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A security guard came and asked me what I was doing. I said taking photos of burning steel wool.. he said: oh ok.. but don't do anything crazy ok? have a good night... They should all be like that...
I learned a lot this afternoon from simply asking library staff if I could take some photos in the library. First of all, that no one whom I initially asked knew the answer to my question suggests that not many people take photos in the library, for whatever reason, for which reason the staff did not know whether or not I could take photos. Second, that the more I asked around, the more my question crept quietly up the chain of command, until at length the director of the library was asked, when she walked onto the premises after lunch, suggests that there is a centralized command in the library; in that regard, this institution is not organized in a similar manner to the way by which HKU is organized. Finally, that nobody knew the answer but rather than assume authority deferred to the director's discretion suggests that there are very few change agents, if any at all, in this institution. That isn't necessarily a bad thing, however, because this organization likely doesn't have to deal with major change at the moment: the best course of action is plodding straight ahead.
Likewise, no one whom I asked knew about the library's renovation cost and the cost of being a donor; but these staff members did point me to someone else who could possibly answer my question!
The lights were off in the men's washroom. It seems as if the washroom isn't used much. Inside the washroom, I noticed the automated sinks, urinals and paper towel dispenser -- that reminded me much of Hong Kong and South Korea; automation has arrived in America! In addition, I enjoyed the hot water flowing from the sinks. That was a pleasant surprise.
What impresses me the most about this library is the seating variety. There are not only many different types of seating furniture, but also many different environments in which these seats are placed: by windows; inside rooms; in seating areas; in corners. In addition, just as there were many different types of furniture looks, so there were, in fact, more broadly, many different, conspicuous areas in the library. They were clearly labeled to boot. In this way, this library shares its best feature with the City University of Hong Kong library: such a variety of learning spaces that surely one would find at least one type conducive toward studying. In this instance, I liked to study at the rectangular table in the cafe area. Many libraries, including the HKU library, could certainly improve its learning space by following the diversity model adopted by both the CityU library and the Livingston library.
What also makes this library conducive toward studying is its underuse. One could find a seat anywhere in the library: no squatting, thankfully. The shelves also seem underutilized. While on an individual basis, this surplus in seating is a boon, this surplus is lamentable for the community since it obviously isn't taking full advantage of this invaluable learning space!
I gushed about the effectiveness of the library's learning space to the staff. Perhaps they were amused that such a mundane environment to them could be so special to me.
Rectangular wooden lock with 4 countersunk mounting holes and covered iron works set inside. Gray under black paint on lock. Key accompanies lock. W; 6 7/8'", H" 4 3/8"; D: 3/4"
ACC# 79.686
See flic.kr/s/aHsm5dTDVz for additional pictures inside the Annex.
(Photo credit Bob Gundersen www.flickr.com/photos/bobphoto51/albums).
The Church of the Annunciation of the Blessed Virgin Mary, located in the southeast corner of the Lower Square in Olomouc, is a monastery church of the Capuchin order. Capuchins were brought to Olomouc by Cardinal Franz von Dietrichstein as early as 1615. The monastery church, however, wasn’t built until after the Thirty Years War.
The church was built by an unknown master builder between 1655 and 1661 as a simple single nave church with two side chapels and a rectangular presbytery. It was one of the first religious buildings in the city after the Swedish occupation of Olomouc (1642-1650). Unfortunately, not even the architect, whose work is considered very restrained, is known to us. The church’s layout belongs to typical Capuchin structures of the Mannerism period, built by the Capuchin order mainly in northwestern Europe. The nave has a barrel vault with lunettes, side chapels are vaulted over with cross vaults. The simple smooth main facade of the monastery church with a high triangular gable creates a significant urban landmark of the southern side of the Lower Square. The frontage is decorated with a mosaic above the entrance portal depicting the scene of the Annunciation. The stone entrance portal bears the date of commencement of construction of the church - the year 1655.
tourism.olomouc.eu/sights/cathedrals-churches-and-chapels...
Name
In the twelfth century, Olomuc and Olmuc were the first handed down name forms. In the fifteenth century an alleged first form Juliomontium (Julius hill) was assumed, according to Julius Caesar as the alleged founder. The original meaning is unclear. In the Czech, Olomouc means 'bare mountain' (Old Czech holy, 'bald' and mauc 'mountain'). The name of the city is in the Moravian-Haná dialect, a subgroup of the Middle-Moravian dialects of the Czech, Olomóc or Holomóc, in German language Ölmütz, in Polish Ołomuniec and in Latin Eburum or Olomucium.
History
Beginnings
At the end of the second century there was a Roman army camp, the northernmost known in Central Europe. Up to the fifth century there was a Germanic settlement.
In the late 7th century a first Slavic settlement arose in today's Povel district. Around 830 this was destroyed. A new castle was built on the Peter's hill (Předhrad), which was probably one of the important castles of the Moravian empire. In the ninth century three churches were built.
Přemyslidenstaat (Přemyslid dynasty)
Olomouc was first mentioned in writing in 1017 when Moravia became part of the Bohemian state of Přemysliden. In 1055 it was the seat of a separate part of the Principality. In 1063 the bishopric of Olomouc was founded by Vratislav II. Around 1070 a new castle was built. In 1077 the monastery Hradisko was founded. In 1126 Heinrich Zdik became a bishop.
At the beginning of the 13th century, the last prince of Olomouz died, Moravia was united and placed under the jurisdiction of a Margrave of the Přemyslids. In 1248, Olomouc was first mentioned as a royal town. In 1306, King Wenceslas III resided during a campaign to Poland in Olomouc, and was murdered here, which resulted in the extinction of the Přemyslids dynasty in the male family tree. The city developed economically very quickly and became the capital of Moravia.
In the Hussite wars, Olomouc was an integral part of the Catholic side. In the succession of the Charterhouse Dolein, which had been lost in the Hussite wars, the Charterhouse Olomouc was founded in 1443, which existed until the abolition in 1782. In the 16th century numerous palaces were built in the Renaissance style. In 1566 the Jesuits came to Olomouc. They founded a school which was raised to a university in 1573. In 1588, the bishop became an imperial prince.
17th and 18th centuries
In the Thirty Years' War the town was taken by the Swedes in 1642 and occupied for eight years. After the Thirty Years' War, the largely destroyed and depopulated city lost the status of the Moravian capital and abandoned it to Brno. Since a great deal of damage had been caused by fires, a detailed "fire extinguishing order" was issued in 1711, in which a number of preventive measures were also discussed.
On 26 December 1741, the city was occupied by the Prussians during the First Silesian War. After this event the fortifications were extensively expanded. A second siege by the Prussians in 1758 withstood the new fortification. In 1777, the diocese became an archbishopric.
In 1794-1797 the prominent French-American soldier and politician Marquis Lafayette was interned in Olomouc as a political prisoner of the Donaumonarchy, after being captured in Flanders by the French coalition in 1792, and then, for the time being, imprisoned by Prussia.
19th century
In 1841, the city received a railway connection. In the middle of 1845, the railway from Olomouc to Prague ("Northern State Railway") was put into operation (Olomouc-Moravská Třebová, Moravská Třebová-Prague). In 1848, the Archbishop's Palace housed the Imperial Court, which had fled here because of the revolution in Vienna. Emperor Ferdinand I handed over the government to the eighteen-year-old Francis Joseph I on December 2, 1848. On 29 November 1850, the German Confederation under Austrian leadership was restored in Olomouc by the Agreement of Olomouc (also known as the Olomouc Treaty) between Prussia, Austria and Russia. In the years 1850 to 1866 the fortification systems were extended again. In 1886, the fortress status was abolished. 1899 drove in the city the first tram.
