German autograph card. Photo: Lillian Birnbaum, Paris, 1992 (detail). Cover of Hanna Schygulla's autobiography 'Wach auf und träume' (Wake Up and Dream) by SchirmerMosel.

 

German actress and chanson singer Hanna Schygulla (1943) was the icon of the New German Cinema of the 1970s and early 1980s. Schygulla was Rainer Werner Fassbinder's muse and anti-star, and over 12 years, she appeared in 23 of his films. After his death in 1982, she worked together with several major European directors.

 

Hanna Schygulla was born in Königshütte in Germany (now Chorzów in Poland), in 1943. Her parents were Antonie (née Mzyk) and Joseph Schygulla, a timber merchant by profession. Her father was drafted as an infantryman in the German Army and was captured by American forces in Italy, subsequently being held as a prisoner of war until 1948. In 1945, Schygulla, and her mother, arrived as refugees in Munich following the expulsion of the majority German population of Königshütte by Communist Poland. In the 1960s, Schygulla studied Roman languages and German studies, while taking acting lessons in Munich during her spare time. She met Rainer Werner Fassbinder in 1965 and became a member of his collective theatre troupe, Munich Action Theatre. This group eventually evolved into Fassbinder’s film group, and Schygulla played the female lead in his first feature film Liebe ist kälter als der Tod/Love is Colder Than Death (Rainer Werner Fassbinder, 1969). The reception was generally negative, and the film was even booed at the 19th Berlin International Film Festival in 1969. Today, it is seen as a fine example of Fassbinder's early style, with a heavy 'Nouvelle Vague' influence. The cast as an ensemble won an award at the German Film Awards in 1970. She was again the lead actress in Katzelmacher (Rainer Werner Fassbinder, 1969). The film centres on an aimless group of friends whose lives are shaken up by the arrival of an immigrant Greek worker, Jorgos (played by Fassbinder himself, in an uncredited role). Other early Fassbinder films in which she starred were Götter der Pest/Gods of the Plague (Rainer Werner Fassbinder, 1970) with Margaretha von Trotta and Harry Baer, Rio dad Mortes (Rainer Werner Fassbinder, 1971), and the Western Whity (Rainer Werner Fassbinder, 1971) with Günther Kaufmann. The filming of Whity in Spain inspired the Semo-autobiographical drama Warnung vor einer heiligen Nutte/Beware of a Holy Whore (Rainer Werner Fassbinder, 1971) featuring Lou Castel, Eddie Constantine, Schygulla and Fassbinder himself. Holed up in a hotel with too much drink, drugs and time the cast and crew of a film are gradually disintegrating as they await the arrival of their director. Very interesting was also Händler der vier Jahreszeiten/The Merchant of Four Seasons (Rainer Werner Fassbinder, 1971) featuring Hans Hirschmueller as a fruit-peddler in 1950s West Germany, who is driven over the edge by an uncaring society. The following year Schygulla played the object of obsession for fashion designer Petra von Kant (Margit Carstensen) in Die bitteren Tränen der Petra von Kant/The Bitter Tears of Petra von Kant (Rainer Werner Fassbinder, 1972). During the making of Effi Briest (1974), an adaptation of a German novel by Theodor Fontane, Fassbinder and Schygulla fell out over divergent interpretations of the character. Another problem for Schygulla was the low pay, and she led a revolt against Fassbinder on this issue during production in 1972. Fassbinder's response was typically blunt: "I can't stand the sight of your face any more. You bust my balls". After the clash, she did not work with him again for five years.

 

Hanna Schygulla started to work with other film-makers. She played the female lead in Falsche Bewegung/The Wrong Move (1975), a road movie directed by one of the other major directors of the New German Cinema, Wim Wenders. In 1978, she reunited with Fassbinder for one of their greatest successes Die Ehe der Maria Braun/The Marriage of Maria Braun (Rainer Werner Fassbinder, 1979). Schygulla stars as Maria, whose marriage to the soldier Hermann remained unfulfilled due to World War II and his post-war imprisonment. Maria adapts to the realities of post-war Germany and becomes the wealthy mistress of an industrialist, all the while staying true to her love for Hermann. Critic Derek Malcolm called it in The Guardian ‘a landmark in German cinema’ and writes: “Schygulla gives a magnificent performance as a vulnerable young woman who becomes a self-confident, independent and competent survivor yet still comes to a bad end, largely because of the basic corruption of her world”. The film was entered into the 29th Berlin International Film Festival, where Schygulla won the Silver Bear for Best Actress for her performance. She also appeared opposite Günter Lamprecht in the 14-part television miniseries Berlin Alexanderplatz (1980), adapted and directed by Rainer Werner Fassbinder from the Alfred Döblin novel of the same name. Another success was Lili Marleen (Rainer Werner Fassbinder, 1981), based on the autobiographical novel Der Himmel hat viele Farben (Heaven Has Many Colors) by singer Lale Andersen. The film tells about the forbidden love between the German singer Willie (Schygulla) and the Swiss Jewish composer Robert Mendelssohn (a character based on Rolf Liebermann and played by Giancarlo Giannini), who actively seeks to help an underground group of German Jews during the Third Reich. It was to be her last film with Fassbinder, who died in 1982 at the age of 37. In the following decade, Schygulla acted in French, Italian and American productions. Among her best known films are La Nuit de Varennes/That Night in Varennes (Ettore Scola, 1982), Passion (Jean-Luc Godard, 1982) with Isabelle Huppert, Storia di Piera/The Story of Piera (Marco Ferreri, 1983) with Huppert and Marcello Mastroianni, Eine Liebe in Deutschland/A Love in Germany (Andrzej Wajda, 1983), and the psychological thriller Dead Again (Kenneth Branagh, 1990) starring Branagh and Emma Thompson. In the 1990s Schygulla also became known and well-regarded as a chanson singer. In Juliane Lorenz's documentary film Life, Love and Celluloid (1998), on Fassbinder and related topics, Schygulla performs several songs. She also continued to make interesting films, like Werckmeister Harmóniák/Werckmeister Harmonies (Bela Tarr, 2000) and Auf der anderen Seite/The Edge of Heaven (Fatih Akın, 2007). In 2010, she received the Honorary Golden Bear from the Berlin Film Festival. A year later she played in the Russian film Faust (Alexander Sokurov, 2011), a free interpretation of the Faust legend and its literary adaptations by Johann Wolfgang von Goethe and Thomas Mann. The film won the Golden Lion at the 68th Venice International Film Festival. At the end of 2013, she published her autobiography, ‘Wach auf und trauma, to mark her 70th birthday. Hanna Schygulla who lived in Paris since 1981, returned to Berlin in 2014.

 

Sources: Derek Malcolm (The Guardian), David Stevens (IMDb), AllMovie, Deutschland.de, Wikipedia, and IMDb.

 

And, please check out our blog European Film Star Postcards.

German cigarette card by Ross Verlag in the 'Künstler im Film' series for Zigarettenfabrik Monopol, Dresden, Serie 1, image 41 (of 200). Photo: Gloria-Syndikat.

 

Glamorous, mysterious diva Zarah Leander (1907-1981) was a Swedish actress and singer, who is now best remembered for her German songs and films from the late 1930s and early 1940s. With her fascinating and deep voice, she sang melancholic and a bit frivolous songs that were specifically composed for her. Zarah was for a time the best-paid film star of the Third Reich. In her Ufa vehicles, she always played the role of a cool femme fatale, independently minded, beautiful, passionate, self-confident and a bit sad. It gave her the nickname 'the Nazi Garbo', but a recent book claims that she was, in fact, a Soviet spy

 

Zarah Leander was born Sara Stina Hedberg in Karlstad, Sweden, in 1907. Her parents were Anders Lorentz Sebastian Hedberg and Matilda Ulrika Hedberg. Although she studied piano and violin as a small child and sang on stage for the first time at the age of six, Sara initially had no intention of becoming a professional performer and led an ordinary life for several years. As a teenager, she lived two years in Riga (1922–1924), where she learned German, took up work as a secretary. She married actor Nils Leander in 1926, and they had two children: Boel (1927) and Göran (1929). In 1929, she had her breakthrough when her counter alt voice was recognised by revue king Ernst Rolf. In his touring cabaret, she sang for the first time 'Vill ni se en stjärna' (Do you want to see a star?) which soon would become her signature tune. She got a record contract with the Odeon company, for which she recorded 80 songs till 1936. One of the songs she recorded in 1930 was Marlene Dietrich's 'Ich bin von Kopf bis Fuß auf Liebe eingestellt' from Der Blauen Engel/The Blue Angel (Josef von Sternberg, 1930). In the early 1930s, Leander played in several shows and performed in three Swedish films, including Dantes Mysterier/Dante's Mysteries (Paul Merzbach, 1930) and Falska Millionären/The False Millionaire (André Berthomieu, Paul Merzbach, 1931). Her persona in those films was already that of the singing, mundane vamp. She had her definitive break-through as Hanna Glavari opposite the legendary Swedish film star Gösta Ekman in Franz Lehár's operetta 'Die lustige Witwe' (The Merry Widow) (1931). In 1932 she divorced Nils Leander. She declined American work offers but she opted for an international career on the European continent because of her two school-age children. In 1936 she went to Vienna to star at the Theater an der Wien in the operetta 'Axel an der Himmelstür', composed by Ralph Benatzky and directed by Max Hansen. This parody on Hollywood and Greta Garbo was a huge success. She also got the role of a successful revue star in the Austrian film Premiere (Geza von Bolvary, 1936) with Karl Martell. Then she was offered a three-film contract by the German Universum Film AG (Ufa) studios, as propaganda minister Joseph Goebbels was looking for a new muse of the cinema of the Third Reich. She would earn approximately 200,000 Reichsmark, and 53% of her gage would be paid in Swedish Kronor (crowns). Leander said "yes", in spite of the political situation.

 

Zarah Leander's first film at Ufa was Zu neuen Ufern/To New Shores (1936) directed by Detlef Sierck (later known as Douglas Sirk). After the other two films of her contract, La Habanera/Cheated by the Wind (Detlef Sierck, 1937) with Ferdinand Marian, and Heimat/Home (Carl Froelich, 1938) with Heinrich George, she was so popular that Josef Goebbels, who according to his diaries did not like her, had to continue her contract. On renewal, her salary increased even further, and in 1940 the Ufa would offer her a contract for six films, to be produced in the following two years, for a total of 1 million Reichsmark. Zu neuen Ufern had launched songs such as 'Ich steh' im Regen' (Standing in the rain) and 'Yes, Sir', that were sold on record in various languages. Actually, these songs earned her more money than her films, even if she was the best-paid German female film star in the early 1940s. Her songs 'Davon geht die Welt nicht runter' (It is not the End of the World) and 'Ich weis, es wird einmal ein Wunder gescheh'n' (I Know One Day a Miracle Will Happen) from her film Die grosse Liebe/The Great Love (Rolf Hansen, 1942) received double entendre in the time they were distributed and struck chords with the Germans. Among her other films in those years were the comedy Der Blaufuchs/The Blue Fox (Viktor Tourjansky, 1938) with Paul Hörbiger, a biopic of Pyotr Ilyich Tchaikovsky, Es war eine rauschende Ballnacht/It was a Gay Ball Night (Carl Froelich, 1939) with Marika Rökk, Der Weg ins Freie/The Way to Freedom (Rolf Hansen, 1941) with Hans Stüwe, and the crime film Damals/In the Past (Rolf Hansen, 1942) again opposite Hans Stüwe. In her films, Leander often portrayed independent, fatal women, with strong will-power but haunted by destiny. In real life, she was a 'tough cookie' too, as she demanded that she should select her own scripts and composers. At a party, Goebbels once asked her ironically: "Zarah... Isn't this a Jewish name?" "Oh, maybe", she answered him, "but what about Josef?" "Hmmm... yes, yes, a good answer", Goebbels had replied, according to IMDb.

 

Zarah Leander never became a party member and refused to take German citizenship, but her films and song lyrics were viewed by some as propaganda for the Nazi cause. After her villa in the fashionable Berlin suburb of Grunewald was bombed during an air raid in 1942 and the increasingly desperate Nazis pressured her to apply for German citizenship, she decided to break her contract with Ufa. In 1943, she secretly left Germany and retreated to Sweden, where she had bought a mansion at Lönö, not far from Stockholm. Initially, she was shunned by much of the artistic community and public in Sweden (In 1936 the reactions had been completely different when she started to work in Nazi-Germany. Most of her Ufa films were very popular in Sweden as in the rest of Europe). In November 1944, Swedish radio decided to no longer play her records. But, as Antje Ascheid describes in her in-depth study 'Hitler's Heroines', Zarah's role was complex: "She regularly supported communal fundraisers and appeared in 'request concerts' - live radio shows in which famous star singers performed songs requested mostly by soldiers at the front - that aired all over the Reich. In addition, Leander was frequently depicted attending social functions at the homes of political leaders, which further linked her public persona to Nazi officials in power." After the war, she was severely questioned, but in 1947 she managed to record her songs again in Switzerland, where she also sang for the radio. Concert tours followed, first in Switzerland, then in 1948-1949 in Germany; and in 1949 she performed in Sweden again. Leander tried her luck once more in film. Gabriela (Geza von Cziffra, 1950) was the third biggest box office hit of that year in Germany. The following films, Cuba Cubana (Fritz Peter Buch, 1952) with the new and younger idol O. W. Fischer, and Ave Maria (Alfred Braun, 1953) with her old partner Hans Stüwe, were both disappointments.

 

Thus Zarah Leander's film career came to an end, even though she still did four more films till 1966. Her last film was the Italian comedy Come imparai ad amare le donne/Love Parade (Luciano Salce, 1966) with Michèle Mercier, Nadja Tiller, and Anita Ekberg. Leander would continue with musicals and operettas on stage, however, and she also sang her by now evergreens in TV-shows. She published her memoirs, 'Zarah's minnen' (Zarah's memories), in 1972. In 1975 she played in her last musical, 'Das Lächeln einer Sommernacht' by Stephen Sondheim and Hugh Wheeler based on Ingmar Bergman's film Sommernattens leende/Smiles of a Summer Night (1955). In 1979 Zarah Leander officially retired and in 1981 she died of a stroke in Stockholm and was buried on her estate Lönö. She was married three times. After Nils Leander, she was married to journalist Vidar Forsell (1932-1943). Her third husband was pianist Arne Hülphers from 1956 till his death in 1978. In 2003 a bronze statue was raised in Zarah Leander's hometown of Karlstad at the Opera house of Värmland where she began her career. After years of discussions, the town government, at last, accepted this statue on behalf of the first Swedish local Zarah Leander Society. A year later the book 'The Mystery of Olga Chekhova' (2004) by Anthony Beevor was published, in which the author claimed that both Olga Tschechova and Zarah Leander worked for Soviet intelligence during World War II. According to the author she supplied information about Nazi Germany to a Soviet contact during her visits home to Sweden. In Germany, Zarah Leander is still an icon of the gay community, and her persona has been recreated by many drag queens. Performers like Nina Hagen have covered her songs, and director Quentin Tarantino used her song 'Davon geht die Welt nicht runter' (It is not the End of the World) in his war thriller Inglourious Basterds (2009).

 

Sources: Antje Ascheid (Hitler's Heroines), Paul Seiler (Das Zarah-Leander-Archiv), Lennart Haglund (Find A Grave), Wikipedia and IMDb.

 

And, please check out our blog European Film Star Postcards.

Self-confident Say's Phoebe posing for the photographer.

Mandalay

Für nur 28 Jahre war Mandalay die Hauptstadt Burmas, aber noch heute wirkt die Stadt vornehmer und selbstbewusster als andere Städte des Landes. Der Grund dafür könnte der Mandalay Hill mit seinem atemberaubenden Ausblick auf die Stadt und den Ayeyarwady-Fluß sein. Der Tempel am Mandalay Hill soll zudem drei Knochen Buddhas beherbergen. Ein weiterer Grund für den besonderen Charme der Stadt könnte jedoch auch das „größte Buch der Welt“, die Kuthodaw Pagode sein. Die Stadt ist ein spirituelles Zentrum und rühmt sich einer Vielzahl von Klostern und Pagoden in denen sich das Leben seit der Zeit des letzten burmesischen Königs nur wenig verändert hat.

 

Mandalay

For only 28 at Mandalay was the capital of Burma, but the city still has a distinguished and self-confident than other cities of the country. The reason could be, with its breathtaking views of the city and the Ayeyarwady River of Mandalay Hill. The temple on Mandalay Hill is also home to three bones of Buddha. However, another reason for the special charm of the city could also be the "world's largest book," Kuthodaw pagoda be. The city is a spiritual center and boasts a number of monasteries and pagodas where life has changed little since the time of the last Burmese king.

