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The Minidoka Relocation Center, 15 miles north of Twin Falls and 150 miles southeast of Boise, was also referred to as the Hunt Camp. Minidoka was considered a model environment because of its relatively peaceful atmosphere and population that got along well with the administration. Because it was not within the Western Defense Command restricted area, security was somewhat lighter than at most other camps. But when the internees first arrived, they were shocked to see the bleak landscape that was to be there home over the next three years.
Located on the Snake River Plain at an elevation of 4000 feet, the land is dotted with sagebrush and thin basaltic lava flows and cinder cones. The internees found the environment to be extremely harsh, with temperatures ranging from 30 degrees below zero to as high as 115 degrees. They also had to contend with blinding dust storms and ankle-deep mud after the rains.
Minidoka was in operation from August 10, 1942 to October 28, 1945. The reserve covered more than 33,000 acres of land in Jerome County. The camp’s peak population reached 9,397 by March 1, 1943, and it became Idaho's third largest city. Five miles of barbed wire fencing and eight watchtowers surrounded the administrative and residential areas, which were located in the west-central portion of the reserve.
Most of the people interned at Minidoka were from the Pacific Northwest: approximately 7,050 from Seattle and Bainbridge Island, Washington, 2,500 from Oregon and 150 from Alaska, including children or grandchildren of Eskimo women and Japanese men. They were temporarily housed at the Puyallup Fairgrounds in Washington, then sent by train to Idaho. In early 1943, all of the Bainbridge Island, Washington, residents interned at the Manzanar Relocation Center were transferred to Minidoka at their own request because of constant conflict with the internees from Terminal Island in Los Angeles.
The central camp consisted of 600 buildings on 950 acres. When the first internees arrived at Minidoka in August 1942, they moved into the crude barracks even though much of the camp was unfinished and there was no running water or sewage system. The Army insisted on having all Japanese removed from the West Coast at once, and they did not halt the evacuation until the camp could hold no more. The last group of 500 evacuees to arrive at the camp had to sleep in mess halls, laundry rooms, or any available bed space. Waiting in line for many daily functions, especially meals, was common.
The camp’s residential area encompassed 36 blocks and was one mile wide and three miles long. Each block included 12 tarpaper barracks, one dining hall, one laundry building with communal showers and toilets and a recreation hall. Immediately after arrival, the internees were instructed to see the camp physician, and then they received an apartment assignment. Apartments were of three sizes, and where possible, family groups or relatives were placed near each other. Efforts were later made to move people near their place of employment.
WEEK 18 – BAM Southaven Relocation: New Store, Set 2
Once along the rear wall and looking to the right, we get this view. Perhaps the most notable omission from the new store’s magazine section as compared to that of the old store is the giant T-shirt display in the middle, which as I mentioned already did not move over. Additionally, certain magazines the old store used to carry were also dropped, including Doctor Who Magazine. (Not surprising: US bookstores carry it a month behind!)
(c) 2017 Retail Retell
These places are public so these photos are too, but just as I tell where they came from, I'd appreciate if you'd say who :)
Construction crews working for WSDOT relocate a noise wall in the Talbot Hill neighborhood in Renton in July 2017 as part of the I-405/SR 167 Interchange Direct Connector project.
New place same old me. Relocated to the Pacific Northwest and finally able to settle down and be me again.
Fun to see something from my region here!
Oviedo, FL. April 2019.
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The sign on the back says this postbox was previously located at the General store/Post Office known as the Red Cow, Dry Street, Langdon Hills.
During 2014 I had the pleasure of visiting Malaysia over Chinese new year, much of this trip was spend travelling between KL, Middle Regions and Penang.
During the holiday we visited Kuala Gandah Elephant Sanctuary, The only one of its kind in Malaysia, the team is dedicated to locating, subduing and then translocate problem elephants from areas where their habitats are being encroached by development. These elephants are then relocated to safer habitats including Taman Negara National Park. Over the past 30 years, this team has helped to resolve human-elephants conflicts and minimised the economic losses caused by such conflicts by relocating more than 700 wild elephants.
I created this image to show how the now almost disappeared jungle habitat of many species, is been over powered by the huge developments of Kuala Lumper and other developments around Malaysia.
A look down Chelson Street (formerly Bagnall Street) from Uttoxeter Road in Longton, Stoke-on-Trent.
The old pottery factory on the right, the Stanley Works, dates back to 1898 and was first operated by the Plant Brothers who had relocated from their former factory in Burslem.
The premises then traded as the New Chelsea Porcelain Co. from 1912, which became a limited company in 1951 and continued to operate until 1961. In the iterim New Chelsea Porcelain Co. Ltd aquired the business of Jackson & Gosling Ltd and operated from this works until 1969 as Grosvenor China Ltd.
The old building now operates under the title of Stoke Studio College for Construction & Business Excellence, with Quantum Fabrications operating from the building to the rear.
The building on the left of the street is the redevelopment of the old Enson Works to form the CoRE (Centre of Refurbishment Excellence) project.
Normact Road runs past the lower end of the street.
Had to re-locate some of my girls for a few days, while I get some plastering done in my dolly room. Most of the others will be boxed for safety so I can stack them.
Don't trust the workmen with my treasures, plus it gave me a good excuse to take brighter pics of them. LOL
Moved today with a little hiccup on the way to another storage facility not far down the road nearer to Blackpool was the RVPT ex Standerwick Plaxton Panarama Leopard with two speed axle TRN731, 731S
Lucy Jackson (Oct.11, 1867-after 1923)
Known as: Princesse Lucie, La Belle Jackson, Bella Jackson
African-American Singer & Dancer
Lucy Thomas, born c. October 1867 (or 1869) in Charleston, South Carolina had no known relatives besides an uncle Richard Brown from Virginia. At some point in the 1880's, young Lucy Thomas relocated to Savannah, Georgia where she met and married Gilbert Jackson on April 19th, 1886 in a ceremony conducted by the Rev. Harry B. Hamilton. Strangely, the couple doesn't appear in the 1890 US Census, in fact neither of them appear in any records except during their wedding.
