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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...
Bush Peony in my back yard, edited with G'mic's shock filter, dream smoothing, and segmentation; and a custom difference of Gaussians
Implementation of the "Efficient Graph-Based Image Segmentation" algorithms by Pedro F. Felzenszwalb ( people.cs.uchicago.edu/~pff/segment/ ) in openframeworks using kinect depthmap
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
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.
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.
Una fotografía recopilatora de la serie de fotografías que hicimos mis compañeros y yo en la clase de segmentación de Mercado. Espero no ofender a nadie, simplemente se utilizaron los clásicos estereotipos sin el fin de afectar a nadie. Espero les agraden.
Pueden consultar todos los datos de las imágenes con más detalles en la siguiente dirección.
issuu.com/layer46/docs/seg?mode=embed&layout=http://s...
Solamente en español.
(Si quieren verla con más tamaño vayan a la siguiente dirección:
axelmartinez22.deviantart.com/art/Market-Segmentation-206...
Fotógrafos: Axel Cárdenas, Alejandra Martínez
Editores: Axel Cárdenas, Arturo Güitron
Modelos:
Arturo Güitron
Alejandra Hoyos
Alia Román
Axel Cárdenas
David Bustos
Isaac Bravo
Jennifer Preciado
Lizbeth Gómez
Lu
A photography of the series of photography that my partners and I did in the class of segmentation of Market. I hope not to offend anybody, simply the classic stereotypes were used without the end of affecting nobody. I hope that you like it.
You can consult all the information of the images with more details in the following direction.In Spanish only.
issuu.com/layer46/docs/seg?mode=embed&layout=http://s...
(If you want to see this with more size go to the following direction:
axelmartinez22.deviantart.com/art/Market-Segmentation-206...
Photographers: Axel Cárdenas, Alejandra Martínez
Edition: Axel Cárdenas, Arturo Güitron
Models: Arturo Güitron
Alejandra Hoyos
It allies Román
Axel Cárdenas
David Bustos
Isaac Bravo
Jennifer Preciado
Jiyong Lee
Black and White Segmentation
Value: $1,500
LIVE AUCTION - NO BIN
photo courtesy of Nathan J Shaulis | Porter Loves Photography
EAST WALL—Complementary Monologues
Detail: The monologues of the complementary male. Right Diptych, Left Panel,Top
Below is a transcription of what is written within the diamond joining the two figures:
Is there nothing that persuades you…? I offer you freedom, segmentation…but you…you are bound by line, endless line, infinity. It would seem your entelechy has brought us to conclusion. You have invented time to mark your progression but you lack the insight to accept the fallibilities of your premise… You continue to place yourself at the center of the universe whereas you are but the god of your own invention. You control reality through force of rote and repetition seemingly unaware that you are redundant. Your metaphors and tropes, with the terrible weight of superstition, drag us toward oblivion. Your progression, your “history’” is a waste-land of ignorance and maleficence…creating gods in your own image to give benediction to your atrocities. Your fear would banish me to a bourn of self-loathing and contempt. Your fear is my infernal enemy; it defeats me with the sword of ignorance… And yet, and yet my lust for the what of you will not die. I am doomed to the purgatory of desire… My brain, at least, can make this self-rejection tolerable. I can perceive you with the infallibility of reason.By thinking you into focus, I can control your seduction. I cannot make me not be me, but I can make you not be you. Through subtraction and division, I can reassemble your magnitude… You have taught me well the process of deconstruction. Through the centuries and millennia of repeat, you have come to view yourself indestructible, indivisible…as the trinity of your own pretension, Father, Son, and Omnipresence using the world as a playground for rape and replication. Repetition sustains you. Metaphors of power, punishment, and reward enforce your Manichaean simplistics. Without repeat, you are little more than a kill or be killed example of linear nihility. Without fear or adulation, you are nothing at all…a footnote of self-aggrandizement within nature’s characteristics for male patterns of behavior. You believe your invention of god sets you apart and above…think again… Your arrogance has brought all cognation to the brink of annihilation. Your violence and primitive sense of privilege can no longer be sustained. You