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Luigi Serra (Bologna, June 8, 1846 - Bologna, July 11, 1888) - Sallers of rosary wreaths at San Carlo dei Catinari (1885) - oil on canvas, 57 x 129 cm. - National Gallery of Modern Art of Palazzo Pitti
photo 39/365
february 8 2009
La chiesa di Santa Caterina si caratterizza per le sue forme rinascimentali, che richiamano le opere ben più note del Brunelleschi e del Bramante. La sua pianta è ottagonale e nella sua parte inferiore tradisce l'incompiutezza dell'edificio, la cui realizzata è stata piuttosto travagliata. La sua struttura è anche un rimando alle tondeggianti costruzioni classiche.
Il progetto iniziale della chiesa di Santa Caterina è dell'architetto Giovanni Del Fantasia, che avvia i lavori nel 1720. Tuttavia nel corso degli anni si succedono vicende che vedono cambiare spesso la direzione. Dopo l'abbandono del suo primo progettista, si sono alternati alla guida della costruzione Alessandro Saller nel 1729, Giovanni Masini nel 1739 e l'architetto Ruggieri nel 1746. La lanterna posta sulla sommità della cupola risale invece al 1869, realizzata da Dario Giacomelli.
All'interno della chiesa si possono ammirare un dipinto del Vasari e gli affreschi settecenteschi del Terreni e del Traballesi. La tela del Vasari è posta dietro l'altare maggiore e rappresenta l'Incoronazione della Vergine. Sopra di essa campeggia il "Padre Eterno in Gloria", realizzato dal Traballesi nel 1758. I lavori del Terreni sono invece nella cappella della Madonna del Rosario, dove si può ammirare anche un presepe ligneo di Cesare Tarrini.
A partire dal XVIII secolo si è affiancato alla chiesa un convento dei frati domenicani, finito di realizzare nel 1710. L'ordine è stato soppresso per ben due volte nel 1785 e nel 1808, in seguito all'editto napoleonico con il quale si dispone lo scioglimento di tutte le congregazioni religiose. Nel periodo di occupazione francese, prima che il Granduca lo restituisse ai domenicani nel 1817, il monastero è stato adibito a carcere.
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The church of Santa Caterina is characterized by its Renaissance appearance that recall the most known works carried out by the Brunelleschi and by the Bramante. It has an octagonal plant and it reveals that the building was unfinished since its carrying out had been quite difficult. Its structure also recalls the circular classical constructions.
The architect Giovanni Del Fantasia carried out the original plan of the church of Santa Caterina and he started works in 1720. Nevertheless, many facts that caused a change in the people directing the works occurred in the years.
After its first planner abandoned the works, Alessandro Saller, in 1729, Giovanni Masini, in 1739 and the Architect Ruggieri, in 1746, alternated in directing the construction. Instead, the lantern set on top of the dome, realized by Dario Giacomelli, dates to 1869.
A painting by Vasari and the XVIII-century frescoes by Terreni and Traballesi can be admired inside the church. Vasari's canvas is set behind the high altar and represents the "Incoronazione della Vergine". Above it, there is the "Padre Eterno in Gloria", carried out by Travallesi in 1758. Instead, Terreni's works are in the chapel of the Madonna del Rosario where also a wooden crèche by Cesare Tarrini can be admired.
Since the XVIII century, a new convent of the Dominican friars, that was finished in 1710, flanked the church. The order was suppressed twice, in 1785 and in 1808, after an edict issued by Napoleon through which the disappearance of all the religious congregations had been settled. In the period of the French occupation, before the Grand Duke gave it back to the Dominicans in 1817, the monastery became a prison.
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www.chiesadisantacaterina.it/documenti/BochureInglese-Def...
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maps.secondlife.com/secondlife/Petrichor/139/133/1102
*Modelo: Dinorah *Maquillaje y Peinado: Dino Balanzino *Vestuario: Margarita Salleras * El Mirador espacio
Parroquia de la Inmaculada Concepción en HERENCIA.- Ciudad Real. (Fotografia de Francisco Salleras).
My son and I went for a trip to the Käringboda nature reserve outside Nynäshamn, Sweden, with the goal of finding and photographing a male European stag beetle (Lucanus cervus) back in mid-July of 2020.
This was quite the success as we located one of the great old oaks they were supposedly found in and in less than a minute, this male came walking down the trunk of the tree and let us photograph it!
Despite looking like they could give you a nasty bite, the huge mandibles of the male can't really pinch. Instead, they are designed to fling competing males out of the tree when they battle for the females. Ironically, the significantly saller females are much more prone to bite you.
More shots of this handsome lad here: www.flickr.com/photos/tinyturtle/50105378082/
here: www.flickr.com/photos/tinyturtle/50413186712/
here: www.flickr.com/photos/tinyturtle/52385112821/
Digging in the archive I came across this reject from a Macro Mondays Theme from June 2020, 'smaller than a coin'
My days of railway modelling is so far in the past, that it took me quite a while to remember that Saller is the manufacturer of this small, pre-bulldog Lanz HL.
Toy Project Day 3018
Site Richelieu-Louvois - Salle Labrouste
The Bibliothèque nationale de France (French: [biblijɔtɛk nɑsjɔnal də fʁɑ̃s]; BnF) is the national library of France, located in Paris on two main sites, Richelieu and François-Mitterrand. It is the national repository of all that is published in France. Some of its extensive collections, including books and manuscripts but also precious objects and artworks, are on display at the BnF Museum (formerly known as the Cabinet des Médailles) on the Richelieu site.
The National Library of France is a public establishment under the supervision of the Ministry of Culture. Its mission is to constitute collections, especially the copies of works published in France that must, by law, be deposited there, conserve them, and make them available to the public. It produces a reference catalogue, cooperates with other national and international establishments, as well as participates in research programs.
History
The National Library of France traces its origin to the royal library founded at the Louvre Palace by Charles V in 1368. Charles had received a collection of manuscripts from his predecessor, John II, and transferred them to the Louvre from the Palais de la Cité. The first librarian of record was Claude Mallet, the king's valet de chambre, who made a sort of catalogue, Inventoire des Livres du Roy nostre Seigneur estans au Chastel du Louvre. Jean Blanchet made another list in 1380 and Jean de Bégue one in 1411 and another in 1424. Charles V was a patron of learning and encouraged the making and collection of books. It is known that he employed Nicholas Oresme, Raoul de Presles, and others to transcribe ancient texts. At the death of Charles VI, this first collection was unilaterally bought by the English regent of France, the Duke of Bedford, who transferred it to England in 1424. It was apparently dispersed at his death in 1435.
Charles VII did little to repair the loss of these books, but the invention of printing resulted in the starting of another collection in the Louvre inherited by Louis XI in 1461. Charles VIII seized a part of the collection of the kings of Aragon. Louis XII, who had inherited the library at Blois, incorporated the latter into the Bibliothèque du Roi and further enriched it with the Gruthuyse collection and with plunder from Milan. Francis I transferred the collection in 1534 to Fontainebleau and merged it with his private library. During his reign, fine bindings became the craze and many of the books added by him and Henry II are masterpieces of the binder's art.
Under librarianship of Jacques Amyot, the collection was transferred to Paris and then relocated on several occasions, a process during which many treasures were lost. Henry IV had it moved to the Collège de Clermont in 1595, a year after the expulsion of the Jesuits from their establishment. In 1604, the Jesuits were allowed to return and the collection was moved to the Cordeliers Convent, then, in 1622, to the nearby Confrérie de Saint-Côme et de Saint-Damien [fr] on the rue de la Harpe. The appointment of Jacques Auguste de Thou as librarian initiated a period of development that made it the largest and richest collection of books in the world. He was succeeded by his son who was replaced, when executed for treason, by Jérôme Bignon, the first of a line of librarians of the same name. Under de Thou, the library was enriched by the collections of Queen Catherine de Medici. The library grew rapidly during the reigns of Louis XIII and Louis XIV, due in great part to the interest of Minister Jean-Baptiste Colbert, himself a dedicated collector of books.
The site in the Rue de la Harpe becoming inadequate, the library was again moved, in 1666, to two adjacent houses in Rue Vivienne. After Colbert, Louis XIV's minister Louvois also took interest in the library and employed Jean Mabillon, Melchisédech Thévenot, and others to procure books from every source. In 1688, a catalogue in eight volumes was compiled. Louvois considered the erection of an opulent building to host it on what would become the Place Vendôme, a project that was however left unexecuted following the minister's death in 1691.
The library opened to the public in 1692, under the administration of Abbott Camille le Tellier de Louvois, the minister's son. The Abbé Louvois was succeeded by Jean-Paul Bignon, who in 1721 seized the opportunity of the collapse of John Law's Mississippi Company. The company had been relocated by Law into the former palace of Cardinal Mazarin around Hôtel Tubeuf, and its failure freed significant space in which the Library would expand (even though the Hotel Tubeuf itself would remain occupied by French East India Company and later by France's financial bureaucracy until the 1820s). Bignon also instituted a complete reform of the library's system. Catalogues were made which appeared from 1739 to 1753 in 11 volumes. The collections increased steadily by purchase and gift to the outbreak of the French Revolution, at which time it was in grave danger of partial or total destruction, but owing to the activities of Antoine-Augustin Renouard and Joseph Van Praet it suffered no injury. After the Seven Years' War (1756–1763), the French government sent historian Louis-Georges de Bréquigny to England, where he copied about 70,000 medieval documents relating to French regions once ruled by England; these were later bound into 109 volumes now held in the National Library of France.
The library's collections swelled to over 300,000 volumes during the radical phase of the French Revolution when the private libraries of aristocrats and clergy were seized. After the establishment of the French First Republic in September 1792, "the Assembly declared the Bibliothèque du Roi to be national property and the institution was renamed the Bibliothèque Nationale. After four centuries of control by the Crown, this great library now became the property of the French people."