In the spring of 1895, talent scout and stage manager Billy McClain, with the financial backing of Nate Salsbury (formerly of Buffalo Bill's Wild West Show), thought of the idea of exploiting America's slave heritage by romanticizing it into a sort of human zoo. Over 300-400 African-Americans from Virginia, Georgia and the Carolinas were hired and transported up to New York (a young Lucy Jackson amongst them) for this massive production. On May 11th, South Brooklyn's Ambrose Park was completely renovated for the show's production, erecting nearly 100 log cabins to accommodate the cast of 400 negroes. A cotton gin was also constructed, bales of cotton, cotton bushes, poultry and livestock were scattered throughout the park.
Opening May 25th, 1895, "Black America" was promoted as outdoor theme-park extravaganza showcasing the American Negro, "from the jungles of Africa to the civilization of America." For six weeks, the production showcased a Baltimore brass band, jubilee singers, acrobats, foot races, buck and wing dances as well as performances from the star of the entire production, Miss Flowers. On July 15th, the show moved up to Boston, performing in a huge tent along Huntington Avenue and performing in parades on major Boston streets for eight successful weeks. Returning to New York on September 16th, the show performed for the remainder of the month at the Winter Garden Theater. The show later moved on to Philadelphia's Grand Opera Theater (Oct.4-Nov.30) and Washington DC's Convention Hall (Oct.22) before finally falling apart. Unfortunately, the show wasn't financially successful and left the directors in debt. The proposed plan to take the show to London was promptly cancelled and Nate Salsbury moved on to produce his latest venture, "Darkest America".
On April 15th, 1896, the remnants of "Black America" (now composed of 25 members) boarded the Erie 8 train from Marion, Ohio heading east to New York, where a ship awaited to take them to Europe. At some point, Bavarian theater director Ludwig Anwander from Schliersee had taken over the show. In September 1895, during his first trip to America, he witnessed the production and offered to take the production to Europe. Arriving in Berlin by May 25th, the show performed throughout the month at a German Exposition. The following month, the show appeared at Leipzig's Theater Hotel Stadt Nurnberg (Jun.1, 1896) possibly for another month's engagement. On July 1st, the show was back in Berlin at the Theater Neu-Berlin before disappearing. It seems they left for Chemnitz, as Lucy files for a passport at the American Consulate on July 8th, presenting her 1886 marriage certificate to the consul as proof of her American origins. Another detail on this passport was inability to sign her name, signing two X's as her signature. Afterwards, the show returned to Berlin, where it played a week at the Belle-Alliance Gardens. In August, for a week, the troupe performed in the port city of Stettin at the Elysium Theater (this time with only 12 members). Around this point, Herr Anwander sold the show to a Russian Impresario before he returned home to Southern Germany.
Crossing into the Russian frontier during the late summer of 1896, the show's new manager arranged two lengthy engagements in St. Petersburg and Moscow, where the show became a popular novelty act before eventually dissolving. Lucy remained in Russia for the next three years.
On January 10th, 1899, after possibly touring around the Russian Empire, Lucy arrived at the American Consulate to apply for a new passport in preparations for a solo European tour. Ten months later, she appeared at Prague's Olympia Theater (Nov.1-15) for two weeks, where she was billed as the Schwarze Schonheit (Black Beauty) from South Africa's Transvaal. Nearby, the young Arabella Fields was appearing at the Etablissement Sykora. The following year, she returned to Prague, appearing as Princess Lucie Jackson at the K.u.K. Hofbrauhaus (May 16-19).
In April 1901, Lucy was in Berlin engaged at the famous Passage-Theater performing German lieder to enthusiastic audiences.
In December 1903, she was performing at Hamburg's Sagbiel Etablissement (Dec.5-23). On December 18th, during this engagement, she visited the American Consulate for a new passport before crossing the border the following month back home into Russia. Strangely, she listed Montreal as her birthplace.
After a possible St. Petersburg engagement, Lucy (now billed as La Belle Jackson) performed the Cake-Walk at Helsinki's Societethuset, also known as the illustrious Seurahuone Hotel (Feb.21-Mar.18, 1904). This was followed by a lengthy Scandinavian tour. In April, she had a month's engagement in Stockholm's Svea Salen Theater (Apr.9-22). In August, she could be seen at Copenhagen's Vennelyst Variete (Aug.24-Sep.9). Established in 1892, the Vennelyst was a large alloment garden in central Copenhagen, dotted with numerous small allotments and cottages, where the Danish working-class could unwind. On August 28th, after a performance, a Danish man, Mr. Woller attempted to grab and kiss Lucy in the streets, which resulted in her beating the man severely according to local newspapers. The duo were seized and taken to the nearest police station before being promptly released. On September 14th, Lucy moved over to the Apollo Teatret (Sep.14-25) beside the Tivoli Gardens on the Vesterbrogade, where she was billed as the Sorte Nattergal (Black Nightingale) for two weeks.
Late-1905, while Russia suffered from the Russo-Japanese War and the 1905 Revolution, Lucy travelled to Austria, appearing at Vienna's Joh. Weigl's Variete (Jul.1, 1905) and Lemberg's Colosseum Hermanow (Nov.8-15) before disappearing altogether.
On December 16th, 1906, Lucy resurfaced in Switzerland, performing as a member of the "Smith and Bella Jackson" duo at Basel's Cardinal Theater. Her new partner, William Henry Smith (Apr.21, 1879) from Philadelphia. Arrived in Europe in 1903 with the "12 Georgia Piccaninnies", Mr. Smith eventually abandoned the troupe sometime in 1906 to join Lucy.
Early 1907, the couple traveled east to Budapest, where they were engaged for a month and a half at the Nemzetkozi Orfeum (Feb.16-Mar.19). On February 16th, they also secured a new passport from the American Legation. On May 18th, they moved over to the Szinhaz Variete. On July 21st, the couple arrived in the Hungarian city of Szeged (near the Romanian border), appearing at the Tarka Szinpadon.
Early 1908, the duo traveled southeast to Romania, applying for a passport at Bucharest's American Embassy on April 22nd. Interestingly, Lucy had began learning how to sign her name (possibly due to the aid of Smith), as noted by her poorly written signature on the passport application. That summer, Smith and Jackson returned to Russia, appearing in the "Grand Concert Divertissement Cosmopolite" at St. Petersburg's Bouffe Gardens (Jul.4-Aug.11).