20th century
After the collapse of the Austrian Empire in 1918 and the founding of Czechoslovakia, the Czech citizens became majority, which included, among other things, the integration of the two towns of Hodolina and Nová ulice, as well as eleven other municipalities (Bělidla, Černovír, Hejčín, Chválkovice, Lazce, Nové Sady, Nový Svět, Neředín, Pavlovičky, Povel and Řepčín) in 1919. In 1921 lived in Olomouc 57,206 inhabitants.
On March 15, 1939, the city, as well as the other areas of the Protectorate of Bohemia and Moravia, erected on the same day by the German Reich, was occupied by the Wehrmacht. As early as 1939, the Olomouc University was closed by the German occupying forces. It was not until 1946 that it was restored under the name Palacký University of Olomouc.
The German-speaking population was expelled from Olomouc in 1945/1946. Their assets were confiscated by the Beneš decree 108, the assets of the Protestant church were liquidated by the Beneš decree 131, and the Catholic churches were expropriated.
In the 1970s and 1980s, a number of prefabricated housing estates were built in the peripheral areas.
Since 1971, the entire old town has been protected as a historic preservation reserve. Floods in 1997 made the city very vulnerable, about a third of the city area was flooded. In the year 2000, the Trinity Column was included in the UNESCO World Heritage list. According to the administrative reform of 2000 the former district town with the establishment of the Olomouc region became its administrative seat.
Jews in Olomouc
The synagogue in Olomouc
The first Jews settled in Olomouc as early as 906. From the year 1060 they had to live in a ghetto and bear a yellow identification mark. In 1454 all Jews from Olomouc were expelled. This law was valid until 1848.
The Olomouc Synagogue was built between 1895 and 1897. On the night of March 15, 1939, after the occupation by the Wehrmacht, the synagogue was lit and burnt down. At the same time about 800 Jews were arrested and later deported to the Dachau concentration camp. Some of the synagogue 's benches were removed, serving as church benches in a village church near Prostějov and were finally put up in the renovated synagogue in Krnov in 2004. Some of them are now in the Synagogue of Loštice and are reminiscent of the Jewish citizens murdered in concentration camps. The seat of honor is dedicated to Berthold Oppenheim, the Rabbi of Olomouc and Loštice.
During the period of National Socialism, 3,489 people were deported to the Theresienstadt Ghetto in five transports, on 26 and 30 June 1942, on July 4, 1942, and on March 7. Only 285 Jews of the city population survived. This was the end of the Jewish life in Olomouc for a long time. Since 2011, by artist Gunter Demnig Stolpersteine (stumbling blocks) have been and still are being laid to the memory of murdered Jews in Olomouc. Olomouc is one of the cities with the most stumbling blocks in the Czech Republic (as of 2016) with Prague and Brno.
Only since 1989 there has been a revival of the Jewish cultic life in the city. In 1991, an independent Jewish community was established with a field of activity for the districts of Olomouc, Šumperk, Jeseník, Bruntál and Přerov.
Name
Im 12. Jahrhundert waren Olomuc und Olmuc die ersten überlieferten Namensformen. Im 15. Jahrhundert wurde eine angebliche erste Form Juliomontium (Juliusberg) vermutet, nach Julius Caesar als angeblichem Gründer. Die ursprüngliche Bedeutung ist unklar. Im Tschechischen bedeutet Olomouc ‚kahler Berg‘ (alttschech. holy ‚kahl‘ und mauc ‚Berg‘). Der Name der Stadt lautet im mährisch-hannakischen Dialekt, einer Untergruppe der mittelmährischen Dialekte des Tschechischen, Olomóc oder Holomóc, auf Deutsch Olmütz, auf Polnisch Ołomuniec und auf Lateinisch Eburum oder Olomucium.
Geschichte
Anfänge
Ende des 2. Jahrhunderts befand sich hier ein römisches Heerlager, das nördlichste bekannte in Mitteleuropa. Bis ins 5. Jahrhundert gab es eine germanische Besiedelung.
Im späten 7. Jahrhundert entstand eine erste slawische Siedlung im heutigen Ortsteil Povel. Um 830 wurde diese zerstört. Es entstand eine neue Burg auf dem Petersberg (Předhrad), die nach ihrer Größe vermutlich zu den wichtigen Burgen des Mährerreiches zählte. Im 9. Jahrhundert wurden drei Kirchen gebaut.
Přemyslidenstaat
Olomouc wurde im Jahr 1017 erstmals schriftlich erwähnt, als Mähren Teil des böhmischen Staates der Přemysliden wurde. 1055 war es Sitz eines eigenen Teilfürstentums. 1063 wurde das Bistum Olmütz durch Vratislav II. gegründet. Um 1070 entstand eine neue Burg. 1077 wurde das Kloster Hradisko gegründet. 1126 wurde Heinrich Zdik zum Bischof.
Anfang des 13. Jahrhunderts starb der letzte Olmützer Fürst, Mähren wurde vereint und einem Markgrafen aus dem Geschlecht der Přemysliden unterstellt. Zum Jahr 1248 wird Olomouc erstmals als Königsstadt erwähnt. 1306 hielt sich König Wenzel III. während eines Feldzuges nach Polen in Olmütz auf und wurde hier ermordet, wodurch die Dynastie der Přemysliden im Mannesstamm erlosch. Die Stadt entwickelte sich wirtschaftlich sehr schnell und wurde zur Hauptstadt Mährens.
In den Hussitenkriegen war Olmütz fester Bestandteil der katholischen Seite. In der Nachfolge der Kartause Dolein, die in den Hussitenkriegen untergegangen war, wurde 1443 die Kartause Olmütz gegründet, die bis zur Aufhebung 1782 bestand. Im 16. Jahrhundert entstanden zahlreiche Paläste im Renaissancestil. 1566 kamen die Jesuiten nach Olmütz. Diese gründeten eine Schule, welche 1573 zur Universität erhoben wurde. 1588 wurde der Bischof zum Reichsfürsten erhoben.
17. und 18. Jahrhundert
Im Dreißigjährigen Krieg wurde die Stadt 1642 von den Schweden eingenommen und acht Jahre okkupiert. Nach dem Dreißigjährigen Krieg verlor die großteils zerstörte und entvölkerte Stadt den Status der mährischen Hauptstadt und trat diesen an Brünn ab. Da durch Brände viel Schaden entstanden war, wurde 1711 eine detaillierte „Feuerlösch-Ordnung“ erlassen, in der auch eine Reihe vorbeugender Maßnahmen zur Sprache kam.
Am 26. Dezember 1741 wurde die Stadt von den Preußen im Ersten Schlesischen Krieg eingenommen. Nach diesem Ereignis wurden die Festungsanlagen umfangreich ausgebaut. Einer zweiten Belagerung durch die Preußen im Jahre 1758 hielt die neue Festungsanlage stand. 1777 wurde das Bistum zum Erzbistum erhoben.
1794–1797 wurde der prominente französisch-amerikanische Soldat und Politiker Marquis Lafayette in Olmütz als politischer Häftling der Donaumonarchie interniert, nachdem er von der antifranzösischen Koalition 1792 in Flandern gefangengenommen und dann vorerst von Preußen eingekerkert worden war.
