The time has come to apply Israeli sovereignty over the Jordan Valley and to also arrange the status of all Jewish communities in Judea and Samaria . . . They will be part of the State of Israel.”
In January 2020, Israel’s Defence Minister, Naftali Bennett, declared:
“Our objective is that within a short amount of time . . . we will apply sovereignty to all of Area C, not just the settlements, not just this bloc or another.”
13. This area, which is depicted in red on your screens now, comprises over 61 per cent of the West Bank. The Defence Minister proclaimed:
“I solemnly declare that Area C belongs to Israel.”
This area includes the Jordan Valley, which is the water reservoir, the breadbasket and the source of life for the entire West Bank.
14. In December 2022, the Guiding Principles of the incoming Israeli Government declared:
“The Jewish people have an exclusive and indisputable right to all parts of the Land of Israel. The Government will promote and develop the settlement of all parts of the Land of Israel - the Galilee, the Negev, the Golan and Judea and Samaria.”
The coalition agreement between the political parties that formed the Government included this pledge:
“[T]he Prime Minister will lead the formulation and promotion of policy in which sovereignty will be applied in Judea and Samaria, while choosing the timing and weighing all the national and international interests of the State of Israel.”
III. Israel’s defiance of the Security Council, the General Assembly and the Court
15. General Assembly resolution 77/126 was adopted on 12 December 2022, just as the current Israeli Government was assuming office. The resolution pointedly recalled:
“[T]he principle of the inadmissibility of the acquisition of land by force and therefore the illegality of the annexation of any part of the Occupied Palestinian Territory, including East Jerusalem, which constitutes a breach of international law” and the resolution condemned Israel’s “annexation of land, whether de facto or through national legislation”.
16. Israel has thoroughly disregarded resolution 77/126, just as it disregarded all prior General Assembly and Security Council resolutions declaring illegal the annexation of any part of the Occupied Palestinian Territory and the establishment of Israeli settlements there. These include but are by no means limited to:
* - Security Council resolution 252 of 1968, declaring Israel’s acquisition of territory by military conquest “inadmissible”;
* - resolution 476 of 1980, which “[r]eaffirm[ed] the overriding necessity for ending the prolonged occupation of Arab territories” in 1980 and “[s]trongly deplore[d] the refusal of Israel . . . to comply with the relevant resolutions of the Security Council and the General Assembly”;
* - resolution 478 of 1980, which “determine[d] that all legislative and administrative measures and actions taken by Israel . . . to alter the character and status of the Holy City of Jerusalem, and in particular the ‘basic law’ on Jerusalem, are null and void and must be rescinded forthwith”;
* - resolution 2334 of 2016, which “reaffirm[ed] . . . the inadmissibility of the acquisition of territory by force”, and condemned “all measures aimed at altering the demographic composition, character and status of the Palestinian Territory occupied since 1967 . . . including, inter alia, the construction and expansion of settlements, transfer of Israeli settlers, confiscation of land, demolition of homes and displacement of Palestinian civilians”; and
* - at least 28 General Assembly resolutions, which expressly condemned Israel’s “annexation” of Jerusalem and the West Bank.
* 17. Israel has also blatantly disregarded the obligations reflected in the Court’s 2004 Advisory Opinion in the Wall case. Since then, instead of dismantling the wall, Israel has extended it from a length of 190 km to more than 460 km38, encompassing hundreds of additional square kilometres of Palestinian land, and incorporating it into the State of Israel. In its Advisory Opinion, the Court expressed concern lest
“the construction of the wall and its associated régime create a ‘fait accompli’ on the ground that could well become permanent, in which case, and notwithstanding the formal characterization of the wall by Israel, it would be tantamount to de facto annexation”
18. And that is precisely what has happened over the past 20 years, not only within the expanded confines of the wall, but all across the West Bank, most of which has now been annexed de facto by Israel. In 2022, the report of the United Nations International Commission of Inquiry concluded:
“Israel treats the occupation as a permanent fixture and has - for all intents and purposes - annexed parts of the West Bank . . . The International Court of Justice anticipated such a scenario in its 2004 advisory opinion . . . This has now become the reality.”
19. The Special Rapporteur on human rights in the Occupied Palestinian Territory reached the same conclusion:
“The occupation by Israel has been conducted in profound defiance of international law . . . Its 55-year-old occupation burst through the restraints of temporariness long ago. Israel has progressively engaged in the de jure and de facto annexation of occupied territory.”
IV. Recent acceleration of Israel’s annexation of the Occupied Palestinian Territory
20. Mr President, Israel’s ongoing annexation of the West Bank accelerated in 2023, with the largest ever expansion of settlements in the territory. Twenty-two new settlements were authorized and more than 16,000 new housing units were built, funded or planned by Israeli authorities. As explained by Israel’s Finance Minister:
“The construction boom in Judea and Samaria and all over our country continues . . . We will continue to develop the settlement[s] and strengthen the Israeli hold on the territory.”
21. In developing its settlements, Israel has invested heavily in the infrastructure needed to supply them with water and electric power, as well as a network of roads and highways to connect them to one another and to Israel itself. These investments, in the hundreds of millions of dollars, attest to the intended permanent character of the settlements. The roads, which Palestinians are forbidden to use, and a pervasive system of roadblocks and checkpoints, prevent Palestinians - but not Israeli settlers - from moving from place to place in the West Bank, and they isolate Palestinian communities by cutting them off from one another. Israel’s settlement expansion has thus both uprooted Palestinians from their homes to make room for new settlements, and forced them to live in disconnected and non-contiguous enclaves, which the Special Rapporteur has called
“a fragmented archipelago of 165 disparate patches of land”. This achieves the fundamental objective of the occupation: permanent acquisition of the maximum amount of Palestinian territory, with the minimum number of Palestinians in it.
22. In furtherance of this objective, and with increasing frequency, armed groups of settlers, supported by Israel’s occupation forces and encouraged by government ministers, have violently expelled thousands of peaceful Palestinian civilians from their ancestral villages and lands. A United Nations Fact Finding Mission confirmed:
“[T]he motivation behind this violence and the intimidation against the Palestinians and their properties is to drive the local populations away from their lands and allow the settlements to expand.”
The United Nations High Commissioner for Human Rights reported in March 2023:
“[S]ettler violence further intensified, reaching the highest levels ever recorded by the United Nations.”
In November 2023, the High Commissioner warned that the situation had further deteriorated with “a sharp increase in settler violence and takeover of land across the West Bank. Since 7 October,” he continued, “nearly 1,000 Palestinians from at least 15 herding communities have been forced from their homes”.
23. The Secretary-General, in his most recent report, issued on 25 October 2023, expressly linked the expansion of Israeli settlements to the permanent acquisition of Palestinian territory:
“[S]uccessive Israeli Governments have consistently advanced and implemented policies of settlement expansion and takeover of Palestinian land.
The policies of the current Government in this regard are aligned, to an unprecedented extent, with the goals of the Israeli settler movement to expand long- term control over the occupied West Bank, including East Jerusalem, and, in practice, to further integrate those areas within the territory of the State of Israel.”
V. Application of the law to the facts
24. Mr President, Members of the Court, taking account of this evidence, as well as that described in the State of Palestine’s two written submissions, I turn to the law and how it applies to this occupation. The Written Statement of Switzerland is, once again, directly on point. It highlights the distinction between the law of occupation and the legality of a particular occupation:
“The law of occupation and the legality of occupation are two different questions. The law of occupation applies independently of the question of the legality of the occupation. Occupation is a situation subject to international humanitarian law, whereas its legality is covered by the United Nations Charter.”
25. In relation to the legality of the occupation under the Charter, Switzerland observes:
“The United Nations has consistently reaffirmed the principle of the inadmissibility of the acquisition of territory by force, and condemned Israeli measures aimed at modifying the demographic composition, the character and the status of Jerusalem and the Occupied Palestinian Territory as a whole, notably the construction and extension of settlements, the transfer of Israeli settlers, the confiscation of land, the demolition of homes and the displacement of Palestinian civilians.”
In Switzerland’s view:
“The measures taken by Israel in the Occupied Palestinian Territory lead to fundamental changes, particularly demographic changes, that can have a permanent character.” In such circumstances, Switzerland expressly invites the Court “to rule on the consequences of the permanent character of the measures taken by Israel in the Occupied Palestinian Territory as to the status of the occupation under general international law, in particular the Charter of the United Nations”.
26. Many States agree with this approach. France, too, underscores the temporary character of lawful occupation. This is a requirement that Israel’s occupation of Palestinian territory plainly fails to meet. As France states:
“[I]f the restrictions authorised by a regime of occupation were justifiable in the period following the military operations, they are not any more today. These points have been reiterated by the Security Council and the General Assembly on numerous occasions concerning Israel’s obligation to withdraw from the ‘occupied’ territories.”
27. France calls out, in particular, Israel’s annexation of occupied territory:
“The status of occupying power does not confer any legal title justifying annexation . . . The passage of time is not sufficient, as regards the acquisition of territory by force, to render lawful a situation that is gravely unlawful.”
On Israel’s vast network of settlements and hundreds of thousands of settlers in the occupied territory, France states:
“These permanent establishments are obviously incompatible with the necessarily temporary character of the occupation.”
28. Thirty-five of the States and international organizations that submitted written statements have addressed the legality of Israel’s occupation of Palestinian territory. Only two of these 35, to which I will come, argued that the occupation is not unlawful. Key excerpts reflecting the views expressed by the overwhelming majority - that the occupation is unlawful as a whole and must be brought to an end - are collected in Chapter 2 of the State of Palestine’s Written Comments. Here are three brief but emblematic examples:
29. The African Union
“invites the Court to conclude that the prolonged Israeli occupation of the Palestinian territories is, in itself, unlawful . . . [T]he policies and practices associated with it amount to de facto and de jure annexation of the Palestinian territories, which violates the prohibition on the acquisition of territory by force.”
30. Brazil observes that:
“Occupation is inherently temporary. This is the basic distinction between occupation and annexation.”
Brazil, here, hits the nail right on the head: unlike occupation, annexation is intended to be permanent, and it makes the occupation itself unlawful. In Brazil’s words, Israel’s policies and practices
“render the occupation unlawful as a whole, inasmuch as it would be tantamount to the acquisition of territory by force”.
31. Japan, too, emphasizes that the annexation of occupied territory is unlawful, referring to Article 2 (4) of the United Nations Charter:
“As the ICJ clarified in the Wall Advisory Opinion, the illegality of the acquisition of territory by force is a corollary of the prohibition of use of force incorporated in the UN Charter”,
which Japan calls
“the most fundamental rule of the post-war regime for peace based on the rule of law among nations”.
VI. The indefensibility of Israel’s ongoing occupation of Palestinian territory
32. The two outliers are Fiji and the United States. Of all the States that submitted written statements to the Court, only Fiji attempted to defend the occupation as lawful. But even Fiji conceded that Israel has annexed East Jerusalem de jure and that the application of an occupying Power’s laws to the occupied territory, which is the case in the West Bank, constitutes an annexation de facto. Nor did Israel itself deny its annexations of Jerusalem and the West Bank. Its abbreviated written statement is mainly an attack on the General Assembly for its alleged bias. It makes no attempt to defend the legality of its occupation under international law.
33. The only State besides Fiji to defend Israel is the United States. This is not surprising. Whatever offences against international law Israel commits, the United States comes forward to shield it from accountability. Here, the United States attempts to defend Israel, not by arguing that the occupation is lawful, but that it is neither lawful nor unlawful. To reach this conclusion, the United States argues that belligerent occupation is governed exclusively by international humanitarian law and not by the United Nations Charter or general international law. In its own words:
“Although international humanitarian law imposes obligations on belligerents in their conduct of an occupation, it does not provide for the legal status of an occupation to be lawful or unlawful.”
34. Even assuming, arguendo, that this is a correct reading of international humanitarian law, which we dispute, it does not lead to the conclusion that an occupation cannot be unlawful under international law. What about Article 2 (4) of the United Nations Charter, and general international law, including the prohibition on acquisition of territory by force? For the United States, apparently, this peremptory norm does not exist when it comes to Israel’s annexation and settlement of the Occupied Palestinian Territory. Only in such a lawless - and United Nations Charter-less - world could the Israeli occupation be described as “not unlawful”.
35. Notably, the United States ignores the part of the General Assembly’s request that the Court determine the legal status of the occupation under the United Nations Charter, in addition to international humanitarian law and other sources of law; and the United States fails to mention, let alone respond to, Switzerland’s Written Statement, asserting that belligerent occupation is covered both by international humanitarian law and by the United Nations Charter and general international law; and that the legality of the occupation itself is governed by the latter. The United States also ignores the written statements of the many other States which conclude that the Israeli occupation is unlawful as a whole, precisely because its annexation and settlement of the occupied territory constitute a permanent acquisition of territory by force in violation of Article 2 (4) and general international law.
36. Instead, in a single footnote, the United States responds only to those States which submitted that the Israeli occupation is unlawful under Articles 40 and 41 of the Draft Articles on Responsibility of States for Internationally Wrongful Acts. Remarkably, the United States contends that neither of those two articles reflects general international law. This is truly stunning! A persistent failure of a State to fulfil an obligation arising under a peremptory norm is not unlawful under general international law, as provided in Article 40? The injunction in Article 41 - that no State shall recognize as lawful a situation created by a serious breach of a peremptory norm - is not part of general international law? Just how far in disregarding the international legal order will the United States go to exempt Israel from the consequences of its ongoing violation of peremptory norms, including the prohibition on acquisition of territory by force?
37. Apparently, very far indeed. According to former US President Barack Obama, in the
memoir he published in 2020:
“[J]ust about every country in the world considered Israel’s continued occupation of the Palestinian territories to be a violation of international law. As a result, our diplomats found themselves in the awkward position of having to defend Israel for actions that we ourselves opposed.”
This is exactly what the United States is doing - again - in these proceedings.
VII. The occupation is unlawful and must be brought to an end
38. Mr President, Members of the Court, the evidence is before you - in the written submissions of the State of Palestine and dozens of other States and international organizations, and in the voluminous materials supplied to you by the Secretary-General - and it is indisputable. Under the umbrella of its prolonged military occupation, Israel has been steadily annexing the Occupied Palestinian Territory, and it continues to do so. Its undisguised objective is the permanent acquisition of this territory, and the exercise of sovereignty over it, in defiance of the prohibition on acquisition of territory by force.
39. The evidence is not only indisputable, it is of the highest probative value: investigative reports of authoritative United Nations agencies; reports of the Secretary-General; resolutions of the Security Council and the General Assembly; legislative and administrative acts by the Israeli Government; and public statements against interest by the most senior government officials admitting that Israel’s objective is sovereignty over all the territory east of the Green Line and its incorporation into a single Jewish State from the river to the sea. In this case, there is no reason not to take them at their word, because their deeds have been entirely consistent with it.
40. For Israel, as its successive governments have made clear, there is no Palestine. It simply does not exist. In November 2023, Prime Minister Netanyahu declared that his Government would never agree to a Palestinian State in the occupied territory. He later declared:
“I will not compromise on full security control over all the territory west of Jordan - and this is contrary to a Palestinian state.”
Israel’s intransigence was confirmed by its staunchest ally in December 2023, when US President Joe Biden publicly lamented that Israel’s leaders “don’t want anything remotely approaching a two-state solution”.
41. That is the very solution demanded by the Security Council, the General Assembly, the overwhelming majority of States and the State of Palestine itself. It is, in fact, the only solution that can lead to lasting peace and security for the Israeli people as well as the Palestinian people. And it is this very solution that has been frustrated by Israel’s defiant insistence on maintaining its dominion over Palestinian territory in perpetuity. This is why the Court’s advisory opinion is so critical and so urgent. The best, and possibly the last, hope for the two-State solution that is so vital to the needs of both peoples is for the Court to declare illegal the main obstacle to that solution - the ongoing Israeli occupation of Palestine - and for it to pronounce, in the clearest possible terms, that international law requires that this entire illegal enterprise be terminated: completely, unconditionally and immediately.
42. Mr President, the law is clear and it demands nothing less. A permanent occupation - one that is founded upon annexation and massive settlement of the occupied territory, and which aims to exercise sovereignty over it - is manifestly and gravely unlawful; it is an ongoing international wrong that must be brought to an immediate end. As the Court ruled in 1971:
“[T]he continued presence of South Africa in Namibia being illegal, South Africa is under obligation to withdraw its administration from Namibia immediately and thus put an end to its occupation of the Territory”.
43. The Secretary-General applied this principle directly to Palestine in his remarks to the Security Council one month ago:
“Palestinians must see their legitimate aspirations for a fully independent, viable and sovereign State realized, in line with United Nations resolutions, international law and previous agreements. Israel’s occupation must end.”
