www.medilaw.tv - Uses superior and sagittal cross-section views to compare a normal and a congenitally stenosed spinal canal. Spinal stenosis refers to narrowing of the spinal canal and the nerve root exits (lateral recesses). Stenosis leading to central compression of the spinal cord can damage the cord (myelopathy). Stenosis is often exacerbated by movement. Compression of the nerve roots at the bottom of the spinal cord (cauda equina) can cause a cauda equina syndrome. Compression of the nerve root as it leaves the spinal canal through the lateral recess and then the intervertebral foramen (foraminal stenosis), can cause nerve root symptoms and damage (radiculopathy).

Primary spinal stenosis can be caused by

congenital malformations (incomplete vertebral arch closure (spinal dysraphism), segmentation failure, achondroplasia, osteopetrosis) or

developmental flaws (early vertebral arch ossification, shortened pedicles, thoracolumbar kyphosis, apical vertebral wedging, anterior vertebral beaking (Morquio syndrome), osseous exostosis).

Secondary spinal stenosis can be caused by

instability (rheumatoid arthritis, spondylolisthesis)

excessive scoliotic or lordotic curves

previous surgery

tumour growth

infection (epidural abscess, vertebral osteomyelitis-induced collapse of the vertebral body)

traumatic fracture of vertebral body

degenerative changes -

intervertebral disc herniation (bulging, protrusion, extrusion, sequestration, migration)

spondylosis of intervertebral disc margins (lipping)

enlargement of the vertebral body (Paget's Disease, acromegaly)

thickening / ossification of posterior longitudinal ligament

hypertrophy (degeneration) of facet joints

facet joint synovial cysts

hypertrophy / buckling of ligamentum flavum

epidural fat deposition and/or

uncovertebral joint hypertrophy (degeneration) in the neck.

SHORT PEDICLE SYNDROME

Some people have a narrow spinal canal due to short pedicles, or thickened lamina, often at many levels. The lack of space limits the mobility of the spinal cord within the canal. It can also restrict the blood and oxygen supply to the spinal cord. Short pedicles increase the likelihood of symptoms from spinal canal narrowing caused by any of the above mentioned causes of secondary spinal stenosis.

Lumbar spinal stenosis does not always cause symptoms. Symptoms include

a sensation of heaviness, weakness, numbness, pins and needles (paresthesia), pain in the buttocks or legs when walking or with prolonged standing, which is relieved by bending forward, sitting or lying down.

Lumbar spinal stenosis rarely causes cauda equina syndrome without a large disc herniation.

The compression of the nerves caused by spinal stenosis can only be relieved by surgery. However the back pain may be decreased by

pain-relieving medication

physical therapy -- traction, strengthening exercises

hydrotherapy

epidural steroid injections,

avoiding bending, lifting, twisting and prolonged sitting.

Spinal stenosis is never fatal and clients very rarely lose the ability to walk. Therefore surgery is never essential. If the pain is uncontrollable, or the pressure on the nerves affects your nerve function, your surgeon will consider decompressing the nerves by removing some bone and ligaments to enlarge the spinal canal. If the compression of the spinal cord (myelopathy) or the nerve roots (radiculopathy) has been long-standing, the damage done to the nerves may be permanent, and decompressing may not reverse the symptoms. Before surgery, it is not possible to tell to what degree the symptoms will resolve after the surgery. operation presentations

(Further pictures you can see quite easily by clicking on the link at the end of page!)

Vienna 1, The Franciscan Church

The Franciscans go back to St. Francis of Assisi and thus the 13th Century. They were founded as a mendicant orders but soon the arose the question how literally one should take the declaration of poverty. Was it allowed to make financial provision for elderly or sick brothers? Finally it came to the segmentation of the faith community, the more liberal Minoriten (Friars Minor Conventual) made ​​their own order, while the Franciscans followed the old conventions. 1453 came the first Franciscan, John of Capistrano, to Vienna.

He founded the first Franciscan monastery in what is now 6th District. But the monks had to flee when the Turks besieged Vienna in 1529 and the monastery burned down. It took until 1589 until the city of Vienna gave them the at that time vacant monastery together with appendant church. The house, in its place now stands the monastery had already been donated in 1306 by wealthy citizens - namely for "loose women" who wanted give up their trade and convert themselves.

1476 was at the Weichenburg (hence Weihburggasse) inaugurated a church with seven altars, where formerly a "Pfarrheusl (small parsonage)" had stood for the soul welfare of the female residents. At the time of the Reformation, however, moral values in this house went downhill. 1553, the Foundation was dissolved, but it took yet until 1572 before the last resident had died. For eight years, the building was then an educational establishment for girls of poor people.

When the Franciscans now had got the property, they started in 1603 with a reconstruction of the church, which was consecrated in 1611. 1614, the foundation stone was laid for the new monastery.

The statues on the west facade are left Francis of Assisi and Anthony of Padua right. In the middle, on the pediment of the west portal of the Church stands Jerome, protector of the church. He is surrounded by two angle putti.

But let's go inside the church. Maria with the ax is the altarpiece above the high altar. The statue was carved in 1505 from lime wood and has its own story. She comes from the Green Mountain (Grünberg) in Bohemia, which was under the control the Sternberg family. Since the family in the meantime had become Protestant, it wanted to burn the statue. She were thrown into the fire - but the next day she stood unharmed again in the chapel. Now, the executioner was called who should dismember the effigy. However, even that was impossible, because the ax stuck in the shoulder of Mary and it was not possible to get it out. There it is still today. (You have to look closely, but then you see the great ax with slightly curved stem.) But that's not enough. A few years later the Madonna was lost in the gamble by a gegenreformierten (counter-reformed) Sternberg. The new owner, the Polish Baron Turnoffsky gave she in 1607 the Franciscan monastery. Exactly 100 years later, she got her current stand on the high altar.

The stone structure between altar and the statue of the Madonna also contains a crucifix, which dates from the beginning of the 17th Century. The wooden statues left and right represent the Saints Jerome respectively Francis and are typical examples of the so-called Franciscan carving school. It operated 1690-1730 and was run by lay brothers. The overall concept for the high altar dates back to the Jesuit Andrea dal Pozzo.

A special attraction is the organ by Hans Wöckherl that was already built in 1642 and today is the oldest organ in Vienna. It is, however, disappeared from the visible church, because it is behind the high altar and is only shown every Friday between 15.00 und 15.30 clock. In addition, one demans for that six euro entry...

The single-nave church has to both sides side chapels, of them I want to show two.

On the left we see the Magdalene Chapel, which was consecrated already in 1614 for the first time. 1644 and 1722, however, followed ​​Neustiftungen (new foundings). The stucco decoration stems from 1644. The paintings in the vault are much more recent, from 1893. The altarpiece depicts the grieving Mary Magdalene under the Cross. It was created in 1725 by Carlo Innocenzo Carlone. The image above shows Veronica's handkerchief with the face of Christ. It was painted by Wolfram Koeberl and in 1974 installed. The statues beside the altar represent the Virgin Mary and John the Baptist. The two above chapels are provided with food grid, so that one could give Communion here.

An Immaculata chapel (pictured above right) is there since the existence of the church, but this was rebuilt in 1722. Previously, since 1642, there was a Michael altar here. From this period dates still the stucco decor on the ceiling. The altarpiece is by Johann Georg Schmidt, who painted it in 1721. The lateral statues depict the Saint Joachim and the mother of Mary.

Also the Capistrano Chapel, which was founded in 1723, is worth mentioning. The lateral stucco decor shows on the left side (picture) the glorification of St. John Capistrano, who, as I said, was the first Franciscan in Vienna. Right you can see him as a standard-bearer of Christian doctrine in the wars against the Turks. Both stucco images date from the time of the foundation. The altarpiece by Franz Xaver Wagenschön originated in 1761 and shows Capistrano in a scene from 1451, in Brescia when he healed a possessed man.

In the picture we see also the statue of Saint George, as he is killing the (admittedly small) dragon.

On the other side of the chapel is the Holy Florian, while Clara and Theresa stand next to the altar. Behind the altar there is a reliquary in glass from about 1720, in which we see a wax image of the Holy Hilaria. The relic shall be imbedded in the wax. Hilaria is rather unknown, but she was a martyr who was converted by Bishop Narcissus. She died in the year 304 in Augsburg, at the behest of the governor Gaius, because she did not want to renounce the Christian faith. About the nature of death, there are different opinions.

In the church there is a plaque that claims that she was burned at the grave of her daughter, while the Holy Encyclopedia states that she was enclosed in her house and this was then set on fire.

In the chapel opposite, the Chapel of the Good Shepherd, there is also a glass coffin with a relic. This is the skeleton of the Felix Puer wearing the uniform of a Roman Centurion.

As a counterpart to the pulpit, this just opposite, you will find the monument of Johann Nepomuk. We see how he flows on the water of the Vltava river after he was thrown in Prague there. He actually was called "John from Nepomuk" in Czech "ne Pomuk". The wife of Emperor Wenceslas IV is said to have chosen him as confessor. The Emperor wanted to know then what she had confessed, but Johann Nepomuk did not betray the seal of confession and was therefore thrown into the water. The Empress had then an appearance of five stars.

(We see she also in the water of the monument.) These stars indicated were one could find the body. So much for the legend.

The fact is that Johann Nepomuk was tortured by the king and thrown into the Vltava. The activating moment was a dispute over a new monastery between the emperor and the archbishop of Prague, in which John Nepomuk was trampled underfoot ...

The pulpit was built in 1726 and was executed by the Franciscan carving school. At the parapet there are wooden reliefs of Matthew, Mark and Luke. The relief of the fourth evangelist, John, is attached to the pulpit door. At the parapet you further can see statues of Capistrano and Bonaventura, while on the sounding board are sitting Anthony of Padua and Berhardin of Siena. At the top stands the freeze image of Francis of Assisi.

The pews were 1727 - 1729 by brother Johann Gottfried Hartmann built and carved.

www.werbeka.com/wien/wien4/franzisd.htm

+++ DISCLAIMER +++Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!

Some background:

The Nakajima J9N Kitsuka (中島 橘花, "Orange Blossom", pronounced Kikka in Kanji used traditionally by the Japanese) was Japan's first jet aircraft. In internal IJN documents it was also called Kōkoku Nigō Heiki (皇国二号兵器, "Imperial Weapon No.2"). After the Japanese military attaché in Germany witnessed trials of the Messerschmitt Me 262 in 1942, the Imperial Japanese Navy issued a request to Nakajima to develop a similar aircraft to be used as a fast attack bomber. Among the specifications for the design were the requirements that it should be able to be built largely by unskilled labor, and that the wings should be foldable. This latter feature was not intended for potential use on aircraft carriers, but rather to enable the aircraft to be hidden in caves and tunnels around Japan as the navy began to prepare for the defense of the home islands.

The J9Ns’ overall war contribution was negligible, and after the war, several airframes (including partial airframes) were captured by Allied forces. Three airframes (including a two-seat night fighter with FD-2 radar) were brought to the U.S. for study. Today, two J9N examples survive in the National Air and Space Museum: The first is a Kikka that was taken to the Patuxent River Naval Air Base, Maryland for analysis. This aircraft is very incomplete and is believed to have been patched together from a variety of semi-completed airframes. It is currently still in storage at the Paul E. Garber Preservation, Restoration and Storage Facility in Silver Hill, MD. The second Kikka is on display at the NASM Udvar-Hazy Center in the Mary Baker Engen Restoration Hangar.

General characteristics:

Crew: 2

Length: 8.13 m (26 ft 8 in) fuselage only

10.30 m (33 ft 8¾ in) with FD-2 antenna array

Wingspan: 10 m (32 ft 10 in)

Height: 2.95 m (9 ft 8 in)

Wing area: 13.2 m² (142 sq ft)

Empty weight: 2,300 kg (5,071 lb)

Gross weight: 3,500 kg (7,716 lb)

Max takeoff weight: 4,080 kg (8,995 lb)

Powerplant:

2× Ishikawajima Ne-130 or Ne-230 axial-flow turbojet engines

each with 8.83 kN/900 kg or 8.68 kN/885 kg thrust

Performance:

Maximum speed: 785 km/h (487 mph, 426 kn)

Range: 925 km (574 mi, 502 nmi) with internal fuel

Service ceiling: 12,000 m (39,000 ft)

Rate of climb: 10.5 m/s (2,064 ft/min)

Wing loading: 265 kg/m² (54 lb/sq ft)

Thrust-to-weight ratio: 0.43

Armament:

1× 30 mm (1.181 in) Type 5 cannon with 50 rounds in the nose

1× 20 mm (0.787 in) Type Ho-2 cannon with 80 rounds, mounted obliquely behind the cockpit

1× ventral hardpoint for a 500 l drop tank or a single 500 kg (1,102 lb) bomb

The kit and its assembly:

This is in fact the second Kikka I have built, and this time it’s a two-seater from AZ Models – actually the trainer boxing, but converted into a personal night fighter interpretation. The AZ Models kit is a simple affair, but that's also its problem. In the box things look quite good, detail level is on par with a classic Matchbox kit. But unlike a Matchbox kit, the AZ Models offering does not go together well. I had to fight everywhere with poor fit, lack of locator pins, ejection marks - anything a short run model kit can throw at you! Thanks to the experience with the single-seater kit some time ago, things did not become too traumatic, but it’s still not a kit for beginners. What worked surprisingly well was the IP canopy, though, which I cut into five sections for an optional open display – even though I am not certain if the kit’s designers had put some brain into their work because the canopy’s segmentation becomes more and more dubious the further you go backwards.

The only personal mods is a slightly changed armament, with one nose gun deleted and faired over with a piece of styrene sheet, while the leftover gun was mounted obliquely onto the left flank. I initially considered a position behind the canopy but rejected this because of CoG reasons. Then I planned to mount it directly behind the 2nd seat, so that the barrel would protrude through the canopy, but this appeared unrealistic because the (utterly tiny) sliding canopy for the rear crewman could not have been opened anymore? Finally, I settled for an offset position in the aircraft’s flanks, partly inspired by “Schräge Musik” arrangements on some German Fw 190 night fighters.

The antennae come from a Jadar Model PE set for Italeri’s Me 210s, turning it either into a night fighter or a naval surveillance aircraft.

Painting and markings:

This became rather lusterless; many late IJN night fighters carried a uniform dark green livery with minimalistic, toned-down markings, e. g. hinomaru without a white high-contrast edge, just the yellow ID bands on the wings’ leading edges were retained.

For this look the model received an overall basis coat of Humbrol 75 (Bronze Green), later treated with a black ink washing, dry-brushed aluminum and post-shading with lighter shades of dark green (including Humbrol 116 and Revell 67). The only colorful highlight is a red fin tip (Humbrol 19) and a thin red stripe underneath (decal). The yellow and white ID bands were created with decal material.

The cockpit interior was painted in a yellowish-green primer (trying to simulate a typical “bamboo” shade that was used in some late-war IJN cockpits), while the landing gear wells were painted in aodake iro, a clear bluish protective lacquer. The landing gear struts themselves became semi-matt black.

The markings are fictional and were puzzled together from various sources. The hinomaru came from the AZ Models’ Kikka single seater sheet (since it offers six roundels w/o white edge), the tactical code on the fin was created with red numbers from a Fujimi Aichi B7A2 Ryusei.

Finally, the kit received a coat of matt acrylic varnish and some grinded graphite around the jet exhausts and the gun nozzles.

Well, this fictional Kikka night fighter looks quite dry, but that makes it IMHO more credible. The large antler antenna array might look “a bit too much”, and a real night fighter probably had a simpler arrangement with a single Yagi-style/arrow-shaped antenna, but a description of the FD-2 radar suggested the layout I chose – and it does not look bad. The oblique cannon in the flank is another odd detail, but it is not unplausible. However, with all the equipment and esp. the draggy antennae on board, the Kikka’s mediocre performance would surely have seriously suffered, probably beyond an effective use. But this is whifworld, after all. ;-)

The fourth generation Ford Focus (C519) launched in 2018 included a new sub-nameplate 'Active', previously introduced on the 7th generation of Ford Fiesta a year earlier. 'Active' represented a number of engineering and design changes, including a marginally taller ride height, roof bars, lower body black plastic cladding and revised front and rear bumper treatments.

Most changes were relatively insignificant, but represented a stylistic shift to associate the vehicles with the growing 'Crossover' vehicle market segmentation. In the case of the Focus, the 'Active' trim was available on the 5-door hatchback (shown) and the wagon/estate model.

This segmentation will be interesting to observe over the next few years, The natural Crossover version of the Focus is the Escape/Kuga, yet Ford has chosen to create a more offroad-oriented version with the Bronco Sport, and electrified version (a significantly re-engineered version of the platform) with the upcoming Mustang Mach-E. Other marques, such as BMW with the X4, and Mazda with the CX30, are blending the higher-riding Crossover wagon sub-type withe a Coupe/Hatch body style.

(Further pictures you can see quite easily by clicking on the link at the end of page!)

Vienna 1, The Franciscan Church

The Franciscans go back to St. Francis of Assisi and thus the 13th Century. They were founded as a mendicant orders but soon the arose the question how literally one should take the declaration of poverty. Was it allowed to make financial provision for elderly or sick brothers? Finally it came to the segmentation of the faith community, the more liberal Minoriten (Friars Minor Conventual) made ​​their own order, while the Franciscans followed the old conventions. 1453 came the first Franciscan, John of Capistrano, to Vienna.

He founded the first Franciscan monastery in what is now 6th District. But the monks had to flee when the Turks besieged Vienna in 1529 and the monastery burned down. It took until 1589 until the city of Vienna gave them the at that time vacant monastery together with appendant church. The house, in its place now stands the monastery had already been donated in 1306 by wealthy citizens - namely for "loose women" who wanted give up their trade and convert themselves.

1476 was at the Weichenburg (hence Weihburggasse) inaugurated a church with seven altars, where formerly a "Pfarrheusl (small parsonage)" had stood for the soul welfare of the female residents. At the time of the Reformation, however, moral values in this house went downhill. 1553, the Foundation was dissolved, but it took yet until 1572 before the last resident had died. For eight years, the building was then an educational establishment for girls of poor people.

When the Franciscans now had got the property, they started in 1603 with a reconstruction of the church, which was consecrated in 1611. 1614, the foundation stone was laid for the new monastery.

The statues on the west facade are left Francis of Assisi and Anthony of Padua right. In the middle, on the pediment of the west portal of the Church stands Jerome, protector of the church. He is surrounded by two angle putti.

But let's go inside the church. Maria with the ax is the altarpiece above the high altar. The statue was carved in 1505 from lime wood and has its own story. She comes from the Green Mountain (Grünberg) in Bohemia, which was under the control the Sternberg family. Since the family in the meantime had become Protestant, it wanted to burn the statue. She were thrown into the fire - but the next day she stood unharmed again in the chapel. Now, the executioner was called who should dismember the effigy. However, even that was impossible, because the ax stuck in the shoulder of Mary and it was not possible to get it out. There it is still today. (You have to look closely, but then you see the great ax with slightly curved stem.) But that's not enough. A few years later the Madonna was lost in the gamble by a gegenreformierten (counter-reformed) Sternberg. The new owner, the Polish Baron Turnoffsky gave she in 1607 the Franciscan monastery. Exactly 100 years later, she got her current stand on the high altar.

The stone structure between altar and the statue of the Madonna also contains a crucifix, which dates from the beginning of the 17th Century. The wooden statues left and right represent the Saints Jerome respectively Francis and are typical examples of the so-called Franciscan carving school. It operated 1690-1730 and was run by lay brothers. The overall concept for the high altar dates back to the Jesuit Andrea dal Pozzo.

A special attraction is the organ by Hans Wöckherl that was already built in 1642 and today is the oldest organ in Vienna. It is, however, disappeared from the visible church, because it is behind the high altar and is only shown every Friday between 15.00 und 15.30 clock. In addition, one demans for that six euro entry...

The single-nave church has to both sides side chapels, of them I want to show two.

On the left we see the Magdalene Chapel, which was consecrated already in 1614 for the first time. 1644 and 1722, however, followed ​​Neustiftungen (new foundings). The stucco decoration stems from 1644. The paintings in the vault are much more recent, from 1893. The altarpiece depicts the grieving Mary Magdalene under the Cross. It was created in 1725 by Carlo Innocenzo Carlone. The image above shows Veronica's handkerchief with the face of Christ. It was painted by Wolfram Koeberl and in 1974 installed. The statues beside the altar represent the Virgin Mary and John the Baptist. The two above chapels are provided with food grid, so that one could give Communion here.

An Immaculata chapel (pictured above right) is there since the existence of the church, but this was rebuilt in 1722. Previously, since 1642, there was a Michael altar here. From this period dates still the stucco decor on the ceiling. The altarpiece is by Johann Georg Schmidt, who painted it in 1721. The lateral statues depict the Saint Joachim and the mother of Mary.

Also the Capistrano Chapel, which was founded in 1723, is worth mentioning. The lateral stucco decor shows on the left side (picture) the glorification of St. John Capistrano, who, as I said, was the first Franciscan in Vienna. Right you can see him as a standard-bearer of Christian doctrine in the wars against the Turks. Both stucco images date from the time of the foundation. The altarpiece by Franz Xaver Wagenschön originated in 1761 and shows Capistrano in a scene from 1451, in Brescia when he healed a possessed man.