19. Jahrhundert
1841 erhielt die Stadt einen Eisenbahnanschluss. Mitte 1845 wurde die Eisenbahn von Olmütz nach Prag („k.k. Nördliche Staatsbahn“) in Betrieb genommen (Olmütz–Trübau, Trübau–Prag). Im Jahr 1848 beherbergte das Schloss des Erzbischofs den wegen der Revolution in Wien hierher geflohenen kaiserlichen Hof. Kaiser Ferdinand I. übertrug hier am 2. Dezember 1848 dem achtzehnjährigen Franz Joseph I. die Regierung. Am 29. November 1850 wurde in Olmütz durch die Olmützer Punktation (auch „Olmützer Vertrag“ genannt) zwischen Preußen, Österreich und Russland der Deutsche Bund unter österreichischer Führung wieder hergestellt. In den Jahren 1850 bis 1866 wurden erneut die Befestigungsanlagen erweitert. 1886 wurde dann der Festungsstatus aufgehoben. 1899 fuhr in der Stadt die erste Straßenbahn.
20. Jahrhundert
Nach dem Zerfall des Kaiserreichs Österreich 1918 und der Gründung der Tschechoslowakei kamen die tschechischen Stadtbürger in die Mehrzahl, was unter anderem auf die Eingemeindung der zwei Städte Hodolein (Hodolany) und Neugasse (Nová ulice) sowie elf weiterer Gemeinden (Bělidla, Černovír, Hejčín, Chválkovice, Lazce, Nové Sady, Nový Svět, Neředín, Pavlovičky, Povel und Řepčín) im Jahr 1919 zurückzuführen ist. Im Jahr 1921 lebten in Olomouc 57.206 Einwohner.
Am 15. März 1939 wurde die Stadt, wie auch die übrigen Gebiete des am selben Tag vom Deutschen Reich errichteten Protektorats Böhmen und Mähren, von der Wehrmacht besetzt. Noch im Jahr 1939 wurde die Olmützer Universität von der deutschen Besatzungsmacht geschlossen. Erst im Jahr 1946 konnte sie unter dem Namen Palacký-Universität Olmütz wiederhergestellt werden.
Die deutschsprachige Bevölkerung wurde 1945/1946 aus Olmütz vertrieben. Ihr Vermögen wurde durch das Beneš-Dekret 108 konfisziert, das Vermögen der evangelischen Kirche durch das Beneš-Dekret 131 liquidiert und die katholischen Kirchen enteignet.
In den 1970er und 1980er Jahren entstanden in den Randgebieten mehrere Plattenbausiedlungen.
Seit 1971 ist die ganze Altstadt als Denkmalschutzreservat geschützt. Das Hochwasser im Jahr 1997 zog die Stadt schwer in Mitleidenschaft, etwa ein Drittel des Stadtgebiets wurde überschwemmt. Im Jahr 2000 wurde die Dreifaltigkeitssäule in die Liste des UNESCO-Welterbes aufgenommen. Nach der Verwaltungsreform von 2000 wurde die bisherige Kreisstadt mit der Errichtung der Olmützer Region dessen Verwaltungssitz.
Juden in Olmütz
Die Synagoge in Olmütz
Die ersten Juden siedelten in Olmütz bereits 906. Ab dem Jahre 1060 hatten sie in einem Ghetto zu wohnen und ein gelbes Erkennungszeichen zu tragen. Im Jahr 1454 wurden sämtliche Juden aus Olmütz ausgewiesen. Dieses Gesetz war bis 1848 gültig.
Die Olmützer Synagoge wurde von 1895 bis 1897 erbaut. In der Nacht vom 15. auf den 16. März 1939, nach der Besetzung durch die Wehrmacht, wurde die Synagoge angezündet und brannte ab. Gleichzeitig wurden etwa 800 Juden festgenommen und später in das Konzentrationslager Dachau deportiert. Einige Sitzbänke der Synagoge wurden ausgebaut, dienten lange als Kirchenbänke in einer Dorfkirche bei Prostějov und wurden schließlich 2004 in der renovierten Synagoge in Krnov aufgestellt. Einige davon stehen heute in der Synagoge von Loštice und erinnern an die in den Konzentrationslagern ermordeten jüdischen Bürger. Der Ehrensitz ist Berthold Oppenheim gewidmet, dem Rabbi von Olmütz und Loštice.
Während der Zeit des Nationalsozialismus wurden 3.489 Menschen in fünf Transporten, am 26. und 30. Juni 1942, am 4. Juli 1942 und am 7. März 1945 in das Ghetto Theresienstadt deportiert. Nur 285 Juden der Stadtbevölkerung überlebten. Damit erlosch das jüdische Leben in Olmütz für lange Zeit. Seit 2011 wurden und werden in Olmütz von Gunter Demnig Stolpersteine zur Erinnerung an ermordete Juden verlegt. Olmütz gehört mit Prag und Brünn zu den Städten mit den meisten Stolpersteinen in Tschechien (Stand 2016).
Erst seit 1989 gibt es eine Belebung des jüdischen Kultuslebens in der Stadt. 1991 wurde eine selbständige jüdische Gemeinde mit einem Wirkungskreis für die Bezirke Olmütz, Šumperk, Jeseník, Bruntál und Přerov wiederbegründet.
Black rectangular glass plate for sushi presentation used as glass dinnerware in Japanese restaurant table setting
Simply exterior is rectangular glass box. But interior can feeling Kuma's style.
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Shun*Shoku Lounge by Gurunavi - 建築グラビア
Gallery : photowork.jp/christinayan01/architectural/archives/6591
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Shun*Shoku Lounge by Gurunavi 旬食ラウンジ by ぐるなび).
Architect : Kengo Kuma and Associates (設計：隈研吾建築都市設計事務所).
Contractor : (施工：).
Completed : April 2013 (竣工：2013年4月).
Structured : (構造：).
Costs : $ million (総工費：約億円).
Use : Store, information center (用途：商店、案内所).
Height : ft (高さ：m).
Floor : 1 (階数：地上1階).
Floor area : 882 sq.ft. (延床面積：82.62㎡).
Building area : sq.ft. (建築面積：㎡).
Site area : sq.ft. (敷地面積：㎡).
Owner : Gurunavi (建主：ぐるなび).
Location : 4-1, Ofukacho, Kita Ward, Osaka City, Osaka, Japan (所在地：日本国大阪府大阪市北区大深町4-1).
Referenced :
kkaa.co.jp/works/architecture/shun-shoku-lounge-by-gurunavi/
This is one of two Banded Hairstreaks I saw this day. This one found Butterfly Weed to be its choice dinner.
Location: Lac Lawrann Conservancy, West Bend, Wisconsin
(for further information also about the floor plan and pictures please go to the end of page and by clicking on the link you will see them!)
Peter Church
The "first" Peter church was built in the second half of the 4th Century, on the site of present day building, as a conversion of a barracks of the Roman camp Vindobona: it was a single naved hall church of basilican type, the oldest church in Vienna and the first parish of the city.
The medieval St. Peter's Church emerged from a Romanesque rebuilding of this church, which was Gothicised later. The nave had three unequal ships and contained eight altars, its rectangular tower was three stories, ended at the four edges in high corner towers and and was in the middle surmounted of a pointed helmet (see the panel paintings of the Vienna Scots Master, 1469, and the view of Hoefnagel, 1609, represented here). From the late Gothic Valentin chapel Steinretabeln (stone retabels) of 1510/15 have been preserved in the crypt.