A new administrative organization was established. Napoleon took great interest in the library and among other things issued an order that all books in provincial libraries not possessed by the Bibliothèque Nationale should be forwarded to it, subject to replacement by exchanges of equal value from the duplicate collections, making it possible, as Napoleon said, to find a copy of any book in France in the National Library. Napoleon furthermore increased the collections by spoil from his conquests. A considerable number of these books were restored after his downfall. During the period from 1800 to 1836, the library was virtually under the control of Joseph Van Praet. At his death it contained more than 650,000 printed books and some 80,000 manuscripts.
Following a series of regime changes in France, it became the Imperial National Library and in 1868 was moved to newly constructed buildings on the Rue de Richelieu designed by Henri Labrouste. Upon Labrouste's death in 1875 the library was further expanded, including the grand staircase and the Oval Room, by academic architect Jean-Louis Pascal. In 1896, the library was still the largest repository of books in the world, although it has since been surpassed by other libraries for that title. By 1920, the library's collection had grown to 4,050,000 volumes and 11,000 manuscripts.
In 2024, the library removed four 19th-century books from its public access, namely two volumes of The Ballads of Ireland published in 1855, a bilingual anthology of Romanian poetry dating from 1856, and book of the Royal Horticultural Society published between 1862 and 1863, after tests indicated that their covers and bindings were coloured using green pigments containing arsenic.
Richelieu site
The Richelieu site occupies a full city block in Paris, surrounded by rue de Richelieu (west), rue des Petits-Champs (south), rue Vivienne (east), and rue Colbert (north). There are two entrances, respectively on 58, rue de Richelieu and 5, rue Vivienne. This site was the main location of the library for 275 years, from 1721 to 1996. It now hosts the BnF Museum as well as facilities of the BnF, the library of the Institut National d'Histoire de l'Art (in the Saller Labrouste since 2016), and the library of the École Nationale des Chartes. It was comprehensively renovated in the 2010s and early 2020s on a design by architects Bruno Gaudin and Virginie Brégal.
François-Mitterrand site
On 14 July 1988, President François Mitterrand announced "the construction and the expansion of one of the largest and most modern libraries in the world, intended to cover all fields of knowledge, and designed to be accessible to all, using the most modern data transfer technologies, which could be consulted from a distance, and which would collaborate with other European libraries". Due to initial trade union opposition, a wireless network was fully installed only in August 2016.
In July 1989, the services of the architectural firm of Dominique Perrault were retained. The design was recognized with the European Union Prize for Contemporary Architecture in 1996. The construction was carried out by Bouygues. Construction of the library ran into huge cost overruns and technical difficulties related to its high-rise design, so much so that it was referred to as the "TGB" or "Très Grande Bibliothèque" (lit. 'Very Large Library', a sarcastic allusion to the successful TGV high-speed rail system). After the move of the major collections from the Rue de Richelieu, the National Library of France was inaugurated on 15 December 1996.
As of 2016, the BnF contains roughly 14 million books at its four Parisian sites (Bibliothèque François-Mitterrand, Richelieu, Arsenal, and Opéra) as well as printed documents, manuscripts, prints, photographs, maps and plans, scores, coins, medals, sound documents, video and multimedia documents, and scenery elements. The library retains the use of the Rue de Richelieu complex for some of its collections.
Manuscript collection
The Manuscripts department houses the largest collection of medieval and modern manuscripts worldwide. The collection includes medieval chansons de geste and chivalric romances, eastern literature, eastern and western religions, ancient history, scientific history, and literary manuscripts by Pascal, Diderot, Apollinaire, Proust, Colette, Sartre, etc.
The collection is organised:
according to language (Ancient Greek, Latin, French and other European languages, Arabic, Coptic, Ethiopian, Hebrew, Persian, Turkish, Near- and Middle-Eastern languages, Chinese, Japanese, Tibetan, Sanskrit, Tamil, Indian languages, Vietnamese, etc.)
The library holds about 5,000 Ancient Greek manuscripts, which are divided into three fonds: Ancien fonds grec, fonds Coislin, and Fonds du Supplément grec.
according to content: learned and bibliophilic, collections of learned materials, Library Archives, genealogical collections, French provinces, Masonic collection, etc.
Digital library
Gallica is the digital library for online users of the Bibliothèque nationale de France and its partners. It was established in October 1997. Today it has more than six million digitized materials of various types: books, magazines, newspapers, photographs, cartoons, drawings, prints, posters, maps, manuscripts, antique coins, scores, theater costumes and sets, audio and video materials. All library materials are freely available.[citation needed]
On 10 February 2010, a digitized copy of Scenes of Bohemian Life by Henri Murger (1913) became Gallica's millionth document. In February 2019, the five millionth document was a copy of the manuscript "Record of an Unsuccessful Trip to the West Indies" stored in the Bibliothèque Inguimbertine and on 30 March 2023 the ten millionth document was added.
As of 2024, Gallica had made available online approximately 10 million documents:
864,428 books
186,495 manuscripts
5,804,801 newspapers and magazines issues
1,792,736 images
196,486 maps
64,967 music scores
52,004 audio recordings
519,877 objects
5,585 video recordings
Most of Gallica's collections of texts have been converted into text format using optical character recognition (OCR-processing), which allows full-text search in the library materials.
Each document has a digital identifier, the so-called ARK (Archival Resource Key) of the National Library of France and is accompanied by a bibliographic description.
Notable patrons
Raoul Rigault, leader during the Paris Commune in 1871, was known for habitually occupying the library and reading endless copies of the newspaper Le Père Duchesne.
In popular culture
Alain Resnais directed Toute la mémoire du monde (transl. All the Memory in the World), a 1956 short film about the library and its collections.
(Wikipedia)
Die Bibliothèque nationale de France (kurz BnF; deutsch Nationalbibliothek Frankreichs) ist eine öffentlich-rechtliche Anstalt mit Sitz in Paris unter der Schirmherrschaft des französischen Kulturministers. Ihre Aufgabe ist es, Schriften zu sammeln, zu bewahren und der Öffentlichkeit zugänglich zu machen. Sie publiziert einen Katalog, pflegt die Zusammenarbeit mit anderen Anstalten auf nationaler und internationaler Ebene und nimmt an Forschungsprogrammen teil.
Anders als die Deutsche Nationalbibliothek ist die BnF eine Universalbibliothek, die Literatur aus allen Zeiten und Fachgebieten sammelt und zur Verfügung stellt, nicht nur Schriften aus Frankreich oder über Frankreich. Sie verfügt über einen Erwerbungsetat von mehr als 20 Millionen Euro.
Als Nationalbibliothek erhält sie beide Pflichtexemplare der Verleger und das Pflichtexemplar der sich in der Ile-de-France befindenden Drucker. Ihr Buchbestand erweitert sich jährlich um 150.000 Bände (davon 60.000 durch Pflichtexemplare) und Schriftstücke aller Art. Je nach Thema oder Trägerart wird das zweite Pflichtexemplar einer anderen Bibliothek übergeben (z. B. die Comics dem Centre National de la Bande Dessinée et de l’Image (CNBDI) in Angoulême).
Der Gesamtbestand wird mit etwa 30 Millionen Büchern und Dokumenten angegeben, damit ist sie eine der größten Bibliotheken der Erde. Etwa zehn Millionen Bände entfallen auf die neue BnF. Außerdem ist die BnF für ihre digitalisierte Bibliothek Gallica mit einem Bestand von 4 Mio. Dokumenten bekannt.
Standorte
Die Aktivitäten der BnF verteilen sich auf verschiedene Wirkungsstätten, die sogenannten Sites. Nur mit ausdrücklicher Genehmigung sind die Restaurierungswerkstätten wie das Centre technique de Bussy-Saint-Georges und das Centre Joël Le Theule in Sablé-sur-Sarthe zugänglich. Für Besucher geöffnet sind die alte Bibliothèque nationale de France (site Richelieu-Louvois) in Paris, die neue Bibliothèque nationale de France (site François-Mitterrand) in Paris, die Bibliothèque de l’Arsenal in Paris, die Museumsbibliothek der Pariser Oper und die Bibliothek und das Dokumentationszentrum der Maison Jean Vilar in Avignon.
Die alte Bibliothèque nationale (Site Richelieu-Louvois)
Die früher königliche, dann kaiserliche Nationalbibliothek, eine der reichsten der Welt, nimmt in der Nummer 5 der rue de Richelieu / rue Vivienne (2. Arrondissement) eine rechteckige Fläche von 16.000 m² ein. Der Minister Jean-Baptiste Colbert ließ 1666 die königliche Bibliothek in der Nähe seines Hôtels unterbringen. 1720 wechselte sie den Ort und wurde vom Abt Bignon, dem königlichen Bibliothekar (1719–1742), in das sogenannte Hôtel de Nevers auf der anderen Straßenseite verlegt, einen Teil des Stadtpalastes, den der Kardinal und Minister Jules Mazarin hinter dem Palais Royal an der heutigen Rue Richelieu hatte errichten lassen. Allmählich dehnte sich die Bibliothek auf den ganzen Häuserblock aus. Im Hôtel de Nevers hatte sich zuvor die eigene Bibliothek des Kardinals befunden, die Bibliothèque Mazarine, die aber 1691 in das Collège des Quatre Nations verlegt worden war, eine Stiftung des Kardinals und seit 1805 Sitz des Institut de France, wo sie sich bis heute befindet.
Von 1854 bis zu seinem Tod im Jahr 1875 baute der Architekt Henri Labrouste (1801–1875) die Bibliothek massiv um, um aus mehreren Bauten verschiedener Epochen ein großes, kohärentes Ensemble zu schaffen. 1868 wurde der große Lesesaal (heute Salle Labrouste) eröffnet.
Labroustes Nachfolger Jean-Louis Pascal setzte den Umbau fort und entwarf 1916 den ovalen Saal (Salle Ovale), der erst 1936 eingeweiht werden konnte. Dort befinden sich noch immer die kostbarsten Gegenstände aus dem Fundus der BnF, insbesondere Manuskripte, Kupferstiche, Karten und Pläne, Fotografien, Münzen und Medaillen (Cabinet des Médailles) sowie Dokumente der Musikgeschichte, während die Rara-Abteilung, die sonstigen gedruckten Werke, Tonträger, Videomaterialien usw. in das neue, von Dominique Perrault im Osten der Stadt errichtete Gebäude umgezogen sind.
