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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.
When was the world's first railway laid? No one is quite confident on a precise date but simple rails have been used to guide vehicles for centuries, definitely as far back as the middle ages and possibly even in ancient Greece.
What is certain is that in the early 1600s a Nottinghamshire businessman called Huntingdon Beaumont came to Northumberland and laid rails from collieries near Blyth to a shipping point on the coast.
His waggonway used horses hauling wooden waggons on wooden wheels on wooden rails, however this was not a financial success. It did though provide the spark of progression from primitive wooden rails over short distances, to a railway network which would change Britain and the world forever.
Tyneside Roads
From the mid 1600 onwards waggonways and the Tyneside coal industry became linked so closely that they were known throughout the rest of Britain as 'Tyneside Roads'. A network of lines linked collieries on both sides of the Tyne to the river.
It is no coincidence that the North East was the area where waggonways took greatest hold, because canal building was impossible due to deep valleys and steep hills. What set the rail systems of Tyneside apart from all others was its use of the flanged wheel - a key element of the modern railway as we know it.
A revelation
When the Tanfield Railway - or waggonway as it was known at the time - was built in 1725, it was a revelation. Its massive engineering was unlike anything else in its era, or even since the Roman Empire. It was a triumph of engineering over nature, a clear signal that a new industrial age was upon the world, and that railways would play a massive part.
First laid down more than a quarter of a century before the first railway officially sanctioned by government, over 75 years before the first steam locomotive and a whole 100 years earlier than the Stockton and Darlington Railway, the Tanfield Railway is the world's oldest railway. We will be the first railway to celebrate our tricentenary in 2025.
A more precise drawing showing the spiral paths through the "time" dimension (down=blue(-) and up=yellow(+)).
Wilbur's path:
> Red (+spacetime)
> Yellow (+timespace)
> Green (-spacetime)
> Blue (-timespace)
> Red (+spacetime) ... etc...
With this device Wilbur can "stop" his spacetime.
Like the Wilbur's racetrack, this drawing is also a Space-Time diagram where the horizontal axis represents space and the vertical axis represents time.
However, in this drawing the metric is different. The two "Timespace" axes are curved so in that part of the drawing, radial distance represents time and space goes "in and out" of the drawing (on the z-axis).
In both the spacetime and timespace diagrams, proper time (the time Wilbur sees on his clock) is represented by the length of the line he follows as he traverses the 4 helical spiral paths.
A stationary observer's clock rate (as seen by Wilbur) is represented by the pitch angle of his helical path through the Spacetime Trumpet.
About fifty years earlier to be precise. It started off as a not very well partially made Will's white metal kit. I more or less had to desconstruct it then rebuild it from scratch. It was designed to be mounted on a Triang Brittania chassis. So I bought one second hand (cheapskate) and bingo a Peppercorn A1.
The Peppercorn A1 and A2's never really captured the enthusiast imagination as did Gresley's stuff. But from a traffic point of view they were very reliable and certainly clocked up the miles. Some of them exceding one million miles within about twelve years.LMS affictionados will try and tell you the mileages were fiddled, but they weren't. They were calculated on drivers' tickets which they filled in at the end of every shift, so their pay could be calculated. But a record was also kept of which engine they had used and it was then added to its mileage record. I know this because I was employed as a clerk at York MPD, when I first joined the railway and that was what we did.
Luckily there are two preseved Peppercorns in existance, the new build A1 Tornado and the A2 Blue Peter, although IMHO I think it doubtful the latter will ever run again.
Wheel Details
Brand: COR Wheels
Wheel Model: Precise
Series: Classic
Available in
Diameters: 20″, 21″, 22″ (Classic Step Construction)
19″, 20″, 21″ (Modern Straight Lip)
Widths: from 7.5″ to 13″
Contact Info
Web: www.corwheels.com/precise/
Phone: 305.477.5850
Email: info@corwheels.com
Stay in the loop
although as precise as a seasoned surgeon and stealthy as a stalking lion, her movements were too quick to capture without blur.
Northern Premier League
Workington 1 Frickley 1
Atten 402
On two previous occasions i have got within touching distance of visiting Borough Park. To be precise it was 2.5 miles in 2013 and just two months ago only 2 miles. All this after many years of wanting to visit this historic non league ground. Well today i finally made it. I arrived in glorious Cumbrian sunshine only to see it looking fantastic.