In March 1910, the duo were at Hamburg's Flora Theater, where interestingly enough, Bella Jackson was praised for her performance of Tyrolean folk songs. Two months later, they were thrilling audiences in Budapest's Karolyi Gardens (May 26-Jun.1). Throughout the year, they were bombarded with numerous engagements across the Austro-Hungarian Empire. In August, they were at Teplitz's Cursaale Theater (Aug.5), the following month at Budapest's Feher Cabaret (Sep.29-Oct.1). In October, they traveled north to Lemberg's Casino de Paris (Oct.8-15) before heading east to Czernowitz (along the Russian-Romanian border) to perform at the Variete Bellevue (Oct.16-30) for two weeks. In December, they were in Vienna, where they applied on December 29th for a new passport to travel into Romania.
Throughout 1911-1912, the duo toured across Romania, Serbia, Bulgaria, Greece, Turkey and Egypt. During the course of this tour, they became acquainted with the Cousins (an American duo composed of Afro-American singer, Sam Cousins and his Austrian-American wife Bertha). In May 1912, Smith and Jackson were back in Europe, performing at Vienna's Café Trianon (May 1-13). Four months later, they were at Budapest's Kabaret Pannoniaban (Sep.29-Oct.6) and later Kabaret Magyar Kiralyban (Oct.22-31).
Early 1913, the couple found themselves in northern Austria (Bohemia), appearing in Reichenburg's Meiningers Variete (Mar.1-6) and later Prague's Kabarett Wespe (Jul.20). That winter, while engaged in Hamburg, the pair applied for a passport on December 23rd for their plans to return east to Romania and Russia.
During the spring of 1914, the couple were back in Prague, residing at 47 Wenzelsplatz. While there, the couple joined African-American artist Mose Harris, forming the "Philadelphia Trio". The trio spent two weeks at the Alhambra Palais de Danse (Apr.16-30). In June, the trio crossed into the Russian Empire, performing for two weeks at the Majorenhof Sea Pavillon in Riga (Jun.1-15). On June 28, 1914, during their Baltic tour, Gavrilo Princip assassinated Archduke Franz Ferdinand of Austria in Sarajevo, setting in motion the events leading to the outbreak of World War I. On August 4, after Germany invaded Belgium, while simultaneously attacking France, Great Britain declared war on Germany. The Philadelphia Trio arrived in Petrograd on September 17th.
By October 1915, they had relocated to Moscow, settling in the Hotel Boston as noted by their passport application on November 24th. For three months, the Philadelphia trio were among the leading attractions at the Maxim Cabaret (owned by famous African-American businessman Frederick B. Thomas). By the fall of 1916, the Philadelphia Trio had seperated and Smith & Jackson relocated to Petrograd, appearing at the Sirene Cinema (Sep.15-16).
Early 1917, they were performing at the Kino-Palace (Jan.17-22) and later the Kino-Olympia (Apr.18-21). The duo briefly returned to Moscow on April 19th to obtain new passports before returning to the Russian capital.
On March 8, 1917, over seven thousand female textile workers from St. Petersburg's Vyborg district, marched through the streets crying for bread. The shortages had left the lower class starving, cold and desperate. From March 9-15, Cossacks patrolled the streets and machine guns were positioned everywhere. Protesters filled the streets only to be met by gunfire. All the blood spilling in the streets caused many soldiers to mutiny and join the mobs. Prisoners across the city were released into the streets, gendarmes were murdered, courthouses, arsenals, shops, private homes and the Ministry of the Interior were looted and ransacked. Mobs killed any respectable looking men, causing many gendarmes to strip their uniforms and flee the city. On March 16, Tsar Nikolai II abdicated and many aristocrats fled to the countryside. The old order evaporated and anarchy spread.
In August, they were back in Moscow, making sure to renew their passports again on August 21st with fellow entertainer, Peter C. Johnson. Smith and Jackson were last seen in Russia on October 6th, registering with the consulate and preparing to board the Trans-Siberian train east towards Harbin.
Early 1918, after a brief engagement in Harbin, the duo continued south through Peking towards Shanghai, arriving in the Republic of China's largest city by July. After a four month engagement in Shanghai, on October 15th, the pair applied for new American passports before packing up for the Philippines. The duo were engaged for six successful months in Manila, due to the popularity of American Ragtime in Southeast Asia at the time.
On April 25th, 1919, Smith and Jackson boarded the SS Suwa Maru heading towards an engagement in Hong Kong. The following month, they were found in Malaya, at Singapore's Palladium Theatre (May 26-31) and later the Gaiety Theatre (Jun.3-9). That winter, they were engaged in British India, performing in the bustling city of Calcutta. On December 9th, while applying at the American Consulate-General, Smith and Jackson both listed that they were now married. In 1920, the couple appeared across Burma, the Dutch East Indies, Sumatra, Siam and French Indochina before returning home to China.
On January 29, 1923, William H. Smith died at Shanghai's General Hospital and later buried at the Bubbling Wells Cemetery. Lucy, who was residing at the Continental Hotel, cancelled their upcoming appearance at Singapore's Stadium and disappeared completely.
My store dropped the regular electronics dept for an expanded appliances area. The funny part is my store already had an expanded appliance area in the back of the store under a Sears dept. That area is now being used for excess furniture.
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History
The oldest predecessor building was a cathedral complex from the Ottonian period with a three-aisled double-choir church (symbol of the Pope and the Empire), which was probably equipped with a flat wooden ceiling. The complex was completed before the relocation of the episcopal see from Säben (Säben Abbey (German: Kloster Säben; Italian: Monastero di Sabiona) is a Benedictine nunnery located near Klausen in South Tyrol, northern Italy. It was established in 1687, when it was first settled by the nuns of Nonnberg Abbey in Salzburg) to Brixen, which took place around 990. The church's eastern choir was consecrated to Saints Peter and Ingenuin (bishop of Säben around 600) and had a St. Martin's crypt, the west choir with a St. Nicholas crypt was dedicated to St. Stephen. After the end of the investiture controversy, the double-choir church no longer met the spirit of religious reform. Bishop Hartmann (1140-1164) had the west choir therefore broken off and built in its place two facade towers.
