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The history of the Austrian Museum of Applied Arts/Contemporary Art
1863 / After many years of efforts by Rudolf Eitelberger decides Emperor Franz Joseph I on 7 March on the initiative of his uncle Archduke Rainer, following the model of the in 1852 founded South Kensington Museum (now the Victoria and Albert Museum, London), the establishment of the "k. k. Austrian Museum for Art and Industry" and apponted Rudolf von Eitelberger, the first professor of art history at the University of Vienna, to director. The museum should be serving as a specimen collection for artists, industrialists, and public and as a training and education center for designers and craftsmen.
1864/ on 12th of May, opened the museum - provisionally in premises of the ball house next to the Vienna Hofburg, the architect Heinrich von Ferstel for museum purposes had adapted. First exhibited objects are loans and donations from the imperial collections, monasteries, private property and from the kk polytechnic in Vienna. Reproductions, masters and plaster casts are standing value-neutral next originals.
1865-1897 / The Museum of Art and Industry publishes the journal Communications of Imperial (k. k.) Austrian Museum for Art and Industry .
1866 / Due to the lack of space in the ballroom setting up of an own museum building is accelerated. A first project of Rudolf von Eitelberger and Heinrich von Ferstel provides the integration of the museum in the project of imperial museums in front of the Hofburg Imperial Forum. Only after the failure of this project, the site of the former Exerzierfelds (parade ground) of the defense barracks before Stubentor the museum here is assigned, next to the newly created city park on the still being under development Rind Road.
1867 / Theoretical and practical training are combined with the establishment of the School of Applied Arts. This will initially be housed in the old gun factory, Währinger Straße 11-13/Schwarzspanierstrasse 17, Vienna 9.
1868 / With the construction of the building at Stubenring is started as soon as it is approved by Emperor Franz Joseph I. the second draft of Heinrich Ferstel.
1871 / The opening of the building at Stubering takes place after three years of construction, 15 November. Designed according to plans by Heinrich von Ferstel in the Renaissance style, it is the first built museum building on the ring. Objects from now on could be placed permanently and arranged according to main materials. / / The Arts School moves into the house on Stubenring. / / Opening of Austrian art and crafts exhibition.
1873 / Vienna World Exhibition. / / The Museum of Art and Industry and the Vienna School of Arts and Crafts are exhibiting together at Stubenring. / / Rudolf von Eitelberger organizes in the framework of the World Exhibition the worldwide first international art scientific congress in Vienna, thus emphasizing the orientation of the Museum on teaching and research. / / During the World Exhibition major purchases for the museum of funds of the Ministry are made, eg 60 pages of Indo-Persian Journal Mughal manuscript Hamzanama.
1877 / decision on the establishment of taxes for the award of Hoftiteln (court titels). With the collected amounts the local art industry can be promoted. / / The new building of the School of Applied Arts, adjoining the museum, Stubenring 3 , also designed by Heinrich von Ferstel, is opened.
1878 / participation of the Museum of Art and Industry and the School of Art at the Paris World Exhibition.
1884 / founding of the Vienna Arts and Crafts Association with seat in the museum. Many well-known companies and workshops (led by J. & L. Lobmeyr), personalities and professors of the arts and crafts school join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and crafts since the 1860s has obtained. For this reason are organized various times changing, open to the public exhibitions at the Imperial Austrian Museum for Art and Industry. The exhibits can also be purchased. These new, generously carried out exhibitions give the club the necessary national and international resonance.
1885 / After the death of Rudolf von Eitelberger is Jacob von Falke, his longtime deputy, appointed manager. Falke plans all collection areas als well as publications to develop newly and systematically. With his popular publications he influences significantly the interior design style of the historicism in Vienna.
1888 / The Empress Maria Theresa exhibition revives the contemporary discussion with the high baroque in the history of art and in applied arts in particular.
1895 / end of the Directorate of Jacob von Falke. Bruno Bucher, longtime curator of the Museum of metal, ceramic and glass, and since 1885 deputy director, is appointed director.
1896 / The Vienna Congress exhibition launches the confrontation with the Empire and Biedermeier style, the sources of inspiration of Viennese Modernism .
1897 / end of the Directorate of Bruno Bucher. Arthur von Scala, Director of the Imperial Oriental Museum in Vienna since its founding in 1875 (renamed Imperial Austrian Trade Museum 1887), takes over the management of the Museum of Art and Industry. / / Scala wins Otto Wagner, Felician of Myrbach, Koloman Moser, Josef Hoffmann and Alfred Roller to work at the museum and school of applied arts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagated the example of the Arts and Crafts Movement and makes appropriate acquisitions for the museum's collection.
1898 / Due to differences between Scala and the Arts and Crafts Association, which sees its influence on the Museum wane, Archduke Rainer puts down his function as protector. / / New statutes are written.
1898-1921 / The Museum magazine art and crafts replaces the Mittheilungen (Communications) and soon gaines international reputation.
1900 / The administration of Museum and Arts and Crafts School is disconnected.
1904 / The Exhibition of Old Vienna porcelain, the to this day most comprehensive presentation on this topic, brings with the by the Museum in 1867 definitely taken over estate of the " k. k. Aerarial Porcelain Manufactory" (Vienna Porcelain Manufactory) important pieces of collectors from all parts of the Habsburg monarchy together.
1907 / The Museum of Art and Industry takes over the majority of the inventories of the Imperial Austrian Trade Museum, including the by Arthur von Scala founded Asia collection and the extensive East Asian collection of Heinrich von Siebold .
1908 / Integration of the Museum of Art and Industry in the Imperial and Royal Ministry of Public Works.
1909 / separation of Museum and Arts and Crafts School, the latter remains subordinated to the Ministry of Culture and Education. / / After three years of construction, the according to plans of Ludwig Baumann extension building of the museum (now Weiskirchnerstraße 3, Wien 1) is opened. The museum receives thereby rooms for special and permanent exhibitions. / / Arthur von Scala retires, Eduard Leisching follows him as director. / / Revision of the statutes.