In the picture we see also the statue of Saint George, as he is killing the (admittedly small) dragon.

On the other side of the chapel is the Holy Florian, while Clara and Theresa stand next to the altar. Behind the altar there is a reliquary in glass from about 1720, in which we see a wax image of the Holy Hilaria. The relic shall be imbedded in the wax. Hilaria is rather unknown, but she was a martyr who was converted by Bishop Narcissus. She died in the year 304 in Augsburg, at the behest of the governor Gaius, because she did not want to renounce the Christian faith. About the nature of death, there are different opinions.

In the church there is a plaque that claims that she was burned at the grave of her daughter, while the Holy Encyclopedia states that she was enclosed in her house and this was then set on fire.

In the chapel opposite, the Chapel of the Good Shepherd, there is also a glass coffin with a relic. This is the skeleton of the Felix Puer wearing the uniform of a Roman Centurion.

As a counterpart to the pulpit, this just opposite, you will find the monument of Johann Nepomuk. We see how he flows on the water of the Vltava river after he was thrown in Prague there. He actually was called "John from Nepomuk" in Czech "ne Pomuk". The wife of Emperor Wenceslas IV is said to have chosen him as confessor. The Emperor wanted to know then what she had confessed, but Johann Nepomuk did not betray the seal of confession and was therefore thrown into the water. The Empress had then an appearance of five stars.

(We see she also in the water of the monument.) These stars indicated were one could find the body. So much for the legend.

The fact is that Johann Nepomuk was tortured by the king and thrown into the Vltava. The activating moment was a dispute over a new monastery between the emperor and the archbishop of Prague, in which John Nepomuk was trampled underfoot ...

The pulpit was built in 1726 and was executed by the Franciscan carving school. At the parapet there are wooden reliefs of Matthew, Mark and Luke. The relief of the fourth evangelist, John, is attached to the pulpit door. At the parapet you further can see statues of Capistrano and Bonaventura, while on the sounding board are sitting Anthony of Padua and Berhardin of Siena. At the top stands the freeze image of Francis of Assisi.

The pews were 1727 - 1729 by brother Johann Gottfried Hartmann built and carved.

www.werbeka.com/wien/wien4/franzisd.htm

(Further pictures you can see quite easily by clicking on the link at the end of page!)

Vienna 1, The Franciscan Church

The Franciscans go back to St. Francis of Assisi and thus the 13th Century. They were founded as a mendicant orders but soon the arose the question how literally one should take the declaration of poverty. Was it allowed to make financial provision for elderly or sick brothers? Finally it came to the segmentation of the faith community, the more liberal Minoriten (Friars Minor Conventual) made ​​their own order, while the Franciscans followed the old conventions. 1453 came the first Franciscan, John of Capistrano, to Vienna.

He founded the first Franciscan monastery in what is now 6th District. But the monks had to flee when the Turks besieged Vienna in 1529 and the monastery burned down. It took until 1589 until the city of Vienna gave them the at that time vacant monastery together with appendant church. The house, in its place now stands the monastery had already been donated in 1306 by wealthy citizens - namely for "loose women" who wanted give up their trade and convert themselves.

1476 was at the Weichenburg (hence Weihburggasse) inaugurated a church with seven altars, where formerly a "Pfarrheusl (small parsonage)" had stood for the soul welfare of the female residents. At the time of the Reformation, however, moral values in this house went downhill. 1553, the Foundation was dissolved, but it took yet until 1572 before the last resident had died. For eight years, the building was then an educational establishment for girls of poor people.

When the Franciscans now had got the property, they started in 1603 with a reconstruction of the church, which was consecrated in 1611. 1614, the foundation stone was laid for the new monastery.

The statues on the west facade are left Francis of Assisi and Anthony of Padua right. In the middle, on the pediment of the west portal of the Church stands Jerome, protector of the church. He is surrounded by two angle putti.

But let's go inside the church. Maria with the ax is the altarpiece above the high altar. The statue was carved in 1505 from lime wood and has its own story. She comes from the Green Mountain (Grünberg) in Bohemia, which was under the control the Sternberg family. Since the family in the meantime had become Protestant, it wanted to burn the statue. She were thrown into the fire - but the next day she stood unharmed again in the chapel. Now, the executioner was called who should dismember the effigy. However, even that was impossible, because the ax stuck in the shoulder of Mary and it was not possible to get it out. There it is still today. (You have to look closely, but then you see the great ax with slightly curved stem.) But that's not enough. A few years later the Madonna was lost in the gamble by a gegenreformierten (counter-reformed) Sternberg. The new owner, the Polish Baron Turnoffsky gave she in 1607 the Franciscan monastery. Exactly 100 years later, she got her current stand on the high altar.

The stone structure between altar and the statue of the Madonna also contains a crucifix, which dates from the beginning of the 17th Century. The wooden statues left and right represent the Saints Jerome respectively Francis and are typical examples of the so-called Franciscan carving school. It operated 1690-1730 and was run by lay brothers. The overall concept for the high altar dates back to the Jesuit Andrea dal Pozzo.

A special attraction is the organ by Hans Wöckherl that was already built in 1642 and today is the oldest organ in Vienna. It is, however, disappeared from the visible church, because it is behind the high altar and is only shown every Friday between 15.00 und 15.30 clock. In addition, one demans for that six euro entry...

The single-nave church has to both sides side chapels, of them I want to show two.

On the left we see the Magdalene Chapel, which was consecrated already in 1614 for the first time. 1644 and 1722, however, followed ​​Neustiftungen (new foundings). The stucco decoration stems from 1644. The paintings in the vault are much more recent, from 1893. The altarpiece depicts the grieving Mary Magdalene under the Cross. It was created in 1725 by Carlo Innocenzo Carlone. The image above shows Veronica's handkerchief with the face of Christ. It was painted by Wolfram Koeberl and in 1974 installed. The statues beside the altar represent the Virgin Mary and John the Baptist. The two above chapels are provided with food grid, so that one could give Communion here.

An Immaculata chapel (pictured above right) is there since the existence of the church, but this was rebuilt in 1722. Previously, since 1642, there was a Michael altar here. From this period dates still the stucco decor on the ceiling. The altarpiece is by Johann Georg Schmidt, who painted it in 1721. The lateral statues depict the Saint Joachim and the mother of Mary.

Also the Capistrano Chapel, which was founded in 1723, is worth mentioning. The lateral stucco decor shows on the left side (picture) the glorification of St. John Capistrano, who, as I said, was the first Franciscan in Vienna. Right you can see him as a standard-bearer of Christian doctrine in the wars against the Turks. Both stucco images date from the time of the foundation. The altarpiece by Franz Xaver Wagenschön originated in 1761 and shows Capistrano in a scene from 1451, in Brescia when he healed a possessed man.

In the picture we see also the statue of Saint George, as he is killing the (admittedly small) dragon.

On the other side of the chapel is the Holy Florian, while Clara and Theresa stand next to the altar. Behind the altar there is a reliquary in glass from about 1720, in which we see a wax image of the Holy Hilaria. The relic shall be imbedded in the wax. Hilaria is rather unknown, but she was a martyr who was converted by Bishop Narcissus. She died in the year 304 in Augsburg, at the behest of the governor Gaius, because she did not want to renounce the Christian faith. About the nature of death, there are different opinions.

In the church there is a plaque that claims that she was burned at the grave of her daughter, while the Holy Encyclopedia states that she was enclosed in her house and this was then set on fire.

In the chapel opposite, the Chapel of the Good Shepherd, there is also a glass coffin with a relic. This is the skeleton of the Felix Puer wearing the uniform of a Roman Centurion.

As a counterpart to the pulpit, this just opposite, you will find the monument of Johann Nepomuk. We see how he flows on the water of the Vltava river after he was thrown in Prague there. He actually was called "John from Nepomuk" in Czech "ne Pomuk". The wife of Emperor Wenceslas IV is said to have chosen him as confessor. The Emperor wanted to know then what she had confessed, but Johann Nepomuk did not betray the seal of confession and was therefore thrown into the water. The Empress had then an appearance of five stars.

(We see she also in the water of the monument.) These stars indicated were one could find the body. So much for the legend.

The fact is that Johann Nepomuk was tortured by the king and thrown into the Vltava. The activating moment was a dispute over a new monastery between the emperor and the archbishop of Prague, in which John Nepomuk was trampled underfoot ...

The pulpit was built in 1726 and was executed by the Franciscan carving school. At the parapet there are wooden reliefs of Matthew, Mark and Luke. The relief of the fourth evangelist, John, is attached to the pulpit door. At the parapet you further can see statues of Capistrano and Bonaventura, while on the sounding board are sitting Anthony of Padua and Berhardin of Siena. At the top stands the freeze image of Francis of Assisi.

The pews were 1727 - 1729 by brother Johann Gottfried Hartmann built and carved.

www.werbeka.com/wien/wien4/franzisd.htm

+++ DISCLAIMER +++Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!

Some background:

The Nakajima J9N Kitsuka (中島 橘花, "Orange Blossom", pronounced Kikka in Kanji used traditionally by the Japanese) was Japan's first jet aircraft. In internal IJN documents it was also called Kōkoku Nigō Heiki (皇国二号兵器, "Imperial Weapon No.2"). After the Japanese military attaché in Germany witnessed trials of the Messerschmitt Me 262 in 1942, the Imperial Japanese Navy issued a request to Nakajima to develop a similar aircraft to be used as a fast attack bomber. Among the specifications for the design were the requirements that it should be able to be built largely by unskilled labor, and that the wings should be foldable. This latter feature was not intended for potential use on aircraft carriers, but rather to enable the aircraft to be hidden in caves and tunnels around Japan as the navy began to prepare for the defense of the home islands.

The J9Ns’ overall war contribution was negligible, and after the war, several airframes (including partial airframes) were captured by Allied forces. Three airframes (including a two-seat night fighter with FD-2 radar) were brought to the U.S. for study. Today, two J9N examples survive in the National Air and Space Museum: The first is a Kikka that was taken to the Patuxent River Naval Air Base, Maryland for analysis. This aircraft is very incomplete and is believed to have been patched together from a variety of semi-completed airframes. It is currently still in storage at the Paul E. Garber Preservation, Restoration and Storage Facility in Silver Hill, MD. The second Kikka is on display at the NASM Udvar-Hazy Center in the Mary Baker Engen Restoration Hangar.

General characteristics:

Crew: 2

Length: 8.13 m (26 ft 8 in) fuselage only

10.30 m (33 ft 8¾ in) with FD-2 antenna array

Wingspan: 10 m (32 ft 10 in)

Height: 2.95 m (9 ft 8 in)

Wing area: 13.2 m² (142 sq ft)

Empty weight: 2,300 kg (5,071 lb)

Gross weight: 3,500 kg (7,716 lb)

Max takeoff weight: 4,080 kg (8,995 lb)

Powerplant:

2× Ishikawajima Ne-130 or Ne-230 axial-flow turbojet engines

each with 8.83 kN/900 kg or 8.68 kN/885 kg thrust

Performance:

Maximum speed: 785 km/h (487 mph, 426 kn)

Range: 925 km (574 mi, 502 nmi) with internal fuel

Service ceiling: 12,000 m (39,000 ft)

Rate of climb: 10.5 m/s (2,064 ft/min)

Wing loading: 265 kg/m² (54 lb/sq ft)

Thrust-to-weight ratio: 0.43

Armament:

1× 30 mm (1.181 in) Type 5 cannon with 50 rounds in the nose

1× 20 mm (0.787 in) Type Ho-2 cannon with 80 rounds, mounted obliquely behind the cockpit

1× ventral hardpoint for a 500 l drop tank or a single 500 kg (1,102 lb) bomb

The kit and its assembly:

This is in fact the second Kikka I have built, and this time it’s a two-seater from AZ Models – actually the trainer boxing, but converted into a personal night fighter interpretation. The AZ Models kit is a simple affair, but that's also its problem. In the box things look quite good, detail level is on par with a classic Matchbox kit. But unlike a Matchbox kit, the AZ Models offering does not go together well. I had to fight everywhere with poor fit, lack of locator pins, ejection marks - anything a short run model kit can throw at you! Thanks to the experience with the single-seater kit some time ago, things did not become too traumatic, but it’s still not a kit for beginners. What worked surprisingly well was the IP canopy, though, which I cut into five sections for an optional open display – even though I am not certain if the kit’s designers had put some brain into their work because the canopy’s segmentation becomes more and more dubious the further you go backwards.

The only personal mods is a slightly changed armament, with one nose gun deleted and faired over with a piece of styrene sheet, while the leftover gun was mounted obliquely onto the left flank. I initially considered a position behind the canopy but rejected this because of CoG reasons. Then I planned to mount it directly behind the 2nd seat, so that the barrel would protrude through the canopy, but this appeared unrealistic because the (utterly tiny) sliding canopy for the rear crewman could not have been opened anymore? Finally, I settled for an offset position in the aircraft’s flanks, partly inspired by “Schräge Musik” arrangements on some German Fw 190 night fighters.

The antennae come from a Jadar Model PE set for Italeri’s Me 210s, turning it either into a night fighter or a naval surveillance aircraft.

Painting and markings:

This became rather lusterless; many late IJN night fighters carried a uniform dark green livery with minimalistic, toned-down markings, e. g. hinomaru without a white high-contrast edge, just the yellow ID bands on the wings’ leading edges were retained.

For this look the model received an overall basis coat of Humbrol 75 (Bronze Green), later treated with a black ink washing, dry-brushed aluminum and post-shading with lighter shades of dark green (including Humbrol 116 and Revell 67). The only colorful highlight is a red fin tip (Humbrol 19) and a thin red stripe underneath (decal). The yellow and white ID bands were created with decal material.

The cockpit interior was painted in a yellowish-green primer (trying to simulate a typical “bamboo” shade that was used in some late-war IJN cockpits), while the landing gear wells were painted in aodake iro, a clear bluish protective lacquer. The landing gear struts themselves became semi-matt black.

The markings are fictional and were puzzled together from various sources. The hinomaru came from the AZ Models’ Kikka single seater sheet (since it offers six roundels w/o white edge), the tactical code on the fin was created with red numbers from a Fujimi Aichi B7A2 Ryusei.

Finally, the kit received a coat of matt acrylic varnish and some grinded graphite around the jet exhausts and the gun nozzles.

Well, this fictional Kikka night fighter looks quite dry, but that makes it IMHO more credible. The large antler antenna array might look “a bit too much”, and a real night fighter probably had a simpler arrangement with a single Yagi-style/arrow-shaped antenna, but a description of the FD-2 radar suggested the layout I chose – and it does not look bad. The oblique cannon in the flank is another odd detail, but it is not unplausible. However, with all the equipment and esp. the draggy antennae on board, the Kikka’s mediocre performance would surely have seriously suffered, probably beyond an effective use. But this is whifworld, after all. ;-)

+++ DISCLAIMER +++Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!

Some background:

The Nakajima J9N Kitsuka (中島 橘花, "Orange Blossom", pronounced Kikka in Kanji used traditionally by the Japanese) was Japan's first jet aircraft. In internal IJN documents it was also called Kōkoku Nigō Heiki (皇国二号兵器, "Imperial Weapon No.2"). After the Japanese military attaché in Germany witnessed trials of the Messerschmitt Me 262 in 1942, the Imperial Japanese Navy issued a request to Nakajima to develop a similar aircraft to be used as a fast attack bomber. Among the specifications for the design were the requirements that it should be able to be built largely by unskilled labor, and that the wings should be foldable. This latter feature was not intended for potential use on aircraft carriers, but rather to enable the aircraft to be hidden in caves and tunnels around Japan as the navy began to prepare for the defense of the home islands.

The J9Ns’ overall war contribution was negligible, and after the war, several airframes (including partial airframes) were captured by Allied forces. Three airframes (including a two-seat night fighter with FD-2 radar) were brought to the U.S. for study. Today, two J9N examples survive in the National Air and Space Museum: The first is a Kikka that was taken to the Patuxent River Naval Air Base, Maryland for analysis. This aircraft is very incomplete and is believed to have been patched together from a variety of semi-completed airframes. It is currently still in storage at the Paul E. Garber Preservation, Restoration and Storage Facility in Silver Hill, MD. The second Kikka is on display at the NASM Udvar-Hazy Center in the Mary Baker Engen Restoration Hangar.

General characteristics:

Crew: 2

Length: 8.13 m (26 ft 8 in) fuselage only

10.30 m (33 ft 8¾ in) with FD-2 antenna array

Wingspan: 10 m (32 ft 10 in)

Height: 2.95 m (9 ft 8 in)

Wing area: 13.2 m² (142 sq ft)

Empty weight: 2,300 kg (5,071 lb)

Gross weight: 3,500 kg (7,716 lb)

Max takeoff weight: 4,080 kg (8,995 lb)

Powerplant:

2× Ishikawajima Ne-130 or Ne-230 axial-flow turbojet engines

each with 8.83 kN/900 kg or 8.68 kN/885 kg thrust

Performance:

Maximum speed: 785 km/h (487 mph, 426 kn)

Range: 925 km (574 mi, 502 nmi) with internal fuel

Service ceiling: 12,000 m (39,000 ft)

Rate of climb: 10.5 m/s (2,064 ft/min)

Wing loading: 265 kg/m² (54 lb/sq ft)

Thrust-to-weight ratio: 0.43

Armament:

1× 30 mm (1.181 in) Type 5 cannon with 50 rounds in the nose

1× 20 mm (0.787 in) Type Ho-2 cannon with 80 rounds, mounted obliquely behind the cockpit

1× ventral hardpoint for a 500 l drop tank or a single 500 kg (1,102 lb) bomb

The kit and its assembly:

This is in fact the second Kikka I have built, and this time it’s a two-seater from AZ Models – actually the trainer boxing, but converted into a personal night fighter interpretation. The AZ Models kit is a simple affair, but that's also its problem. In the box things look quite good, detail level is on par with a classic Matchbox kit. But unlike a Matchbox kit, the AZ Models offering does not go together well. I had to fight everywhere with poor fit, lack of locator pins, ejection marks - anything a short run model kit can throw at you! Thanks to the experience with the single-seater kit some time ago, things did not become too traumatic, but it’s still not a kit for beginners. What worked surprisingly well was the IP canopy, though, which I cut into five sections for an optional open display – even though I am not certain if the kit’s designers had put some brain into their work because the canopy’s segmentation becomes more and more dubious the further you go backwards.

The only personal mods is a slightly changed armament, with one nose gun deleted and faired over with a piece of styrene sheet, while the leftover gun was mounted obliquely onto the left flank. I initially considered a position behind the canopy but rejected this because of CoG reasons. Then I planned to mount it directly behind the 2nd seat, so that the barrel would protrude through the canopy, but this appeared unrealistic because the (utterly tiny) sliding canopy for the rear crewman could not have been opened anymore? Finally, I settled for an offset position in the aircraft’s flanks, partly inspired by “Schräge Musik” arrangements on some German Fw 190 night fighters.

The antennae come from a Jadar Model PE set for Italeri’s Me 210s, turning it either into a night fighter or a naval surveillance aircraft.

Painting and markings:

This became rather lusterless; many late IJN night fighters carried a uniform dark green livery with minimalistic, toned-down markings, e. g. hinomaru without a white high-contrast edge, just the yellow ID bands on the wings’ leading edges were retained.

For this look the model received an overall basis coat of Humbrol 75 (Bronze Green), later treated with a black ink washing, dry-brushed aluminum and post-shading with lighter shades of dark green (including Humbrol 116 and Revell 67). The only colorful highlight is a red fin tip (Humbrol 19) and a thin red stripe underneath (decal). The yellow and white ID bands were created with decal material.

The cockpit interior was painted in a yellowish-green primer (trying to simulate a typical “bamboo” shade that was used in some late-war IJN cockpits), while the landing gear wells were painted in aodake iro, a clear bluish protective lacquer. The landing gear struts themselves became semi-matt black.

The markings are fictional and were puzzled together from various sources. The hinomaru came from the AZ Models’ Kikka single seater sheet (since it offers six roundels w/o white edge), the tactical code on the fin was created with red numbers from a Fujimi Aichi B7A2 Ryusei.

Finally, the kit received a coat of matt acrylic varnish and some grinded graphite around the jet exhausts and the gun nozzles.

Well, this fictional Kikka night fighter looks quite dry, but that makes it IMHO more credible. The large antler antenna array might look “a bit too much”, and a real night fighter probably had a simpler arrangement with a single Yagi-style/arrow-shaped antenna, but a description of the FD-2 radar suggested the layout I chose – and it does not look bad. The oblique cannon in the flank is another odd detail, but it is not unplausible. However, with all the equipment and esp. the draggy antennae on board, the Kikka’s mediocre performance would surely have seriously suffered, probably beyond an effective use. But this is whifworld, after all. ;-)

The fourth generation Ford Focus (C519) launched in 2018 included a new sub-nameplate 'Active', previously introduced on the 7th generation of Ford Fiesta a year earlier. 'Active' represented a number of engineering and design changes, including a marginally taller ride height, roof bars, lower body black plastic cladding and revised front and rear bumper treatments.

Most changes were relatively insignificant, but represented a stylistic shift to associate the vehicles with the growing 'Crossover' vehicle market segmentation. In the case of the Focus, the 'Active' trim was available on the 5-door hatchback (shown) and the wagon/estate model.