Die neue Bibliothèque nationale de France (Site François-Mitterrand)
Den Bau eines neuen Bibliotheksgebäudes kündigte der französische Staatspräsident François Mitterrand am 14. Juli 1988 an. Aus der Ausschreibung mit 200 Bewerbern ging der junge französische Architekt Dominique Perrault als Preisträger hervor. Sein Projekt war aus vier erstrangigen Vorschlägen von Mitterrand persönlich ausgewählt worden. Die Arbeiten begannen im Dezember 1990 und waren 1996 abgeschlossen. Die neue Bibliothèque nationale de France trägt zu Ehren ihres Initiators den Namen Bibliothèque nationale François Mitterrand. Sie wurde am 20. Dezember 1996 der Öffentlichkeit übergeben. Im selben Jahr wurde der Architekt für den Bau mit dem Mies van der Rohe Award for European Architecture ausgezeichnet.
Die vier Ecken des Gebäudes im 13. Arrondissement weisen je einen 79 m hohen Turm mit einer durchgehenden Glasfassade auf. Die Türme sind L-förmig und symbolisieren ein aufgeschlagenes Buch. Das gesamte Bibliotheksgebäude und alle Stockwerke der vier Türme sind mit der größten je in Europa installierten automatischen Buchtransportanlage ausgestattet (6,6 Kilometer Profilschienen, 151 Zielbahnhöfe, 300 selbstfahrende Behälter).
Namen der Türme
T1 Tour du temps ‚Turm der Zeit‘
T2 Tour des lois ‚Turm der Gesetze‘
T3 Tour des nombres ‚Turm der Zahlen‘
T4 Tour des lettres ‚Turm der Buchstaben bzw. Briefe‘
n der Mitte des 60.000 m² großen rechteckigen Areals liegt ein 12.000 m² großer Wald. 150 mehrjährige Kiefern wurden 1995 in den Innenhof gepflanzt, der nur an einem einzigen Nachmittag des Jahres der Öffentlichkeit zugänglich ist. Aufgrund von Fehlplanungen und zahlreichen Verzögerungen beim Bau war das Gebäude in Paris lange Zeit umstritten. Problematisch ist die Lagerung der Bücher in den Türmen, mit langen Wegen zu den Arbeitsräumen im Untergrund, auch, weil die Bücher dort nach der ursprünglichen Planung dem Tageslicht ausgesetzt waren. Ebenso wurden die hohen Baukosten und der enorme Energieverbrauch kritisiert. Zwischen 2003 und 2013 wurden von Dominique Perrault daher verschiedene Umbauten realisiert. Im Herbst 2002 war das Gebäude Schauplatz der Lichtinstallation Arcade von Projekt Blinkenlights. Die neue Bibliothek ist über die Métrostation Bibliothèque François Mitterrand erreichbar.
Geschichte der Sammlungen
Die Ursprünge der Bibliothek werden bis auf das Mittelalter und die persönliche Handschriftensammlung König Karls V. zurückgeführt, die 1368 im Louvre gegründet wurde und 917 Manuskripte umfasste, die traditionell in der Literatur als Codex Parisianus mit der Inventarnummer zitiert werden. Sie war aber noch Privatbesitz des Königs. Nach dem Tod Karls VI. wurde diese erste Sammlung während der englischen Besatzung im Hundertjährigen Krieg zerstreut. Teile davon wurden vom Herzog von Bedford erworben und nach England transportiert. Seit Ludwig XI. wurde die Sammlung wieder aufgebaut. Seine Nachfolger Karl VIII. und Ludwig XII. trugen im 15. Jahrhundert erheblich zu ihrer Vergrößerung bei, insbesondere durch die Einverleibung der Bibliotheken der aragonesischen Könige in Neapel und der Visconti-Sforza von Mailand.
Im 16. Jahrhundert verlagerte Franz I. die königliche Bibliothek nach Fontainebleau. Die Ordonnanz von Montpellier (1537) verpflichtete Verleger und Drucker, ein Exemplar jedes Werkes an diese Bibliothek abzuliefern. Trotz der Ordonnanz wurden viele Bücher aber erst nachträglich erworben.
Nachdem die Bibliothek unter anderem aufgrund der Hugenottenkriege mehrmals ihren Standort gewechselt hatte, ergriff im 17. Jahrhundert Colbert die Initiative, sie neben seinem Stadtpalast in der Pariser Rue Vivienne unterzubringen. Durch zahlreiche im Ausland aufgekaufte Werke machte der Minister die Bibliothek zu einer der weltweit schönsten seiner Zeit. 1692 wurde die königliche Bibliothek für den – zeitgemäß eingeschränkten – öffentlichen Gebrauch freigegeben. Die Bestände wurden ständig durch das Pflichtexemplarrecht, Erwerbungen, Vermächtnisse und Schenkungen größerer Sammlungen erweitert (z. B. vermachte die Witwe Eugène Goupils im Jahr 1898 der Bibliothek eine bedeutende Sammlung aztekischer Manuskripte).
Die Französische Revolution führte zu einer bedeutenden Bestandsvermehrung: zwar wurde das Pflichtexemplarrecht in Frankreich zwischen 1790 und 1794 aufgehoben, aber ganze Bibliotheken und Sammlungen wurden entweder säkularisiert (Bibliotheken von Konventen und Abteien) oder beschlagnahmt (Bibliotheken emigrierter Adliger). Die Sammlungen wurden im 20. Jahrhundert nochmals beträchtlich vervollständigt, als die Bibliothèque de l’Arsenal 1926 und die Bibliothèque des Conservatoires über den Umweg der Réunion des bibliothèques nationales der BnF übergeben wurden (1977 wurde die Bibliothek des Conservatoires wieder selbstständig, die älteren Bestände verblieben aber in der BnF).
Ein besonderer Bestand ist der sogenannte Enfer, der zur Reservatensammlung seltener und kostbarer Bücher gehört und Druckwerke erotischen oder pornografischen Charakters vereinigt, die nur mit Bewilligung eingesehen werden dürfen. Der Enfer wurde zwischen 1836 und 1844 eingerichtet und gilt als einer der berühmtesten Remota-Fonds.
Seit 2007 betrifft das Pflichtexemplarrecht auch die elektronische öffentliche Kommunikation. Infolge dieses Gesetzes speichert die französische Nationalbibliothek die Inhalte der .fr-Domain des Internets.
Die Kataloge und die digitale Bibliothek
Die Bestände der Bibliothèque nationale de France werden hauptsächlich durch drei Kataloge erschlossen:
der Catalogue général mit über 13 Millionen bibliographischen Nachweisen und über 5.000.000 Normdatei-Einträgen von Personen, Körperschaften, Werken und Schlagwörtern. Dieser Katalog beschreibt die Bücher, Zeitschriften, Bilder (Fotos und Einblattmaterial), Objekte (Münzen, Kostüme usw.), handschriftlichen und gedruckten Partituren, Tonträger, CDs sowie die meisten Mikrofilme und die in Gallica zugänglichen Digitalisate mit folgenden Einschränkungen:
Drucke in nicht-lateinischer Schrift werden erst ab 1996 elektronisch erfasst. Ältere Erwerbungen sollen in digitalisierten Zettelkatalogen recherchiert werden.
Mikrofilme werden nicht alle katalogisiert (Mikrofiches von Dissertationen können nur unter der Signatur Microfiche M-33000 im Katalog ohne bibliographischen Nachweis bestellt werden); elektronische Zeitschriften und Datenbanken werden in diesem Katalog nur erfasst, wenn auch die gedruckte Ausgabe oder der Datenträger erworben wurde.
der Katalog der Handschriften enthält Handschriften und Archive. Ein beträchtlicher Teil der Handschriften ist aber noch nicht elektronisch erschlossen. Die meisten dieser Kataloge wurden jedoch digitalisiert und sind online abrufbar.
der Katalog der elektronischen Zeitschriften und Datenbanken mit über 40.000 Zeitschriften.
Abgesehen von den elektronisch durchsuchbaren Katalogen sind auch ältere digitalisierte Kataloge zugänglich.
(Wikipedia)
MAN TGX 41.640 der Kran Saller GmbH aus Deggendorf auf der A92 Deggendorf - München bei Loichingermoos.
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Site Richelieu-Louvois - Salle Labrouste
The Bibliothèque nationale de France (French: [biblijɔtɛk nɑsjɔnal də fʁɑ̃s]; BnF) is the national library of France, located in Paris on two main sites, Richelieu and François-Mitterrand. It is the national repository of all that is published in France. Some of its extensive collections, including books and manuscripts but also precious objects and artworks, are on display at the BnF Museum (formerly known as the Cabinet des Médailles) on the Richelieu site.
The National Library of France is a public establishment under the supervision of the Ministry of Culture. Its mission is to constitute collections, especially the copies of works published in France that must, by law, be deposited there, conserve them, and make them available to the public. It produces a reference catalogue, cooperates with other national and international establishments, as well as participates in research programs.
History
The National Library of France traces its origin to the royal library founded at the Louvre Palace by Charles V in 1368. Charles had received a collection of manuscripts from his predecessor, John II, and transferred them to the Louvre from the Palais de la Cité. The first librarian of record was Claude Mallet, the king's valet de chambre, who made a sort of catalogue, Inventoire des Livres du Roy nostre Seigneur estans au Chastel du Louvre. Jean Blanchet made another list in 1380 and Jean de Bégue one in 1411 and another in 1424. Charles V was a patron of learning and encouraged the making and collection of books. It is known that he employed Nicholas Oresme, Raoul de Presles, and others to transcribe ancient texts. At the death of Charles VI, this first collection was unilaterally bought by the English regent of France, the Duke of Bedford, who transferred it to England in 1424. It was apparently dispersed at his death in 1435.
Charles VII did little to repair the loss of these books, but the invention of printing resulted in the starting of another collection in the Louvre inherited by Louis XI in 1461. Charles VIII seized a part of the collection of the kings of Aragon. Louis XII, who had inherited the library at Blois, incorporated the latter into the Bibliothèque du Roi and further enriched it with the Gruthuyse collection and with plunder from Milan. Francis I transferred the collection in 1534 to Fontainebleau and merged it with his private library. During his reign, fine bindings became the craze and many of the books added by him and Henry II are masterpieces of the binder's art.