The superb welcome given by the Clubs Officials made you feel at home immediately.
Borough Park is dripping in history. During the 1957/58 season they played the great Manchester United team known as the Busby Babes at home in the 3rd round of the FA Cup, attracting a record crowd of 21,000. This was just a month before eight of the United players lost their lives in the Munich air disaster, the same room a Frickley changed in today.
There are plenty of reminders of former manager Bill Shankly hanging proudly in the lounge. There is also plenty of fantastic steep terracing and spacious stands. I can only imagine what it would feel like to attend a big occasion night game here under the lights with a full house cheering the Reds on.
Frickley played really well, carrying on from their midweek thrashing of FCUM. In fact they they should have won it with three excellent chances in the last ten minutes, best of all the half-volley miss by goal machine Allott. It was just inches wide from sealing all three points for the team from the Yorkshire pit village.
Yes it has been a very long wait to visit Borough Park but it has been well worth it. Shame i did not have enough time to visit Workington Town Rugby League Club across the road, as it looks a fantastic ground. Not a problem really, as it gives me an excuse to return ...... as long as they call me "marra".
With precise attention to detail and using dimensions and specifications from the original rifle, the craftsmen at Turnbull Mfg. Co have re-created one of the most famous Winchester rifles ever produced. The production of this “TR Model 1876” will be limited to no more than 25 rifles. Each rifle will be individually numbered TR01-TR25 and will come in a custom display case. A portion of the proceeds from the sale of each rifle will benefit the Doug Turnbull Restoration Conservation Laboratory at the National Firearms Museum. Specifications: 45-75 caliber, button magazine, fancy pistol grip butt stock, 28" 1/2 round, 1/2 octagon barrel, steel grip cap, cheek piece stock, H-pattern checkering, checkered steel buttplate, Freund rear sight, sporting front sight, gold inlaid stock oval, color case hardened receiver.
This model is a wonderful example of massive use of technology for precise and speedy production of a small scale architectural model. The whole building, windows, doors, skylights, solar arrays, walkways and landscape walls are all SLA made. The topography is CNC carved. All locks and connections are included in the 3D digital model that we created. All that left to do is to assemble the model, paint and decorate it. The scale was matched to the standard Z scale, in order to use high quality off-shelf scenery elements - read more about Scale and Scale Selection in Model Making Knowledge Base at www.lifeinscale.net/mm_knowledge_scale.asp
Such massive use of technology allowed us to complete the model in just a few days and meet a deadline which would be impossible otherwise.
See more photos and 3D renderings of the model at www.lifeinscale.net/The_Putney_School_model.asp
Visit www.lifeinscale.net for more models and photos.
This being a sacred religious site the fitting of the stones was unbelievably precise as seen from the fit between individual stones.
Stones in the most handsome buildings throughout the Inca Empire used no mortar. These stones were cut so precisely, and wedged so closely together, that a credit card cannot be inserted between them. Aside from the obvious aesthetic benefits of this building style, there are engineering advantages. Peru is a seismically unstable country—both Lima and Cusco have been leveled by earthquakes—and Machu Picchu itself was constructed atop two fault lines. When an earthquake occurs, the stones in an Inca building are said to “dance;” that is, they bounce through the tremors and then fall back into place. Without this building method, many of the best known buildings at Machu Picchu would have collapsed long ago.
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
With precise attention to detail and using dimensions and specifications from the original rifle, the craftsmen at Turnbull Mfg. Co have re-created one of the most famous Winchester rifles ever produced. The production of this “TR Model 1876” will be limited to no more than 25 rifles. Each rifle will be individually numbered TR01-TR25 and will come in a custom display case. A portion of the proceeds from the sale of each rifle will benefit the Doug Turnbull Restoration Conservation Laboratory at the National Firearms Museum. Specifications: 45-75 caliber, button magazine, fancy pistol grip butt stock, 28" 1/2 round, 1/2 octagon barrel, steel grip cap, cheek piece stock, H-pattern checkering, checkered steel buttplate, Freund rear sight, sporting front sight, gold inlaid stock oval, color case hardened receiver.