Through the initiative of Emperor Leopold I it came to the new building: The pretty dilapidated church including the surrounding cemetery was pulled down 1701. According to plans by Gabriele Montani, possible changes of the famous Austrian architect Lukas von Hildebrandt and a façade solution on the basis of a probable draft letter by Kilian Ignaz Dietzenhofer, the new, Baroque Peter's Church was built and after its completion in 1733 consecrated to the Most Holy Trinity and saint Peter. 1753 at the entrance was added the porch. Great masters like Steinl, Altomonte, Rottmayr, Johann Georg Schmidt and Donner-Kohl contributed to the creation of a uniquely rich and yet harmonious church building. Many experts see in St Peter's the finest baroque church in Vienna and count it among the most prominent monuments of art in Austria.
Picture: Peter Church
Several times, the church was restored, most recently, fundamentally inside and outside from 2001 to 2004. Under the whole Church extends the crypt where the oldest part of the church is to find, a pre-Romanesque portal lion made of stone. This room was restored in 1971, re-equipped and the pastoral care made accessible. Here since 1958 every year during Advent takes place an exhibition of nativity scenes which has become very popular.
The pastorally care of saint Peter's in 1970 by the archbishop of Vienna was transferred to the priests of Opus Dei. In 1976, the parish was converted into a rectory church (quasi parish).
Short tour
On the floor plan of an ellipse, towers the church building, avove the central dome, culminating with a lantern (height 56.8 m). The front, slightly concavely swinging toward the inside, is flanked by two towering towers and ends at mid-height in a balustrade. At the back side adjoins a square with a transversely positioned, oval dome. There is the chancel, to the left the sacristy, to the right the exit to the crypt.
The floor plan of the Baroque Peter's Church
1
Portal
2
Entrance hall - organ
3
Dome fresco
4
Pulpit
5
John of Nepomuk-Altar
6
Coat of arms of Emperor Leopold I.
7
High altar
8
Barbara - Altar
9
Sebastian - Altar
10
Altar of the Holy Family
11
Michaels - Altar
12
Altar of St. Francis de Sales
13
Anthony - Altar
14
Relief of Charlemagne
15
Saints Michael and Peter
16
Sacristy
17
Entrance to the crypt (office)
The Rococo portal was designed by Andrea Altomonte and executed by Joachim Georg Schwandtner. On its roof are represented the three theological virtues of faith, hope and love as lead statues (of Franz Kohl, inspired by figure inventions by Georg Raphael Donner).
The interior of the church is marked by the oval shape and the high dome. Under the leadership of Matthias Steinl the participating masters have created a unified work of art.
Main theme of the dome frescoes by Johann Michael Rottmayr is the Coronation of the Virgin by God the Father and God the Son. In the spandrels between the windows beneath the dome Johann Georg Schmidt (the " Wiener Schmidt") the four Evangelists and the four Latin Fathers of the Church has represented. The Pulpit to the left of the presbytery is designed by Matthias Steinl, the Nepomuk altar to the right stems from Lorenzo Mattielli: it represents the martyrdom of saint John of Nepomuk, above hovering the Mother of God of Boleslawiec.
The high altar was designed by Antonio Galli-Bibienas: centrically is the large altarpiece (by Martino Altomonte) with the healing of the lame man at the Beautiful gate of the temple in Jerusalem by the apostles Peter and John, flanked by three great columns. Above the tabernacle the Immaculate of Leopold Kupelwieser (1836), the above standing mercy seat from the 15th Century partly obscuring. Halfway up the presbytery are to the left and right the Emperor oratorios.
The six side altars left and right in the oval represent for themselves small Gesamtkunstwerke (synthesis of the arts): altarpiece, possibly a facing painting (Vorsatzbild), frescoed ceilings, wooden statues and the additional embellishments each add to a harmonious unity, to which in the two larger chapels also baroque, richly inlaid confessionals belong. Here, too, among other things, have Rottmayr, Steinl, Altomonte and JG Schmidt worked.
(further pictures and information are available by clicking on the link at the end of page!)
History of the Vienna Hofburg
First residence
With the elevation of Austria to Archduchy in 1156, Vienna became a city of residence. From the residence of the Babenberg dynasty, who was located on the present site "Am Hof", unfortunately, there do not exist any remains anymore. After the extinction of the Babenberg, Ottokar II of Bohemia (1230-1278) took over by marriage the rule in Vienna and began in 1275 with the construction of a castle within the city walls of Vienna. This castle was equipped with four towers around a rectangular court that is known as Schweizerhof today. In the battle for the German crown Ottokar was defeated at the Battle of Dürnkrut by Rudolf I of Habsburg (1218-1291) and killed during the retreat.
As the old residence of the Babenberg in 1276 burned down, Rudolf probably 1279 moved into the former castle of Ottokar. The descendants of Rudolf extended the castle only slightly: castle chapel (documentary mention in 1296), St. Augustine's Church (consecrated in 1349), reconstruction of the chapel (1423-1426). Due to the division of the lands of the Habsburg Vienna lost its importance and also lacked the financial resources to expand the castle.
Imperial residence
Under Frederick III. (1415-1493) the Habsburgs obtained the imperial title and Vienna became an imperial residence. But Friedrich and his successors used the Vienna Residence only rarely and so it happened that the imperial residence temporarily orphaned. Only under Ferdinand I (1503-1564) Vienna again became the capital of the Archduchy. Under Ferdinand set in a large construction activity: The three existing wings of the Swiss court were expanded and increased. The defensive wall in the northwest as fourth tract with the Swiss Gate (built in 1552 probably by Pietro Ferrabosco) was rebuilt. In the southwest, a tract for Ferdinand's children (the so-called "children Stöckl") was added. The newly constituted authorities Exchequer and Chancery were located in adjacent buildings at Castle Square. Were added in the castle an art chamber, a hospital, a passage from the castle to St. Augustine's Church and a new ballroom.
First major extensions of the residence
In the area of "desolate church" built Ferdinand from 1559 a solitary residence for his son. However, the construction was delayed, and Maximilian II (1527-1576) after his father's death in 1564 moved into the ancient castle. His residence he for his Spanish horses had converted into a Hofstallgebäude (Stallburg - stables) and increased from 1565 .
Ferdinand I decided to divide his lands to his three sons, which led to a reduction of Vienna as a residence. Moreover, stayed Maximilian II, who was awarded alongside Austria above and below the Enns also Bohemia and Hungary, readily in Prague and he moved also the residence there. In 1575 he decided to build a new building in front of the Swiss court for the royal household of his eldest son, Rudolf II (1552-1612). The 1577 in the style of the late Renaissance completed and in 1610 expanded building, which was significantly fitted with a turret with "welscher hood" and an astronomical clock, but by the governor of the Emperor (Archduke Ernst of Austria) was inhabited. However, the name "Amalienborg Castle" comes from Amalie of Brunswick-Wolfenbüttel (wife of Joseph I.), which in 1711 there installed her widow seat.
In the late 16th and early 17th Century only a few extensions were carried out: extension of a separate tract in the northeast of the castle for the Treasure and Art chamber (1583-1585) and setting up of a dance hall in the area of today's Redoutensäle (1629-1631).
Under Leopold I the dance hall by Ludovico Burnacini 1659/1660 was rebuilt into an at that time modern theater ("Comedy House"). 1666 Leopold I in the area of today's castle garden a new opera house with three tiers and a capacity of 5,000 people had built.