Under librarianship of Jacques Amyot, the collection was transferred to Paris and then relocated on several occasions, a process during which many treasures were lost. Henry IV had it moved to the Collège de Clermont in 1595, a year after the expulsion of the Jesuits from their establishment. In 1604, the Jesuits were allowed to return and the collection was moved to the Cordeliers Convent, then, in 1622, to the nearby Confrérie de Saint-Côme et de Saint-Damien [fr] on the rue de la Harpe. The appointment of Jacques Auguste de Thou as librarian initiated a period of development that made it the largest and richest collection of books in the world. He was succeeded by his son who was replaced, when executed for treason, by Jérôme Bignon, the first of a line of librarians of the same name. Under de Thou, the library was enriched by the collections of Queen Catherine de Medici. The library grew rapidly during the reigns of Louis XIII and Louis XIV, due in great part to the interest of Minister Jean-Baptiste Colbert, himself a dedicated collector of books.
The site in the Rue de la Harpe becoming inadequate, the library was again moved, in 1666, to two adjacent houses in Rue Vivienne. After Colbert, Louis XIV's minister Louvois also took interest in the library and employed Jean Mabillon, Melchisédech Thévenot, and others to procure books from every source. In 1688, a catalogue in eight volumes was compiled. Louvois considered the erection of an opulent building to host it on what would become the Place Vendôme, a project that was however left unexecuted following the minister's death in 1691.
The library opened to the public in 1692, under the administration of Abbott Camille le Tellier de Louvois, the minister's son. The Abbé Louvois was succeeded by Jean-Paul Bignon, who in 1721 seized the opportunity of the collapse of John Law's Mississippi Company. The company had been relocated by Law into the former palace of Cardinal Mazarin around Hôtel Tubeuf, and its failure freed significant space in which the Library would expand (even though the Hotel Tubeuf itself would remain occupied by French East India Company and later by France's financial bureaucracy until the 1820s). Bignon also instituted a complete reform of the library's system. Catalogues were made which appeared from 1739 to 1753 in 11 volumes. The collections increased steadily by purchase and gift to the outbreak of the French Revolution, at which time it was in grave danger of partial or total destruction, but owing to the activities of Antoine-Augustin Renouard and Joseph Van Praet it suffered no injury. After the Seven Years' War (1756–1763), the French government sent historian Louis-Georges de Bréquigny to England, where he copied about 70,000 medieval documents relating to French regions once ruled by England; these were later bound into 109 volumes now held in the National Library of France.
The library's collections swelled to over 300,000 volumes during the radical phase of the French Revolution when the private libraries of aristocrats and clergy were seized. After the establishment of the French First Republic in September 1792, "the Assembly declared the Bibliothèque du Roi to be national property and the institution was renamed the Bibliothèque Nationale. After four centuries of control by the Crown, this great library now became the property of the French people."
A new administrative organization was established. Napoleon took great interest in the library and among other things issued an order that all books in provincial libraries not possessed by the Bibliothèque Nationale should be forwarded to it, subject to replacement by exchanges of equal value from the duplicate collections, making it possible, as Napoleon said, to find a copy of any book in France in the National Library. Napoleon furthermore increased the collections by spoil from his conquests. A considerable number of these books were restored after his downfall. During the period from 1800 to 1836, the library was virtually under the control of Joseph Van Praet. At his death it contained more than 650,000 printed books and some 80,000 manuscripts.
Following a series of regime changes in France, it became the Imperial National Library and in 1868 was moved to newly constructed buildings on the Rue de Richelieu designed by Henri Labrouste. Upon Labrouste's death in 1875 the library was further expanded, including the grand staircase and the Oval Room, by academic architect Jean-Louis Pascal. In 1896, the library was still the largest repository of books in the world, although it has since been surpassed by other libraries for that title. By 1920, the library's collection had grown to 4,050,000 volumes and 11,000 manuscripts.
In 2024, the library removed four 19th-century books from its public access, namely two volumes of The Ballads of Ireland published in 1855, a bilingual anthology of Romanian poetry dating from 1856, and book of the Royal Horticultural Society published between 1862 and 1863, after tests indicated that their covers and bindings were coloured using green pigments containing arsenic.
Richelieu site
The Richelieu site occupies a full city block in Paris, surrounded by rue de Richelieu (west), rue des Petits-Champs (south), rue Vivienne (east), and rue Colbert (north). There are two entrances, respectively on 58, rue de Richelieu and 5, rue Vivienne. This site was the main location of the library for 275 years, from 1721 to 1996. It now hosts the BnF Museum as well as facilities of the BnF, the library of the Institut National d'Histoire de l'Art (in the Saller Labrouste since 2016), and the library of the École Nationale des Chartes. It was comprehensively renovated in the 2010s and early 2020s on a design by architects Bruno Gaudin and Virginie Brégal.
François-Mitterrand site
On 14 July 1988, President François Mitterrand announced "the construction and the expansion of one of the largest and most modern libraries in the world, intended to cover all fields of knowledge, and designed to be accessible to all, using the most modern data transfer technologies, which could be consulted from a distance, and which would collaborate with other European libraries". Due to initial trade union opposition, a wireless network was fully installed only in August 2016.
In July 1989, the services of the architectural firm of Dominique Perrault were retained. The design was recognized with the European Union Prize for Contemporary Architecture in 1996. The construction was carried out by Bouygues. Construction of the library ran into huge cost overruns and technical difficulties related to its high-rise design, so much so that it was referred to as the "TGB" or "Très Grande Bibliothèque" (lit. 'Very Large Library', a sarcastic allusion to the successful TGV high-speed rail system). After the move of the major collections from the Rue de Richelieu, the National Library of France was inaugurated on 15 December 1996.
As of 2016, the BnF contains roughly 14 million books at its four Parisian sites (Bibliothèque François-Mitterrand, Richelieu, Arsenal, and Opéra) as well as printed documents, manuscripts, prints, photographs, maps and plans, scores, coins, medals, sound documents, video and multimedia documents, and scenery elements. The library retains the use of the Rue de Richelieu complex for some of its collections.
Manuscript collection
The Manuscripts department houses the largest collection of medieval and modern manuscripts worldwide. The collection includes medieval chansons de geste and chivalric romances, eastern literature, eastern and western religions, ancient history, scientific history, and literary manuscripts by Pascal, Diderot, Apollinaire, Proust, Colette, Sartre, etc.
The collection is organised:
according to language (Ancient Greek, Latin, French and other European languages, Arabic, Coptic, Ethiopian, Hebrew, Persian, Turkish, Near- and Middle-Eastern languages, Chinese, Japanese, Tibetan, Sanskrit, Tamil, Indian languages, Vietnamese, etc.)
The library holds about 5,000 Ancient Greek manuscripts, which are divided into three fonds: Ancien fonds grec, fonds Coislin, and Fonds du Supplément grec.
according to content: learned and bibliophilic, collections of learned materials, Library Archives, genealogical collections, French provinces, Masonic collection, etc.
Digital library
Gallica is the digital library for online users of the Bibliothèque nationale de France and its partners. It was established in October 1997. Today it has more than six million digitized materials of various types: books, magazines, newspapers, photographs, cartoons, drawings, prints, posters, maps, manuscripts, antique coins, scores, theater costumes and sets, audio and video materials. All library materials are freely available.[citation needed]
On 10 February 2010, a digitized copy of Scenes of Bohemian Life by Henri Murger (1913) became Gallica's millionth document. In February 2019, the five millionth document was a copy of the manuscript "Record of an Unsuccessful Trip to the West Indies" stored in the Bibliothèque Inguimbertine and on 30 March 2023 the ten millionth document was added.
As of 2024, Gallica had made available online approximately 10 million documents:
864,428 books
186,495 manuscripts
5,804,801 newspapers and magazines issues
1,792,736 images
196,486 maps
64,967 music scores
52,004 audio recordings
519,877 objects
5,585 video recordings
Most of Gallica's collections of texts have been converted into text format using optical character recognition (OCR-processing), which allows full-text search in the library materials.
Each document has a digital identifier, the so-called ARK (Archival Resource Key) of the National Library of France and is accompanied by a bibliographic description.
Notable patrons
Raoul Rigault, leader during the Paris Commune in 1871, was known for habitually occupying the library and reading endless copies of the newspaper Le Père Duchesne.
In popular culture
Alain Resnais directed Toute la mémoire du monde (transl. All the Memory in the World), a 1956 short film about the library and its collections.
(Wikipedia)
Die Bibliothèque nationale de France (kurz BnF; deutsch Nationalbibliothek Frankreichs) ist eine öffentlich-rechtliche Anstalt mit Sitz in Paris unter der Schirmherrschaft des französischen Kulturministers. Ihre Aufgabe ist es, Schriften zu sammeln, zu bewahren und der Öffentlichkeit zugänglich zu machen. Sie publiziert einen Katalog, pflegt die Zusammenarbeit mit anderen Anstalten auf nationaler und internationaler Ebene und nimmt an Forschungsprogrammen teil.
Anders als die Deutsche Nationalbibliothek ist die BnF eine Universalbibliothek, die Literatur aus allen Zeiten und Fachgebieten sammelt und zur Verfügung stellt, nicht nur Schriften aus Frankreich oder über Frankreich. Sie verfügt über einen Erwerbungsetat von mehr als 20 Millionen Euro.
Als Nationalbibliothek erhält sie beide Pflichtexemplare der Verleger und das Pflichtexemplar der sich in der Ile-de-France befindenden Drucker. Ihr Buchbestand erweitert sich jährlich um 150.000 Bände (davon 60.000 durch Pflichtexemplare) und Schriftstücke aller Art. Je nach Thema oder Trägerart wird das zweite Pflichtexemplar einer anderen Bibliothek übergeben (z. B. die Comics dem Centre National de la Bande Dessinée et de l’Image (CNBDI) in Angoulême).