are a thief and a murderer making filthy all that you touch…all that you misconceive…all that you squander. You must be desecrated as you have disfranchised me…as you have disfranchised everything outside your own bourn of desire. As you age and thicken into redundancy you prevail. You still lay claim to all that is not yours, has never been yours. In the name of the father, you lay claim to all things seen and unseen. Your ignorance is magnificent, your greed rapacious…and yet, and yet my craving for you is basic, fundamental, inescapable. I would shed you from me, shed you from my desire, my accumulation. I would cut you from me, halve you from my masculinity…and yet…and yet. My feminine desires you, makes impossible my becoming other… It is for me to aid and abet your dissolution into entropy. You fear me because I see you as you see women. I judge you as you judge women. I objectify you as you objectify women. As you evaluate tits and asses, I evaluate cocks and asses. As you assess women as chattel, I assess you as chattel. I comprehend your fear of me as I comprehend women’s fear of you. Your phobias are primitive and transparent. You are absent of mystery. Your reliance on superstition to enforce your metaphors can no longer sustain your superiority. Science has dethroned you. Your power lies now only with your beauty. Rejoice in your beauty as you relish Blake’s aphorism: “The pride of the peacock is the glory of god”… And without god, the truth remains untainted and unfettered… The pride of the peacock is the glory. Men do not have to kill each other in refutation of so universal a truth. God, however, must die.
STUDIO SECTION 2009-2012—DOROTHY LAUGHING was completed during the artist's seventy-ninth year. It is a work that requires an exhibition space forty feet by forty feet for optimal viewing. Altogether there are nineteen 8’ x 4’ articulated wood panels and seven free-standing sculptures. The extensive writing that appears on the articulated wood panels is transcribed in its entirety beneath the photographs of the panel on which written.
TERMINUS: Studio Section 1981-1983 was the first of the studio sections created by Robert Cremean. About the second, he wrote: “With TERMINUS II: Studio Section 1985-1990 began a flow of work receptive to everything I am, enfolding me in Process.” No longer did he make individual pieces, a collection of which would then be exhibited for sale in a gallery. He chose thereafter to continue the precedent established with the filling of his studio with work that was all of a piece, a studio section. It was the utilizing the entire space of the studio for the creating of whatever he wished, to experiment, to use panels mounted to the walls almost as canvases. He wrote: “I began to use the Wall as a separate voice in the work, setting it back rather like a Greek chorus for witness and commentary on the action within the sculpture which fronts it: cast shadows, interconnections of line, color, content, etc.” The “walls” became spaces whereon he recorded his thoughts, wrote essays, made images in bas-relief and in three dimension. Combined with three dimensional sculptures placed in front of these wall panels and within the center space bounded by the four walls of the studio, these large bodies of work, named studio sections, continued to be created even with the change of studios. There are the familiar four actual walls; the endless experimentation continues. With the exception of only one, its parts dispersed by a collector, all of the studio sections to the present are housed in the permanent collections of various museums.
The creation of studio sections rather than individual pieces came about during the early 1980s and was the result of the artist vowing, after many very successful one-person gallery shows, never again to place his work in a commercial gallery. All of his work presently is either in private or public collections.
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
(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.
Olenellus thompsoni (Hall, 1859) - fossil trilobite from the Cambrian of Pennsylvania, USA. (YPM 6657, Peabody Museum of Natural History, Yale University, New Haven, Connecticut, USA) (centimeter scale)
This remarkable fossil trilobite is from the Kinzers Lagerstätte, a soft-bodied fossil deposit in the Lower Cambrian of Pennsylvania. About 60 species are present in the interval that contains exceptional preservation, of which 25 represent nonmineralizing organisms (principally arthropods, various "worms", algae, and bacteria).