Model: Bella Night

Sporting Group: The Nederlandse Kooikerhondje is lively, agile, self-confident, good-natured and alert. The breed is faithful, easy-going and friendly in the home. Outdoors he is a true sporting dog being keen, swift, tough, attentive and energetic. With sufficient perseverance and stamina, he enjoys working and does so with a cheerful character.

self confident

She told me she comes from the planet String! I believe that on this planet they are self confident enough not to follow earthly conventions as far as under arm depilation is concerned.

 

MCM London Comic Con May2013

young boy caring paper waste from the streets, passing by drying hand-dyed yellow threads. kindly, view on black pressing L.

 

though, i am very much against any kind of child abuse; i don't see much harm in children working for their own living and becoming self-reliant, self-confident 'n street-smart, as here in india their own poverty stricken family and dirty politics don't care or help them in anyway.

 

see my favourite STREET images set here

 

STREETs

Löwenkämpfer (The Lion Fighter) is an 1858 bronze equestrian statue by Albert Wolff, installed outside the Altes Museum in Berlin, Germany. An 1892 copy stands in front of the Philadelphia Museum of Art. The companion piece is Amazone zu Pferde, also installed outside the Altes M.

 

Carl Conrad Albert Wolff (14 November 1814, Neustrelitz – 20 June 1892, Berlin) was a German sculptor, and medallist.

 

Life and work

His father was the architect and sculptor Christian Philipp Wolff, who died when Albert was only six. At the age of seventeen, he followed in the footsteps of his older brother and moved to Berlin, where he found a position in the workshop of his father's friend Christian Daniel Rauch and took night classes in anatomical drawing at a local art school. In 1844, he was sent to Carrara (where the best marble could be found) to produce statues for the terrace of Sanssouci.

 

After two years in Italy, he returned to Berlin, assisting Rauch on a monument of Frederick the Great, but he also worked free-lance, producing a fountain with Countess Anna Raczynska (1823-1906) represented as Hygieia (in Posen) and a marble crucifix for a church in Kamenz. Shortly after, he opened his own workshop. In addition to his larger works, he produced many smaller figures, statuettes and decorations that were widely copied.

 

In 1866, he was appointed a Professor at the Prussian Academy of Art and had many students who would become well-known, including his own son Martin. He was named an honorary member of the Dresden Academy of Fine Arts in 1881.

 

Selected major works

Equestrian statue of Ernest Augustus, King of Hanover, in Hanover

Equestrian statue of King Friedrich Wilhelm III with several base figures, in the Lustgarten, Berlin. The statue was unveiled on 16 June 1871. It was damaged during World War II and demolished by the German Democratic Republic (GDR) government. Die Allegorie der Wissenschaft (The Allegory of Science) and Clio – the Muse of History statues survived and are located near St. Nicholas' Church, Berlin.

Statue of Grand Duke Friedrich Franz I in Ludwigslust.

Figure, "Löwenkämpfer" (The Lion Fighter), at the Altes Museum. A copy may be seen at the Philadelphia Museum of Art.

Figure group, "Der Jüngling wird von Athena in neuen Kampf geführt" (Young Man Led to a New Battle by Athena), on the Schlossbrücke (Castle Bridge) in Berlin-Mitte.

Marble group, "Bacchus with Panther", in the Alte Nationalgalerie.

Bronze relief of victorious troops at the base of the Berlin Victory Column.

Bronze group, "Löwe seine Jungen gegen eine Riesenschlange verteidigend" (Lion Defending its Young Against a Giant Snake), on the square in front of the Criminal Justice Building in Moabit. It was later moved to the new Court Building on Wilsnacker Straße.

 

The Altes Museum (English: Old Museum) is a listed building on the Museum Island in the historic centre of Berlin, Germany. Built between 1825 and 1830 by order of King Frederick William III of Prussia according to plans by Karl Friedrich Schinkel, it is considered a major work of German Neoclassical architecture.[1] It is surrounded by the Berlin Cathedral to the east, the Berlin Palace to the south and the Zeughaus to the west. Currently, the Altes Museum houses the Antikensammlung and parts of the Münzkabinett.[2] As part of the Museum Island complex, the Altes Museum was listed as a UNESCO World Heritage Site in 1999, in recognition of its testimony to the development of the museum as a social and architectural phenomenon.[3]

 

History

Planning and location

In the early nineteenth century, Germany's bourgeoisie had become increasingly self-aware and self-confident. This growing class began to embrace new ideas regarding the relationship between itself and art, and the concepts that art should be open to the public and that citizens should be able to have access to a comprehensive cultural education began to pervade society. King Friedrich Wilhelm III of Prussia was a strong proponent of this Humboldtian ideal for education and charged Karl Friedrich Schinkel with planning a public museum for the royal art collection.

 

Schinkel's plans

Schinkel's plans for the Königliches Museum, as it was then known, were also influenced by drafts of the crown prince, the future King Friedrich Wilhelm IV, who desired a building that was heavily influenced by Classical antiquity. The crown prince even sent Schinkel a pencil sketch of a large hall adorned with a classical portico.[citation needed]

 

Schinkel's plans incorporated the Königliches Museum into an ensemble of buildings, which surround the Berliner Lustgarten (pleasure garden). The Stadtschloss in the south was a symbol of worldly power, the Zeughaus in the west represented military might, and the Berliner Dom in the east was the embodiment of divine authority. The museum to the north of the garden, which was to provide for the education of the people, stood as a symbol for science and art—and not least for their torchbearer: the self-aware bourgeoisie. For the front facing the Lustgarten, a simple columned hall in grand style and proportionate to the importance of the location would most certainly give the building character. The arrangement of the eighteen Ionic columns was effected by the Lustgarten. The portico was designed with a function in order to give the museum building an exterior befitting its site, in which the monuments can be placed.

  

Altes Museum, c. 1830

Schinkel had developed plans for the Königliches Museum as early as 1822/23, but construction did not begin until 1825. Construction was completed in 1828 and the museum was inaugurated on 3 August 1830.[4] Schinkel was also responsible for the renovation of the Berliner Dom, originally a Baroque cathedral, in the Neoclassical style, and he exercised considerable influence on Peter Joseph Lenné's renovation of the Lustgarten, which coincided with the construction of the museum, resulting in a harmonized and integrated ensemble.[according to whom?]

 

Museum Island

In 1841, King Friedrich Wilhelm IV announced, in a royal decree, that the entire northern part of the Spree Island (now known as Museum Island) "be transformed into a sanctuary for art and science". In 1845, with the completion of the Neues Museum ("New"), the Königliches Museum was renamed the Altes Museum ("Old"), a name it holds to this day.

  

Historical photograph of the Altes Museum, before 1854

 

Altes Museum, 1950

 

Types of Ancient Greek helmets, Antikensammlung Berlin

With the completion of the Neues Museum by Friedrich August Stüler in 1855, Museum Island began to take form. This was followed by the Nationalgalerie (now the Alte Nationalgalerie) by Johann Heinrich Strack (1876), the Kaiser-Friedrich-Museum (now the Bodemuseum) by Ernst von Ihne after plans by Stüler (1904), and the Pergamonmuseum by Alfred Messel and Ludwig Hoffmann (1930). Thus, Museum Island evolved into the institution it is today.

 

Julius Carl Raschdorff's 1894–1905 reconstruction of the Berliner Dom into a neo-Renaissance cathedral (replacing the classical cathedral designed by Schinkel) severely disrupted the classical ensemble, especially since the new cathedral has significantly larger dimensions than its predecessor.

 

Content of the museum

The royally appointed commission, which was responsible for the conception of the museum, decided to display only "High Art" in the proposed building, which included Old Master paintings and prints and drawings on the upper floor, as well as Classical sculpture from ancient Greece and Rome on the ground floor. This precluded the incorporation of ethnography, prehistory and the excavated treasures of the ancient Near East from Assyria, Persia, and elsewhere); instead, these artifacts were primarily housed in Schloss Monbijou.

 

20th century

During the Nazi era, the Altes Museum was used as the backdrop for propaganda, both in the museum itself and upon the parade grounds of the redesigned Lustgarten. Close to the end of Second World War, the building was badly damaged when a tank truck exploded in front of it, and the frescoes designed by Schinkel and Peter Cornelius, which adorned the vestibule and the back wall of the portico, were largely lost.

 

Under General Director Ludwig Justi, the building was the first museum of Museum Island to undergo reconstruction and restoration, which was carried out from 1951 to 1966 by Hans Erich Bogatzky and Theodor Voissen. Following Schinkel's designs, the murals of the rotunda were restored in 1982. However, neither the ornate ceilings of the ground floor exhibition rooms nor the pairs of columns under the girders were reconstructed. The former connection to the Neues Museum has also not been rebuilt; instead, an underground passageway connecting all of the museums of Museum Island is planned as part of the Museumsinsel 2015 renovations.

 

The Berlin Cathedral at the Lustgarten on Museum Island is a Protestant church in the Mitte district of Berlin . Built between 1894 and 1905 according to designs by Julius Raschdorff in the Neo-Renaissance and Neo-Baroque styles, the monument is the largest Protestant church in Germany in terms of area and one of the most important dynastic burial sites in Europe. In addition to church services , the cathedral is also used for state acts , concerts and other events.

 

Since the monument church on the north side was demolished in 1975, the Berlin Cathedral has consisted of the large sermon church in the middle, the smaller baptismal and wedding church on the south side and the Hohenzollern crypt , which takes up almost the entire basement. Severely damaged in the Second World War , the cathedral exterior was simplified by 1984 and the cathedral interior was restored true to the original by 2002. The Hohenzollern Crypt is scheduled to be comprehensively renovated and modernized by 2023. A subsequent reconstruction of the monument church to restore the original program of the Berlin Cathedral is currently being discussed in expert circles.

 

Dimensions

Originally the cathedral was 114 meters long, 73 meters wide, 114 meters high and offered 2,100 seats. Due to the demolished monument church, the simplified rebuilt dome and the magnificent sarcophagus moved to the sermon church, it is now 90 meters long, 98 meters high and offers 1,390 seats. The dome has a diameter of 33 meters. With an area of ​​6,270 square meters, it is the largest Protestant church in Germany.

 

History

The history of a cathedral on the Spree Island goes back to the 15th century. In the newly completed castle , the Erasmus Chapel was consecrated as a court church in 1450 . The collegiate foundation located here was confirmed by Pope Paul II in 1465 .

 

After Joachim II became elector in 1535, he had the Dominican church south of the castle converted into the new court church. The medieval brick church of the Dominicans in the Gothic style was expanded, richly furnished, princely burial places were set up and bells were installed. The new cathedral was consecrated in 1536. In 1539, Joachim II converted to the Lutheran faith: the Catholic cathedral became a Protestant cathedral. In 1608 the cathedral chapter was also dissolved and the cathedral became the highest parish church in Cölln .

 

The conversion of Elector Johann Sigismund and his court to the Reformed confession on Christmas Day 1613 [8] in the cathedral and its subsequent transformation in the Reformed spirit resulted in conflicts with the estates and the Lutheran Church of the Kurmark. In April 1615, the residents of Berlin and Cölln erupted in the so-called Berlin Tumult with serious riots and looting of the homes of the Calvinist court clergy.

 

Second Cathedral 1747–1894

Since the brick church had become dilapidated in the following centuries, Frederick II had a new baroque building built on the Lustgarten, the current location of the cathedral, between 1747 and 1750 and, after the electoral coffins had been transferred to the new building, the old cathedral was demolished. The architects of this new building, which was inaugurated on September 6, 1750, were Johann Boumann , who came from the Netherlands and had a very sober concept of the Baroque, and Georg Wenzeslaus von Knobelsdorff .

 

At the beginning of the 19th century, Karl Friedrich Schinkel redesigned the cathedral in a simple variant of the then modern classicism , the interior in 1816/1817, the external appearance in 1820/1821. The lead civil engineer (government construction manager) during the renovation was Schinkel's student and later Mecklenburg-Strelitz court architect Friedrich Wilhelm Buttel .

 

During the 19th century it was discussed whether the existing, modest Schinkel Cathedral, which was a reconstruction of the baroque cathedral church built under Frederick the Great, would be able to meet the representational demands of the monarchy for any longer. At the instigation of King Frederick William IV, it was decided to build a new, more magnificent cathedral church, which would be a two-towered basilica with a three-aisled nave based on the Italian model. Friedrich August Stüler , a student of Schinkel, provided the designs . The first construction work has begun. The foundation walls with the emerging apses were built in the Spree . The high walls of the planned royal burial site and Hohenzollern burial place, the so-called Campo Santo by King Friedrich Wilhelm IV, have also been built next to the cathedral. The royal washhouse located at this location had previously been demolished. The revolution of 1848 initially interrupted construction work. In the subsequent reaction era , public interest in the basilica project waned in favor of a dome building project. In addition, the court received a new, magnificent court church in 1854 with the completion of the castle dome. In the meantime, the House of Representatives in Prussia decided on the state budget . The majority were unwilling to finance the king's ambitious building projects. This meant that construction work came to a standstill for decades in 1848.

 

After the founding of the empire , there was a renewed call for a representative church that could compete with the world's large churches and at the same time impressively replace the previous Protestant churches. In 1885, the architect Julius Carl Raschdorff , a professor at the Charlottenburg University of Technology , presented plans for a new building. But it was William II, in his capacity as King and Summus Episcopus in Prussia , who ordered the demolition of the Schinkel Cathedral and the construction of a new cathedral according to Raschdorff's plans, which were characterized by an eclectic adaptation of architectural forms from the Italian High Renaissance and the Baroque.

 

The foundation stone for this building was laid on June 17, 1894, with the aim of inaugurating the building in 1900. However, construction delays meant that this could not take place until February 27, 1905.

 

A cathedral construction administration headed by the architect Julius Raschdorff (master cathedral builder since July 2, 1892) was responsible for the new cathedral. This construction administration consisted of two departments, a first department for the preparation of the construction and execution plans and the supervision of the construction models and a second department for the actual construction execution and its supervision as well as the accounting (with measurements and billing of a not simple complexity). The first department, which was also responsible for artistic planning, was headed by Julius Raschdorff's son Otto, with Wilhelm II exerting influence on the design of the cathedral throughout the entire construction period. The painter Anton von Werner changed his designs for the design of the dome mosaic fields, the mosaic images of the evangelists and window designs in the apse of the cathedral church according to Wilhelm's personal wishes. Building officer Julius Kleinau was responsible for the management of the second construction department by the cathedral construction administration , who was assisted by the later cathedral builder Bernhard Hoffmann and who was supported in construction management by the architect Moritz Korn until 1896 .

 

Heinrich Müller-Breslau was responsible for the static calculations and the design of the steel structure of the dome .

 

The main altar from the previous building, created in 1850 by Friedrich August Stüler, found its place in the new building. Carl Joseph Begas designed the altarpiece of the baptismal and wedding church.

 

The sarcophagus of Emperor Friedrich III was preserved in the Hohenzollern Crypt. , which had stood in the mausoleum in Potsdam after his death , has its new place here. For this occasion, Reinhold Begas commissioned Kaiser Wilhelm II to create a new sarcophagus made of Greek marble, which was completed in November 1905.

 

The cathedral was equipped with electric lighting at an early stage, which initially consisted of arc and Nernst lamps . In addition, the organ's fan was powered by motor power, as were the bells, and in 1905 there was already an electric passenger elevator.

 

Destruction and reconstruction

During the Second World War, the cathedral suffered increasingly serious damage. First, all the altar windows were destroyed in an Allied air raid on the neighboring Burgstrasse, and there were major cracks in the domes of the corner towers. Later, during one of the strongest air raids on Berlin on May 24, 1944, the dome and its lantern were badly hit. A canister filled with liquid fuel set fire to the wooden cladding under the copper covering, which was lined with peat as insulation. The firefighters who responded were unable to reach the source of the fire. The entire dome lantern then fell into the interior of the cathedral, breaking through the floor of the sermon church with its enormous weight and damaging large parts of the Hohenzollern crypt below . It is said that the cathedral organist Fritz Heitmann is said to have played on the organ even with the dome open, which was protected from the falling rubble. The attack also damaged the memorial church and again the four towers. After the war, the cathedral was considered 25 percent destroyed. Thieves later caused extensive damage to the organ. They stole around a third of the pipes and tore out the pneumatic action lines in order to sell the metal.

 

After the sermon church had become unusable, the cathedral community gathered for the first time at Pentecost 1944 in a section of the Hohenzollern crypt that was specially separated for this purpose under the monument church. Converted into a cathedral crypt church , it was used for church services by the cathedral community, apart from an interruption from spring to September 1945, and equipped with the Schuke organ since 1946. Until his departure in 1960, the cathedral preacher Bruno Doehring preached here every Sunday to around a thousand believers. Closed in 1971 after the makeshift restoration of the baptismal and wedding church, the reduced cathedral crypt church was used again in the years 1975–1980 during the restoration work in the baptismal and wedding church.