Der Gesamtbestand wird mit etwa 30 Millionen Büchern und Dokumenten angegeben, damit ist sie eine der größten Bibliotheken der Erde. Etwa zehn Millionen Bände entfallen auf die neue BnF. Außerdem ist die BnF für ihre digitalisierte Bibliothek Gallica mit einem Bestand von 4 Mio. Dokumenten bekannt.
Standorte
Die Aktivitäten der BnF verteilen sich auf verschiedene Wirkungsstätten, die sogenannten Sites. Nur mit ausdrücklicher Genehmigung sind die Restaurierungswerkstätten wie das Centre technique de Bussy-Saint-Georges und das Centre Joël Le Theule in Sablé-sur-Sarthe zugänglich. Für Besucher geöffnet sind die alte Bibliothèque nationale de France (site Richelieu-Louvois) in Paris, die neue Bibliothèque nationale de France (site François-Mitterrand) in Paris, die Bibliothèque de l’Arsenal in Paris, die Museumsbibliothek der Pariser Oper und die Bibliothek und das Dokumentationszentrum der Maison Jean Vilar in Avignon.
Die alte Bibliothèque nationale (Site Richelieu-Louvois)
Die früher königliche, dann kaiserliche Nationalbibliothek, eine der reichsten der Welt, nimmt in der Nummer 5 der rue de Richelieu / rue Vivienne (2. Arrondissement) eine rechteckige Fläche von 16.000 m² ein. Der Minister Jean-Baptiste Colbert ließ 1666 die königliche Bibliothek in der Nähe seines Hôtels unterbringen. 1720 wechselte sie den Ort und wurde vom Abt Bignon, dem königlichen Bibliothekar (1719–1742), in das sogenannte Hôtel de Nevers auf der anderen Straßenseite verlegt, einen Teil des Stadtpalastes, den der Kardinal und Minister Jules Mazarin hinter dem Palais Royal an der heutigen Rue Richelieu hatte errichten lassen. Allmählich dehnte sich die Bibliothek auf den ganzen Häuserblock aus. Im Hôtel de Nevers hatte sich zuvor die eigene Bibliothek des Kardinals befunden, die Bibliothèque Mazarine, die aber 1691 in das Collège des Quatre Nations verlegt worden war, eine Stiftung des Kardinals und seit 1805 Sitz des Institut de France, wo sie sich bis heute befindet.
Von 1854 bis zu seinem Tod im Jahr 1875 baute der Architekt Henri Labrouste (1801–1875) die Bibliothek massiv um, um aus mehreren Bauten verschiedener Epochen ein großes, kohärentes Ensemble zu schaffen. 1868 wurde der große Lesesaal (heute Salle Labrouste) eröffnet.
Labroustes Nachfolger Jean-Louis Pascal setzte den Umbau fort und entwarf 1916 den ovalen Saal (Salle Ovale), der erst 1936 eingeweiht werden konnte. Dort befinden sich noch immer die kostbarsten Gegenstände aus dem Fundus der BnF, insbesondere Manuskripte, Kupferstiche, Karten und Pläne, Fotografien, Münzen und Medaillen (Cabinet des Médailles) sowie Dokumente der Musikgeschichte, während die Rara-Abteilung, die sonstigen gedruckten Werke, Tonträger, Videomaterialien usw. in das neue, von Dominique Perrault im Osten der Stadt errichtete Gebäude umgezogen sind.
Die neue Bibliothèque nationale de France (Site François-Mitterrand)
Den Bau eines neuen Bibliotheksgebäudes kündigte der französische Staatspräsident François Mitterrand am 14. Juli 1988 an. Aus der Ausschreibung mit 200 Bewerbern ging der junge französische Architekt Dominique Perrault als Preisträger hervor. Sein Projekt war aus vier erstrangigen Vorschlägen von Mitterrand persönlich ausgewählt worden. Die Arbeiten begannen im Dezember 1990 und waren 1996 abgeschlossen. Die neue Bibliothèque nationale de France trägt zu Ehren ihres Initiators den Namen Bibliothèque nationale François Mitterrand. Sie wurde am 20. Dezember 1996 der Öffentlichkeit übergeben. Im selben Jahr wurde der Architekt für den Bau mit dem Mies van der Rohe Award for European Architecture ausgezeichnet.
Die vier Ecken des Gebäudes im 13. Arrondissement weisen je einen 79 m hohen Turm mit einer durchgehenden Glasfassade auf. Die Türme sind L-förmig und symbolisieren ein aufgeschlagenes Buch. Das gesamte Bibliotheksgebäude und alle Stockwerke der vier Türme sind mit der größten je in Europa installierten automatischen Buchtransportanlage ausgestattet (6,6 Kilometer Profilschienen, 151 Zielbahnhöfe, 300 selbstfahrende Behälter).
Namen der Türme
T1 Tour du temps ‚Turm der Zeit‘
T2 Tour des lois ‚Turm der Gesetze‘
T3 Tour des nombres ‚Turm der Zahlen‘
T4 Tour des lettres ‚Turm der Buchstaben bzw. Briefe‘
n der Mitte des 60.000 m² großen rechteckigen Areals liegt ein 12.000 m² großer Wald. 150 mehrjährige Kiefern wurden 1995 in den Innenhof gepflanzt, der nur an einem einzigen Nachmittag des Jahres der Öffentlichkeit zugänglich ist. Aufgrund von Fehlplanungen und zahlreichen Verzögerungen beim Bau war das Gebäude in Paris lange Zeit umstritten. Problematisch ist die Lagerung der Bücher in den Türmen, mit langen Wegen zu den Arbeitsräumen im Untergrund, auch, weil die Bücher dort nach der ursprünglichen Planung dem Tageslicht ausgesetzt waren. Ebenso wurden die hohen Baukosten und der enorme Energieverbrauch kritisiert. Zwischen 2003 und 2013 wurden von Dominique Perrault daher verschiedene Umbauten realisiert. Im Herbst 2002 war das Gebäude Schauplatz der Lichtinstallation Arcade von Projekt Blinkenlights. Die neue Bibliothek ist über die Métrostation Bibliothèque François Mitterrand erreichbar.
Geschichte der Sammlungen
Die Ursprünge der Bibliothek werden bis auf das Mittelalter und die persönliche Handschriftensammlung König Karls V. zurückgeführt, die 1368 im Louvre gegründet wurde und 917 Manuskripte umfasste, die traditionell in der Literatur als Codex Parisianus mit der Inventarnummer zitiert werden. Sie war aber noch Privatbesitz des Königs. Nach dem Tod Karls VI. wurde diese erste Sammlung während der englischen Besatzung im Hundertjährigen Krieg zerstreut. Teile davon wurden vom Herzog von Bedford erworben und nach England transportiert. Seit Ludwig XI. wurde die Sammlung wieder aufgebaut. Seine Nachfolger Karl VIII. und Ludwig XII. trugen im 15. Jahrhundert erheblich zu ihrer Vergrößerung bei, insbesondere durch die Einverleibung der Bibliotheken der aragonesischen Könige in Neapel und der Visconti-Sforza von Mailand.
Im 16. Jahrhundert verlagerte Franz I. die königliche Bibliothek nach Fontainebleau. Die Ordonnanz von Montpellier (1537) verpflichtete Verleger und Drucker, ein Exemplar jedes Werkes an diese Bibliothek abzuliefern. Trotz der Ordonnanz wurden viele Bücher aber erst nachträglich erworben.
Nachdem die Bibliothek unter anderem aufgrund der Hugenottenkriege mehrmals ihren Standort gewechselt hatte, ergriff im 17. Jahrhundert Colbert die Initiative, sie neben seinem Stadtpalast in der Pariser Rue Vivienne unterzubringen. Durch zahlreiche im Ausland aufgekaufte Werke machte der Minister die Bibliothek zu einer der weltweit schönsten seiner Zeit. 1692 wurde die königliche Bibliothek für den – zeitgemäß eingeschränkten – öffentlichen Gebrauch freigegeben. Die Bestände wurden ständig durch das Pflichtexemplarrecht, Erwerbungen, Vermächtnisse und Schenkungen größerer Sammlungen erweitert (z. B. vermachte die Witwe Eugène Goupils im Jahr 1898 der Bibliothek eine bedeutende Sammlung aztekischer Manuskripte).
Die Französische Revolution führte zu einer bedeutenden Bestandsvermehrung: zwar wurde das Pflichtexemplarrecht in Frankreich zwischen 1790 und 1794 aufgehoben, aber ganze Bibliotheken und Sammlungen wurden entweder säkularisiert (Bibliotheken von Konventen und Abteien) oder beschlagnahmt (Bibliotheken emigrierter Adliger). Die Sammlungen wurden im 20. Jahrhundert nochmals beträchtlich vervollständigt, als die Bibliothèque de l’Arsenal 1926 und die Bibliothèque des Conservatoires über den Umweg der Réunion des bibliothèques nationales der BnF übergeben wurden (1977 wurde die Bibliothek des Conservatoires wieder selbstständig, die älteren Bestände verblieben aber in der BnF).
Ein besonderer Bestand ist der sogenannte Enfer, der zur Reservatensammlung seltener und kostbarer Bücher gehört und Druckwerke erotischen oder pornografischen Charakters vereinigt, die nur mit Bewilligung eingesehen werden dürfen. Der Enfer wurde zwischen 1836 und 1844 eingerichtet und gilt als einer der berühmtesten Remota-Fonds.
Seit 2007 betrifft das Pflichtexemplarrecht auch die elektronische öffentliche Kommunikation. Infolge dieses Gesetzes speichert die französische Nationalbibliothek die Inhalte der .fr-Domain des Internets.
Die Kataloge und die digitale Bibliothek
Die Bestände der Bibliothèque nationale de France werden hauptsächlich durch drei Kataloge erschlossen:
der Catalogue général mit über 13 Millionen bibliographischen Nachweisen und über 5.000.000 Normdatei-Einträgen von Personen, Körperschaften, Werken und Schlagwörtern. Dieser Katalog beschreibt die Bücher, Zeitschriften, Bilder (Fotos und Einblattmaterial), Objekte (Münzen, Kostüme usw.), handschriftlichen und gedruckten Partituren, Tonträger, CDs sowie die meisten Mikrofilme und die in Gallica zugänglichen Digitalisate mit folgenden Einschränkungen:
Drucke in nicht-lateinischer Schrift werden erst ab 1996 elektronisch erfasst. Ältere Erwerbungen sollen in digitalisierten Zettelkatalogen recherchiert werden.