This segmentation will be interesting to observe over the next few years, The natural Crossover version of the Focus is the Escape/Kuga, yet Ford has chosen to create a more offroad-oriented version with the Bronco Sport, and electrified version (a significantly re-engineered version of the platform) with the upcoming Mustang Mach-E. Other marques, such as BMW with the X4, and Mazda with the CX30, are blending the higher-riding Crossover wagon sub-type withe a Coupe/Hatch body style.

Mark Leslie | Business | Image source: kelp-beds.com/category/recruitment/

Apple can't lower the pixel density on its next iPhone (and iPod Touch) under 300 ppi, being their defined retina-class display pixel density for pocket devices' screens. They also won't make a phone much more bigger, especially in width. Though, the iPhone screen is never wide enough.

While the Tablet category probably allows any aspect ratio, the Pocket category of devices has more constraints.

I don't (want to) believe in the 16:9 iPhone rumors; I prefer the 3:2 screen aspect ratio for pocketable devices. It is said iOS could be able to accept height increase in resolution, as it is already asked for devs to support notifications bar events. Ok, but once held in landscape mode, the added pixels would be in width; what would then happen to apps? Anyway, i just like better the actual 3:2 aspect ratio.

For a usable screen a minimum size is imposed for obvious reasons (eyes capacity, average finger size / minimum touch area size),

If both portrait and landscape mode are targeted in usage, with constraints of hand morphology and to fit a pocket, you can't make it too large, but as you still need surface to display information, one end up with 3:2 – 8:5 as maybe the right aspect ratio range for pocket-class devices.

And for example, 16:9 (and over) aspect ratios are too elongated for thumb-usage only, out of a reasonable size of screens, and almost prevent from landscape mode usage if the screen is too small (well, of course, you can always find a way to still use it in landscape, but you need enough pixels, so increase size, and that's probably part of the reason of higher screen dimensions in the 16:9 Android world, coupled with often smaller pixel density).

And a 4:3 aspect ratio imply rapidly losing too much in height to keep it not too wide.

So let's consider they will stay with a 3:2 aspect ratio, having proved to be working fine from the start, and ensuring a better compatibility with existing apps.

How could Apple deal with the increase in size of the iPhone's screen while still support its apps catalog? Pixel doubling again would be overkill and technically, about doubling pixel density of screens is probably not feasible at low cost, or at all. But how about simply tripling the original iPhone resolution (i.e. 1.5x the retina iPhone screen)?

Once screens attain a pixel density in the retina range, the blur caused by a 1.5x increase become less perceptible, as Apple showed us with the retina MacBook Pro used at the non-native 1920x1200 resolution.

LG demonstrated recently its ability to produce 440 ppi screens, achieving to attain the limits of eyes capacity to distinguish pixels for people with perfect vision.

At 1440x960 (1.5x the iPhone retina display resolution), the 440 ppi screen reach 3.93" in diagonal, with an increase of less than 6 mm in width compared to the actual iPhone screen size (and the whole device would simply go back to the width of the 3GS), and a screen surface increase of more than 23%.

Now, what exactly is an iPod Touch and what to do with it? Who uses it and how/where?

Teenagers whose parents can't afford/don't want their child to own an iPhone/smartphone, maybe particularly playing games and taking pictures/videos.

Some other/older people use it as a kind of PDA.

WiFi only is limitative and a 3G/LTE version would be definitely too close to an iPhone and probably not in Apple's interest.

But who uses it only as a music player? Aren't other and smaller iPod better designed for this specific task? Then does a relative small size really matters?

The kind of e-books created with iBooks Author will sure benefit of a large screen, and the iPad 9.7" is fine for interactive books it is supposed to help create, a kind of book read sitting at a desk.

A less square format could fit perfectly newspaper/novels/text type content, the kind potentially more often read on the go, where portability is welcome.

Untouched since 2010, the iPod Touch could be completely re-invented. A small form factor is great for a phone or a music player, but for a portable gaming device or a productive device, a bigger screen would be welcome.

At 326 ppi, a screen at the new resolution of 1440 x 960 would measure 5.3" in diagonal, at the limit of the pocketability, and 1.5x old (actual) apps would still look fine transitionally before they get upgraded to the new resolution.

Apple could even now add 3G/LTE support without competing directly with the iPhone (still not a phone, simply data connection to keep segmentation, as with the iPad).

This new iPod Touch would be quite a portable/mobile device, far more useful than the previous one, but nothing as heavy and big as an iPad, even a 7.85" one:

watch videos/play games on the go with a better experience than with an iPhone,

capture photos/videos in a less awkward fashion than with an iPad, and with a better experience to modify them on the go than on the screen of an iPhone,

read text content (e-book, web page, e-mail) while standing in crowded public transports far better than with both a larger device/a too small device,

more screen surface to use apps, with no much/real trade-off in usablity.

I don't know if finally a better scenario to fill the gap between pocket and tablet would be to not approach this in-the-middle 6.x" 7.x" range by only one device, but in fact rather with two: a bigger iPod Touch and a smaller iPad.

As Gruber states, I don't believe a big iPod Touch will be the way Apple will choose to fill the gap between the iPad and the iPhone.

But that doesn't exclude to still make a slightly bigger iPod Touch, if playing with both resolution and pixel densities:

Most apps could support the expansion mostly flawlessly (clearly more surely than the shrink from 9.7" to the supposed 7.85", on the iPad front), creating no real fragmentation.

And ultimately, once 480x320 support dropped (say 2 years from now, considering the 3GS will probably not be sold anymore after next iPhone refresh this autumn), the resolution would have to be seen as 2x 720x480 (and to support the then old 4/4S/Touch resolution, could be rendered at 2/3 until their turn to be unsupported)

At 440 ppi with a 1.5x resolution, the previous (actual) 44x44 pixels measure of minimal touchable area would be of 60x60 pixels.

On the 326 ppi 5.3" iPod Touch, 60x60 pixels would then only mean less than 40% of increase in 1 dimension (i.e. less than 2x the surface) compared to its iPhone counterpart.

Any adjustment in the iPhone or the iPod Touch size, if necessary, would be possible in the future by 'simply' adjusting pixel density and leaving unchanged the resolution, with no real visual difference/adaptation for users/devs.

(And the 5.3" iPod Touch example is to simply re-use the actual 326 ppi screens Apple is using, supposing it would be easier/cheaper to produce - any intermediary pixel density would give a smaller iPod Touch, and then closer to a 4" iPhone in experience/visual rendering)

--

Text content comparison: www.flickr.com/photos/79265446@N04/7726267080

Portrait mode comparison: www.flickr.com/photos/79265446@N04/7728554990

Landscape mode comparison: www.flickr.com/photos/79265446@N04/7729375264

(Further pictures you can see quite easily by clicking on the link at the end of page!)

Vienna 1, The Franciscan Church

The Franciscans go back to St. Francis of Assisi and thus the 13th Century. They were founded as a mendicant orders but soon arose the question how literally one should take the declaration of poverty. Was it allowed to make financial provision for elderly or sick brothers? Finally it came to the segmentation of the faith community, the more liberal Minoriten (Friars Minor Conventual) made ​​their own order, while the Franciscans followed the old conventions. 1453 came the first Franciscan, John of Capistrano, to Vienna.

He founded the first Franciscan monastery in what is now 6th District. But the monks had to flee when the Turks besieged Vienna in 1529 and the monastery burned down. It took until 1589 until the city of Vienna gave them the at that time vacant monastery together with appendant church. The house, in its place now stands the monastery had already been donated in 1306 by wealthy citizens - namely for "loose women" who wanted give up their trade and convert themselves.

1476 was at the Weichenburg (hence Weihburggasse) inaugurated a church with seven altars, where formerly a "Pfarrheusl (small parsonage)" had stood for the soul welfare of the female residents. At the time of the Reformation, however, moral values in this house went downhill. 1553, the Foundation was dissolved, but it took yet until 1572 before the last resident had died. For eight years, the building was then an educational establishment for girls of poor people.

When the Franciscans now had got the property, they started in 1603 with a reconstruction of the church, which was consecrated in 1611. 1614, the foundation stone was laid for the new monastery.

The statues on the west facade are left Francis of Assisi and Anthony of Padua right. In the middle, on the pediment of the west portal of the Church stands Jerome, protector of the church. He is surrounded by two angle putti.

But let's go inside the church. Maria with the ax is the altarpiece above the high altar. The statue was carved in 1505 from lime wood and has its own story. She comes from the Green Mountain (Grünberg) in Bohemia, which was under the control the Sternberg family. Since the family in the meantime had become Protestant, it wanted to burn the statue. She were thrown into the fire - but the next day she stood unharmed again in the chapel. Now, the executioner was called who should dismember the effigy. However, even that was impossible, because the ax stuck in the shoulder of Mary and it was not possible to get it out. There it is still today. (You have to look closely, but then you see the great ax with slightly curved stem.) But that's not enough. A few years later the Madonna was lost in the gamble by a gegenreformierten (counter-reformed) Sternberg. The new owner, the Polish Baron Turnoffsky gave she in 1607 the Franciscan monastery. Exactly 100 years later, she got her current stand on the high altar.

The stone structure between altar and the statue of the Madonna also contains a crucifix, which dates from the beginning of the 17th Century. The wooden statues left and right represent the Saints Jerome respectively Francis and are typical examples of the so-called Franciscan carving school. It operated 1690-1730 and was run by lay brothers. The overall concept for the high altar dates back to the Jesuit Andrea dal Pozzo.

A special attraction is the organ by Hans Wöckherl that was already built in 1642 and today is the oldest organ in Vienna. It is, however, disappeared from the visible church, because it is behind the high altar and is only shown every Friday between 15.00 und 15.30 clock. In addition, one demans for that six euro entry...

The single-nave church has to both sides side chapels, of them I want to show two.

On the left we see the Magdalene Chapel, which was consecrated already in 1614 for the first time. 1644 and 1722, however, followed ​​Neustiftungen (new foundings). The stucco decoration stems from 1644. The paintings in the vault are much more recent, from 1893. The altarpiece depicts the grieving Mary Magdalene under the Cross. It was created in 1725 by Carlo Innocenzo Carlone. The image above shows Veronica's handkerchief with the face of Christ. It was painted by Wolfram Koeberl and in 1974 installed. The statues beside the altar represent the Virgin Mary and John the Baptist. The two above chapels are provided with food grid, so that one could give Communion here.

An Immaculata chapel (pictured above right) is there since the existence of the church, but this was rebuilt in 1722. Previously, since 1642, there was a Michael altar here. From this period dates still the stucco decor on the ceiling. The altarpiece is by Johann Georg Schmidt, who painted it in 1721. The lateral statues depict the Saint Joachim and the mother of Mary.

Also the Capistrano Chapel, which was founded in 1723, is worth mentioning. The lateral stucco decor shows on the left side (picture) the glorification of St. John Capistrano, who, as I said, was the first Franciscan in Vienna. Right you can see him as a standard-bearer of Christian doctrine in the wars against the Turks. Both stucco images date from the time of the foundation. The altarpiece by Franz Xaver Wagenschön originated in 1761 and shows Capistrano in a scene from 1451, in Brescia when he healed a possessed man.

In the picture we see also the statue of Saint George, as he is killing the (admittedly small) dragon.

On the other side of the chapel is the Holy Florian, while Clara and Theresa stand next to the altar. Behind the altar there is a reliquary in glass from about 1720, in which we see a wax image of the Holy Hilaria. The relic shall be imbedded in the wax. Hilaria is rather unknown, but she was a martyr who was converted by Bishop Narcissus. She died in the year 304 in Augsburg, at the behest of the governor Gaius, because she did not want to renounce the Christian faith. About the nature of death, there are different opinions.

In the church there is a plaque that claims that she was burned at the grave of her daughter, while the Holy Encyclopedia states that she was enclosed in her house and this was then set on fire.

In the chapel opposite, the Chapel of the Good Shepherd, there is also a glass coffin with a relic. This is the skeleton of the Felix Puer wearing the uniform of a Roman Centurion.

As a counterpart to the pulpit, this just opposite, you will find the monument of Johann Nepomuk. We see how he flows on the water of the Vltava river after he was thrown in Prague there. He actually was called "John from Nepomuk" in Czech "ne Pomuk". The wife of Emperor Wenceslas IV is said to have chosen him as confessor. The Emperor wanted to know then what she had confessed, but Johann Nepomuk did not betray the seal of confession and was therefore thrown into the water. The Empress had then an appearance of five stars.

(We see she also in the water of the monument.) These stars indicated were one could find the body. So much for the legend.

The fact is that Johann Nepomuk was tortured by the king and thrown into the Vltava. The activating moment was a dispute over a new monastery between the emperor and the archbishop of Prague, in which John Nepomuk was trampled underfoot ...

The pulpit was built in 1726 and was executed by the Franciscan carving school. At the parapet there are wooden reliefs of Matthew, Mark and Luke. The relief of the fourth evangelist, John, is attached to the pulpit door. At the parapet you further can see statues of Capistrano and Bonaventura, while on the sounding board are sitting Anthony of Padua and Berhardin of Siena. At the top stands the freeze image of Francis of Assisi.

The pews were 1727 - 1729 by brother Johann Gottfried Hartmann built and carved.

www.werbeka.com/wien/wien4/franzisd.htm

ExifTool Version Number : 8.65

File Name : IMG_7547.CR2

Directory : C:/Users/sberthu/Desktop/100CANON

File Size : 13 MB

File Modification Date/Time : 2011:10:05 17:33:14+02:00

File Permissions : rw-rw-rw-

File Type : CR2

MIME Type : image/x-canon-cr2

Exif Byte Order : Little-endian (Intel, II)

Image Width : 2256

Image Height : 1504

Bits Per Sample : 8 8 8

Compression : JPEG (old-style)

Make : Canon

Camera Model Name : Canon EOS 450D

Preview Image Start : 46676

Orientation : Horizontal (normal)

Preview Image Length : 625329

X Resolution : 72

Y Resolution : 72

Resolution Unit : inches

Modify Date : 2011:10:05 17:33:09

Exposure Time : 1/800

F Number : 5.0

Exposure Program : Manual

ISO : 100

Exif Version : 0221

Date/Time Original : 2011:10:05 17:33:09

Create Date : 2011:10:05 17:33:09

Components Configuration : Y, Cb, Cr, -

Shutter Speed Value : 1/790

Aperture Value : 5.0

Flash : Off, Did not fire

Focal Length : 50.0 mm

Macro Mode : Normal

Self Timer : Off

Quality : RAW

Canon Flash Mode : Off

Continuous Drive : Continuous

Focus Mode : AI Focus AF

Record Mode : CR2+JPEG

Canon Image Size : Large

Easy Mode : Manual

Digital Zoom : None

Contrast : +1

Saturation : +2

Metering Mode : Center-weighted average

Focus Range : Not Known

Canon Exposure Mode : Manual

Lens Type : Canon EF 50mm f/1.4 USM

Long Focal : 50 mm

Short Focal : 50 mm

Focal Units : 1/mm

Max Aperture : 1.4

Min Aperture : 23

Flash Activity : 0

Flash Bits : (none)

Zoom Source Width : 0

Zoom Target Width : 0

Manual Flash Output : n/a

Color Tone : +3

SRAW Quality : n/a

Auto ISO : 100

Base ISO : 100

Measured EV : 13.75

Target Aperture : 5

Target Exposure Time : 1/813

Exposure Compensation : 0

White Balance : Auto

Slow Shutter : None

Shot Number In Continuous Burst : 0

Optical Zoom Code : n/a

Camera Temperature : 33 C

Flash Guide Number : 0

Flash Exposure Compensation : 0

Auto Exposure Bracketing : Off

AEB Bracket Value : 0

Control Mode : Camera Local Control

Measured EV 2 : 13.75

Bulb Duration : 0

Camera Type : EOS High-end

ND Filter : n/a

Canon Image Type : Canon EOS 450D

Canon Firmware Version : Firmware Version 1.0.9

Owner Name :

Serial Number : 1050306195

Flash Metering Mode : Off

Camera Orientation : Horizontal (normal)

Focus Distance Upper : 0 m

Focus Distance Lower : 0 m

Firmware Version : 1.0.9

Directory Index : 100

File Index : 7547

Contrast Standard : 0

Sharpness Standard : 4

Saturation Standard : 0

Color Tone Standard : 0

Contrast Portrait : 0

Sharpness Portrait : 2

Saturation Portrait : 0

Color Tone Portrait : 0

Contrast Landscape : 0

Sharpness Landscape : 4

Saturation Landscape : 1

Color Tone Landscape : 0

Contrast Neutral : 1

Sharpness Neutral : 4

Saturation Neutral : 2

Color Tone Neutral : 3

Contrast Faithful : 0

Sharpness Faithful : 0

Saturation Faithful : 0

Color Tone Faithful : 0

Contrast Monochrome : 0

Sharpness Monochrome : 3

Filter Effect Monochrome : None

Toning Effect Monochrome : None

Contrast User Def 1 : 0

Sharpness User Def 1 : 3

Saturation User Def 1 : n/a

Color Tone User Def 1 : n/a

Filter Effect User Def 1 : None

Toning Effect User Def 1 : Sepia

Contrast User Def 2 : 0

Sharpness User Def 2 : 3

Saturation User Def 2 : n/a

Color Tone User Def 2 : n/a

Filter Effect User Def 2 : None

Toning Effect User Def 2 : Blue

Contrast User Def 3 : 0

Sharpness User Def 3 : 3

Saturation User Def 3 : n/a

Color Tone User Def 3 : n/a

Filter Effect User Def 3 : Orange

Toning Effect User Def 3 : Purple

User Def 1 Picture Style : Monochrome

User Def 2 Picture Style : Monochrome

User Def 3 Picture Style : Monochrome

Canon Model ID : EOS Digital Rebel XSi / 450D / Kiss X2

Thumbnail Image Valid Area : 0 159 7 112

Serial Number Format : Format 2

AF Area Mode : Single-point AF

Num AF Points : 9

Valid AF Points : 9

Canon Image Width : 2256

Canon Image Height : 1504

AF Image Width : 4272

AF Image Height : 2848

AF Area Widths : 115 115 115 162 200 162 115 115 115

AF Area Heights : 153 153 153 105 199 105 153 153 153

AF Area X Positions : -1127 -674 -674 0 0 0 674 674 1127

AF Area Y Positions : 0 321 -321 603 0 -603 321 -321 0

AF Points In Focus : 1

AF Points Selected : 1

Original Decision Data Offset : 0

Bracket Mode : Off

Bracket Value : 0

Bracket Shot Number : 0

Raw Jpg Size : Large

Long Exposure Noise Reduction 2 : On

WB Bracket Mode : Off

WB Bracket Value AB : 0

WB Bracket Value GM : 0

Live View Shooting : Off

Lens Model : EF50mm f/1.4 USM

Internal Serial Number : K1632114

Dust Removal Data : (Binary data 1024 bytes, use -b option to extract)

Crop Left Margin : 0

Crop Right Margin : 0

Crop Top Margin : 0

Crop Bottom Margin : 0

Exposure Level Increments : 1/3 Stop

Flash Sync Speed Av : Auto

Long Exposure Noise Reduction : On

High ISO Noise Reduction : On

Highlight Tone Priority : Disable

Auto Lighting Optimizer : Enable

AF Assist Beam : Emits

AF During Live View : Live mode

Mirror Lockup : Disable

Shutter Button AF On Button : Metering + AF start

Set Button When Shooting : Normal (disabled)

LCD Display At Power On : Display

Add Original Decision Data : Off

Tone Curve : Standard

Sharpness : 4

Sharpness Frequency : n/a

Sensor Red Level : 0

Sensor Blue Level : 0

White Balance Red : 0

White Balance Blue : 0

Color Temperature : 5200

Picture Style : Neutral

Digital Gain : 0

WB Shift AB : 0

WB Shift GM : 0

Measured RGGB : 382 1024 1024 888

VRD Offset : 0

Sensor Width : 4312

Sensor Height : 2876

Sensor Left Border : 32

Sensor Top Border : 23

Sensor Right Border : 4303

Sensor Bottom Border : 2870

Black Mask Left Border : 0

Black Mask Top Border : 0

Black Mask Right Border : 0

Black Mask Bottom Border : 0

Color Data Version : 5 (450D/1000D)

WB RGGB Levels As Shot : 2405 1024 1024 1357

Color Temp As Shot : 5807

WB RGGB Levels Auto : 2405 1024 1024 1357

Color Temp Auto : 5807

WB RGGB Levels Measured : 2414 1019 1028 1343

Color Temp Measured : 5881

WB RGGB Levels Daylight : 2255 1024 1024 1448

Color Temp Daylight : 5200

WB RGGB Levels Shade : 2615 1024 1024 1222

Color Temp Shade : 7000

WB RGGB Levels Cloudy : 2433 1024 1024 1324

Color Temp Cloudy : 6000

WB RGGB Levels Tungsten : 1721 1114 1114 2315

Color Temp Tungsten : 3200

WB RGGB Levels Fluorescent : 1992 1039 1039 1992

Color Temp Fluorescent : 3776

WB RGGB Levels Kelvin : 2255 1024 1024 1448

Color Temp Kelvin : 5200

WB RGGB Levels Flash : 2503 1024 1024 1298

Color Temp Flash : 6310

Raw Measured RGGB : 80616 221090 220162 189774

Custom Picture Style File Name :