1909 / Archduke Carl exhibition. For the centenary of the Battle of Aspern. / / The Biedermeier style is discussed in exhibitions and art and crafts.
1914 / Exhibition of works by the Austrian art industry from 1850 to 1914, a competitive exhibition that highlights, among other things, the role model of the museum of arts and crafts in the fifty years of its existence.
1919 / After the founding of the First Republic it comes to assignments of former imperial possession to the museum, for example, of oriental carpets that are shown in an exhibition in 1920. The Museum now has one of the finest collections of oriental carpets worldwide .
1920 / As part of the reform of museums of the First Republic, the collection areas are delineated. The Antiquities Collection of the Museum of Art and Industry is given away to the Museum of Art History.
1922 / The exhibition of glasses of classicism, the Empire and Biedermeier time offers with precious objects from the museum and private collections an overview of the art of glassmaking from the former Austro-Hungarian Empire. / / Biedermeier glass serves as a model for contemporary glass production and designs, such as Josef Hoffmann.
1922 / affiliation of the museal inventory of the royal table and silver collection to the museum. Until the institutional separation the former imperial household and table decoration is co-managed by the Museum of Art and Industry and is inventoried for the first time by Richard Ernst.
1925 / After the end of the Directorate of Eduard Leisching Hermann Trenkwald is appointed director.
1926 / The exhibition Gothic in Austria gives a first comprehensive overview of the Austrian panel painting and of arts and crafts of the 12th to 16th Century.
1927 / August Schestag succeeds Hermann Trenkwald as director .
1930 / The Werkbund (artists' organization) Exhibition Vienna, A first comprehensive presentation of the Austrian Werkbund, takes place on the occasion of the meeting of the Deutscher Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.
1931 / August Schestag finishes his Directorate .
1932 / Richard Ernst is the new director .
1936 and 1940 / In exchange with the Kunsthistorisches Museum (Museum of Art History), the museum at Stubenring gives away part of the sculptures and takes over craft inventories of the collection Albert Figdor and the Kunsthistorisches Museum.
1937 / The Collection of the Museum of Art and Industry is re-established by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.
1938 / After the "Anschluss" of Austria by Nazi Germany, the museum was renamed "National Museum of Decorative Arts in Vienna".
1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Applied Arts in Vienna" is also enlarged in this way.
1945 / Partial destruction of the museum building by impact of war. / / War losses on collection objects, even in the places of rescue of objects.
1946 / The return of the outsourced objects of art begins. A portion of the during the Nazi time expropriated objects is returned in the following years.
1947 / The "State Museum of Applied Arts in Vienna" is renamed "Austrian Museum of Applied Arts".
1948 / The "Cathedral and Metropolitan Church of St. Stephen" organizes the exhibition The St. Stephen's Cathedral in the Museum of Applied Arts. History, monuments, reconstruction.
1949 / The Museum is reopened after repair of the war damages.
1950 / As last exhibition under director Richard Ernst takes place Great art from Austria's monasteries (Middle Ages).
1951 / Ignaz Schlosser is appointed manager.
1952 / The exhibition Social home decor, designed by Franz Schuster, makes the development of social housing in Vienna again the topic of the Museum of Applied Arts.
1955 / The comprehensive archive of the Wiener Werkstätte (workshop) is acquired.
1955-1985 / The Museum publishes the periodical ancient and modern art .
1956 / Exhibition New Form from Denmark, modern design from Scandinavia becomes topic of the museum and model.
1957 / On the occasion of the exhibition Venini Murano glass, the first presentation of Venini glass in Austria, there are significant purchases and donations for the collection of glass.
1958 / End of the Directorate Ignaz Schlosser
1959 / Viktor Griesmaier is appointed as the new director.
1960 / Exhibition Artistic creation and mass production of Gustavsberg, Sweden. Role model of Swedish design for the Austrian art and crafts.
1963 / For the first time in Europe, in the context of a comprehensive exhibition art treasures from Iran are shown.
1964 / The exhibition Vienna 1900 presents Crafts of Art Nouveau for the first time after the Second World War. / / It is started with the systematic processing of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary grantes the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.
1965 / The Geymüllerschlössel is as a branch of the Museum angegliedert (annexed). Gleichzeitig (at the same time) with the building came the important collection of Franz Sobek - old Viennese clocks, emerged between 1760 and the second half of the 19th Century - and furniture from the years 1800 to 1840 in the possession of the MAK.
1966 / In the exhibition Selection 66 selected items of modern Austrian interior designers (male and female ones) are merged.
1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues to today of Austria's most important design project in the 20th Century.
1968 / On Viktor Griesmaier follows Wilhelm Mrazek as director.
1969 / The exhibition Sitting 69 shows on the international modernism oriented positions of Austrian designers, inter alia by Hans Hollein.
1974 / For the first time outside of China Archaeological Finds of the People's Republic of China are shown in a traveling exhibition in the so-called Western world.
1979 / Gerhart Egger is appointed director .
1980 / The exhibition New Living. Viennese interior design 1918-1938 provides the first comprehensive presentation of the art space in Vienna during the interwar period.
1981 / Herbert Fux follows Gerhart Egger as Director.
1984 / Ludwig Neustift is appointed interim director. / / Exhibition Achille Castiglioni: Designer. First exhibition of the Italian designer in Austria
1986 / Peter NOEVER is appointed as Director and started building up the collection of contemporary art.
1987 / Josef Hoffmann. Ornament between hope and crime is the first comprehensive exhibition on the work of the architect and designer.
1989-1993 / General renovation of thee old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for collection and additional exhibit spaces arise.
1989 / Exhibition Carlo Scarpa. The other city, the first comprehensive exhibition on the work of the architect outside Italy.
1990 / exhibition Hidden impressions. Japonisme in Vienna 1870-1930, first exhibition on the theme of the Japanese influence on the Viennese Modernism.