Mikrofilme werden nicht alle katalogisiert (Mikrofiches von Dissertationen können nur unter der Signatur Microfiche M-33000 im Katalog ohne bibliographischen Nachweis bestellt werden); elektronische Zeitschriften und Datenbanken werden in diesem Katalog nur erfasst, wenn auch die gedruckte Ausgabe oder der Datenträger erworben wurde.
der Katalog der Handschriften enthält Handschriften und Archive. Ein beträchtlicher Teil der Handschriften ist aber noch nicht elektronisch erschlossen. Die meisten dieser Kataloge wurden jedoch digitalisiert und sind online abrufbar.
der Katalog der elektronischen Zeitschriften und Datenbanken mit über 40.000 Zeitschriften.
Abgesehen von den elektronisch durchsuchbaren Katalogen sind auch ältere digitalisierte Kataloge zugänglich.
(Wikipedia)
Larval host plants:
1. Mucuna pruriens - Velvet bean - നായ്ക്കുരണ
2. Mucuna monosperme - Negro Bean - മലന്താളി,
3. Desmodium gangeticum - Salparni - ഓരില,
4. Flemingia sp. - കാട്ടുമർമാണി, കമലു.പോന്തോരില
5. Lathyrus sp. - Grass Pea, Chickling pea,
6. Canavalia gladiata - Sword Bean, Jack bean - വാളങ്ങ പയർ, വാള് പയർ, വാളമര, വാളരിങ്ങാ പയർ
7. Dalbergia latifolia - Black Rosewood, Blackwood tree - വീട്ടി, കരിവീട്ടി,
8. Paracalyx scariosus - Indian Husk-Pea,
9. Pseudarthria viscida - Sticky Desmodium - മൂവില,
10. Abrus precatorius - കുന്നി - Rosary Pea, Coral bead vine(Leguminosae),
11. Bombax ceiba - Silk cotton tree - ഇലവ്,
12. Ceiba pentandra - White Silk-Cotton Tree - ശീമപ്പൂള, പഞ്ഞിമരം,
13. Elaeocarpus sp. കാരമാവ്, വലിയകാര
14. Grewia sp.,
15. Triumfetta rhomboidea - Burr Bush, Chinese burr - ഊർപ്പം,
16. Helicteres isora - East-Indian screw tree, Nut-leaved screw tree - ഇടംപിരി വലംപിരി (Malvaceae),
17. Xylia xylocarpa - Burma Ironwood, Pyinkado - ഇരുമുള്ള്, ഇരുൾ (Legiminosae),
18. Vigna sp. - കാട്ടുഴുന്ന്, കാട്ടുപയർ,
19. Nothapodytes nimmoniana - Ghanera - പീനാറി (lcacinaceae),
20. Urena lobata - Caesarweed, Aramina, Bur mallow - ഊർപണം, ഊർപം (Malvaceae)
My pictorialism*
*Modelo: Tania Castagno *Maquillaje y Peinado: Dino Balanzino *Vestuario: Margarita Salleras
*Foto sacada durante el backstage
*Modelo: Dinorah *Maquillaje y Peinado: Dino Balanzino *Vestuario: Margarita Salleras * El Mirador espacio
Many of bread seller on the street sell the traditional bread that we call "roti benggali". It not as soft as the bread sell nowadays and is nice to eat with butter and Coconut jam (kaya).
German postcard. Verlag Hermann Leiser, No. 4529, 1910s.
German actor Carl Clewing (1884-1954) was a popular German stage actor and an opera singer, the composer of the song Alle Tage ist kein Sonntag (Not every day is a Sunday), and a music professor in Berlin. During the years of German early cinema he was in demand as film actor.
Theodor Rudolph Carl Clewing was born in 1884 in Schwerin, Germany. His father was the owner of an apothecary. Clewing studied in Prague. From 1909 he was an actor in Berlin and he was appointed Royal Court actor in 1911. In the same year, Clewing also made his debut as a film actor in Der fremde Vogel/The Strange Bird (Urban Gad, 1911) starring Hans Mierendorff and Asta Nielsen. In the next years followed roles in productions like Ein Sommernachtstraum in unserer Zeit (Stellan Rye, 1913) based on motives of William Shakespeare’s A Midsummer Night's Dream, the fantasy Der Ring des schwedischen Reiters/The ring of the Swedish riders (Stellan Rye, 1913), and Der Flug in die Sonne/The flight into the sun (Stellan Rye, 1914). On stage, Clewing was popular in his performance of Ibsen's Peer Gynt, which he staged in 1914, 1915, 1916 and 1919, all at the Köngliches Schauspielhaus in Berlin (from 1919: Staatstheater). At all years, Paula Conrad played Aase, while Helene Thimig played Solveig in 1914-1915.
At the outbreak of the First World War, Clewing announced himself voluntarily, and during the war he was repeatedly distinguished and promoted to lieutenant. Apparently, he managed to continue to act on stage and on screen too, e.g. acting in the Lotte Neumann film Die Richterin (Paul von Woringen, 1917). After the war, he was again active in Berlin as a stage and opera star, but also as a film actor. Among his films were the crime drama Whitechapel (Ewald André Dupont 1920) with Hans Mierendorff and Grit Hagasa, and Ernst Lubitsch’s classic Sumurun (1920), in which Ewing played the young Sheik. His final film was Das Floß der Toten/The raft of the dead (Carl Boese, 1920) with Aud Egede Nissen. In 1922 he became a guest lecturer and professor at the State Conservatory of the Hochschule für Staats- & Wirtschaftswissenschaften in Detmold . In the autumn of 1922, he had a commitment as a hero to the Staatsoper Berlin. In 1924-1925 he performed at the Bayreuth Festival and sang Walter von Stolzing and the Parsifal. In December 1928 he was appointed extraordinary professor for singing, vocal training and practical phonetics at the University of Music in Vienna.
At the beginning of 1931 Carl Clewing moved back to Germany and was appointed professor at the Staatliche Hochschule für Musik in Berlin, and at the same time he was a representative of the Cooperative of German Stage Artists in the School of the German Stage Society, as well as a member of the Berlin Opera and Opera, and moved to Berlin-Lichterfelde-Ost.
After Adolf Hitler's rise to power, Clewing was a member of the NSDAP, the SA, and the SS. However, he was expelled in 1934, because he had concealed his ‘non-Aryan slippage’ and his former affiliation to a Masonic lodge. In 1935 he composed the Schlager Alle Tage ist kein Sonntag. In the second half of the 1930s, Clewing, who was also a passionate hunter and collector of hunting culture, was entrusted by Hermann Göring, the Reichsjägermeister, to issue the series of monuments of German hunting culture. The first volume appeared as early as 1937, as well as a folk edition of 100 huntsmen and a songbook of the Luftwaffe. During this time he also developed a small form of the Fürst-Pless-Horn, which is also called Clewing's Taschenjagdhorn. In May 1939 he returned as an opera singer. In the same year, he wrote a cantata on the birth of Edda Goering. After the Second World War he lived in the sanatorium in Glotterbad near Freiburg im Breisgau and spent his retirement in the health resort Dr. Saller in Badenweiler. In 1923, Clewing married Elisabeth (Else) née Mulert, adopted Arnhold, widowed Kunheim. They divorced in 1940, and had a son, Carl Peter (1924-1943, fallen at Salerno). Carl Clewing passed away in Badenweiler, Baden-Württemberg, Germany in 1954.
Sources: Thomas Staedeli (Cyranos), Wikipedia (English), and IMDb.
Candid street shot, Bristol, UK.
---------------------------
Blond or blonde, or fair hair, is a hair color characterized by low levels of the dark pigment eumelanin. The resultant visible hue depends on various factors, but always has some sort of yellowish color. The color can be from the very pale blond (caused by a patchy, scarce distribution of pigment) to reddish "strawberry" blond colors or golden-brownish ("sandy") blond colors (the latter with more eumelanin). On the Fischer–Saller scale blond color ranges from A to J (blond brown).
The word "blond" is first attested in English in 1481 and derives from Old French blund, blont meaning "a colour midway between golden and light chestnut". It gradually eclipsed the native term "fair", of same meaning, from Old English fæger, causing "fair" later to become a general term for "light complexioned". This earlier use of "fair" survives in the proper name Fairfax, from Old English fæger-feahs meaning "blond hair".
The French (and thus also the English) word "blond" has two possible origins. Some linguists[citation needed] say it comes from Medieval Latin blundus, meaning "yellow", from Old Frankish blund which would relate it to Old English blonden-feax meaning "grey-haired", from blondan/blandan meaning "to mix" (Cf. blend). Also, Old English beblonden meant "dyed" as ancient Germanic warriors were noted for dying their hair. However, linguists who favor a Latin origin for the word say that Medieval Latin blundus was a vulgar pronunciation of Latin flavus, also meaning yellow. Most authorities, especially French, attest the Frankish origin. The word was reintroduced into English in the 17th century from French, and was for some time considered French; in French, "blonde" is a feminine adjective; it describes a woman with blond hair.
By the early 1990s, "blonde moment" or being a "dumb blonde" had come into common parlance to mean "an instance of a person, esp. a woman... being foolish or scatter-brained.
STREET PHOTOGRAPHY
Photography: Dipjyoti Sarma
Exif: Canon 5d mark iv
Lens: Canon 70-200mm f/2.8L IS USM
ISO: 400
Aperture: f/4
Shutter: 1/250 sec
Focal Length: 125mm
Location: Dergaon, Assam.
(Further pictures you can see by clicking on the link at the ende of page!)