User Comment :

Sub Sec Time : 44

Sub Sec Time Original : 44

Sub Sec Time Digitized : 44

Flashpix Version : 0100

Color Space : sRGB

Exif Image Width : 4272

Exif Image Height : 2848

Interoperability Index : R98 - DCF basic file (sRGB)

Interoperability Version : 0100

Focal Plane X Resolution : 4865.603645

Focal Plane Y Resolution : 4876.712329

Focal Plane Resolution Unit : inches

Custom Rendered : Normal

Exposure Mode : Manual

Scene Capture Type : Standard

Thumbnail Offset : 38152

Thumbnail Length : 8524

Photometric Interpretation : RGB

Samples Per Pixel : 3

Rows Per Strip : 356

Planar Configuration : Chunky

Strip Offsets : 1823312

Strip Byte Counts : 11929077

Raw Image Segmentation : 2 1440 1432

Aperture : 5.0

Drive Mode : Continuous Shooting

File Number : 100-7547

Image Size : 4272x2848

Lens : 50.0 mm

Lens ID : Canon EF 50mm f/1.4 USM

Preview Image : (Binary data 625329 bytes, use -b option to extract)

Scale Factor To 35 mm Equivalent: 1.6

Shooting Mode : Manual

Shutter Speed : 1/800

Create Date : 2011:10:05 17:33:09.44

Date/Time Original : 2011:10:05 17:33:09.44

Modify Date : 2011:10:05 17:33:09.44

Thumbnail Image : (Binary data 8524 bytes, use -b option to extract)

WB RGGB Levels : 2405 1024 1024 1357

Blue Balance : 1.325195

Circle Of Confusion : 0.019 mm

Field Of View : 25.1 deg

Focal Length : 50.0 mm (35 mm equivalent: 80.8 mm)

Hyperfocal Distance : 26.88 m

Lens : 50.0 mm (35 mm equivalent: 80.8 mm)

Light Value : 14.3

Red Balance : 2.348633

ExifTool Version Number : 8.65

File Name : IMG_7459.CR2

Directory : C:/Users/sberthu/Desktop/100CANON

File Size : 12 MB

File Modification Date/Time : 2011:10:01 12:15:38+02:00

File Permissions : rw-rw-rw-

File Type : CR2

MIME Type : image/x-canon-cr2

Exif Byte Order : Little-endian (Intel, II)

Image Width : 2256

Image Height : 1504

Bits Per Sample : 8 8 8

Compression : JPEG (old-style)

Make : Canon

Camera Model Name : Canon EOS 450D

Preview Image Start : 42192

Orientation : Horizontal (normal)

Preview Image Length : 362293

X Resolution : 72

Y Resolution : 72

Resolution Unit : inches

Modify Date : 2011:10:01 12:15:30

Exposure Time : 1/250

F Number : 5.6

Exposure Program : Manual

ISO : 100

Exif Version : 0221

Date/Time Original : 2011:10:01 12:15:30

Create Date : 2011:10:01 12:15:30

Components Configuration : Y, Cb, Cr, -

Shutter Speed Value : 1/256

Aperture Value : 5.7

Flash : Off, Did not fire

Focal Length : 200.0 mm

Macro Mode : Normal

Self Timer : Off

Quality : RAW

Canon Flash Mode : Off

Continuous Drive : Continuous

Focus Mode : One-shot AF

Record Mode : CR2+JPEG

Canon Image Size : Large

Easy Mode : Manual

Digital Zoom : None

Contrast : +1

Saturation : +2

Metering Mode : Partial

Focus Range : Not Known

Canon Exposure Mode : Manual

Lens Type : Canon EF-S 18-200mm f/3.5-5.6 IS

Long Focal : 200 mm

Short Focal : 18 mm

Focal Units : 1/mm

Max Aperture : 5.7

Min Aperture : 36

Flash Activity : 0

Flash Bits : (none)

Zoom Source Width : 0

Zoom Target Width : 0

Manual Flash Output : n/a

Color Tone : +3

SRAW Quality : n/a

Auto ISO : 100

Base ISO : 100

Measured EV : 12.75

Target Aperture : 5.7

Target Exposure Time : 1/256

Exposure Compensation : 0

White Balance : Auto

Slow Shutter : None

Shot Number In Continuous Burst : 0

Optical Zoom Code : n/a

Camera Temperature : 31 C

Flash Guide Number : 0

Flash Exposure Compensation : 0

Auto Exposure Bracketing : Off

AEB Bracket Value : 0

Control Mode : Camera Local Control

Measured EV 2 : 10.875

Bulb Duration : 0

Camera Type : EOS High-end

ND Filter : n/a

Canon Image Type : Canon EOS 450D

Canon Firmware Version : Firmware Version 1.0.9

Owner Name :

Serial Number : 1050306195

Flash Metering Mode : Off

Camera Orientation : Horizontal (normal)

Focus Distance Upper : 0.7 m

Focus Distance Lower : 0.6 m

Firmware Version : 1.0.9

Directory Index : 100

File Index : 7459

Contrast Standard : 0

Sharpness Standard : 4

Saturation Standard : 0

Color Tone Standard : 0

Contrast Portrait : 0

Sharpness Portrait : 2

Saturation Portrait : 0

Color Tone Portrait : 0

Contrast Landscape : 0

Sharpness Landscape : 4

Saturation Landscape : 1

Color Tone Landscape : 0

Contrast Neutral : 1

Sharpness Neutral : 4

Saturation Neutral : 2

Color Tone Neutral : 3

Contrast Faithful : 0

Sharpness Faithful : 0

Saturation Faithful : 0

Color Tone Faithful : 0

Contrast Monochrome : 0

Sharpness Monochrome : 3

Filter Effect Monochrome : None

Toning Effect Monochrome : None

Contrast User Def 1 : 0

Sharpness User Def 1 : 3

Saturation User Def 1 : n/a

Color Tone User Def 1 : n/a

Filter Effect User Def 1 : None

Toning Effect User Def 1 : Sepia

Contrast User Def 2 : 0

Sharpness User Def 2 : 3

Saturation User Def 2 : n/a

Color Tone User Def 2 : n/a

Filter Effect User Def 2 : None

Toning Effect User Def 2 : Blue

Contrast User Def 3 : 0

Sharpness User Def 3 : 3

Saturation User Def 3 : n/a

Color Tone User Def 3 : n/a

Filter Effect User Def 3 : Orange

Toning Effect User Def 3 : Purple

User Def 1 Picture Style : Monochrome

User Def 2 Picture Style : Monochrome

User Def 3 Picture Style : Monochrome

Canon Model ID : EOS Digital Rebel XSi / 450D / Kiss X2

Thumbnail Image Valid Area : 0 159 7 112

Serial Number Format : Format 2

AF Area Mode : Single-point AF

Num AF Points : 9

Valid AF Points : 9

Canon Image Width : 2256

Canon Image Height : 1504

AF Image Width : 4272

AF Image Height : 2848

AF Area Widths : 115 115 115 162 200 162 115 115 115

AF Area Heights : 153 153 153 105 199 105 153 153 153

AF Area X Positions : -1127 -674 -674 0 0 0 674 674 1127

AF Area Y Positions : 0 321 -321 603 0 -603 321 -321 0

AF Points In Focus : 4

AF Points Selected : 4

Original Decision Data Offset : 0

Bracket Mode : Off

Bracket Value : 0

Bracket Shot Number : 0

Raw Jpg Size : Large

Long Exposure Noise Reduction 2 : On

WB Bracket Mode : Off

WB Bracket Value AB : 0

WB Bracket Value GM : 0

Live View Shooting : Off

Lens Model : EF-S18-200mm f/3.5-5.6 IS

Internal Serial Number : K1632114

Dust Removal Data : (Binary data 1024 bytes, use -b option to extract)

Crop Left Margin : 0

Crop Right Margin : 0

Crop Top Margin : 0

Crop Bottom Margin : 0

Exposure Level Increments : 1/3 Stop

Flash Sync Speed Av : Auto

Long Exposure Noise Reduction : On

High ISO Noise Reduction : On

Highlight Tone Priority : Disable

Auto Lighting Optimizer : Enable

AF Assist Beam : Emits

AF During Live View : Live mode

Mirror Lockup : Disable

Shutter Button AF On Button : Metering + AF start

Set Button When Shooting : Normal (disabled)

LCD Display At Power On : Display

Add Original Decision Data : Off

Tone Curve : Standard

Sharpness : 4

Sharpness Frequency : n/a

Sensor Red Level : 0

Sensor Blue Level : 0

White Balance Red : 0

White Balance Blue : 0

Color Temperature : 5200

Picture Style : Neutral

Digital Gain : 0

WB Shift AB : 0

WB Shift GM : 0

Measured RGGB : 495 1024 1024 695

VRD Offset : 0

Sensor Width : 4312

Sensor Height : 2876

Sensor Left Border : 32

Sensor Top Border : 23

Sensor Right Border : 4303

Sensor Bottom Border : 2870

Black Mask Left Border : 0

Black Mask Top Border : 0

Black Mask Right Border : 0

Black Mask Bottom Border : 0

Color Data Version : 5 (450D/1000D)

WB RGGB Levels As Shot : 2068 1024 1024 1646

Color Temp As Shot : 4399

WB RGGB Levels Auto : 2068 1024 1024 1646

Color Temp Auto : 4399

WB RGGB Levels Measured : 2028 1024 1022 1677

Color Temp Measured : 4272

WB RGGB Levels Daylight : 2255 1024 1024 1448

Color Temp Daylight : 5200

WB RGGB Levels Shade : 2615 1024 1024 1222

Color Temp Shade : 7000

WB RGGB Levels Cloudy : 2433 1024 1024 1324

Color Temp Cloudy : 6000

WB RGGB Levels Tungsten : 1721 1114 1114 2315

Color Temp Tungsten : 3200

WB RGGB Levels Fluorescent : 1992 1039 1039 1992

Color Temp Fluorescent : 3776

WB RGGB Levels Kelvin : 2255 1024 1024 1448

Color Temp Kelvin : 5200

WB RGGB Levels Flash : 2503 1024 1024 1298

Color Temp Flash : 6310

Raw Measured RGGB : 597652 1251722 1262522 853956

Custom Picture Style File Name :

User Comment :

Sub Sec Time : 95

Sub Sec Time Original : 95

Sub Sec Time Digitized : 95

Flashpix Version : 0100

Color Space : sRGB

Exif Image Width : 4272

Exif Image Height : 2848

Interoperability Index : R98 - DCF basic file (sRGB)

Interoperability Version : 0100

Focal Plane X Resolution : 4865.603645

Focal Plane Y Resolution : 4876.712329

Focal Plane Resolution Unit : inches

Custom Rendered : Normal

Exposure Mode : Manual

Scene Capture Type : Standard

Thumbnail Offset : 38152

Thumbnail Length : 4040

Photometric Interpretation : RGB

Samples Per Pixel : 3

Rows Per Strip : 356

Planar Configuration : Chunky

Strip Offsets : 1555792

Strip Byte Counts : 11074420

Raw Image Segmentation : 2 1440 1432

Aperture : 5.6

Drive Mode : Continuous Shooting

File Number : 100-7459

Image Size : 4272x2848

Lens : 18.0 - 200.0 mm

Lens ID : Canon EF-S 18-200mm f/3.5-5.6 IS

Preview Image : (Binary data 362293 bytes, use -b option to extract)

Scale Factor To 35 mm Equivalent: 1.6

Shooting Mode : Manual

Shutter Speed : 1/250

Create Date : 2011:10:01 12:15:30.95

Date/Time Original : 2011:10:01 12:15:30.95

Modify Date : 2011:10:01 12:15:30.95

Thumbnail Image : (Binary data 4040 bytes, use -b option to extract)

WB RGGB Levels : 2068 1024 1024 1646

Blue Balance : 1.607422

Circle Of Confusion : 0.019 mm

Field Of View : 6.4 deg

Focal Length : 200.0 mm (35 mm equivalent: 323.1 mm)

Hyperfocal Distance : 384.03 m

Lens : 18.0 - 200.0 mm (35 mm equivalent: 29.1 - 323.1 mm)

Light Value : 12.9

Red Balance : 2.019531

Cube houses, Rotterdam, 1984. Architecture by Piet Blom.

Our current exhibition on Dutch structuralism sparked a new interest for this type of architecture. Although I don’t particularly like it from an estheticial point of view, the segmentation, in order to create ‘human scaled’ spaces that invite residents to meet and interact with each other, allows for multiple perspectives and seemingly endless photographic possibilities.

Under the title of ‘Living as an Urban Roof’, Blom designed a city composed primarily of two levels: a public space on the ground floor and habitats above, forming ‘the roof of the city’.

ExifTool Version Number : 8.65

File Name : IMG_7512.CR2

Directory : C:/Users/sberthu/Desktop/100CANON

File Size : 17 MB

File Modification Date/Time : 2011:10:05 16:56:02+02:00

File Permissions : rw-rw-rw-

File Type : CR2

MIME Type : image/x-canon-cr2

Exif Byte Order : Little-endian (Intel, II)

Image Width : 2256

Image Height : 1504

Bits Per Sample : 8 8 8

Compression : JPEG (old-style)

Make : Canon

Camera Model Name : Canon EOS 450D

Preview Image Start : 46768

Orientation : Horizontal (normal)

Preview Image Length : 1114666

X Resolution : 72

Y Resolution : 72

Resolution Unit : inches

Modify Date : 2011:10:05 16:55:56

Exposure Time : 1/500

F Number : 3.2

Exposure Program : Manual

ISO : 100

Exif Version : 0221

Date/Time Original : 2011:10:05 16:55:56

Create Date : 2011:10:05 16:55:56

Components Configuration : Y, Cb, Cr, -

Shutter Speed Value : 1/512

Aperture Value : 3.2

Flash : Off, Did not fire

Focal Length : 50.0 mm

Macro Mode : Normal

Self Timer : Off

Quality : RAW

Canon Flash Mode : Off

Continuous Drive : Continuous

Focus Mode : One-shot AF

Record Mode : CR2+JPEG

Canon Image Size : Large

Easy Mode : Manual

Digital Zoom : None

Contrast : +1

Saturation : +2

Metering Mode : Evaluative

Focus Range : Not Known

Canon Exposure Mode : Manual

Lens Type : Canon EF 50mm f/1.4 USM

Long Focal : 50 mm

Short Focal : 50 mm

Focal Units : 1/mm

Max Aperture : 1.4

Min Aperture : 23

Flash Activity : 0

Flash Bits : (none)

Zoom Source Width : 0

Zoom Target Width : 0

Manual Flash Output : n/a

Color Tone : +3

SRAW Quality : n/a

Auto ISO : 100

Base ISO : 100

Measured EV : 11.75

Target Aperture : 3.2

Target Exposure Time : 1/512

Exposure Compensation : 0

White Balance : Auto

Slow Shutter : None

Shot Number In Continuous Burst : 0

Optical Zoom Code : n/a

Camera Temperature : 30 C

Flash Guide Number : 0

Flash Exposure Compensation : 0

Auto Exposure Bracketing : Off

AEB Bracket Value : 0

Control Mode : Camera Local Control

Measured EV 2 : 12.125

Bulb Duration : 0

Camera Type : EOS High-end

ND Filter : n/a

Canon Image Type : Canon EOS 450D

Canon Firmware Version : Firmware Version 1.0.9

Owner Name :

Serial Number : 1050306195

Flash Metering Mode : Off

Camera Orientation : Horizontal (normal)

Focus Distance Upper : 0 m

Focus Distance Lower : 0 m

Firmware Version : 1.0.9

Directory Index : 100

File Index : 7512

Contrast Standard : 0

Sharpness Standard : 4

Saturation Standard : 0

Color Tone Standard : 0

Contrast Portrait : 0

Sharpness Portrait : 2

Saturation Portrait : 0

Color Tone Portrait : 0

Contrast Landscape : 0

Sharpness Landscape : 4

Saturation Landscape : 1

Color Tone Landscape : 0

Contrast Neutral : 1

Sharpness Neutral : 4

Saturation Neutral : 2

Color Tone Neutral : 3

Contrast Faithful : 0

Sharpness Faithful : 0

Saturation Faithful : 0

Color Tone Faithful : 0

Contrast Monochrome : 0

Sharpness Monochrome : 3

Filter Effect Monochrome : None

Toning Effect Monochrome : None

Contrast User Def 1 : 0

Sharpness User Def 1 : 3

Saturation User Def 1 : n/a

Color Tone User Def 1 : n/a

Filter Effect User Def 1 : None

Toning Effect User Def 1 : Sepia

Contrast User Def 2 : 0

Sharpness User Def 2 : 3

Saturation User Def 2 : n/a

Color Tone User Def 2 : n/a

Filter Effect User Def 2 : None

Toning Effect User Def 2 : Blue

Contrast User Def 3 : 0

Sharpness User Def 3 : 3

Saturation User Def 3 : n/a

Color Tone User Def 3 : n/a

Filter Effect User Def 3 : Orange

Toning Effect User Def 3 : Purple

User Def 1 Picture Style : Monochrome

User Def 2 Picture Style : Monochrome

User Def 3 Picture Style : Monochrome

Canon Model ID : EOS Digital Rebel XSi / 450D / Kiss X2

Thumbnail Image Valid Area : 0 159 7 112

Serial Number Format : Format 2

AF Area Mode : Single-point AF

Num AF Points : 9

Valid AF Points : 9

Canon Image Width : 2256

Canon Image Height : 1504

AF Image Width : 4272

AF Image Height : 2848

AF Area Widths : 115 115 115 162 200 162 115 115 115

AF Area Heights : 153 153 153 105 199 105 153 153 153

AF Area X Positions : -1127 -674 -674 0 0 0 674 674 1127

AF Area Y Positions : 0 321 -321 603 0 -603 321 -321 0

AF Points In Focus : 4

AF Points Selected : 4

Original Decision Data Offset : 0

Bracket Mode : Off

Bracket Value : 0

Bracket Shot Number : 0

Raw Jpg Size : Large

Long Exposure Noise Reduction 2 : On

WB Bracket Mode : Off

WB Bracket Value AB : 0

WB Bracket Value GM : 0

Live View Shooting : Off

Lens Model : EF50mm f/1.4 USM

Internal Serial Number : K1632114

Dust Removal Data : (Binary data 1024 bytes, use -b option to extract)

Crop Left Margin : 0

Crop Right Margin : 0

Crop Top Margin : 0

Crop Bottom Margin : 0

Exposure Level Increments : 1/3 Stop

Flash Sync Speed Av : Auto

Long Exposure Noise Reduction : On

High ISO Noise Reduction : On

Highlight Tone Priority : Disable

Auto Lighting Optimizer : Enable

AF Assist Beam : Emits

AF During Live View : Live mode

Mirror Lockup : Disable

Shutter Button AF On Button : Metering + AF start

Set Button When Shooting : Normal (disabled)

LCD Display At Power On : Display

Add Original Decision Data : Off

Tone Curve : Standard

Sharpness : 4

Sharpness Frequency : n/a

Sensor Red Level : 0

Sensor Blue Level : 0

White Balance Red : 0

White Balance Blue : 0

Color Temperature : 5200

Picture Style : Neutral

Digital Gain : 0

WB Shift AB : 0

WB Shift GM : 0

Measured RGGB : 455 1024 1024 599

VRD Offset : 0

Sensor Width : 4312

Sensor Height : 2876

Sensor Left Border : 32

Sensor Top Border : 23

Sensor Right Border : 4303

Sensor Bottom Border : 2870

Black Mask Left Border : 0

Black Mask Top Border : 0

Black Mask Right Border : 0

Black Mask Bottom Border : 0

Color Data Version : 5 (450D/1000D)

WB RGGB Levels As Shot : 2260 1024 1024 1596

Color Temp As Shot : 4793

WB RGGB Levels Auto : 2260 1024 1024 1596

Color Temp Auto : 4793

WB RGGB Levels Measured : 2116 1030 1017 1698

Color Temp Measured : 4363

WB RGGB Levels Daylight : 2255 1024 1024 1448

Color Temp Daylight : 5200

WB RGGB Levels Shade : 2615 1024 1024 1222

Color Temp Shade : 7000

WB RGGB Levels Cloudy : 2433 1024 1024 1324

Color Temp Cloudy : 6000

WB RGGB Levels Tungsten : 1721 1114 1114 2315

Color Temp Tungsten : 3200

WB RGGB Levels Fluorescent : 1992 1039 1039 1992

Color Temp Fluorescent : 3776

WB RGGB Levels Kelvin : 2255 1024 1024 1448

Color Temp Kelvin : 5200

WB RGGB Levels Flash : 2503 1024 1024 1298

Color Temp Flash : 6310

Raw Measured RGGB : 66141 151725 151959 89342

Custom Picture Style File Name :

User Comment :

Sub Sec Time : 03

Sub Sec Time Original : 03

Sub Sec Time Digitized : 03

Flashpix Version : 0100

Color Space : sRGB

Exif Image Width : 4272

Exif Image Height : 2848

Interoperability Index : R98 - DCF basic file (sRGB)

Interoperability Version : 0100

Focal Plane X Resolution : 4865.603645

Focal Plane Y Resolution : 4876.712329

Focal Plane Resolution Unit : inches

Custom Rendered : Normal

Exposure Mode : Manual

Scene Capture Type : Standard

Thumbnail Offset : 38152

Thumbnail Length : 8615

Photometric Interpretation : RGB

Samples Per Pixel : 3

Rows Per Strip : 356

Planar Configuration : Chunky

Strip Offsets : 2312740

Strip Byte Counts : 15364394

Raw Image Segmentation : 2 1440 1432

Aperture : 3.2

Drive Mode : Continuous Shooting

File Number : 100-7512

Image Size : 4272x2848

Lens : 50.0 mm

Lens ID : Canon EF 50mm f/1.4 USM

Preview Image : (Binary data 1114666 bytes, use -b option to extract)

Scale Factor To 35 mm Equivalent: 1.6

Shooting Mode : Manual

Shutter Speed : 1/500

Create Date : 2011:10:05 16:55:56.03

Date/Time Original : 2011:10:05 16:55:56.03

Modify Date : 2011:10:05 16:55:56.03

Thumbnail Image : (Binary data 8615 bytes, use -b option to extract)

WB RGGB Levels : 2260 1024 1024 1596

Blue Balance : 1.558594

Circle Of Confusion : 0.019 mm

Field Of View : 25.1 deg

Focal Length : 50.0 mm (35 mm equivalent: 80.8 mm)

Hyperfocal Distance : 42.00 m

Lens : 50.0 mm (35 mm equivalent: 80.8 mm)

Light Value : 12.3

Red Balance : 2.207031

THIS I DID IN NEW ZEALAND AND IS VERY RESONANT WITH TRADITIONAL MAORI ART...

