View allAll Photos Tagged segmentation
A photo inspired by Saul Leiter Retrospektive - an exhibition at the Kunstfoyer in Munich
[www.versicherungskammer-kulturstiftung.de/en/kunstfoyer/e...]:
Early street photography with reflections and segmentations - captures on the street framed by windows or doors
***
[1R1A1627_ji(K0.25_KL0.25_FS-40%_Ausschnitt2x3_2783x4175).jpg]
EAST WALLāComplementary 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 youā¦? I offer you freedom, segmentationā¦but youā¦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 premiseā¦ 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 āhistoryāā is a waste-land of ignorance and maleficenceā¦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 ignoranceā¦ And yet, and yet my lust for the what of you will not die. I am doomed to the purgatory of desireā¦ 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 magnitudeā¦ You have taught me well the process of deconstruction. Through the centuries and millennia of repeat, you have come to view yourself indestructible, indivisibleā¦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 allā¦a footnote of self-aggrandizement within natureās characteristics for male patterns of behavior. You believe your invention of god sets you apart and aboveā¦think againā¦ 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 touchā¦all that you misconceiveā¦all that you squander. You must be desecrated as you have disfranchised meā¦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 rapaciousā¦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 masculinityā¦and yetā¦and yet. My feminine desires you, makes impossible my becoming otherā¦ 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 womenās 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 Blakeās aphorism: āThe pride of the peacock is the glory of godāā¦ And without god, the truth remains untainted and unfetteredā¦ 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 2009-2012āDOROTHY 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 8ā x 4ā 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: āWith TERMINUS II: Studio Section 1985-1990 began a flow of work receptive to everything I am, enfolding me in Process.ā 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: āI 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.ā The āwallsā 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.
Una fotografĆa recopilatora de la serie de fotografĆas que hicimos mis compaƱeros y yo en la clase de segmentaciĆ³n de Mercado. Espero no ofender a nadie, simplemente se utilizaron los clĆ”sicos estereotipos sin el fin de afectar a nadie. Espero les agraden.
Pueden consultar todos los datos de las imĆ”genes con mĆ”s detalles en la siguiente direcciĆ³n.
issuu.com/layer46/docs/seg?mode=embed&layout=http://s...
Solamente en espaƱol.
(Si quieren verla con mĆ”s tamaƱo vayan a la siguiente direcciĆ³n:
axelmartinez22.deviantart.com/art/Market-Segmentation-206...
FotĆ³grafos: Axel CĆ”rdenas, Alejandra MartĆnez
Editores: Axel CĆ”rdenas, Arturo GĆ¼itron
Modelos:
Arturo GĆ¼itron
Alejandra Hoyos
Alia RomƔn
Axel CƔrdenas
David Bustos
Isaac Bravo
Jennifer Preciado
Lizbeth GĆ³mez
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 CĆ”rdenas, Alejandra MartĆnez
Edition: Axel CĆ”rdenas, Arturo GĆ¼itron
Models: Arturo GĆ¼itron
Alejandra Hoyos
It allies RomƔn
Axel CƔrdenas
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
(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 āātheir 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 (GrĆ¼nberg) 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 Wƶckherl 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 āāNeustiftungen (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 Wagenschƶn 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 LagerstƤtte, 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 LagerstƤtte, 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 40Ā° 03' 48.66" North latitude, 76Ā° 21' 59.55" West longitude) (= United States Geological Survey locality "12x"; this locality no longer exists)
----------------
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.
(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 āātheir 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 (GrĆ¼nberg) 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 Wƶckherl 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 āāNeustiftungen (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 Wagenschƶn 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.
A photo inspired by Saul Leiter Retrospektive - an exhibition at the Kunstfoyer in Munich
[www.versicherungskammer-kulturstiftung.de/en/kunstfoyer/e...]:
Early street photography with reflections and segmentations
***
what you see first depends on the level of perception: Check the details
***
[1R1A1525_EditCPP4(Ausschnitt1x1_1300).jpg]
***
This is another capture for a series of Images labeled "street-photography - around the Bike"
(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 āātheir 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 (GrĆ¼nberg) 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 Wƶckherl 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 āāNeustiftungen (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 Wagenschƶn 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.
Use of paper texture, leaf texture, GMIC segmentation (fine and coarse layers selectively masked together), GIMP layers, masks and brushes.
Textures from cgtextures.com
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.
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 āātheir 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 (GrĆ¼nberg) 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 Wƶckherl 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 āāNeustiftungen (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 Wagenschƶn 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.
Screen capture of Socialistics from SML Facebook / 2007-08-31
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Epigenetics Market is anticipated to value over USD 3 billion by 2027 end with a CAGR of over 11% during the forecast period 2020 to 2027.
The availability of funds to conduct research on epigenetics, the decrease in the sequencing costs, increase in the number of patients diagnosed with cancer are some of the primary reasons accountable for the growth of the epigenetics market. There is an ongoing research pertaining to the usage of epigenetics on non-oncological diseases and with the emergence of targeted therapy, it is predicted that the market will grow remarkably owing to these factors.
FutureWise Market Research has instantiated a report that provides an intricate analysis of Epigenetics Market trends that shall affect the overall market growth. Furthermore, it includes detailed information on the graph of profitability, SWOT analysis, market share and regional proliferation of this business. Moreover, the report offers insights on the current stature of prominent market players in the competitive landscape analysis of this market.
According to the research study conducted by FutureWise research analysts, the Epigenetics Market is anticipated to attain substantial growth by the end of the forecast period. The report explains that this business is predicted to register a noteworthy growth rate over the forecast period. This report provides crucial information pertaining to the total valuation that is presently held by this industry and it also lists the segmentation of the market along with the growth opportunities present across this business vertical.