 

The dome had been able to maintain its shape, but now there was a large hole in the middle. The sermon church, already badly damaged by dust and debris, suffered further damage from the following weather, as did the dome mosaics . In order to protect the interior of the cathedral, the only option was to close the dome as quickly as possible. The city council therefore decided to provide emergency aid in 1948, but the necessary work could not be completed until 1953. The crypt was not renovated and was not open to the public during these years.

 

After emergency repairs, the cathedral was usable again except for the memorial and sermon churches. From 1945 until the beginning of the restoration in 1975, it served as the headquarters of the theological faculty of Humboldt University and the theological branch library of the university library .

 

After lengthy discussions about the design of the East Berlin city center, in which the demolition of the cathedral or its reuse in a different form was discussed several times, the GDR government decided in 1975 to rebuild the cathedral. In principle, the state buildings of the Palace of the Republic with the People's Chamber , the State Council Building and the Foreign Ministry of the GDR , which have now been built on Marx-Engels-Platz, should not be impaired in their effectiveness by a fully restored testament to the Empire.

 

Therefore, she had the damaged monument church on the north side and the undamaged underpass on the southwest tower demolished. The main dome and the four tower ends were not given their original shape, but were greatly simplified and reduced in height by 16 meters each. What was particularly noticeable was the removal of all end lanterns and a completely new dome cross. Furthermore, when the monument church was removed, the marble Bismarck epitaph created by Reinhold Begas was destroyed ] and the magnificent sarcophagi of the Hohenzollerns were relocated to the now smaller crypt church. 204 facade elements of the monument church were moved to a depot in Ahrensfelde , where they remain to this day. By 1983, this work had progressed so far that the extensive reconstruction of the interior was carried out by 1993. Both the imperial staircase and the central sermon church were restored according to Raschdorff's original plans. The south portal also received the bronze door of reconciliation by Siegfried Krepp . This was followed by the installation of the colored choir windows and the restoration of the dome mosaics, the last section of which was ceremoniously unveiled in 2002. This also included the comprehensive cleaning of the Sauer organ .

 

According to fellow actor Manfred Stolpe at the time, the costs for the reconstruction of the Berlin Cathedral were originally estimated at 45 million currency marks , which the Evangelical Church of Germany and the government of the Federal Republic of Germany paid in the amount of 45 million German marks. This sum was confirmed by Ludwig Geißel , negotiator on behalf of the EKD .

 

In October 1974, the GDR government also promised an annual subsidy of 200,000 GDR marks for the maintenance of the Berlin Cathedral, thus fulfilling one of the contractual partners' conditions. Previously, there was allegedly a GDR demand that negotiations on church building programs in the GDR only take place at the same time as negotiations on the reconstruction of the Berlin Cathedral.

 

In 1976, a supplementary payment was made to the already paid construction costs of 45 million D-Marks in the amount of 20.5 million D-Marks, a total of now 65.5 million D-Marks.

 

The actual costs for the reconstruction of the Berlin Cathedral until its completion in 1993 amounted to 150 million German marks and were also paid by the two donors mentioned. The reconstruction was the largest Protestant church building project on German soil in the post-war period and at the same time the longest-standing and most extensive sacred building cooperation between the Federal Republic of Germany and the GDR.

 

In March 2019 it became known that the facade was crumbling due to the influence of soot, rain and exhaust fumes and would have to be renovated for 1.6 million euros by 2023. A fundraising campaign was started for this purpose.

 

Historic dome

The dismantling of the domed cross sparked a discussion about whether the five dome lanterns that adorned the structure before the war should be put back up. Critics of the domed cross from GDR times particularly complain that the originally implemented proportions of the building are only inadequately reproduced with the reduced solution. Accordingly, the Evangelical Church Building Association in particular campaigned for a reconstruction of the original state and also received support for this from the Historical Berlin Society . In the dispute over this, however, the critics were rejected by the cathedral community, which was negative about this request. The fact that the current condition has been placed under monument protection also makes reconstruction more difficult . The historical dome construction of the substructure, however, was nominated for the award as a historical landmark of civil engineering in Germany in 2007 .

 

Dome cross

At the beginning of December 2006, the lantern crown that was placed on the cathedral dome during the reconstruction in 1981 was removed. The cathedral construction office called in structural engineers after rust damage was discovered under the gold-plated copper sheet cladding in August 2006. The reports found that the stability of the 12.5 tonne and 15 meter high domed cross was no longer guaranteed in storms. [31] Since the structure made of hollow steel forms was completely eroded inside and out, it could not be restored.

 

The damage was due to bimetallic corrosion , which occurs when different noble metals (here: copper and steel) are combined and leads to corrosion of the less noble metal (here: steel). In the 1970s, the KT steel used (corrosive steel, Corten steel ) was believed to have more favorable material properties. Due to the damage pattern, other roof structures with comparable material combinations also had to be inspected for damage, e.g. B. the balls on the four corner towers and the copper-driven figural decorations.

 

The reconstruction of the domed cross in the 1981 version was carried out by the metal construction company Breidenbach from Peiting in Upper Bavaria . The new cross was then covered with 1.5 kilograms of gold leaf by Berlin specialists . On August 19, 2008, it was lifted onto the cathedral dome by a 500-ton crane. Of the 1.2 million euros in costs incurred in the renovation work on the Berlin Cathedral, 700,000 euros went to the new domed cross. The old domed cross was moved - albeit without the dome crown - to the cemetery of the upper parish and cathedral church on Liesenstrasse.

 

There is a wreath around the dome on which 20 copper angel figures are enthroned at regular intervals. These were refurbished by Kunstschmiede Berlin during repairs from 1978 to 1981 , and some of them were completely renewed. At a height of 50 m, a viewing platform open to the public extends around the drum and offers a 360° view of Berlin.

 

Facilities

In the center of the dome there is a round window that shows the Holy Spirit dove in a halo. Below you can see eight large-format mosaics depicting the beatitudes of the Sermon on the Mount . They were created by Anton von Werner , who also created the mosaics of the four evangelists in the niches of the vault pillars. The chancel windows depicting the birth of Jesus, crucifixion and resurrection as well as angels with the symbols of death, faith, love and hope were also created by him. On the cornices of the half-columns in the church interior there are four meter high sandstone statues of the four reformers Calvin , Luther , Melanchthon and Zwingli on the altar side , and on the opposite side, around the imperial box, that of the four secular rulers Albrecht of Prussia , Joachim II , Friedrich the Wise and Philip the Magnanimous , who were promoters of the Reformation. The figures were selected by December 1902, and the sculptors Friedrich Pfannschmidt , Gerhard Janensch , Alexander Calandrelli , Harro Magnussen , Karl Begas , Walter Schott and Max Baumbach were commissioned to produce the sculptures. Between two figures above the cone-like niches, four bas-reliefs by Otto Lessing show scenes from the Acts of the Apostles (stoning of Stephen , conversion of Paul , Peter in Athens , healing of a lame man).

 

Under the organ gallery there are baroque sarcophagi for the Great Elector Friedrich Wilhelm and his second wife Dorothea , as well as a bronze table tomb for Elector Johann Cicero and a grave monument for Friedrich III. Under the south gallery there are two gilded ceremonial coffins for King Frederick I and Sophie Charlotte . These were created by Andreas Schlüter . Schlüter also designed the eagle lectern from 1701 in front of the chancel. The gold-plated original of this lectern is in the Cathedral Museum.

 

The altar table made of white marble and yellowish onyx , created by Friedrich August Stüler , represents a mixture of a Lutheran block altar and a Reformed table altar and thus illustrates the merger of the two churches to form the Uniate Church in Prussia. The choir screen of the old cathedral was installed behind the altar as an altar wall. It is made of gilded bronze and is decorated with replicas of the apostle figures from Sebald's grave in Nuremberg .

 

In the area of ​​the main altar there are two floor candelabra made of gilded iron. Like the Apostle choir screen, they were designed by Karl Friedrich Schinkel (for the previous building). They were sculpturally designed by the Berlin sculptor Theodor Kalide (for installation in the Berlin Cathedral by Raschdorff, the chandelier was increased and provided with historic additions).

 

The design for the pulpit, carved from oak, came from Otto Raschdorff , the son of the cathedral builder, who also designed the organ front. Above the organ, cartouche images show Jesus Christ as judge of the world in an angelic glory. The stucco cartouches above the other galleries were also intended for pictures, but remained unadorned for cost reasons.

 

For ceremonial occasions, the Berlin Cathedral has a lecture cross by the Bavarian artist Helmut Ulrich . The cross is made of rose quartz, rock crystal and yellow aragonite. Since lecture crosses have become a rarity in Protestant communities, often as a demarcation from Catholic liturgy , this cross is a special feature of the Berlin Cathedral.

 

The most magnificent gallery in the church is the imperial box. On the parapet there is a coat of arms with an imperial eagle , which is crowned by a crown with a cross and thus represents the connection between church and state.

 

The Hohenzollern Crypt, which takes up almost the entire basement of the Berlin Cathedral, is the most important dynastic burial site in Germany. Together with the Capuchin Crypt in Vienna , the Cathedral of Saint-Denis near Paris and the El Escorial Monastery near Madrid , it is one of the most important dynastic burial sites in Europe. A total of 94 members of the House of Hohenzollern found their final resting place there from the end of the 16th to the beginning of the 20th century. This also includes electors and kings who significantly shaped the history of Brandenburg and Prussia .

 

Together with the magnificent sarcophagi, which were originally spacious in the monument church and have been cramped in the sermon church since their demolition in 1975, the coffins bear witness to 500 years of European burial culture. In addition to some elaborate stone and metal sarcophagi, which represent all artistic styles from the late Gothic onwards , the Hohenzollern Crypt also contains particularly rare wooden coffins that are covered with textiles such as velvet or brocade . During the Second World War, bomb hits severely damaged the tomb and almost completely destroyed some coffins. Since reopening on November 20, 1999 , the Hohenzollern Crypt has received around 720,000 visitors per year. It is expected to be renovated and made barrier-free by 2023 for around 18.6 million euros .

 

The above-mentioned magnificent sarcophagi in the Sermon Church are dedicated as cenotaphs to King Frederick I and Queen Sophie Charlotte, Emperor Frederick III, Elector Johann Cicero, Elector Frederick William I and Elector Dorothea. Except for the lost bones of Elector Johann Cicero, whose tomb is the oldest in the cathedral, [57] their remains are in stone sarcophagi with wooden inner coffins in the Hohenzollern crypt.

 

In the Hohenzollern Crypt there are, among other things: The following people are buried (in chronological and family order):

 

(Note: The numbering corresponds to that on the coffins)

No. 3: Elector Johann (1525–1598) ⚭ No. 4: Elisabeth of Anhalt (1563–1607), daughter of Joachim Ernst of Anhalt

No. 2: Elisabeth Magdalene of Brandenburg (1537–1595), daughter of Elector Joachim II , (the oldest coffin in the Hohenzollern crypt)

No. 5: Elector Joachim Friedrich (1546–1608) ⚭ First marriage: No. 6: Katharina of Brandenburg-Küstrin (1549–1602), daughter of Johann of Brandenburg-Küstrin

No. 8: Elector Johann Sigismund (1572–1620)

No. 15: Joachim Sigismund of Brandenburg (1603–1625)

No. 16: Albrecht Christian (1609–1609)

No. 9: August of Brandenburg (1580–1601)

No. 10: Albert Friedrich of Brandenburg (1582–1600)

No. 12: Joachim of Brandenburg (1583–1600)

No. 13: Ernst (1583–1613)

Elector Joachim Friedrich ⚭ Second marriage: No. 7: Eleonore of Prussia (1583–1607), daughter of Albrecht Friedrich of Prussia

No. 18: Catharina Sophia (1594–1665), daughter of Frederick IV of the Palatinate

No. 17: Elisabeth Charlotte of the Palatinate (1597–1660), wife of Elector Georg Wilhelm , daughter of Elector Friedrich IV of the Palatinate

No. 14: Anna Sophia (1598–1659)

No. 20: George (1613–1614)

No. 11: Albrecht (1614–1620)

No. 21: Catharina Sibylla (1615–1615)

No. 22: Ernst (1617–1642)

No. A: Elector Friedrich Wilhelm (1620–1688) ⚭ First marriage: No. 24: Luise Henriette of Orange (1627–1667), daughter of Friedrich Heinrich (Oranien)

No. 28: Wilhelm Heinrich (1648–1649)

No. 47: Karl Emil of Brandenburg (1655–1674)

No. D: King Frederick I in Prussia (1657–1713) ⚭ First marriage: No. 45: Elisabeth Henriette of Hesse-Kassel (1661–1683), daughter of Landgrave Wilhelm VI. from Hesse-Kassel

King Frederick I. ⚭ Second marriage: No. C: Sophie Charlotte of Hanover (1668–1705), daughter of Ernst August, Elector of Hanover

No. 48: Friedrich August (1685–1686)

No. 26: Heinrich (1664–1664)

No. 27: Amalia (1664–1665)

No. 30: Ludwig of Brandenburg (1666–1687)

Elector Friedrich Wilhelm ⚭ Second marriage: No. B: Dorothea Sophie of Schleswig-Holstein-Sonderburg-Glücksburg (1636–1689), daughter of Philipp (Schleswig-Holstein-Sonderburg-Glücksburg) (1584–1663)

No. 31: Philipp Wilhelm of Brandenburg-Schwedt (1669–1711)

No. 91: Albrecht Friedrich of Brandenburg-Schwedt (1672–1731) ⚭ Marie Dorothea of ​​Courland (1684–1743), daughter of Duke Friedrich II Casimir Kettler of Courland

No. 92: Friedrich (1704–1707)

No. 39: Karl Friedrich Albrecht of Brandenburg-Schwedt (1705–1762)

No. 38: Louise (1709–1726)

No. 40: Frederick of Brandenburg-Schwedt (1710–1741)

No. 94: Friedrich Wilhelm of Brandenburg-Schwedt (1714–1744)

No. 34: Karl Philipp von Brandenburg-Schwedt (1673–1695)

No. 95: Christian Ludwig of Brandenburg-Schwedt (1677–1734)

No. 29: Dorothea (1675–1676)

No. 11: Johann Sigismund (1624–1624)

No. 49: Sophie Dorothea of ​​Hanover (1687–1757), wife of King Frederick William I of Prussia , daughter of King George I of Great Britain

No. 50: Friedrich Ludwig (1707–1708)

No. 51: Friedrich Wilhelm (1710–1711)

No. 53: Charlotte Albertine (1713–1714)

No. 58: August Wilhelm of Prussia (1722–1758) ⚭ No. 59: Luise Amalie of Braunschweig-Wolfenbüttel (1722–1780), daughter of Ferdinand Albrecht II of Braunschweig

No. 61: King Friedrich Wilhelm II of Prussia (1744–1797) ⚭ No. 62: Friederike of Hesse-Darmstadt (1751–1805), daughter of Landgrave Ludwig IX. from Hesse-Darmstadt

No. 64: Wilhelmine (1772–1773)

No. 65: Friedrich Ludwig Karl of Prussia (1773–1796), called Louis

No. 66: Friedrich Wilhelm Karl Georg (1795–1798)

No. 63: (Son) (1777)

No. 88: Karl Heinrich von Prussia (1781–1846), Grand Master of the Prussian Knights of St. John

No. 87: Wilhelm of Prussia (1783–1851) ⚭ No. 84: Maria Anna Amalie of Hesse-Homburg (1785–1846), daughter of Landgrave Frederick V of Hesse-Homburg

No. 79: Wilhelm (1811–1813)

No. 89: Adalbert of Prussia (1811–1873)

No. 74: Thassilo (1813–1814)

No. 86: Waldemar of Prussia (1817–1849)

No. 56: Henry of Prussia (1747–1767)

No. 60: Georg Karl Emil (1758–1759)

No. 55: Anna Amalie of Prussia (1723–1787)

No. 67: Ferdinand of Prussia (1730–1813) ⚭ No. 68: Anna Elisabeth Luise of Brandenburg-Schwedt (1738–1820), daughter of Friedrich Wilhelm of Brandenburg-Schwedt (1700–1771)

No. 71: Friederike Elisabeth Dorothea Henriette Amalie (1761–1773)

No. 70: Friedrich Heinrich Emil Carl (1769–1773)

No. 72: Ludwig (1771–1790)

No. 73: Louis Ferdinand Prince of Prussia (1772–1806)

No. 69: Friedrich Paul Heinrich August (1776–1776)

No. 75: August of Prussia (1779–1843)

No. 32: Friederike of Brandenburg-Schwedt (1700–1701)

No. 33: Georg Wilhelm of Brandenburg-Schwedt (1704–1704)

No. 54: Elisabeth Christine of Braunschweig-Bevern (1715–1797), wife of King Frederick II , daughter of Duke Ferdinand Albrecht II of Braunschweig

No. 52: Ludwig (1717–1719)

No. 57: Wilhelmine of Hesse-Kassel (1726–1808), wife of Henry Prince of Prussia , daughter of Landgrave Maximilian of Hesse-Kassel

No. 81: Philippine of Brandenburg-Schwedt (1745–1800), wife of Landgrave Frederick II of Hesse-Kassel , daughter of Friedrich Wilhelm of Brandenburg-Schwedt (1700–1771)

No. 76: Nameless Princess (1794), daughter of King Friedrich Wilhelm III. of Prussia

No. 77: Friederike (1799–1800), daughter of King Friedrich Wilhelm III. of Prussia

No. 78: Ferdinand (1804–1806), son of King Friedrich Wilhelm III. of Prussia

No. 83: Nameless Prince (1806), son of Prince William of Orange

No. 82: Friedrich Wilhelm Ferdinand of Hesse-Kassel (1806–1806), son of Landgrave Wilhelm of Hesse-Kassel

No. 80: Nameless Prince (1832), son of Prince Albrecht of Prussia

No. 88: Anna (1858–1858), daughter of Prince Friedrich Karl of Prussia

No. 93: unknown

It's been a year since I made a clothing item and I came back at it with what I think is a beautiful and inspired jacket.