1991 / exhibition Donald Judd Architecture, first major presentation of the artist in Austria.
1992 / Magdalena Jetelová domestication of a pyramid (installation in the MAK portico).
1993 / The permanent collection is re-established, interventions of internationally recognized artists (Barbara Bloom, Eichinger oder Knechtl, Günther Förg, GANGART, Franz Graf, Jenny Holzer, Donald Judd, Peter Noever, Manfred Wakolbinger and Heimo Zobernig) update the prospects, in the sense of "Tradition and Experiment". The halls on Stubenring accommodate furthermore the study collection and the temporary exhibitions of contemporary artists reserved gallery. The building in the Weiskirchnerstraße is dedicated to changing exhibitions. / / The opening exhibition Vito Acconci. The City Inside Us shows a room installation by New York artist.
1994 / The Gefechtsturm (defence tower) Arenbergpark becomes branch of the MAK. / / Start of the cooperation MAK/MUAR - Schusev State Museum of Architecture Moscow. / / Ilya Kabakov: The Red Wagon (installation on the MAK terrace plateau).
1995 / The MAK founds the branch of MAK Center for Art and Architecture in Los Angeles, in the Schindler House and at the Mackey Apartments, MAK Artists and Architects-in-Residence Program starts in October 1995. / / Exhibition Sergei Bugaev Africa : Krimania.
1996 / For the exhibition Philip Johnson: Turning Point designs the American doyen of architectural designing the sculpture "Viennese Trio", which is located since 1998 at the Franz-Josefs-Kai/Schottenring.
1998 / The for the exhibition James Turrell. The other Horizon designed Skyspace today stands in the garden of MAK Expositur Geymüllerschlössel. / / Overcoming the utility. Dagobert Peche and the Wiener Werkstätte, the first comprehensive Personale of the work of the designer of Wiener Werkstätte after the Second World War.
1999 / Due to the Restitution Act and the Provenance Research from now on numerous during the Nazi time confiscated objects are returned .
2000 / Outsourcing the federal museums, transforming the museum into a "scientific institution under public law". / / The exhibition of art and industry. The beginnings of the Austrian Museum of Applied Arts in Vienna are dealing with the founding history of the house and the collection.
2001 / As part of the exhibition Franz West: No Mercy, for which the sculptor and installation artist developed his hitherto most extensive work the "Four lemurs heads " are placed at the Stubenbrücke located next to the MAK. / / Dennis Hopper: A System of Moments.
2001-2002 / The CAT Project - Contemporary Art Tower after New York, Los Angeles, Moscow and Berlin in Vienna is presented.
2002 / Exhibition Nodes. symmetrical-asymmetrical. The historic Oriental Carpets of the MAK presents the extensive rug collection.
2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, the exhibition The Price of Beauty. 100 years Wiener Werkstätte takes place. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.
2004 / James Turrell MAKlite is since November 2004 permanently on the facade of the building installed. / / Exhibition Peter Eisenmann. Barefoot on White-Hot Walls, large-scaled architectural installation on the work of the influential American architect and theorist.
2005 / Atelier Van Lieshout: The Disziplinatornbsp / / The exhibition Ukiyo-e Reloaded for the first time presents the collection of Japanese woodblock prints of the MAK in large scale.
2006 / Since the beginning of the year the birthplace of Josef Hoffmann in Brtnice of the Moravian Gallery in Brno and the MAK Vienna as a joint branch is run and presents special exhibitions annually. / / The exhibition The Price of Beauty. The Wiener Werkstätte and the Stoclet House brings the objects of the Wiener Werkstätte to Brussels. / / Exhibition Jenny Holzer: XX.
2007/2008 / Exhibition Coop Himmelb(l)au. Beyond the Blue, is the hitherto largest and most comprehensive museal presentation of the global team of architects .
2008 / The 1936 according to plans of Rudolph M. Schindler built Fitzpatrick-Leland House, a generous gift from Russ Leland to the MAK Center LA, becomes using a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, the center of the MAK UFI project - MAK Urban Future Initiative. / / Julian Opie: Recent Works / / The exhibition Recollecting. Looting and Restitution examines the status of efforts to restitute expropriated objects from Jewish property of museums in Vienna.
2009 / The permanent exhibition Josef Hoffmann: Inspiration is in the Josef Hoffmann Museum, Brtnice opened. / / Exhibition Anish Kapoor. Shooting into the Corner / / The museum sees itself as a promoter of Cultural Interchange and discusses in the exhibition Global:lab Art as a message. Asia and Europe 1500-1700 the intercultural as well as the intercontinental cultural exchange based on objects from the MAK and from international collections.
2011 / After Peter Noevers resignation Martina Kandeler-Fritsch takes over temporarily the management. / / Since 1 September Christoph Thun-Hohenstein is director of the MAK.
A refrigerated trailer, serving as a temporary morgue, is set up outside North Memorial Hospital in Robbinsdale, a suburb of Minneapolis. This measure was implemented during the COVID-19 pandemic, specifically during the spread of the Omicron variant in late 2021 or early 2022, when the state reported critically low ICU bed availability in the Twin Cities metro area. The presence of the mobile morgue underscored the immense strain on healthcare systems during the pandemic's surges.
This image is part of a continuing series following the unrest and events in Minneapolis following the May 25th, 2020 murder of George Floyd.
Serving as a source of parts for the RAF's VC10 fleet, Brize Norton, September 1991. From 1975 to 1981 this aircraft had been operated for the Ruler of Qatar, wearing Gulf Air colours and flown by BA crews.
Participated in and photographed one of several community service projects my church led. It was great seeing the kids and adults spend their Saturday morning doing something for others in this way.
"If I am most looked down upon, yet he inspired me, before others, so that I would faithfully serve the nations with awe and reverence and without blame."
Confessio, 460 AD
The Temple Church was consecrated in honour of the Blessed Virgin Mary on 10 February 1185 by Heraclius, Patriarch of Jerusalem.