44. Mr President, the proverbial ball is now in your court. The General Assembly has asked you the critical questions. It is now your responsibility to answer them. Silence is not an option. As the immortal Palestinian poet, Mahmoud Darwish, wrote: “In silence we become accomplices.” But, he assured us, when we speak: “Every word has the power to change the world.”
45. Mr President, Members of the Court, your words have such power. In 2004, the Court affirmed the inalienable right of the Palestinian people to self-determination. In 2024, it is time for you to enable them finally to exercise that right, by freeing them from the unlawful Israeli occupation of their territory, so that they may live in a sovereign and fully independent State of their own, in peaceful and secure coexistence with all their neighbours, including Israel. By upholding international law, which is all the State of Palestine asks you to do, your powerful words will change the world.
46. I thank you Mr President, Members of the Court, for your kind courtesy and patient attention. We are in your hands, Mr President, whether you would like to take the mid-morning break now or call our next speaker.
The PRESIDENT: I thank Mr Reichler. I will invite the next speaker to take the floor after a coffee break of ten minutes. The sitting is suspended.
The Court adjourned from 11.25 a.m. to 11.45 a.m.
AMPLIFIED SHOCK AND AWE
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Width (Beam): 100"
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Draft: 26"
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A loom is a device used to weave cloth and tapestry. The basic purpose of any loom is to hold the warp threads under tension to facilitate the interweaving of the weft threads. The precise shape of the loom and its mechanics may vary, but the basic function is the same.
ETYMOLOGY
The word "loom" is derived from the Old English geloma, formed from ge-(perfective prefix) and loma, a root of unknown origin; this meant a utensil, tool, or machine of any kind. In 1404 it was used to mean a machine to enable weaving thread into cloth. By 1838, it had gained the meaning of a machine for interlacing thread.
WEAVING
Weaving is done by intersecting the longitudinal threads, the warp, i.e. "that which is thrown across", with the transverse threads, the weft, i.e. "that which is woven".
The major components of the loom are the warp beam, heddles, harnesses or shafts (as few as two, four is common, sixteen not unheard of), shuttle, reed and takeup roll. In the loom, yarn processing includes shedding, picking, battening and taking-up operations. These are the principal motions.
Shedding. Shedding is the raising of part of the warp yarn to form a shed (the vertical space between the raised and unraised warp yarns), through which the filling yarn, carried by the shuttle, can be inserted, forming the weft. On the modern loom, simple and intricate shedding operations are performed automatically by the heddle or heald frame, also known as a harness. This is a rectangular frame to which a series of wires, called heddles or healds, are attached. The yarns are passed through the eye holes of the heddles, which hang vertically from the harnesses. The weave pattern determines which harness controls which warp yarns, and the number of harnesses used depends on the complexity of the weave. Two common methods of controlling the heddles are dobbies and a Jacquard Head.
Picking. As the harnesses raise the heddles or healds, which raise the warp yarns, the shed is created. The filling yarn is inserted through the shed by a small carrier device called a shuttle. The shuttle is normally pointed at each end to allow passage through the shed. In a traditional shuttle loom, the filling yarn is wound onto a quill, which in turn is mounted in the shuttle. The filling yarn emerges through a hole in the shuttle as it moves across the loom. A single crossing of the shuttle from one side of the loom to the other is known as a pick. As the shuttle moves back and forth across the shed, it weaves an edge, or selvage, on each side of the fabric to prevent the fabric from raveling.
Battening. Between the heddles and the takeup roll, the warp threads pass through another frame called the reed (which resembles a comb). The portion of the fabric that has already been formed but not yet rolled up on the takeup roll is called the fell. After the shuttle moves across the loom laying down the fill yarn, the weaver uses the reed to press (or batten) each filling yarn against the fell. Conventional shuttle looms can operate at speeds of about 150 to 160 picks per minute.
There are two secondary motions, because with each weaving operation the newly constructed fabric must be wound on a cloth beam. This process is called taking up. At the same time, the warp yarns must be let off or released from the warp beams. To become fully automatic, a loom needs a tertiary motion, the filling stop motion. This will brake the loom if the weft thread breaks. An automatic loom requires 0.125 hp to 0.5 hp to operate.
TYPES OF LOOMS
BACK STRAP LOOM
The back strap loom is a simple loom that has its roots in ancient civilizations. It consists of two sticks or bars between which the warps are stretched. One bar is attached to a fixed object and the other to the weaver, usually by means of a strap around the back. The weaver leans back and uses their body weight to tension the loom. On traditional looms, the two main sheds are operated by means of a shed roll over which one set of warps pass, and continuous string heddles which encase each of the warps in the other set. To open the shed controlled by the string heddles, the weaver relaxes tension on the warps and raises the heddles. The other shed is usually opened by simply drawing the shed roll toward the weaver.
Both simple and complex textiles can be woven on this loom. Width is limited to how far the weaver can reach from side to side to pass the shuttle. Warp faced textiles, often decorated with intricate pick-up patterns woven in complementary and supplementary warp techniques are woven by indigenous peoples today around the world. They produce such things as belts, ponchos, bags, hatbands and carrying cloths. Supplementary weft patterning and brocading is practiced in many regions. Balanced weaves are also possible on the backstrap loom. Today, commercially produced backstrap loom kits often include a rigid heddle.[
WARP-WEIGHTED LOOM
The warp-weighted loom is a vertical loom that may have originated in the Neolithic period. The earliest evidence of warp-weighted looms comes from sites belonging to the Starčevo culture in modern Serbia and Hungary and from late Neolithic sites in Switzerland. This loom was used in Ancient Greece, and spread north and west throughout Europe thereafter. Its defining characteristic is hanging weights (loom weights) which keep bundles of the warp threads taut. Frequently, extra warp thread is wound around the weights. When a weaver has reached the bottom of the available warp, the completed section can be rolled around the top beam, and additional lengths of warp threads can be unwound from the weights to continue. This frees the weaver from vertical size constraint.
DRAWLOOM
A drawloom is a hand-loom for weaving figured cloth. In a drawloom, a "figure harness" is used to control each warp thread separately. A drawloom requires two operators, the weaver and an assistant called a "drawboy" to manage the figure harness. The earliest confirmed drawloom fabrics come from the State of Chu and date c. 400 BC. Most scholars attribute the invention of the drawloom to the ancient Chinese, although some speculate an independent invention from ancient Syria since drawloom fabrics found in Dura-Europas are thought to date before 256 AD The draw loom for patterned weaving was invented in ancient China during the Han Dynasty. Chinese weavers and artisans used foot-powered multi-harness looms and jacquard looms for silk weaving and embroidery; both of which were cottage industries with imperial workshops. The Chinese-invented drawloom enhanced and sped up the production of silk and play a significant role in Chinese silk weaving. The loom was later introduced to Persia, India, and Europe.
HANDLOOM
A handloom is a simple machine used for weaving. In a wooden vertical-shaft looms, the heddles are fixed in place in the shaft. The warp threads pass alternately through a heddle, and through a space between the heddles (the shed), so that raising the shaft raises half the threads (those passing through the heddles), and lowering the shaft lowers the same threads — the threads passing through the spaces between the heddles remain in place. This was a great invention in the 13th century.
FLYING SHUTTLE
Hand weavers could only weave a cloth as wide as their armspan. If cloth needed to be wider, two people would do the task (often this would be an adult with a child). John Kay (1704–1779) patented the flying shuttle in 1733. The weaver held a picking stick that was attached by cords to a device at both ends of the shed. With a flick of the wrist, one cord was pulled and the shuttle was propelled through the shed to the other end with considerable force, speed and efficiency. A flick in the opposite direction and the shuttle was propelled back. A single weaver had control of this motion but the flying shuttle could weave much wider fabric than an arm’s length at much greater speeds than had been achieved with the hand thrown shuttle.
The flying shuttle was one of the key developments in weaving that helped fuel the Industrial Revolution. The whole picking motion no longer relied on manual skill and it was just a matter of time before it could be powered.
HAUTE-LISSE AND BASSE-LISSE LOOMS
Looms used for weaving traditional tapestry are classified as haute-lisse looms, where the warp is suspended vertically between two rolls. In basse-lisse looms, however, the warp extends horizontally between the two rolls.
RIBBON WEAVING
TRADITIONAL LOOMS
Several other types of hand looms exist, including the simple frame loom, pit loom, free-standing loom, and the pegged loom. Each of these can be constructed, and provide work and income in developing economies.
POWER LOOMS
Edmund Cartwright built and patented a power loom in 1785, and it was this that was adopted by the nascent cotton industry in England. The silk loom made by Jacques Vaucanson in 1745 operated on the same principles but was not developed further. The invention of the flying shuttle by John Kay was critical to the development of a commercially successful power loom. Cartwright's loom was impractical but the ideas behind it were developed by numerous inventors in the Manchester area of England where, by 1818, there were 32 factories containing 5,732 looms.
Horrocks loom was viable, but it was the Roberts Loom in 1830 that marked the turning point. Incremental changes to the three motions continued to be made. The problems of sizing, stop-motions, consistent take-up, and a temple to maintain the width remained. In 1841, Kenworthy and Bullough produced the Lancashire Loom which was self-acting or semi-automatic. This enables a youngster to run six looms at the same time. Thus, for simple calicos, the power loom became more economical to run than the hand loom – with complex patterning that used a dobby or Jacquard head, jobs were still put out to handloom weavers until the 1870s. Incremental changes were made such as the Dickinson Loom, culminating in the Keighley-born inventor Northrop, who was working for the Draper Corporation in Hopedale producing the fully automatic Northrop Loom. This loom recharged the shuttle when the pirn was empty. The Draper E and X models became the leading products from 1909. They were challenged by synthetic fibres such as rayon. By 1942, faster, more efficient, and shuttleless Sulzer and rapier looms had been introduced. Modern industrial looms can weave at 2,000 weft insertions per minute.
WEFT INSERTION
Different types of looms are most often defined by the way that the weft, or pick, is inserted into the warp. Many advances in weft insertion have been made in order to make manufactured cloth more cost effective. There are five main types of weft insertion and they are as follows:
Shuttle: The first-ever powered looms were shuttle-type looms. Spools of weft are unravelled as the shuttle travels across the shed. This is very similar to projectile methods of weaving, except that the weft spool is stored on the shuttle. These looms are considered obsolete in modern industrial fabric manufacturing because they can only reach a maximum of 300 picks per minute.
Air jet: An air-jet loom uses short quick bursts of compressed air to propel the weft through the shed in order to complete the weave. Air jets are the fastest traditional method of weaving in modern manufacturing and they are able to achieve up to 1,500 picks per minute. However, the amounts of compressed air required to run these looms, as well as the complexity in the way the air jets are positioned, make them more costly than other looms.
Water jet: Water-jet looms use the same principle as air-jet looms, but they take advantage of pressurized water to propel the weft. The advantage of this type of weaving is that water power is cheaper where water is directly available on site. Picks per minute can reach as high as 1,000.
Rapier loom: This type of weaving is very versatile, in that rapier looms can weave using a large variety of threads. There are several types of rapiers, but they all use a hook system attached to a rod or metal band to pass the pick across the shed. These machines regularly reach 700 picks per minute in normal production.
Projectile: Projectile looms utilize an object that is propelled across the shed, usually by spring power, and is guided across the width of the cloth by a series of reeds. The projectile is then removed from the weft fibre and it is returned to the opposite side of the machine so it can get reused. Multiple projectiles are in use in order to increase the pick speed. Maximum speeds on these machines can be as high as 1,050 ppm.
SHEDDING
DOBBY LOOMS
A dobby loom is a type of floor loom that controls the whole warp threads using a dobby head. Dobby is a corruption of "draw boy" which refers to the weaver's helpers who used to control the warp thread by pulling on draw threads. A dobby loom is an alternative to a treadle loom, where multiple heddles (shafts) were controlled by foot treadles – one for each heddle.
JACQUARD LOOMS
The Jacquard loom is a mechanical loom, invented by Joseph Marie Jacquard in 1801, which simplifies the process of manufacturing textiles with complex patterns such as brocade, damask and matelasse. The loom is controlled by punched cards with punched holes, each row of which corresponds to one row of the design. Multiple rows of holes are punched on each card and the many cards that compose the design of the textile are strung together in order. It is based on earlier inventions by the Frenchmen Basile Bouchon (1725), Jean Baptiste Falcon (1728) and Jacques Vaucanson (1740) To call it a loom is a misnomer, a Jacquard head could be attached to a power loom or a hand loom, the head controlling which warp thread was raised during shedding. Multiple shuttles could be used to control the colour of the weft during picking. The Jacquard loom is the predecessor to the punch card computers of the 19th and 20th centuries.
CICULAR LOOMS
A circular loom is used to create a seamless tube of fabric for products such as hosiery, sacks, clothing, fabric hose (such as fire hose) and the like. Circular looms can be small jigs used for circular knitting or large high-speed machines for modern garments. Modern circular looms use up to ten shuttles driven from below in a circular motion by electromagnets for the weft yarns, and cams to control the warp threads. The warps rise and fall with each shuttle passage, unlike the common practice of lifting all of them at once.
SYMBOLISM AND CULTURAL SIGNIFICANCE
The loom is a symbol of cosmic creation and the structure upon which individual destiny is woven. This symbolism is encapsulated in the ancient Greek myth of Arachne who was changed into a spider by the goddess Athene, who was jealous of her skill at the godlike craft of weaving. In Maya Cultures the goddess Ixchel who is symbolized by the moon, taught the first woman how to weave at the beginning of time.
WIKIPEDIA
Demonstrating the small-scale, precise inoculation by spraying of wheat seedlings with stem rust using a stored spore sample in the laboratory, at the Njoro research station, part of the Kenya Agricultural Research Institute (KARI).
The demonstration was carried out by Matthew Rouse, a PhD student at the University of Minnesota, working with the USDA. It was part of a two-week international training course on “Stem Rust Note Taking and Evaluation of Germplasm” hosted by KARI at Njoro from 28 September to 7 October 2009. The course was attended by scientists from over 20 countries, many of whom are collaborators with the Borlaug Global Rust Initiative (BGRI). It was jointly organized by CIMMYT, the Durable Rust Resistance in Wheat Project, KARI, and the International Center for Agricultural Research in the Dry Areas (ICARDA).
Njoro is home to an ongoing screening program, working in close partnership with CIMMYT to identify sources of resistance to the Ug99 race of stem rust. This virulent new strain of the disease, which emerged in Uganda in 1999, is already endemic in the area, making it possible to use Njoro as a testing ground for wheats from many different partner countries all over the world. More than 30,000 wheat lines are now being screened each year.
For more about the training course, see CIMMYT's blog story at: blog.cimmyt.org/?p=2224
For more information on stem rust, see CIMMYT's Wheat Doctor: wheatdoctor.cimmyt.org/en/pests-a-diseases/list/122?task=....
For information on collection and inoculation techniques, see the CIMMYT publication "Rust diseases of wheat: Concepts and methods of disease management", available as a pdf at: libcatalog.cimmyt.org/download/cim/38487.pdf.
For more on CIMMYT's ongoing work on Ug99, see the following e-news stories:
2010, "Planting for the future: New rust resistant wheat seed on its way to farmers": www.cimmyt.org/newsletter/231-2010/716-planting-for-the-f....
October 2009, "From Cairo to Kabul: Rust resistant wheat seed just in time": www.cimmyt.org/newsletter/38-2009/460-from-cairo-to-kabul....
December 2008, "Report from the field: Wheat stem rust resistance screening at Njoro, Kenya": www.cimmyt.org/newsletter/37-2008/110-genetic-resources-p....
December 2006, "Threat level rising": www.cimmyt.org/newsletter/82-2006/263-threat-level-rising.
September 2005, "The World’s Wheat Crop is Under Threat from New Disease": www.cimmyt.org/newsletter/86-2005/331-the-worlds-wheat-cr....
Photo credit: Petr Kosina/CIMMYT.
Church of St Lawrence Bidford on Avon, Warwickshire - The precise date of the founding of the church is unknown, No priest is mentioned here in the 1086 Domesday Survey and if there was a church here then, it was probably a chapelry of Salford.. It appears as such in Henry I's time when Bernard, the first Prior of Kenilworth (1122–30), successfully claimed it for his house and the Canons of Kenilworth presented until the Dissolution . - The first named incumbent is of 1206 followed by a second 75 years later.
After the mid 16c Dissolution of Kenilworth Abbey, certain lands were granted in 1544 to Thomas Broke, merchant, of London. in 1602 Rice Griffin of Brome Court flic.kr/p/2ff6ysh sold the advowson and rectory to Sir John Sedley …...