Ceiling painting by Paul Troger: Adoration of the Lamb
In 1174, the cathedral complex fell victim to a major fire. As a result, under the bishops Richer of Hohenburg and Heinrich von Berchtesgaden during the reconstruction structural adaptations in the style of the High Romanesque were made. The nave was vaulted and a single-aisled transept put in. The cathedral was consecrated in 1237 by Bishop Eberhard of Salzburg and re-consecrated in 1274 after further fire damage. During the Gothic period several chapels were added to the cathedral. There were more significant conversions under Bishop Nicholas of Kues, who had removed the eastern apses and had them replaced with a Gothic high choir with pointed arched windows and reticulated vaults. Under the direction of court architect Hans Reichle, the Romanesque north tower 1610-1613 received its present early Baroque form. The south tower was adapted in 1748 to the north tower.
Prince-Bishop Kaspar Ignaz Count Künigl (1702-1747) advocated a fundamental renovation of the old building complex already at the beginning of his long term of office, while he was forced by the cathedral chapter to a Baroque new building. He then preferred to first stabilize his diocese in pastoral terms (popular missions) before lending a hand to the cathedral. It was not until 1745 that the time had come. For the implementation of the comprehensive reconstruction, which lasted until 1754, the cream de la creme of the Tyrolean Baroque in Brixen was, so to speak, concentrated: Josef Delai from Bolzano as an architect, Theodor Benedetti from Mori as plasterer and altar builder, Stephan Föger from Innsbruck, who (the three of them) also participated in the planning; furthermore Paul Troger from Welsberg as a fresco artist, Joseph Schöpf from Telfs as a painter of the altarpieces, Dominikus Moling from Wengen as a designer of the altar statues, the Troger pupil Michelangelo Unterberger from Cavalese as painter of the high altarpiece. The construction management was held by Josef Delai and the priests Franz Penz and Georg Tangl. On September 10, 1758, the almost completely remodeled cathedral was completed with the consecration of Prince Bishop Leopold Count Spaur. The Classicistic vestibule was completed 30 years later by Jakob Pirchstaller from Trens.
In 1895, the fresco ensemble Paul Trogers was sustainably altered by the restoration work of Albrecht Steiner von Felsburg, not only by replacing his pseudo-dome in the crossing by his "triumph of religions", but also his painted illusory architecture around the large ceiling picture in green-gray tint by gilded and colored neo-Baroque stucco; this was contrary to the contemporary tastes, but from today's point of view it was not a fortunate intervention, even though a design by Paul Troger for the Geras Abbey in Lower Austria served as a model for the new dome painting.
Extensive restoration work undertook in 1985/86 the workshop Peskoller from Bruneck, outdoors the original color tones and the Baroque ornaments being restored and inside cleaned the ceiling frescoes and the stucco and wall panels painted again. In 2001, the cathedral roof was re-covered and the tower helmets were restored.
Geschichte
Der älteste Vorgängerbau war eine Münsteranlage aus ottonischer Zeit mit einer dreischiffigen Doppelchorkirche (Symbol von Papst- und Kaisertum), die vermutlich mit einer flachen Holzdecke ausgestattet war. Die Anlage war noch vor der Verlegung des Bischofssitzes von Säben nach Brixen, die um 990 stattfand, vollendet worden. Der Ostchor der Kirche war den Heiligen Petrus und Ingenuin (Bischof von Säben um 600) geweiht und verfügte über eine St.-Martins-Krypta, der Westchor mit einer St.-Nikolaus-Krypta war dem Heiligen Stefan geweiht. Nach dem Ende des Investiturstreites entsprach die Doppelchorkirche dem Sinne der religiösen Reformen nicht mehr. Bischof Hartmann (1140–1164) ließ den Westchor deshalb abbrechen und an seiner Stelle zwei Fassadentürme errichten.
Deckengemälde von Paul Troger: Anbetung des Lammes
Im Jahre 1174 fiel die Münsteranlage einem Großbrand zum Opfer. In der Folge wurden unter den Bischöfen Richer von Hohenburg und Heinrich von Berchtesgaden beim Wiederaufbau bauliche Adaptierungen im Stile der Hochromanik vorgenommen. Das Langhaus wurde eingewölbt und ein einschiffiges Querhaus eingezogen. Der Dom wurde 1237 von Bischof Eberhard von Salzburg geweiht und nach weiteren Brandschäden 1274 nochmals geweiht. In der Zeit der Gotik wurden an den Dom mehrere Kapellen angebaut. Bedeutendere Umbauten gab es dann unter Bischof Nikolaus von Kues, der die Ostapsiden entfernen und diese mit einem gotischen Hochchor mit Spitzbogenfenstern und Netzgewölben ersetzen ließ. Unter der Leitung des Hofbaumeisters Hans Reichle erhielt der romanische Nordturm 1610–1613 seine heutige frühbarocke Form. Der Südturm wurde 1748 an den Nordturm angeglichen.
Fürstbischof Kaspar Ignaz Graf Künigl (1702–1747) befürwortete bereits am Beginn seiner langen Amtszeit eine grundlegende Renovierung des alten Gebäudekomplexes, während er vom Domkapitel zu einem barocken Neubau gedrängt wurde. Er zog es dann aber vor, zuerst seine Diözese in seelsorglicher Hinsicht zu stabilisieren (Volksmissionen), bevor er Hand an den Dom legen ließ. Erst 1745 war es soweit. Für die Durchführung des umfassenden Umbaus, der bis 1754 andauerte, wurde gewissermaßen die Creme des Tiroler Barocks in Brixen zusammengezogen: Josef Delai aus Bozen als Architekt, Theodor Benedetti aus Mori als Stuckateur und Altarbauer, Stephan Föger aus Innsbruck, die auch an der Planung beteiligt waren; weiters Paul Troger aus Welsberg als Freskant, Joseph Schöpf aus Telfs als Maler der Altarblätter, Dominikus Moling aus Wengen als Gestalter der Altarstatuen, der Troger-Schüler Michelangelo Unterberger aus Cavalese als Maler des Hochaltarbildes. Die Bauleitung hatten unter anderem Josef Delai und die Priester Franz Penz und Georg Tangl inne. Am 10. September 1758 wurde das nahezu komplett umgestaltete Münster mit der Weihe durch Fürstbischof Leopold Graf Spaur vollendet. Die klassizistische Vorhalle hat 30 Jahre später Jakob Pirchstaller aus Trens fertiggestellt.