(Further pictures you can see quite easily by clicking on the link at the end of page!)

Vienna 1, The Franciscan Church

The Franciscans go back to St. Francis of Assisi and thus the 13th Century. They were founded as a mendicant orders but soon the arose the question how literally one should take the declaration of poverty. Was it allowed to make financial provision for elderly or sick brothers? Finally it came to the segmentation of the faith community, the more liberal Minoriten (Friars Minor Conventual) made ​​their own order, while the Franciscans followed the old conventions. 1453 came the first Franciscan, John of Capistrano, to Vienna.

He founded the first Franciscan monastery in what is now 6th District. But the monks had to flee when the Turks besieged Vienna in 1529 and the monastery burned down. It took until 1589 until the city of Vienna gave them the at that time vacant monastery together with appendant church. The house, in its place now stands the monastery had already been donated in 1306 by wealthy citizens - namely for "loose women" who wanted give up their trade and convert themselves.

1476 was at the Weichenburg (hence Weihburggasse) inaugurated a church with seven altars, where formerly a "Pfarrheusl (small parsonage)" had stood for the soul welfare of the female residents. At the time of the Reformation, however, moral values in this house went downhill. 1553, the Foundation was dissolved, but it took yet until 1572 before the last resident had died. For eight years, the building was then an educational establishment for girls of poor people.

When the Franciscans now had got the property, they started in 1603 with a reconstruction of the church, which was consecrated in 1611. 1614, the foundation stone was laid for the new monastery.

The statues on the west facade are left Francis of Assisi and Anthony of Padua right. In the middle, on the pediment of the west portal of the Church stands Jerome, protector of the church. He is surrounded by two angle putti.

But let's go inside the church. Maria with the ax is the altarpiece above the high altar. The statue was carved in 1505 from lime wood and has its own story. She comes from the Green Mountain (Grünberg) in Bohemia, which was under the control the Sternberg family. Since the family in the meantime had become Protestant, it wanted to burn the statue. She were thrown into the fire - but the next day she stood unharmed again in the chapel. Now, the executioner was called who should dismember the effigy. However, even that was impossible, because the ax stuck in the shoulder of Mary and it was not possible to get it out. There it is still today. (You have to look closely, but then you see the great ax with slightly curved stem.) But that's not enough. A few years later the Madonna was lost in the gamble by a gegenreformierten (counter-reformed) Sternberg. The new owner, the Polish Baron Turnoffsky gave she in 1607 the Franciscan monastery. Exactly 100 years later, she got her current stand on the high altar.

The stone structure between altar and the statue of the Madonna also contains a crucifix, which dates from the beginning of the 17th Century. The wooden statues left and right represent the Saints Jerome respectively Francis and are typical examples of the so-called Franciscan carving school. It operated 1690-1730 and was run by lay brothers. The overall concept for the high altar dates back to the Jesuit Andrea dal Pozzo.

A special attraction is the organ by Hans Wöckherl that was already built in 1642 and today is the oldest organ in Vienna. It is, however, disappeared from the visible church, because it is behind the high altar and is only shown every Friday between 15.00 und 15.30 clock. In addition, one demans for that six euro entry...

The single-nave church has to both sides side chapels, of them I want to show two.

On the left we see the Magdalene Chapel, which was consecrated already in 1614 for the first time. 1644 and 1722, however, followed ​​Neustiftungen (new foundings). The stucco decoration stems from 1644. The paintings in the vault are much more recent, from 1893. The altarpiece depicts the grieving Mary Magdalene under the Cross. It was created in 1725 by Carlo Innocenzo Carlone. The image above shows Veronica's handkerchief with the face of Christ. It was painted by Wolfram Koeberl and in 1974 installed. The statues beside the altar represent the Virgin Mary and John the Baptist. The two above chapels are provided with food grid, so that one could give Communion here.

An Immaculata chapel (pictured above right) is there since the existence of the church, but this was rebuilt in 1722. Previously, since 1642, there was a Michael altar here. From this period dates still the stucco decor on the ceiling. The altarpiece is by Johann Georg Schmidt, who painted it in 1721. The lateral statues depict the Saint Joachim and the mother of Mary.

Also the Capistrano Chapel, which was founded in 1723, is worth mentioning. The lateral stucco decor shows on the left side (picture) the glorification of St. John Capistrano, who, as I said, was the first Franciscan in Vienna. Right you can see him as a standard-bearer of Christian doctrine in the wars against the Turks. Both stucco images date from the time of the foundation. The altarpiece by Franz Xaver Wagenschön originated in 1761 and shows Capistrano in a scene from 1451, in Brescia when he healed a possessed man.

In the picture we see also the statue of Saint George, as he is killing the (admittedly small) dragon.

On the other side of the chapel is the Holy Florian, while Clara and Theresa stand next to the altar. Behind the altar there is a reliquary in glass from about 1720, in which we see a wax image of the Holy Hilaria. The relic shall be imbedded in the wax. Hilaria is rather unknown, but she was a martyr who was converted by Bishop Narcissus. She died in the year 304 in Augsburg, at the behest of the governor Gaius, because she did not want to renounce the Christian faith. About the nature of death, there are different opinions.

In the church there is a plaque that claims that she was burned at the grave of her daughter, while the Holy Encyclopedia states that she was enclosed in her house and this was then set on fire.

In the chapel opposite, the Chapel of the Good Shepherd, there is also a glass coffin with a relic. This is the skeleton of the Felix Puer wearing the uniform of a Roman Centurion.

As a counterpart to the pulpit, this just opposite, you will find the monument of Johann Nepomuk. We see how he flows on the water of the Vltava river after he was thrown in Prague there. He actually was called "John from Nepomuk" in Czech "ne Pomuk". The wife of Emperor Wenceslas IV is said to have chosen him as confessor. The Emperor wanted to know then what she had confessed, but Johann Nepomuk did not betray the seal of confession and was therefore thrown into the water. The Empress had then an appearance of five stars.

(We see she also in the water of the monument.) These stars indicated were one could find the body. So much for the legend.

The fact is that Johann Nepomuk was tortured by the king and thrown into the Vltava. The activating moment was a dispute over a new monastery between the emperor and the archbishop of Prague, in which John Nepomuk was trampled underfoot ...

The pulpit was built in 1726 and was executed by the Franciscan carving school. At the parapet there are wooden reliefs of Matthew, Mark and Luke. The relief of the fourth evangelist, John, is attached to the pulpit door. At the parapet you further can see statues of Capistrano and Bonaventura, while on the sounding board are sitting Anthony of Padua and Berhardin of Siena. At the top stands the freeze image of Francis of Assisi.

The pews were 1727 - 1729 by brother Johann Gottfried Hartmann built and carved.

www.werbeka.com/wien/wien4/franzisd.htm

(Further pictures you can see quite easily by clicking on the link at the end of page!)

Vienna 1, The Franciscan Church

The Franciscans go back to St. Francis of Assisi and thus the 13th Century. They were founded as a mendicant orders but soon the arose the question how literally one should take the declaration of poverty. Was it allowed to make financial provision for elderly or sick brothers? Finally it came to the segmentation of the faith community, the more liberal Minoriten (Friars Minor Conventual) made ​​their own order, while the Franciscans followed the old conventions. 1453 came the first Franciscan, John of Capistrano, to Vienna.

He founded the first Franciscan monastery in what is now 6th District. But the monks had to flee when the Turks besieged Vienna in 1529 and the monastery burned down. It took until 1589 until the city of Vienna gave them the at that time vacant monastery together with appendant church. The house, in its place now stands the monastery had already been donated in 1306 by wealthy citizens - namely for "loose women" who wanted give up their trade and convert themselves.

1476 was at the Weichenburg (hence Weihburggasse) inaugurated a church with seven altars, where formerly a "Pfarrheusl (small parsonage)" had stood for the soul welfare of the female residents. At the time of the Reformation, however, moral values in this house went downhill. 1553, the Foundation was dissolved, but it took yet until 1572 before the last resident had died. For eight years, the building was then an educational establishment for girls of poor people.

When the Franciscans now had got the property, they started in 1603 with a reconstruction of the church, which was consecrated in 1611. 1614, the foundation stone was laid for the new monastery.

The statues on the west facade are left Francis of Assisi and Anthony of Padua right. In the middle, on the pediment of the west portal of the Church stands Jerome, protector of the church. He is surrounded by two angle putti.

But let's go inside the church. Maria with the ax is the altarpiece above the high altar. The statue was carved in 1505 from lime wood and has its own story. She comes from the Green Mountain (Grünberg) in Bohemia, which was under the control the Sternberg family. Since the family in the meantime had become Protestant, it wanted to burn the statue. She were thrown into the fire - but the next day she stood unharmed again in the chapel. Now, the executioner was called who should dismember the effigy. However, even that was impossible, because the ax stuck in the shoulder of Mary and it was not possible to get it out. There it is still today. (You have to look closely, but then you see the great ax with slightly curved stem.) But that's not enough. A few years later the Madonna was lost in the gamble by a gegenreformierten (counter-reformed) Sternberg. The new owner, the Polish Baron Turnoffsky gave she in 1607 the Franciscan monastery. Exactly 100 years later, she got her current stand on the high altar.

The stone structure between altar and the statue of the Madonna also contains a crucifix, which dates from the beginning of the 17th Century. The wooden statues left and right represent the Saints Jerome respectively Francis and are typical examples of the so-called Franciscan carving school. It operated 1690-1730 and was run by lay brothers. The overall concept for the high altar dates back to the Jesuit Andrea dal Pozzo.

A special attraction is the organ by Hans Wöckherl that was already built in 1642 and today is the oldest organ in Vienna. It is, however, disappeared from the visible church, because it is behind the high altar and is only shown every Friday between 15.00 und 15.30 clock. In addition, one demans for that six euro entry...

The single-nave church has to both sides side chapels, of them I want to show two.

On the left we see the Magdalene Chapel, which was consecrated already in 1614 for the first time. 1644 and 1722, however, followed ​​Neustiftungen (new foundings). The stucco decoration stems from 1644. The paintings in the vault are much more recent, from 1893. The altarpiece depicts the grieving Mary Magdalene under the Cross. It was created in 1725 by Carlo Innocenzo Carlone. The image above shows Veronica's handkerchief with the face of Christ. It was painted by Wolfram Koeberl and in 1974 installed. The statues beside the altar represent the Virgin Mary and John the Baptist. The two above chapels are provided with food grid, so that one could give Communion here.

An Immaculata chapel (pictured above right) is there since the existence of the church, but this was rebuilt in 1722. Previously, since 1642, there was a Michael altar here. From this period dates still the stucco decor on the ceiling. The altarpiece is by Johann Georg Schmidt, who painted it in 1721. The lateral statues depict the Saint Joachim and the mother of Mary.

Also the Capistrano Chapel, which was founded in 1723, is worth mentioning. The lateral stucco decor shows on the left side (picture) the glorification of St. John Capistrano, who, as I said, was the first Franciscan in Vienna. Right you can see him as a standard-bearer of Christian doctrine in the wars against the Turks. Both stucco images date from the time of the foundation. The altarpiece by Franz Xaver Wagenschön originated in 1761 and shows Capistrano in a scene from 1451, in Brescia when he healed a possessed man.

In the picture we see also the statue of Saint George, as he is killing the (admittedly small) dragon.

On the other side of the chapel is the Holy Florian, while Clara and Theresa stand next to the altar. Behind the altar there is a reliquary in glass from about 1720, in which we see a wax image of the Holy Hilaria. The relic shall be imbedded in the wax. Hilaria is rather unknown, but she was a martyr who was converted by Bishop Narcissus. She died in the year 304 in Augsburg, at the behest of the governor Gaius, because she did not want to renounce the Christian faith. About the nature of death, there are different opinions.

In the church there is a plaque that claims that she was burned at the grave of her daughter, while the Holy Encyclopedia states that she was enclosed in her house and this was then set on fire.

In the chapel opposite, the Chapel of the Good Shepherd, there is also a glass coffin with a relic. This is the skeleton of the Felix Puer wearing the uniform of a Roman Centurion.

As a counterpart to the pulpit, this just opposite, you will find the monument of Johann Nepomuk. We see how he flows on the water of the Vltava river after he was thrown in Prague there. He actually was called "John from Nepomuk" in Czech "ne Pomuk". The wife of Emperor Wenceslas IV is said to have chosen him as confessor. The Emperor wanted to know then what she had confessed, but Johann Nepomuk did not betray the seal of confession and was therefore thrown into the water. The Empress had then an appearance of five stars.

(We see she also in the water of the monument.) These stars indicated were one could find the body. So much for the legend.

The fact is that Johann Nepomuk was tortured by the king and thrown into the Vltava. The activating moment was a dispute over a new monastery between the emperor and the archbishop of Prague, in which John Nepomuk was trampled underfoot ...

The pulpit was built in 1726 and was executed by the Franciscan carving school. At the parapet there are wooden reliefs of Matthew, Mark and Luke. The relief of the fourth evangelist, John, is attached to the pulpit door. At the parapet you further can see statues of Capistrano and Bonaventura, while on the sounding board are sitting Anthony of Padua and Berhardin of Siena. At the top stands the freeze image of Francis of Assisi.

The pews were 1727 - 1729 by brother Johann Gottfried Hartmann built and carved.

www.werbeka.com/wien/wien4/franzisd.htm

(Further pictures you can see quite easily by clicking on the link at the end of page!)

Vienna 1, The Franciscan Church

The Franciscans go back to St. Francis of Assisi and thus the 13th Century. They were founded as a mendicant orders but soon the arose the question how literally one should take the declaration of poverty. Was it allowed to make financial provision for elderly or sick brothers? Finally it came to the segmentation of the faith community, the more liberal Minoriten (Friars Minor Conventual) made ​​their own order, while the Franciscans followed the old conventions. 1453 came the first Franciscan, John of Capistrano, to Vienna.

He founded the first Franciscan monastery in what is now 6th District. But the monks had to flee when the Turks besieged Vienna in 1529 and the monastery burned down. It took until 1589 until the city of Vienna gave them the at that time vacant monastery together with appendant church. The house, in its place now stands the monastery had already been donated in 1306 by wealthy citizens - namely for "loose women" who wanted give up their trade and convert themselves.

1476 was at the Weichenburg (hence Weihburggasse) inaugurated a church with seven altars, where formerly a "Pfarrheusl (small parsonage)" had stood for the soul welfare of the female residents. At the time of the Reformation, however, moral values in this house went downhill. 1553, the Foundation was dissolved, but it took yet until 1572 before the last resident had died. For eight years, the building was then an educational establishment for girls of poor people.

When the Franciscans now had got the property, they started in 1603 with a reconstruction of the church, which was consecrated in 1611. 1614, the foundation stone was laid for the new monastery.

The statues on the west facade are left Francis of Assisi and Anthony of Padua right. In the middle, on the pediment of the west portal of the Church stands Jerome, protector of the church. He is surrounded by two angle putti.

But let's go inside the church. Maria with the ax is the altarpiece above the high altar. The statue was carved in 1505 from lime wood and has its own story. She comes from the Green Mountain (Grünberg) in Bohemia, which was under the control the Sternberg family. Since the family in the meantime had become Protestant, it wanted to burn the statue. She were thrown into the fire - but the next day she stood unharmed again in the chapel. Now, the executioner was called who should dismember the effigy. However, even that was impossible, because the ax stuck in the shoulder of Mary and it was not possible to get it out. There it is still today. (You have to look closely, but then you see the great ax with slightly curved stem.) But that's not enough. A few years later the Madonna was lost in the gamble by a gegenreformierten (counter-reformed) Sternberg. The new owner, the Polish Baron Turnoffsky gave she in 1607 the Franciscan monastery. Exactly 100 years later, she got her current stand on the high altar.

The stone structure between altar and the statue of the Madonna also contains a crucifix, which dates from the beginning of the 17th Century. The wooden statues left and right represent the Saints Jerome respectively Francis and are typical examples of the so-called Franciscan carving school. It operated 1690-1730 and was run by lay brothers. The overall concept for the high altar dates back to the Jesuit Andrea dal Pozzo.

A special attraction is the organ by Hans Wöckherl that was already built in 1642 and today is the oldest organ in Vienna. It is, however, disappeared from the visible church, because it is behind the high altar and is only shown every Friday between 15.00 und 15.30 clock. In addition, one demans for that six euro entry...

The single-nave church has to both sides side chapels, of them I want to show two.

On the left we see the Magdalene Chapel, which was consecrated already in 1614 for the first time. 1644 and 1722, however, followed ​​Neustiftungen (new foundings). The stucco decoration stems from 1644. The paintings in the vault are much more recent, from 1893. The altarpiece depicts the grieving Mary Magdalene under the Cross. It was created in 1725 by Carlo Innocenzo Carlone. The image above shows Veronica's handkerchief with the face of Christ. It was painted by Wolfram Koeberl and in 1974 installed. The statues beside the altar represent the Virgin Mary and John the Baptist. The two above chapels are provided with food grid, so that one could give Communion here.

An Immaculata chapel (pictured above right) is there since the existence of the church, but this was rebuilt in 1722. Previously, since 1642, there was a Michael altar here. From this period dates still the stucco decor on the ceiling. The altarpiece is by Johann Georg Schmidt, who painted it in 1721. The lateral statues depict the Saint Joachim and the mother of Mary.

Also the Capistrano Chapel, which was founded in 1723, is worth mentioning. The lateral stucco decor shows on the left side (picture) the glorification of St. John Capistrano, who, as I said, was the first Franciscan in Vienna. Right you can see him as a standard-bearer of Christian doctrine in the wars against the Turks. Both stucco images date from the time of the foundation. The altarpiece by Franz Xaver Wagenschön originated in 1761 and shows Capistrano in a scene from 1451, in Brescia when he healed a possessed man.

In the picture we see also the statue of Saint George, as he is killing the (admittedly small) dragon.

On the other side of the chapel is the Holy Florian, while Clara and Theresa stand next to the altar. Behind the altar there is a reliquary in glass from about 1720, in which we see a wax image of the Holy Hilaria. The relic shall be imbedded in the wax. Hilaria is rather unknown, but she was a martyr who was converted by Bishop Narcissus. She died in the year 304 in Augsburg, at the behest of the governor Gaius, because she did not want to renounce the Christian faith. About the nature of death, there are different opinions.

In the church there is a plaque that claims that she was burned at the grave of her daughter, while the Holy Encyclopedia states that she was enclosed in her house and this was then set on fire.

In the chapel opposite, the Chapel of the Good Shepherd, there is also a glass coffin with a relic. This is the skeleton of the Felix Puer wearing the uniform of a Roman Centurion.

As a counterpart to the pulpit, this just opposite, you will find the monument of Johann Nepomuk. We see how he flows on the water of the Vltava river after he was thrown in Prague there. He actually was called "John from Nepomuk" in Czech "ne Pomuk". The wife of Emperor Wenceslas IV is said to have chosen him as confessor. The Emperor wanted to know then what she had confessed, but Johann Nepomuk did not betray the seal of confession and was therefore thrown into the water. The Empress had then an appearance of five stars.

(We see she also in the water of the monument.) These stars indicated were one could find the body. So much for the legend.

The fact is that Johann Nepomuk was tortured by the king and thrown into the Vltava. The activating moment was a dispute over a new monastery between the emperor and the archbishop of Prague, in which John Nepomuk was trampled underfoot ...

The pulpit was built in 1726 and was executed by the Franciscan carving school. At the parapet there are wooden reliefs of Matthew, Mark and Luke. The relief of the fourth evangelist, John, is attached to the pulpit door. At the parapet you further can see statues of Capistrano and Bonaventura, while on the sounding board are sitting Anthony of Padua and Berhardin of Siena. At the top stands the freeze image of Francis of Assisi.