Standing at the crossing of an ancient trade route, the area has long been inhabited, The remains of a Roman bridge have been found and also an Anglo-Saxon graveyard.
The present church dates largely from 1835 when the old nave was pulled down and a new, wider one built by architect Joseph Lattimore of Stratford. The nave pews were taken out in the 1960s
The c1250 tower and chancel both survive . The tower battlements probably dating from the 1835 rebuilding.
On the south chancel wall is a portrait in stone of Dorothy Skipwith who died 3rd February, 1655, she was the 1st wife of Fulwar Skipworth d1678 of Newbold Hall, who bought the manor in 1654 from Sir John Clarke , and in whose family it descended until 1840- Dorothy was the daughter of Thomas Parker of Bottesham by Elizabeth daughter of Thomas Hobson.
Also on the same wall is a memorial to Woodchurch Clarke d1647 - Sadly there is not picture of these to be had, and the church is usually locked.
There are 8 bells in the tower which are still rung regularly, six dating from 1791 with two added in 1954. The clock dates from 1683 and was rebuilt in 1887. An automatic winding mechanism being installed in 2005.
HILL OF CROSSES
It was raining a lot, but I managed to visit this historical and religious place.
Hill of Crosses is a major site of Catholic pilgrimage near the city of Šiauliai. The precise origin of the practice of leaving crosses on the hill is uncertain, but it is believed that the first crosses were placed on the former Jurgaičiai or Domantai hill fort after the rebellion against Russian authorities in 1831. As families could not locate bodies of perished rebels, they started putting up symbolic crosses at the site of a former hill fort. Today there are more than 100,000 crosses and counting. Once Lithuania declared its independence, the Hill of Crosses was used as a place for Lithuanians to pray for peace, for their country, and for the loved ones they had lost during the Wars of Independence. In 1993, Pope John Paul II visited the Hill of Crosses, declaring it a place for hope, peace, love and sacrifice.
Šiauliai, Lithuania July 2022 #itravelanddance
HILL OF CROSSES
It was raining a lot, but I managed to visit this historical and religious place.
Hill of Crosses is a major site of Catholic pilgrimage near the city of Šiauliai. The precise origin of the practice of leaving crosses on the hill is uncertain, but it is believed that the first crosses were placed on the former Jurgaičiai or Domantai hill fort after the rebellion against Russian authorities in 1831. As families could not locate bodies of perished rebels, they started putting up symbolic crosses at the site of a former hill fort. Today there are more than 100,000 crosses and counting. Once Lithuania declared its independence, the Hill of Crosses was used as a place for Lithuanians to pray for peace, for their country, and for the loved ones they had lost during the Wars of Independence. In 1993, Pope John Paul II visited the Hill of Crosses, declaring it a place for hope, peace, love and sacrifice.
Šiauliai, Lithuania July 2022 #itravelanddance
Public Domain Book: The history of magic : including a clear and precise exposition of its procedure, its rites and its mysteries
by Lévi, Eliphas, 1810-1875
Published 1922
A loom is a device used to weave cloth and tapestry. The basic purpose of any loom is to hold the warp threads under tension to facilitate the interweaving of the weft threads. The precise shape of the loom and its mechanics may vary, but the basic function is the same.
ETYMOLOGY
The word "loom" is derived from the Old English geloma, formed from ge-(perfective prefix) and loma, a root of unknown origin; this meant a utensil, tool, or machine of any kind. In 1404 it was used to mean a machine to enable weaving thread into cloth. By 1838, it had gained the meaning of a machine for interlacing thread.
WEAVING
Weaving is done by intersecting the longitudinal threads, the warp, i.e. "that which is thrown across", with the transverse threads, the weft, i.e. "that which is woven".
The major components of the loom are the warp beam, heddles, harnesses or shafts (as few as two, four is common, sixteen not unheard of), shuttle, reed and takeup roll. In the loom, yarn processing includes shedding, picking, battening and taking-up operations. These are the principal motions.
Shedding. Shedding is the raising of part of the warp yarn to form a shed (the vertical space between the raised and unraised warp yarns), through which the filling yarn, carried by the shuttle, can be inserted, forming the weft. On the modern loom, simple and intricate shedding operations are performed automatically by the heddle or heald frame, also known as a harness. This is a rectangular frame to which a series of wires, called heddles or healds, are attached. The yarns are passed through the eye holes of the heddles, which hang vertically from the harnesses. The weave pattern determines which harness controls which warp yarns, and the number of harnesses used depends on the complexity of the weave. Two common methods of controlling the heddles are dobbies and a Jacquard Head.
Picking. As the harnesses raise the heddles or healds, which raise the warp yarns, the shed is created. The filling yarn is inserted through the shed by a small carrier device called a shuttle. The shuttle is normally pointed at each end to allow passage through the shed. In a traditional shuttle loom, the filling yarn is wound onto a quill, which in turn is mounted in the shuttle. The filling yarn emerges through a hole in the shuttle as it moves across the loom. A single crossing of the shuttle from one side of the loom to the other is known as a pick. As the shuttle moves back and forth across the shed, it weaves an edge, or selvage, on each side of the fabric to prevent the fabric from raveling.
Battening. Between the heddles and the takeup roll, the warp threads pass through another frame called the reed (which resembles a comb). The portion of the fabric that has already been formed but not yet rolled up on the takeup roll is called the fell. After the shuttle moves across the loom laying down the fill yarn, the weaver uses the reed to press (or batten) each filling yarn against the fell. Conventional shuttle looms can operate at speeds of about 150 to 160 picks per minute.
There are two secondary motions, because with each weaving operation the newly constructed fabric must be wound on a cloth beam. This process is called taking up. At the same time, the warp yarns must be let off or released from the warp beams. To become fully automatic, a loom needs a tertiary motion, the filling stop motion. This will brake the loom if the weft thread breaks. An automatic loom requires 0.125 hp to 0.5 hp to operate.
TYPES OF LOOMS
BACK STRAP LOOM
The back strap loom is a simple loom that has its roots in ancient civilizations. It consists of two sticks or bars between which the warps are stretched. One bar is attached to a fixed object and the other to the weaver, usually by means of a strap around the back. The weaver leans back and uses their body weight to tension the loom. On traditional looms, the two main sheds are operated by means of a shed roll over which one set of warps pass, and continuous string heddles which encase each of the warps in the other set. To open the shed controlled by the string heddles, the weaver relaxes tension on the warps and raises the heddles. The other shed is usually opened by simply drawing the shed roll toward the weaver.
Both simple and complex textiles can be woven on this loom. Width is limited to how far the weaver can reach from side to side to pass the shuttle. Warp faced textiles, often decorated with intricate pick-up patterns woven in complementary and supplementary warp techniques are woven by indigenous peoples today around the world. They produce such things as belts, ponchos, bags, hatbands and carrying cloths. Supplementary weft patterning and brocading is practiced in many regions. Balanced weaves are also possible on the backstrap loom. Today, commercially produced backstrap loom kits often include a rigid heddle.[
WARP-WEIGHTED LOOM
The warp-weighted loom is a vertical loom that may have originated in the Neolithic period. The earliest evidence of warp-weighted looms comes from sites belonging to the Starčevo culture in modern Serbia and Hungary and from late Neolithic sites in Switzerland. This loom was used in Ancient Greece, and spread north and west throughout Europe thereafter. Its defining characteristic is hanging weights (loom weights) which keep bundles of the warp threads taut. Frequently, extra warp thread is wound around the weights. When a weaver has reached the bottom of the available warp, the completed section can be rolled around the top beam, and additional lengths of warp threads can be unwound from the weights to continue. This frees the weaver from vertical size constraint.
DRAWLOOM
A drawloom is a hand-loom for weaving figured cloth. In a drawloom, a "figure harness" is used to control each warp thread separately. A drawloom requires two operators, the weaver and an assistant called a "drawboy" to manage the figure harness. The earliest confirmed drawloom fabrics come from the State of Chu and date c. 400 BC. Most scholars attribute the invention of the drawloom to the ancient Chinese, although some speculate an independent invention from ancient Syria since drawloom fabrics found in Dura-Europas are thought to date before 256 AD The draw loom for patterned weaving was invented in ancient China during the Han Dynasty. Chinese weavers and artisans used foot-powered multi-harness looms and jacquard looms for silk weaving and embroidery; both of which were cottage industries with imperial workshops. The Chinese-invented drawloom enhanced and sped up the production of silk and play a significant role in Chinese silk weaving. The loom was later introduced to Persia, India, and Europe.
HANDLOOM
A handloom is a simple machine used for weaving. In a wooden vertical-shaft looms, the heddles are fixed in place in the shaft. The warp threads pass alternately through a heddle, and through a space between the heddles (the shed), so that raising the shaft raises half the threads (those passing through the heddles), and lowering the shaft lowers the same threads — the threads passing through the spaces between the heddles remain in place. This was a great invention in the 13th century.
FLYING SHUTTLE
Hand weavers could only weave a cloth as wide as their armspan. If cloth needed to be wider, two people would do the task (often this would be an adult with a child). John Kay (1704–1779) patented the flying shuttle in 1733. The weaver held a picking stick that was attached by cords to a device at both ends of the shed. With a flick of the wrist, one cord was pulled and the shuttle was propelled through the shed to the other end with considerable force, speed and efficiency. A flick in the opposite direction and the shuttle was propelled back. A single weaver had control of this motion but the flying shuttle could weave much wider fabric than an arm’s length at much greater speeds than had been achieved with the hand thrown shuttle.
The flying shuttle was one of the key developments in weaving that helped fuel the Industrial Revolution. The whole picking motion no longer relied on manual skill and it was just a matter of time before it could be powered.
HAUTE-LISSE AND BASSE-LISSE LOOMS
Looms used for weaving traditional tapestry are classified as haute-lisse looms, where the warp is suspended vertically between two rolls. In basse-lisse looms, however, the warp extends horizontally between the two rolls.
RIBBON WEAVING
TRADITIONAL LOOMS
Several other types of hand looms exist, including the simple frame loom, pit loom, free-standing loom, and the pegged loom. Each of these can be constructed, and provide work and income in developing economies.
POWER LOOMS
Edmund Cartwright built and patented a power loom in 1785, and it was this that was adopted by the nascent cotton industry in England. The silk loom made by Jacques Vaucanson in 1745 operated on the same principles but was not developed further. The invention of the flying shuttle by John Kay was critical to the development of a commercially successful power loom. Cartwright's loom was impractical but the ideas behind it were developed by numerous inventors in the Manchester area of England where, by 1818, there were 32 factories containing 5,732 looms.
Horrocks loom was viable, but it was the Roberts Loom in 1830 that marked the turning point. Incremental changes to the three motions continued to be made. The problems of sizing, stop-motions, consistent take-up, and a temple to maintain the width remained. In 1841, Kenworthy and Bullough produced the Lancashire Loom which was self-acting or semi-automatic. This enables a youngster to run six looms at the same time. Thus, for simple calicos, the power loom became more economical to run than the hand loom – with complex patterning that used a dobby or Jacquard head, jobs were still put out to handloom weavers until the 1870s. Incremental changes were made such as the Dickinson Loom, culminating in the Keighley-born inventor Northrop, who was working for the Draper Corporation in Hopedale producing the fully automatic Northrop Loom. This loom recharged the shuttle when the pirn was empty. The Draper E and X models became the leading products from 1909. They were challenged by synthetic fibres such as rayon. By 1942, faster, more efficient, and shuttleless Sulzer and rapier looms had been introduced. Modern industrial looms can weave at 2,000 weft insertions per minute.
WEFT INSERTION
Different types of looms are most often defined by the way that the weft, or pick, is inserted into the warp. Many advances in weft insertion have been made in order to make manufactured cloth more cost effective. There are five main types of weft insertion and they are as follows:
Shuttle: The first-ever powered looms were shuttle-type looms. Spools of weft are unravelled as the shuttle travels across the shed. This is very similar to projectile methods of weaving, except that the weft spool is stored on the shuttle. These looms are considered obsolete in modern industrial fabric manufacturing because they can only reach a maximum of 300 picks per minute.
Air jet: An air-jet loom uses short quick bursts of compressed air to propel the weft through the shed in order to complete the weave. Air jets are the fastest traditional method of weaving in modern manufacturing and they are able to achieve up to 1,500 picks per minute. However, the amounts of compressed air required to run these looms, as well as the complexity in the way the air jets are positioned, make them more costly than other looms.
Water jet: Water-jet looms use the same principle as air-jet looms, but they take advantage of pressurized water to propel the weft. The advantage of this type of weaving is that water power is cheaper where water is directly available on site. Picks per minute can reach as high as 1,000.
Rapier loom: This type of weaving is very versatile, in that rapier looms can weave using a large variety of threads. There are several types of rapiers, but they all use a hook system attached to a rod or metal band to pass the pick across the shed. These machines regularly reach 700 picks per minute in normal production.
Projectile: Projectile looms utilize an object that is propelled across the shed, usually by spring power, and is guided across the width of the cloth by a series of reeds. The projectile is then removed from the weft fibre and it is returned to the opposite side of the machine so it can get reused. Multiple projectiles are in use in order to increase the pick speed. Maximum speeds on these machines can be as high as 1,050 ppm.
SHEDDING
DOBBY LOOMS
A dobby loom is a type of floor loom that controls the whole warp threads using a dobby head. Dobby is a corruption of "draw boy" which refers to the weaver's helpers who used to control the warp thread by pulling on draw threads. A dobby loom is an alternative to a treadle loom, where multiple heddles (shafts) were controlled by foot treadles – one for each heddle.
JACQUARD LOOMS
The Jacquard loom is a mechanical loom, invented by Joseph Marie Jacquard in 1801, which simplifies the process of manufacturing textiles with complex patterns such as brocade, damask and matelasse. The loom is controlled by punched cards with punched holes, each row of which corresponds to one row of the design. Multiple rows of holes are punched on each card and the many cards that compose the design of the textile are strung together in order. It is based on earlier inventions by the Frenchmen Basile Bouchon (1725), Jean Baptiste Falcon (1728) and Jacques Vaucanson (1740) To call it a loom is a misnomer, a Jacquard head could be attached to a power loom or a hand loom, the head controlling which warp thread was raised during shedding. Multiple shuttles could be used to control the colour of the weft during picking. The Jacquard loom is the predecessor to the punch card computers of the 19th and 20th centuries.
CICULAR LOOMS
A circular loom is used to create a seamless tube of fabric for products such as hosiery, sacks, clothing, fabric hose (such as fire hose) and the like. Circular looms can be small jigs used for circular knitting or large high-speed machines for modern garments. Modern circular looms use up to ten shuttles driven from below in a circular motion by electromagnets for the weft yarns, and cams to control the warp threads. The warps rise and fall with each shuttle passage, unlike the common practice of lifting all of them at once.
SYMBOLISM AND CULTURAL SIGNIFICANCE
The loom is a symbol of cosmic creation and the structure upon which individual destiny is woven. This symbolism is encapsulated in the ancient Greek myth of Arachne who was changed into a spider by the goddess Athene, who was jealous of her skill at the godlike craft of weaving. In Maya Cultures the goddess Ixchel who is symbolized by the moon, taught the first woman how to weave at the beginning of time.
WIKIPEDIA
The Reclining Devil's Embrace, and intentional obscuring.
This image shows ancient habitats, the center of which is 116 miles at 170 degrees from Block Island. The mass of lines in the center is a 25-by-11 mile long artistic compilation showing two figures embracing, surrounding multiple city-center type habitats. These figures are reclining-while-embracing, at 7500 feet down on the upward slope of the Atlantic floor, towards the Continental Shelf. Plausibly these figures could be viewed from below looking up, or on the Continental Shelf, looking down.
At first, I did not understand the confusion of lines and overlaps, which are many, indicating many successive overlays of King figures, Queen figures, and city-center architected structures.
I also see the remarkable agricultural terrracing that runs for 1200 miles parallel to the Continental Shelf in the obvious antiquities attempt to stem mud-sediment and water run-off in this severely sloping area. The actual slope is 8500 feet deep on the bottom-southern side of the figure, and 7200 feet or so on the top side, 11 miles to the North. By the way, this is a archaeology mathematician's dream, in that it explicitly shows precise separation distances of 10 to 20,000 years ago. There even seems to be a layer of massive artwork displays, under the terracing.
The full figure is 275 square miles or so.
There is an even bigger story here, in that this same image, and throughout the Continental shelf area, there is valid, understandable, deliberate "obscuring" of the man-made features of antiquity.
These human habitat indicators have been well known, even published by all governments and academics for decades, if not hundreds of years. -National Geographic, Columbia University, University of Hawaii, Oregon, South Florida, to name a few.