The whole Temple community had moved from an earlier site in High Holborn, considered by the 1160s to be too confined. The church was the chapel serving the London headquarters of the Knights Templar, and from them it took its name. The Templars – as the knights were popularly known – were soldier monks.
After the success of the First Crusade, the order was founded in Jerusalem in a building on the site of King Solomon’s temple. Their mission was to protect pilgrims travelling to and from the Holy Land, but in order to do this they needed men and money. For more details of the Templars and this early history of the Church, see The Round Church, 1185.
The London Temple was the Templars’ headquarters in Great Britain. The Templars’ churches were always built to a circular design to remind them of the Church of the Holy Sepulchre at Jerusalem, a round, domed building raised over the site of the sepulchre where Jesus was buried. At first, the Templars were liked and respected. St Bernard of Clairvaux became their patron and they gained many privileges from popes and much support from kings.
In England, King Henry II was probably present at the consecration of the church; King Henry III favoured them so much that he wished to be buried in their church. As a consequence of this wish, the choir of the church was pulled down and a far larger one built in its place, the choir which we now see. This was consecrated on Ascension Day 1240 in the presence of the king. However, after Henry died it was discovered that he had altered his will, and he was buried in Westminster Abbey.
On 10 February 1185 Heraclius, Patriarch of Jerusalem, processed into the Round for the church’s consecration. The King was almost certainly present. A grand church for a grand occasion; for the Round had no such quiet austerity as we see in it today. The walls and grotesque heads were painted: the walls most probably with bands and lozenges of colour. The Round was proudly modern: Heraclius entered through the Norman door to find the first free-standing Purbeck columns ever cut; above them curved in two dimensions Gothic arches rising to the drum. A chancel, some two thirds of the present chancel’s length, stretched to the east. There the Patriach’s procession will have come to rest for Mass. And there the altar stayed. What, then, – on that great day or later – was the function of the Round?
Its most important role was played by its shape. Jerusalem lies at the centre of all medieval maps, and was the centre of the crusaders’ world. The most sacred place in this most sacred city was the supposed site of Jesus’ own burial: the Church of the Holy Sepulchre. Here the crusaders inherited a round church. It was the goal of every pilgrim, whose protection was the Templars’ care. This was the building, of all buildings on earth, that must be defended from its enemies.
In every round church that the Templars built throughout Europe they recreated the sanctity of this most holy place. Among the knights who would be buried in the Round was the most powerful man of his generation: William the Marshal, Earl of Pembroke (died 1219), adviser to King John and regent to Henry III. His sons’ effigies lie around his own. The Marshal himself (who lies recumbent and still) took the Cross as an old man; his sons (drawing their swords) did not. Their figures lie frozen in stone, forever alert in defence of their father’s long-forgotten cause. Such burial was devoutly to be desired; for to be buried in the Round was to be buried ‘in’ Jerusalem.
The Patriarch Heraclius may well have been the most ignorant, licentious and corrupt priest ever to hold his see. Our reports of his character, however, reach us from his enemies. The great Western chronicler of the Crusades, William of Tyre, was for decades Heraclius’ opponent and rival. In 1180 William had (and had been) expected to be appointed Patriarch of Jerusalem. But the king of Jerusalem was swayed by his mother, said to be a mistress of Heraclius – who was duly appointed Patriarch. William himself was honorably reticent in the face of this reverse. His followers were less restrained. ‘Ernoul’ tells (with more indignation, it seems, than accuracy) how his hero William was excommunicated by the new patriarch, went into exile and died at the hands of Heraclius’ own doctor in Rome. William’s narrative was expanded and continued in Old French as L’Estoire d’ Eracles: its story starts with the Emperor Heraclius who recovered the True Cross in 628 – and includes a prophecy that the Cross, secured by one Heraclius, would be lost (as it was) by another.
Can anything redeem our Heraclius’ reputation? Far more was at stake on his visit than at first appears. He was in London as part of a larger mission:- King Baldwin IV of Jerusalem was dying. His kingdom was riven by factions and under threat from Saladin. He had drawn up in his will the rules for the succession: if his nephew, due to become the child-king Baldwin V, were to die before the age of ten, a new ruler should be chosen through the arbitration of four potentates: the Pope, the Emperor Frederick Barbarossa, the King of France and Henry II of England. Late in 1184 a deputation headed west from the Kingdom of Jerusalem: Heraclius, the Grand Master of the Templars and the Hospitallers’ Grand Prior. They visited the Pope, Frederick, Philip II Augustus – and finally Henry. The emissaries reached Reading. As credentials they brought the keys of the Tower of David and the Kingdom’s royal standard. According to some English chroniclers, they offered the Kingdom itself to Henry. The incident is hard to analyse. To plead for protection was to offer the power that would make such protection effective. Did that call for the Kingdom itself? The apparent offer of keys and standard may have been misread; for the ambassadors were reworking a performance already presented to Philip of France. (One French chronicler later derides Heraclius: he was offering the keys to any prince he met.) But the Kingdom of Jerusalem was in desperate straits; and behind the pageant may have lain hopes for the subtlest solution of all: to side-step Jerusalem’s factions; and instead to secure one – any one – of Europe’s leaders as king. How strange, to entrust any such delicate mission to the buffoonish Patriarch of myth.
The story offered welcome ammunition to Henry II’s enemies. Gerald of Wales, bitterly opposed to the Angevins, sees here the turning-point in Henry’s reign: the king failed to rise to this one supreme test; from then on his own and his sons’ adventures faced ruin. Gerald inherited the topos from an old story with a quite different cast. His new version gave Heraclius a starring role. The Patriarch confronted Henry, Gerald tells us, at Heraclius’ departure from Dover. Here is the king’s last chance. ‘Though all the men of my land,’ said the king, ‘were one body and spoke with one mouth, they would not dare speak to me as you have done.’ ‘Do by me,’ replied Heraclius, ‘as you did by that blessed man Thomas of Canterbury. I had rather be slain by you than by the Saracen, for you are worse than any Saracen.’ ‘I may not leave my land, for my own sons will surely rise against me in my absence.’ ‘No wonder, for from the devil they come and to the devil they shall go.’