(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 āātheir 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 (GrĆ¼nberg) 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 Wƶckherl 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 āāNeustiftungen (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 Wagenschƶn 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.
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
(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 āātheir 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 (GrĆ¼nberg) 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 Wƶckherl 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 āāNeustiftungen (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 Wagenschƶn 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
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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 āātheir 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 (GrĆ¼nberg) 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 Wƶckherl 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 āāNeustiftungen (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 Wagenschƶn 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.
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.
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Highlights of the report:
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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
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.
Google advanced segmentation tip
Image credit: www.kaushik.net/avinash/2008/10/google-analytics-releases...
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
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.
To control light spilling over from the small rooms into the vertical opening, white bricks were added to the stock design.
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 āātheir 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 (GrĆ¼nberg) 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 Wƶckherl 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 āāNeustiftungen (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 Wagenschƶn 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.
A little more work on the upper torso of the Alien (1979) - Finished the rib cage and will fill in the segmentations tonight. The spine comes next. The dorsal spines (I guess that is what you would call them) will be sculpted and attached seperately.
Entry in category 1. Object of study; Ā© CC-BY-NC-ND: Eva Schnider
It's when neural networks clearly fail to deliver the results we hoped for, that they start to produce unforeseen and unexpected works of art. The abstract colorful patterns that then emerge on the screen may even soothe the disappointment of having obtained results that suggest an error in the setup.
This image is the result of a failed attempt to find bones in the CT scan of a human upper body by means of a segmentation network. Had all gone well, each color would be restricted to the area of a single bone and we could see a vibrant skeleton face-on. But the segmentations transgressed their dedicated outlines, covering the body with an intricate collection of shapes instead. Only parts of the skull in light blue and of the hip bones in different shades of green are reminders of the original task. The remaining colouring follows a logic that our neural network has picked up during the training phase and which does not follow our original objective.
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 āātheir 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 (GrĆ¼nberg) 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 Wƶckherl 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 āāNeustiftungen (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 Wagenschƶn 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 āātheir 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 (GrĆ¼nberg) 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 Wƶckherl 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 āāNeustiftungen (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 Wagenschƶn 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 āātheir 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 (GrĆ¼nberg) 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 Wƶckherl 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 āāNeustiftungen (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 Wagenschƶn 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.
Market Segmentation is an important part of Customer Relationship Management, and makes or breaks your campaigns. A good market segmentation can result in a much higher hit rate to your marketing emails etc., than any other methodology. For this, you need to ask your customer, observe what they do and make some intelligent decisions, then use it to create your segments, then start targeting campaigns to them.
This sketch provides a sample flowchart to describe this concept. Made by www.crmit.com/
(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 āātheir 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 (GrĆ¼nberg) 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 Wƶckherl 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 āāNeustiftungen (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 Wagenschƶn 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.
The Quality Inn & Suites on S. Valley Dr. in Las Cruces was the city's third Holiday Inn between 1996 and 2009. More specifically, it was a Holiday Inn Express. As you can see, it has joined the Quality Inn franchise system.
The story with this one involves a major corporate shift at an international scale and a smaller local transition. If you're somehow interested in motel franchise marketing, read on ...
Internationally, a portion of the Holiday Inn system was sold to British brewing conglomerate Bass PLC for about $2.2 billion in 1990. Another portion of the HI empire was bought by a company named Promus, headed up by some of executives who had managed HI during the 1980s. Bass took over the Holiday Inn hotel franchise, but left other HI brands such as Homewood Suites, Hampton Inn, and Embassy Suites to Promus. Bass moved its HI headquarters to Atlanta; Promus stayed in Memphis.
Now, since Promus had Hampton Inns, Bass didn't have a brand to compete in the fast-growing mid-market lodging segment. The solution: A new brand called Holiday Inn Express.
In the boomtown of Las Cruces, there was a perceived demand for more mid-market motels. A big building boom in the late 1980s and throughout the 1990s resulted in a full array of new motels such as La Quinta, Comfort, Fairfield, and others. In 1996, the Holiday Inn Express was built and co-existed with the more upscale Holiday Inn de Las Cruces about half a mile away. After the Holiday Inn de LC was defrocked and transformed into a Ramada Inn, the HI Express became the only Holiday Inn in Las Cruces until early 2009.
A longstanding problem with the Holiday Inn Express (now Quality Inn) shown here has been its location. It's well away from the I-10/University Ave interchange and other motels in the city. That's OK if guests are arriving with advance reservations or already know about it; but it's "invisible" to travelers who decide to pull off the highway and find a place to stay for the night (i.e. guests known as "walk-ins").
When the better-situated new-new Holiday Inn Express opened in early winter 2008-2009, this motel lost its HI affiliation and has gone downward in the food chain of motel franchises. Hopefully, it'll do OK.
(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 āātheir 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 (GrĆ¼nberg) 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 Wƶckherl 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 āāNeustiftungen (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 Wagenschƶn 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.
If societies are to thrive, not just survive, there must be a set of common values that undergird social and governmental interactions. Values are often derived from religion, yet there is deep misunderstanding among and between people of different faith (and no faith) backgrounds, which can threaten the social cohesion of communities. Our times suggest that values may not be commonāwithin or across groupsāand that religions are being manipulated (sometimes by governments) for the benefit of majority groups. This has led towards increased segmentation and polarization in societies, which has been exploited by those seeking to foment division.
Property of the Aspen Institute / Photo Credit: Laurence Genon
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.