This is the holotype specimen of Olenellus getzi Dunbar, 1925, which is a subjective junior synonym of Olenellus thompsoni (Hall, 1859). The fossil is a large, complete trilobite that is ~24.5 centimeters long total (terminal spine + body + antennae). The specimen has been tectonically elongated ~along the axial line. The anterior portion of the glabella is collapsed. A slightly circular impression of the hypostome is impressed onto the anterior part of the glabella. The third thoracic segment is macropleural. The matrix is dark to very dark gray mudrock that is heavily limonite-stained. The exoskeleton is decalcified and is now limonite. The nonmineralizing antennae are preserved; they do not display segmentation - both are broken distally. The preserved portion of the right antenna is ~4.5 centimeters long; the left is ~4.6 centimeters long. The antennae are limonite films, with a few scattered, disseminated pyrite crystals. The long pygidial spine is broken - ~8.2 centimeters are preserved. No leg appendages are present.
Three olenellid trilobite thoracic segment fragments and a partial olenellid cephalon occur around the complete specimen.
Classification: Animalia, Arthropoda, Trilobita, Polymerida, Olenellidae
Stratigraphy: Kinzers Lagerstätte, Emigsville Member, Kinzers Formation, middle Bonnia-Olenellus Assemblage-zone, mid-Dyeran Stage (= upper Botoman Stage or lower Toyonian Stage), upper Lower Cambrian
Locality: Getz Quarry, north of the eastern end of Chestnut Ridge, north of Spring Valley Road, near the Bethel Road-Spring Valley Road intersection & ~0.65 kilometers northwest of the Rt. 741-Rt. 30 interchange, western side of the town of Lancaster, Lancaster County, southeastern Pennsylvania, USA (~~vicinity of 40° 03' 48.66" North latitude, 76° 21' 59.55" West longitude) (= United States Geological Survey locality "12x"; this locality no longer exists)
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References cited:
Hall, J. 1859. Trilobites of the shales of the Hudson River Group. Twelfth Annual Report of the Regents of the University of the State of New-York, on the Condition of the State Cabinet of Natural History: 59-62.
Dunbar, C.O. 1925. Antennae in Olenellus getzi, n. sp. American Journal of Science, Fifth Series 9: 303-308.
German postcard by Alexander Verlag, Berlin, 2026. The card promotes the books 'Mein letzter Seufzer' (Luis Buñuel, Mon dernier soupir) by Luis Buñuel and 'Buñuels Erwachen' (Le Réveil de Buñuel) by Jean-Claude Carrière.
In 1926, Spanish film director Luis Buñuel (1900-1983) started his impressive career in the Netherlands. On 26 and 27 April, a performance of Manuel de Falla's opera 'El retablo de maese Pedro' (Master Peter's Puppet Show) took place in De Hollandsche Schouwburg in Amsterdam. The story was based on an episode from 'Don Quixote' by Miguel de Cervantes. The musical accompaniment was provided by the legendary Dutch conductor Willem Mengelberg and members of his Concertgebouw Orchestra. A group of Spanish artists living in Paris provided the technical expertise. The artistic director was 26-year-old Buñuel, who is now considered one of the greatest and most influential filmmakers of all time. 100 years ago, he began his career as the artistic director of the Dutch version of 'El retablo de maese Pedro'.