Gerald’s Heraclius was no coward, and no fool. ‘That blessed man Thomas of Canterbury’ had been killed in 1170. The penance of the four knights who killed him was to serve with the Templars for fourteen years. Henry himself promised to pay for two hundred Templar knights for a year; and in 1172 he undertook to take the Cross himself. Thirteen years had passed. Henry was growing old. Such a vow, undischarged, threatened his immortal soul – as both Heraclius and he knew well. Henry must tread carefully. He summoned a Great Council at Clerkenwell. Surrounded by his advisers, he gave Heraclius his answer: ‘for the good of his realm and the salvation of his own soul’ he declared that he must stay in England. He would provide money instead. Heraclius was unimpressed: ‘We seek a man even without money – but not money without a man.’ Virum appetimus qui pecunia indigeat, non pecuniam quae viro.
***
Our church’s consecration was deep within the diplomatic labyrinth at whose centre lay the future of Jerusalem. The Templars had come a long way. The Order was founded in 1118-9 by a knight of Champagne, Hugh of Payns, who led a group of his fellow-knights in vows of poverty, chastity and obedience. At their foundation they were deeply suspect: it was unnatural for one man to be soldier and monk together. A handful of such ambivalent knights had little chance, it might seem, of attracting support. In the twelfth century the significance of their seal was well known: Matthew Paris, monk of St Albans, explained that the two knights on one horse recalled their lack of horses and poor beginnings.
In Champagne and Burgundy lay the Order’s origin and the seed of its success. Over the course of fifty years a star-burst of spiritual energy illumined all of Europe; and its centre lay in a small area of eastern France. Hugh’s town of Payns was near Troyes, the local city of one Robert, who became a Cluniac monk. In 1075 this Robert, already an abbot, left his monastery with a group of hermits to found a new house: at Molesme. The list of those influenced by Robert and his houses reads as a roll-call of Europe’s spiritual leaders. There was Bruno, who lived briefly as a hermit near Molesme before establishing the most ascetic of all houses, La Grande Chartreuse; Bruno had already been master to Odo, who later became Pope Urban II and preached the First Crusade. When Robert moved again, in search of a yet more rigorous life, he took with him Stephen Harding, later Archbishop of Canterbury. They set up their house at Citeaux.
Harding would in time become abbot. The rigour of the house made it few friends among the local nobility. Its future was uncertain. And then arrived as remarkable a monk as any of that remarkable age: Bernard. He spent three years at Citeaux before a local lord, Hugh Count of Champagne, gave him in 1116 an area of inhospitable woodland well to the north, back in the neighbourhood of Payns. It was known as the Valley of Gall. Bernard gave it a new name: Clairvaux, the Valley of Light.
Bernard secured single-handed the Templars’ future. Hugh of Champagne became a Templar; so did Bernard’s own uncle Andrew. The Templars’ constitution, the Rule, shows all the marks of Bernard’s influence; at the Council of Troyes in 1129 he spoke up for the Order; and, most influential support of all, at the repeated request of Hugh of Payns Bernard wrote In Praise of the New Knighthood.
The New Knighthood’s first half is well-known: in a text advising and praising and warning the knights, Bernard speaks as well to their critics. He is under no illusions: Europe was as glad to be rid of these warring knights as the Holy Land (in Bernard’s eyes) was glad to see them; their army could be a force for good – or for lawless violence. In the tract’s second half Bernard turns to the Holy Land and to Jerusalem itself. Here was his sharpest spur to the pilgrims’ understanding and to the Templars’ own.
Bernard reads Jerusalem itself like a book. In the tradition of Cassian’s fourfold reading of scripture, dominant throughout the Middle Ages, Bernard saw beneath the appearance of the city’s famous sites a far more important spiritual meaning. The land itself invited such a reading:- Bethlehem, ‘house of bread’, was the town where the living bread was first manifest. The ox and ass ate their food at the manger; we must discern there, by contrast, our spiritual food, and not chomp vainly at the Word’s ‘literal’ nourishment. Next, Nazareth, meaning ‘flower’: Bernard reminds us of those who were misled by the odour of flowers into missing the fruit.
And so to Jerusalem itself:- To descend from the Order’s headquarters on the Temple Mount across the Valley of Josaphat and up the Mount of Olives opposite, – this was itself an allegory for the dread of God’s judgement and our joy at receiving his mercy. The House of Martha, Mary and Lazarus offers a moral: the virtue of obedience and the fruits of penance. And above all: in the Holy Sepulchre itself the knight should be raised up to thoughts of Christ’s death and of the freedom from death that it had won for his people: ‘The death of Christ is the death of my death.’ Bernard draws on Paul’s famous account of baptism, and finds in the pilgrims’ weariness the process of their necessary ‘dying’: ‘For we are buried with him by baptism into death: that like as Christ was raised up from the dead by the glory of the Father, even so we should walk in newness of life. For if we have been planted together in the likeness of his death, so we shall be also in the likeness of the resurrection. How sweet it is for pilgrims after the great weariness of a long journey, after so many dangers of land and sea, there to rest at last where they know their Lord has rested!’
***
The Temple Church is now famous as a backwater, a welcome place of calm. The tides of history have shifted; their currents have dug deep channels far from our own Round Church. It was not always so. The effigies of the Marshal and his sons bear telling witness to the Temple’s role in the court’s and nation’s life. In the 16th century the chronicler Stow described the Templars’ seal. The story of their poverty was by then forgotten or incredible. Stow saw rather an emblem of Charity: a knight on horseback takes a fellow Christian out of danger. Perhaps there had always been romance in that picture of knights sharing a horse. The Order’s Rule, after all, allowed each knight three horses and a squire.