More information, genuine customer reviews and ratings on
First2savvv XJPT-G7X-10 dark brown full body Precise Fit PU leather digital camera case bag cover with should strap for Canon PowerShot G7X:
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It's hard to be precise in matching the top photo, taken in 1965, because so much has changed. That photo was taken just before the Don Valley Parkway was constructed to just north of Sheppard Avenue, taking up the course of what was, at the time, Woodbine Avenue. My shot, at the bottom, was taken in 2010 and approximates the same view, to within a few dozen meters or so, give or take. These views face west towards Woodbine Avenue and the overpass over Hwy 404 respectively. Incidental: notice the price of gas in 1965: 42.9¢ a gallon. We no longer sell gas in gallons; however, on the day I took the lower shot, January 9, 2010, gas was selling locally for $1.007 a liter. There are 4.546 liters in an imperial gallon, which yields a price per gallon in January, 2010, of $4.578 a gallon.
You stand to get an even better idea of just how much this intersection changed by clicking the map link in the "Additional Information" section on the right and selecting the satellite view.
Precise location please
Originally uploaded for the Guess Where Group www.flickr.com/groups/guesswhereuk/</a
From UNESCO Tentative List of World Heritage Sites:
The tomb beside Alexandrovo village, discovered in December 2000, is a unique example of the domed Thracian tombs. Its construction was preliminarily dated from middle IV century B.C. and the wall painting decoration - from the second half of IV century B.C. (G. Kitov, 2001). It is situated under a mound of 60 m diameter and around 15 m high. It has East-West orientation, the entrance is from the East side and is composed of a dromos of above 9 m length, a rectangular antechamber with width of 1,85 m, length of 1,20 m, and a round camera with diameter of 3,30 m and 3,30 m height. The type of construction is stone one with a dry joint (dry walling). Particular decision represents the long dromos, covered with stone plates, and the low entrances to the antechamber and the chamber. The vault arch of the antechamber and the dome of the round chamber are of “artificial vault” type with console protruding stone quadrates. All the premises were entirely decorated with wall paintings. From the wall-paintings in the antechamber separate fragments remained, but the decoration of the round chamber is very well preserved. The decoration scheme is elaborated in horizontal zones of alternating monochrome sections, ornamental friezes and figural compositions, thus the system of decoration shows elements of the so called structural style. On the precise hewed stone construction a double layered lime plaster is impasted and smoothed up. The monochrome zones are performed in “stucco lustro” technique and their plaster surface is precisely polished. The painting technique can be determined as “fresco”. The differences in the line and proportions between the painted figures in the antechamber and in the dromos are most probably due to the participation in the painting process of at least two masters. The decoration of the round chamber is the richest one. From below upwards it consist of a figural frieze, a monochrome girdle, a high plinth in a Pompeian red, a drip with three elements – a cima lesbos, a meander and a cordon, second figural frieze with four groups of hunt-scenes, a belt of cima lesbos, above which the dome is painted in ochre. The plate in the zenith is divided in four colored sections. The low-situated figural frieze is considerably damaged. Of great interest is the very well preserved upper figural frieze. The painting represents four realistic and dynamically decided scenes of boar and deer hunting, which give rich information about the Thracians’ way of life, of their physical appearance, arms, horse-trappings etc.
The picture is from the museum and the copy of the Tomb.
A commercially scanned image from the mid nineties I think (sorry, I have no precise date). LMS Princess Royal Class 6201 Princess Elizabeth is about to go under the road bridge at Kenyon in Cheshire.
This line is now electrified.
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
Toute aide pour une identification précise serait appréciée.
Any help for identification will be much appreciated.
The precise spherical shape, the incredibly fragile nature of the microscopically thin soap film, the beautiful colors that swirl and shimmer, or most likely, a combination of all these phenomena
To perhaps be a little more precise, maybe I should have titled it Eastern Coyote. But the strain that we have here in Newfoundland is claimed to be different from the Eastern Coyote ... larger and with perhaps some wolf DNA thrown in for good measure ... in other words, a hybrid. Who knows? The only thing I know is, I've been looking for a shot of these critters for some time now and I've finally got a half decent one. It was taken at 8:43 PM, though, and the light was failing, so there's still room for improvement. :-) I've seen them a number of times before ... some even quite close, but never had time to get a shot. I've even 'hunted' them with a call ... without much success.