 

This handmade spring jacket combines linen and cotton fabrics for a light and airy feel, floral prints, hand stitching details, and a waist belt. Would be beautiful for a brazen self confident woman in role play or just a romantic boho women on the scene.

 

Comes in 7 different versions, the Khaki proceeds go 100% to charity. The Collector is HUD driven to pick between the 6 different jackets and change the belt color interdependently.

 

East-German postcard by VEB Progress Film-Vertrieb, Berlin, no. 14/71, 1970. Retail price: 0,20 MDN. Photo: Uhlenhut.

 

German actress Heidemarie Wenzel (1945) became known in DEFA films of the early 1970s, such as Zeit der Störche/Time of the storks (1971) and Nemuritorii (1974).

 

Heidemarie Wenzel was born in 1945 in Berlin, Germany. During her youth, she played in the children's theatre and in the movement choir of the Deutschen Staatsoper (German State Opera). From 1963 to 1966 she studied at the Hochschule für Schauspielkunst Ernst Busch (Ernst Busch Academy of Dramatic Arts) in Berlin. After graduation she got her first engagements in Rostock and Greifswald. Very soon she began to work as a freelance actress in film and on television. Her first major role was as Fanny in the film adaptation of Johannes R. Becher's novel Abschied/Farewell (Egon Günther, 1968), starring Rolf Ludwig and Jan Spitzer. The film was heavily criticised by officials in the GDR because of the unusual narrative style. Wenzel had her breakthrough in the role of the self-confident teacher Susanne in Zeit der Störche/Time of the storks (Siegfried Kühn, 1971), opposite Winfried Glatzeder. In Die Taube auf dem Dach/The Dove on the Roof (Iris Gusner, 1973), she was able to show her acting talent properly for the first time, however, the film was banned even before its premiere. The pretty, tall, slender and blonde actress was both open-minded and intelligent as well as introverted. She was often cast for contemporary roles as in Die Legende von Paul und Paula/The Legend of Paul und Paula (Heiner Carow, 1973), starring Angelica Domröse and Winfried Glatzeder. This was the most succesful film of the DEFA in its history.

 

Until the mid-1970s, Heidemarie Wenzel played several more major roles, but then she got less and less good offers, as she was considered politically unreliable. In 1986 she made an exit request and was not occupied in the following years. Therefore, she had to work as an office assistant at the church. In 1988 she was expatriated to the Federal Republic (West-Germany). From 1991, she became a star in both West and East Germany in the TV series Unsere Hagenbecks/Our Hagenbecks (1991-1994) about a family who runs a zoo in Hamburg. When her character died in an accident, it came to public protests. In the 1990s Wenzel also appeared more often in the theatre. Her later series include the popular hospital soap In aller Freundschaft/In all Friendliness (1998) with Rolf Becker. The series follows the staff of the fictional Sachsenklinik hospital in the city of Leipzig. Wenzel lives in Berlin-Tempelhof. She has a son and a daughter. In her first marriage Wenzel was married to the director Kurt Veth, which is why she was also credited at times as Heidemarie Wenzel-Veth. Since 1977, she is married to the director and author Helmut Nitzschke.

 

Sources: Wikipedia and IMDb.

 

And, please check out our blog European Film Star Postcards.

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Berlin war zu Beginn des 20. Jahrhunderts der wichtigste Telegraphen-Knotenpunkt in Europa. Postbaurat Wilhelm Waltger und Architekt Max Lehmann errichteten zwischen 1910 und 1916 das Haupttelegraphenamt, ein prachtvolles Beispiel einer selbstbewussten Industriebauweise im Stil des Neobarocks. Nach dem Ende des Ersten Weltkriegs wurde es technisch hochwertig ausgestattet und beherbergte die modernste Technik, die in den Zwanziger- und Dreißigerjahren des 20. Jahrhunderts verfügbar war. Im Jahr 1916 nahm im Kellergeschoss des Gebäudes die Stadtrohrpostzentrale ihre Dienste auf. Das Gebäude beherbergt heute auf großzügigen modernen Büroflächen eine Anzahl weltweit agierender IT-Unternehmen, zwei moderne Eventflächen und das Lifestyle Hotel "Telegraphenamt".

 

Text einer Informationstafel vor dem Hoteleingang

 

At the beginning of the 20th century, Berlin was the most important telegraph hub in Europe. Between 1910 and 1916, the postal building supervisor Wilhelm Walter and architect Max Lehmann built the main telegraph office - a magnificent example of self-confident industrial architecture in neo-Baroque style. After the end of World War I, it was equipped to a high technichal standard and housed the most modern technology available in the early decades of the 20th century. Berlin's tube system central office took up operation in the basement of the building in 1916. Today, the building houses a number of international IT companies in spacious and modern office spaces, along with two modern event spaces and the lifestyle hotel "Telegraphenamt".

 

Text of an information panel in front of the hotel entrance

Self-portrait in Straw Hat

French, 1755-1842

National Gallery, London

 

Vigée-Lebrun pausing in her work, looks directly at viewers to return their gaze.

 

Although painting in the Rococo era, nothing about her mood or pose speaks of Rococo frivolity. Hers is the self-confident stance of a woman whose art has won her an independent role in her society. She was famous for the force and grace of her portraits, especially those of highborn ladies and royalty.

 

One of the few woman admitted to The Academy, after the French Revolution her membership was rescinded, because women were no longer welcome in that organization. Her continued success after the Revolution was indicative of her talent, wit and ability to forge connections with those in power.

 

The painting appeared, after cleaning, to be an autograph replica of a picture, the original of which was painted in Brussels in 1782 in free imitation of Rubens's 'Chapeau de Paille', which Vigée Le Brun had seen in Antwerp. It was exhibited in Paris in 1782 at the Salon de la Correspondence. Vigée Le Brun's original is recorded being in a private collection in France.

 

St. Mary's Church in Lübeck (German: Marienkirche, officially St. Marien zu Lübeck) was built between 1250 and 1350. It has always been a symbol of the power and prosperity of the old Hanseatic city, and is situated at the highest point of the island that forms the old town of Lübeck. It is part of the UNESCO World Heritage Site of the old Hanseatic City of Lübeck.

 

St. Mary's epitomizes north German Brick Gothic and set the standard for about 70 other churches in the Baltic region, making it a building of enormous architectural significance. St Mary's Church embodied the towering style of French Gothic architecture style using north German brick. It has the tallest brick vault in the world, the height of the central nave being 38.5 metres.

 

It is built as a three-aisled basilica with side chapels, an ambulatory with radiating chapels, and vestibules like the arms of a transept. The westwork has a monumental two-tower façade. The height of the towers, including the weather vanes, is 124.95 metres and 124.75 metres, respectively.

 

St. Mary's is located in the Hanseatic merchants' quarter, which extends uphill from the warehouses on the River Trave to the church. As the main parish church of the citizens and the city council of Lübeck, it was built close to the town hall and the market.

 

HISTORY OF THE BUILDING

In 1150, Henry the Lion moved the Bishopric of Oldenburg to Lübeck and established a cathedral chapter. A wooden church was built in 1163, and starting in 1173/1174 this was replaced by a Romanesque brick church. At the beginning of the 13th century, however, it no longer met the expectations of the self-confident, ambitious, and affluent bourgeoisie, in terms of size and prestige. Romanesque sculptures from this period of the church's history are today exhibited at St. Anne's Museum in Lübeck

 

The design of the three-aisled basilica was based on the Gothic cathedrals in France and Flanders, which were built of natural stone. St. Mary's is the epitome of ecclesiastical Brick Gothic architecture and set the standard for many churches in the Baltic region, such as the St. Nicholas' Church in Stralsund and St. Nicholas in Wismar.

 

No one had ever before built a brick church this high and with a vaulted ceiling. The lateral thrust exerted by the vault is met by buttresses, making the enormous height possible. The motive for the Lübeck town council to embark on such an ambitious undertaking was the acrimonious relationship with the Bishopric of Lübeck. The church was built close to the Lübeck Town Hall and the market, and it dwarfed the nearby Romanesque Lübeck Cathedral, the church of the bishop established by Henry the Lion. It was meant as a symbol of the desire for freedom on the part of the Hanseatic traders and the secular authorities of the city, which had been granted the status of a free imperial city (Reichsfreiheit), making the city directly subordinate to the emperor, in 1226. It was also intended to underscore the pre-eminence of the city vis-à-vis the other cities of the Hanseatic League, which was being formed at about the same time (1356).

 

The Chapel of Indulgences (Briefkapelle) was added to the east of the south tower in 1310. It was both a vestibule and a chapel and, with its portal, was the church's second main entrance from the market. Probably originally dedicated to Saint Anne, the chapel received its current name during the Reformation, when paid scribes moved in. The chapel, which is 12 metres long, 8 metres deep, and 2 metres high, has a stellar vault ceiling and is considered a masterpiece of High Gothic architecture. It has often been compared to English Gothic Cathedral Architecture and the chapter house of Malbork Castle. Today the Chapel of Indulgences serves the community as a church during winter, with services from January to March.

 

In 1939 the town council built its own chapel, known as the Bürgermeisterkapelle (Burgomasters' Chapel), at the southeast corner of the ambulatory, the join being visible from the outside where there is a change from glazed to unglazed brick. It was in this chapel, from the large pew that still survives, that the newly elected council used to be installed. On the upper floor of the chapel is the treasury, where important documents of the city were kept. This part of the church is still in the possession of the town.

 

Before 1444, a chapel consisting of a single bay was added to the eastern end of the ambulatory, its five walls forming five eighths of an octagon. This was the last Gothic extension to the church. It was used for celebrating the so-called Hours of the Virgin, as part of the veneration of the Virgin Mary, reflected in its name Marientidenkapelle (Lady Chapel) or Sängerkapelle (Singers' Chapel).

 

In total, St Mary's Church has nine larger chapels and ten smaller ones that serve as sepulchral chapels and are named after the families of the Lübeck city council that used them and endowed them.

 

DESTRUCTION AND RESTAURATION

In an air raid by 234 bombers of the British Royal Air Force on 28–29 March 1942 – the night of Palm Sunday – the church was almost completely destroyed by fire, together with about a fifth of the Lübeck city centre, including Lübeck Cathedral and St. Peter's Church.

 

Among the artefacts destroyed was the famous Totentanzorgel (Danse Macabre organ), an instrument played by Dieterich Buxtehude and probably Johann Sebastian Bach. Other works of art destroyed in the fire include the Mass of Saint Gregory by Bernt Notke, the monumental Danse Macabre, originally by Bernt Notke but replaced by a copy in 1701, the carved figures of the rood screen, the Trinity altarpiece by Jacob van Utrecht (formerly also attributed to Bernard van Orley) and the Entrance of Christ into Jerusalem by Friedrich Overbeck. Sculptures by the woodcarver Benedikt Dreyer were also lost in the fire: the wooden statues of the saints on the west side of the rood screen and the organ sculpture on the great organ from around 1516–18 and Man with Counting Board. Also destroyed in the fire were the mediaeval stained glass windows from the St. Mary Magdalene Church (de), which were installed in St. Mary's Church from 1840 on, after the St. Mary Magdalene Church was demolished because it was in danger of collapse. Photographs by Lübeck photographers like William Castelli (de) give an impression of what the interior looked like before the War.

 

The glass window in one of the chapels has an alphabetic list of major towns in the pre-1945 eastern territory of the German Reich. Because of the destruction it suffered in World War II, St. Mary's Church is one of the Cross of Nails centres. A plaque on the wall warns of the futility of war.

 

The church was protected by a makeshift roof for the rest of the war, and the vaulted ceiling of the chancel was repaired. Reconstruction proper began in 1947, and was largely complete by 1959. In view of the previous damage by fire, the old wooden construction of the roof and spires was not replaced by a new wooden construction. All church spires in Lübeck were reconstructed using a special system involving lightweight concrete blocks underneath the copper roofing. The copper covering matched the original design and the concrete roof would avoid the possibility of a second fire. A glass window on the north side of the church commemorates the builder, Erich Trautsch (de), who invented this system.

In 1951, the 700th anniversary of the church was celebrated under the reconstructed roof; for the occasion, Chancellor Konrad Adenauer donated the new tenor bell, and the Memorial Chapel in the South Tower was inaugurated.

 

In the 1950s, there was a long debate about the design of the interior, not just the paintings (see below). The predominant view was that destruction had restored the essential, pure form. The redesign was intended to facilitate the dual function that St. Mary's had at that time, being both the diocesan church and the parish church. In the end, the church held a limited competition, inviting submissions from six architects, including Gerhard Langmaack (de) and Denis Boniver (de), the latter's design being largely accepted on 8 February 1958. At the meeting, the bishop, Heinrich Meyer (de), vehemently – and successfully – demanded the removal of the Fredenhagen altar (see below).

 

The redesign of the interior according to Boniver's plans was carried out in 1958–59. Since underfloor heating was being installed under a completely new floor, the remaining memorial slabs of Gotland limestone were removed and used to raise the level of the chancel. The chancel was separated from the ambulatory by whitewashed walls 3 metres high. The Fredenhagen altar was replaced by a plain altar base of muschelkalk limestone and a crucifix by Gerhard Marcks suspended from the transverse arch of the ceiling. The inauguration of the new chancel was on 20 December 1959.

 

At the same time, a treasure chamber was made for the Danzig Parament Treasure from St. Mary's Church in Danzig (now Gdańsk), which came to Lübeck after the War (removed in 1993), the Parament Treasure is now exhibited at St. Anne's Museum), and above that a large organ loft was built. The organ itself was not installed until 1968.

 

The gilded flèche, which extends 30 metres (98 ft) higher than the nave roof, was recreated from old designs and photographs in 1980.

 

LOTHAR MALSKAT AND THE FRESCOS

The heat of the blaze in 1942 dislodged large sections of plaster, revealing the original decorative paintings of the Middle Ages, some of which were documented by photograph during the Second World War. In 1948 the task of restoring these gothic frescos was given to Dietrich Fey. In what became the largest counterfeit art scandal after the Second World War, Fey hired local painter Lothar Malskat to assist with this task, and together they used the photographic documentation to restore and recreate a likeness to the original walls. Since no paintings of the clerestory of the chancel were available, Fey had Malskat invent one. Malskat "supplemented" the restorations with his own work in the style of the 14th century. The forgery was only cleared up after Malskat reported his deeds to the authorities in 1952, and he and Fey received prison sentences in 1954. The major fakes were later removed from the walls, on the instructions of the bishop.

 

Lothar Malskat played an important part in the novel The Rat by Günter Grass.

 

INTERIOR DECORATION

St. Mary's Church was generously endowed with donations from the city council, the guilds, families, and individuals. At the end of the Middle Ages it had 38 altars and 65 benefices. The following mediaeval artefacts remain:

 

A bronze baptismal font made by Hans Apengeter (de) (1337). Until 1942 it was at the west end of the church; it is now in the middle of the chancel. It holds 406 litres (89 imperial gallons), almost the same as a Hamburg or Bremen beer barrel, which holds 405 litres (89 imperial gallons).

Darsow Madonna from 1420, heavily damaged in 1942, restored from hundreds of individual pieces, put back in place again in 1989

Tabernacle from 1479, 9.5 metres high, made by Klaus Grude (de) using about 1000 individual bronze parts, some gilded, on the north wall of the chancel

Winged altarpiece by Christian Swarte (c. 1495) with Woman of the Apocalypse, now installed behind the main altar

Bronze burial slab by Bernt Notke for the Hutterock family (1505), in the Prayer Chapel (Gebetskapelle) in the north ambulatory

Of the rood screen destroyed in 1942 only an arch and the stone statues remain: Elizabeth with John the Baptist as a child, Virgin and Child with Saint Anne , the Archangel Gabriel and Mary (Annunciation), John the Evangelist and St. Dorothy.