I thank them for leaving the reclining devil figure unmolested, probably because it is over a mile and a half deep, and it is so confusing.
On the mythology side, one of the oldest figures and legends is the "Devil's Embrace", and this is the zoomorphic form, I believe, with a Goat head, or a hairy-beaked monster freak.
Later, this animal figure was humanized with various figures called "Devil", Pan, Dionysius, Green Man, plausibly even the "snake" of the "Garden of Eden", who were variously characterized as "the Rising Sun", the "insatiable lover", the hedonistic orgiastic crazed humanoid, the "Anti-Christ", etc. etc.
I feel enormously blessed to find this image, to give some theoretical meaning to its symbolism, and to hopefully inspire others in this amazing historical field, 99.999% undiscovered.
Thanks again to Google Earth, Photoshop, NOAA, NGDC, and Indiana University for all their satellite imaging archives open to the public.
Recent Notes: I am leaning towards a new theory on the precise agricultural terracing, which they are. I am now thinking and theorizing that they may be "headstones" of overlapping King and Queen portraits. This may have been the burial grounds of Royalty, for tens of thousands of years before they were overwhelmed with the rising waters.
Luca Giordano (1634-1705), active in Naples
Visitation of Mary, c. 1696
Giordano was famous for the speed with which he carried out his assignments. In his later Spanish work, however, he shows particular care in the classifying, balanced composition and the precise drawing as well as in the subtle, painterly-fluid elaborateness of the figures. The composition of the painting is based on an engraving after Rubens' Visitation on the side wing of the altar with the Descent from the Cross in the Antwerp chapel.
Luca Giordano (1634-1705), tätig in Neapel
Heimsuchung Mariae, um 1696
Giordano war für die Schnelligkeit berühmt, mit der er seine Aufträge ausführte. Gerade in seinem spanischen Spätwerk zeigt er jedoch besondere Sorgfalt in der klassizierenden, ausgewogenen Komposition und der präzisen Zeichnung ebenso wie in der subtilen, malerisch-flüssigen Durchgestaltung der Figuren. Die Komposition des Bildes geht auf einen Stich nach Rubens' Heimsuchung auf dem Seitenflügel des Altares mit der Kreuzabnahme in der Antwerpener Kapelle zurück.
Austria Kunsthistorisches Museum
Federal Museum
Logo KHM
Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture
Founded 17 October 1891
Headquartered Castle Ring (Burgring), Vienna 1, Austria
Management Sabine Haag
www.khm.at website
Main building of the Kunsthistorisches Museum at Maria-Theresa-Square
The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.
The museum
The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.
History
Archduke Leopold Wilhelm in his Gallery
The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building .
Architectural History
The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währingerstraße/ Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the opera ring, and Ludwig Zettl the southeast side of the grain market (Getreidemarkt).
From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience with of Joseph Semper at the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.
Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.
Construction of the two museums began without ceremony on 27 November 1871 instead. Semper moved to Vienna in the sequence. From the beginning, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, built in 1878, the first windows installed in 1879, the Attica and the balustrade from 1880 to 1881 and built the dome and the Tabernacle. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.
The lighting and air conditioning concept with double glazing of the ceilings made the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times .
Kuppelhalle
Entrance (by clicking the link at the end of the side you can see all the pictures here indicated!)
Grand staircase
Hall
Empire
The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891 , the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol will need another two years.
189, the farm museum was organized in seven collections with three directorates:
Directorate of coins, medals and antiquities collection
The Egyptian Collection
The Antique Collection
The coins and medals collection
Management of the collection of weapons, art and industrial objects
Weapons collection
Collection of industrial art objects
Directorate of Art Gallery and Restaurieranstalt (Restoration Office)
Collection of watercolors, drawings, sketches, etc.
Restoration Office
Library
Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.
1914, after the assassination of Franz Ferdinand, heir to the throne, his " Estonian Forensic Collection " passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d' Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.
The First World War went by, apart from the oppressive economic situation without loss. The farm museum remained during the five years of war regularly open to the public.
Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.
First Republic
The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.
It was not until the Treaty of Saint-Germain of 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.
On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House" , by the Republic. Of 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.
Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.
With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the
Egyptian and Near Eastern Collection (with the Oriental coins)
Collection of Classical Antiquities
Collection of ancient coins
Collection of modern coins and medals
Weapons collection
Collection of sculptures and crafts with the Collection of Ancient Musical Instruments
Picture Gallery
The Museum 1938-1945
Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.
With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the empire.
After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to perform certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.
The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. This was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.
The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.
The museum today
Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).
The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.
In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.
Management
1919-1923: Gustav Glück as the first chairman of the College of science officials
1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director
1933: Arpad Weixlgärtner first director
1934-1938: Alfred Stix first director
1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief in 1941 as first director
1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections in 1949 as general director of the historical collections of the Federation
1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections in 1949 as general director of art historical collections of the Federation
1949-1950: Hans Demel as administrative director
1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation
1951-1952: Fritz Eichler as administrative director
1953-1954: Ernst H. Buschbeck as administrative director
1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director
1967: Edward Holzmair as managing director
1968-1972: Erwin Auer first director
1973-1981: Friderike Klauner first director
1982-1990: Hermann Fillitz first director
1990: George Kugler as interim first director
1990-2008: Wilfried Seipel as general director
Since 2009: Sabine Haag as general director
Collections
To the Kunsthistorisches Museum are also belonging the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.
Kunsthistorisches Museum (main building)
Picture Gallery
Egyptian and Near Eastern Collection
Collection of Classical Antiquities
Vienna Chamber of Art
Numismatic Collection
Library
New Castle
Ephesus Museum
Collection of Ancient Musical Instruments
Arms and Armour
Archive
Hofburg
The imperial crown in the Treasury
Imperial Treasury of Vienna
Insignia of the Austrian Hereditary Homage
Insignia of imperial Austria
Insignia of the Holy Roman Empire
Burgundian Inheritance and the Order of the Golden Fleece
Habsburg-Lorraine Household Treasure
Ecclesiastical Treasury
Schönbrunn Palace
Imperial Carriage Museum Vienna
Armory in Ambras Castle
Ambras Castle
Collections of Ambras Castle
Major exhibits
Among the most important exhibits of the Art Gallery rank inter alia:
Jan van Eyck: Cardinal Niccolò Albergati, 1438
Martin Schongauer: Holy Family, 1475-80
Albrecht Dürer : Trinity Altar, 1509-16
Portrait Johann Kleeberger, 1526
Parmigianino: Self Portrait in Convex Mirror, 1523/24
Giuseppe Arcimboldo: Summer 1563
Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07
Caravaggio: Madonna of the Rosary (1606-1607)
Titian: Nymph and Shepherd to 1570-75
Portrait of Jacopo de Strada, 1567/68
Raffaello Santi: Madonna of the Meadow, 1505 /06
Lorenzo Lotto: Portrait of a young man against white curtain, 1508
Peter Paul Rubens: The altar of St. Ildefonso, 1630-32
The Little Fur, about 1638
Jan Vermeer: The Art of Painting, 1665/66
Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559
Kids, 1560
Tower of Babel, 1563
Christ Carrying the Cross, 1564
Gloomy Day (Early Spring), 1565
Return of the Herd (Autumn), 1565
Hunters in the Snow (Winter) 1565
Bauer and bird thief, 1568
Peasant Wedding, 1568/69
Peasant Dance, 1568/69
Paul's conversion (Conversion of St Paul), 1567
Cabinet of Curiosities:
Saliera from Benvenuto Cellini 1539-1543
Egyptian-Oriental Collection:
Mastaba of Ka Ni Nisut
Collection of Classical Antiquities:
Gemma Augustea
Treasure of Nagyszentmiklós
Gallery: Major exhibits
Exercise PRECISE RESPONSE, is an annual chemical, biological, radiological, and nuclear (CBRN) exercise hosted by Defence Research and Development Canada at Canadian Forces Base Suffield where the Canadian Armed Forces along with NATO allies and partner Nations can practice essential CBRN defence skills in a multinational training environment.
Fangruida famous classic 500 selection (multi-lingual global version control, e-books)
Sound shook the world, a permanent favorite sayings ------ Fangruida classic quotations motto Selected Translations (English, French, German, Russian, Spanish, Japanese, multilingual electronic version control Version 2012- 3.02)
Fang Rui Da life work a lot, widespread popular that many of his classic quotes the classic motto, inspirational, gives a reverie, giving encouragement, giving teachings, gives insights. Admire and read of him classic quotations classic motto, as if reciting a poem as in, one of which enjoy a painting, listening to a song sounds romantic dance, this is the real charm of the square where the motto Investor quotations. herein is a selection of II. According to the author and the author wishes to question, selected multi-language version control, so that the parties to the reader and appreciation. square Investor classic quotations set of natural science, social science and literature and art in a beautiful, elegant, deep, subtle, mood, right, worthy of the world famous celebrities masterpiece. concise, three words two languages, the finishing touch, the words intended to do endless. Such learning and studying, you can achieve pleasing results, truly understand and analyze every word, every precise meaning and profound concept of the word. So, these are masterpieces, not because of the time and place and change. There are a lot of doubts in the interpretation of the e-book version, elaborate parties Investor classic quotations classic maxim, some more accurate complete Some lacks, and did not really understand and appreciate square Investor classic quotations classic maxim meaning lies. After worth complemented amended. multilingual control version, is to make up for this kind of loss and miscarriage of justice, but also compile and translation have been and author's discussion and validation, without any copyright disputes, authorized by the author disclosed in the city. for the public to enjoy reading. <>, <>, <> and so will continue to publish the advent of appreciation for readers around the world. Finally, for the assistance and edit the translation of you to express my deep gratitude to the friendly colleagues.
(Eds: otis Translation: Adeline / Augelire proofread: fred Audit: Boris)
July 2011 in Paris, Copenhagen, Amsterdam, New York.
_____________________________________________________________
Look at the history of the human individual, but is a few decades, centuries, but rather look at the history of the entire human population is a few hundred thousand years, and put him constantly Expansion of the natural world to appreciate and taste.
Human society is not an abstract body, but a real kaleidoscope.
Humanity the greatest and most powerful place is not that he's tough and mana, the first is constant self-denial.
As long as human society, everything is forward series, regardless of the final outcome of this evolution of how loud or how ruthless .----- (square Investor famous classic).
When life is about to end, you first farewell this life is not only the world, but nature and the universe temporary farewell.
World as colorful palette, from time to time to issue a variety of transformation, some beautiful, some haze, some wonderful, some gray.
The world is not eternal day regulation and order, but the world would not be a permanent disorder or chaos filled the whole planet. Order and disorder kept forever in grafting seesaw. Otherwise, the whole of nature and human society will tends to destroy or complete collapse collapse .---- square Investor classic saying.
Where that is the reality of existence, the reality of it all is that there are no real existence and no existence in reality, as absurd .------- are Fangruida famous classic)
God created the world, the world that God created.
Only human beings truly enter into the kingdom of heaven, in order to truly comprehend the beauty of paradise.
Desires and greed, is a cross to a natural divide human society from the animal kingdom; wisdom and labor - wealth, a huge man from the animal cross the bridge to a rational human society.
Reason and truth is eternal connection, on the contrary, wild and falsehood connection, and ultimately not waiting astray is a failure.
World Vientiane, everyone is in a hurry to come and go, but some passing away, but you can still figure detour back; some people do not leave, the soul has been long dead ..... everyone can flirtation, history will provide wonderful variety of rodeo arena.
That the world is too beautiful rose garden with flowers, it was a naive and childish;. That the world is Heilongtan dark, it is a sad and incompetence of the world is a reality, but also a bit romantic and sentimental .--- - Fangruida classic saying.
Immature and pessimism can not create the world, only the courage and strength to innovation in the world.
World colorful, flowers Tuyan, but that does not mean all the world to disorganized, chaotic disorder. The world and the universe is not chaos to Jiuxing flying, yin and yang imbalance; the world and the universe through its self-regulation, self-compliance with its reasoning, the chaos and gradually establish a new domain.
Simply conquer and dominate the world, is purely natural animal beast game; build the world heaven, can be completely freed from the Beast game.
Natural human animal is not terrible, terrible is its endless sprawl and expansion, it will allow to create into a ruin, so rational degenerate into evil, let wisdom destruction in stupidity. (Fangruida famous classic)
World history is not with petals that can weave together a beautiful wreath, world history throughout human history actually use the compilation of flesh and blood and sweat out of scroll paintings depicting famous classic .----- Fangruida
Great natural, great universe, it really is the mother of all mankind and life.
Numerous sequences of human history, always natural and ruthlessly presented or presented. Offside and transposition only in the basic sorting sequence appear positive, rebellious or dislocation will be replaced this kind of evolved into a history of bumps and setbacks. In other words, the natural history of mankind is only positive, reverse or reverse does not occur. The difference with this is the natural evolution of the universe sequence, forward and inversion often exchange.
Anatomy of the whole human society, which is the anatomical structure of the human body and the whole of nature is closely related to the world of him and the interdependence of social groups and individual tectonic structure.
If we say that the universe will collapse to collapse, then that is to say, prior to this human society and self-collapse of extinction. The real danger is not that the hazards and predators, but in human society and human beings defects and significant inhibition and overcome mistakes and I do not know , which will itself lead completely destroyed.
Wonderful and fanciful fantasy world is illusory phantom or mirage and reality difficult to build human society is the most real world and can not decline to exist forever. (Fangruida famous classic).
The world is not "Superman", the world's only permanent hard work in the vast field of farming labor husband kept it .----(Fangruida famous classic)
The sun rises in the east every day, day after day, life swing. Nature has actually been displaced, and human world is also moving in the displacement movement. Earth life can be resurrected in the other planets, it is a gift from God and good luck.
Animal world can not rudderless, lions, tigers, wolves, the sheep, horses, geese, monkeys ..... human society is the family of the group, could not disorderly, "the leader, the leading pack ., "Otherwise, everything will do everything to destroy or perish subvert the natural and fundamental law, it is very scary silly deteriorate even in the solar system, the sun is the king of the Ninth; no sun, the earth, the moon will zero.
Day after day, year after year, the Earth, the moon, the sun is constantly rotated; life, the human heart is with the rotation of day and night constantly pulsates ...... Seen in this light, Once stagnation, rotating and pulsating, nature and life will be how the outcome, rotating planets and life beat, it does not mean all the success Shengongguifu nature of human society, for him, the rotation will always be unalterable..; The first thing you want to beat is the survival of human life, the human world and the natural world if radical departure, beating of human life and the entire human society will tend to collapse and die.
There are a variety of life perception and interpretation, some clear, some obscure, some bright, some dark. In fact, both positive and anti, right and wrong, are left in the world and future generations valuable voice.
The struggle of life, wealth, power, fame, status, love, family, career, trying to brilliant pinnacle, everything can not be overstated. In fact, whether or halfway up the mountain to reach the summit, or in the foothills, is a kind of happiness and enjoyment The natural world is always bland, calm as the sea, the human world though a little more luster and warmth, but also in flat calm situation, although sometimes reveal a storm, high Wutu onwards, influence or change their own life trajectory.
Creating the world's history, rather, created the first insight into the world of deep eyes of individuals and groups. Absence or lack of such vision and starting line, must be attributed to arrogance and defeat.
Thousands of the world, thousands of images. Thousands of pairs of eyes, thousands of hands. Myriad masterpiece, thousands of souls. In this absolutely thousands among the only altars and shrines in addition to the idol, is the soul and sense Money makes the sedative comfort. As everyone knows, regardless of the fate of Jian wrong, the world is still good for the good to suffer for the music, to generate Bo death, repeatedly, during the era of generations, the most common interpretation of the most widespread human history.
World often emerged outstanding figures of the gods, can epoch, badly can be interpreted from the myths and legends; but from nature and reality is often absurd theory of a weird or just give up.
People out from nature, and not simply out of the world of human society. On the contrary, nature can only come out from nature, but does not come out from the world of human life. (Fangruida famous classic)
World sideways look, rainbow Jinxia sky; world bristling see if inverted observed haze over the Thunder, the scene is easy enough, haze Thunder sky, rainbow Jinxia everywhere.(Jinxia ---- beautiful pink clouds)
And nonsense are raving idiot, proverbs and reason is the only path to truth.
The unexamined not create the world, wasted years of mediocrity; only diligent, chest Tao Wu slightly in order to lead the world, innovation in the world.
Eternal life is worth, rather than length.
The world is mortal beings, not a genius and a saint can substitute the no genius and saints, beings naturally generated, no beings, genius and saints will be gone.