The coyote is not native to Newfoundland and theories abound as to how they got here. Some even claim our Newfoundland government, in their inestimable widsom, surreptiously introduced this species to keep down the moose population. I certainly wouldn't be surprised if that were true ... after all, they did introduce the moose back in 1904 and we all know what a problem that turned out to be. Also, in 1958,they introduced the Masked Shrew hoping that it would prove to be a check on the larch sawfly, a forest pest. If they did introduce the coyote to keep down the moose population, it certainly backfired on them, though. Because it's not the moose that's suffering as a result of their presence, but rather our native Woodland Caribou. These pests are responsible for killing large numbers of them.
Most likely though they introduced themselves to this island province ... crossing over from Labrador on the pack ice which fills the Strait of Belle Isle in the wintertime. That body of water is only twelve miles wide at its shortest point, so it's not much of a stretch to see that happening.
We also have the wolf here now, too. So, it's anybody's guess how that got here. The wolf, after all, is said to be a significant predator of the coyote where their ranges overlap.
The other day something sad happened.
I know this is meant to be precise recording of my daily activities but it has taken me a couple of days to process what I really wanted to say.
For those of you who have been following this little adventure will remember that in February I mentioned that there was this little stray cat that made it's way into the factory complex I am in.
He/She was rather sickly when we first met. I decided to take on the task of occasionally giving it some food whenever I saw it.
Over the weeks that passed Bella decided that the best name to give it was Dom. It came from a number of conversations where I would often be a little despondent about the fact that I was spending sometimes my last bit of coin to buy food for the cat, and it would eat it and walk off. I would often feel a little rejected that the cat didn't stick around, even though I made, by this point, a really active decision to feed it the best I could.
The name came from the Michael Jackson's track "D.S."
The lyric "Dom Sheldon is a cold man" was kinda fitting to my feelings with the cat, that I would be the one that would feed it, yet also be the one that would have to watch it run away.
The shot above is the two little white plates I served food on, one was meat, one was dry food.
The plastic container was half for milk and the other half for water.
Over the period of this 365 there were a few shoots that I did out side and it was like the cat was a photographer in a past life… it would in the early days perch itself out of the back of one of the many trucks around here… just observing.
I would look back and see this little head fixed on every thing I was doing.
As time went on and I was going through a rather rough patch and couldn't see the beauty in any thing, I remember one of the shots I was not getting the right light, I was getting frustrated… and when I get frustrated I kinda like to curse.
I look over and see Dom, and there it was… sitting in the perfect sunlight to take the shot.
Like always I would thank the cat, and it would do it's thing by running away.
It was like that.
It was never touched by a human and just didn't know what to think of this 6"2" idiot gawking over it.
As time passed and I would sit outside drawing sketches it would come and sit around me.
Just staring at me.
It would always stay it's mandatory 3 feet away…
But, I would talk to it and ask it questions.
It must of thought I was a nutter.
Anyways, as time passed and I fed it and it kept me company in the only way it knew.
It began to teach me something.
It taught me that our expectations on how another person should return love, was just that, our own perceptions.
We are brought up by what ever means and along the way it is often ingrained that a certain "quid pro quo" deal comes with any relationship.
You do something, you have an expectation based on your perception of what you should receive in return.
When it fails, then you question why you continue with your deliverance actions, if your receiving expectations are not met.
Can I just say, that this is something I am learning to change in myself.
Because what we expect to get out of a relationship, can often be the demise of actually learning anything from the relationship.
I see a lot of people expecting quotas to be met, or they walk.
They have a glass and if it is not filled in the ways they like it, then they move on to someone or something that does make them feel that sense of completeness.
I learnt from my relationship from Dom, that if I was to do that and expect him to turn around and say "Ok dude, you are feeding me, I am now yours. You can call me your cat, we can pat a couple of times in the day, and then we can go about our daily lives… you know what… lets have a formulated routine… sound good?"
You know what?
No it doesn't.
How are you expected to see a person shine, a person grow, a person evolve if your preconceived expectations are placed on them?
Isn't it better to see them be themselves and you find the beauty in the structure that is the fact that you have a bond?
That you might get along in one way, and that allowing them to be themselves, helps you grow.