In the ambulatory, sandstone reliefs (1515) from the atelier of Heinrich Brabender (de), with scenes from the Passion of Christ: to the north, the Washing of the Feet and the Last Supper; to the south, Christ in the garden of Gethsemane and his capture. The Last Supper relief includes a detail associated with Lübeck: a little mouse gnawing at the base of a rose bush. Touching it is supposed to mean that the person will never again return to Lübeck – or will have good luck, depending on the version of the superstition.

Remains of the original pews and the Antwerp altarpiece (de) (1518), in the Lady Chapel (Singers' Chapel)

John the Evangelist, a wooden statue by Henning von der Heide (c. 1505)

St. Anthony, a stone statue, donated in 1457 by the town councillor Hermann Sundesbeke (de), a member of the Brotherhood of St. Anthony

Remains of the original gothic pews in the Burgomasters' Chapel in the southern ambulatory

The Lamentation of Christ, one of the main works of the Nazarene Friedrich Overbeck, in the Prayer Chapel in the north ambulatory

The choir screens separating the choir from the ambulatory are recent reconstructions. The walls that had been built for this purpose in 1959 were removed in the 1990s. The brass bars of the choir screens were mostly still intact, but the wooden parts had been almost completely destroyed by fire in 1942. The oak crown and frame were reconstructed on the basis of what remained of the original construction.

 

ANTWERP ALTARPIECE

The impressive Antwerp altarpiece (de) in the Lady Chapel (Singers' Chapel) was created in 1518. It was donated for the chapel in 1522 by Johann Bone, a merchant from Geldern. After the chapel was converted into a confessional chapel in 1790, the altarpiece was moved around the church several times. During the Second World War, it was in the Chapel of Indulgences (Briefkapelle) and thus escaped destruction. The double-winged altarpiece depicts the life of the Virgin Mary in 26 painted and carved scenes.Before 1869, the wings of the predella, which depict the legends of the Holy Kinship were removed, sawn to make panel paintings, and sold. In 1869, two such paintings from the private collection of the mayor of Lübeck Karl Ludwig Roeck (de) were acquired for the collection in what is now St. Anne's Museum. Two more paintings from the outsides of the predella wings were acquired by the Kulturstiftung des Landes Schleswig-Holstein (de) (Cultural foundation of Schleswig-Holstein) and have been in St. Anne's Museum since 1988. Of the remaining paintings, two are in the Staatsgalerie Stuttgart and two are in a private collection in Stockholm.

 

MEMORIALS

In the renaissance and baroque periods, the church space contained so many memorials that it became like a hall of fame of the Lübeck gentry. Memorials in the main nave, allowed from 1693, had to be made of wood, for structural reasons, but those in the side naves could also be made of marble. Of the 84 memorials that were still extant in the 20th century, almost all of the wooden ones were destroyed by the air raid of 1942, but 17, mostly stone ones on the walls of the side naves survived, some heavily damaged. Since these were mostly baroque works, they were deliberately ignored in the first phase of reconstruction, restoration beginning in 1973. They give an impression of how richly St. Mary's church was once furnished. The oldest is that of Hermann von Dorne (de), a mayor who died in 1594, a heraldic design with mediaeval echoes. The memorial to Johann Füchting (de), a former councillor and Hanseatic merchant who died in 1637, is a Dutch work of the transitional period between the Renaissance and Baroque times by the sculptor Aris Claeszon (de) who worked in Amsterdam. After the phase of exuberant cartilage baroque, the examples of which were all destroyed by fire, Thomas Quellinus introduced a new type of memorial to Lübeck and created memorials in the dramatic style of Flemish High Baroque for

 

the councillor Hartwig von Stiten (de), made in 1699;

the councillor Adolf Brüning (de), made in 1706;

the mayor Jerome of Dorne (de) (who died in 1704) and

the mayor Anton Winckler (de) (1707),

 

the last one being the only one to remain undamaged. In the same year, the Lübeck sculptor Hans Freese created the memorial for councillor Gotthard Kerkring (de) (who had died in 1705), whose oval portrait is held by a winged figure of death. A well-preserved example of the memorials of the next generation is the one for Peter Hinrich Tesdorpf (de), a mayor who died in 1723.

 

The Sepulchral Chapel of the Tesdorpf family contains a bust by Gottfried Schadowof mayor Johann Matthaeus Tesdorpf (de), which the Council presented to him in 1823 on the occasion of his anniversary as a member of the Council, and which was installed here in 1835. Among the later memorials is also the gravestone of mayor Joachim Peters (de) by Landolin Ohmacht (c. 1795).

 

THE FREDENHAGEN ALTARPIECE

The main item from the Baroque period, an altar with an altarpiece 18 metres high, donated by the merchant Thomas Fredenhagen (de) and made by the Antwerp sculptor Thomas Quellinus from marble and porphyry (1697) was seriously damaged in 1942. After a lengthy debate lasting from 1951 to 1959, Heinrich Meyer (de), the bishop at the time, prevailed, and it was decided not to restore the altar but to replace it with a simple altar of limestone, with a bronze crucifix made by Gerhard Marcks. Speaking of the historical significance of the altar, the director of the Lübeck Museum at the time said that it was the only work of art of European stature that the Protestant Church in Lübeck had produced after the Reformation.

 

Individual items from the altarpiece are now in the ambulatory: the Calvary group with Mary and John, the marble predella with a relief of the Last Supper and the three crowned figures, the allegorical sculptures of Belief and Hope, and the Resurrected Christ. The other remains of the altar and altarpiece are now stored over the vaulted ceiling between the towers. The debate as to whether it is possible and desirable to restore the altar as a major work of baroque art of European stature is ongoing.

 

STAINED GLAS

Except for a few remains, the air raid of 1942 destroyed all the windows, including the stained glass windows that Carl Julius Milde had installed at Saint Mary's after they were rescued from the St. Mary Magdalene Church (de) when the St. Mary Magdalene's Priory was demolished in the 19th century, and including the windows made by Professor Alexander Linnemann (de) from Frankfurt in the late 19th century. In the reconstruction, simple diamond-pane leaded windows were used, mostly just decorated with the coat of arms of the donor, though some windows had an artistic design.

 

The windows in the Singers' Chapel (Lady Chapel) depict the coat of arms of the Hanseatic towns of Bremen, Hamburg and Lübeck, and the lyrics of Buxtehude's Lübeck cantata, Schwinget euch himmelan (BuxWV 96).

The monumental west window, designed by Hans Gottfried von Stockhausen (de), depicts the Day of Judgment.

The window of the Memorial chapel (Gedenkkapelle) in the South Tower (which holds the destroyed bells), depicts coats of arms of towns, states and provinces of former eastern territories of Germany.

Both windows in the Danse Macabre Chapel (Totentanzkapelle), which were designed by Alfred Mahlau in 1955/1956 and made in the Berkentien stained glass atelier in Lübeck, adopt motifs from the Danse Macabre painting that was destroyed by fire in 1942. They replace the Kaiserfenster (Emperor's Window), which was donated by Kaiser Wilhelm II on the occasion of his visit to Lübeck in 1913. It was manufactured by the Munich court stained glass artist Karl de Bouché (de) and depicted the confirmation of the town privileges by Emperor Barbarossa.

In 1981–82, windows by Johannes Schreiter (de) were installed in the Chapel of Indulgences (Briefkapelle). Their ragged diamond pattern evokes not only the destruction of the church but also the torn nets of the Disciples (Luke 6).

In December 2002, the tympanum window was added above the north portal of the Danse Macabre Chapel after a design by Markus Lüpertz.

 

This window, like the windows by Johannes Schreiter in the Chapel of Indulgences (Briefkapelle), was manufactured and assembled by Derix Glass Studios in Taunusstein.

 

CHURCHYARD

Saint Mary's Churchyard (de), with its views of the north face of the Lübeck Town Hall (de ), the Kanzleigebäude (de), and the Marienwerkhaus (de) has the ambiance of a mediaeval town.

 

The architectural features include the subjects of Lübeck legends; a large block of granite to the right of the entrance was supposedly not left there by the builders but put there by the Devil.

 

To the north and west of the church, the courtyard is now an open space, mediaeval buildings having been removed. At the corner between Schüsselbuden (de) and Mengstraße (de) are the remaining stone foundations of the Maria am Stegel (de) Chapel (1415), which served as a bookshop before the Second World War. In the late 1950s, it was decided not to reconstruct it, and the remaining external walls of the ruins were cleared away. On Mengstraße, opposite the churchyard, is a building with facades from the 18th century: the clergy house known as die Wehde (de), which also gave its name to the courtyard that lies behind it, the Wehdehof.

 

The war memorial, created in 1929 by the sculptor Hermann Joachim Pagels (de) 1929 on behalf of the congregation of the church to commemorate their dead, is made of Swedish granite from Karlshamn. The inscription reads (in translation):

 

The congregation of St. Mary's

in memory of their dead

1914 1918

(to which was added after the Second World War)

and

1939 1945

 

MUSIC AT ST: MARY´S

Music played an important part in the life of St. Mary's as far back as the Middle Ages. The Lady Chapel (Singers' Chapel), for instance, had its own choir. After the Reformation and Johannes Bugenhagen's Church Order, the Lübeck Katharineum school choir provided the singing for religious services. In return the school received the income of the chapel's trust fund. Until 1802, the cantor was both a teacher at the school and responsible for the singing of the choir and the congregation. The organist, was responsible for the organ music and other instrumental music; he also had administrative and accounting responsibilities and was responsible for the upkeep of the building,.

 

MAIN ORGAN

St. Mary's is known to have had an organ in the 14th century, since the occupation "organist" is mentioned in a will from 1377. The old great organ was built in 1516–1518 under the direction of Martin Flor (de) on the west wall as a replacement for the great organ of 1396. It had 32 stops, 2 manuals and a pedalboard. This organ, "in all probability the first and only Gothic organ with a thirty-two-foot principal (deepest pipe, 11 metres long) in the western world of the time",[a] was repeatedly added to and re-built over the centuries. For instance, the organist and organ-builder Barthold Hering (de) (who died in 1555) carried out a number of repairs and additions; in 1560/1561 Jacob Scherer added a chest division with a third manual. From 1637 to 1641, Friederich Stellwagen carried out a number of modifications. Otto Diedrich Richborn (de) added three registers in 1704. In 1733, Konrad Büntung exchanged four registers, changed the arrangement of the manuals and added couplers. In 1758, his son, Christoph Julius Bünting (de) added a small swell division with three voices, the action being controllable from the breast division manual. By the beginning of the 19th century the organ had 3 manuals and a pedalboard, 57 registers and 4,684 pipes. In 1851, however, a completely new organ was installed – built by Johann Friedrich Schulze (de), in the spirit of the time, with four manuals, a pedalboard, and 80 voices, behind the historic organ case by Benedikt Dreyer, which was restored and added to by Carl Julius Milde. This great organ was destroyed in 1942 and was replaced in 1968 by what was then the largest mechanical-action organ in the world. It was built by Kemper & Son. It has 5 manuals and a pedalboard, 100 stops and 8,512 pipes; the longest are 11 metres (36 feet), the smallest is the size of a cigarette. The tracker action operates electrically and has free combinations; the stop tableau is duplicated.

Danse macabre organ (choir organ)

 

The Dance macabre organ (Totentanzorgel) was older than the old great organ. It was installed in 1477 on the east side of the north arm of the "transept" in the Danse Macabre Chapel (so named because of the Danse Macabre painting that hung there) and was used for the musical accompaniment of the requiem masses that were celebrated there. After the Church Reformation it was used for prayers and for Holy Communion services. In 1549 and 1558 Jakob Scherer added to the organ among other things, a chair organ (Rückpositiv), and in 1621 a chest division was added. Friedrich Stellwagen also carried out extensive repairs from 1653 to 1655. Thereafter, only minor changes were made. For this reason, this organ, together with the Arp Schnitger organ in St. James' Church in Hamburg and the Stellwagen Organ in St. James' Church (de) in Lübeck, attracted the interest of organ experts in connection with the Orgelbewegung. The disposition (de) of the organ was changed back to what it had been in the 17th century. But, like the Danse Macabre organ, this organ was also destroyed in 1942.

 

In 1955 the organ builders Kemper & Son restored the Danse Macabre organ in accordance with its 1937 dimensions, but now in the northern part of the ambulatory, in the direction of the raised choir. Its original place is now occupied by the astronomical clock. This post-War organ, which was very prone to malfunction, was replaced in 1986 by a new Danse Macabre organ, built by Führer Co. in Wilhelmshaven and positioned in the same place as its predecessor. It has a mechanical tracker action, with four manuals and a pedalboard, 56 stops and approximately 5,000 pipes. This organ is particularly suited for accompanying prayers and services, as well as an instrument for older organ music up to Bach.

 

As a special tradition at St Mary's, on New Year's Eve the chorale Now Thank We All Our God is accompanied by both

 

OTHER INSTRUMENTS

There used to be an organ on the rood screen, as a basso continuo instrument for the choir that was located there – the church's third organ. In 1854 the breast division that was removed from the Great Organ (built in 1560–1561 by Jacob Scherer) when it was converted was installed here. This "rood screen organ" had one manual and seven stops and was replaced in 1900 by a two-manual pneumatic organ made by the organ builder Emanuel Kemper, the old organ box being retained. This organ, too, was destroyed in 1942.

 

In the Chapel of Indulgences (Briefkapelle) there is a chamber organ originally from East Prussia. It has been in the chapel since 1948. It has a single manual and eight voices, with separate control of bass and descant parts. It was built by Johannes Schwarz in 1723 and from 1724 was the organ of the Schloßkapelle (Castle Chapel) of Dönhofstädt near Rastenburg (now Kętrzyn, Poland). From there it was acquired by Lübeck organ builder Karl Kemper in 1933. For a few years it was in the choir of St. Catherine's Church, Lübeck. Then, Walter Kraft brought it, as a temporary measure, to the Chapel of Indulgences at St. Mary's, this being the first part of the church to be ready for church services after the War. Today this organ provides the accompaniment for prayers as well as the Sunday services that are held in the Chapel of Indulgences from January to March.

 

ORGANISTS

Two 17th-century organists, especially, shaped the development of the musical tradition of St. Mary's: Franz Tunder from 1642 until his death in 1667, and his successor and son-in-law, Dieterich Buxtehude , from 1668 to 1707. Both were defining representatives of the north German organ school and were prominent both as organists and as composers. In 1705 Johann Sebastian Bach came to Lübeck to observe and learn from Buxtehude,[b] and Georg Friedrich Händel and Johann Mattheson had already been guests of Buxtehude in 1703. Since then, the position of organist at St. Mary's Church has been one of the most prestigious in Germany.

 

With their evening concerts, Tunder and Buxtehude were the first to introduce church concerts independent of religious services. Buxtehude developed a fixed format, with a series of five concerts on the two last Sundays of the Trinity period (i.e. the last two Sundays before Advent) and the second, third, and fourth Sunday in Advent. This very successful series of concerts was continued by Buxtehude's successors, Johann Christian Schieferdecker (1679–1732), Johann Paul Kunzen (de) (1696–1757), his son Adolf Karl Kunzen (de) (1720–1781) and Johann Wilhelm Cornelius von Königslöw.

 

For the evening concerts they each composed a series of Biblical oratorios, including Israels Abgötterey in der Wüsten [Israel's Idol Worship in the Desert] (1758), Absalon (1761) and Goliath (1762) by Adolf Kunzen and ''Die Rettung des Kindes Mose [The Finding of Baby Moses] and Der geborne Weltheiland [The Saviour of the World is born] (1788), Tod, Auferstehung and Gericht [Death, Resurrection and Judgment] (1790) , and Davids Klage am Hermon nach dem 42ten Psalm [David's Lament on Mount Hermon (Psalm 42)] (1793) by Königslöw.

 

Around 1810 this tradition ended for a time. Attitudes towards music and the Church had changed, and external circumstances (the occupation by Napoleon's troops and the resulting financial straits) made such expensive concerts impossible.

 

In the early 20th century it was the organist Walter Kraft (1905–1977) who tried to revive the tradition of the evening concerts, starting with an evening of Bach's organ music, followed by an annual programme of combined choral and organ works. In 1954 Kraft created the Lübecker Totentanz (Lübeck Danse Macabre) as a new type of evening concert.

 

The tradition of evening concerts continues today under the current organist (since 2009), Johannes Unger.

The Lübeck Boys Choir at St. Mary’s

  

THE LÜBECK BOYS CHOIR

has been at St. Mary’s since 1970. It was originally founded as the Lübecker Kantorei in 1948. The choir sings regularly at services on Sundays and religious festivals. The performance of the St John Passion on Good Friday has become a Lübeck tradition.