Im Jahr 1895 wurde das Freskenensemble Paul Trogers durch die Restaurierungsarbeiten von Albrecht Steiner von Felsburg nachhaltig verändert, indem er nicht nur dessen Scheinkuppel in der Vierung durch seinen „Triumph der Religionen“, sondern auch dessen gemalte Scheinarchitektur um das große Deckenbild in grün-grauer Tönung durch vergoldete und eingefärbte neubarocke Stuckaturen ersetzte; dem damaligen Zeitgeschmack kam das zwar entgegen, aus heutiger Sicht war es kein glücklicher Eingriff, auch wenn für das neue Kuppelgemälde ein Entwurf Paul Trogers für das Stift Geras in Niederösterreich als Vorlage diente.
Umfangreiche Restaurierungsarbeiten nahm 1985/86 die Werkstätte Peskoller aus Bruneck vor, wobei im Außenbereich die originalen Farbtönungen und die Barockornamentik wiederhergestellt und im Innenbereich die Deckenfresken gereinigt und die Stuck- und Wandfelder nachgefärbt wurden. 2001 wurde das Domdach neu eingedeckt und die Turmhelme wurden restauriert.
At His Peak
After his release from the Neulengbach prison (Lower Austria), Schiele relocated to the studie of his friend Erwin Dom Osen in Vienna. That same summer of 1912, he traveled with Wally to Carinthia and Trieste, as well as to Lake Constance and Munich, where he discovered the work of German Expressionists.
In November Schiele rented a studio at Hietzinger Hauptstraße (Main Road) 101 in Vienna's Thirteenth District, which he kept until his death. Through Gustav Klimt, Schiele was introduced to the industrialist and collector August Lederer. Erich, the Lederers' adolescent son, invited Schiele to spend Christmas and New Year's at the family home in Györ, Hungary. Thanks to the patronage of the Lederer Family and of the collector Franz Hauer, Egon Schiele's financial situation improved.
Early in 1913, Schiele was admitted to the "Association of Austrian Artists" and participated in its exhibition in Budapest. He also presented a large number of works in prominent shows in Munich, Berlin and Düsseldorf in that year. The "International Black and White Exhibition" and the 43rd Exhibition of the Secession in Vienna included works by the artist.
Am Zenit. Nach seiner Entlassung aus dem Neulengbacher Bezirksgefängnis übersiedelt Schiele nach Wien ins Atelier seines Freundes Erwin Dom Osen. Noch im selben Sommer reist er mit Wally nach Kärnten und Triest sowie an den Bodensee und nach München, wo er Werke des deutschen Expressionismus kennenlernt. Im November mietet Schiele ein Atelier in der Hietzinger Hauptstraße 101 im XIII. Wiener Gemeindebezirk, das er bis zu seinem Tode behalten wird. Gustav Klimt vermittelt ihm den Kontakt zu dem wichtigen Sammler und Industriellen August Lederer. Erich Lederer, der damals 16-jährige Sohn der Familie, lädt Schiele auf den Familiensitz im ungarischen Györ ein, wo der Künstler Weihnachten und Neujahr verbringt. Durch den Sammler Franz Hauer und die Familie Lederer bessern sich Schieles finanzielle Verhältnisse.
Anfang 1913 wird Schiele in den "Bund österreichischer Künstler" aufgenommen und beteiligt sich an dessen Budapester Ausstellung. Auch in München, Berlin und Düsseldorf sind in prominenten Ausstellungen zahlreiche seiner Werke zu sehen. In Wien nimmt er an der "Internationalen Schwarz-Weiß-Ausstellung und der 43. Ausstellung der Secession teil.
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
Mosaic Tree Surrounds: The Pavee Point Traveller & Roma Centre, which is based in the Free Church nearby on Great Charles Street, commissioned two concrete tree surrounds that are decorated in mosaic depictions of traveller life. The themes were developed and the mosaics undertaken during workshops with the artist.
Located in the centre of Mountjoy Square, once Dublin's premier Georgian area, and comprising 1.8 hectares, this park was originally created by the Developer of the Square, Luke Gardiner, Lord Mountjoy around 1800, as part of his grand concept which envisaged the great sweep of Gardiner Street down to the Custom House.
While the Square was upgraded in the late 1980's, its full potential as a Georgian Park must await the relocation of the existing all-weather sports area currently under active consideration by the City Council.
Looking out from the roof of the Library of Birmingham towards the Jewellery Quarter, BT Tower and the Northside of the City Centre. Library was designed by Buro Happold and built at a cost of £188 million. In Centenary Square, Birmingham, West Midlands.
Birmingham City Council looked into relocating the library for many years. The original plan was to build a new library in the emerging Eastside district, which had been opened up to the city centre following the demolition of Masshouse Circus. A library was designed by Richard Rogers on a site in the area. However, for financial reasons and reservations about the location this plan was shelved. The Council suggested that the Library be split between a new building built between the Rep Theatre and Baskerville House at Centenary Square, which until 2009 was a public car park (to house the main lending library) and a building at Millennium Point in "Eastside" (to house the archives and special collections).
In August 2006, the Council confirmed the area between the Rep Theatre and Baskerville House as the future site for the library. Capita Symonds had been appointed as Project Managers for the Library of Birmingham. The council's intention was to create a "world class" landmark civic building in Centenary Square. Not long after this, the two-sites idea was scrapped and the archives and special collections will move to the site at Centenary Square.
Preparation of the ground for building, and archaeological work between Baskerville House and The Rep had begun before planning permission had been granted. Planning permission was finally granted and approved by Birmingham City Council in December 2009. Building work, which was undertaken by Carillion, commenced in January 2010, with a completion schedule for 3 September 2013. A topping out ceremony to mark the completion of the highest part of the building took place on 14 September 2011.
At the 2014 RIBA West Midlands Awards, the Library of Birmingham was named overall West
Midlands building of the year Mecanoo architect Patrick Arends won emerging architect of the year and Birmingham City Council won client of the year. In the June 2014 birthday honours, the library's director, Brian Gambles, was made MBE "for services to libraries". On 17 July 2014 the Library of Birmingham was nominated as one of the six short-listed buildings for the 2014 Stirling Prize, awarded for excellence in architecture.
The library has a number of nationally and internationally significant collections, including the Boulton and Watt archives, the Bournville Village Trust Archive, the Charles Parker Archive, the Parker collection of children's books, the Sir Benjamin Stone photographic collection, the Wingate Bett transport ticket collection, the Warwickshire photographic survey, the British Institute of Organ Studies archive and the Railway and Canal Historical Society Library.