You see them shoot across the sky and you can say… you know what? I know that person, and I respect them to the utmost degree?
Society and what programs it doesn't teach you that. It is more of a "get what you need, or move on" sort of approach.
Well, little mate Dom, you have successfully taught me the other.
I may of never got to fall asleep whilst watching a movie and have you purring at the end of the bed.
But, your little trends and idiosyncrasies really made me happy.
When you would see the car pull in… you would lift your head, look over and give me a look that would say "I will be over when I have finished soaking in this direct sunlight".
That to me is respect.
That to me is understanding.
It is not an easy start, but by God, it pays off.
So anyways, back to the beginning
The other night I was sitting there like every night… and Dom was late.
It started to bother me, as I hadn't seen him for most part of the day, and that was a little strange… cause usually in the morning it really wanted breakfast.
After about an hour of waiting and writing some notes, I hear this clanking… I get up, and walk around looking for the noise.
It was Dom.
It was walking 3 steps and falling over.
It would get back up and walk 3 more steps and collapse.
I walked over to it…
I then noticed it had been struck by something. It's hind leg was dangling like a tea bag.
It looked up at me… and was crying.
I fed it, then wrapped it up.
For the first time it purred when I patted it.
It's swelling was getting worse.
I ran upstairs to call a vet… thinking that would be the normal thing to do.
By the time I had gotten back down, Dom was gone.
The clothe shaken off… Dom had disappeared into the night.
Never to be seen again.
I spose that's the life it knew. It was the way it knew how to deal with it's present situation.
I have to respect that.
So, this shot goes out to Dom. Thank you for all you taught me.
I miss you terribly…
but I loved that you always were yourself. You made me mad. You made me happy. You have made me sad.
You taught me a valuable lesson in understanding.
Thank you little cat.
I love you.
Ryan.
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
Female Allergory
Early 16th century. Marble. From the Habsburg-Este Collection
This charming sculpture with a sophisticated haristyle and finely modelled features is reminiscent of a private portrait. The "Greek" nose, however, is not typical of an individual portrait and - like the highly detailled hair - is indebted to the depictions of gods and goddesses of classical antiquity.
Thus this is most likely a decorative allegory, perhaps of one of the virtues or a personification, auch as Spring or Youth. There must have been more precise indications of the meaning on the bust, which has been lost.
Simone Bianco, zugeschrieben (1480-90 - ca. 1553), tätig in Venedig
Weibliche Allegorie
Frühes 16. Jahrhundert, Marmor. Aus der Sammlung Habsburg-Este.
Das reizvolle Bildnis mit seiner raffinierten Frisur und den fein modellierten Gesichtszügen lässt an ein Privatpoträt denken. Für eine individuelle Darstellung ist jedoch die "griechische" Nase untypisch und - wie die detailverliebte Frisur - antiken Götterdarstellungen verpflichtet. Es handelt sich daher wohl eher um eine dekorative Allegorie, vielleicht um eine Tugend oder eine Personifikation wie der Frühling oder die Jugend. Genauere Hinweise zur Deutung befanden sich zweifellos auf der heute verlorenen Büste.
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
2009-2019: Sabine Haag as general director
2019– : Eike Schmidt (art historian, designated)
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
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Stay in the loop
This is a photo of the Jens Olsen World Clock at Copenhagen City Hall. It is the world's most precise mechanical clock and second only to Atomic Clocks for accuracy. It also has the slowest turning gear in the world.
Christ Church, Ipswich, Suffolk
This fine Victorian building is part of the busy life of central Ipswich. To be more precise, this is really a collection of buildings, what was known in the 19th Century as 'an ecclesiastical village'. Perhaps the most well-known of these is the red brick former school, at the western end of the site, which appears to be in pretty much constant use. I know it well from dropping my daughter off for brownies. Secluded at the back of the site is that rare thing, an urban non-conformist graveyard.
The church is today known as Christ Church, and if you look at the noticeboard you will see that its denomination is Baptist/URC. In fact, this building is now the home of several former Ipswich congregations, who have made their way here as their numbers shrunk, and they sold out and moved in here. Most of the other churches are now lost to us, and so this building survives as a memory of our Ipswich non-conformist forebears.