The pews were 1727 - 1729 by brother Johann Gottfried Hartmann built and carved.

www.werbeka.com/wien/wien4/franzisd.htm

This marvelous structure is an eco-friendly gas station like no other. It was on my list of things to see.

Don's car was out of gas and we hit it up. While he filled the tank I ran around with my camera and took photographs. We just went there for gas and pictures but little did we know that we were also in for a small guided tour of the station. An employee of the gas station approached Don and told him that I had to wear a flamboyant safety jacket due to safety reasons if I wanted to take pictures of it from the street (I never actually wore the jacket in the end). One thing led to another and the employee ended up explaining to us how it works and showing us the bathrooms and the roof. Did you know it's isolated with old denim jeans and that the walls are made out of recycled glass bottles and that succulents on top reduce heating of the roof?

Many think the station is controversial because it claims to be "eco-friendly" when its purpose is clearly not. Furthermore, the fact that it is owned by BP, the company responsible for the oil spill in 2010, adds to the controversy. I really like the idea of a gas station friendly to the environment and think it's a good start to awareness! The only drawback I found is that it didn't accept my credit card.

The segmentation of the photo and the text together with the usage of a slanted line emphasize the design of the gas station. I decided to add a photo of a tree taken in the very close vicinity of the station to represent its "greenness".

ByChris Chin— Posted on February 21, 2018 - 3:07PM

Fullscreen

Alfa Romeo is an Italian luxury automaker that hasn’t sold a mass-volume model in this country in almost 25 years, since the 1995 164 sedan. So it’s exciting for those who are looking for something different to the typical offerings from Germany (BMW, Mercedes-Benz, Audi), and Japan (Lexus, Infiniti, Acura).

However, launching a new car brand in one of the most competitive car markets in the world is no easy feat. Not too long ago, we took up the opportunity to have lunch with the director for Alfa Romeo’s North American operations, Pieter Hogeveen, in Manhattan. There, we sat down with Mr. Hogeveen for an exclusive interview to see what the plan is for the coming years.

Digital Trends: Where do you see Alfa Romeo in five years ideally?

Pieter Hogeveen: What I think is really important right now, with introducing just two vehicles into the market, is to make sure we establish a good dealer network, which will help carry the volume. So with the Stelvio and Giulia at launch, it will really take a year or two for them to reach full sales volume potential. Then, we can look at where other potential exists in the market. We’ll always be premium and aim for premium markets.

So premium brands as in, Audi, BMW, Mercedes-Benz, Lexus, Infinti, etc…?

“What I think is really important right now […] is to make sure we establish a good dealer network.”

Yes. Primarily, the “German Three,” as we refer to them, they’re the ones we really go after. From what we’ve really seen so far, people are coming out of those vehicles, looking for something new. And I’ve always made sure that when we came back with Alfa, we give people something different, not just a car that looks different, but drives different. Having all unique times that the competition doesn’t offer. Little things that people expect from an Italian automaker, like the Giulia’s carbon fiber driveshaft.

Everyone seems to be into crossovers. Is that the kind of lineup you envision for the company?

When we look at the future, we must also look into what makes sense for the nameplate. It’s so easy to rebadge something and put into the segment, for us, it’s important to deliver the right ones. We won’t necessarily copy someone else, as we have to make sure it lines up with what Alfa Romeo has to offer as a unique brand.

What model would you like to see come to the US from the European market?

This might sound a bit cheesy, but right now I’m really look forward to introducing the Stelvio Quadrifoglio to the market. Over the 30 percent of the market consists of crossovers and now we offer best-in-class performance and it can go head-to-head with many fast cars, based on its Nurburgring and 0-60 times. We plan to officially introduce it in April.

I recently test drove the regular Giulia sedan. Is there a chance we can see an engine slot in between the standard version and the Quadrifoglio’s twin-turbocharged V6?

I still think there’s a good market for electrified vehicles and only the future will tell if I’m right or wrong.

If we look at the competition, cars from BMW and Audi have 240 horsepower two-liter engines. I think our 280 horsepower engine with 306 pound-feet of torque says that it’s already a high-performance engine. I think what we offer in our lineup is very good, there’s a very clear focus as well with the Quadrifoglio, our halo car. That gets its own attention with the twin-turbo V6. Based on our market segmentation, we’re already at a four-and-a-half percent market share already, I think this engine and transmission combination reflects what’s good for the market today.

What are some of the challenges the brand has faced reentering the US market?

We already think we have the great product, the vehicles are performing well, even from an engineering perspective. But it’s also important for us to build that dealer network, making sure they’re in the right location. And awareness. Especially when you go into the midsize SUV segment. Our “Alfisti,” or our Alfa enthusiasts, know about the Giulia. But people driving a BMW X3, and Audi Q5, might not know what a Stelvio is. We need to start building that, building that awareness. So launching a brand, the Giulia, and the Stelvio with the proper dealer network all within two years’ time, right now is our biggest challenge.

Are there standalone dealerships? Where can one buy an Alfa?

Of our 176 dealers, 124 are partnered with Fiat locations 64 are partnered with Maserati. We know the Maserati and Alfa locations go very well together. But we have to make sure the volume is there before we start really building a standalone network.

What are your thoughts on electrification and/or hybridization?

I don’t know. Based on what we see in the industry, we see high-performance brands introduce gas-powered engines that are very efficient. There’s a lot of opportunities, there’s a lot of stuff going on. But, from what we see, I still think there’s a good market for electrified vehicles and only the future will tell if I’m right or wrong.

What’s your favorite Alfa, currently in production?

My favorite current is the Stelvio Quadrifoglio. For me, it stirs the car’s segment up and it’s the car’s performance numbers and test figures that stand out for me.

…and in the past?

1967 or 1968 Tipo 33 Stradale. To me, it’s one of the most beautifully designed vehicles, only 18 made, very high horsepower. And that platform, it became the platform for so many future vehicles during that time. And again, it’s just beautiful to look at. As for one I can actually afford, a ’69 GTV Alfa Romeo. I myself currently own an ’77 Alfetta GT.

Will we ever see Alfa diesels in the US?

We’ll have to see where the market goes. Right now, we’re uncertain. Even in Europe, like London and Paris, diesels are being blocked, so it all depends on how the market goes.

Will we ever see manual options or cars like the Giulia?

We set out to build the best performance car in its class and from just a performance perspective, the Giulia’s eight-speed automatic really provides that. We think a manual in this segment would represent a compromise, and we don’t really want to bring that to the customer in this market.

(Further pictures you can see quite easily by clicking on the link at the end of page!)

Vienna 1, The Franciscan Church

The Franciscans go back to St. Francis of Assisi and thus the 13th Century. They were founded as a mendicant orders but soon the arose the question how literally one should take the declaration of poverty. Was it allowed to make financial provision for elderly or sick brothers? Finally it came to the segmentation of the faith community, the more liberal Minoriten (Friars Minor Conventual) made ​​their own order, while the Franciscans followed the old conventions. 1453 came the first Franciscan, John of Capistrano, to Vienna.

He founded the first Franciscan monastery in what is now 6th District. But the monks had to flee when the Turks besieged Vienna in 1529 and the monastery burned down. It took until 1589 until the city of Vienna gave them the at that time vacant monastery together with appendant church. The house, in its place now stands the monastery had already been donated in 1306 by wealthy citizens - namely for "loose women" who wanted give up their trade and convert themselves.

1476 was at the Weichenburg (hence Weihburggasse) inaugurated a church with seven altars, where formerly a "Pfarrheusl (small parsonage)" had stood for the soul welfare of the female residents. At the time of the Reformation, however, moral values in this house went downhill. 1553, the Foundation was dissolved, but it took yet until 1572 before the last resident had died. For eight years, the building was then an educational establishment for girls of poor people.

When the Franciscans now had got the property, they started in 1603 with a reconstruction of the church, which was consecrated in 1611. 1614, the foundation stone was laid for the new monastery.

The statues on the west facade are left Francis of Assisi and Anthony of Padua right. In the middle, on the pediment of the west portal of the Church stands Jerome, protector of the church. He is surrounded by two angle putti.

But let's go inside the church. Maria with the ax is the altarpiece above the high altar. The statue was carved in 1505 from lime wood and has its own story. She comes from the Green Mountain (Grünberg) in Bohemia, which was under the control the Sternberg family. Since the family in the meantime had become Protestant, it wanted to burn the statue. She were thrown into the fire - but the next day she stood unharmed again in the chapel. Now, the executioner was called who should dismember the effigy. However, even that was impossible, because the ax stuck in the shoulder of Mary and it was not possible to get it out. There it is still today. (You have to look closely, but then you see the great ax with slightly curved stem.) But that's not enough. A few years later the Madonna was lost in the gamble by a gegenreformierten (counter-reformed) Sternberg. The new owner, the Polish Baron Turnoffsky gave she in 1607 the Franciscan monastery. Exactly 100 years later, she got her current stand on the high altar.

The stone structure between altar and the statue of the Madonna also contains a crucifix, which dates from the beginning of the 17th Century. The wooden statues left and right represent the Saints Jerome respectively Francis and are typical examples of the so-called Franciscan carving school. It operated 1690-1730 and was run by lay brothers. The overall concept for the high altar dates back to the Jesuit Andrea dal Pozzo.

A special attraction is the organ by Hans Wöckherl that was already built in 1642 and today is the oldest organ in Vienna. It is, however, disappeared from the visible church, because it is behind the high altar and is only shown every Friday between 15.00 und 15.30 clock. In addition, one demans for that six euro entry...

The single-nave church has to both sides side chapels, of them I want to show two.

On the left we see the Magdalene Chapel, which was consecrated already in 1614 for the first time. 1644 and 1722, however, followed ​​Neustiftungen (new foundings). The stucco decoration stems from 1644. The paintings in the vault are much more recent, from 1893. The altarpiece depicts the grieving Mary Magdalene under the Cross. It was created in 1725 by Carlo Innocenzo Carlone. The image above shows Veronica's handkerchief with the face of Christ. It was painted by Wolfram Koeberl and in 1974 installed. The statues beside the altar represent the Virgin Mary and John the Baptist. The two above chapels are provided with food grid, so that one could give Communion here.

An Immaculata chapel (pictured above right) is there since the existence of the church, but this was rebuilt in 1722. Previously, since 1642, there was a Michael altar here. From this period dates still the stucco decor on the ceiling. The altarpiece is by Johann Georg Schmidt, who painted it in 1721. The lateral statues depict the Saint Joachim and the mother of Mary.

Also the Capistrano Chapel, which was founded in 1723, is worth mentioning. The lateral stucco decor shows on the left side (picture) the glorification of St. John Capistrano, who, as I said, was the first Franciscan in Vienna. Right you can see him as a standard-bearer of Christian doctrine in the wars against the Turks. Both stucco images date from the time of the foundation. The altarpiece by Franz Xaver Wagenschön originated in 1761 and shows Capistrano in a scene from 1451, in Brescia when he healed a possessed man.

In the picture we see also the statue of Saint George, as he is killing the (admittedly small) dragon.

On the other side of the chapel is the Holy Florian, while Clara and Theresa stand next to the altar. Behind the altar there is a reliquary in glass from about 1720, in which we see a wax image of the Holy Hilaria. The relic shall be imbedded in the wax. Hilaria is rather unknown, but she was a martyr who was converted by Bishop Narcissus. She died in the year 304 in Augsburg, at the behest of the governor Gaius, because she did not want to renounce the Christian faith. About the nature of death, there are different opinions.

In the church there is a plaque that claims that she was burned at the grave of her daughter, while the Holy Encyclopedia states that she was enclosed in her house and this was then set on fire.

In the chapel opposite, the Chapel of the Good Shepherd, there is also a glass coffin with a relic. This is the skeleton of the Felix Puer wearing the uniform of a Roman Centurion.

As a counterpart to the pulpit, this just opposite, you will find the monument of Johann Nepomuk. We see how he flows on the water of the Vltava river after he was thrown in Prague there. He actually was called "John from Nepomuk" in Czech "ne Pomuk". The wife of Emperor Wenceslas IV is said to have chosen him as confessor. The Emperor wanted to know then what she had confessed, but Johann Nepomuk did not betray the seal of confession and was therefore thrown into the water. The Empress had then an appearance of five stars.

(We see she also in the water of the monument.) These stars indicated were one could find the body. So much for the legend.

The fact is that Johann Nepomuk was tortured by the king and thrown into the Vltava. The activating moment was a dispute over a new monastery between the emperor and the archbishop of Prague, in which John Nepomuk was trampled underfoot ...

The pulpit was built in 1726 and was executed by the Franciscan carving school. At the parapet there are wooden reliefs of Matthew, Mark and Luke. The relief of the fourth evangelist, John, is attached to the pulpit door. At the parapet you further can see statues of Capistrano and Bonaventura, while on the sounding board are sitting Anthony of Padua and Berhardin of Siena. At the top stands the freeze image of Francis of Assisi.

The pews were 1727 - 1729 by brother Johann Gottfried Hartmann built and carved.

www.werbeka.com/wien/wien4/franzisd.htm

Shakhrisabz is Timur's hometown, and once upon a time it probably put Samarkand itself in the shade.

Ak Saray, Shakhrisabz

Shahrisabz is, above all, associated with the Ak-Saray palace. Many amazing legends are linked with the history of the palace's construction. According to one of them, Timur began to think of building a magnificent edifice, summoned an architect and set out his objective. After listening to the ruler, the architect asked to be allowed into the state exchequer. When permission was granted, the craftsman started to make foundation blocks from clay mixed with gold in full view of Timur. Seeing that the ruler remained impassive, he broke up the blocks and returned the gold to the exchequer. When Timur asked: "Why did you do that?" the architect replied: "So as to make sure of your determination to embark on constructing a building that requires vast expenditure." A second legend recounts that, after the main building work had been completed, Timur began to tell the craftsmen to hurry up and finish the decorative facing of the palace. But they were in no hurry to cover the building with majolica and mosaic. When the angry ruler ordered the chief architect to be brought before him, it emerged that had vanished after hanging a chain in the centre of the palace's main arch. Since no other craftsman of equal stature could be found, the building remained unfinished. Some time later, however, the architect suddenly appeared and, after making sure that the chain on the entrance arch was now considerably lower, embarked on decorating the building. When Timur demanded an explanation of his strange flight and sudden reappearance, the architect replied: "I dared not disobey my sovereign's command, but I could not carry it out either. Stern punishment awaited me in either case, since such a majestic building had to settle and bed down firmly in the ground, otherwise all the decoration on it would be destroyed." The great ruler appreciated the craftsman's wisdom and resourcefulness.

The palace building in Shahrisabz took over a quarter of a century to construct. The Spanish ambassador, Ruy Gonzalez de Clavijo, who passed through Shahrisabz in 1404 on his way to the court of Timur in Samarkand, was astounded and charmed by the architectural miracle, and he left a detailed description of it, noting, however, that the splendid artistic decoration of the palace was still unfinished. The overall layout, scale and artistic appearance of Ak-Saray can be reconstituted from the descriptions of contemporaries and eyewitnesses, as well as from the results of archaeological excavation at the site. According to written accounts, the palace consisted of several

stately, living or service quarters, grouped around separate courtyards.The overall scale of the palace is impressive: the main courtyard alone, which has been reconstituted from the microrelief, was 120 - 125 m wide and 240 - 250 m long. The size of the other courtyards and of the outer perimeter of the palace has not been reconstructed owing to severe disturbance of the microrelief in the 15th - 16th centuries. Calculation of the proportions of the surviving elements of the site makes it fairly certain that the height of the main portal reached 70 m. It was topped by arched pinnacles (ko'ngra), while corner towers on a multifaceted pedestal were at least 80 m high. The main entrance portal was 50 m wide, and the arch had the largest span, 22.5 m, in Central Asia.

The architectural decor, featuring a wide variety of designs and colours, is particularly

noteworthy in the artistic appearance of Ak-Saray. When using various techniques,

however, the craftsmen bore in mind that the palace's main portal faced north, towards the capital, Samarkand. Given the poor light, the rchitects used only flat segmentation here and hence a continuous decorative treatment. The use of brick mosaic work, mainly dark and light blue in colour, forming large geometrical and epigraphic designs on a background of polished building brick, gives the portal a special softness of colour and an air of grand mystery.

The various mosaic and majolica work in the niche of the portal is particularly refined and highly coloured. The delicately executed foliate ornamentation incorporates exquisite calligraphic inscriptions of mainly Koranic content, although secular ones are found too. In the midst of the decorative facing, an inscription has survived, giving the date of completion, 798 (1395 - 1396), and the name of the craftsman, Muhammad Yusuf Tebrizi (from the Azeri city of Tabriz). According to Clavijo, who visited Ak-Saray, "in this palace was a very long entrance and a very high portal, and by the

entrance, to right and left, were brick arches covered with tiles painted with various designs. Beneath these arches was what looked like small rooms without doors, and the floor inside them was covered with tiles. This was done so that people could sit there when the king was present. Beyond this was another door and after that a large courtyard, paved with white slabs and surrounded by richly decorated galleries. In the middle of the courtyard was a large pool. The courtyard was some 300 paces wide, and it gave access to a large house, in which was a very high and wide door, decorated with gold, azure and tiles of very fine workmanship. In the middle, above the door, a lion was depicted, lying in the sun, and exactly the same picture was to be found at the edges. This was the device of the king of Samarkand. After this, the envoys were taken to look at the chamber that the king had appointed for sitting and feasting with his wives, very spacious and luxurious. Before it was a large garden with many shady and

assorted fruit trees. Inside it were many pools and artfully sited meadows. By the entrance to this garden there was such a vast space that many people could have enjoyed themselves sitting there in the summertime beside the water and beneath the shade of the trees. The workmanship in the palace is so luxurious that, in order to describe everything well, one has to go and examine it a little at a time."

The Ak-Saray palace is a grandiose piece of civil architecture, and not just by Central

Asian standards. Historical tradition ascribes the destruction of the majestic edifice to

Abdullakhan, who, during one of the sieges of unsubdued Shahrisabz, is supposed to have ordered the splendid structures of Timur and his descendants to be demolished. Be that as it may, of the once luxurious royal palace only the pillars and part of the arch of the main portal remained by the second half of the 18th century.

A photo inspired by Saul Leiter Retrospektive - an exhibition at the Kunstfoyer in Munich

[www.versicherungskammer-kulturstiftung.de/en/kunstfoyer/e...]:

Early street photography with reflections and segmentations

***

what you see first depends on the level of perception: Check the details

***

[1R1A1609.jpg] OoC - No processing

Bush Peony in my back yard, edited with G'mic's shock filter, dream smoothing, and segmentation; and a custom difference of Gaussians

Serie de Fotografías tomadas para la clase de Segmentación de Mercado en 2010, Guadalajara, Jalisco, México. Estas fotografías han sido hechas con la idea de hacer un manual de segmentación de mercado, espero les agraden.

Fotógrafo: Axel Cárdenas

Modelo: Jennifer Preciado Martínez

Editor: Axel Cárdenas

Vestuario, maquillaje y objetos diversos:

Alejandra Hoyos

Alejandra Martínez

Lizbeth Gómez

Jennifer Preciado

Alia Román

Isaac Bravo

Jorge Güitron

David Bustos

Chica(o) plástico:

Parecen estar hipnotizados por los medios de comunicación, por el cine, por lo que dicen algunos políticos a los que siguen con fanatismo, y/o por las ideas traídas de experiencias en países desarrollados.

_______________________________________________

Photography serie taken for the class of Segmentation of Market in 2010, Guadalajara, Jalisco, Mexico. This photography has been done by the idea of doing a manual of segmentation of market, I hope that you like it.

Photographer: Axel Cárdenas

Model: Jennifer Preciado Martínez

Edition: Axel Cárdenas

Costume, makeup and diverse objects:

Alejandra Hoyos

Alejandra Martínez

Lizbeth Gómez

Jennifer Preciado

Alia Román

Isaac Bravo

Jorge Güitron

David Bustos

Plastic Girl (Boy) :

They seem to be hypnotized by the mass media, by the cinema, from what there say some politicians whom they follow with fanaticism, and/or for the worn ideas of experiences in developed countries.

1879 Johann Nicol Müller converts his saw mill in Schönwald into a porcelain factory – the two-kiln Schönwald Porcelain Factory is born.

1885 - 1896 seven further kilns are built. The workforce grows to 340 employees.

1888 Development of shape “Neukonisch”, individual pieces of which are still in our range.

1891 The Johann Nicol Müller company becomes a General Partnership (OHG) and is registered in

1894 as a Limited Partnership (KG).

1896 Death of the company founder. The company is taken over by his sons, Friedrich and Michael Müller.

1898 The company is converted to the “Aktiengesellschaft Porzellanfabrik Schönwald” (public limited company). Michael Müller departs in 1898, Friedrich Müller in 1904.

1927 Porzellanfabrik Schönwald AG is acquired by Porzellanfabrik Kahla/Thüringen, and continues to operate under the name of “Porzellanfabrik Schönwald, Zweigniederlassung (subsidiary of) der Porzellanfabrik Kahla”.

1936 Dr. Hermann Gretsch designs the hotel tableware Shape 98. For the first time in the history of porcelain, a full range of hotel tableware in a single service is launched on the market. This shape remains an important element of the product portfolio.