 

ST. MARY´S CHURCH TODAY

CONGREGATION

Since the establishment of Johannes Bugenhagen's Lutheran Church Order by the town council in 1531 St. Mary has been Protestant. Today it belongs to the North Elbian Evangelical Lutheran Church. Services are held on Sundays and Church festivals from 10 o'clock. From Mondays to Saturdays in the summer season and in Advent there is a short prayer service with organ music at noon (after the parade of the figures of the Astronomical Clock), which tourists and locals are invited to attend. Since 15 March 2010 there has been an admission charge of two euros for visitors.

 

ASTRONOMICAL CLOCK

The astronomical clock was built in 1561–1566. It used to stand in the ambulatory, behind the high altar but was completely destroyed in 1942. Only a clock dial that was replaced during a previous restoration remains, in St. Anne's Museum The new Astronomical Clock, which was installed on the East side of the Northern transept, in the Danse Macabre Chapel. It is the work of Paul Behrens, a Lübeck clockmaker, who planned it as his lifetime achievement from 1960 to 1967. He collected donations for it, made the clock, including all its parts, and maintained the clock until his death. The clock front is a simplified copy of the original. Calendar and planetary discs controlled by a complicated mechanical movement show the day and the month, the position of the sun and the moon, the signs of the zodiac (the thirteen astronomical signs, not the twelve astrological signs), the date of Easter, and the golden number.

 

At noon, the clock chimes and a procession of figures passes in front of the figure of Christ, who blesses each of them. The figures originally represented the prince-electors of the Holy Roman Empire; since the post-War reconstruction, they represent eight representatives of the peoples of the world.

 

CARILLON

After the War, a carillon with 36 bells was installed In the South Tower. Some of the bells came from St Catherine's Church in Danzig (now Gdańsk, Poland). On the hour and half-hour, choral melodies are played, alternating according to the season. Formerly the carillon was operated by a complicated electromechanical system of cylinders; the mechanism is now computer-controlled. At Christmas and Easter, the organist plays the clock chimes manually.

 

BELLS

The 11 historic bells of the church originally hung in the South Tower in a bell loft 60 metres high. An additional seven bells for sounding the time were made by Heinrich von Kampen (de) in 1508–1510 and installed in the flèche. During the fire in the air raid of 1942, the bells are reported to have rung again in the upwind before crashing to the ground. The remains of two bells, the oldest bell, the "Sunday bell" by Heinrich von Kampen (2,000 kg, diameter 1,710 mm, strike tone a0) and the tenor bell by Albert Benningk from 1668 (7,134 kg, diameter 2,170 mm, strike tone a0F#0), were preserved as a memorial in the former Schinkel Chapel, at the base of the South Tower The "Council and Children's Bell" made in 1650 by Anton Wiese (de), which used to be rung for the short prayer services before council meetings and for christenings, was given to Strecknitz Mental Home (de) in 1906 and was thus the only one of the historic bells to survive World War II. Today it hangs in the tower of what is now the University of Lübeck hospital.

 

The set of bells in the North Tower now consists of seven bells. It ranks among the largest and deepest-pitched of its kind in northern Germany. The three baroque bells originate from Danzig churches, (Gratia Dei and Dominicalis from St. John's (de) and Osanna from St. Mary's). After the Second World War, these bells from the "Hamburger bell cemetery" were hung in the tower as temporary replacement bells.

 

In 1951 the German Chancellor, Konrad Adenauer donated a new tenor bell. In 1985 three additional bells were made., completing the set. They have inscriptions referring to peace and reconciliation.

 

In 2005, the belfry was renovated. The steel bell frame from the reconstruction was replaced with a wooden one and the bells were hung directly on wooden yokes, so that the bells ring out with more brilliance.

 

This great peal is easily recognised because of the unusual disposition (intervals between the individual bells); the series of whole tone steps between bells 1–5 results in a distinctive sound with added vibrancy due to the tone of the historic bells.

 

DIMENSIONS

Total Length: 103 metres

Length of the middle nave: 70 metres

Vault height in the main nave: 38.5 metres

Vault height in the side naves: 20.7 metres

Height of the towers: 125 metres

Floor area: 3,300 square metres

 

WIKIPEDIA

“Don't wait until everything is just right. It will never be perfect. There will always be challenges, obstacles and less than perfect conditions. So what. Get started now. With each step you take, you will grow stronger and stronger, more and more skilled, more and more self-confident and more and more successful.” - Mark Victor Hansen

 

This picture was originally posted in December 2008.

 

This is my cat "Maus" (mouse). I got her out of the animal shelter in 1996, when she was about 3 years old, which puts her now to about 15 years. The animal shelter did not tell much about what happened to her before, only that they took them away from the previous owners. Part of the rest I could figure out myself. When I got her, she was very shy, hiding over the day, only coming out at night. She was very afraid of feet...

 

Over time, she grew self confident and trusting in people again, and now, she's an adorable, clever cat, winning over the heart of everyone she graces with her presence. :)

 

So much for the old text. Mid 2008, we learned that she had an innate heart condition. Not operable, but you could give medication when the time is there in order to help regulate the blood pressure, which would help. We started that in early 2009 upon the recommendation of our veterinarian. Then, doing quaterly blood checks, it turned out that now, she got a developing liver and kidney condition. This resulted in a diet, and close supervision. The most important thing was that she must not suffer, and treatment shall be reasonable. The docter gave her about 6 months at best - but she was a tough girl and fought. She didn't jump around that much anymore, but was happy around us, vocal, eating, everything. Everyone was surprised on how good she went with everything. Then, October 2010, long past the originally projected time, the first small crisis came, but another treatment helped her being stable, and she was still feeling well. This went for another two months, until on December 26th. Apparent pain in the belly, and we immediately went to the emergency vet (since it was Sunday). Painkillers, but he was not sure what it was, nor did our regular vet the next day. Things got stable, though, but on a lower level than before. We did realize that now, it was the beginning of the end, so again, confirmation that she did not suffer by our vet. She also happy around us, but she ate less than before. This was normal behaviour for cats towards the end. So, I went into a night shift at work to be there at work during the day, my girlfriend was there at night, and we accompanied her for two weeks. Wednesday last week, things got worse, and it was clear that now was the time. Our vet checked with her, it was not the task to find the right time for putting her to sleep. This is something so very hard to do. Too late, and you make her suffer. Too soon - and you will regret that. She estimated that she would not restart to eat and that Friday, she would get into a clearly visible state that showed the end. She was right about this. Thursday, she was still reacting to us, and over night, she became apathetic. Having lost lot of weight, but not having pain - the latter one not necessarily having to stay that way. So, on Friday, we had to make the tough decision to settle for this. But the timing was right. She had just retreated herself, and there was risk of cramps or similar painful things happening to her eventually (our vet gave her about two more days), and I would not want her last hours being in pain, in a cab at night towards an emergency animal hospital to put her to sleep there, in an unfamiliar and scary environment.

 

17 years old, 14 years of that with me, this is hard. But after the rough start, she had a wonderful life, and I will always remember the good times with her.

 

Rest in peace, Maus.

Skater Lifestyle Series

Recorded in Barcelona Spain - 2009

Nikon D-200

I think puppy will be named Viper. He is doing good, growing fast, eating well, does about 3-4 short training sessions every day. He also havent any accidents inside from last Friday. He is getting more active with every day, also more beautiful! Has stunning movements and carries himself very proudly! Ears are healing well and I think we can start taping from next week. Yesterday we made a longer walk with all Pinschers (50 minutes), he is walking really well on leash and is self-confident.

Berlin: This table in front of the restaurant "Kutscherhof" in the courtyard of the former Main Telegraph Office rests on a a singular substructure

 

Das Typenschild weist ihn als "Autofrigor" aus, gebaut von der schweizer Firma Escher Wyss. Das Schild enthält leider kein Baujahr. 1921 gründete die Escher Wyss Zürich in Lindau-Reutin das Zweigwerk EWL fürdie serienmäßige Fertigung von Kältemaschinen. 1922 startete dort die serienmäßige Produktion des Autofrigor. Der Autofrigor ist eine hermetische Kältemaschine mit Verdichter, Verflüssiger, Hochdruckschwimmer, Verdampfer und elektrischem Antriebsmotor. In den 20er Jahren war diese Maschine eine Sensation, da es sich um eine anschlußfertige Kältemaschine mit lebenslanger Kältemittel- und Ölfüllung handelte. Sie erforderte keinerlei kältetechnische Fachkenntnisse für Installation und Betrieb, lediglich das Kühlwasser und der elektrische Strom musste angeschlossen werden.

 

www.vhkk.org/wp-content/uploads/Autofrigor-Funktionsbesch...

The nameplate identifies it as an "Autofrigor", built by the Swiss company Escher Wyss. Unfortunately, the plate does not include a year of construction. In 1921, Escher Wyss Zurich founded the EWL branch factory in Lindau-Reutin for the series production of refrigeration machines. In 1922, series production of the Autofrigor began there. The Autofrigor is a hermetic refrigerating machine with compressor, condenser, high-pressure float, evaporator and electric drive motor. In the 1920s, this machine was a sensation because it was a ready-to-connect refrigeration machine with a lifetime supply of refrigerant and oil. It required no refrigeration expertise for installation and operation, only the cooling water and electrical power had to be connected.

 

www.vhkk.org/wp-content/uploads/Autofrigor-Funktionsbesch... (German only)

 

Berlin war zu Beginn des 20. Jahrhunderts der wichtigste Telegraphen-Knotenpunkt in Europa. Postbaurat Wilhelm Waltger und Architekt Max Lehmann errichteten zwischen 1910 und 1916 das Haupttelegraphenamt, ein prachtvolles Beispiel einer selbstbewussten Industriebauweise im Stil des Neobarocks. Nach dem Ende des Ersten Weltkriegs wurde es technisch hochwertig ausgestattet und beherbergte die modernste Technik, die in den Zwanziger- und Dreißigerjahren des 20. Jahrhunderts verfügbar war. Im Jahr 1916 nahm im Kellergeschoss des Gebäudes die Stadtrohrpostzentrale ihre Dienste auf. Das Gebäude beherbergt heute auf großzügigen modernen Büroflächen eine Anzahl weltweit agierender IT-Unternehmen, zwei moderne Eventflächen und das Lifestyle Hotel "Telegraphenamt".

 

Text einer Informationstafel vor dem Hoteleingang

 

At the beginning of the 20th century, Berlin was the most important telegraph hub in Eurpe. Between 1910 and 1916, the postal building supervisor Wilhelm Walter and architect Max Lehmann built the main telegraph office - a magnificent example of self-confident industrial architecture in neo-Baroque style. After the end of World War I, it was equipped to a high techichal standard and housed the most modern technology available in the early decades of the 20th century. Berlin's tube system central office took up operation in the basement of the building in 1916. Today, the building houses a number of international IT companies in spacious and modern office spaces, along with two modern event spaces and the lifestyle hotel "Telegraphenamt".

 

Text of an information panel in front of the hotel entrance

  

A kid playing with the little he can find in a village in NW Myanmar. Despite the striking poverty of this area, kids always find their own way to be cheerful and self-confident!

Near Threatened in the IUCN Red List Geoffroy's Cat is found in the pampas grasslands and forest edges from Northern Argentina to Patagonia. Primarily a nocturnal species with peaks of activity at dusk and dawn this particular cat has adopted a daytime routine which includes a visit to the rangers office on the Reserva Natural del Ibera where we were delighted to observe its self confident approach to visitors: a definitive you keep your distance and I'll keep mine!

 

Photographed in the Ibera Wetlands, near Carlos Pellegrini, Corrientes Province, Argentina.

   

My Career Path

 

When I graduated from high school in 2003 I was a very confused young man. I did not know much about life but I knew few things about Jesus Christ. I did not have street smarts—I matured very late!--but I knew few Biblical principles. One of the things I knew was that God has a plan for my life and being a new high school graduate I wanted to know His will for my career. So I decided after high school I would work wherever until I discern my God-given talents, and once I know His will for my career then I would pursue getting an education that prepares me for that career path. My high school teachers did not understand why would a student whose overall average never dropped below 90% would want to be a general labourer.

 

Anyway, after graduating I went to few temporary work agencies to find work. I had to buy steel toed safety shoes because most general labour jobs require them. Pretty soon I found myself working in the warehouse of a clothing company. My boss was a Chinese man who had spent 30 years working there, and my supervisor was an older Chinese man who been working there for many years too. They soon liked me and hired me after 6 months, while temporary workers who have been working there for years were still working for the agency. Two months after being hired the company had their annual wages raise and I did not qualify for it because I had to be working as a full-timer for a full year to qualify for it. But my boss called me into his office and told me that he liked the work I did and wanted to help me and so he gave me a 6% raise which I really appreciated. When I left the office the senior full time workers asked me how much I had gotten for a raise so I told them 6% and suddenly they disliked me! I did not know why their attitude changed toward me until the next day when I found out that the reason was becausethat all full-time workers had gotten only a 3% raise. Like I said, I was very naive and I did not know better as not to disclose this information. Anyway, in the next 3 years my boss had given me about 45% raise, while they had gotten anywhere between 1-3% annual raise.

 

The reason my boss liked me is that I did every and anything without complaining—I simply did whatever they asked me no matter how menial it was. The Bible says in Colossians 3:23, “Whatever you do, work at it with all your heart, as working for the Lord, not for men.” And my mottos were, “I get paid by hour so I work by hour”, and, “There is a reason why it is called ‘general labour’”—so I never complained about the type of work I had to do or the pay because when I accepted a general labour position I understood two things: I will get paid little, and I will have to do a physical and dirty work.

 

Anyway, my boss realized I loved to fix mechanical things: paper shredder, lift truck, a table, a cart. So over 3 years he kept asking me to fix broken things around the warehouse, and I realized how much I loved working with gears and mechanical things in general. These experiences brought back memories of how in my teenage years in Iraq I spent all my summer breaks building remote controlled cars, airplanes, and making toy guns and foosball tables, and so on! So I knew I wanted to become a mechanical engineer and therefore 4 years after working in the warehouse I started studying mechanical engineer at UofT.

 

What I really want to draw attention to is God’s goodness. See, I did not choose the warehouse I worked at but our heavenly Father put me in the right place working for the right boss. People told me that I was working in the wrong place because of their limited wisdom, but God in His infinite wisdom knew what He was doing. God knew what I needed, and so He put me where I needed to be. Being a stubborn person I knew better than listening to people—no matter how well intended their intentions were—because I knew few things:

 

1) God is real—He exists! (Hebrews 11:6)

2) He is the God of the Bible and I know Him because He revealed Himself in the person of Jesus Christ. Whenever I wondered, “Who is this God I am waiting for?” I realized I knew who He is because I knew who Jesus Christ is. (John 14:9)

3) He is a good, loving, faithful, wise and powerful God, and He is my heavenly Father.

4) He has His own timing and ways of doing things.

 

So working at the warehouse was His way of helping me find my God-given talent. When I applied to UofT I was told that it was a good thing I had applied then because any high school diplomas older than 4 years old would not be accepted; I did not know that but God did and that was His timing.

 

***

 

I worked at the warehouse for 2 summer breaks while I was a student at university. In the third summer, in 2010, the clothing company was going through bankruptcy and so they did not have work for me. I needed work because I needed money for the next school year so I applied to some summer engineering internship. I got an interview so I went to it. The interview lasted 2.5 hours and it was by far the worst interview I had ever heard of! It was so bad that it did not matter what I answered to the questions of the engineer who was interviewing me, the answers were wrong! I mean, he even criticized the font size I used in my resume—which was 11 points instead of 12! I wanted to be out of there so bad, and I hoped he would not hire me because I was too embarrassed to see him again! At the end of the interview he told me that his career was delayed 4 years also because when he graduated, some 30 years earlier, Canada was going through a recession and he could not find a job for 4 years.

 

After the interview my sister asked, “How did the interview go?” And I told her, “Don’t even ask. If he hired me it would truly be a miracle!” And she said, “That’s right. We have a God who works on our behave.” Two weeks later he called me offering the job alongside one of my classmates. He initially just wanted to hire one student—which was my classmate--but decided to hire me anyway. My boss (the interviewer) turned out to be a very cool and nice man who I learned a lot from. I think I did a good job there and I was offered a full-year internship but I really wanted to go back to school and finish it as soon as possible. Of course this 4 months long engineering experience helped me a lot to include an actual engineering experience on my resume.

 

For some reason I never felt qualified to do that job, even though I believe I did a good job. I think it is because the engineer who hired me did so more because he felt sorry for me than needed my services. (I think he also hired me because he was able to associate with the experience of having your career delayed 4 years.) I want you to keep this in mind because I will touch back on this point later.