Luis Buñuel Portolés was born in 1900 in Calanda, a small town in the Aragon region of Spain. His father was Leonardo Buñuel, also a native of Calanda, who had left home at age 14 to start a hardware business in Havana, Cuba, ultimately amassing a fortune and returning home to Calanda at the age of 43, in 1898. He married the 18-year-old daughter of the only innkeeper in Calanda, María Portolés Cerezuela. The eldest of seven children, Luis had two brothers, Alfonso and Leonardo, and four sisters: Alicia, Concepción, Margarita and María. He later described his birthplace by saying that in Calanda, "the Middle Ages lasted until World War I". When Buñuel was four months old, the family moved to Zaragoza, where they were one of the wealthiest families in town. In Zaragoza, Buñuel received a strict Jesuit education at the private Colegio del Salvador, starting at the age of seven and continuing for the next seven years. After being kicked and insulted by the study hall proctor before a final exam, Buñuel refused to return to the school. He told his mother he had been expelled, which was not true. In fact, he had received the highest marks on his world history exam. Buñuel finished the last two years of his high school education at the local public school, graduating at the age of 16. Even as a child, Buñuel was something of a cinematic showman. Friends from that period described productions in which Buñuel projected shadows on a screen using a magic lantern and a bedsheet. He also excelled at boxing and playing the violin. In his youth, Buñuel was deeply religious, serving at Mass and taking Communion every day, until, at the age of 16, he grew disgusted with what he perceived as the illogicality of the Church, along with its power and wealth. In 1917, he attended the University of Madrid, first studying agronomy, then industrial engineering, and finally switching to philosophy. He developed very close relationships with painter Salvador Dalí and poet Federico García Lorca, among other important Spanish creative artists living in the Residencia de Estudiantes. The three friends formed the nucleus of the Spanish Surrealist avant-garde and became known as members of 'La Generación del 27'. In 1925, Buñuel moved to France, where he began work as a secretary in an organisation called the International Society of Intellectual Cooperation. In Paris, Buñuel's interest in films was intensified by a viewing of Fritz Lang's Der müde Tod: "I came out of the Vieux Colombier completely transformed. Images could and did become for me the true means of expression. I decided to devote myself to the cinema". He became actively involved in both cinema and theatre. He met several influential people, including the pianist Ricardo Viñes. He secured Buñuel's selection as artistic director of the Dutch premiere of Manuel de Falla's puppet-opera 'El retablo de maese Pedro' in 1926. Three years earlier, the world premiere of 'El retablo de maese Pedro' was given as a concert performance on 23 March 1923 at the Teatro San Fernando, Seville. It was conducted by the composer. 'El retablo de maese Pedro' was a great success for Falla, with performances and new productions all over Europe within a few years of the premiere. In 1926, the Opéra-Comique in Paris celebrated Falla's 50th birthday with a program consisting of 'La vida breve', 'El amor brujo', and 'El retablo de maese Pedro'. That performance used new designs by Falla's close friend, the artist Ignacio Zuloaga, and new marionettes carved by Zuloaga's brother-in-law, Maxime Dethomas. Also in 1926, on 26 and 27 April, the opera was performed in Amsterdam. Here, the opera was performed with puppets and marionettes designed based on drawings by Manuel Angeles Ortiz and Hernando Vinez, while actors played Don Quichotte and Sancho Panza. Luis Buñuel was the artistic director.
Back in Paris after his Amsterdam job, Luis Buñuel enrolled in a private film school run by celebrated filmmaker Jean Epstein and some associates. Soon, Buñuel was working for Epstein as an assistant director on Mauprat (1926) and La chute de la maison Usher / The Fall of the House of Usher (1928), and also for Mario Nalpas on La Sirène des Tropiques / Siren of the Tropics(1927), starring Josephine Baker. He appeared on screen in a small part as a smuggler in Jacques Feyder's Carmen (1926). After parting with Epstein, Buñuel worked as a film critic for La Gaceta Literaria (1927) and Les Cahiers d'Art (1928). In the Catalan periodicals L'Amic de les Arts and La gaseta de les Arts, he and Dalí carried on a series of "call and response" essays on cinema and theatre. They debated such technical issues as segmentation, découpage, the insert shot and rhythmic editing. He helped establish Madrid's first cine-club and served as its inaugural chairman. With Salvador Dalí, Buñuel shot and directed a 16-minute short, Un Chien Andalou (1929). The film, financed by Buñuel's mother, consists of a series of startling images of a Freudian nature, starting with a woman's eyeball being sliced open with a razor