The frontage on to Tacket Street is rather clumsy, the stubby towers appearing to serve no purpose. In fact, if you had come this way before the 1970s you would have seen them surmounted by elegant spires, but these have now gone. It would be good to see them back, although understandably aesthetics are generally not a priority of non-conformist congregations. When the building was opened in January 1858, it was as the home of Tacket Street Congregational Church. But, in fact, it was not the first church on the site. Tacket Street is an ancient street - in medieval times it was home to the town house of the Wingfields, the last remnant of that building being shamefully demolished as recently as the 1990s. Congregationalists had established their first building on this site in the 1680s, at the time of the Act of Toleration, which allowed freedom of worship to all British citizens (as long as they were not Catholics, of course). The need for a new church was a symptom of the triumph of Congregationalism over other non-conformist denominations in East Anglian towns in the middle years of the 19th Century.
During the course of the next century and a half, Tacket Street Congregational established itself as the main focus of Congregationalism in what was its natural habitat, a busy working class industrial town. The building was extended eastwards towards its near neighbour St Pancras at the start of the 20th Century. But after the Second World War, the attractions of liberal non-conformism began to pale, and so other congregations jumped ship to here - there was the tiny rump of Ipswich Presbyterians, leaving Portman Road church to enter the new United Reformed church via the back door of Tacket Street, and the shrinking congregations of Crown Street Congregational, a fine Grecian building demolished for offices, and, more controversially, Turret Green Baptist church. Because of the arrival of the Baptists, Tacket Street Congregational was renamed Christ Church, but the Baptists who come here must be fairly liberal souls in comparison with the militancy of many of their compatriots in Ipswich's thriving Baptist churches.
Along with the interior of St Clement's Congregational church a few hundred metres away, the interior of Christ Church must be one of Ipswich's best kept secrets. It is magnificent. Best of all, the pews of the 1850s have survived (you can see where the organ used to be at the front, before it was moved further east). The grand pulpit of the earlier church survives, carved with fruit and flowers in the Grindling Gibbons style. It has a lockable door at the back to prevent excitable ministers from falling backwards down the steps.
I am told that there is a case being made by some members of the church to replace the numbered pews with modern chairs, but this should be greatly resisted. The pews here are one of the best examples of the work of the decade in all England. The gallery is superb - the best of any 19th Century church in Suffolk. In the 1970s, the interior was redecorated in vibrant whites and blues. The lady who showed me around regretted this, but I thought it had been done extremely well - the white paint of the gallery and roofs creates a feeling of light and space that is entirely successful, and unfamiliar. The congregation here should be proud of what they have done to maintain this building into the 21st Century.
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a friend of mine challenged me to participate in a recipe email round robin, which i shall.
today, i made this and prepared the following recipe for the round robin:
organic carrot-pumpkin-ginger soup
i'm never very precise about amounts and measurements, by the way.
ingredients:
one small pumpkin
one bag of organic carrots
two hefty chunks of ginger
2-3 sprigs of spring onions (scallions)
garlic
onion (yellow or white)
olive oil
sea salt
a modest dash of herbs (one could use fresh or dried thyme, possibly fresh basil, and, if you go for the variation noted below, you could also use fresh cilantro)
tasty things to use as garnish and flavour accents (such as home-made rosemary croutons, or sautéed chanterelles, or small pieces taken from a slab of artisan bacon, or roasted tofu, or roasted pumpkin seeds and fresh cilantro)
water (or a combi of water and unsweetened soy milk)
how to put it together:
first, one must open a bottle of red wine and pour oneself a very small glass. this helps loosen the shoulders and awaken the palate. it's also o.k. to make a cup of coffee or tea - but it will only make you more uptight in the end.
this soup starts with a pan-roasted hokkaido pumpkin, slow cooked in a bit of olive oil: into the cast iron frying pan it goes with four cloves of coarsely chopped garlic. the pumpkin does not need to be finely chopped. the organic carrots are then chopped into smaller pieces, and i immediately add the largest pieces of carrots to the slow cooking pumpkin... one continues to sautée until the pumpkin and carrots starts to lose a bit of resiliency (the point of the sautéeing is to introduce the olive oil flavour but also to take the hard edge off of the pumpkin).
i then add water, enough to cover, and the ginger... when the pumpkin is soft, i turn off the heat and let it cool.
at this point, my multitasking mind takes me to other activities.