The effigies testify as well to a rich ‘reading’ of Jerusalem. The New Knighthood is double-edged: all that Bernard writes in praise of Jerusalem frees the faithful from the need to travel there: it is the spiritual sense of the city that matters – a sense as readily grasped at home. To find ‘Jerusalem’, as Bernard would have it, the faithful should rather come to Clairvaux, and not just on pilgrimage. So resolute a reading was hard to sustain. Bernard might detach Jerusalem from the benefits its contemplation could bring; but those around him sooner attached Jerusalem’s blessings to such places as fostered its contemplation.
Our effigies seem to us frozen in stone, their figures forever poised to fight battles that ended 700 years ago. But these knights’ eyes are open. They are all portrayed in their early thirties, the age at which Christ died and at which the dead will rise on his return. The effigies are not memorials of what has long since been and gone; they speak of what is yet to come, of these once and future knights who are poised to hear Christ’s summons and to spring again to war.
By 1145 the Templars themselves wore white robes with red crosses. White was linked with more than purity. In the Book of Revelation the martyrs of Christ, clad in white robes washed in the blood of the Lamb (Rev 7.14), are those who will be called to life at the ‘first resurrection’. For a millennium they will reign with Christ; at its end Satan will lead all the nations of the earth against ‘the beloved city’ (Rev 20.9). The final battle will be in Jerusalem. Our knights have good reason to draw their swords. For buried in ‘Jerusalem’, in Jerusalem they shall rise to join the Templars in the martyrs’ white and red. Here in the Temple, in our replica of the Sepulchre itself, the knights are waiting for their call to life, to arms and to the last, climactic defence of their most sacred place on earth.
Little more than fifty years after the consecration of the chancel, the Templars fell on evil times. The Holy Land was recaptured by the Saracens and so their work came to an end. The wealth they had accumulated made them the target of envious enemies, and in 1307, at the instigation of Philip IV King of France, the Order was abolished by the Pope. The papal decree was obeyed in England and King Edward II took control of the London Temple.
Eventually he gave it to the Order of St John – the Knights Hospitaller – who had always worked with the Templars. At the time, the lawyers were looking for a home in London in order to attend the royal courts in Westminster. So the Temple was rented to two colleges of lawyers, who came to be identified as the Inner and Middle Temples. The two colleges shared the use of the church. In this way, the Temple Church became the “college chapel” of those two societies and continues to be maintained by them to the present day.
It was King Henry VIII who brought about the next change in the church. In 1540 he abolished the Hospitallers and confiscated their property. The Temple again belonged to the Crown. It was then for Henry to provide a priest for the church, to whom he gave the title ‘Master of the Temple’.
‘Be of good comfort,’ said Hooker: ‘we have to do with a merciful God, rather to make the best of that little which we hold well; and not with a captious sophister who gathers the worst out of every thing in which we err.’
Richard Hooker was appointed Master of the Temple in 1585. England was in alarm. The threat from Catholic Europe had revived: there had been rebellion against the Queen and Settlement in 1569; in 1570 the Pope had excommunicated Elizabeth and declared her subjects free from their allegiance; Mary Queen of Scots was linked with ever further conspiracy against her cousin; and the danger of Spanish invasion was growing.
England’s radical reformers were convinced: England’s only hope of spiritual and political safety lay in the example of Calvin’s godly state, Geneva. The ‘head and neck’ of English Calvinism were Thomas Cartwright and Walter Travers. Since 1581 Travers had been the Reader (lecturer) of the Temple. In 1584 the Privy Council ordered the Inner Temple to continue his stipend ‘for his public labours and pains taken against the common adversaries, impugners of the state and the authorities under her Majesty’s gracious government.’ Hooker and Travers were to be colleagues. Their differences soon became clear. To recover the purity of the primitive church, Travers would be rid of all that intervened and would forge the English church anew. Hooker was steeped in classical and medieval thought; saw the roots of his own (and Travers’) understanding in Aristotle, Augustine, Thomas and Calvin himself; and acknowledged –even valued – the differences to which such a rich tradition could give rise: ‘Be it that Peter has one interpretation, and Apollos has another; that Paul is of this mind, and Barnabas of that. If this offend you, the fault is yours.’ As then, so now: ‘Carry peaceable minds, and you may have comfort by this variety.’ When Hooker carefully and bravely explored the possibility that individual Catholics could be saved, the scene was set for the most famous public debated of the day. ‘Surely I must confess unto you,’ said Hooker: ‘if it be an error to think that God may be merciful to save men, even when they err, my greatest comfort is my error. Were it not for the love I bear unto this “error”, I would neither wish to speak nor to live.’
We hear of Hooker’s preaching at the Temple: ‘his voice was low, stature little, gesture none at all, standing stone still in the pulpit, as if the posture of his body were the emblem of his mind, immovable in his opinions. Where his eye was left fixed at the beginning, it was found fixed at the end of the sermon. …The doctrine he delivered had nothing but itself to garnish it.’ Travers, by contrast, was a natural orator, and he was himself a distinguished thinker; he later became the first Provost of Trinity College, Dublin. Hooker held his ground and deepened his reasoning. It was to disclose and offer the comfort of faith that he spoke: ‘Have the sons of God a father careless whether they sink or swim?’ The Temple sermons that survive stress the simple conditions of salvation: ‘Infidelity, extreme despair, hatred of God and all godliness, obduration in sin – cannot stand where there is the least spark of faith, hope, love or sanctity; even as cold in the lowest degree cannot be where heat in the first degree is found.’