The specialist Shakespeare Memorial Room was designed in 1882 by John Henry Chamberlain for the first Central Library. When the old building was demolished in 1974 Chamberlain's room was dismantled and later fitted into the new concrete shell of the new library complex. When the Library of Birmingham was built, it was again moved, to the top floor. It houses Britain’s most important Shakespeare collection, and one of the two most important Shakespeare collections in the world; the other being held by the Folger Shakespeare Library. The collection contains 43,000 books including rare items such as a copy of the First Folio 1623; copies of the four earliest Folio editions; over 70 editions of separate plays printed before 1709 including three "Pavier" quartos published in 1619 but falsely dated. There are significant collections from the 18th, 19th and 20th centuries, a near complete collection of Collected Works, significant numbers of adaptations, anthologies and individual editions.
The Boulton and Watt Collection is the archive of the steam engine partnership of Matthew Boulton and James Watt, dating from its formation in 1774 until the firm's closure in the 1890s. The archive comprises about 550 volumes of letters, books, order books and account books, approximately 29,000 engine drawings and upwards of 20,000 letters received from customers. Boulton and Watt manufactured the screw engines for Brunel's SS Great Eastern and the archive includes a portfolio of 13 albumen prints by Robert Howlett documenting the construction of the Great Eastern, including a rare variant of the Brunel portrait of 1857.
First baby born in the Heart Mountain Relocation Center, Wyoming, 1943
Photographer:
La Violette, Forrest Emmanuel
Subjects (LCSH):
Heart Mountain Relocation Center (Wyo.)--People--Wyoming
Relocation camps--Wyoming
Heart Mountain Relocation Center (Wyo.)--Babies--Wyoming
Japanese American children--Wyoming
Japanese American families--Wyoming
Japanese Americans--Wyoming
Japanese--Wyoming
Japanese Americans--Evacuation and relocation, 1942-1945
Digital Collection:
Society and Culture Collection
content.lib.washington.edu/socialweb/index.html
Item Number: SOC0651
Persistent URL:
content.lib.washington.edu/u?/social,589
Visit Special Collections reproductions and rights page for information on ordering a copy.
University of Washington Libraries. Digital Collections content.lib.washington.edu/
The Minidoka Relocation Center, 15 miles north of Twin Falls and 150 miles southeast of Boise, was also referred to as the Hunt Camp. Minidoka was considered a model environment because of its relatively peaceful atmosphere and population that got along well with the administration. Because it was not within the Western Defense Command restricted area, security was somewhat lighter than at most other camps. But when the internees first arrived, they were shocked to see the bleak landscape that was to be there home over the next three years.
Located on the Snake River Plain at an elevation of 4000 feet, the land is dotted with sagebrush and thin basaltic lava flows and cinder cones. The internees found the environment to be extremely harsh, with temperatures ranging from 30 degrees below zero to as high as 115 degrees. They also had to contend with blinding dust storms and ankle-deep mud after the rains.
Minidoka was in operation from August 10, 1942 to October 28, 1945. The reserve covered more than 33,000 acres of land in Jerome County. The camp’s peak population reached 9,397 by March 1, 1943, and it became Idaho's third largest city. Five miles of barbed wire fencing and eight watchtowers surrounded the administrative and residential areas, which were located in the west-central portion of the reserve.
Most of the people interned at Minidoka were from the Pacific Northwest: approximately 7,050 from Seattle and Bainbridge Island, Washington, 2,500 from Oregon and 150 from Alaska, including children or grandchildren of Eskimo women and Japanese men. They were temporarily housed at the Puyallup Fairgrounds in Washington, then sent by train to Idaho. In early 1943, all of the Bainbridge Island, Washington, residents interned at the Manzanar Relocation Center were transferred to Minidoka at their own request because of constant conflict with the internees from Terminal Island in Los Angeles.
The central camp consisted of 600 buildings on 950 acres. When the first internees arrived at Minidoka in August 1942, they moved into the crude barracks even though much of the camp was unfinished and there was no running water or sewage system. The Army insisted on having all Japanese removed from the West Coast at once, and they did not halt the evacuation until the camp could hold no more. The last group of 500 evacuees to arrive at the camp had to sleep in mess halls, laundry rooms, or any available bed space. Waiting in line for many daily functions, especially meals, was common.
The camp’s residential area encompassed 36 blocks and was one mile wide and three miles long. Each block included 12 tarpaper barracks, one dining hall, one laundry building with communal showers and toilets and a recreation hall. Immediately after arrival, the internees were instructed to see the camp physician, and then they received an apartment assignment. Apartments were of three sizes, and where possible, family groups or relatives were placed near each other. Efforts were later made to move people near their place of employment.
Memorial to commemorate the loss of SS Admella, created by Karen Genoff, originally unveiled 1992 in St Vincent St East, relocated to Timpson Street 2009. The ship’s wheel and compass pieces represent the lost ship, the coordinates & rocks indicate the wreck site. [Photo from State Library of SA: B 12398 (c1858) (photograph of painting)]
The Admella launched 17 Sep 1857 on the River Clyde, Scotland, arrived Port Adelaide Jan 1858 to trade between Adelaide and Melbourne. Loaded with copper and carrying over 100 passengers, she sailed from Port Adelaide 4 Aug 1859 and was wrecked on a reef near Carpenter Rocks 6 Aug 1859. Two sailors managed to get ashore, walk 25 km to Cape Northumberland lighthouse and raise the alarm. The nearest telegraph was at Mount Gambier. Stormy seas prevented rescue for several days. Business in the city halted as people waited for news. The “Corio” was sent from Port Adelaide, a lifeboat from Portland, Victoria, and the Admella’s lifeboat was found ashore, repaired & also used but it was 6 days before the weather eased to rescue the 22 survivors. The wreck and contents were sold by auction the following month. A relief fund was set up to assist, firstly, the rescuers, and secondly, the widows & orphans of those drowned.