The history of the sanctuary and parish Mariahilf
The beginnings of Mariahilf
Since the cemetery of Hofpfarre (Court Parish) St. Michael - it was too close to the Imperial Palace - in 1508 had to be abandoned due to an imperial command, a new location outside the city walls and the glacis - served as a military parade and defense area - was searched. Only in 1656 could a vineyard in Ried "Schoeff" at the black cross in front of the Widmertor - the present castle gate - to be purchased for the new cemetery.
This Ried "Schoeff" stretched from Widmertor on the slopes of the left bank of Vienna (very small river Wienfluss) to Penzing. Here flourished a famous and popular type of wine, "the Gumpendorfer".
The first cemetery chapel
Picture of grace. At the highest point of this hill a small wooden cemetery chapel was built, that together with the cemetery on 19 April in 1660 was consecrated by Bishop Philipp Friedrich von Breuner. The only decoration of this humble chapel was that of the Barnabitenmönch (monch of the Barnabites) Don Celestine Joanelli - see today's Joanelligasse - donated miraculous image "Mariahülf ", which soon became the destination of many pilgrims from Vienna and the surrounding area.
This representation of Mary is a replica of the miraculous image on Mariahilferberg near Passau, which again is a copy of the miraculous image in the parish church at Innsbruck. All three images, the story tells of miraculous powers. In many "miracle books" - partly till today in Mariahilfer library preserved - is reported about miraculous healings.
The pilgrimages became more and more intense and so the Barnabites were forced to build in the years 1668 and 1669 a stone chapel, including residential buildings for the priests.
In the second Turkish siege of Vienna in 1683, the buildings were destroyed, but the picture of grace in time could be brought to safety by the then sexton Eduard Lampel within the city walls.
The new church
Due to popular demand for the miraculous image, the many pilgrimages and the non-successful floor plan of the building was from 1711 according to the plans of Franziskus Jänckl - a student and construction supervisor of Lukas von Hildebrandt - the church, using part of the existing foundation walls, in its present form built. 1714 choral parts were rebuilt and the nave erected, in 1715 were the towers of the west front - facing the present Mariahilferstraße - ready in shell (2nd construction periode). In the 3rd construction periode 1721-1726 the towers were covered with copper and decorated the west facade with statues and reliefs of J. Jacob and Ignatius Gunst.
A drawing of Salamon Kleiner from 1724 shows the general impression at that time.
Church 1724
Pilgrimages to the holy image of Mariahilf
To get a feel for the intensity of the pilgrimage tradition at this time, some numbers from 1733: 97 692 people received the Holy Communion, 20,000 Holy Masses were celebrated this year in Mariahilf.
The Empress Maria Theresa made a pilgrimage to Mariahilf to ask Our Lady for her intercession. The Chronicle reported that, during the three Masses, those she here attended sequentially, she a quarter hour lying on the ground here prayed and wept.
These and other notable historical documentations can be found until the middle of the 19th Century in the "Akta" of the parish Mariahilf, which can be looked-up in our library.
In the years 1805, 1809 and 1813 during the Napoleonic war took place enormous state processions with up to 90,000 participants to Mariahilf.
Many Viennese suburb and suburban communities pilgrimaged here every year for centuries to pray, to take their concerns to Mary and to obtain a plenary indulgence, under certain specified conditions. Some parishes in Vienna and Lower Austria come even today annually to the miraculous image "pilgrimaging".
In the years 1760 - 100th anniversary, 1860 - 200th anniversary of the mounting of the miraculous image, 1910 - 250 anniversary celebration and 1960 to the 300th recurrence of this event took place festivities lasting for days, the, as the chronicle reported, especially in the years 1760 and 1860 not only religious contents had but also secular celebrations were.
Ultimately led all these conditions and events to the consequence that until now the 6th District of Vienna is called Mariahilf and probably the largest shopping street in Vienna Mariahilferstraße.
The religious communities of Mariahilf
The Barnabitenorden (Barnabite Order) oversaw the parish, which in the meantime from 1722 was also the provost until 1920. From 1920-1923 diocesan priests worked here until church and parsonage were transferred to the Order of Salvatorianer. These were active here until 1997 and had to give up for lack of personnel and financial reasons this location. Subsequently transferred the Archdiocese of Vienna to the Polish Order of Michaelites the care of the parish and pilgrimage church.
Architectural and historic preservation measures in recent decades:
In 1960, on the occasion of the 300 year celebrations the partly wooden marble altars - this was quite usual in the Baroque period for cost reasons - new marbled , that is newly painted. In 1950/55 and 1982, the exterior facades of the church were renovated and restored, from 1986 to 1988 the interior of the church was also renovated and restored the frescoes on the ceilings and walls. Solid plaster damage, moister penetration of the masonry and the increasing pollution from the environment made in 2003 a renewed facade repair at the moment on the Western Front and the two church towers, including the statues and reliefs, urgently required to prevent an even greater extent of damage.
Another construction was 2008-2010, being renovated the remaining facade surfaces of the church (both long sides and south side) including sacristy tower and at the parsonage the roadside west facade and the narrow, southern front facing the courtyard. At the parsonage also an extensive roof renovation was necessary.
Church tower 2, church tower 1 Church Renovation 2010
The historic bell of the Mariahilferkirche - The Schuster Michel
Schuster Michel
After the shoemaker Johann Michael Sailler yet in the previous year had donated a large bell, he gave 1720 again fl 4,000 for a larger bell. This was in the imperial Arsenal by the imperial stucco founder Michael Leopold Heylil casted into tin bronze and weighed 4445 kg with a diameter of 193 cm. On the spot took, took Gottfried Bessel, abbot of Göttweig (Lower Austria), the consecration to the "Blessed Virgin Helper" (ad impositum phenomenon BV Auxiliatricis). It is designed with typical squat baroque style in heavy rib with wide flaring, heavy blow ring carried out and it resounds with massive, very dark basic tone a.
Artistic design of the surface: at the neck (upper edge), a narrow flower frieze, below it then again, broad, by decorative strips edged frieze with rose garlands, enclosed by double trimming elements, the inscription in Roman capitals:
GOSS ME IN LEOPOLD HALIL KAYSERLICHER STVCKGIESSER Wienn 1720 WIGT 7939 PF I AM TO HONOR GOD AND HUMAN SERVICES MANAGEMENT AND READY WHEN I AM (shall) the dead THE TOLL !
The sheath of the bells adorn four cartridges with inscriptions and images: the picture of grace Mariahilf, the Apostle Paul with the sword icon and the founders of the Regular Clerics of the St. Apostle Paul, farther a with an arrow pierced shoe, probably the arms of the founder.
The fourth cartridge contains the chronogram: AVS Dear Rich h MICaeLI Saller generosity Am I AVCH here gehenCket ("from dear rich bounty of the Lord Michael Sailer I 'm also here gehäncket (suspended)"), the capital letters of this inscription constitute the latin number sequence VLIICMICLILLIIIIICVCIC, giving as a result the year 1720.
Schuster Michel
That such a large bell was not so easy to ring by hand and in the course of time were necessary stabilization measures in the belfry, shows an entry in the parish chronicle of 1903: It...."was for the Great Bell "Schuster Michel" of the tower instead of the much more expensive wood helmet an iron belfry .....manufactured, by which the dangers at ringing should be eliminated because now only two men were required to ring the bell and also the vibrations of the whole tower are resolved. "Meant are probably iron bracings and reinforcements in the bell chamber, as the wooden belfry itself continued to remain preserved.
The replacement of the old wooden yoke through a Glockenjoches (bell yoke) of steel followed 1930. When the electrification took place is not documented.
The legend of the "miserly Schuster Michel" was created 1726-1731 and initially referred to a 1719 by the same donor donated, smaller Michael bell. Its defects, which coincided in terms of time with illness and death of the donor, and the in 1731 necessary recast gave this bell a mysterious reputation. As of 1731, hence the name "Michel Schuster" was transferred to the in 1720 also by Michael Sailler donated larger bell. The Michael Bell, however, was later referred to as "Saller-bell" or "Saillerin (Lady Sailler)".
Schuster Michel Schuster Michel
In the heyday (1st half of the 19th century) the Mariahilferkirche was equipped with a total of 8 bells. A detailed Läutordnung (toll regime) already should give the believers acoustically the time and type of worship. The Schuster Michel was rung on the eve before Sundays and public holidays. In the two world wars but in each case bells had to be delivered as war material. 1930 three new bells were still re-purchased, but 1941 the next war took its toll. It remained in the Mariahilferkirche only the historically valuable bell from 1720.
2011: New Patterns for Schuster Michel
Probably 1930, at the Schuster Michel the original wooden yoke was replaced by a steel yoke. These steel suspension proved now but not as convenient, because the ringing of the bell had to be done in a very high Läutwinkel (toll angle). Furthermore, the iron clapper from 1908 was too hard and proportioned wrong and could have hurt the bell. Since the antiquated electric drive, too, was very susceptible to disturbance, the Schuster Michel since Easter 2011 had to be silent.
In order to conserve the Schuster Michel as long as possible, the parish Mariahilf decided to had done some changes. With the renovation work the company Schauer und Sachs from Salzburg was commissioned: The steel yoke was again exchanged with an oak one (approximately 350 kg). As a result, the Läutwinkel (toll angle) could be reduced by 15%. A new round bale clapper, 180 kg, of special steel RSK 100, cast of the company Rosswag in Germany, was installed.
During a small devotion on 25 October 2011, the new clapper was blessed by Father Casimir, before it acceded to the applause of a small crowd of onlookers to the breezy trip to the height on its new location. The unilateral electrical drive has been replaced by an electronic drive with two motors. The screw connections at the belfry were tightened. So the Schuster Michel after a half year break on 28th October 2011 finally could resound again .
The costs for these bell remediations amount to € 20,218.38. Of which bears the parish Mariahilf € 6,803.01. The Federal Monuments Office has a grant of € 5.000, - promised, the rest is pumped in from the Archdiocese of Vienna .
Photos of the installation can be found here: in the photo gallery.
www.pfarremariahilf.at/mariahilf/index.php?mid=Kultur&...
In memoriam Joseph Haydn
(Further pictures you can see by clicking on the link at the ende of page!)