The debate was brought to an end by Archbishop Whitgift: In March 1586 Travers was forbidden to preach. In 1591 Hooker resigned, and was appointed vicar of Bishopsbourne in Kent. Here he developed his thought in his masterpiece, Ecclesiastical Polity, the foundational – and still, perhaps, the most important – exploration of doctrine in the history of the Anglican church. Hooker elaborated a theory of law based on the ‘absolute’ fundamental of natural law: this is the expression of God’s supreme reason and governs all civil and ecclesiastical polity. ‘Of Law there can be no less acknowledged, than that her seat is the bosom of God, her voice the harmony of the world: all things in heaven and earth do her homage, the very least as feeling her care, and the greatest as not exempted from her power: both angels and men and creatures of what condition soever, though each in different sort and manner, yet all with uniform consent, admiring her as the mother of their peace and joy.’ Hooker’s influence has pervaded English thought ever since. He was admired by Laud and by the puritan Baxter, extolled by the Restoration bishops, and brought once more to prominence by Keble and the Oxford Movement; he has now been rediscovered (in a recent monograph by Richard Atkinson) within the modern evangelical church. His reach has extended far beyond theologians. Ecclesiastical Polity was the starting-point for Clarendon’s History and seminal for Locke’s philosophy; its self-critical balance touched Andrew Marvell; and Samuel Pepys read it at the recommendation of a friend who declared it ‘the best book, and the only one that made him a Christian.’
THE BATTLE OF THE PULPIT
In 1585 the Master of the Temple, Richard Alvey, died. His deputy – the Reader, Walter Travers – expected to be promoted, but Queen Elizabeth I and her advisers regarded his views as too Calvinist, and Travers was passed over.
Instead a new Master, Richard Hooker, was appointed from Exeter College, Oxford. On Hooker’s arrival, a unique situation arose. Each Sunday morning he would preach his sermon; each Sunday afternoon Travers would contradict him. People came to call it the Battle of the Pulpit, saying mischievously that Canterbury was preached in the morning and Geneva in the afternoon. There was a lasting result of all this: Hooker published his teaching as Ecclesiastical Polity and came to be recognised as the founding father of Anglican theology.
By the end of the 16th century, the two Inns of Court had erected many fine buildings at the Temple, yet their position as tenants was not a secure one. In order to protect what they had built up from any future whims of the Crown, they petitioned King James I for a more satisfactory arrangement. On 13 August 1608 the King granted the two Inns a Royal Charter giving them use of the Temple in perpetuity.
One condition of this was that the Inns must maintain the church. The Temple and the church are still governed by that charter. In gratitude, the Inns gave King James a fine gold cup. Some years later, in the Civil war, his son Charles I needed funds to keep his army in the field. The cup was sold in Holland and has never been traced.
In February 1683, the treasurers of the two Societies of the Temple commissioned an organ from each of the two leading organ builders of the time, Bernhard Smith (1630-1708) and Renatus Harris (1652-1708). The organs were to be installed in the halls of the Middle and Inner Temple, to enable them to be played and judged. Smith was annoyed to discover that Harris was also invited to compete for the contract; he was under the impression that the job had already been offered to him. Smith petitioned the treasurers and won permission to erect his instrument in the church instead of in one of the halls. It was set on a screen which divided the round from the quire. This advantage was short-lived as Harris sought and obtained approval to place his organ at the opposite end of the church, to the south side of the communion table. It is thought that both organs were completed by May 1684.
Harris and Smith engaged the finest organists to show off their respective instruments and were put to great expense as the competition intensified and each instrument became more.
In 1841 the church was again restored, by Smirke and Burton, the walls and ceiling being decorated in the high Victorian Gothic style. The object of this was to bring the church back to its original appearance, for it would have been brightly decorated like this when first built. Nothing of the work remains, however, for it was destroyed by fire bombs exactly a century after its completion. After the Victorian restoration, a choir of men and boys was introduced for the first time. The first organist and choirmaster was Dr Edward John Hopkins who remained in this post for over 50 years, 1843-96, establishing the Temple Church choir as one of the finest in London, a city of fine choirs. This tradition of high-quality music was maintained by Hopkins’ well-known successor, Henry Walford Davies, who stayed until 1923.
In 1923 Dr GT Thalben-Ball was appointed organist and choirmaster. This musician, later world- renowned, was to serve the church even longer than his predecessor, John Hopkins, retiring in 1982 after 59 years in office. One reason for his fame was the record made in 1927 of Mendelssohn’s Hear My Prayer by Thalben-Ball and the boy soloist Ernest Lough. The recording became world-famous and brought visitors to the church from all parts of the globe.
In 1941 on the night of 10 May, when Nazi air raids on London were at their height, the church was badly damaged by incendiary bombs. The roof of the round church burned first and the wind soon spread the blaze to the nave and choir. The organ was completely destroyed, together with all the wood in the church. Restoration took a long time to complete. The choir, containing a new organ given by Lord Glentannar, was the first area of the church to be rededicated in March 1954. By a stroke of good fortune the architects, Walter and Emil Godfrey, were able to use the reredos designed by Wren for his 17th-century restoration. Removed by Smirke and Burton in 1841, it had spent over a century in the Bowes Museum, County Durham, and was now re-installed in its original position. The round church was rededicated in November 1958.
Probably the most notable feature of today’s church is the east window. This was a gift from the Glaziers’ Company in 1954 to replace that destroyed in the war. It was designed by Carl Edwards and illustrates Jesus’ connection with the Temple at Jerusalem. In one panel we see him talking with the learned teachers there, in another driving out the money-changers. The window also depicts some of the personalities associated with Temple Church over the centuries, including Henry II, Henry III and several of the medieval Masters of the Temple.
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I have been trying to get inside Temple Church for some years now. Lat time was in January when the warden assured me it would be open on Saturday, only to find after travelling up from Dover that the door was locked, despite the sign on the door saying it was due to be open.
Anyway, all good things come to those that wait.
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The Temple Church was consecrated in honour of the Blessed Virgin Mary on 10 February 1185 by Heraclius, Patriarch of Jerusalem.
The whole Temple community had moved from an earlier site in High Holborn, considered by the 1160s to be too confined. The church was the chapel serving the London headquarters of the Knights Templar, and from them it took its name. The Templars – as the knights were popularly known – were soldier monks.
After the success of the First Crusade, the order was founded in Jerusalem in a building on the site of King Solomon’s temple. Their mission was to protect pilgrims travelling to and from the Holy Land, but in order to do this they needed men and money. For more details of the Templars and this early history of the Church, see The Round Church, 1185.