No one can accurately predict the future of nature and the world, but human wisdom advanced super location but can draw no less natural universe and human society generally rough image for the future. Even far beyond the vision of God.
Human nature is present in higher animals on the natural world, although it has a powerful transformation force wisdom and creativity, but not completely out of nature, after all, a fundamental fantasy or fiction of human nature and animal instinct has been completely isolated gene molecular bodiless not fanaticism is ignorant, because he was not placed in front of infantilism is the first force manic hysteria syndrome. (Fangruida famous classic)
This world is the greatest bible, every day opened a new page, the key is how you follow my handwriting writing left by their predecessors various chapters .------ (Fangruida classic saying.)
Wine is mellow, as long as there is revelry, pure spring water also exudes good taste.
History of the universe, pure natural history of human society history, both the trajectory of human history itself, but also the inevitable process of natural history is full of impassable and escape various blind spots and bane. Neglect or ignore these, will make human society more bizarre history .------- (Fangruida famous classic)
Fangruida famous classic 500 selection (multi-lingual global version control, e-books)
Sound shook the world, a permanent favorite sayings ------ Fangruida classic quotations motto Selected Translations (English, French, German, Russian, Spanish, Japanese, multilingual electronic version control Version 2012- 3.02)
Fang Rui Da life work a lot, widespread popular that many of his classic quotes the classic motto, inspirational, gives a reverie, giving encouragement, giving teachings, gives insights. Admire and read of him classic quotations classic motto, as if reciting a poem as in, one of which enjoy a painting, listening to a song sounds romantic dance, this is the real charm of the square where the motto Investor quotations. herein is a selection of II. According to the author and the author wishes to question, selected multi-language version control, so that the parties to the reader and appreciation. square Investor classic quotations set of natural science, social science and literature and art in a beautiful, elegant, deep, subtle, mood, right, worthy of the world famous celebrities masterpiece. concise, three words two languages, the finishing touch, the words intended to do endless. Such learning and studying, you can achieve pleasing results, truly understand and analyze every word, every precise meaning and profound concept of the word. So, these are masterpieces, not because of the time and place and change. There are a lot of doubts in the interpretation of the e-book version, elaborate parties Investor classic quotations classic maxim, some more accurate complete Some lacks, and did not really understand and appreciate square Investor classic quotations classic maxim meaning lies. After worth complemented amended. multilingual control version, is to make up for this kind of loss and miscarriage of justice, but also compile and translation have been and author's discussion and validation, without any copyright disputes, authorized by the author disclosed in the city. for the public to enjoy reading. <>, <>, <> and so will continue to publish the advent of appreciation for readers around the world. Finally, for the assistance and edit the translation of you to express my deep gratitude to the friendly colleagues.
(Eds: otis Translation: Adeline / Augelire proofread: fred Audit: Boris)
July 2011 in Paris, Copenhagen, Amsterdam, New York.
_____________________________________________________________
Look at the history of the human individual, but is a few decades, centuries, but rather look at the history of the entire human population is a few hundred thousand years, and put him constantly Expansion of the natural world to appreciate and taste.
Human society is not an abstract body, but a real kaleidoscope.
Humanity the greatest and most powerful place is not that he's tough and mana, the first is constant self-denial.
As long as human society, everything is forward series, regardless of the final outcome of this evolution of how loud or how ruthless .----- (square Investor famous classic).
When life is about to end, you first farewell this life is not only the world, but nature and the universe temporary farewell.
World as colorful palette, from time to time to issue a variety of transformation, some beautiful, some haze, some wonderful, some gray.
The world is not eternal day regulation and order, but the world would not be a permanent disorder or chaos filled the whole planet. Order and disorder kept forever in grafting seesaw. Otherwise, the whole of nature and human society will tends to destroy or complete collapse collapse .---- square Investor classic saying.
Where that is the reality of existence, the reality of it all is that there are no real existence and no existence in reality, as absurd .------- are Fangruida famous classic)
God created the world, the world that God created.
Only human beings truly enter into the kingdom of heaven, in order to truly comprehend the beauty of paradise.
Desires and greed, is a cross to a natural divide human society from the animal kingdom; wisdom and labor - wealth, a huge man from the animal cross the bridge to a rational human society.
Reason and truth is eternal connection, on the contrary, wild and falsehood connection, and ultimately not waiting astray is a failure.
World Vientiane, everyone is in a hurry to come and go, but some passing away, but you can still figure detour back; some people do not leave, the soul has been long dead ..... everyone can flirtation, history will provide wonderful variety of rodeo arena.
That the world is too beautiful rose garden with flowers, it was a naive and childish;. That the world is Heilongtan dark, it is a sad and incompetence of the world is a reality, but also a bit romantic and sentimental .--- - Fangruida classic saying.
Immature and pessimism can not create the world, only the courage and strength to innovation in the world.
World colorful, flowers Tuyan, but that does not mean all the world to disorganized, chaotic disorder. The world and the universe is not chaos to Jiuxing flying, yin and yang imbalance; the world and the universe through its self-regulation, self-compliance with its reasoning, the chaos and gradually establish a new domain.
Simply conquer and dominate the world, is purely natural animal beast game; build the world heaven, can be completely freed from the Beast game.
Natural human animal is not terrible, terrible is its endless sprawl and expansion, it will allow to create into a ruin, so rational degenerate into evil, let wisdom destruction in stupidity. (Fangruida famous classic)
World history is not with petals that can weave together a beautiful wreath, world history throughout human history actually use the compilation of flesh and blood and sweat out of scroll paintings depicting famous classic .----- Fangruida
Great natural, great universe, it really is the mother of all mankind and life.
Numerous sequences of human history, always natural and ruthlessly presented or presented. Offside and transposition only in the basic sorting sequence appear positive, rebellious or dislocation will be replaced this kind of evolved into a history of bumps and setbacks. In other words, the natural history of mankind is only positive, reverse or reverse does not occur. The difference with this is the natural evolution of the universe sequence, forward and inversion often exchange.
Anatomy of the whole human society, which is the anatomical structure of the human body and the whole of nature is closely related to the world of him and the interdependence of social groups and individual tectonic structure.
If we say that the universe will collapse to collapse, then that is to say, prior to this human society and self-collapse of extinction. The real danger is not that the hazards and predators, but in human society and human beings defects and significant inhibition and overcome mistakes and I do not know , which will itself lead completely destroyed.
Wonderful and fanciful fantasy world is illusory phantom or mirage and reality difficult to build human society is the most real world and can not decline to exist forever. (Fangruida famous classic).
The world is not "Superman", the world's only permanent hard work in the vast field of farming labor husband kept it .----(Fangruida famous classic)
The sun rises in the east every day, day after day, life swing. Nature has actually been displaced, and human world is also moving in the displacement movement. Earth life can be resurrected in the other planets, it is a gift from God and good luck.
Animal world can not rudderless, lions, tigers, wolves, the sheep, horses, geese, monkeys ..... human society is the family of the group, could not disorderly, "the leader, the leading pack ., "Otherwise, everything will do everything to destroy or perish subvert the natural and fundamental law, it is very scary silly deteriorate even in the solar system, the sun is the king of the Ninth; no sun, the earth, the moon will zero.
Day after day, year after year, the Earth, the moon, the sun is constantly rotated; life, the human heart is with the rotation of day and night constantly pulsates ...... Seen in this light, Once stagnation, rotating and pulsating, nature and life will be how the outcome, rotating planets and life beat, it does not mean all the success Shengongguifu nature of human society, for him, the rotation will always be unalterable..; The first thing you want to beat is the survival of human life, the human world and the natural world if radical departure, beating of human life and the entire human society will tend to collapse and die.
There are a variety of life perception and interpretation, some clear, some obscure, some bright, some dark. In fact, both positive and anti, right and wrong, are left in the world and future generations valuable voice.
The struggle of life, wealth, power, fame, status, love, family, career, trying to brilliant pinnacle, everything can not be overstated. In fact, whether or halfway up the mountain to reach the summit, or in the foothills, is a kind of happiness and enjoyment The natural world is always bland, calm as the sea, the human world though a little more luster and warmth, but also in flat calm situation, although sometimes reveal a storm, high Wutu onwards, influence or change their own life trajectory.
Creating the world's history, rather, created the first insight into the world of deep eyes of individuals and groups. Absence or lack of such vision and starting line, must be attributed to arrogance and defeat.
Thousands of the world, thousands of images. Thousands of pairs of eyes, thousands of hands. Myriad masterpiece, thousands of souls. In this absolutely thousands among the only altars and shrines in addition to the idol, is the soul and sense Money makes the sedative comfort. As everyone knows, regardless of the fate of Jian wrong, the world is still good for the good to suffer for the music, to generate Bo death, repeatedly, during the era of generations, the most common interpretation of the most widespread human history.
World often emerged outstanding figures of the gods, can epoch, badly can be interpreted from the myths and legends; but from nature and reality is often absurd theory of a weird or just give up.
People out from nature, and not simply out of the world of human society. On the contrary, nature can only come out from nature, but does not come out from the world of human life. (Fangruida famous classic)
World sideways look, rainbow Jinxia sky; world bristling see if inverted observed haze over the Thunder, the scene is easy enough, haze Thunder sky, rainbow Jinxia everywhere.
And nonsense are raving idiot, proverbs and reason is the only path to truth.
The unexamined not create the world, wasted years of mediocrity; only diligent, chest Tao Wu slightly in order to lead the world, innovation in the world.
Eternal life is worth, rather than length.
The world is mortal beings, not a genius and a saint can substitute the no genius and saints, beings naturally generated, no beings, genius and saints will be gone.
No one can accurately predict the future of nature and the world, but human wisdom advanced super location but can draw no less natural universe and human society generally rough image for the future. Even far beyond the vision of God.
Human nature is present in higher animals on the natural world, although it has a powerful transformation force wisdom and creativity, but not completely out of nature, after all, a fundamental fantasy or fiction of human nature and animal instinct has been completely isolated gene molecular bodiless not fanaticism is ignorant, because he was not placed in front of infantilism is the first force manic hysteria syndrome. (Fangruida famous classic)
This world is the greatest bible, every day opened a new page, the key is how you follow my handwriting writing left by their predecessors various chapters .------ (Fangruida classic saying.)
Wine is mellow, as long as there is revelry, pure spring water also exudes good taste.
History of the universe, pure natural history of human society history, both the trajectory of human history itself, but also the inevitable process of natural history is full of impassable and escape various blind spots and bane. Neglect or ignore these, will make human society more bizarre history .------- (Fangruida famous classic)
Fangrui famous classic 500 selection (multi-lingual global version control, e-books) Sound shook the world, a permanent favorite sayings ------ Fangrui classic quotations motto Selected Translations (English, French, German, Russian, Spanish, Japanese, multilingual electronic version control Version 2012- 3.02) Fang Rui Da life work a lot, widespread popular that many of his classic quotes the classic motto, inspirational, gives a reverie, giving encouragement, giving teachings, gives insights. Admire and read of him classic quotations classic motto, as if reciting a poem as in, one of which enjoy a painting, listening to a song sounds romantic dance, this is the real charm of the square where the motto Investor quotations. herein is a selection of II. According to the author and the author wishes to question, selected multi-language version control, so that the parties to the reader and appreciation. square Investor classic quotations set of natural science, social science and literature and art in a beautiful, elegant, deep, subtle, mood, right, worthy of the world famous celebrities masterpiece. concise, three words two languages, the finishing touch, the words intended to do endless. Such learning and studying, you can achieve pleasing results, truly understand and analyze every word, every precise meaning and profound concept of the word. So, these are masterpieces, not because of the time and place and change. There are a lot of doubts in the interpretation of the e-book version, elaborate parties Investor classic quotations classic maxim, some more accurate complete Some lacks, and did not really understand and appreciate square Investor classic quotations classic maxim meaning lies. After worth complemented amended. multilingual control version, is to make up for this kind of loss and miscarriage of justice, but also compile and translation have been and author's discussion and validation, without any copyright disputes, authorized by the author disclosed in the city. for the public to enjoy reading. <>, <>, <> and so will continue to publish the advent of appreciation for readers around the world. Finally, for the assistance and edit the translation of you to express my deep gratitude to the friendly colleagues. (Eds: otis Translation: Adeline / Augelire proofread: fred Audit: Boris) July 2011 in Paris, Copenhagen, Amsterdam, New York. _____________________________________________________________ Look at the history of the human individual, but is a few decades, centuries, but rather look at the history of the entire human population is a few hundred thousand years, and put him constantly Expansion of the natural world to appreciate and taste. Human society is not an abstract body, but a real kaleidoscope. Humanity the greatest and most powerful place is not that he's tough and mana, the first is constant self-denial. As long as human society, everything is forward series, regardless of the final outcome of this evolution of how loud or how ruthless .----- (square Investor famous classic). When life is about to end, you first farewell this life is not only the world, but nature and the universe temporary farewell. World as colorful palette, from time to time to issue a variety of transformation, some beautiful, some haze, some wonderful, some gray. The world is not eternal day regulation and order, but the world would not be a permanent disorder or chaos filled the whole planet. Order and disorder kept forever in grafting seesaw. Otherwise, the whole of nature and human society will tends to destroy or complete collapse collapse .---- square Investor classic saying. Where that is the reality of existence, the reality of it all is that there are no real existence and no existence in reality, as absurd .------- are Fangruida famous classic) God created the world, the world that God created. Only human beings truly enter into the kingdom of heaven, in order to truly comprehend the beauty of paradise. Desires and greed, is a cross to a natural divide human society from the animal kingdom; wisdom and labor - wealth, a huge man from the animal cross the bridge to a rational human society. Reason and truth is eternal connection, on the contrary, wild and falsehood connection, and ultimately not waiting astray is a failure. World Vientiane, everyone is in a hurry to come and go, but some passing away, but you can still figure detour back; some people do not leave, the soul has been long dead ..... everyone can flirtation, history will provide wonderful variety of rodeo arena. That the world is too beautiful rose garden with flowers, it was a naive and childish;. That the world is Heilongtan dark, it is a sad and incompetence of the world is a reality, but also a bit romantic and sentimental .--- - Fangruida classic saying. Immature and pessimism can not create the world, only the courage and strength to innovation in the world. World colorful, flowers Tuyan, but that does not mean all the world to disorganized, chaotic disorder. The world and the universe is not chaos to Jiuxing flying, yin and yang imbalance; the world and the universe through its self-regulation, self-compliance with its reasoning, the chaos and gradually establish a new domain. Simply conquer and dominate the world, is purely natural animal beast game; build the world heaven, can be completely freed from the Beast game. Natural human animal is not terrible, terrible is its endless sprawl and expansion, it will allow to create into a ruin, so rational degenerate into evil, let wisdom destruction in stupidity. (Fangruida famous classic) World history is not with petals that can weave together a beautiful wreath, world history throughout human history actually use the compilation of flesh and blood and sweat out of scroll paintings depicting famous classic .----- Fangruida Great natural, great universe, it really is the mother of all mankind and life. Numerous sequences of human history, always natural and ruthlessly presented or presented. Offside and transposition only in the basic sorting sequence appear positive, rebellious or dislocation will be replaced this kind of evolved into a history of bumps and setbacks. In other words, the natural history of mankind is only positive, reverse or reverse does not occur. The difference with this is the natural evolution of the universe sequence, forward and inversion often exchange. Anatomy of the whole human society, which is the anatomical structure of the human body and the whole of nature is closely related to the world of him and the interdependence of social groups and individual tectonic structure. If we say that the universe will collapse to collapse, then that is to say, prior to this human society and self-collapse of extinction. The real danger is not that the hazards and predators, but in human society and human beings defects and significant inhibition and overcome mistakes and I do not know , which will itself lead completely destroyed. Wonderful and fanciful fantasy world is illusory phantom or mirage and reality difficult to build human society is the most real world and can not decline to exist forever. (Fangruida famous classic). The world is not "Superman", the world's only permanent hard work in the vast field of farming labor husband kept it .