In the 1660-ies under Leopold I (1640-1705) after the plans of architect Filiberto Lucchese an elongated wing building between the Amalienborg Castle and the Schweizerhof, the so-called Leopoldine Wing, was built. However, since the tract shortly after the completion burned down, this by Giovanni Pietro Tencala was set up newly and increased. Architecturally, this tract still connects to the late Renaissance. The connection with the Amalienborg castle followed then under Leopold's son Joseph I (1678-1711).
After completion of the Leopoldine Wing the in the southeast of castle located riding school was renewed, the south tower of the old castle pulled down, the old sacristy of the chapel replaced by an extension. Under Charles VI. (1685-1740) the Gateway Building between cabbage market (Kohlmarkt) and Courtyard by Johann Lucas von Hildebrandt was transformed into a monumental triumphal arch as a representative sign of the imperial power. However, this construction does not exist anymore, it had to give way to the Michael tract.
Baroque redesign of the Hofburg
In the early 18th Century set in a buoyant construction activity. The emperor commissioned Johann Bernhard Fischer von Erlach with the construction of new stables outside the city walls and a new court library.
After the death of Johann Bernhard Fischer von Erlach, his son Joseph Emanuel Fischer von Erlach took over the construction management for the stables and the court library. 1725 the palatial front of the stables was completed. As already during the construction period has been established that the stables were dimensioned too small, the other wings were not realized anymore. The with frescoes by Daniel Gran and statues of Emperors by Paul Strudel equipped Court Library was completed in 1737.
Opposite the Leopoldine Wing a new Reich Chancellery should be built. 1723 was entrusted with the planning Johann Lucas von Hildebrandt. 1726, however, the supervision the Reich Chancellery was withdrawn and transferred to the Chancery and thus Joseph Emanuel Fischer von Erlach, who also designed the adjacent Court Chamber and the front to St. Michael's Church. 1728 the Court Chamber and the facade of the two buildings were completed. By Joseph Emanuel Fischer von Erlach was also the Michaelertrakt, the connection between the Winter Riding School and the Imperial Chancellery Wing planned. However, since the old Burgtheater the building was in the path, this was half done for a period of 150 years and was only completed in 1889-1893 by Ferdinand Kirschner .
Under Maria Theresia (1717-1780) the at St. Michael's Square located and only as remnants existing Ballhaus was adapted as a court theater. Beside the Emperor hospital in return a new ball house was built, being eponymous for the Ballhausplatz. Subsequently, there occured again and again conversions and adaptations: reconstruction of the comedy hall according to the plans of Jean Nicolas Jadot into two ballrooms, the small and large ball room (1744-1748). The transformation of the two halls (from 1760), repair of the Court Library, and from 1769 onwards the design of the Josephsplatz took place under Joseph Nicolas of Pacassi. These buildings were completed by the successor of Pacassi Franz Anton Hillebrandt. As an extension for the Court Library in the southeast the Augustinian tract was built.
Other structural measures under Maria Theresia: establishment of the court pharmacy into the Stallburg, relocation of the in the Stallburg housed art collection into the Upper Belvedere, razing of the two remaining towers of the old castle, the construction of two stairways (the ambassador stairway and the column stairways (Botschafter- and Säulenstiege).
Extensions in the 19th Century and early 20th century
Francis II (1768-1835) gave Duke Albert of Saxe-Teschen and his wife Marie Christine (daughter of Maria Theresa) the Palais Tarouca south of the Augustinian monastery. From 1800 this was remodeled by Louis Montoyer and extended by a wing building to today's Albertina.
1804, Francis II proclaimed the hereditary Empire of Austria and was, consequently, as Franz I the first Emperor of Austria. With the by Napoleon Bonaparte provoked abdication of the emperor in 1806 ended the Holy Roman Empire of the German Nation.
1809 part of the old bastions was blown up at the castle in consequence of the war with Napoleon, and after it blazed. Towards today's ring road, then new outworks were created (the so-called Hornwerkskurtine and the Escarpen). In the early 20-ies of the 19th Century were layed out three gardens: the private imperial castle garden with two of Louis Remy planned steel/glass- constructed greenhouses, Heroes Square (Heldenplatz) with avenues and the People's garden (Volksgarten) with the Theseus Temple (Pietro Nobile). At the same time, emerged also the new, 1821 by Luigi Cagnola began and 1824 by Pietro Nobile completed outer castle gate.
1846 was built a monumental memorial to Francis I in Inner Castle Square. In the turmoil of the 1848 revolution the Stallburg was stormed and fought fiercely at the outer castle square and the castle gate. As a result, the roof of the court library burned. The political consequences of the revolution were the abdication of Emperor Ferdinand I (1793-1875), the dismissal of the dreaded Chancellor Clemens Lothar Fürst Metternich and the enthronement of Ferdinand's nephew Franz Joseph.
In the first years of the reign of Emperor Franz Joseph I (1830-1916) the royal stables of Leopold Mayer have been redesigned and expanded. As part of the expansion of the city, the city walls were razed and instead of the fortifications arose place for a magnificent boulevard, the Ringstrasse. 1862, the idea of an Imperial Forum by architect Ludwig Förster was born. On the surface between the Hofburg and the Imperial Stables should arise court museums (Museum of Art History and Museum of Natural History).
At the outer Castle Square (today's Heldenplatz) were in the 60-ies of the 19th Century the by Anton Dominik Fernkorn created equestrian statues of Archduke Charles (victor over Napoleon at the Battle of Aspern) and Prince Eugene of Savoy (victor over the Turks in several battles) set up.
After an unsuccessful architectural competition on the design of the Heroes' Square area in 1869 Gottfried Semper could be won. This led to the involuntary and not frictionless collaboration with Carl Freiherr von Hasenauer. Planned was a two-wing complex beyond the ring road, with the two flanking twin museums (Art and Natural History Museum) and the old stables as a conclusion. 1871 was began with the Erdaushebungen (excavations) for the museums. 1889, the Museum of Natural History was opened, and in 1891, the Museum of Art History.
On a watercolor from 1873 by Rudolf Ritter von Alt (1812 - 1905) an overall view of the Imperial Forum is shown.
1888, the Old Court Theatre at St. Michael's Square was demolished, as the new KK Court Theatre (today's Burgtheater), built by Gottfried Semper and Carl Freiherr von Hasenauer, was finished. The since 150 years existing construction site at St. Michael's Square could be completed. The roundel got a dome, the concave curved Michaelertrakt was finalized by Ferdinand Kirschner. The once by Lorenzo Mattielli created cycle of statues on the facade of the Reich Chancellery was continued with four other "deeds of Hercules' at he side of the passage arches. 1893, the Hofburg had finally got its ostentatious show facade.
1901, the old greenhouses were demolished and replaced by an orangery with Art Nouveau elements according to plans by Friedrich Ohmann (completed in 1910). In 1907, the Corps de Logis, which forms the end of the Neue Burg, is completed. Since Emperor Franz Joseph I in budding 20th Century no longer was interested in lengthy construction projects and the heir to the throne Franz Ferdinand of Austria-Este (1863-1914) was against the establishment of a throne hall building, but was in favour for the construction of a smaller ballroom tract, the implementation of the second wing was dropped. After the assassination of Franz Ferdinand of Austria-Este in Sarajevo, the First World War broke out. Franz Joseph I died in 1916. A great-nephew of Franz Joseph I, Charles I (1887-1922), succeeded to the throne, however, he held only two years. The end of the First World War also meant the end of the Austro-Hungarian monarchy. On 11 November 1918 the First Republic was proclaimed. As Karl although renounced to government business, but not to the throne, he had to go into exile with his family.