blade. Un Chien Andalou was enthusiastically received by the burgeoning French surrealist movement. Critic Roger Ebert called it'the most famous short film ever made. The script was written in six days at Dalí's home in Cadaqués. In a letter, Buñuel described the writing process: "We had to look for the plot line. Dalí said to me, 'I dreamed last night of ants swarming around in my hands', and I said, 'Good Lord, and I dreamed that I had sliced somebody's eye. There's the film, let's go and make it.' Buñuel and Dalí made a cardinal point of eliminating all logical associations. Buñuel intended to outrage the self-proclaimed artistic vanguard of his youth. After the premiere, Buñuel and Dalí were granted formal admittance to the tight-knit community of Surrealists, led by poet André Breton. Late in 1929, on the strength of Un Chien Andalou, Buñuel and Dalí were commissioned to make another short film by Marie-Laurie and Charles de Noailles, owners of a private cinema in Paris. The film, L'Age d'Or / The Golden Age (1930), was begun as a second collaboration with Dalí, but, while working on the scenario, the two had a falling out and Dalí had nothing to do with the actual shooting of the film. During the course of production, Buñuel worked around his technical ignorance by filming mostly in sequence and using nearly every foot of film that he shot. One early screening was taken over by members of the fascist League of Patriots and the Anti-Jewish Youth Group, who hurled purple ink at the screen and then vandalised the adjacent art gallery, destroying several valuable surrealist paintings. The film was banned by the Parisian police "in the name of public order". The de Noailles, both Catholics, were threatened with excommunication by the Vatican because of the film's blasphemous final scene, which visually links Jesus Christ with the writings of the Marquis de Sade. They made the decision in 1934 to withdraw all prints from circulation, and L'Age d'Or was not seen again until 1981, after their deaths. Now, both films are considered masterpieces of surrealist cinema. After a short Hollywood visit on the invitation of MGM, Buñuel decided to make a film focused on peasant life in Las Hurdes, one of Spain's poorest regions. The film, Las Hurdes: Tierra Sin Pan (1933), was financed on a budget of 20,000 pesetas donated by a working-class anarchist friend, Ramón Acín, who had won the money in a lottery. Buñuel later worked in Paris in the dubbing department of Paramount Pictures, and following his marriage in 1934, he switched to Warner Brothers in Madrid. A friend, Ricardo Urgoiti, who owned the commercial film company Filmófono, invited Buñuel to produce films for a mass audience. Of the 18 films produced by Buñuel during his years at Filmófono, four are believed to have also been directed by him. These included the popular musical La hija de Juan Simón / Juan Simón's Daughter (1935) and the comedy ¡Centinela, alerta! / Sentry, Keep Watch! (1937), Filmófono's biggest box-office hit. After a long visit to Hollywood, Bunuel connected in 1947 with French producer Dancigers in Mexico. The Golden Age of Mexican cinema was peaking, and film represented Mexico's third-largest industry, employing 32,000 workers and 72 film producers. From 1947 to 1960, Bunuel made grounded and human melodramas such as Gran Casino (1947) with Jorge Negrete, Los Olvidados (1950), which won the Best Director prize that year at the Cannes Film Festival in 1951, and the psychological Horror film Él /This Strange Passion (1953) starring Arturo de Córdova. In 1949, Buñuel renounced his Spanish citizenship to become a naturalised Mexican. In Mexico, he gained the fundamentals of storytelling. Luis Buñuel then transitioned into making artful, unconventional, surrealistic, and satirical films. He earned acclaim with the morally complex arthouse drama film Viridiana (1961), which criticised the Francoist dictatorship. The film won the Palme d'Or at the 1961 Cannes Film Festival, but was banned in Spain for the next 17 years. He then criticised political and social conditions in the black comedy El ángel exterminador / The Exterminating Angel (1962) and Le Charme discret de la bourgeoisie / The Discreet Charm of the Bourgeoisie (1972), which won the Academy Award for Best Foreign Language Film. He also directed Le Journal d'une femme de chambre / Diary of a Chambermaid (1964) with Jeanne Moreau and Belle de Jour (1967) with Catherine Deneuve. His final film was Cet obscur objet du désir / That Obscure Object of Desire (1977) starring Fernando Rey, Carole Bouquet and Angela Molina, who play one character, Conchita, together. That Obscure Object of Desire was not financially successful, but it became a critical favourite. Many later critics have declared the film a masterpiece. Buñuel died in 1983. During his career, he earned five Cannes Film Festival prizes, two Berlin International Film Festival prizes, a BAFTA Award, and an Academy Award in 1972. He was nominated twice for the Nobel Prize in Literature, in 1968 and then in 1972.