1940 Shape 98 is internationally recognised, receiving the Gold Medal at the 7th Milan Triennale.

1949 After Germany’s separation, the Kahla porcelain factory’s head office is moved to Schönwald.

1957 Schönwald’s Shape 511, which was designed by Heinrich Löffelhardt, wins the Gold Medal at the 11th Milan Triennale.

1959 Far-reaching modifications are made to the production facilities. Firing operations in the round kilns are abandoned and white porcelain manufacture is brought together in a single facility. The porcelain is now fired in three modern tunnel kilns.

1961 Shape 498 is awarded the “Premio Internazionale Vicenza”.

1970 Commissioning of the world’s first cup assembly line with integrated fast firing kiln for hotel porcelain.

1972 Merger with Hutschenreuther AG.

1973 Schönwald systemised tableware, Shape 2298, designed by Hans Theodor Baumann, is awarded the “Bundespreis Gute Form 73”, a West German design award.

1976 Schönwald porcelain is on board Lufthansa aircraft for the first time.

The newly built factory, which finally merges the previously separate production facilities, starts operations as one of the most modern and flexible porcelain factories in the world.

1986 Launch of the Demo Project, which uses groundbreaking new manufacturing technology for producing plates: A single-firing production process is linked with a logistically automated production workflow.

1987 With Donna, Schönwald introduces the first hotel porcelain designed by a woman – Ulrike Umlauf-Orrom. It has become one of the world's most successful porcelain shapes.

Schönwald adds hotel glass to its portfolio.

1992 The production area is further enlarged in the area of white porcelain manufacturing and decoration.

1998 Hutschenreuther AG changes its name to BHS tabletop AG, after selling its “household” brands.

2000 With the introduction of Adam D. Tihany’s PREMIERE shape, Schönwald for the first time presents a hotel porcelain concept in which porcelain, glass and stainless steel are coordinated with each other. The service receives both the iF design award and the red dot award.

Opening of a second showroom in Raunheim near Frankfurt.

2001 After making a double-digit million investment in BHS’s production facilities and undertaking a simultaneous segmentation, Schönwald’s products are now manufactured in one of the world’s most modern production facilities for hard porcelain.

2002 Commissioning of the new ultra-modern and highly automated Decoration and Logistics Centre.

The buffet collection Event, designed by Carsten Gollnick, receives the red dot award for outstanding design quality.

2003 With Generation, Schönwald launches a world innovation: the first ever cream-coloured hard porcelain (Duracream®).

Opening of a further showroom in Chemnitz.

2004 125 years of looking forward: Schönwald celebrates its 125th anniversary.

2006 The Signature Collection wins the if product design award.

2007 Schönwald’s show room is redesigned.

2008 The WellCome Collection wins the red dot award.

2009 Schönwald acquires a new fast-firing kiln with the latest energy efficient firing technology.

2010 Schönwald launches its collaboration with the well known glass manufacturer Axum Bohemia, and takes over the global sale of Axum glass products for the hospitality industry.

Installation of a new high-performance glazing facility on which processing of extra-large items can be automated.

2011 The Grace Collection receives the if product design award.

Cikuan Bra fishtail wedding, suffused with a soft sheen satin belt with good visual segmentation add layering, simple fishtail skirt lined sketched out the bride graceful posture, nestled in the tissue, akinds of the looming beauty, particularly sultry.

In product promotion, PPT marketing is considered as a beginner’s guide and it shall also cover the basics very well. The one who participates in this is expected to follow up on this course as it depends upon their areas of interest in the electives which can be offered at a later stage. The course serves participants just to be familiar with basic marketing concepts, strategies, environment, surrounding and methodology. The main aim is to develop skill sets to tackle marketing application under various types of business situations.

Methodology:

It must include selected cases and readings. The pedagogy should be a combination of case discussions and lecture sessions. All the participants are expected to be sufficiently knowledgeable enough so that they should be able to discuss meaningful things in a class to internalise the different nuances in the concepts.

As the importance of Ppt marketing is on rise so following aspects must be considered.

Some of the following topics are mentioned below that must be covered in the sessions:

Introduction to Marketing-It’s needs and wants, Marketing Myopia

Brand Management

Pricing

Product Development and packaging

Sales Promotion, PR

Retailing

Segmentation and Positioning

 Distribution and Logistics

Sales Management

Consumer Behaviour

Marketing Mix,PLC

Marketing Research and Sales Forecasting

Communications and Advertising Management

Monitoring and Control

B2B Marketing

Marketing Information andSystems

We help to make PPT marketing very innovative and simple too for easy understanding of clients. Specific time period is to be provided for the cases that is of a week before it is taken up in class room. There are chances of inviting any of the participants to present the case in front of the class so this is why each and every participant is advised to go through and analyze the case priory before entering the class.

Visit www.ebrandingindia.com/, in order to reap benefits of our services.

ExifTool Version Number : 8.65

File Name : IMG_7513.CR2

Directory : C:/Users/sberthu/Desktop/100CANON

File Size : 13 MB

File Modification Date/Time : 2011:10:05 16:56:32+02:00

File Permissions : rw-rw-rw-

File Type : CR2

MIME Type : image/x-canon-cr2

Exif Byte Order : Little-endian (Intel, II)

Image Width : 2256

Image Height : 1504

Bits Per Sample : 8 8 8

Compression : JPEG (old-style)

Make : Canon

Camera Model Name : Canon EOS 450D

Preview Image Start : 45696

Orientation : Horizontal (normal)

Preview Image Length : 635445

X Resolution : 72

Y Resolution : 72

Resolution Unit : inches

Modify Date : 2011:10:05 16:56:30

Exposure Time : 1/500

F Number : 3.2

Exposure Program : Manual

ISO : 100

Exif Version : 0221

Date/Time Original : 2011:10:05 16:56:30

Create Date : 2011:10:05 16:56:30

Components Configuration : Y, Cb, Cr, -

Shutter Speed Value : 1/512

Aperture Value : 3.2

Flash : Off, Did not fire

Focal Length : 50.0 mm

Macro Mode : Normal

Self Timer : Off

Quality : RAW

Canon Flash Mode : Off

Continuous Drive : Continuous

Focus Mode : One-shot AF

Record Mode : CR2+JPEG

Canon Image Size : Large

Easy Mode : Manual

Digital Zoom : None

Contrast : +1

Saturation : +2

Metering Mode : Evaluative

Focus Range : Not Known

Canon Exposure Mode : Manual

Lens Type : Canon EF 50mm f/1.4 USM

Long Focal : 50 mm

Short Focal : 50 mm

Focal Units : 1/mm

Max Aperture : 1.4

Min Aperture : 23

Flash Activity : 0

Flash Bits : (none)

Zoom Source Width : 0

Zoom Target Width : 0

Manual Flash Output : n/a

Color Tone : +3

SRAW Quality : n/a

Auto ISO : 100

Base ISO : 100

Measured EV : 10.88

Target Aperture : 3.2

Target Exposure Time : 1/512

Exposure Compensation : 0

White Balance : Auto

Slow Shutter : None

Shot Number In Continuous Burst : 0

Optical Zoom Code : n/a

Camera Temperature : 30 C

Flash Guide Number : 0

Flash Exposure Compensation : 0

Auto Exposure Bracketing : Off

AEB Bracket Value : 0

Control Mode : Camera Local Control

Measured EV 2 : 11

Bulb Duration : 0

Camera Type : EOS High-end

ND Filter : n/a

Canon Image Type : Canon EOS 450D

Canon Firmware Version : Firmware Version 1.0.9

Owner Name :

Serial Number : 1050306195

Flash Metering Mode : Off

Camera Orientation : Horizontal (normal)

Focus Distance Upper : 0 m

Focus Distance Lower : 0 m

Firmware Version : 1.0.9

Directory Index : 100

File Index : 7513

Contrast Standard : 0

Sharpness Standard : 4

Saturation Standard : 0

Color Tone Standard : 0

Contrast Portrait : 0

Sharpness Portrait : 2

Saturation Portrait : 0

Color Tone Portrait : 0

Contrast Landscape : 0

Sharpness Landscape : 4

Saturation Landscape : 1

Color Tone Landscape : 0

Contrast Neutral : 1

Sharpness Neutral : 4

Saturation Neutral : 2

Color Tone Neutral : 3

Contrast Faithful : 0

Sharpness Faithful : 0

Saturation Faithful : 0

Color Tone Faithful : 0

Contrast Monochrome : 0

Sharpness Monochrome : 3

Filter Effect Monochrome : None

Toning Effect Monochrome : None

Contrast User Def 1 : 0

Sharpness User Def 1 : 3

Saturation User Def 1 : n/a

Color Tone User Def 1 : n/a

Filter Effect User Def 1 : None

Toning Effect User Def 1 : Sepia

Contrast User Def 2 : 0

Sharpness User Def 2 : 3

Saturation User Def 2 : n/a

Color Tone User Def 2 : n/a

Filter Effect User Def 2 : None

Toning Effect User Def 2 : Blue

Contrast User Def 3 : 0

Sharpness User Def 3 : 3

Saturation User Def 3 : n/a

Color Tone User Def 3 : n/a

Filter Effect User Def 3 : Orange

Toning Effect User Def 3 : Purple

User Def 1 Picture Style : Monochrome

User Def 2 Picture Style : Monochrome

User Def 3 Picture Style : Monochrome

Canon Model ID : EOS Digital Rebel XSi / 450D / Kiss X2

Thumbnail Image Valid Area : 0 159 7 112

Serial Number Format : Format 2

AF Area Mode : Single-point AF

Num AF Points : 9

Valid AF Points : 9

Canon Image Width : 2256

Canon Image Height : 1504

AF Image Width : 4272

AF Image Height : 2848

AF Area Widths : 115 115 115 162 200 162 115 115 115

AF Area Heights : 153 153 153 105 199 105 153 153 153

AF Area X Positions : -1127 -674 -674 0 0 0 674 674 1127

AF Area Y Positions : 0 321 -321 603 0 -603 321 -321 0

AF Points In Focus : 4

AF Points Selected : 4

Original Decision Data Offset : 0

Bracket Mode : Off

Bracket Value : 0

Bracket Shot Number : 0

Raw Jpg Size : Large

Long Exposure Noise Reduction 2 : On

WB Bracket Mode : Off

WB Bracket Value AB : 0

WB Bracket Value GM : 0

Live View Shooting : Off

Lens Model : EF50mm f/1.4 USM

Internal Serial Number : K1632114

Dust Removal Data : (Binary data 1024 bytes, use -b option to extract)

Crop Left Margin : 0

Crop Right Margin : 0

Crop Top Margin : 0

Crop Bottom Margin : 0

Exposure Level Increments : 1/3 Stop

Flash Sync Speed Av : Auto

Long Exposure Noise Reduction : On

High ISO Noise Reduction : On

Highlight Tone Priority : Disable

Auto Lighting Optimizer : Enable

AF Assist Beam : Emits

AF During Live View : Live mode

Mirror Lockup : Disable

Shutter Button AF On Button : Metering + AF start

Set Button When Shooting : Normal (disabled)

LCD Display At Power On : Display

Add Original Decision Data : Off

Tone Curve : Standard

Sharpness : 4

Sharpness Frequency : n/a

Sensor Red Level : 0

Sensor Blue Level : 0

White Balance Red : 0

White Balance Blue : 0

Color Temperature : 5200

Picture Style : Neutral

Digital Gain : 0

WB Shift AB : 0

WB Shift GM : 0

Measured RGGB : 415 1024 1024 785

VRD Offset : 0

Sensor Width : 4312

Sensor Height : 2876

Sensor Left Border : 32

Sensor Top Border : 23

Sensor Right Border : 4303

Sensor Bottom Border : 2870

Black Mask Left Border : 0

Black Mask Top Border : 0

Black Mask Right Border : 0

Black Mask Bottom Border : 0

Color Data Version : 5 (450D/1000D)

WB RGGB Levels As Shot : 2325 1024 1024 1389

Color Temp As Shot : 5517

WB RGGB Levels Auto : 2325 1024 1024 1389

Color Temp Auto : 5517

WB RGGB Levels Measured : 2323 1020 1027 1387

Color Temp Measured : 5517

WB RGGB Levels Daylight : 2255 1024 1024 1448

Color Temp Daylight : 5200

WB RGGB Levels Shade : 2615 1024 1024 1222

Color Temp Shade : 7000

WB RGGB Levels Cloudy : 2433 1024 1024 1324

Color Temp Cloudy : 6000

WB RGGB Levels Tungsten : 1721 1114 1114 2315

Color Temp Tungsten : 3200

WB RGGB Levels Fluorescent : 1992 1039 1039 1992

Color Temp Fluorescent : 3776

WB RGGB Levels Kelvin : 2255 1024 1024 1448

Color Temp Kelvin : 5200

WB RGGB Levels Flash : 2503 1024 1024 1298

Color Temp Flash : 6310

Raw Measured RGGB : 58155 146392 146792 111894

Custom Picture Style File Name :

User Comment :

Sub Sec Time : 03

Sub Sec Time Original : 03

Sub Sec Time Digitized : 03

Flashpix Version : 0100

Color Space : sRGB

Exif Image Width : 4272

Exif Image Height : 2848

Interoperability Index : R98 - DCF basic file (sRGB)

Interoperability Version : 0100

Focal Plane X Resolution : 4865.603645

Focal Plane Y Resolution : 4876.712329

Focal Plane Resolution Unit : inches

Custom Rendered : Normal

Exposure Mode : Manual

Scene Capture Type : Standard

Thumbnail Offset : 38152

Thumbnail Length : 7544

Photometric Interpretation : RGB

Samples Per Pixel : 3

Rows Per Strip : 356

Planar Configuration : Chunky

Strip Offsets : 1832448

Strip Byte Counts : 12000822

Raw Image Segmentation : 2 1440 1432

Aperture : 3.2

Drive Mode : Continuous Shooting

File Number : 100-7513

Image Size : 4272x2848

Lens : 50.0 mm

Lens ID : Canon EF 50mm f/1.4 USM

Preview Image : (Binary data 635445 bytes, use -b option to extract)

Scale Factor To 35 mm Equivalent: 1.6

Shooting Mode : Manual

Shutter Speed : 1/500

Create Date : 2011:10:05 16:56:30.03

Date/Time Original : 2011:10:05 16:56:30.03

Modify Date : 2011:10:05 16:56:30.03

Thumbnail Image : (Binary data 7544 bytes, use -b option to extract)

WB RGGB Levels : 2325 1024 1024 1389

Blue Balance : 1.356445

Circle Of Confusion : 0.019 mm

Field Of View : 25.1 deg

Focal Length : 50.0 mm (35 mm equivalent: 80.8 mm)

Hyperfocal Distance : 42.00 m

Lens : 50.0 mm (35 mm equivalent: 80.8 mm)

Light Value : 12.3

Red Balance : 2.270508

(Further pictures you can see quite easily by clicking on the link at the end of page!)

Vienna 1, The Franciscan Church

The Franciscans go back to St. Francis of Assisi and thus the 13th Century. They were founded as a mendicant orders but soon the arose the question how literally one should take the declaration of poverty. Was it allowed to make financial provision for elderly or sick brothers? Finally it came to the segmentation of the faith community, the more liberal Minoriten (Friars Minor Conventual) made ​​their own order, while the Franciscans followed the old conventions. 1453 came the first Franciscan, John of Capistrano, to Vienna.

He founded the first Franciscan monastery in what is now 6th District. But the monks had to flee when the Turks besieged Vienna in 1529 and the monastery burned down. It took until 1589 until the city of Vienna gave them the at that time vacant monastery together with appendant church. The house, in its place now stands the monastery had already been donated in 1306 by wealthy citizens - namely for "loose women" who wanted give up their trade and convert themselves.

1476 was at the Weichenburg (hence Weihburggasse) inaugurated a church with seven altars, where formerly a "Pfarrheusl (small parsonage)" had stood for the soul welfare of the female residents. At the time of the Reformation, however, moral values in this house went downhill. 1553, the Foundation was dissolved, but it took yet until 1572 before the last resident had died. For eight years, the building was then an educational establishment for girls of poor people.

When the Franciscans now had got the property, they started in 1603 with a reconstruction of the church, which was consecrated in 1611. 1614, the foundation stone was laid for the new monastery.

The statues on the west facade are left Francis of Assisi and Anthony of Padua right. In the middle, on the pediment of the west portal of the Church stands Jerome, protector of the church. He is surrounded by two angle putti.

But let's go inside the church. Maria with the ax is the altarpiece above the high altar. The statue was carved in 1505 from lime wood and has its own story. She comes from the Green Mountain (Grünberg) in Bohemia, which was under the control the Sternberg family. Since the family in the meantime had become Protestant, it wanted to burn the statue. She were thrown into the fire - but the next day she stood unharmed again in the chapel. Now, the executioner was called who should dismember the effigy. However, even that was impossible, because the ax stuck in the shoulder of Mary and it was not possible to get it out. There it is still today. (You have to look closely, but then you see the great ax with slightly curved stem.) But that's not enough. A few years later the Madonna was lost in the gamble by a gegenreformierten (counter-reformed) Sternberg. The new owner, the Polish Baron Turnoffsky gave she in 1607 the Franciscan monastery. Exactly 100 years later, she got her current stand on the high altar.

The stone structure between altar and the statue of the Madonna also contains a crucifix, which dates from the beginning of the 17th Century. The wooden statues left and right represent the Saints Jerome respectively Francis and are typical examples of the so-called Franciscan carving school. It operated 1690-1730 and was run by lay brothers. The overall concept for the high altar dates back to the Jesuit Andrea dal Pozzo.

A special attraction is the organ by Hans Wöckherl that was already built in 1642 and today is the oldest organ in Vienna. It is, however, disappeared from the visible church, because it is behind the high altar and is only shown every Friday between 15.00 und 15.30 clock. In addition, one demans for that six euro entry...

The single-nave church has to both sides side chapels, of them I want to show two.

On the left we see the Magdalene Chapel, which was consecrated already in 1614 for the first time. 1644 and 1722, however, followed ​​Neustiftungen (new foundings). The stucco decoration stems from 1644. The paintings in the vault are much more recent, from 1893. The altarpiece depicts the grieving Mary Magdalene under the Cross. It was created in 1725 by Carlo Innocenzo Carlone. The image above shows Veronica's handkerchief with the face of Christ. It was painted by Wolfram Koeberl and in 1974 installed. The statues beside the altar represent the Virgin Mary and John the Baptist. The two above chapels are provided with food grid, so that one could give Communion here.

An Immaculata chapel (pictured above right) is there since the existence of the church, but this was rebuilt in 1722. Previously, since 1642, there was a Michael altar here. From this period dates still the stucco decor on the ceiling. The altarpiece is by Johann Georg Schmidt, who painted it in 1721. The lateral statues depict the Saint Joachim and the mother of Mary.

Also the Capistrano Chapel, which was founded in 1723, is worth mentioning. The lateral stucco decor shows on the left side (picture) the glorification of St. John Capistrano, who, as I said, was the first Franciscan in Vienna. Right you can see him as a standard-bearer of Christian doctrine in the wars against the Turks. Both stucco images date from the time of the foundation. The altarpiece by Franz Xaver Wagenschön originated in 1761 and shows Capistrano in a scene from 1451, in Brescia when he healed a possessed man.

In the picture we see also the statue of Saint George, as he is killing the (admittedly small) dragon.

On the other side of the chapel is the Holy Florian, while Clara and Theresa stand next to the altar. Behind the altar there is a reliquary in glass from about 1720, in which we see a wax image of the Holy Hilaria. The relic shall be imbedded in the wax. Hilaria is rather unknown, but she was a martyr who was converted by Bishop Narcissus. She died in the year 304 in Augsburg, at the behest of the governor Gaius, because she did not want to renounce the Christian faith. About the nature of death, there are different opinions.

In the church there is a plaque that claims that she was burned at the grave of her daughter, while the Holy Encyclopedia states that she was enclosed in her house and this was then set on fire.

In the chapel opposite, the Chapel of the Good Shepherd, there is also a glass coffin with a relic. This is the skeleton of the Felix Puer wearing the uniform of a Roman Centurion.

As a counterpart to the pulpit, this just opposite, you will find the monument of Johann Nepomuk. We see how he flows on the water of the Vltava river after he was thrown in Prague there. He actually was called "John from Nepomuk" in Czech "ne Pomuk". The wife of Emperor Wenceslas IV is said to have chosen him as confessor. The Emperor wanted to know then what she had confessed, but Johann Nepomuk did not betray the seal of confession and was therefore thrown into the water. The Empress had then an appearance of five stars.

(We see she also in the water of the monument.) These stars indicated were one could find the body. So much for the legend.

The fact is that Johann Nepomuk was tortured by the king and thrown into the Vltava. The activating moment was a dispute over a new monastery between the emperor and the archbishop of Prague, in which John Nepomuk was trampled underfoot ...

The pulpit was built in 1726 and was executed by the Franciscan carving school. At the parapet there are wooden reliefs of Matthew, Mark and Luke. The relief of the fourth evangelist, John, is attached to the pulpit door. At the parapet you further can see statues of Capistrano and Bonaventura, while on the sounding board are sitting Anthony of Padua and Berhardin of Siena. At the top stands the freeze image of Francis of Assisi.