The Imperial Palace in the 20th century
The interior design of the ballroom tract and the Neue Burg continued despite the end of the monarchy until 1926. By the end of the monarchy, many of the buildings lost their purpose. Furthermore used or operated was the Riding School. The stables were used from 1921 as an exhibition site of the Vienna Fair ("Fair Palace"). In 1928, the Corps de Logis, the Museum of Ethnology, until then part of the Natural History Museum, opened. In 1935 the collection of weapons (Court, Hunting and Armour Chamber) of the Kunsthistorisches Museum (Museum of Art History) came in the Neue Burg.
1933/1934 the outer castle gate by Rudolf Wondracek was transformed into the hero monument to the victims of the First World War. 1935 emerged on the left and on the right of the castle gate the pylon portals with eagle sculptures by William Frass. In March 1938, the Heroes Square and the balcony of the Neue Burg gained notoriety after Adolf Hitler to the cheering crowd at the Heldenplatz announced the annexation of Austria to the German Reich. The Nazis were planning a redesign of the Heroes' Square to a paved parade and ceremony space. The plans were not realized since 1943 a fire pond at Heldenplatz was dredged and the place was later used for agriculture. In the Trade Fair Palace during the period of Nazism propaganda events were held.
During the war, the Hofburg (Imperial Stables, St. Augustine's Church, Albertina, the official building of the Federal President, the current building of the Federal Chancellery) was severely damaged by bombing: The first President of the Second Republic, Dr. Karl Renner, in 1946 the Office of the President moved into the Leopoldine Wing (in the former living quarters of Maria Theresa and Joseph II).
During the occupation time the seat of the Inter-Allied Commission was housed in the Neue Burg.
1946 first events were held in the Exhibition Palace again, and were built two large halls in the main courtyard of the Exhibition Palace. In the course of the reconstruction war damages were disposed and the Imperial Palace was repaired, the barn castle (Stallburg) erected again. In 1958, in the ballroom wing the convention center has been set up.
1962-1966 the modern Library of the Austrian National Library is housed in the Neue Burg.
1989 emerged for the first time the notion of a "Museum Quarter". The museum quarter should include contemporary art and culture. The oversized design by Laurids and Manfred Ortner but was downsized several times after resistance of a citizens' initiative. It was implemented a decade later.
1992 the two Redoutensäle (ball rooms) burned out completely. Yet shortly after the fire was started with reconstruction. The roof was reconstructed and the little ball room (Kleiner Redoutensaal) could be restored. The big ball room, however, was renovated and designed with paintings by Josef Mikl. In 1997 the two halls were reopened.
From 1997-2002 the Museum Quarter (including Kunsthalle Wien, Leopold Collection) was rebuilt and the old building fabric renovated.
Was began in 1999 with the renovation of the Albertina. The by a study building, two exhibit halls and an underground storage vault extended Museum was reopened in 2003. The Albertina ramp was built with an oversized shed roof by Hans Hollein.
In 2006, additional rooms for the convention center were created by the boiler house yard.
(Source: Trenkler, Thomas: "The Hofburg Wien", Vienna, 2004)
www.burghauptmannschaft.at/php/detail.php?ukatnr=12185&am....
The rehab project is (almost) ending (Thanks G_d!)
Tomorrow, I'll grout the mosaic tiles, attach the Cabinet doors, Cabinet shelves and handles to the IKEA Torsby Cabinet that we hacked into this Bathroom Vanity.
The brackets for the Mirror incorporate a hidden Linear Incandescent light (Linestra by OSRAM) feature are to be installed next - with the mirror going in next week.
The Plumber needs to check the "seating" of the 2-button flush Toto Toilet,
and hook up the drain for the Sink, and cut the shower drain spout copper pipe shorter to "fit" the Danze Parma Collection Trim Spout.
Almost there!
Triángulo Rectángulo, Trapecio Rectángulo, Rectángulos y un Invitado acomodado.
Una de esas fotos... 'raras', que de vez en cuando me gusta hacer.
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Y el vínculo geométrico con la música lo encontramos en el Pentagrama. 'Pentangle', un grupo británico de Folk Rock fundado por John Rebourn (fallecido en 2015) y en el que participaría, entre otros, la gran voz Jacquie McShee.
Saló de Cent
Va ser realitzat pel mestre d'obres Pere Llobet l'any 1369, de planta rectangular, amb coberta plana i amb tres trams separats per dos grans arcs de mig punt. Per la seva il·luminació es van obrir quatre rosasses, la més gran es va construir sobre l'entrada principal, mentre que les tres restants i d'inferior grandària, es van situar al mur que donava al Pati dels Tarongers. Els vitralls de les rosasses van ser realitzades per l'artista Nicolau de Maraya.
La decoració del cassetonat del sostre es va encarregar a Jaume Canalies, Francesc Jordi i Berenguer Lleonart l'any 1372.
La primera reunió del consell es va fer el 17 d'agost de 1373, durant el regnat de Pere el Cerimoniós segons la placa que es pot veure al Saló:
«L'any 1373 de la Nativitat del Senyor, el dia 17 d'agost, regnant l'il·lustríssim Senyor Pere III, per la gràcia de Déu rei d'Aragó, fou celebrat el primer Consell dels Cent Jurats en aquesta casa, que fou enllestida el mateix any, essent-ne aleshores Consellers els venerables Pere Ça Rovira, Llorenç de Gualbes, Jaume Burguès, Bernat Ferrer i Galceran Carbó.»
Al segle XVII es va decidir fer reformes al gust del nou art del barroc i es va encarregar a l'escultor Agustí Pujol el cadirat de fusta i el retaule del mur de la capçalera del saló. La defunció d'Agustí Pujol ocorregut al mateix any 1628, va obligar a encarregar les obres a Josep Sayós, que es van haver d'interrompre per la Guerra dels Segadors l'any 1640.
L'any 1647 es va construir una porta d'accés de marbre dissenyada pel mestre d'obres Jaume Granger i realitzada per Josep Ratés i Pere Serra, que va passar el 1929 a ser una porta lateral del saló. A partir de 1714 amb els decrets de Nova Planta, i una Real Ordre del 28 d'agost de 1718 on es disposava:
«… se ponga la Sala en la forma en què están las de los demás Ayuntamientos de las demás ciudades de estos reinos.»
També es manava per Reial Cèdula del 13 d'octubre de 1718:
«… que se quiten y arrimen los doseles y sillería que hay puesta en la Casa de la Ciudad de Barcelona en el aposento donde se juntan los administradores que era la Sala del Concejo de Ciento.»
Va entrar en decadència fins a l'extrem que l'any 1822 el Saló de Cent va tancar les seves portes i van ser venudes les obres barroques que hi havia.
Es va reconstruir l'any 1860 per l'arquitecte Francesc Daniel Molina i Casamajó afegint-li dos trams més amb un arc igual als quals ja existien durant una visita de la reina Isabel II i la restauració dels Jocs Florals gràcies a les iniciatives entre uns altres de Víctor Balaguer, amb el lema Pàtria, Fides, Amor. A partir d'aquí va haver altres reformes en diferents anys.