Sources: Luis Buñuel y El retablo de Maese Pedro de Manuel de Falla (MFA at En torno a Luis Buñuel - Spanish), Delpher, Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
(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.
Soldier Beetle
The soldier beetles, Cantharidae, are relatively soft-bodied, straight sided beetles, related to the Lampyridae or firefly family, but being unable to produce light. They are cosmopolitan in distribution. One common British species is bright red, reminding people of the red coats of soldiers, hence the common name. A secondary common name is leatherwing, obtained from the texture of the wing covers.
Historically, these beetles were placed in a superfamily "Cantharoidea", which has been subsumed by the superfamily Elateroidea; the name is still sometimes used as a rankless grouping, including the families Cantharidae, Drilidae, Lampyridae, Lycidae, Omalisidae, Omethidae, Phengodidae (which includes Telegeusidae), and Rhagophthalmidae.
Soldier beetles are highly desired by gardeners as biological control agents of a number of pest insects. The larvae tend to be dark brown or gray, slender and wormlike with a rippled appearance due to pronounced segmentation. They consume grasshopper eggs, aphids, caterpillars and other soft bodied insects, most of which are pests.
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(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.
(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.
2009-12-07
我最近又在重念行銷的東西(...這個近況我似乎不只報告過一次了) ，當唸到「STP」這個關鍵字的時候，我覺得好慚愧，因為我著實地忘記了！於是又重新上網找資料複習，STP Strategy 是用來解釋「Market Segmentation（市場區隔）」的，它由三個單字組成，分別是：Segment（區隔）、Target（目標）、Position（定位）。
----
還記得上一張一樣是在色塊上加漸層的圖，那時還特別用 Illustrator 去完成，現在又發現別的方法了，回來用 Photoshop 處理反而更靈活。就是用一個模式設定為「Darken（加深）」的圖層，投入漸層色「黑 ─ 透明」，再把它調整到適當的圖層順序、透明度，你就能達成你要漸層效果了，做起來我覺得很自然。更早之前（幾年前）我都是用更土法煉鋼的方式：用 Burn Tool(加深工具) 慢慢去用手刷，刷到要的效果為止。
字體：Helvetica Bold
漸層方式：Reflected Gradient（反射漸層），從 Target 單字的末端往右刷。
之前去逛街，發現 Nike Sportswear 最近都在捧螢光色（設計了許多款與螢光色系有關的東西），所以我就順應潮流也用了個 Light Yellow (255, 245, 104) 來當做整個圖像的重點單字 Strategy 的顏色。而那三條 Strip 為求平均性，則是使用了三個 Photoshop 的預設色票，分別是：
Light Red (242, 108, 79)
Light Green (60, 184, 120)
Light Cyan (0, 191, 243)
欸，突然發現我對顏色真的很不敏感耶，與其說我依賴色票，倒不如說我更依賴滑鼠移到色票上，它所顯示出來的名字！
最後簽名也是很有趣喔（常常都是只有我自己覺得有趣我知道），我把它偷偷藏在 Cyan Stripe 的最右邊。我是用 Blending Option（混和選項）中的 Bevel and Emboss (斜角與浮雕)，參數如下：
Style: Inner Bevel
Depth: 1%
Size: 1px
Highlight Opacity: 30%
Shadow Opacity: 20%
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.
(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.
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
Granulomatous reaction with ferruginous bodies in a tracheal plaque in a child. Unfortunately no history is available. Typical segmentation of the iron-containing proteinaceous coating is seen in the left image. The right image shows a cross section with a centrally located fiber surrounded by a coating of iron-containing proteinaceous material.