----(Fangruida famous classic) The sun rises in the east every day, day after day, life swing. Nature has actually been displaced, and human world is also moving in the displacement movement. Earth life can be resurrected in the other planets, it is a gift from God and good luck. Animal world can not rudderless, lions, tigers, wolves, the sheep, horses, geese, monkeys ..... human society is the family of the group, could not disorderly, "the leader, the leading pack ., "Otherwise, everything will do everything to destroy or perish subvert the natural and fundamental law, it is very scary silly deteriorate even in the solar system, the sun is the king of the Ninth; no sun, the earth, the moon will zero. Day after day, year after year, the Earth, the moon, the sun is constantly rotated; life, the human heart is with the rotation of day and night constantly pulsates ...... Seen in this light, Once stagnation, rotating and pulsating, nature and life will be how the outcome, rotating planets and life beat, it does not mean all the success Shengongguifu nature of human society, for him, the rotation will always be unalterable..; The first thing you want to beat is the survival of human life, the human world and the natural world if radical departure, beating of human life and the entire human society will tend to collapse and die. There are a variety of life perception and interpretation, some clear, some obscure, some bright, some dark. In fact, both positive and anti, right and wrong, are left in the world and future generations valuable voice. The struggle of life, wealth, power, fame, status, love, family, career, trying to brilliant pinnacle, everything can not be overstated. In fact, whether or halfway up the mountain to reach the summit, or in the foothills, is a kind of happiness and enjoyment The natural world is always bland, calm as the sea, the human world though a little more luster and warmth, but also in flat calm situation, although sometimes reveal a storm, high Wutu onwards, influence or change their own life trajectory. Creating the world's history, rather, created the first insight into the world of deep eyes of individuals and groups. Absence or lack of such vision and starting line, must be attributed to arrogance and defeat. Thousands of the world, thousands of images. Thousands of pairs of eyes, thousands of hands. Myriad masterpiece, thousands of souls. In this absolutely thousands among the only altars and shrines in addition to the idol, is the soul and sense Money makes the sedative comfort. As everyone knows, regardless of the fate of Jian wrong, the world is still good for the good to suffer for the music, to generate Bo death, repeatedly, during the era of generations, the most common interpretation of the most widespread human history. World often emerged outstanding figures of the gods, can epoch, badly can be interpreted from the myths and legends; but from nature and reality is often absurd theory of a weird or just give up. People out from nature, and not simply out of the world of human society. On the contrary, nature can only come out from nature, but does not come out from the world of human life. (Fangruida famous classic) World sideways look, rainbow Jinxia sky; world bristling see if inverted observed haze over the Thunder, the scene is easy enough, haze Thunder sky, rainbow Jinxia everywhere. And nonsense are raving idiot, proverbs and reason is the only path to truth. The unexamined not create the world, wasted years of mediocrity; only diligent, chest Tao Wu slightly in order to lead the world, innovation in the world. Eternal life is worth, rather than length. The world is mortal beings, not a genius and a saint can substitute the no genius and saints, beings naturally generated, no beings, genius and saints will be gone. No one can accurately predict the future of nature and the world, but human wisdom advanced super location but can draw no less natural universe and human society generally rough image for the future. Even far beyond the vision of God. Human nature is present in higher animals on the natural world, although it has a powerful transformation force wisdom and creativity, but not completely out of nature, after all, a fundamental fantasy or fiction of human nature and animal instinct has been completely isolated gene molecular bodiless not fanaticism is ignorant, because he was not placed in front of infantilism is the first force manic hysteria syndrome. (Fangruida famous classic) This world is the greatest bible, every day opened a new page, the key is how you follow my handwriting writing left by their predecessors various chapters .------ (Fangruida classic saying.) Wine is mellow, as long as there is revelry, pure spring water also exudes good taste. History of the universe, pure natural history of human society history, both the trajectory of human history itself, but also the inevitable process of natural history is full of impassable and escape various blind spots and bane. Neglect or ignore these, will make human society more bizarre history .------- (Fangruida famous classic)
Fangruida famous classic 500 selection (multi-lingual global version control, e-books) Sound shook the world, a permanent favorite sayings ------ Fangruida classic quotations motto Selected Translations (English, French, German, Russian, Spanish, Japanese, multilingual electronic version control Version 2012- 3.02) Fang Rui Da life work a lot, widespread popular that many of his classic quotes the classic motto, inspirational, gives a reverie, giving encouragement, giving teachings, gives insights. Admire and read of him classic quotations classic motto, as if reciting a poem as in, one of which enjoy a painting, listening to a song sounds romantic dance, this is the real charm of the square where the motto Investor quotations. herein is a selection of II. According to the author and the author wishes to question, selected multi-language version control, so that the parties to the reader and appreciation. square Investor classic quotations set of natural science, social science and literature and art in a beautiful, elegant, deep, subtle, mood, right, worthy of the world famous celebrities masterpiece. concise, three words two languages, the finishing touch, the words intended to do endless. Such learning and studying, you can achieve pleasing results, truly understand and analyze every word, every precise meaning and profound concept of the word. So, these are masterpieces, not because of the time and place and change. There are a lot of doubts in the interpretation of the e-book version, elaborate parties Investor classic quotations classic maxim, some more accurate complete Some lacks, and did not really understand and appreciate square Investor classic quotations classic maxim meaning lies. After worth complemented amended. multilingual control version, is to make up for this kind of loss and miscarriage of justice, but also compile and translation have been and author's discussion and validation, without any copyright disputes, authorized by the author disclosed in the city. for the public to enjoy reading. <>, <>, <> and so will continue to publish the advent of appreciation for readers around the world. Finally, for the assistance and edit the translation of you to express my deep gratitude to the friendly colleagues. (Eds: otis Translation: Adeline / Augelire proofread: fred Audit: Boris) July 2011 in Paris, Copenhagen, Amsterdam, New York. _____________________________________________________________ Look at the history of the human individual, but is a few decades, centuries, but rather look at the history of the entire human population is a few hundred thousand years, and put him constantly Expansion of the natural world to appreciate and taste. Human society is not an abstract body, but a real kaleidoscope. Humanity the greatest and most powerful place is not that he's tough and mana, the first is constant self-denial. As long as human society, everything is forward series, regardless of the final outcome of this evolution of how loud or how ruthless .----- (square Investor famous classic). When life is about to end, you first farewell this life is not only the world, but nature and the universe temporary farewell. World as colorful palette, from time to time to issue a variety of transformation, some beautiful, some haze, some wonderful, some gray. The world is not eternal day regulation and order, but the world would not be a permanent disorder or chaos filled the whole planet. Order and disorder kept forever in grafting seesaw. Otherwise, the whole of nature and human society will tends to destroy or complete collapse collapse .---- square Investor classic saying. Where that is the reality of existence, the reality of it all is that there are no real existence and no existence in reality, as absurd .------- are Fangruida famous classic) God created the world, the world that God created. Only human beings truly enter into the kingdom of heaven, in order to truly comprehend the beauty of paradise. Desires and greed, is a cross to a natural divide human society from the animal kingdom; wisdom and labor - wealth, a huge man from the animal cross the bridge to a rational human society. Reason and truth is eternal connection, on the contrary, wild and falsehood connection, and ultimately not waiting astray is a failure. World Vientiane, everyone is in a hurry to come and go, but some passing away, but you can still figure detour back; some people do not leave, the soul has been long dead ..... everyone can flirtation, history will provide wonderful variety of rodeo arena. That the world is too beautiful rose garden with flowers, it was a naive and childish;. That the world is Heilongtan dark, it is a sad and incompetence of the world is a reality, but also a bit romantic and sentimental .--- - Fangruida classic saying. Immature and pessimism can not create the world, only the courage and strength to innovation in the world. World colorful, flowers Tuyan, but that does not mean all the world to disorganized, chaotic disorder. The world and the universe is not chaos to Jiuxing flying, yin and yang imbalance; the world and the universe through its self-regulation, self-compliance with its reasoning, the chaos and gradually establish a new domain. Simply conquer and dominate the world, is purely natural animal beast game; build the world heaven, can be completely freed from the Beast game. Natural human animal is not terrible, terrible is its endless sprawl and expansion, it will allow to create into a ruin, so rational degenerate into evil, let wisdom destruction in stupidity. (Fangruida famous classic) World history is not with petals that can weave together a beautiful wreath, world history throughout human history actually use the compilation of flesh and blood and sweat out of scroll paintings depicting famous classic .----- Fangruida Great natural, great universe, it really is the mother of all mankind and life. Numerous sequences of human history, always natural and ruthlessly presented or presented. Offside and transposition only in the basic sorting sequence appear positive, rebellious or dislocation will be replaced this kind of evolved into a history of bumps and setbacks. In other words, the natural history of mankind is only positive, reverse or reverse does not occur. The difference with this is the natural evolution of the universe sequence, forward and inversion often exchange. Anatomy of the whole human society, which is the anatomical structure of the human body and the whole of nature is closely related to the world of him and the interdependence of social groups and individual tectonic structure. If we say that the universe will collapse to collapse, then that is to say, prior to this human society and self-collapse of extinction. The real danger is not that the hazards and predators, but in human society and human beings defects and significant inhibition and overcome mistakes and I do not know , which will itself lead completely destroyed. Wonderful and fanciful fantasy world is illusory phantom or mirage and reality difficult to build human society is the most real world and can not decline to exist forever. (Fangruida famous classic). The world is not "Superman", the world's only permanent hard work in the vast field of farming labor husband kept it .----(Fangruida famous classic) The sun rises in the east every day, day after day, life swing. Nature has actually been displaced, and human world is also moving in the displacement movement. Earth life can be resurrected in the other planets, it is a gift from God and good luck. Animal world can not rudderless, lions, tigers, wolves, the sheep, horses, geese, monkeys ..... human society is the family of the group, could not disorderly, "the leader, the leading pack ., "Otherwise, everything will do everything to destroy or perish subvert the natural and fundamental law, it is very scary silly deteriorate even in the solar system, the sun is the king of the Ninth; no sun, the earth, the moon will zero. Day after day, year after year, the Earth, the moon, the sun is constantly rotated; life, the human heart is with the rotation of day and night constantly pulsates ...... Seen in this light, Once stagnation, rotating and pulsating, nature and life will be how the outcome, rotating planets and life beat, it does not mean all the success Shengongguifu nature of human society, for him, the rotation will always be unalterable..; The first thing you want to beat is the survival of human life, the human world and the natural world if radical departure, beating of human life and the entire human society will tend to collapse and die. There are a variety of life perception and interpretation, some clear, some obscure, some bright, some dark. In fact, both positive and anti, right and wrong, are left in the world and future generations valuable voice. The struggle of life, wealth, power, fame, status, love, family, career, trying to brilliant pinnacle, everything can not be overstated. In fact, whether or halfway up the mountain to reach the summit, or in the foothills, is a kind of happiness and enjoyment The natural world is always bland, calm as the sea, the human world though a little more luster and warmth, but also in flat calm situation, although sometimes reveal a storm, high Wutu onwards, influence or change their own life trajectory. Creating the world's history, rather, created the first insight into the world of deep eyes of individuals and groups. Absence or lack of such vision and starting line, must be attributed to arrogance and defeat. Thousands of the world, thousands of images. Thousands of pairs of eyes, thousands of hands. Myriad masterpiece, thousands of souls. In this absolutely thousands among the only altars and shrines in addition to the idol, is the soul and sense Money makes the sedative comfort. As everyone knows, regardless of the fate of Jian wrong, the world is still good for the good to suffer for the music, to generate Bo death, repeatedly, during the era of generations, the most common interpretation of the most widespread human history. World often emerged outstanding figures of the gods, can epoch, badly can be interpreted from the myths and legends; but from nature and reality is often absurd theory of a weird or just give up. People out from nature, and not simply out of the world of human society. On the contrary, nature can only come out from nature, but does not come out from the world of human life. (Fangruida famous classic) World sideways look, rainbow Jinxia sky; world bristling see if inverted observed haze over the Thunder, the scene is easy enough, haze Thunder sky, rainbow Jinxia everywhere. And nonsense are raving idiot, proverbs and reason is the only path to truth. The unexamined not create the world, wasted years of mediocrity; only diligent, chest Tao Wu slightly in order to lead the world, innovation in the world. Eternal life is worth, rather than length. The world is mortal beings, not a genius and a saint can substitute the no genius and saints, beings naturally generated, no beings, genius and saints will be gone. No one can accurately predict the future of nature and the world, but human wisdom advanced super location but can draw no less natural universe and human society generally rough image for the future. Even far beyond the vision of God. Human nature is present in higher animals on the natural world, although it has a powerful transformation force wisdom and creativity, but not completely out of nature, after all, a fundamental fantasy or fiction of human nature and animal instinct has been completely isolated gene molecular bodiless not fanaticism is ignorant, because he was not placed in front of infantilism is the first force manic hysteria syndrome. (Fangruida famous classic) This world is the greatest bible, every day opened a new page, the key is how you follow my handwriting writing left by their predecessors various chapters .------ (Fangruida classic saying.) Wine is mellow, as long as there is revelry, pure spring water also exudes good taste. History of the universe, pure natural history of human society history, both the trajectory of human history itself, but also the inevitable process of natural history is full of impassable and escape various blind spots and bane. Neglect or ignore these, will make human society more bizarre history .------- (Fangruida famous classic)
A loom is a device used to weave cloth and tapestry. The basic purpose of any loom is to hold the warp threads under tension to facilitate the interweaving of the weft threads. The precise shape of the loom and its mechanics may vary, but the basic function is the same.
ETYMOLOGY
The word "loom" is derived from the Old English geloma, formed from ge-(perfective prefix) and loma, a root of unknown origin; this meant a utensil, tool, or machine of any kind. In 1404 it was used to mean a machine to enable weaving thread into cloth. By 1838, it had gained the meaning of a machine for interlacing thread.
WEAVING
Weaving is done by intersecting the longitudinal threads, the warp, i.e. "that which is thrown across", with the transverse threads, the weft, i.e. "that which is woven".
The major components of the loom are the warp beam, heddles, harnesses or shafts (as few as two, four is common, sixteen not unheard of), shuttle, reed and takeup roll. In the loom, yarn processing includes shedding, picking, battening and taking-up operations. These are the principal motions.
Shedding. Shedding is the raising of part of the warp yarn to form a shed (the vertical space between the raised and unraised warp yarns), through which the filling yarn, carried by the shuttle, can be inserted, forming the weft. On the modern loom, simple and intricate shedding operations are performed automatically by the heddle or heald frame, also known as a harness. This is a rectangular frame to which a series of wires, called heddles or healds, are attached. The yarns are passed through the eye holes of the heddles, which hang vertically from the harnesses. The weave pattern determines which harness controls which warp yarns, and the number of harnesses used depends on the complexity of the weave. Two common methods of controlling the heddles are dobbies and a Jacquard Head.
Picking. As the harnesses raise the heddles or healds, which raise the warp yarns, the shed is created. The filling yarn is inserted through the shed by a small carrier device called a shuttle. The shuttle is normally pointed at each end to allow passage through the shed. In a traditional shuttle loom, the filling yarn is wound onto a quill, which in turn is mounted in the shuttle. The filling yarn emerges through a hole in the shuttle as it moves across the loom. A single crossing of the shuttle from one side of the loom to the other is known as a pick. As the shuttle moves back and forth across the shed, it weaves an edge, or selvage, on each side of the fabric to prevent the fabric from raveling.
Battening. Between the heddles and the takeup roll, the warp threads pass through another frame called the reed (which resembles a comb). The portion of the fabric that has already been formed but not yet rolled up on the takeup roll is called the fell. After the shuttle moves across the loom laying down the fill yarn, the weaver uses the reed to press (or batten) each filling yarn against the fell. Conventional shuttle looms can operate at speeds of about 150 to 160 picks per minute.
There are two secondary motions, because with each weaving operation the newly constructed fabric must be wound on a cloth beam. This process is called taking up. At the same time, the warp yarns must be let off or released from the warp beams. To become fully automatic, a loom needs a tertiary motion, the filling stop motion. This will brake the loom if the weft thread breaks. An automatic loom requires 0.125 hp to 0.5 hp to operate.
TYPES OF LOOMS
BACK STRAP LOOM
The back strap loom is a simple loom that has its roots in ancient civilizations. It consists of two sticks or bars between which the warps are stretched. One bar is attached to a fixed object and the other to the weaver, usually by means of a strap around the back. The weaver leans back and uses their body weight to tension the loom. On traditional looms, the two main sheds are operated by means of a shed roll over which one set of warps pass, and continuous string heddles which encase each of the warps in the other set. To open the shed controlled by the string heddles, the weaver relaxes tension on the warps and raises the heddles. The other shed is usually opened by simply drawing the shed roll toward the weaver.
Both simple and complex textiles can be woven on this loom. Width is limited to how far the weaver can reach from side to side to pass the shuttle. Warp faced textiles, often decorated with intricate pick-up patterns woven in complementary and supplementary warp techniques are woven by indigenous peoples today around the world. They produce such things as belts, ponchos, bags, hatbands and carrying cloths. Supplementary weft patterning and brocading is practiced in many regions. Balanced weaves are also possible on the backstrap loom. Today, commercially produced backstrap loom kits often include a rigid heddle.[
WARP-WEIGHTED LOOM
The warp-weighted loom is a vertical loom that may have originated in the Neolithic period. The earliest evidence of warp-weighted looms comes from sites belonging to the Starčevo culture in modern Serbia and Hungary and from late Neolithic sites in Switzerland. This loom was used in Ancient Greece, and spread north and west throughout Europe thereafter. Its defining characteristic is hanging weights (loom weights) which keep bundles of the warp threads taut. Frequently, extra warp thread is wound around the weights. When a weaver has reached the bottom of the available warp, the completed section can be rolled around the top beam, and additional lengths of warp threads can be unwound from the weights to continue. This frees the weaver from vertical size constraint.