L'any 1887 davant la celebració en la ciutat, de l'Exposició Universal de 1888, es va convocar un concurs per un projecte de reforma al que va acudir Antoni Gaudí i Cornet però va ser Lluís Domènech i Montaner qui es va fer càrrec de les obres, encara que no es va realitzar totalment el seu projecte.
L'any 1914 va ser aprovat un nou projecte d'Enric Monserdà i Vidal, on el disseny mantenia l'estil gòtic històric del lloc. Es va construir un cadirat gòtic, un paviment amb representacions dels escuts dels gremis i la ciutat, com el que es veu al retaule de la Verge dels Consellers de Lluís Dalmau de l'any 1443 i el retaule d'alabastre col·locat a la capçalera del saló, representant un escut de la ciutat custodiat per dos macers i a la seva part baixa les escultures de La Verge de la Mercè, amb Sant Andreu i Santa Eulàlia en ambdós costats seguits d'uns medallons representant l'escut de Sant Jordi i el Llibre dels Privilegis de Barcelona i al bordó del retaule les escultures dels consellers Joan Fiveller i Rafael Casanova. La data de realització del retaule fou el 1924. Als murs laterals del saló hi son les escultures del rei Jaume I i de Sant Jordi realitzades per Manel Fuxà, col·locades sota un coronament amb pinacles gòtics reconstruïts l'any 1998 per l'escultor Medina Ayllón.
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Saló de Cent
El Salón de Ciento (en catalán: Saló de Cent), fue realizado por el maestro de obras Pere Llobet en el año 1369, es de planta rectangular, con cubierta plana y con tres tramos separados por dos grandes arcos de medio punto. Para su iluminación se abrieron cuatro rosetones, el más grande se construyó sobre la entrada principal, mientras que los tres restantes y de inferior tamaño, se ubicaron en el muro que daba al Patio de los Naranjos. Los vitrales de los rosetones fueron realizados por el artista Nicolau de Maraya. La decoración del artesonado del techo se encargó a Jaime Canalies, Francesc Jordi y Berenguer Lleonart en el año 1372.
La primera reunión del consejo se hizo el 17 de agosto de 1373, durante el reinado de Pedro el Ceremonioso según la placa que se puede ver en el Salón:
"L'any 1373 de la Nativitat del Senyor, el dia 17 d'agost, regnant l'il·lustríssim Senyor Pere III, per la gràcia de Déu rei d'Aragó, fou celebrat el primer Consell dels Cent Jurats en aquesta casa, que fou enllestida el mateix any, essent-ne aleshores Consellers els venerables Pere Ça Rovira, Llorenç de Gualbes, Jaume Burguès, Bernat Ferrer i Galceran Carbó." 17
En el siglo XVII se decidió hacer reformas al gusto del nuevo arte del barroco y se encargó al escultor Agustí Pujol la sillería de madera y el retablo del muro de la cabecera del salón. El fallecimiento de Agustí Pujol ocurrido en el mismo año 1628, obligó a encargar las obras a Josep Sayós, que se tuvieron que interrumpir por la Guerra de los Segadores en 1640. En el año 1667 se construyó una puerta de acceso de mármol realizada por Josep Ratés y Pere Serra, que pasó en 1929 a ser una puerta lateral del salón.
A partir de 1714 con los decretos de Nueva Planta, y una Real Orden del 28 de agosto de 1718 donde se disponía:
… se ponga la Sala en la forma en que están las de los demás Ayuntamientos de las demás ciudades de estos reinos.
También se mandaba por Real Cédula del 13 de octubre de 1718:
… que se quiten y arrimen los doseles y sillería que hay puesta en la Casa de la Ciudad de Barcelona en el aposento donde se juntan los administradores que era la Sala del Concejo de Ciento.18
Entró en decadencia hasta el extremo que en 1822 el Salón de Ciento cerró sus puertas y fueron vendidas las obras barrocas que había en él.
Se reconstruyó en 1860 por el arquitecto Francesc Daniel Molina añadiéndole dos tramos más con un arco igual a los que ya existían19 durante una visita de la reina Isabel II y la restauración de los Juegos Florales gracias a las iniciativas entre otros de Víctor Balaguer, con el lema Patria, Fides, Amor. A partir de aquí hubo otras reformas durante diferentes años. En 1887 ante la celebración en la ciudad, de la Exposición Universal de 1888, se convocó un concurso para un proyecto de reforma al que acudió Antoni Gaudí i Cornet pero fue Lluís Domènech i Montaner quien se hizo cargo de las obras, aunque no se realizó totalmente su proyecto.
En 1914 fue aprobado un nuevo proyecto de Enric Monserdá i Vidal, donde el diseño mantenía el estilo gótico histórico del lugar. Se construyó una sillería gótica, un pavimento con representaciones de los escudos de los gremios y la ciudad, como el que se ve en el retablo de la Virgen de los Consejeros de Lluís Dalmau del año 144320 y el retablo de alabastro colocado en el testero del salón, representando un escudo de la ciudad custodiado por dos maceros21 y en su parte baja las esculturas de La Virgen de la Merced, con San Andrés y Santa Eulalia en ambos lados seguidos de unos medallones representando el escudo de San Jorge y el Libro de los Privilegios de Barcelona y en el bordón del retablo las esculturas de los consejeros Joan Fivaller y Rafael Casanova.22 La fecha de realización del retablo fue en 1924. En los muros laterales del salón están las esculturas del rey Jaime I y de San Jorge realizadas por Manel Fuxà, colocadas bajo un coronamiento con pináculos góticos reconstruidos en 1998 por el escultor Medina Ayllón.
Daddy Frye's Hill Cemetery is located north of downtown Methuen, on a roughly rectangular block bounded by East, Arlington, Brook, and Berkeley Streets. It covers about 2.4 acres (0.97 ha), whose borders are lined either by a mortared stone wall, or by chain-link fencing. The terrain trends gently downhill to the south, and is dotted with trees. Most of the gravestones are oriented facing west, and are of slate or marble. The artwork on the markers is typical of the 18th and 19th centuries: winged skulls, willows, and urns are frequently seen. The most prominent feature within the cemetery is the stone memorial chapel built in the late 19th century by the businessman and philanthropist Edward Searles, honoring his aunt and uncle. The surrounding stone wall dates to the same period, and was also funded by Searles.
The cemetery site was known from an early date as "Meeting House Hill", because it was here that the townspeople erected the first Meeting House in 1728, and the second in 1798. This building was removed in 1832, and replaced by the present stone church in 1855, which retains some of the timbers from the 1796 structure. Afterward the hill became more commonly known as Daddy Frye's Hill, for Jeremiah Frye, who kept a large tavern on the northwest corner of the intersection of East and Brook Streets. The town founders and its first minister, the Reverend Christopher Sargent are all buried here.
The temple of the goddess Isis at Philae is one of the most beautiful in Egypt, not as large as some but structurally largely complete, which is fitting for the temple believed to be the last to operate under the ancient Egyptian religion, having only formally closed for pagan worship in the 6th century AD.
It was also the first of Egypt's great temples I ever saw in person and left me spellbound, and thus it was fitting that this should again be the first we visited on this trip.
The temple sits in a uniquely picturesque setting on a small island in the Nile south of Aswan and thus has only ever been approached boat. The complex consists of the main temple building dedicated to Isis (wife of Osiris and mother of Horus) whose inner sanctum is entered via a forecourt with towering pylons guarding the inner and outer entrances. All this is approached from the Nile through an open court flanked by lengthy colonnades making an unforgettable first impression.