The pews were 1727 - 1729 by brother Johann Gottfried Hartmann built and carved.

www.werbeka.com/wien/wien4/franzisd.htm

WESTERN CANADA - was outraged by the conversion in 1981 of the 'Super Continental' into piecemeal short-hops. As suggested by the advocacy groups in Saskatchewan and Alberta the miles run by the unpopular short segments were combined to create a unique and attractive new service. Note the fine print that it still needed permission for the change from the Ottawa ministry that had ordered the disastrous 1981 segmentation. Billed as the 'Panorama' it filled the gap till restoration of the Winnipeg - Edmonton - Vancouver route.

WESTERN CANADA - was outraged by the conversion in 1981 of the 'Super Continental' into piecemeal short-hops. As suggested by the advocacy groups in Saskatchewan and Alberta the miles run by the unpopular short segments were combined to create a unique and attractive new service. Note the fine print that it still needed permission for the change from the Ottawa ministry that had ordered the disastrous 1981 segmentation. Billed as the 'Panorama' it filled the gap till restoration of the Winnipeg - Edmonton - Vancouver route.

La chiesa dell'Ordine francescano, la iglesia de la Orden Franciscana, l'église de l'Ordre des frères mineurs, church of the Order of Friars Minor (Franziskanerkirche)

(Further pictures you can see quite easily by clicking on the link at the end of page!)

Vienna 1, The Franciscan Church

The Franciscans go back to St. Francis of Assisi and thus the 13th Century. They were founded as a mendicant orders but soon the arose the question how literally one should take the declaration of poverty. Was it allowed to make financial provision for elderly or sick brothers? Finally it came to the segmentation of the faith community, the more liberal Minoriten (Friars Minor Conventual) made ​​their own order, while the Franciscans followed the old conventions. 1453 came the first Franciscan, John of Capistrano, to Vienna.

He founded the first Franciscan monastery in what is now 6th District. But the monks had to flee when the Turks besieged Vienna in 1529 and the monastery burned down. It took until 1589 until the city of Vienna gave them the at that time vacant monastery together with appendant church. The house, in its place now stands the monastery had already been donated in 1306 by wealthy citizens - namely for "loose women" who wanted give up their trade and convert themselves.

1476 was at the Weichenburg (hence Weihburggasse) inaugurated a church with seven altars, where formerly a "Pfarrheusl (small parsonage)" had stood for the soul welfare of the female residents. At the time of the Reformation, however, moral values in this house went downhill. 1553, the Foundation was dissolved, but it took yet until 1572 before the last resident had died. For eight years, the building was then an educational establishment for girls of poor people.

When the Franciscans now had got the property, they started in 1603 with a reconstruction of the church, which was consecrated in 1611. 1614, the foundation stone was laid for the new monastery.

The statues on the west facade are left Francis of Assisi and Anthony of Padua right. In the middle, on the pediment of the west portal of the Church stands Jerome, protector of the church. He is surrounded by two angle putti.

But let's go inside the church. Maria with the ax is the altarpiece above the high altar. The statue was carved in 1505 from lime wood and has its own story. She comes from the Green Mountain (Grünberg) in Bohemia, which was under the control the Sternberg family. Since the family in the meantime had become Protestant, it wanted to burn the statue. She were thrown into the fire - but the next day she stood unharmed again in the chapel. Now, the executioner was called who should dismember the effigy. However, even that was impossible, because the ax stuck in the shoulder of Mary and it was not possible to get it out. There it is still today. (You have to look closely, but then you see the great ax with slightly curved stem.) But that's not enough. A few years later the Madonna was lost in the gamble by a gegenreformierten (counter-reformed) Sternberg. The new owner, the Polish Baron Turnoffsky gave she in 1607 the Franciscan monastery. Exactly 100 years later, she got her current stand on the high altar.

The stone structure between altar and the statue of the Madonna also contains a crucifix, which dates from the beginning of the 17th Century. The wooden statues left and right represent the Saints Jerome respectively Francis and are typical examples of the so-called Franciscan carving school. It operated 1690-1730 and was run by lay brothers. The overall concept for the high altar dates back to the Jesuit Andrea dal Pozzo.

A special attraction is the organ by Hans Wöckherl that was already built in 1642 and today is the oldest organ in Vienna. It is, however, disappeared from the visible church, because it is behind the high altar and is only shown every Friday between 15.00 und 15.30 clock. In addition, one demans for that six euro entry...

The single-nave church has to both sides side chapels, of them I want to show two.

On the left we see the Magdalene Chapel, which was consecrated already in 1614 for the first time. 1644 and 1722, however, followed ​​Neustiftungen (new foundings). The stucco decoration stems from 1644. The paintings in the vault are much more recent, from 1893. The altarpiece depicts the grieving Mary Magdalene under the Cross. It was created in 1725 by Carlo Innocenzo Carlone. The image above shows Veronica's handkerchief with the face of Christ. It was painted by Wolfram Koeberl and in 1974 installed. The statues beside the altar represent the Virgin Mary and John the Baptist. The two above chapels are provided with food grid, so that one could give Communion here.

An Immaculata chapel (pictured above right) is there since the existence of the church, but this was rebuilt in 1722. Previously, since 1642, there was a Michael altar here. From this period dates still the stucco decor on the ceiling. The altarpiece is by Johann Georg Schmidt, who painted it in 1721. The lateral statues depict the Saint Joachim and the mother of Mary.

Also the Capistrano Chapel, which was founded in 1723, is worth mentioning. The lateral stucco decor shows on the left side (picture) the glorification of St. John Capistrano, who, as I said, was the first Franciscan in Vienna. Right you can see him as a standard-bearer of Christian doctrine in the wars against the Turks. Both stucco images date from the time of the foundation. The altarpiece by Franz Xaver Wagenschön originated in 1761 and shows Capistrano in a scene from 1451, in Brescia when he healed a possessed man.

In the picture we see also the statue of Saint George, as he is killing the (admittedly small) dragon.

On the other side of the chapel is the Holy Florian, while Clara and Theresa stand next to the altar. Behind the altar there is a reliquary in glass from about 1720, in which we see a wax image of the Holy Hilaria. The relic shall be imbedded in the wax. Hilaria is rather unknown, but she was a martyr who was converted by Bishop Narcissus. She died in the year 304 in Augsburg, at the behest of the governor Gaius, because she did not want to renounce the Christian faith. About the nature of death, there are different opinions.

In the church there is a plaque that claims that she was burned at the grave of her daughter, while the Holy Encyclopedia states that she was enclosed in her house and this was then set on fire.

In the chapel opposite, the Chapel of the Good Shepherd, there is also a glass coffin with a relic. This is the skeleton of the Felix Puer wearing the uniform of a Roman Centurion.

As a counterpart to the pulpit, this just opposite, you will find the monument of Johann Nepomuk. We see how he flows on the water of the Vltava river after he was thrown in Prague there. He actually was called "John from Nepomuk" in Czech "ne Pomuk". The wife of Emperor Wenceslas IV is said to have chosen him as confessor. The Emperor wanted to know then what she had confessed, but Johann Nepomuk did not betray the seal of confession and was therefore thrown into the water. The Empress had then an appearance of five stars.

(We see she also in the water of the monument.) These stars indicated were one could find the body. So much for the legend.

The fact is that Johann Nepomuk was tortured by the king and thrown into the Vltava. The activating moment was a dispute over a new monastery between the emperor and the archbishop of Prague, in which John Nepomuk was trampled underfoot ...

The pulpit was built in 1726 and was executed by the Franciscan carving school. At the parapet there are wooden reliefs of Matthew, Mark and Luke. The relief of the fourth evangelist, John, is attached to the pulpit door. At the parapet you further can see statues of Capistrano and Bonaventura, while on the sounding board are sitting Anthony of Padua and Berhardin of Siena. At the top stands the freeze image of Francis of Assisi.

The pews were 1727 - 1729 by brother Johann Gottfried Hartmann built and carved.

www.werbeka.com/wien/wien4/franzisd.htm

Segmentation Strategy premayogan

Using Segmentation Strategy

Еvеrу industry іs striated wіth dіffеrеnt types оf customers. Маnу companies оnlу start thе segmentation process bу determining thе types оf customers thаt аrе currently bеіng served. Ву tаkіng thе nехt step tо classify уоur customer...

www.premayogan.com/blog/using-segmentation-strategy/

Volume Rendering of an abdominal CT with oral contrast.

Bilateral duplex kidney with ureter duplex; kidney cysts.

Manual segmentation of ureters and bladders (to assign the yellow color).

Rendering done with a Carestream workstation.

Understanding your ABC's is as easy as looking out our online database for the perfect articles, recommendation and recommendations available anyplace. Lay out your theater company marketing strategy in a coherent manner together with clear and precise headings - do not be frightened to fritter away paper - start new headings on a clean fresh piece of paper - it should make the article look extra convincing and make it simple to seek out stuff on your financier. It follows that most of the bigger direct advertising businesses have derived nice success from this mannequin, and proceed to thrive as e-mail service suppliers develop constantly improved tool sets including superior reporting, cut up-testing, and segmentation applied sciences.

Contact Us:

Roofing Valley Village CA

roofrepairvalleyvillage.com

(818) 945-0859

5146 Colfax Ave

CA 91601

NREL researchers Francois Usseglio-Viretta and Nicholas Brunhart-Lupo, use the 3D visualization Lab in the Insight Center at the ESIF, to work on the Microstructure Analysis ToolBOX microstructure segmentation and characterization workflow illustrated on a lithium ion battery cathode electrode: from gray-level to binarized images, effective diffusion coefficient and particle labeling for size and morphology analysis. Particle diameters are typically 10 micrometers.

For more information or additional images, please contact 202-586-5251.

www.flickr.com/photos/departmentofenergy/collections/7215...

EnergyTechnologyVisualsCollectionETVC@hq.doe.gov

the colouration and segmentation of other insect abdomens can make them suspect for bed bugs. However, the depth of this sample excludes bed bugs which would be wafer thin at this stage.

Photo by Echo Xie

Friday June 22, 2012 12:00pm - 1:30pm @ World Resources Institute (10 G St NE, Suite 800, Washington, DC 20002)

Most nonprofit organizations are making use of video as a communications tool, but not as many consider their long-term objectives with video. In a quickly evolving media landscape, a video communications strategy must include short- and long-term planning, audience identification and segmentation, and distribution strategies in order to get your organization's message to the right audiences. Join our panel as we explore best practices in the planning, creation and distribution of nonprofit video.

Lunch sandwiches will be provided by the organizer for the first 40 attendees who preregister online and bring their Eventbrite confirmation to the event.

Our panel will address the following topics:

How to use video as part of a larger communications campaign,

How to determine your audiences and the key issues that matter to them,

The benefits of establishing a long-term relationship with a videographer/editor and animator,

How to create a media file library,

How to allocate resources to use video as part of a long-term communications strategy,

How to create videos with "legs" (that will be picked up by other news sites, blogs, etc).

How to distribute video so as to build your audience,

How infographics and animation can add to your story,

...and more!

Panelists:

Kristen Milhollin (Moderator) - Co-Founder, The Goodspeaks Project

Ben Connors - Media Innovator and Visual Journalist

Will Carroll - Creative Director and Principal, Geoill; Organizer, DC Animation Group

Diane Sherman - Founder and Principal, Dianne Sherman Communications

Martha Dodge - Independent Visual Journalist, Still Photographer and Writer

Dave Cooper, Films and Brand Manager, World Resources Institute

Learn more: benevolentmedia.org/festival

Implementation of the "Efficient Graph-Based Image Segmentation" algorithms by Pedro F. Felzenszwalb ( people.cs.uchicago.edu/~pff/segment/ ) in openframeworks using kinect depthmap

Thinking Graphically

Combination of different urban segments, circa 90° angle to benefit from the segmentation that is provided by the floor pattern.

What the Healthcare Industry Can Learn From Technology Start-Ups

David Shaywitz

Nov 15, 2011

www.theatlantic.com/life/archive/2011/11/what-the-healthc...

In the development of drugs, it's too difficult to change things on the fly, and to rapidly pivot in response to an appreciation of customer need

A few months ago, I heard a young design entrepreneur named Aza Raskin talk about his idea for a consumer health company, MassiveHealth, built around the concept of providing rapid feedback. For example, if you had a skin dye that faded a certain amount each time you took a dose of your antibiotic, you would be more likely to complete the full course.

Skip ahead not very far. Recently, MassiveHealth launched its first, free app (dubbed an experiment), called the Eatery. The idea is that you take a picture of your meal and rate its healthiness, which is then shared with other users. You benefit, as I understand it, by thinking more about your food and by getting input on your food from other users. What the company itself gets is not yet clear. They've shared some pretty maps of San Francisco and New York City showing where people are eating more vs. less healthy foods, and they'vedrawn some fairly general conclusions about how the supposed healthiness of our food changes during the day (good at breakfast, bad during the day, partial recovery at dinner).

At least as important, I'd imagine, they have an engaged group of users who seem (at least at this early stage) to be interested in interacting with the platform, and thus contributing to the development of the emerging data set; after only a week, more than one million food ratings were reportedly received.

In the current biopharma model, researchers spend years developing a product without any idea of whether it will work or be accepted

As I've followed the evolution of MassiveHealth, I've been struck by some of the profound differences between a tech start-up (even one ostensibly in the healthcare space) and a biopharma start-up. In the standard biopharma model, you spend years developing a product, without having any real idea of (a) whether it will work, (b) whether it will be safe and well-tolerated, and (c) whether by the time you've demonstrated (a) and (b), anyone will care, or pay you for your efforts. When you develop a new drug, most of the relevant properties of the product are pretty much baked in at a fairly early stage; you can tweak the formulation a little bit (to make it longer-lasting, say), but otherwise, you have what you have, and the challenge is figuring out just what this something is, and determining who might benefit most from it. Many have compared the process to an unforgiving lottery: Make a mistake at any point (choose the wrong indication, the wrong study design, or the wrong study sites) and you're out of the game; execute flawlessly and you buy yourself only a chance to see whether or not your number is drawn.

Unfortunately, getting to the drawing takes a lot of time and money: most of the cost of drug development (which generally exceeds $100 million for an individual program -- and this figure doesn't include the cost of all the failures) isn't from coming up with the particular molecule, but rather in putting it through the increasingly expensive series of clinical studies required to see if it's actually going to work. Of course, once you've successfully run this gauntlet, not only do you have something that's demonstrably effective (at least in the setting of clinical trials -- see here), but there's also a pretty high barrier for potential competitors, at least until your patents expire.

In contrast, MassiveHealth has managed to get a product in customer hands after a few months of work. True, they've probably not made any money thus far, and (not insignificantly) it's entirely unclear whether they have, or will ever impact anyone's health, massively or otherwise. Nevertheless, they have an extraordinarily powerful opportunity, at this very early stage, and after spending (I suspect) very little money, to learn, gather feedback, iterate, and explore: In an organismic sense, they can carefully assess their environment and respond adaptively -- evolve their product based on demonstrated customer needs. And they can do this very rapidly so that even if just one aspect of their platform is interesting, they can rapidly pivot and exploit it (similar to the way Twitter developed).

The ability to make cost-effective exploratory efforts is a powerful enabler of innovation, as Peter Sims has highlighted in Little Bets (my Wall Street Journal review here, implications for pharma discussed here andhere), and the need for successful start-ups to rapidly collect data and adjust course is more the rule than the exception, as John Mullins and Randy Komisar thoughtfully discuss in Getting to Plan B (listen to thisinteresting podcast of Komisar at Stanford).

Unfortunately, drug development is far less conducive to this sort of exploration; as I've discussedelsewhere, the cycle times tend to be far too long, and the costs are way too high. As a result, it's a lot more difficult to change things on the fly, and to rapidly pivot in response to a new appreciation of customer need.

Not surprisingly, there's been a lot of interest in ways to streamline the drug development process. One especially attractive way is to identify new uses for existing drugs (as these have already been carefully vetted), an approach I've previously argued might be especially amenable to a crowdsourcing model. More detailed patient segmentation -- more comprehensive phenotyping -- could also be helpful, as many clinical studies could be smaller and in many cases shorter if you could more precisely target your intervention to the patients more likely to benefit, and thus boost your effect size. The development of new, highly predictive models, including in silico, preclinical (i.e. animal), and especially experimental measurements in healthy human volunteers, would be especially valuable, and would allow for more rapid iteration and optimization.

The challenge for consumer health companies, on the other hand, is somewhat different: the question for them is whether will they actually improve health, in a robust, measurable fashion, offering the disruptive innovation their founders usually promise, or will they essentially be the Vitamin Shoppes and Whole Foods Whole Body departments for tech-oriented Millennials, offering what I would characterize as generally benign placbos at extremely profitable margins.

My guess is that to the extent consumer health tech companies can make money delivering a vague notion of wellness, they will. For example, I can imagine MassiveHealth generating significant revenue by selling geographically-targeted advertisements from restaurants promoting healthy alternatives -- a business model that wouldn't require them to mess around with prickly medical product regulatory requirements.

I'm most excited, however, by the opportunity to bring consumer health products to bear in a serious way, and ask whether they can deliver measureable healthcare value, which I'd provisionally define as improving health while removing costs from the system within a five-year period -- a standard I cribbed from Stanford healthcare guru Arnold Milstein, and thus I dub the "Milstein Metric." (Milstein directs Stanford's innovative "Clinical Excellence Research Center," focused on developing better and cheaper health delivery models -- see here.)

What I like about the Milstein Metric (obviously not the only way to evaluate a new medical innovation) is that it represents a surprisingly high bar, and has a way of immediately focusing our thinking on impactful healthcare innovations. Prioritizing innovations that remove costs from our system makes sense given the urgent national need to rein in healthcare costs, a bipartisan ambition. The time period selected (five years) is admittedly somewhat arbitrary, and reflects not only the fact that patients switch payors frequently (so an investment not recouped before patients switch out is difficult to justify on financial terms), but forecasting is an inherently fragile business, and projecting years into the future is tenuous to the point of rarely being credible. An intervention that maybe kinda sorta pays off in 50 years is usually too speculative to be useful.

So the question -- highlighted in this recent Washington Post article -- is: can you make money by saving money? Phrased differently: There are literally hundreds of new devices, apps, and companies jumping into the consumer health space (see here and here); some will succeed simply because they delight users, but will any deliver real health benefits, measured by the Milstein Metric?

In general, I suspect the answer is no; Most consumer health companies are unlikely to deliver measurable health benefits. Thousands of apps will be downloaded, perhaps used for a week, and then abandoned in favor of the lastest snazzy offering.

My suspicion is that it might take an entirely different set of people, and a very different mindset to start thinking seriously about how to deploy some of these new technologies in a fashion that actually impacts health. These technologies represent the raw tools, and it will require additional insight and effort to rigorously apply these tools to the practice of medicine and the delivery of health, and use them to extract measurable value.

That's OK. I'm grateful for these tools. As I've advocated frequently (see here and here), improved patient measurement is the single most important mechanism we have to improve health, both in the short term (essentially by providing physicians and patients with more immediate feedback and enabling just the sort of iterative learning described earlier) and in the long term (by providing an extensively annotated view of human physiology, yielding fundamental new insights and enabling the development of powerful new therapeutics).

My guess is that the integration of consumer health and patient health will be driven by innovators in both the public and private sectors. Academic medical centers -- a precious source of both inquisitive physician and involved patients -- can play a critical role in orchestrating and driving this process. (Disclosure: I am co-founding the creation of one such non-profit institute, the Center for Assessment Technology and Continuous Health.) I also imagine some of the most important advances will continue to come from the private sector, extending from the start-ups I see all around me in the Bay Area, advancing promising technologies and data-analysis platforms, to the large medical products companies seeking to sharpen their focus and improve their offerings, to the payors always on the hunt for the elusive "cut costs but improve care" program, to regulators, who to their credit were among the first to recognize the need for improved patient-associated measurements (as noted here and here).

I am inspired by this integrative vision of the future, motivated by our urgent unmet healthcare needs, stimulated by the energy and passion of the entrepreneurs and inquisitive physicians and scientists I meet, and driven by the patients whose endurance has been sorely tested. It's time to deliver consumer health -- consumer health we can believe in.

The segmentation of the antennae and the split down the back show this is clearly not a bed bug.

The fourth generation Ford Focus (C519) launched in 2018 included a new sub-nameplate 'Active', previously introduced on the 7th generation of Ford Fiesta a year earlier. 'Active' represented a number of engineering and design changes, including a marginally taller ride height, roof bars, lower body black plastic cladding and revised front and rear bumper treatments.

Most changes were relatively insignificant, but represented a stylistic shift to associate the vehicles with the growing 'Crossover' vehicle market segmentation. In the case of the Focus, the 'Active' trim was available on the 5-door hatchback (shown) and the wagon/estate model.

This segmentation will be interesting to observe over the next few years, The natural Crossover version of the Focus is the Escape/Kuga, yet Ford has chosen to create a more offroad-oriented version with the Bronco Sport, and electrified version (a significantly re-engineered version of the platform) with the upcoming Mustang Mach-E. Other marques, such as BMW with the X4, and Mazda with the CX30, are blending the higher-riding Crossover wagon sub-type withe a Coupe/Hatch body style.