Ferruginous bodies usually form around asbestos fibers but a variety of other fibers may incite the formation of similar structures. Ferruginous bodies, when seen in the lungs, are almost always indicative of asbestos exposure. The identify of the inciting fibers in this case is not known.
Images contributed by Dr. Juan J. Barcia - @juanbarcia
Second contact, maximum annular eclipse, and third contact. See the segmentation of the solar limb (Baily's beads). Fantastic eclipse seen from Facundo, Chubut, Argentina.
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.
The MRS Research Group Moving Boxes & Shipping Supplies report by QY Research represents an inclusive evaluation of the Moving Boxes & Shipping Supplies Market and comprises considerable insights, historical data, facts,and statistical and industry-validated data of the global market.Additionally,it consists of estimated data that is evaluated with the help of suitable set of methodologies and assumptions.The MRS Research Group report research highlights informative data and in-depth analysis of Moving Boxes & Shipping Supplies market and its corresponding segments that are based on technology,geography, and applications.The report comprises precise information, comprehensive analysis in two ways qualitative and quantitative industry experts’ inputs, and information provided by industry analysts and industry participants involved in the entire value chain.The report highlights exhaustive study of major market and their present trends,along with corresponding market segments.
The Moving Boxes & Shipping Supplies report also provides data regarding various market factors and their impact on the overall market and its segments.Every market segment of the Moving Boxes & Shipping Supplies industry is analyzed in a quantitative as well as qualitative way in order to provide the customers with a relative estimation of the global market. Essential information such as definition, the industry value chain and its analysis, and the trends are also explored in the MRS Research Group Moving Boxes & Shipping Supplies report.This Moving Boxes & Shipping Supplies report is an in-depth market research report in this domain.The report focuses on regional as well as global market,its key players,along with market segments including detailed study on various divisions and its applications.The report provides comprehensive information on each and every segment covered of the Moving Boxes & Shipping Supplies market.
The research report analyzes the scope of Moving Boxes & Shipping Supplies industry including size, share, analysis, sales, supply, production, definition, specification, classification, demands, application, forecast trends, industry policy, and news.Further, the examination on value chain of Moving Boxes & Shipping Supplies market is also provided which covers the growth factors and restraints of the industry along with the key market competitors.Furthermore, the report evaluated major market points such as production, revenue, capacity utilization rate, gross, price, capacity, gross margin, supply, cost, demand, export, consumption, import, growth rate, market share, and so on.The Moving Boxes & Shipping Supplies report is a helpful source which assists manufacturers, distributors, suppliers, customers, and individuals and investors who have interest in this market.
Highlights of the report:
1. A complete backdrop analysis, which includes an assessment of the parent market.
2. Important changes in market dynamics.
3. Market segmentation up to the second or third level.
4. Historical, current, and projected size of the market from the standpoint of both value and volume.
5. Reporting and evaluation of recent industry developments.
6. Market shares and strategies of key players.
7. Emerging niche segments and regional markets.
(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.
(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.
Google advanced segmentation tip
Image credit: www.kaushik.net/avinash/2008/10/google-analytics-releases...
Second contact, maximum annular eclipse, and third contact. See the segmentation of the solar limb (Baily's beads). Fantastic eclipse seen from Facundo, Chubut, Argentina.
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.
Zebrafish are used to gain insight into the origins of human disorders and conditions. Embryos are transparent and hatch within a few days. During the segmentation period (pictured), organs begin to develop and the embryo gets longer. Credit: B. Feldman and J. Swan, NICHD
To control light spilling over from the small rooms into the vertical opening, white bricks were added to the stock design.
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
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.
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.
Screen capture of Socialistics from SML Facebook / 2007-08-31
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Mashable: Socialistics Helps You Understand Your Social Network / 2007-08-31 / Stan Schroeder
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(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.
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.
(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.
(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.