The history of the sanctuary and parish Mariahilf
The beginnings of Mariahilf
Since the cemetery of Hofpfarre (Court Parish) St. Michael - it was too close to the Imperial Palace - in 1508 had to be abandoned due to an imperial command, a new location outside the city walls and the glacis - served as a military parade and defense area - was searched. Only in 1656 could a vineyard in Ried "Schoeff" at the black cross in front of the Widmertor - the present castle gate - to be purchased for the new cemetery.
This Ried "Schoeff" stretched from Widmertor on the slopes of the left bank of Vienna (very small river Wienfluss) to Penzing. Here flourished a famous and popular type of wine, "the Gumpendorfer".
The first cemetery chapel
Picture of grace. At the highest point of this hill a small wooden cemetery chapel was built, that together with the cemetery on 19 April in 1660 was consecrated by Bishop Philipp Friedrich von Breuner. The only decoration of this humble chapel was that of the Barnabitenmönch (monch of the Barnabites) Don Celestine Joanelli - see today's Joanelligasse - donated miraculous image "Mariahülf ", which soon became the destination of many pilgrims from Vienna and the surrounding area.
This representation of Mary is a replica of the miraculous image on Mariahilferberg near Passau, which again is a copy of the miraculous image in the parish church at Innsbruck. All three images, the story tells of miraculous powers. In many "miracle books" - partly till today in Mariahilfer library preserved - is reported about miraculous healings.
The pilgrimages became more and more intense and so the Barnabites were forced to build in the years 1668 and 1669 a stone chapel, including residential buildings for the priests.
In the second Turkish siege of Vienna in 1683, the buildings were destroyed, but the picture of grace in time could be brought to safety by the then sexton Eduard Lampel within the city walls.
The new church
Due to popular demand for the miraculous image, the many pilgrimages and the non-successful floor plan of the building was from 1711 according to the plans of Franziskus Jänckl - a student and construction supervisor of Lukas von Hildebrandt - the church, using part of the existing foundation walls, in its present form built. 1714 choral parts were rebuilt and the nave erected, in 1715 were the towers of the west front - facing the present Mariahilferstraße - ready in shell (2nd construction periode). In the 3rd construction periode 1721-1726 the towers were covered with copper and decorated the west facade with statues and reliefs of J. Jacob and Ignatius Gunst.
A drawing of Salamon Kleiner from 1724 shows the general impression at that time.
Church 1724
Pilgrimages to the holy image of Mariahilf
To get a feel for the intensity of the pilgrimage tradition at this time, some numbers from 1733: 97 692 people received the Holy Communion, 20,000 Holy Masses were celebrated this year in Mariahilf.
The Empress Maria Theresa made a pilgrimage to Mariahilf to ask Our Lady for her intercession. The Chronicle reported that, during the three Masses, those she here attended sequentially, she a quarter hour lying on the ground here prayed and wept.
These and other notable historical documentations can be found until the middle of the 19th Century in the "Akta" of the parish Mariahilf, which can be looked-up in our library.
In the years 1805, 1809 and 1813 during the Napoleonic war took place enormous state processions with up to 90,000 participants to Mariahilf.
Many Viennese suburb and suburban communities pilgrimaged here every year for centuries to pray, to take their concerns to Mary and to obtain a plenary indulgence, under certain specified conditions. Some parishes in Vienna and Lower Austria come even today annually to the miraculous image "pilgrimaging".
In the years 1760 - 100th anniversary, 1860 - 200th anniversary of the mounting of the miraculous image, 1910 - 250 anniversary celebration and 1960 to the 300th recurrence of this event took place festivities lasting for days, the, as the chronicle reported, especially in the years 1760 and 1860 not only religious contents had but also secular celebrations were.
Ultimately led all these conditions and events to the consequence that until now the 6th District of Vienna is called Mariahilf and probably the largest shopping street in Vienna Mariahilferstraße.
The religious communities of Mariahilf
The Barnabitenorden (Barnabite Order) oversaw the parish, which in the meantime from 1722 was also the provost until 1920. From 1920-1923 diocesan priests worked here until church and parsonage were transferred to the Order of Salvatorianer. These were active here until 1997 and had to give up for lack of personnel and financial reasons this location. Subsequently transferred the Archdiocese of Vienna to the Polish Order of Michaelites the care of the parish and pilgrimage church.
Architectural and historic preservation measures in recent decades:
In 1960, on the occasion of the 300 year celebrations the partly wooden marble altars - this was quite usual in the Baroque period for cost reasons - new marbled , that is newly painted. In 1950/55 and 1982, the exterior facades of the church were renovated and restored, from 1986 to 1988 the interior of the church was also renovated and restored the frescoes on the ceilings and walls. Solid plaster damage, moister penetration of the masonry and the increasing pollution from the environment made in 2003 a renewed facade repair at the moment on the Western Front and the two church towers, including the statues and reliefs, urgently required to prevent an even greater extent of damage.
Another construction was 2008-2010, being renovated the remaining facade surfaces of the church (both long sides and south side) including sacristy tower and at the parsonage the roadside west facade and the narrow, southern front facing the courtyard. At the parsonage also an extensive roof renovation was necessary.
Church tower 2, church tower 1 Church Renovation 2010
The historic bell of the Mariahilferkirche - The Schuster Michel
Schuster Michel
After the shoemaker Johann Michael Sailler yet in the previous year had donated a large bell, he gave 1720 again fl 4,000 for a larger bell. This was in the imperial Arsenal by the imperial stucco founder Michael Leopold Heylil casted into tin bronze and weighed 4445 kg with a diameter of 193 cm. On the spot took, took Gottfried Bessel, abbot of Göttweig (Lower Austria), the consecration to the "Blessed Virgin Helper" (ad impositum phenomenon BV Auxiliatricis). It is designed with typical squat baroque style in heavy rib with wide flaring, heavy blow ring carried out and it resounds with massive, very dark basic tone a.
Artistic design of the surface: at the neck (upper edge), a narrow flower frieze, below it then again, broad, by decorative strips edged frieze with rose garlands, enclosed by double trimming elements, the inscription in Roman capitals:
GOSS ME IN LEOPOLD HALIL KAYSERLICHER STVCKGIESSER Wienn 1720 WIGT 7939 PF I AM TO HONOR GOD AND HUMAN SERVICES MANAGEMENT AND READY WHEN I AM (shall) the dead THE TOLL !
The sheath of the bells adorn four cartridges with inscriptions and images: the picture of grace Mariahilf, the Apostle Paul with the sword icon and the founders of the Regular Clerics of the St. Apostle Paul, farther a with an arrow pierced shoe, probably the arms of the founder.
The fourth cartridge contains the chronogram: AVS Dear Rich h MICaeLI Saller generosity Am I AVCH here gehenCket ("from dear rich bounty of the Lord Michael Sailer I 'm also here gehäncket (suspended)"), the capital letters of this inscription constitute the latin number sequence VLIICMICLILLIIIIICVCIC, giving as a result the year 1720.
Schuster Michel
That such a large bell was not so easy to ring by hand and in the course of time were necessary stabilization measures in the belfry, shows an entry in the parish chronicle of 1903: It...."was for the Great Bell "Schuster Michel" of the tower instead of the much more expensive wood helmet an iron belfry .....manufactured, by which the dangers at ringing should be eliminated because now only two men were required to ring the bell and also the vibrations of the whole tower are resolved. "Meant are probably iron bracings and reinforcements in the bell chamber, as the wooden belfry itself continued to remain preserved.
The replacement of the old wooden yoke through a Glockenjoches (bell yoke) of steel followed 1930. When the electrification took place is not documented.
The legend of the "miserly Schuster Michel" was created 1726-1731 and initially referred to a 1719 by the same donor donated, smaller Michael bell. Its defects, which coincided in terms of time with illness and death of the donor, and the in 1731 necessary recast gave this bell a mysterious reputation. As of 1731, hence the name "Michel Schuster" was transferred to the in 1720 also by Michael Sailler donated larger bell. The Michael Bell, however, was later referred to as "Saller-bell" or "Saillerin (Lady Sailler)".
Schuster Michel Schuster Michel
In the heyday (1st half of the 19th century) the Mariahilferkirche was equipped with a total of 8 bells. A detailed Läutordnung (toll regime) already should give the believers acoustically the time and type of worship. The Schuster Michel was rung on the eve before Sundays and public holidays. In the two world wars but in each case bells had to be delivered as war material. 1930 three new bells were still re-purchased, but 1941 the next war took its toll. It remained in the Mariahilferkirche only the historically valuable bell from 1720.
2011: New Patterns for Schuster Michel
Probably 1930, at the Schuster Michel the original wooden yoke was replaced by a steel yoke. These steel suspension proved now but not as convenient, because the ringing of the bell had to be done in a very high Läutwinkel (toll angle). Furthermore, the iron clapper from 1908 was too hard and proportioned wrong and could have hurt the bell. Since the antiquated electric drive, too, was very susceptible to disturbance, the Schuster Michel since Easter 2011 had to be silent.
In order to conserve the Schuster Michel as long as possible, the parish Mariahilf decided to had done some changes. With the renovation work the company Schauer und Sachs from Salzburg was commissioned: The steel yoke was again exchanged with an oak one (approximately 350 kg). As a result, the Läutwinkel (toll angle) could be reduced by 15%. A new round bale clapper, 180 kg, of special steel RSK 100, cast of the company Rosswag in Germany, was installed.
During a small devotion on 25 October 2011, the new clapper was blessed by Father Casimir, before it acceded to the applause of a small crowd of onlookers to the breezy trip to the height on its new location. The unilateral electrical drive has been replaced by an electronic drive with two motors. The screw connections at the belfry were tightened. So the Schuster Michel after a half year break on 28th October 2011 finally could resound again .
The costs for these bell remediations amount to € 20,218.38. Of which bears the parish Mariahilf € 6,803.01. The Federal Monuments Office has a grant of € 5.000, - promised, the rest is pumped in from the Archdiocese of Vienna .
Photos of the installation can be found here: in the photo gallery.
www.pfarremariahilf.at/mariahilf/index.php?mid=Kultur&...