“The Admella, a steamer built on the Clyde for the Adelaide and Melbourne trade may be expected shortly. She left for this port on the 4th November, and is commanded by Captain McEwen (late of the White Swan), who has been chiefly instrumental in her construction for this trade.” [Adelaide Times 16 Jan 1858]
“The saloon . . . pannelling [sic] is of plate glass, on which are delineated oil paintings of scenes in Scotland and Melbourne Forty passengers may be accommodated in the saloon, and the steerage passenger-room is calculated for 120 passengers. . . the capacity of the coal bunkers is such that seven days' coals may be conveniently stowed in them. . . She has two life-boats.” [Adelaide Times 18 Mar 1858]
“The Pleasure Excursion by the Admella. Hundreds availed themselves of the opportunity presented by this vessel on Friday, of steaming along the coast to Aldinga Bay. A most agreeable excursion it was. The vessel returned in time for passengers to avail themselves of a conveyance to town by the last train, and all expressed themselves highly gratified with the trip, and the admirable arrangement which had been made by the agents of the vessel to secure the comfort and accommodation of all on board.” [Adelaide Times 3 Apr 1858]
“The screw steamer Admella. . . although built to carry a fair cargo, yet her entering and delivering lines are so fine as to ensure speed as well-as to present symmetrical proportions. Her hull, sitting gracefully on the water, is very long and low: and forward the bow is terminated by a skilfully carved female figure, crowned with a wreath of wheat, the ears of which form a tiara to represent the cereal productions of the colonies. . . .A library of modem literature, consisting of 100 volumes, is placed for the use of passengers. . . in compliment to the colonies the first syllables of Adelaide and Melbourne were chosen, but Admel not sounding to euphoniously as Admella, the latter name was bestowed on the vessel. Her dimensions are — 183 feet on keel, 193 feet over all; extreme breadth, 21 feet, by 14 feet depth of hold. The speed she attained on her first trial trip was 17 knots.” [Adelaide Observer 3 Apr 1858]
“The steamship Admella accomplished her last run to Melbourne in the short period of 42 hours. It is most remarkable that her last three trips should have occupied the same time.” [Advertiser 16 Jul 1858]
“We were erroneously informed that the Admella had ceased to make a practice of calling at Glenelg. The owners of the vessel state that Captain McEwan had particular reasons for not calling last trip, but that she will continue to do so hereafter, unless adverse circumstances intervene.” [Advertiser 23 Jul 1859]
“Arrived. . . Monday, August 1 — The steamer Admella, 478 tons, McEwen, master, from Melbourne, Warrnambool, and Portland.” [Register 1 Aug 1859]
“Cleared Out. Thursday. August 4 — The steamer Admella, 478 tons, H. McEwen, master, for Portland, Port Fairy, and Melbourne. Passengers.[named]. . . Cargo of the Admella, for Portland and Melbourne. . . flour. . . lead. . . eggs. . . copper. . . horses. . . vine cuttings.” [Register 5 Aug 1859]
“Three very fine draught entire horses, bred in the colony, and valued at £1,400, were on Thursday shipped on board the steamer Admella, for Melbourne, by Mr. James Magarey. By the same vessel Mr. Filgate's Barber, Mr. Fisher's Shamrock, and Jupiter also leave the colony.” [Register 5 Aug 1859]
“The utmost consternation and distress was occasioned in Adelaide on Monday afternoon by the arrival of telegrams from Mount Gambier announcing the total wreck of the steamer Admella and the apprehended loss of nearly all hands. Our first telegram stated that the keeper of the Lighthouse at Cape Northumberland had forwarded intelligence to Mount Gambier of the wreck. . . The information had been communicated by two of the crew of the Admella, who arrived at the Lighthouse at 7 o'clock on Monday morning, and reported that the wreck had taken place at 5 o'clock on the morning of Saturday, and that they feared they were the only survivors. Eleven persons, including the captain, were, however, according to their report, clinging to the wreck when they left it.” [Register 9 Aug 1859]
“Tuesday afternoon. . . This morning, the people on shore were most anxiously signalling the Admella, but no signals for some time were exchanged. At length they were responded to by some one on the wreck, who ascended the mast and exhibited a white flag. It therefore appears that there were some alive up to 10 o'clock.” [Advertiser 10 Aug 1859]
“telegram. . . We have found the Admella's lifeboat about four miles off. We have been ever since daylight dragging her off. It is fearful work — she is so heavy and the sand so deep. We have her now a short half mile from the shore, and we intend to launch her. She is not much injured, and we are now repairing her. It is doubtful whether we shall be able to make the attempt to-day, but at daylight to-morrow.” [Register 11 Aug 1859]
“the telegrams received shortly after 1 o’clock threw a great damp on the public mind, and created a feeling of greater discouragement than anything yet received. For the rest .of the day large numbers of .persons continued-to assemble about the Exchange up to this time (about half-past 4) when a brief telegram announced that all had been saved that could be saved ; that the messenger who brought up this intelligence had been knocked up, but that further particulars would be sent as soon as possible. Very little business has been thought of.” [Register 12 Aug 1859]
“Messrs. Green &, Wadham request us to state that in consequence of the melancholy circumstances attending the wreck of the Admella, their usual Monthly Sale by Auction of Landed Properties, as advertised to take place this day, will be postponed until Friday next.” [Register 12 Aug 1859]
“Glorious News! Twenty-Two Saved. . . Nineteen gone on to Portland in the Lady Bird. Three on shore. The nineteen were rescued by the lifeboat of the Ladybird, and the three by the Port lifeboat in charge of Germain [sic]. These were taken off the wreck at 8 o'clock this morning. Conveyances are being sent for those on shore. The majority must have perished but for the Portland lifeboat. The attempt by Germain with the Port boat was a splendid one. His boat was capsized in the surf on its return. . . News from Portland states that the Lady Bird is in sight there. Conveyances and everything in readiness. Sufferers all much exhausted.” [Register 15 Aug 1859]
“the Admella was stranded within thirty- five miles of the telegraph station at Mount Gambier; and, consequently, from Monday, when the first intelligence of the wreck reached town, to Saturday night, when the news of the rescue of the few survivors arrived, the streets were crowded with persons anxiously awaiting the frequent messages. . . from the comparative smallness of this community it becomes the literal fact that almost every inhabitant of the colony had an acquaintance — perhaps we may say a friend — on board the Admella, whose fate they were watching, in alternate hope and dread, throughout the whole of last week.” [Register 18 Aug 1859]