DRAWLOOM
A drawloom is a hand-loom for weaving figured cloth. In a drawloom, a "figure harness" is used to control each warp thread separately. A drawloom requires two operators, the weaver and an assistant called a "drawboy" to manage the figure harness. The earliest confirmed drawloom fabrics come from the State of Chu and date c. 400 BC. Most scholars attribute the invention of the drawloom to the ancient Chinese, although some speculate an independent invention from ancient Syria since drawloom fabrics found in Dura-Europas are thought to date before 256 AD The draw loom for patterned weaving was invented in ancient China during the Han Dynasty. Chinese weavers and artisans used foot-powered multi-harness looms and jacquard looms for silk weaving and embroidery; both of which were cottage industries with imperial workshops. The Chinese-invented drawloom enhanced and sped up the production of silk and play a significant role in Chinese silk weaving. The loom was later introduced to Persia, India, and Europe.
HANDLOOM
A handloom is a simple machine used for weaving. In a wooden vertical-shaft looms, the heddles are fixed in place in the shaft. The warp threads pass alternately through a heddle, and through a space between the heddles (the shed), so that raising the shaft raises half the threads (those passing through the heddles), and lowering the shaft lowers the same threads — the threads passing through the spaces between the heddles remain in place. This was a great invention in the 13th century.
FLYING SHUTTLE
Hand weavers could only weave a cloth as wide as their armspan. If cloth needed to be wider, two people would do the task (often this would be an adult with a child). John Kay (1704–1779) patented the flying shuttle in 1733. The weaver held a picking stick that was attached by cords to a device at both ends of the shed. With a flick of the wrist, one cord was pulled and the shuttle was propelled through the shed to the other end with considerable force, speed and efficiency. A flick in the opposite direction and the shuttle was propelled back. A single weaver had control of this motion but the flying shuttle could weave much wider fabric than an arm’s length at much greater speeds than had been achieved with the hand thrown shuttle.
The flying shuttle was one of the key developments in weaving that helped fuel the Industrial Revolution. The whole picking motion no longer relied on manual skill and it was just a matter of time before it could be powered.
HAUTE-LISSE AND BASSE-LISSE LOOMS
Looms used for weaving traditional tapestry are classified as haute-lisse looms, where the warp is suspended vertically between two rolls. In basse-lisse looms, however, the warp extends horizontally between the two rolls.
RIBBON WEAVING
TRADITIONAL LOOMS
Several other types of hand looms exist, including the simple frame loom, pit loom, free-standing loom, and the pegged loom. Each of these can be constructed, and provide work and income in developing economies.
POWER LOOMS
Edmund Cartwright built and patented a power loom in 1785, and it was this that was adopted by the nascent cotton industry in England. The silk loom made by Jacques Vaucanson in 1745 operated on the same principles but was not developed further. The invention of the flying shuttle by John Kay was critical to the development of a commercially successful power loom. Cartwright's loom was impractical but the ideas behind it were developed by numerous inventors in the Manchester area of England where, by 1818, there were 32 factories containing 5,732 looms.
Horrocks loom was viable, but it was the Roberts Loom in 1830 that marked the turning point. Incremental changes to the three motions continued to be made. The problems of sizing, stop-motions, consistent take-up, and a temple to maintain the width remained. In 1841, Kenworthy and Bullough produced the Lancashire Loom which was self-acting or semi-automatic. This enables a youngster to run six looms at the same time. Thus, for simple calicos, the power loom became more economical to run than the hand loom – with complex patterning that used a dobby or Jacquard head, jobs were still put out to handloom weavers until the 1870s. Incremental changes were made such as the Dickinson Loom, culminating in the Keighley-born inventor Northrop, who was working for the Draper Corporation in Hopedale producing the fully automatic Northrop Loom. This loom recharged the shuttle when the pirn was empty. The Draper E and X models became the leading products from 1909. They were challenged by synthetic fibres such as rayon. By 1942, faster, more efficient, and shuttleless Sulzer and rapier looms had been introduced. Modern industrial looms can weave at 2,000 weft insertions per minute.
WEFT INSERTION
Different types of looms are most often defined by the way that the weft, or pick, is inserted into the warp. Many advances in weft insertion have been made in order to make manufactured cloth more cost effective. There are five main types of weft insertion and they are as follows:
Shuttle: The first-ever powered looms were shuttle-type looms. Spools of weft are unravelled as the shuttle travels across the shed. This is very similar to projectile methods of weaving, except that the weft spool is stored on the shuttle. These looms are considered obsolete in modern industrial fabric manufacturing because they can only reach a maximum of 300 picks per minute.
Air jet: An air-jet loom uses short quick bursts of compressed air to propel the weft through the shed in order to complete the weave. Air jets are the fastest traditional method of weaving in modern manufacturing and they are able to achieve up to 1,500 picks per minute. However, the amounts of compressed air required to run these looms, as well as the complexity in the way the air jets are positioned, make them more costly than other looms.
Water jet: Water-jet looms use the same principle as air-jet looms, but they take advantage of pressurized water to propel the weft. The advantage of this type of weaving is that water power is cheaper where water is directly available on site. Picks per minute can reach as high as 1,000.
Rapier loom: This type of weaving is very versatile, in that rapier looms can weave using a large variety of threads. There are several types of rapiers, but they all use a hook system attached to a rod or metal band to pass the pick across the shed. These machines regularly reach 700 picks per minute in normal production.
Projectile: Projectile looms utilize an object that is propelled across the shed, usually by spring power, and is guided across the width of the cloth by a series of reeds. The projectile is then removed from the weft fibre and it is returned to the opposite side of the machine so it can get reused. Multiple projectiles are in use in order to increase the pick speed. Maximum speeds on these machines can be as high as 1,050 ppm.
SHEDDING
DOBBY LOOMS
A dobby loom is a type of floor loom that controls the whole warp threads using a dobby head. Dobby is a corruption of "draw boy" which refers to the weaver's helpers who used to control the warp thread by pulling on draw threads. A dobby loom is an alternative to a treadle loom, where multiple heddles (shafts) were controlled by foot treadles – one for each heddle.
JACQUARD LOOMS
The Jacquard loom is a mechanical loom, invented by Joseph Marie Jacquard in 1801, which simplifies the process of manufacturing textiles with complex patterns such as brocade, damask and matelasse. The loom is controlled by punched cards with punched holes, each row of which corresponds to one row of the design. Multiple rows of holes are punched on each card and the many cards that compose the design of the textile are strung together in order. It is based on earlier inventions by the Frenchmen Basile Bouchon (1725), Jean Baptiste Falcon (1728) and Jacques Vaucanson (1740) To call it a loom is a misnomer, a Jacquard head could be attached to a power loom or a hand loom, the head controlling which warp thread was raised during shedding. Multiple shuttles could be used to control the colour of the weft during picking. The Jacquard loom is the predecessor to the punch card computers of the 19th and 20th centuries.
CICULAR LOOMS
A circular loom is used to create a seamless tube of fabric for products such as hosiery, sacks, clothing, fabric hose (such as fire hose) and the like. Circular looms can be small jigs used for circular knitting or large high-speed machines for modern garments. Modern circular looms use up to ten shuttles driven from below in a circular motion by electromagnets for the weft yarns, and cams to control the warp threads. The warps rise and fall with each shuttle passage, unlike the common practice of lifting all of them at once.
SYMBOLISM AND CULTURAL SIGNIFICANCE
The loom is a symbol of cosmic creation and the structure upon which individual destiny is woven. This symbolism is encapsulated in the ancient Greek myth of Arachne who was changed into a spider by the goddess Athene, who was jealous of her skill at the godlike craft of weaving. In Maya Cultures the goddess Ixchel who is symbolized by the moon, taught the first woman how to weave at the beginning of time.
WIKIPEDIA
A loom is a device used to weave cloth and tapestry. The basic purpose of any loom is to hold the warp threads under tension to facilitate the interweaving of the weft threads. The precise shape of the loom and its mechanics may vary, but the basic function is the same.
ETYMOLOGY
The word "loom" is derived from the Old English geloma, formed from ge-(perfective prefix) and loma, a root of unknown origin; this meant a utensil, tool, or machine of any kind. In 1404 it was used to mean a machine to enable weaving thread into cloth. By 1838, it had gained the meaning of a machine for interlacing thread.
WEAVING
Weaving is done by intersecting the longitudinal threads, the warp, i.e. "that which is thrown across", with the transverse threads, the weft, i.e. "that which is woven".
The major components of the loom are the warp beam, heddles, harnesses or shafts (as few as two, four is common, sixteen not unheard of), shuttle, reed and takeup roll. In the loom, yarn processing includes shedding, picking, battening and taking-up operations. These are the principal motions.
Shedding. Shedding is the raising of part of the warp yarn to form a shed (the vertical space between the raised and unraised warp yarns), through which the filling yarn, carried by the shuttle, can be inserted, forming the weft. On the modern loom, simple and intricate shedding operations are performed automatically by the heddle or heald frame, also known as a harness. This is a rectangular frame to which a series of wires, called heddles or healds, are attached. The yarns are passed through the eye holes of the heddles, which hang vertically from the harnesses. The weave pattern determines which harness controls which warp yarns, and the number of harnesses used depends on the complexity of the weave. Two common methods of controlling the heddles are dobbies and a Jacquard Head.
Picking. As the harnesses raise the heddles or healds, which raise the warp yarns, the shed is created. The filling yarn is inserted through the shed by a small carrier device called a shuttle. The shuttle is normally pointed at each end to allow passage through the shed. In a traditional shuttle loom, the filling yarn is wound onto a quill, which in turn is mounted in the shuttle. The filling yarn emerges through a hole in the shuttle as it moves across the loom. A single crossing of the shuttle from one side of the loom to the other is known as a pick. As the shuttle moves back and forth across the shed, it weaves an edge, or selvage, on each side of the fabric to prevent the fabric from raveling.
Battening. Between the heddles and the takeup roll, the warp threads pass through another frame called the reed (which resembles a comb). The portion of the fabric that has already been formed but not yet rolled up on the takeup roll is called the fell. After the shuttle moves across the loom laying down the fill yarn, the weaver uses the reed to press (or batten) each filling yarn against the fell. Conventional shuttle looms can operate at speeds of about 150 to 160 picks per minute.
There are two secondary motions, because with each weaving operation the newly constructed fabric must be wound on a cloth beam. This process is called taking up. At the same time, the warp yarns must be let off or released from the warp beams. To become fully automatic, a loom needs a tertiary motion, the filling stop motion. This will brake the loom if the weft thread breaks. An automatic loom requires 0.125 hp to 0.5 hp to operate.
TYPES OF LOOMS
BACK STRAP LOOM
The back strap loom is a simple loom that has its roots in ancient civilizations. It consists of two sticks or bars between which the warps are stretched. One bar is attached to a fixed object and the other to the weaver, usually by means of a strap around the back. The weaver leans back and uses their body weight to tension the loom. On traditional looms, the two main sheds are operated by means of a shed roll over which one set of warps pass, and continuous string heddles which encase each of the warps in the other set. To open the shed controlled by the string heddles, the weaver relaxes tension on the warps and raises the heddles. The other shed is usually opened by simply drawing the shed roll toward the weaver.
Both simple and complex textiles can be woven on this loom. Width is limited to how far the weaver can reach from side to side to pass the shuttle. Warp faced textiles, often decorated with intricate pick-up patterns woven in complementary and supplementary warp techniques are woven by indigenous peoples today around the world. They produce such things as belts, ponchos, bags, hatbands and carrying cloths. Supplementary weft patterning and brocading is practiced in many regions. Balanced weaves are also possible on the backstrap loom. Today, commercially produced backstrap loom kits often include a rigid heddle.[
WARP-WEIGHTED LOOM
The warp-weighted loom is a vertical loom that may have originated in the Neolithic period. The earliest evidence of warp-weighted looms comes from sites belonging to the Starčevo culture in modern Serbia and Hungary and from late Neolithic sites in Switzerland. This loom was used in Ancient Greece, and spread north and west throughout Europe thereafter. Its defining characteristic is hanging weights (loom weights) which keep bundles of the warp threads taut. Frequently, extra warp thread is wound around the weights. When a weaver has reached the bottom of the available warp, the completed section can be rolled around the top beam, and additional lengths of warp threads can be unwound from the weights to continue. This frees the weaver from vertical size constraint.
DRAWLOOM
A drawloom is a hand-loom for weaving figured cloth. In a drawloom, a "figure harness" is used to control each warp thread separately. A drawloom requires two operators, the weaver and an assistant called a "drawboy" to manage the figure harness. The earliest confirmed drawloom fabrics come from the State of Chu and date c. 400 BC. Most scholars attribute the invention of the drawloom to the ancient Chinese, although some speculate an independent invention from ancient Syria since drawloom fabrics found in Dura-Europas are thought to date before 256 AD The draw loom for patterned weaving was invented in ancient China during the Han Dynasty. Chinese weavers and artisans used foot-powered multi-harness looms and jacquard looms for silk weaving and embroidery; both of which were cottage industries with imperial workshops. The Chinese-invented drawloom enhanced and sped up the production of silk and play a significant role in Chinese silk weaving. The loom was later introduced to Persia, India, and Europe.
HANDLOOM
A handloom is a simple machine used for weaving. In a wooden vertical-shaft looms, the heddles are fixed in place in the shaft. The warp threads pass alternately through a heddle, and through a space between the heddles (the shed), so that raising the shaft raises half the threads (those passing through the heddles), and lowering the shaft lowers the same threads — the threads passing through the spaces between the heddles remain in place. This was a great invention in the 13th century.
FLYING SHUTTLE
Hand weavers could only weave a cloth as wide as their armspan. If cloth needed to be wider, two people would do the task (often this would be an adult with a child). John Kay (1704–1779) patented the flying shuttle in 1733. The weaver held a picking stick that was attached by cords to a device at both ends of the shed. With a flick of the wrist, one cord was pulled and the shuttle was propelled through the shed to the other end with considerable force, speed and efficiency. A flick in the opposite direction and the shuttle was propelled back. A single weaver had control of this motion but the flying shuttle could weave much wider fabric than an arm’s length at much greater speeds than had been achieved with the hand thrown shuttle.
The flying shuttle was one of the key developments in weaving that helped fuel the Industrial Revolution. The whole picking motion no longer relied on manual skill and it was just a matter of time before it could be powered.
HAUTE-LISSE AND BASSE-LISSE LOOMS
Looms used for weaving traditional tapestry are classified as haute-lisse looms, where the warp is suspended vertically between two rolls. In basse-lisse looms, however, the warp extends horizontally between the two rolls.
RIBBON WEAVING
TRADITIONAL LOOMS
Several other types of hand looms exist, including the simple frame loom, pit loom, free-standing loom, and the pegged loom. Each of these can be constructed, and provide work and income in developing economies.
POWER LOOMS
Edmund Cartwright built and patented a power loom in 1785, and it was this that was adopted by the nascent cotton industry in England. The silk loom made by Jacques Vaucanson in 1745 operated on the same principles but was not developed further. The invention of the flying shuttle by John Kay was critical to the development of a commercially successful power loom. Cartwright's loom was impractical but the ideas behind it were developed by numerous inventors in the Manchester area of England where, by 1818, there were 32 factories containing 5,732 looms.
Horrocks loom was viable, but it was the Roberts Loom in 1830 that marked the turning point. Incremental changes to the three motions continued to be made. The problems of sizing, stop-motions, consistent take-up, and a temple to maintain the width remained. In 1841, Kenworthy and Bullough produced the Lancashire Loom which was self-acting or semi-automatic. This enables a youngster to run six looms at the same time. Thus, for simple calicos, the power loom became more economical to run than the hand loom – with complex patterning that used a dobby or Jacquard head, jobs were still put out to handloom weavers until the 1870s. Incremental changes were made such as the Dickinson Loom, culminating in the Keighley-born inventor Northrop, who was working for the Draper Corporation in Hopedale producing the fully automatic Northrop Loom. This loom recharged the shuttle when the pirn was empty. The Draper E and X models became the leading products from 1909. They were challenged by synthetic fibres such as rayon. By 1942, faster, more efficient, and shuttleless Sulzer and rapier looms had been introduced. Modern industrial looms can weave at 2,000 weft insertions per minute.