 

After graduating in 2011 I was desperate for a job, any job, and after few months I found myself working at a government company. I worked there for 6 months and I did not like the job even though the people were nice and the pay was good. My task in the last 2 weeks was so boring that on the last day I was afraid my boss would extend my contract! I so wanted to be out of there even though I knew that would mean I would be unemployed and without money!

 

After a couple of weeks and getting bored of staying at home I prayed a short and simple prayer asking for two things:

 

1) I told God that the point of studying mechanical engineering was not to become any engineer or to make money, but to put the talents He had given me into practice. That means I want a design position, and engineering is such a broad field that you can do so many things that are not related to your God-given talents.

 

2) I told God that I wanted to work at a company that wants to hire. A company that believes I am valuable to it. A company where I feel appreciated.

 

Few weeks ago I saw this job advertisement on the internet seeking a mechanical designer at an office furniture company. The job required the candidate to have 2-3 years experience and knowledge of sheet metal and a design software called AutoCAD. I did not have any of the requirements so I did not apply to that position, and I can still remember thinking, “This sounds like the job I want, but too bad I don’t qualify otherwise I would’ve applied to it!” Next day a staffing agency called me and told me to come see them about that same position. I was very surprised and so I went to the agency. I was so surprised by the whole ordeal that at the end of the interview with the agency personnel I asked him, “How did you get my resume?” He looked surprise and said, “What do you mean? You sent it to me!” I am sure I sent him my resume and I don’t remember it because I applied to quite few jobs, but the strange thing is that I only remember not sending the resume!

 

I told the agency that I have no experience in design and I have no knowledge with sheet metal or AutoCAD, but they told me it is ok because the company wants to interview me. So I went to the interview and half way through the interview the senior engineer and hiring manager asked me, “When can you start?” And I was taken aback by his question because they usually ask that question after the interview is over and they usually ask it very casually like, “If you are the successful candidate, what date are you available to start?” So I asked, “Me?” And he laughed and said, “Yes!” And his expression was like, “Who else?!” And I felt like the senior engineer really wanted to hire me, not because he felt sorry for me, but because he believed I can be a valuable member of his team.

 

The week after I was interview by a human resources lady and half way through the interview she said, “That’s impressive.” And again I felt like I was being valued at this company. That is when I remembered the request in my prayer.

 

***

 

Christians we often say, “Trust and obey.” In my life I noticed that is not the complete picture because it is more like, “Trust, obey and trust.” See our obedience is not the end of the story because our obedience is not what gets things done. Our obedience is only an expression of our faith; you say you trust God? Ok then act on this trust by obeying Him. But it is God who gets things done—God’s work is the end of the story. That is why after obedience we still need to trust again to see Him complete His work. For example Gideon trusted God will bring victory though him so he obeyed by downsizing his army to mere 300 men, and then he trusted again as he saw God defeating the enemy—trust, obey, and trust again.

 

There are few things I want to draw your attention to:

 

1) We must pray according to God’s will. Supposed that I had prayed for God to make me a successful singer, do you think He will honour my request? The answer is no, because singing is not my talent. When you pray according to God’s will then you do not have to beg and you can pray with confidence. You cannot disobey God and expect Him to fix your deliberate mistakes by simply praying about it.

 

See, I like classical music but that does not mean I have to become a musician—I can simply enjoy the music of others. I like tennis but that does not mean I have to become a tennis player—I can simply enjoy the game of others. I like cars but that does not mean I have to build my own car—I can simply enjoy the cars made by others. It is wonderful and freeing to know and accept God’s will for our lives. If we do then we can accept ourselves and others, appreciate our talents and the talents of others, and be confident of the path we are to take.

 

2) Focus on God’s goodness. When I was a new Christian I thought that I was saved by grace but I am to live by works, but we are both saved and are to live the Christian life by God’s grace. If I told you how imperfect and sinless I am then you would say, “Fadi, there is no way God was involved in answering your prayers or your career path!” But this is not about me but about God’s goodness. I have come to the point if life when I do not worry much because I trust in the goodness of God. I am not saying this to encourage you to sin but to free you from worry and the false teaching of living by works.

 

See, our God is a good God. We are His children not because of our works but because of the Cross of Jesus Christ. For example, suppose that you are Christian and you are an alcoholic and you are struggling with quitting drinking and suppose that your marriage is in trouble and your family needs a healing. Do you think God is going to say, “Gee! Look at this Christian! He can’t stop getting drunk and now He needs my help to heal his marriage! There is no way I am doing that for him! Let him fix himself first then come asking for My help! I am so going to destroy his marriage in the meantime!” No, of course not! At least that is not how the God of the Bible operate and He is the only real God.

 

Suppose if I am holding the hand of my nephew and we are walking on the side walk but he really wants to run into the busy street to play, do you think I will let him do so just because he wants to? Of course not! I won’t act based on his attitude or actions, but based on my goodness and the fact that I am his uncle and he is my nephew and that I love him! For you this may not be big news but to me it is because I grew up in a Middle Eastern culture where there is no Biblical understanding of who God is. That is why I want to stress the goodness and love of God to you.

 

3) We are not ruled by the ways this world rule. We are God’s children born by the power of the Holy Spirit, and therefore we do not belong to this world. The principles of this world do not apply to us because we are governed by spiritual principles such as God’s goodness, obedience, and glorifying our heavenly Father. The way God works in our lives is not the same way the world strive to achieve their dreams. Recently I offered to help a Christian facebook friend with her resume because she did not have one and she was about to give up applying to better jobs because she had no resume. The first thing she told me is that people have told her that she needs a really good resume to get a job as a hospital pharmacist. And that made me reflect on my career path and I answered her saying that if God wants her to work somewhere He can do it even if she had no resume at all! That is what He did to me: I got a job I am so unqualified for! He made me find favour in the eyes of the engineers who interviewed me; they knew I was not qualified for the original job posting so maybe they created a junior job position for me.

 

4) Do not worry. My mom says it is not good that I am worry free (I do worry, of course, but much less than the average person) because she wants me to hurry and get married, and have kids, and buy a house, etc. But why should I worry? If, motivated by love, God sent His only and beloved Son to die for my sins before I was even born, then what can separate me from the love of my heavenly Father? See, my attitude toward life does not come from self-confident (if you had read my older writings you will realize I grew up with no self-confidence), nor my careless attitude toward life as some people think I am, but from my trust “that in all things God works for the good of those who love him, who have been called according to his.” (Romans 8:28) It is good to read the Bible and understand it, but a time must come when we start living it.

 

I talked about God’s goodness toward me and my career path, but His goodness extends to all areas of our lives: spiritually, physically, emotionally, mentally, financially, relationships, and so on. He wants to take care of you whether it is in regard to your career, marriage, big decisions such as buying expensive things like a house or a car, or planning a career move or even finding the right mechanic for your car!

 

Few years ago I asked, “How can I get to know God as my heavenly Father since I do not have an idea what a good father is?” I asked that question because I rarely saw my earthly father while growing up because he had to spend most of his time in the army. I learned about what is it like to have a good father from God Himself; God did not need someone to go ahead of Him to show the way—He showed the way! He set the pattern of love, goodness, generosity, and serving and He set the pattern of how to be a good Father.

 

(Toronto, ON; summer 2012.)

 

East-German postcard by VEB Progress Film-Vertrieb, Berlin, no. 75/79, 1979. Photo: Ute Mahler.

 

Karin Düwel (1954) is a German actress, who had her breakthrough in the DEFA film Sabine Wulff (1978), followed by such films as the popular family film Das Schulgespenst/The school ghost (1986). She also appeared in many German TV series and on stage.

 

Karin Düwel was born in 1954 in Berlin. After graduating from high school she applied to drama school and was rejected there because she was too young. Therefore, she learned the job of a train conductor at the Deutsche Reichsbahn, which she also exercised for quite some time. After a renewed application, she studied between 1973-1976 at the Staatlichen Schauspielschule Rostock (State Drama School Rostock). From 1976 to 1978, she worked at the Thuringian State Theatre Rudolstadt. On screen she had a succesful breakthrough in 1978 with the role of Sabine Wulff in the eponymous drama, directed by Erwin Stranka . For this she was honored in 1980 at the 1st National Feature Film Festival of the GDR as the best young actress. From then on she appeared in numerous television and cinema films in the GDR. In 1982, for example, she starred as Petra, a self-confident and emancipated young woman, in an episode of the popular Krimi series Polizeiruf 110/110 Police (1982). She returned many times in this series, in which she acted both as an investigator and a victim. From 2007 to 2013, she also played the life partner of the Halle Commissioner Herbert Schneider (Jaecki Schwarz) in the popular TV series.

 

Karin Düwell is also well-known for her role as the teacher Prohaska in the children's film Das Schulgespenst/The school ghost (Rolf Losansky, 1986), which was awarded both in the GDR, as well as in West-Germany in 1987. She also played a major role in the DEFA feature film Blonder Tango/Blonde Tango (Lothar Warneke, 1986), which was awarded as Best Film at the 4th National Feature Film Festival of the GDR. After the German reunification, Düwel continued her career. From 1995 to 1999, she played PhD student Lilli Schwarzenberg-Teschner at the side of Walter Plathe in the series Der Landarzt/The country doctor. Düwel also played roles in episodes of many other German television series, including Ein starkes Team/A Strong Team (1994-2007), Unser Charly/Our Charly (1999-2010), SOKO Wismar (2006) and Tatort/Crime Scene (1995-2006). On stage, Düwel played several guest roles and she was seen as Molly in Agatha Christie's The Mousetrap, Jelena in The Philistines by Maxim Gorki and as Helena in A Midsummer Night's Dream by William Shakespeare. In 2012, she played in the telenovela Wege zum Glück – Spuren im Sand/Ways to happiness - tracks in the sand. Karin Düwel's most recent screen appearance was in the TV series Inga Lindström (2016).

 

Sources: Wikipedia (German) and IMDb.

 

And, please check out our blog European Film Star Postcards.

I am a self confident woman,who like to chat on cam to cam..join me

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East-German postcard by VEB Progress Film-Vertrieb, Berlin, no. 3302, 1968, 1971. Retail price: M 0,20. Photo: Schwarz.

 

German actress Heidemarie Wenzel (1945) became known in DEFA films of the early 1970s, such as Zeit der Störche/Time of the storks (1971) and Nemuritorii (1974).

 

Heidemarie Wenzel was born in 1945 in Berlin, Germany. During her youth, she played in the children's theatre and in the movement choir of the Deutschen Staatsoper (German State Opera). From 1963 to 1966 she studied at the Hochschule für Schauspielkunst Ernst Busch (Ernst Busch Academy of Dramatic Arts) in Berlin. After graduation she got her first engagements in Rostock and Greifswald. Very soon she began to work as a freelance actress in film and on television. Her first major role was as Fanny in the film adaptation of Johannes R. Becher's novel Abschied/Farewell (Egon Günther, 1968), starring Rolf Ludwig and Jan Spitzer. The film was heavily criticised by officials in the GDR because of the unusual narrative style. Wenzel had her breakthrough in the role of the self-confident teacher Susanne in Zeit der Störche/Time of the storks (Siegfried Kühn, 1971), opposite Winfried Glatzeder. In Die Taube auf dem Dach/The Dove on the Roof (Iris Gusner, 1973), she was able to show her acting talent properly for the first time, however, the film was banned even before its premiere. The pretty, tall, slender and blonde actress was both open-minded and intelligent as well as introverted. She was often cast for contemporary roles as in Die Legende von Paul und Paula/The Legend of Paul und Paula (Heiner Carow, 1973), starring Angelica Domröse and Winfried Glatzeder. This was the most succesful film of the DEFA in its history.

 

Until the mid-1970s, Heidemarie Wenzel played several more major roles, but then she got less and less good offers, as she was considered politically unreliable. In 1986 she made an exit request and was not occupied in the following years. Therefore, she had to work as an office assistant at the church. In 1988 she was expatriated to the Federal Republic (West-Germany). From 1991, she became a star in both West and East Germany in the TV series Unsere Hagenbecks/Our Hagenbecks (1991-1994) about a family who runs a zoo in Hamburg. When her character died in an accident, it came to public protests. In the 1990s Wenzel also appeared more often in the theatre. Her later series include the popular hospital soap In aller Freundschaft/In all Friendliness (1998) with Rolf Becker. The series follows the staff of the fictional Sachsenklinik hospital in the city of Leipzig. Wenzel lives in Berlin-Tempelhof. She has a son and a daughter. In her first marriage Wenzel was married to the director Kurt Veth, which is why she was also credited at times as Heidemarie Wenzel-Veth. Since 1977, she is married to the director and author Helmut Nitzschke.

 

Sources: Wikipedia and IMDb.

 

And, please check out our blog European Film Star Postcards.

  

In the "Chronicon Moissiacense" 806 the place Halle is mentioned for the first time as "Halla". In 968, Otto I founded the Archdiocese of Magdeburg, to which Halle belonged until 1680. Around 1120 the city was extensively expanded. This was possible due to the increasing salt trade and the wealth associated with it. Initially, this was managed by archbishops. From the end of the 12th century the Guild of the Panners (salt makers) was formed. This gave rise to a self-confident bourgeoisie, which concluded a contract with Archbishop Rupert of Magdeburg in 1263, according to which the archbishop was not permitted to build any castles within a mile radius. The Panners determined the politics of the city for centuries. Halle was first mentioned in a document in 1281 as a member of the Hanseatic League, and in 1310 the city's self-government was contractually recorded. In 1341 the construction of a strong tower between the scales and the town hall began, which was used until 1835 to securely accommodate the city's privileges.

 

In 1478 ended the approximately 200-year city independence. In 1484, Archbishop Ernst II (1464–1513) had Moritzburg Castle built as a fortified residential palace in the north-west corner of the city and ceremoniously moved into it in 1503. It was actually supposed to be a stronghold against Halle's self-confident citizens, the salt workers. Until 1680, Halle was the capital and residence of the Archdiocese of Magdeburg.

The market church was built between 1529 and 1554 on the site of two previous churches St. Gertrud and St. Maria. The church of St. Gertrud in the west dates from the 11th century and was the church of the salt makers, the Marienkirche in the east dates from the 12th century and was the parish church of merchants and craftsmen. Only the four towers of these churches survived. In between, the new church was erected and in 1537 (still unfinished) consecrated. Justus Jonas, who officially introduced the Reformation in Halle in 1541, preached from this pulpit. Luther himself preached three times in the Marktkirche in 1545 and 1546.

 

The church was badly damaged in the air raid in March 1945. Part of the vault collapsed. Artillery shelling in 1945 broke out the tracery window on the west front. The restoration work lasted until 1948. A necessary general renovation took place after 1967 when the interior and the furnishings were severely damaged by a burst district heating pipe. It was decided to restore the appearance of the 16th century as much as possible.

 

The bronze baptismal font probably comes from one of the predecessor churches. According to the inscription, it was cast by Ludolf von Braunschweig and his son Heinrich in Magdeburg in 1430. Georg Friedrich Handel was baptized here.

  

We kept crossing paths with an overly self-confident guy and his son (we thought), they'd pass us and then catch up with us much later, having taken a wrong turn and a while to catch up. Last we saw of them, we were leaving Williams Lake and he was talking about maybe starting up the trail to Wheeler Peak, not intending to go the whole way just seeing how far they could make it.

We pointed out that this sign is normally eye level and neither of them had snowshoes and it looked damn windy above tree level (photo to come) but weren't sure we got through...

I hope we did.

circular freeform

crochet & knitting mix

pattern knitting

chunky winter coat

for fashion divas

& self-confident individuals

who enjoy to

express their true self

… she looks so self-confident, that makes her special.

see me on Model Mayhem

www.modelmayhem.com/1774005

Type of Doll: FR16

Name:Rooney Keira Hynde

Age:27

Nationality:British (Glasgow,Scotland)

Attitude:She is a fierce scottish gal,she loves to speak her mind and loves to hear people opinions,sometimes she gets easily heated cause she si very passionate

Fashion Fetish:Union Jack print

Fav Color: Deep Red

Likes:Italian coffee,euro currency,history,evening clucth,James Bond saga

Dislikes:Rude people,english men and women,Beckhams,gloomy summer

Motto: Yes, UK!

Mini Bio:Rooney Keira Hynde is the only daughter of the brilliant artist Shauna Saunders and Rooney Hynde,a professional soccer player.Rooney shares the same name of his dad and hise grandpa,she loves to own a male name that distincts her from other gals.Raised as a tomboy she wandered around the dangerous boundaries of her city,Glasgow as chief of a nasty clan of kids,she was the only girl admitted!

So very self confident with herself,very strong opinionated she went to hi-school as a rebel girl,she never been popular at school but was the idol of the boys.Suddenlty she fell ,barely seventeen, for the shy golden boy Shaw Kingsella,who practices boxe.They were together since then and they are still togther now.