“a list of 103 persons, some of whose names are as yet unknown, of whom no less than seventy-nine went down in the ship, or perished from the privations to which they were subsequently exposed. Among the names unknown is that of one of the sailors who first escaped from the wreck, and gave the information which led to the efforts made to rescue those remaining on board.” [Register 20 Aug 1859]
“They discovered two horses, of Mr. Magarey's, and Mr. Filgate's, Barber, grazing on the coast, and Shamrock lying dead.” [Adelaide Observer 27 Aug 1859]
“Wreck and Cargo of the Admella. . . instructions from Captain McEwen, to sell by auction, at their Mart, on Monday, September 5, at 12 o'clock. . . The Hull of the Admella as it lies, said to be on a reef 25 miles N.W. of Cape Northumberland, with Machinery, Spars, Rigging, &c. . . 4,052 Ingots and 426 Cakes Copper stamped ‘Kapunda’, and 226 Cakes Copper marked with a red cross. . . 201 Pigs of Lead, where it may be at time of sale. . . All the remainder of the cargo not washed on shore up to the time of sale, excepting 23 Bales Wool marked J T B.” [Advertiser 27 Aug 1859 advert]
“Admella Shipwreck Reward and Relief Fund. . . this meeting deeply deplores the loss of those who have perished in the late shipwreck of the Admella, and sympathizes with their relative and friends. . . desires to express its admiration of the heroic exertions made by the Captains and Crews of the Ladybird, Corio, Ant, and the Lifeboats, and of those who co-operated from tho beach in attempting, at the risk of their lives, the rescue of the survivors. . . to collect Subscriptions throughout the colony to reward, in the first instance, the heroic men by whose exertions the 22 survivors were rescued ; and, secondly, to assist the widows and orphans and others who, by this severe calamity, are deprived of their natural means of support.” [Weekly Chronicle 27 Aug 1859 advert]
“The following particulars of Mails Lost in the Wreck of the Admella are published for general information. . . Auckland. . . Californis. . . Valparaiso. . . Sydney. . . Hobart Town. . . 18 Registered Letters. . . ” [Adelaide Observer 27 Aug 1859 advert]
“instructions from Capt. McEwan, to sell by auction, at the Mart, This Day (Monday), September 12, at 11 o'clock. The Lifeboat of the Admella, as she lies (said to be) on the Beach, about 25 miles N. W. of Cape Northumberland.” [Advertiser 12 Sep 1859 advert]
“report upon the circumstances connected with the loss of the iron screw-steamer Admella, and to investigate the cause or causes of such wreck. . . the Admella screw steamship left Port Adelaide on the 5th August, 1859, with about eighty passengers and twenty-seven in crew, during fine weather. . . she steered her usual course until 4.45 a.m. on the 6th August, when she struck on a reef of rocks 19 miles north-west of Cape Northumberland. . . out of 107 souls, only twenty-four survived; twenty-two were rescued by the daring gallantry of those who manned the Admella's lifeboat, the Portland Bay lifeboat, and the pilot-boat, and two seamen went on shore on the raft.” [Advertiser 17 Nov 1859]
“the loss of the Admella is to be attributed chiefly to the effects of a current, which appears to have been setting towards the coast, between Cape Willoughby and Northumberland, on the 5th and 6th August. . . Captain McEwan, lately commanding the Admella, and the whole of his officers and crew are most honourably exonerated from all blame; and that the conduct of the captain is worthy of our highest commendation, he having done all in his power to rescue his passengers and crew from their perilous position, sustain them in hope, and give them clothes, food, and consolation. In this work he was ably seconded by his officers, and such of the crew as survived.” [Register 17 Nov 1859]
“the conduct of Mr. Benjamin Germein, the head keeper of the MacDonnell Lighthouse, and his crew. These gallant men having procured a boat that had been washed on shore from the Admella, and having patched her up with canvas, soap, &c, made three attempts to leave the beach, and on each occasion they were swamped — regaining the shore with great difficulty; but on the fourth attempt they were the first to succeed in making fast to the wreck, and the first to rescue any of the survivors. In the two latter efforts of the Admella's boat she was accompanied by the pilot-boat, which, on nearing the wreck on the day the survivors were rescued, was filled by a heavy sea, and the crew had to haul off and bale her out ; the Admella's boat in the meantime succeeded in making fast her line to the wreck.” [Advertiser 18 Nov 1859]
“to cause lifeboats and rocket apparatus to be distributed on those parts of the coast where wrecks are likely to occur. Had those means of saving life been stationed at Cape Northumberland, we believe that a far larger proportion of the crew and passengers of the Admella would have been rescued. . . highly desirable that, whenever practicable, the electric telegraph should be extended to the lighthouses on the coast. If this were done, masters of vessels in distress would obtain far greater facilities in procuring assistance.” [Adelaide Observer 19 Nov 1859]
“The Geelong Advertiser of June 12 gives the following quotation from the Hobart Town Mercury:—‘By private hand we learn that several articles, bearing the name of the ill-fated Adelaide steamer, Admella, wrecked about three years since upon Cape Northumberland, have been recently washed ashore at Sealer's Cove.’” [Adelaide Observer 27 Jun 1863]
Wendy has been marking volunteer trees while she can still identify them for the imminent relocation this winter.
Wizard of Relocations Hutch
I make my miniatures one at a time… from start to finish. There is no assembly line in my workshop. No elves either. For this reason, this is truly a one-of a-kind piece. I keep no written “recipes” for the color or instructions for the items I create to put into/on my cabinets/hutches. Pieces on this cabinet are from nature or created, at the time I was working on it from materials at hand at that time.
Loose corals are relocated in a safe area outside the rubble removal site, where the ship and response activities impacted the reef.
Background: Emergency coral restoration is underway just outside the entrance to Hawaii’s Kalaeloa Harbor. NOAA and partners are working with the owners of the cargo vessel M/V VogeTrader to repair corals that were injured when the vessel accidentally lodged itself onto the reef one morning in 2010.
(Original source and more information: NOAA Office of Response and Restoration Website)
I've seen a number of trees relocated in my life, including a 30 foot tall pine tree... but I've never seen how they move a beautiful old tree with a wide canopy (and root system)... until I saw this.
One of the WDB that I have Relocated.
I am the way to Payson AZ to give a talk about Rattlesnake. My wife Diane is joining me on this adventure. Hope we can get some good shots
Covering two floors of this office building in Fleet Place, London, Mansfield Monk designed a fresh working environment that consolidated the two businesses who were relocating to the new offices. The design reflects the individuality, creativity and passion of both parts of the business.
Relocated to a larger and more prominent space at Sunvalley to make way for a significantly larger H&M store.
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