WEFT INSERTION
Different types of looms are most often defined by the way that the weft, or pick, is inserted into the warp. Many advances in weft insertion have been made in order to make manufactured cloth more cost effective. There are five main types of weft insertion and they are as follows:
Shuttle: The first-ever powered looms were shuttle-type looms. Spools of weft are unravelled as the shuttle travels across the shed. This is very similar to projectile methods of weaving, except that the weft spool is stored on the shuttle. These looms are considered obsolete in modern industrial fabric manufacturing because they can only reach a maximum of 300 picks per minute.
Air jet: An air-jet loom uses short quick bursts of compressed air to propel the weft through the shed in order to complete the weave. Air jets are the fastest traditional method of weaving in modern manufacturing and they are able to achieve up to 1,500 picks per minute. However, the amounts of compressed air required to run these looms, as well as the complexity in the way the air jets are positioned, make them more costly than other looms.
Water jet: Water-jet looms use the same principle as air-jet looms, but they take advantage of pressurized water to propel the weft. The advantage of this type of weaving is that water power is cheaper where water is directly available on site. Picks per minute can reach as high as 1,000.
Rapier loom: This type of weaving is very versatile, in that rapier looms can weave using a large variety of threads. There are several types of rapiers, but they all use a hook system attached to a rod or metal band to pass the pick across the shed. These machines regularly reach 700 picks per minute in normal production.
Projectile: Projectile looms utilize an object that is propelled across the shed, usually by spring power, and is guided across the width of the cloth by a series of reeds. The projectile is then removed from the weft fibre and it is returned to the opposite side of the machine so it can get reused. Multiple projectiles are in use in order to increase the pick speed. Maximum speeds on these machines can be as high as 1,050 ppm.
SHEDDING
DOBBY LOOMS
A dobby loom is a type of floor loom that controls the whole warp threads using a dobby head. Dobby is a corruption of "draw boy" which refers to the weaver's helpers who used to control the warp thread by pulling on draw threads. A dobby loom is an alternative to a treadle loom, where multiple heddles (shafts) were controlled by foot treadles – one for each heddle.
JACQUARD LOOMS
The Jacquard loom is a mechanical loom, invented by Joseph Marie Jacquard in 1801, which simplifies the process of manufacturing textiles with complex patterns such as brocade, damask and matelasse. The loom is controlled by punched cards with punched holes, each row of which corresponds to one row of the design. Multiple rows of holes are punched on each card and the many cards that compose the design of the textile are strung together in order. It is based on earlier inventions by the Frenchmen Basile Bouchon (1725), Jean Baptiste Falcon (1728) and Jacques Vaucanson (1740) To call it a loom is a misnomer, a Jacquard head could be attached to a power loom or a hand loom, the head controlling which warp thread was raised during shedding. Multiple shuttles could be used to control the colour of the weft during picking. The Jacquard loom is the predecessor to the punch card computers of the 19th and 20th centuries.
CICULAR LOOMS
A circular loom is used to create a seamless tube of fabric for products such as hosiery, sacks, clothing, fabric hose (such as fire hose) and the like. Circular looms can be small jigs used for circular knitting or large high-speed machines for modern garments. Modern circular looms use up to ten shuttles driven from below in a circular motion by electromagnets for the weft yarns, and cams to control the warp threads. The warps rise and fall with each shuttle passage, unlike the common practice of lifting all of them at once.
SYMBOLISM AND CULTURAL SIGNIFICANCE
The loom is a symbol of cosmic creation and the structure upon which individual destiny is woven. This symbolism is encapsulated in the ancient Greek myth of Arachne who was changed into a spider by the goddess Athene, who was jealous of her skill at the godlike craft of weaving. In Maya Cultures the goddess Ixchel who is symbolized by the moon, taught the first woman how to weave at the beginning of time.
WIKIPEDIA
A loom is a device used to weave cloth and tapestry. The basic purpose of any loom is to hold the warp threads under tension to facilitate the interweaving of the weft threads. The precise shape of the loom and its mechanics may vary, but the basic function is the same.
ETYMOLOGY
The word "loom" is derived from the Old English geloma, formed from ge-(perfective prefix) and loma, a root of unknown origin; this meant a utensil, tool, or machine of any kind. In 1404 it was used to mean a machine to enable weaving thread into cloth. By 1838, it had gained the meaning of a machine for interlacing thread.
WEAVING
Weaving is done by intersecting the longitudinal threads, the warp, i.e. "that which is thrown across", with the transverse threads, the weft, i.e. "that which is woven".
The major components of the loom are the warp beam, heddles, harnesses or shafts (as few as two, four is common, sixteen not unheard of), shuttle, reed and takeup roll. In the loom, yarn processing includes shedding, picking, battening and taking-up operations. These are the principal motions.
Shedding. Shedding is the raising of part of the warp yarn to form a shed (the vertical space between the raised and unraised warp yarns), through which the filling yarn, carried by the shuttle, can be inserted, forming the weft. On the modern loom, simple and intricate shedding operations are performed automatically by the heddle or heald frame, also known as a harness. This is a rectangular frame to which a series of wires, called heddles or healds, are attached. The yarns are passed through the eye holes of the heddles, which hang vertically from the harnesses. The weave pattern determines which harness controls which warp yarns, and the number of harnesses used depends on the complexity of the weave. Two common methods of controlling the heddles are dobbies and a Jacquard Head.
Picking. As the harnesses raise the heddles or healds, which raise the warp yarns, the shed is created. The filling yarn is inserted through the shed by a small carrier device called a shuttle. The shuttle is normally pointed at each end to allow passage through the shed. In a traditional shuttle loom, the filling yarn is wound onto a quill, which in turn is mounted in the shuttle. The filling yarn emerges through a hole in the shuttle as it moves across the loom. A single crossing of the shuttle from one side of the loom to the other is known as a pick. As the shuttle moves back and forth across the shed, it weaves an edge, or selvage, on each side of the fabric to prevent the fabric from raveling.
Battening. Between the heddles and the takeup roll, the warp threads pass through another frame called the reed (which resembles a comb). The portion of the fabric that has already been formed but not yet rolled up on the takeup roll is called the fell. After the shuttle moves across the loom laying down the fill yarn, the weaver uses the reed to press (or batten) each filling yarn against the fell. Conventional shuttle looms can operate at speeds of about 150 to 160 picks per minute.
There are two secondary motions, because with each weaving operation the newly constructed fabric must be wound on a cloth beam. This process is called taking up. At the same time, the warp yarns must be let off or released from the warp beams. To become fully automatic, a loom needs a tertiary motion, the filling stop motion. This will brake the loom if the weft thread breaks. An automatic loom requires 0.125 hp to 0.5 hp to operate.
TYPES OF LOOMS
BACK STRAP LOOM
The back strap loom is a simple loom that has its roots in ancient civilizations. It consists of two sticks or bars between which the warps are stretched. One bar is attached to a fixed object and the other to the weaver, usually by means of a strap around the back. The weaver leans back and uses their body weight to tension the loom. On traditional looms, the two main sheds are operated by means of a shed roll over which one set of warps pass, and continuous string heddles which encase each of the warps in the other set. To open the shed controlled by the string heddles, the weaver relaxes tension on the warps and raises the heddles. The other shed is usually opened by simply drawing the shed roll toward the weaver.
Both simple and complex textiles can be woven on this loom. Width is limited to how far the weaver can reach from side to side to pass the shuttle. Warp faced textiles, often decorated with intricate pick-up patterns woven in complementary and supplementary warp techniques are woven by indigenous peoples today around the world. They produce such things as belts, ponchos, bags, hatbands and carrying cloths. Supplementary weft patterning and brocading is practiced in many regions. Balanced weaves are also possible on the backstrap loom. Today, commercially produced backstrap loom kits often include a rigid heddle.[
WARP-WEIGHTED LOOM
The warp-weighted loom is a vertical loom that may have originated in the Neolithic period. The earliest evidence of warp-weighted looms comes from sites belonging to the Starčevo culture in modern Serbia and Hungary and from late Neolithic sites in Switzerland. This loom was used in Ancient Greece, and spread north and west throughout Europe thereafter. Its defining characteristic is hanging weights (loom weights) which keep bundles of the warp threads taut. Frequently, extra warp thread is wound around the weights. When a weaver has reached the bottom of the available warp, the completed section can be rolled around the top beam, and additional lengths of warp threads can be unwound from the weights to continue. This frees the weaver from vertical size constraint.
DRAWLOOM
A drawloom is a hand-loom for weaving figured cloth. In a drawloom, a "figure harness" is used to control each warp thread separately. A drawloom requires two operators, the weaver and an assistant called a "drawboy" to manage the figure harness. The earliest confirmed drawloom fabrics come from the State of Chu and date c. 400 BC. Most scholars attribute the invention of the drawloom to the ancient Chinese, although some speculate an independent invention from ancient Syria since drawloom fabrics found in Dura-Europas are thought to date before 256 AD The draw loom for patterned weaving was invented in ancient China during the Han Dynasty. Chinese weavers and artisans used foot-powered multi-harness looms and jacquard looms for silk weaving and embroidery; both of which were cottage industries with imperial workshops. The Chinese-invented drawloom enhanced and sped up the production of silk and play a significant role in Chinese silk weaving. The loom was later introduced to Persia, India, and Europe.
HANDLOOM
A handloom is a simple machine used for weaving. In a wooden vertical-shaft looms, the heddles are fixed in place in the shaft. The warp threads pass alternately through a heddle, and through a space between the heddles (the shed), so that raising the shaft raises half the threads (those passing through the heddles), and lowering the shaft lowers the same threads — the threads passing through the spaces between the heddles remain in place. This was a great invention in the 13th century.
FLYING SHUTTLE
Hand weavers could only weave a cloth as wide as their armspan. If cloth needed to be wider, two people would do the task (often this would be an adult with a child). John Kay (1704–1779) patented the flying shuttle in 1733. The weaver held a picking stick that was attached by cords to a device at both ends of the shed. With a flick of the wrist, one cord was pulled and the shuttle was propelled through the shed to the other end with considerable force, speed and efficiency. A flick in the opposite direction and the shuttle was propelled back. A single weaver had control of this motion but the flying shuttle could weave much wider fabric than an arm’s length at much greater speeds than had been achieved with the hand thrown shuttle.
The flying shuttle was one of the key developments in weaving that helped fuel the Industrial Revolution. The whole picking motion no longer relied on manual skill and it was just a matter of time before it could be powered.
HAUTE-LISSE AND BASSE-LISSE LOOMS
Looms used for weaving traditional tapestry are classified as haute-lisse looms, where the warp is suspended vertically between two rolls. In basse-lisse looms, however, the warp extends horizontally between the two rolls.
RIBBON WEAVING
TRADITIONAL LOOMS
Several other types of hand looms exist, including the simple frame loom, pit loom, free-standing loom, and the pegged loom. Each of these can be constructed, and provide work and income in developing economies.
POWER LOOMS
Edmund Cartwright built and patented a power loom in 1785, and it was this that was adopted by the nascent cotton industry in England. The silk loom made by Jacques Vaucanson in 1745 operated on the same principles but was not developed further. The invention of the flying shuttle by John Kay was critical to the development of a commercially successful power loom. Cartwright's loom was impractical but the ideas behind it were developed by numerous inventors in the Manchester area of England where, by 1818, there were 32 factories containing 5,732 looms.
Horrocks loom was viable, but it was the Roberts Loom in 1830 that marked the turning point. Incremental changes to the three motions continued to be made. The problems of sizing, stop-motions, consistent take-up, and a temple to maintain the width remained. In 1841, Kenworthy and Bullough produced the Lancashire Loom which was self-acting or semi-automatic. This enables a youngster to run six looms at the same time. Thus, for simple calicos, the power loom became more economical to run than the hand loom – with complex patterning that used a dobby or Jacquard head, jobs were still put out to handloom weavers until the 1870s. Incremental changes were made such as the Dickinson Loom, culminating in the Keighley-born inventor Northrop, who was working for the Draper Corporation in Hopedale producing the fully automatic Northrop Loom. This loom recharged the shuttle when the pirn was empty. The Draper E and X models became the leading products from 1909. They were challenged by synthetic fibres such as rayon. By 1942, faster, more efficient, and shuttleless Sulzer and rapier looms had been introduced. Modern industrial looms can weave at 2,000 weft insertions per minute.
WEFT INSERTION
Different types of looms are most often defined by the way that the weft, or pick, is inserted into the warp. Many advances in weft insertion have been made in order to make manufactured cloth more cost effective. There are five main types of weft insertion and they are as follows:
Shuttle: The first-ever powered looms were shuttle-type looms. Spools of weft are unravelled as the shuttle travels across the shed. This is very similar to projectile methods of weaving, except that the weft spool is stored on the shuttle. These looms are considered obsolete in modern industrial fabric manufacturing because they can only reach a maximum of 300 picks per minute.
Air jet: An air-jet loom uses short quick bursts of compressed air to propel the weft through the shed in order to complete the weave. Air jets are the fastest traditional method of weaving in modern manufacturing and they are able to achieve up to 1,500 picks per minute. However, the amounts of compressed air required to run these looms, as well as the complexity in the way the air jets are positioned, make them more costly than other looms.
Water jet: Water-jet looms use the same principle as air-jet looms, but they take advantage of pressurized water to propel the weft. The advantage of this type of weaving is that water power is cheaper where water is directly available on site. Picks per minute can reach as high as 1,000.
Rapier loom: This type of weaving is very versatile, in that rapier looms can weave using a large variety of threads. There are several types of rapiers, but they all use a hook system attached to a rod or metal band to pass the pick across the shed. These machines regularly reach 700 picks per minute in normal production.
Projectile: Projectile looms utilize an object that is propelled across the shed, usually by spring power, and is guided across the width of the cloth by a series of reeds. The projectile is then removed from the weft fibre and it is returned to the opposite side of the machine so it can get reused. Multiple projectiles are in use in order to increase the pick speed. Maximum speeds on these machines can be as high as 1,050 ppm.
SHEDDING
DOBBY LOOMS
A dobby loom is a type of floor loom that controls the whole warp threads using a dobby head. Dobby is a corruption of "draw boy" which refers to the weaver's helpers who used to control the warp thread by pulling on draw threads. A dobby loom is an alternative to a treadle loom, where multiple heddles (shafts) were controlled by foot treadles – one for each heddle.
JACQUARD LOOMS
The Jacquard loom is a mechanical loom, invented by Joseph Marie Jacquard in 1801, which simplifies the process of manufacturing textiles with complex patterns such as brocade, damask and matelasse. The loom is controlled by punched cards with punched holes, each row of which corresponds to one row of the design. Multiple rows of holes are punched on each card and the many cards that compose the design of the textile are strung together in order. It is based on earlier inventions by the Frenchmen Basile Bouchon (1725), Jean Baptiste Falcon (1728) and Jacques Vaucanson (1740) To call it a loom is a misnomer, a Jacquard head could be attached to a power loom or a hand loom, the head controlling which warp thread was raised during shedding. Multiple shuttles could be used to control the colour of the weft during picking. The Jacquard loom is the predecessor to the punch card computers of the 19th and 20th centuries.
CICULAR LOOMS
A circular loom is used to create a seamless tube of fabric for products such as hosiery, sacks, clothing, fabric hose (such as fire hose) and the like. Circular looms can be small jigs used for circular knitting or large high-speed machines for modern garments. Modern circular looms use up to ten shuttles driven from below in a circular motion by electromagnets for the weft yarns, and cams to control the warp threads. The warps rise and fall with each shuttle passage, unlike the common practice of lifting all of them at once.
SYMBOLISM AND CULTURAL SIGNIFICANCE
The loom is a symbol of cosmic creation and the structure upon which individual destiny is woven. This symbolism is encapsulated in the ancient Greek myth of Arachne who was changed into a spider by the goddess Athene, who was jealous of her skill at the godlike craft of weaving. In Maya Cultures the goddess Ixchel who is symbolized by the moon, taught the first woman how to weave at the beginning of time.
WIKIPEDIA
This precise wyvern is one of the treasures of the Ben-Amian forest. It is one of the most rear of all the wyvern's. It's beard is of pure christal and her eyes are of it too. It's a very fearfull creature, but loving and nice. Because of it's value people want to catch it ant kill it. And now its the wyvern of Rolof the Wizard.
I was on the bluff top watching this Osprey hunting along the shoreline. Having gotten to know this birds perching habits I intentionally positioned myself about 50 feet behind one it's main cliffside haunt. This allowed me to capture its precise landing from behind it on the cliff's edge, about 200 feet above the shoreline. Explore March 14.