Rooney was the one who launched the campaign Keep Calm and wear UK,that made her popular and brings to fashion trends the UK print,agaiun.She also attended the personal art show of the norther irish visual artist Sorcha Nurse which she is her closer friend,so now regardless of being unpopular at school now she's popular..ironic,dont' you think?

Why she could bring to at HFTP : I'mm the living proof that distinctive style aka diversity could be trendy!Diversity is future,Rooney says!

Self-Portrait dedicated to Leon Trotsky, aka Between the curtains; (1937)

Washington, National Museum for women in the Arts

 

This painting is sometimes referred to as "Between the curtains". It is a self-portrait that Frida painted as a gift for Leon Trotsky on his birthday. The paper she is holding dedicates the portrait to Leon: "To Leon Trotsky, with all my love, I dedicate this painting on 7th November 1937. Frida Kahlo in Saint Angel, Mexico". The portrait is painted with warm and soft colors, and Frida looks beautiful, seductive and self-confident.

 

Trotsky, a Russian political rival of Stalin, was deeply committed to the theories of Marxism as a thinker, writer, organizer and military strategist. In 1936, Stalin finally chased the rival Trotsky into exile. Unable to find asylum in other countries, Frida's husband, Diego Rivera, persuaded the Mexican President Lazaro Cardenas to grant Trotsky asylum in Mexico. In January of 1937, Leon Trotsky and his wife, Natalia Sedova, arrived in Mexico and was greeted by Kahlo. She gave them the use of the Blue House in Coyoacan where they lived for the next two years. During that time the Rivera's and the Trotsky's spent a lot of time together and in the early summer of 1937 Frida and Leon began a secret love affair. Trotsky was notoriously attracted to pretty women, and Kahlo found his stature in the world, and in Diego's eyes, appealing. But, before long, Kahlo grew tired of Trotsky, whom she called "the old man" and the affair ended. After their relationship ended in July, Frida painted this self-portrait and gave it to Trotsky who hung it on the wall in his study. In April of 1939. the Trotsky's moved from the Blue House ... Trotsky left the painting behind.

 

Eventually the painting ended up in the hands of Frida's long time friend Clare Booth Luce who later donated it to The National Museum for Women in the Arts.

 

www.fridakahlofans.com/c0202.htm

CASTING NOW!!! DREAM BIG! Nothing like being featured in a national TV show to gain huge national publicity for your business, career, or yourself!

 

Hollywood's most celebrated Network & Cable producers are now working with Cheryl Shuman to develop 4 (Four) different reality series evolving around the cannabis community and movement. These will be hits!! Imagine Entourage Meets Sex in the City Meets The Apprentices Meets Top Model Meets The Big C Meets the Cannabis Movement. These new hit shows about real men & women, living captivating lives in LEGAL MEDICAL MARIJUANA are now casting! This upcoming docu-series gives viewers an inside look at Cannabis Communities most intriguing, interesting, compelling, & glamorous individuals. In addition, we will be profiling some of the most compelling patient stories to help promote law reform as well as top political figures during the upcoming election.

 

The Production Team is currently looking for fabulous men, women and their families who live or work in the cannabis industry as well as main stream cannabis consumers to be on this series. We are searching for outgoing, exciting, strong, self-confident men & women who reside in LEGAL medical cannabis states who want to share their amazing lives!

 

Theses new docu-series are an amazing platform to promote current or future activism, business endeavors, careers, ideas, etc... you can't beat the huge publicity of a national television show to make you and your ideas/brand a major success!

 

If you or someone you know is living "the good life" in one of the legal medical marijuana communities, we want to hear from you!

 

TO SUBMIT:

Be sure to mention you heard about this from Cheryl Shuman for priority consideration, and email ALL the information requested below ASAP to:

 

BeverlyHillsCannabisClub@gmail.com

Be sure to include:

1. Your name (first and last)

2. Contact phone number

3. City/Zip where you live

4. A short bio about you and your fabulous life and what makes you a fit for this tv show

5. Recent photos of you, your family, and your home/BUSINESS (jpg format please)

6. Be sure to mention you heard about this from Cheryl Shuman for priority consideration!

 

TO RECEIVE NOTICES LIKE THIS WITH MORE INFO ON ENTERTAINMENT INDUSTRY JOBS, OPPORTUNITIES, AND EVENTS:

Just go to www.BeverlyHillsCannabisClub.com and click Register!

 

Kindest Personal Regards

 

Cheryl Shuman

Director of Celebrity, Media & Public Relations

 

FOR ADDITIONAL INFORMATION COMMENTS AND FB LIKES/TWEETS ON MY ARTICLES! :) THNX :) Check out the article on:

 

blog.sfgate.com/smellthetruth/2012/06/11/an-inside-look-a...

 

blog.sfgate.com/smellthetruth/2012/06/28/fx-thursday-nigh...

 

The stars shone brilliantly at Lure Night Club in Hollywood for the FX Summer Comedy Party. The celebration included series stars from Anger Management, Brand X With Russell Brand, Louie, Wilfred, and Totally Biased. Celebrities in attendance were Charlie Sheen, Russell Brand, Louis C.K., W. Kamau Bell, Selma Blair, Shawnee Smith, Daniela Bobadilla, Noureen DeWulf, Michael Arden, Derek Richardson, Elijah Wood, Jason Gann, Fiona Gubelmann and Dorian Brown.

 

The room was electric, buzzing with the anticipated arrival of the “winning” man himself, Charlie Sheen, star of Anger Management. He was easy to spot upon his entrance, surrounded by nearly a dozen bodyguards. I noticed that he was the only celeb with such an entourage.

 

Several sections of Lure were roped off for celebrities and VIPs. Massive video screens were everywhere, promoting the Thursday evening line up. Upon arrival with my daughter as my date, I stopped by to visit with each show and reunited with my friends from Wilfred — where I proudly work with them as the “marijuana expert” for the show.

 

About Cheryl Shuman:

 

Referred to as the "Martha Stewart of Marijuana," Cheryl Shuman announces the formation of Green Asset International Inc.. Shuman brings 25 years of experience working with media, celebrities, marketing and health care in Beverly Hills. Shuman found her passion in the cannabis movement since 1996 working as an activist and legal cannabis patient. Since using cannabis therapy, she has survived cancer and injuries from two car crashes.

 

Shuman was the founder of Beverly Hills NORML, founding charter member of the NORML Women's Alliance and served on the steering committee for Public Relations and Marketing on an International platform. Cheryl Shuman is a founding member of the NCIA, National Cannabis Industry Association and served as the Director of Special Projects for the NCIA including the Women's Cannabusiness Network. Cheryl Shuman transformed her non-profit career into a thriving profitable media enterprise.

 

Cheryl was the Executive Director of Celebrity, Media and Public Relations for the KUSH Brand which includes KUSH Magazine, KUSH Conventions and DailyBuds.com. Cheryl Shuman has been interviewed for television programs, newspapers and magazines, including but not limited to: ABC News, CNN, Fox News, NBC News, Access Hollywood, Entertainment Tonight, Today Show NBC, HBO Entertainment News and more.

 

Her private medical cannabis collective, "The Beverly Hills Cannabis Club" is unlisted and membership is by referral only. Through her personal relationships and connections within Hollywood, Cheryl Shuman has been named as one of the most influential women in the cannabis reform movement by international media. Her position within the cannabis industry creates the first and only company of its kind and at the forefront of entertainment marketing, celebrity endorsements, product placement integration, sponsorships, production and technology.

 

Cheryl Shuman serves as media spokesperson for the hot new vaporizer CANNACig Rapid Fire Marketing (pink sheets: RFMK) and conducts their marketing, public relations, product placement, and consulting services.

 

Cheryl Shuman's "Green Asset International Inc." is a business development company and acquisition vehicle. Green Asset made news with an historic $100 million funding facility dedicated to the cannabis industry with plans to go public by 2014.

 

--

Cheryl Shuman, C.E.O.

Green Asset International Inc.

Director of Celebrity, Media & Public Relations

"Smell the Truth" - Hearst Digital Media

(www.blog.sfgate.com/smellthetruth/)

The Truth List

(www.TheTruthList.com)

Spokesperson for CANNACig by RFMK

www.vinhaler.com/online-store.html

(www.Rapid-Fire-Marketing.com/)

Beverly Hills Cannabis Club

Join Free Using "Cheryl Shuman" as your invitation code on:

(www.BeverlyHillsCannabisClub.com)

Social Network Links:

BHCC: www.BeverlyHillsCannabisClub.com

LinkedIN: www.LinkedIn.com/in/CherylShuman

Facebook: www.FaceBook.com/CherylShumanInc

Twitter: www.Twitter.com/CherylShuman

YouTube: www.YouTube.com/BeverlyHillsCannabis

On Flickr Explore #499 - 30 October 2007

 

A man with faith can win the world with ease;

A leader with faith brings about world’s peace;

A faithless man always has unknown fears.

 

Faith in oneself makes one self-confident;

Faith in religion and God gives mind’s peace;

 

Faith is needed to maintain good friendship;

You ought to have faith in a stranger too;

Faith in the captain brings to harbor ship;

 

Have faith in the man for earthly things done;

Have faith in God for Heavenly grace won.

 

The area around Lübeck, today a large city with a population of more than 200,000, had been settled by Slavs since the 7th century. Slavs had a settlement north of the present city called "Liubice", which was razed by the pagan Rani tribe in 1128.

 

15 years later Adolf II, Count of Schauenburg and Holstein, founded the modern town as a German settlement on the river island of Bucu. He built a new castle, first mentioned as existing in 1147. Adolf II had to cede the castle to the Duke of Saxony, Henry the Lion, in 1158. After Henry's fall from power in 1181, the town became an Imperial city. Emperor Barbarossa ordained that the city should have a ruling council of 20 members. With the council dominated by merchants, trade interests shaped Lübeck's politics for centuries.

 

In the 14th century, Lübeck became the "Queen of the Hanseatic League", being by far the largest and most powerful member of that medieval trade organization. In 1375, Emperor Charles IV named Lübeck one of the five "Glories of the Empire", a title shared with Venice, Rome, Pisa, and Florence.

 

Conflicts about trading privileges resulted in fighting between Lübeck (with the Hanseatic League) and Denmark and Norway – with varying outcome. While Lübeck and the Hanseatic League prevailed in conflicts in 1435 and 1512, Lübeck lost when it became involved in a civil war that raged in Denmark from 1534 to 1536. From then on Lübeck's power slowly declined. The city remained neutral in the Thirty Years' War, but the devastation from the decades-long war and the new transatlantic orientation of European trade caused the Hanseatic League – and thus Lübeck with it – to decline in importance. However Lübeck still remained an important trading town on the Baltic Sea.

 

In 1160 Henry the Lion moved the bishopric of Oldenburg to Lübeck and endowed a cathedral chapter. In 1163 a wooden church was built, however, at the beginning of the 13th century, it was no longer sufficient to meet the representative demands of the self-confident burghers.

 

St. Marien was built between 1250 and 1350. It has always been a symbol of the power and prosperity of the old Hanseatic city. It situated at the highest point of the island that forms the old town.

 

Gothic cathedrals in France and Flanders made of natural stone were the models for the new construction of Lübeck's three-nave basilica.

 

St. Marien epitomizes North German "Brick Gothic" and set the standard for many churches in the Baltic region. The church embodied the towering style of Gothic architecture using brick.

 

The incentive for the City Council to undertake such an enormous project was rooted in the bitter dispute with the Lübeck bishopric. As a symbol of the long-distance merchants' desire for freedom and the secular power of the city, which had been free of the Empire since 1226, the church building in the immediate vicinity of Lübeck's city hall and the market square was intended to clearly and uncatchably surpass in size the city's bishop's church, Lübeck Cathedral.

 

In March 1942, St. Marien (as well as the Cathedral and St. Peter) was almost completely burned out during the air raid on Lübeck, which destroyed one-fifth of the city center. Reconstruction og the church began in 1947 and was essentially a completed.The nave is about 40m high.

   

A self-confident resident of Estonia got on with his day at 7 pm on Friday evening, 26 July, and parked his shining car in the very centre of Riga's Audeju Street, for babes in the woods' viewing. I did not spend much time waiting to see if there was any reaction from the Latvian police. If an Estonian policeman sees his countryman, let him give the car owner some extra stick.

just a wrap

is it not?

freeform

freestyle

for divas

divos

self-confident stargods

but,

of course

stargods are always

self- aware

& shining their light on

the core

of divine energy

you have to experience a considerable amount of shit in order to appreciate beautiful things.

  

the last days have been a bit exhausting. a few phonecalls with my mom who thought that her life just ended because a huge asshole left her. my business was to get across to her that she has to look forward and concentrate on what is left (which is among other things 3 awsome children including my humble self) and on who she was before she met him: a jolly, offhanded and (most important) self-confident woman who always knew what she wanted . now she did a short city trip and talked this morning on my answering machine saying "thank you" and "i´m so fucking fine!". i hope that this is going to last...

 

***

I did a marathon of re-stringing and sueding yesterday afternoon of my new dolls. It was so windy all day that I had to wait until late in the evening before I could start with the face-ups though. At 3.40 a.m. when I was done with Sally, so in the dead of the night I just snapped a couple of pics of her posing by my desk. I confess, I'm just nuts about this girl! I thought I managed to give her the look I was after: sassy, sexy, self-confident, a bit of a know-it-all even, risk-taker... That's my Sally! :D I can't wait to do a proper photo session with her outdoors.

 

My Sally has the 62cm body in burnt sugar colour. She takes a 8-9 wig and is best with 14mm eyes, I prefer oval eyes for her.

East-German postcard by VEB Progress Film-Vertrieb, Berlin, no. 3282, 1968. Photo: DEFA / Dietrich. Jan Spitzer and Heidemarie Wenzel in Abschied/Farewell (Egon Günther, 1968).

 

German actress Heidemarie Wenzel (1945) became known in DEFA films of the early 1970s, such as Zeit der Störche/Time of the storks (1971) and Nemuritorii (1974).

 

Heidemarie Wenzel was born in 1945 in Berlin, Germany. During her youth, she played in the children's theatre and in the movement choir of the Deutschen Staatsoper (German State Opera). From 1963 to 1966 she studied at the Hochschule für Schauspielkunst Ernst Busch (Ernst Busch Academy of Dramatic Arts) in Berlin. After graduation she got her first engagements in Rostock and Greifswald. Very soon she began to work as a freelance actress in film and on television. Her first major role was as Fanny in the film adaptation of Johannes R. Becher's novel Abschied/Farewell (Egon Günther, 1968), starring Rolf Ludwig and Jan Spitzer. The film was heavily criticised by officials in the GDR because of the unusual narrative style. Wenzel had her breakthrough in the role of the self-confident teacher Susanne in Zeit der Störche/Time of the storks (Siegfried Kühn, 1971), opposite Winfried Glatzeder. In Die Taube auf dem Dach/The Dove on the Roof (Iris Gusner, 1973), she was able to show her acting talent properly for the first time, however, the film was banned even before its premiere. The pretty, tall, slender and blonde actress was both open-minded and intelligent as well as introverted. She was often cast for contemporary roles as in Die Legende von Paul und Paula/The Legend of Paul und Paula (Heiner Carow, 1973), starring Angelica Domröse and Winfried Glatzeder. This was the most succesful film of the DEFA in its history.

 

Until the mid-1970s, Heidemarie Wenzel played several more major roles, but then she got less and less good offers, as she was considered politically unreliable. In 1986 she made an exit request and was not occupied in the following years. Therefore, she had to work as an office assistant at the church. In 1988 she was expatriated to the Federal Republic (West-Germany). From 1991, she became a star in both West and East Germany in the TV series Unsere Hagenbecks/Our Hagenbecks (1991-1994) about a family who runs a zoo in Hamburg. When her character died in an accident, it came to public protests. In the 1990s Wenzel also appeared more often in the theatre. Her later series include the popular hospital soap In aller Freundschaft/In all Friendliness (1998) with Rolf Becker. The series follows the staff of the fictional Sachsenklinik hospital in the city of Leipzig. Wenzel lives in Berlin-Tempelhof. She has a son and a daughter. In her first marriage Wenzel was married to the director Kurt Veth, which is why she was also credited at times as Heidemarie Wenzel-Veth. Since 1977, she is married to the director and author Helmut Nitzschke.

 

Sources: Wikipedia and IMDb.

 

And, please check out our blog European Film Star Postcards.

from the series

"believe me, it´s a scarf "

 

giant luxury

scarf stole

wrap cloak

with 2 sleeves

 

fabric knitting

art-yarn fusion

with lurex & metallic effects

a perfect lagenlook layer

for self-confident fashion divas

Pandion ridgwayi after capturing the meal of the day. From that moment on he was very self-confident and I could come very close...