i transfer all of the ingredients to a large stock pot, adding the smaller pieces of carrots, as well as half a semi-finely chopped white onion, and a bit of coarse sea salt. i also add more water - adjusting the amount to personal preferences (how thick do you want to soup to be will be determined by how much water you add - if in doubt, add less water).
all of this is brought to a sustained boil for about ten minutes, after which one significantly reduces the heat and allows the soup to slow cook for another 15 to 25 minutes, depending on preferences and what other activities you are already engaged in.
the heat is then turned off, and everything is allowed to cool for about fifteen minutes.
while cooling, i add the spring onions (scallions) - which have been roughly chopped - actually, just cut into five or six pieces each.
one then adds everything into a blender or food processor. purée everything, then serve (one can also serve the dish at a later time, but one should use caution when re-heating the soup: be sure that you don't boil the soup upon re-heating it. it will lose some of its colour and a lot of its flavour).
as a final touch to this finished purée, one could add the elements mentioned above under garnish and flavour accents, and one could also add a touch of creme fraiche. should the aforementioned pumpkin seeds be added, you could then garnish the soup with a bit of austrian pumpkin oil - carefully dribbling it over the soup after it has been distributed into bowls.
and, a variation of the above calls for replacing the olive oil with a smaller amount of sesame oil, while adding thai red curry to the broth - then, just before puréeing, one could add coconut milk, while later using cilantro (coriander) and vietnamese chili sauce as a garnish.
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
Heaven & Earth
1818-J-I Todds Lane, Todd Center, Hampton, VA
This location opened in 2009 and was originally located here.
Space J was originally JoAnn's Video, which opened in 1989. It became Audiophonics in the mid 1990s and Precise Auto Sounds in the mid 2000s.
Space I was originally Anthony's Cleaners, which opened in the late 1980s. It became a Wellworth Cleaners in March 1995, which was originally located here. It closed in the mid 2000s.
I had witnessed a Shikra (Accipiter badius, also known as Little Banded Goshawk) hunting a tiny White-Rumped Munia (Lonchura striata, also known as White-Rumped Mannikin) on 16-Jan-16 in Vedanthangal Bird Sanctuary. It had influenced me with surprise, shock, sadness and of course awe. The emotional concoction has come out as a 16-line Tamil Venbaa verse!
This is what happened (especially for those who do not know to read Tamil): While shooting for birds in a paddy field in Vedanthangal, was surprised to see about 5 White-Rumped Munias chirping happily around me in a thorny bush about 3 to 4 feet away from me. In fact, a couple even did come close to my hand's length. I started to wonder how did they trust me so much.
Just then, all of these munias took off and flew towards western direction. Just then, a Shikra attacked it from south in an almost 90-degree tangent to their flight path. Shikra did hit one of the 5 munias that were quick enough to maneuver and change the path. Was witnessing all this that happened in a matter of second while standing in the paddy field path.
The bird that was hit fell down in the paddy field and was flapping its wet wings. The field was filled with water for growing paddy crops, which were laid out in neat rows and were strutting out of water like short grasses (about a feet tall). Instinctively, I moved and tried to enter into the damp paddy field to save the possibly wounded bird.
However, in the next second or so, the shikra did a wonderful U-turn in mid-air and swooped down on to the struggling bird, picked it in its talons and flew to another path between the fields, which was about 30 meters from the spot where I was standing. Perhaps it was catching its breath. After all, shikra is a falcon and these raptors are cheetahs amongst birds, but many times faster and more efficient! After about half a minute, the pale colored shikra took off with the dark colored prey in its talons.
IMAGE INFO
- Precise location unknown - if someone with knowledge of where and what hotel this may have been at the time, I would appreciate the feedback!
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SOURCE INFO
- Taken by my late father-in-law, Australian Army Driver Tom Beazley of 1/2 Movement Control Group, Middle East Headquarters (Cairo), 2nd Australian Imperial Force while on short leave using a Kodak 120 roll-film folding camera.
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PROCESS INFO
- Original poor quality B&W image was digitized using a Canon Canoscan 8800F scanner.
- Latest version colourized & enhanced using ChatGPT+ AI, Topaz Gigapixel AI, Skylum Luminar Neo AI & Adobe Photoshop CS2 softwares.