There are several subsidary buildings of note around the site, the most imposing of which is undoubtedly the large rectangular colonnaded structure known as 'Trajan's Kiosk', which features some beautifully carved capitals.
The temple is relatively new by Egyptian standards, begun under one of the last of the native pharoahs, Nectanebo I (c380-62 BC) but mostly dating to the Ptolemaic period (as do many of the better preserved temples in the south of the country).
The temple's long use and later conversion to a church along with its remote location helped preserve it more or less completely over the centuries, but in the 20th century it faced its biggest threat, the construction of the Aswan dams which are located either side and caused Philae island to flood. The first dam (built 1902) caused the temple to be inundated for much of the year (thus washing away all the remaining paintwork from the interior; 19th century watercolours record what a loss the coloured details were). The bigger threat came in the 1960s when the Aswan High Dam was built to the south, causing the water levels to rise enough to completely submerge most of the temple. For some years all that could be seen of Philae were the four main towers and the columns of Trajan's Kiosk emerging from the waters.
Fortunately salvation came in the 1970s following the campaign to rescue and relocate the Nubian temples further south also threatened by the rising waters. Following the construction of a coffer-dam around the temple the entire temple complex was dismantled and rebuilt on higher ground on the adjoining island of Agilika where it can be enjoyed in its full splendour today.
For more on this wonderful site see below:-
Architectural Entranceways Rectangular, Straightline - Rectangular Glass Panel Style 181, Sidelights Style 183, Beveled Glass, Elliptical Transom with Custom Art Glass, Custom Grilles, Mahogany Wood
How can one tell? Two, big, rectangular radiators under the wings for the coolant, and oil, and an air-air intercooler because there's a TWO stage mechanical supercharger right at the back edge of the engine. The output of the first supercharger is heated by being compressed, gets piped to the intecooler, cools off, comes back to the second supercharger, where it gets further compressed, and heated thereby, but not as much as it would have if the intercooler weren't there. Unless it comes after both superchargers... no, between them, I'm pretty sure. Besides two stages of supercharger, these superchargers have TWO SPEEDS. As the plane goes higher, you can change the gear and get more compression.
What's the point? At high altitude, the air is thin. Compress it enough and you've got it at sea-level pressure. Or more. Add fuel and make power. Without the compression, the power of the engine drops off with rising altitude. So the wings make less and less lift, and the motor makes less and less power, and eventually, you're at the "ceiling" of the airplane. It can't fly any higher. It might zoom up above, trading speed for altitude, but it won't stay at that altitude. It will settle gently to its maximum ceiling, or stall and fall out of the sky. Could be ugly.
The power made by the engine is very simply the product of how many pounds of air and fuel flows through it. See Dr. Stanley Hooker's autobiography, "Not Much Of An Engineer", where he used Rolls Royce's labs at war time to actually do the experiment. Clean. No parasitic load from water pump or oil pump or supercharger. All the accessories were driven by electric motors, of several hundred horsepower. And a dynometer on the output of the engine. More air, more fuel, more power. The correct mix of fuel and air is pretty consistent over a wide range of engine speeds. All very simple.
The two speed two stage supercharger version of the Merlin engine was rushed into production and the engine and its coolers were bolted on to the front of a pretty much otherwise unmodified Spitfire Mk V. A short term expedient. The Mark VIII was the clean design, cleaner, faster, required work to sort out. The Mark IX was a hot rod, big motor, otherwise the same airplane. And, with that, the Spitfire was again as fast as the fastest German fighters. FW-190s which had come as an awful shock.
Champlin Fighter Museum
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The Britannia Bridge seen on the way to Llanfairpwll.
This was my first glimpse of this bridge. Seen from the Holyhead Road on the A5.
Britannia Bridge (Welsh: Pont Britannia) is a bridge across the Menai Strait between the island of Anglesey and the mainland of Wales. It was originally designed and built by Robert Stephenson as a tubular bridge of wrought iron rectangular box-section spans for carrying rail traffic. Its importance was to connect to the port of Holyhead and facilitate a sea link to Dublin, Ireland.
Following a disastrous fire in 1970 it was rebuilt, initially as a single-tier steel truss arch bridge, carrying rail traffic. A second tier was added later and opened in 1980 to accommodate road traffic.
The opening of the Menai Bridge in 1826, one mile (1.6 km) to the east of where Britannia Bridge was later built, provided the first fixed road link between Anglesey and the mainland. The increasing popularity of rail travel necessitated a second bridge to provide a direct rail link between London and the port of Holyhead, the Chester and Holyhead Railway.
Other railway schemes were proposed, including one in 1838 to cross Thomas Telford's existing Menai Bridge. Railway pioneer George Stephenson was invited to comment on this proposal but stated his concern about re-using a single carriageway of the suspension bridge, as bridges of this type were unsuited to locomotive use. By 1840, a Treasury committee decided broadly in favour of Stephenson's proposals, with final consent to the route including Britannia Bridge given in 1845. Stephenson's son Robert was appointed as chief engineer.
A Grade II Listed Building
History
Originally built as a railway bridge for the Chester and Holyhead Railway, and designed by the renowned engineer-in-chief to the railway, Robert Stephenson, in association with Francis Thompson, the railway's architect, and Sir William Fairbairn as consultant engineer. The bridge made novel use of a continuous tubular construction of iron plates, forming twin tubes, set at the centre span 31m (102ft) above the high water line, each pair spanning 140m (459ft 3in) between the intermediate water piers, the stonework built by Nowell Hemingway and Peason, and the whole scheme costed £674,000. Each of the two pairs of tubes carrying the plateway, was 9.1m x 4.45m (30ft high x 14ft 8in) wide, fixed at the centre with rolling expansion joints in the Anglesey and Caernarvon Towers. It was opened at a fine ceremony in 1850. The C & H Railway was amalgamated with the London and North Western Railway in 1858. After a serious fire on 23.5.1970, the bridge was extensively modified and strengthened to provide a road carriageway above and in addition to the rail track, designed by Husband & Co for British Railways, using The Cleveland Bridge & Engineering Co Ltd as contractors.
Exterior
The bridge piers are of rock-faced Anglesey limestone (Penmaen marble), set on a plinth, and Runcorn sandstone and brickwork. Each of the 2 central water piers is 67.5m (221ft 3ins) high from foundation on the sea bedrock, and rise in rock-faced coursed stone with battered sides to an ashlar corniced top raised on large corner blocks forming voids, originally designed to take suspension chains over rockers, on each face, all in an Egyptian Pylon style. The piers are voided, and stone lintels 6m (20ft) long span the rectangular holes for the twin tubes, with bold plat bands at the level of the top and bottom of the tubes. Each side face carries a symbolic engineering motif based on linked driving rods. The outer spans spring to similar abutment towers, flanked by sculpured lions on high plinths (q.v.). A huge figure of Britannia designed by Thompson for the centre pier was never executed. Inscribed on the approach face 'Erected Anno Domini MDCCCL Robert Stevenson Engineer'.
The modified bridge, opened in 11/6/1980, consists of braced rivetted steel section arches with 'N'-truss spandrels spanning between the earlier piers, with the roadway carried on stanchions above the railway. The side spans are in reinforced concrete.
Reasons for Listing
In its original form, the bridge was one of the most audacious and exciting monuments of the great age of engineering where Britain was at the forefront of such innovatory developments. Included at Grade II notwithstanding the fact that the original design has been vitiated after the fire; the surviving piers combine monumental architectural qualities with significant evidence for the original engineering.