The London Temple was the Templars’ headquarters in Great Britain. The Templars’ churches were always built to a circular design to remind them of the Church of the Holy Sepulchre at Jerusalem, a round, domed building raised over the site of the sepulchre where Jesus was buried. At first, the Templars were liked and respected. St Bernard of Clairvaux became their patron and they gained many privileges from popes and much support from kings.
In England, King Henry II was probably present at the consecration of the church; King Henry III favoured them so much that he wished to be buried in their church. As a consequence of this wish, the choir of the church was pulled down and a far larger one built in its place, the choir which we now see. This was consecrated on Ascension Day 1240 in the presence of the king. However, after Henry died it was discovered that he had altered his will, and he was buried in Westminster Abbey.
On 10 February 1185 Heraclius, Patriarch of Jerusalem, processed into the Round for the church’s consecration. The King was almost certainly present. A grand church for a grand occasion; for the Round had no such quiet austerity as we see in it today. The walls and grotesque heads were painted: the walls most probably with bands and lozenges of colour. The Round was proudly modern: Heraclius entered through the Norman door to find the first free-standing Purbeck columns ever cut; above them curved in two dimensions Gothic arches rising to the drum. A chancel, some two thirds of the present chancel’s length, stretched to the east. There the Patriach’s procession will have come to rest for Mass. And there the altar stayed. What, then, – on that great day or later – was the function of the Round?
Its most important role was played by its shape. Jerusalem lies at the centre of all medieval maps, and was the centre of the crusaders’ world. The most sacred place in this most sacred city was the supposed site of Jesus’ own burial: the Church of the Holy Sepulchre. Here the crusaders inherited a round church. It was the goal of every pilgrim, whose protection was the Templars’ care. This was the building, of all buildings on earth, that must be defended from its enemies.
In every round church that the Templars built throughout Europe they recreated the sanctity of this most holy place. Among the knights who would be buried in the Round was the most powerful man of his generation: William the Marshal, Earl of Pembroke (died 1219), adviser to King John and regent to Henry III. His sons’ effigies lie around his own. The Marshal himself (who lies recumbent and still) took the Cross as an old man; his sons (drawing their swords) did not. Their figures lie frozen in stone, forever alert in defence of their father’s long-forgotten cause. Such burial was devoutly to be desired; for to be buried in the Round was to be buried ‘in’ Jerusalem.
The Patriarch Heraclius may well have been the most ignorant, licentious and corrupt priest ever to hold his see. Our reports of his character, however, reach us from his enemies. The great Western chronicler of the Crusades, William of Tyre, was for decades Heraclius’ opponent and rival. In 1180 William had (and had been) expected to be appointed Patriarch of Jerusalem. But the king of Jerusalem was swayed by his mother, said to be a mistress of Heraclius – who was duly appointed Patriarch. William himself was honorably reticent in the face of this reverse. His followers were less restrained. ‘Ernoul’ tells (with more indignation, it seems, than accuracy) how his hero William was excommunicated by the new patriarch, went into exile and died at the hands of Heraclius’ own doctor in Rome. William’s narrative was expanded and continued in Old French as L’Estoire d’ Eracles: its story starts with the Emperor Heraclius who recovered the True Cross in 628 – and includes a prophecy that the Cross, secured by one Heraclius, would be lost (as it was) by another.
Can anything redeem our Heraclius’ reputation? Far more was at stake on his visit than at first appears. He was in London as part of a larger mission:- King Baldwin IV of Jerusalem was dying. His kingdom was riven by factions and under threat from Saladin. He had drawn up in his will the rules for the succession: if his nephew, due to become the child-king Baldwin V, were to die before the age of ten, a new ruler should be chosen through the arbitration of four potentates: the Pope, the Emperor Frederick Barbarossa, the King of France and Henry II of England. Late in 1184 a deputation headed west from the Kingdom of Jerusalem: Heraclius, the Grand Master of the Templars and the Hospitallers’ Grand Prior. They visited the Pope, Frederick, Philip II Augustus – and finally Henry. The emissaries reached Reading. As credentials they brought the keys of the Tower of David and the Kingdom’s royal standard. According to some English chroniclers, they offered the Kingdom itself to Henry. The incident is hard to analyse. To plead for protection was to offer the power that would make such protection effective. Did that call for the Kingdom itself? The apparent offer of keys and standard may have been misread; for the ambassadors were reworking a performance already presented to Philip of France. (One French chronicler later derides Heraclius: he was offering the keys to any prince he met.) But the Kingdom of Jerusalem was in desperate straits; and behind the pageant may have lain hopes for the subtlest solution of all: to side-step Jerusalem’s factions; and instead to secure one – any one – of Europe’s leaders as king. How strange, to entrust any such delicate mission to the buffoonish Patriarch of myth.
The story offered welcome ammunition to Henry II’s enemies. Gerald of Wales, bitterly opposed to the Angevins, sees here the turning-point in Henry’s reign: the king failed to rise to this one supreme test; from then on his own and his sons’ adventures faced ruin. Gerald inherited the topos from an old story with a quite different cast. His new version gave Heraclius a starring role. The Patriarch confronted Henry, Gerald tells us, at Heraclius’ departure from Dover. Here is the king’s last chance. ‘Though all the men of my land,’ said the king, ‘were one body and spoke with one mouth, they would not dare speak to me as you have done.’ ‘Do by me,’ replied Heraclius, ‘as you did by that blessed man Thomas of Canterbury. I had rather be slain by you than by the Saracen, for you are worse than any Saracen.’ ‘I may not leave my land, for my own sons will surely rise against me in my absence.’ ‘No wonder, for from the devil they come and to the devil they shall go.’
Gerald’s Heraclius was no coward, and no fool. ‘That blessed man Thomas of Canterbury’ had been killed in 1170. The penance of the four knights who killed him was to serve with the Templars for fourteen years. Henry himself promised to pay for two hundred Templar knights for a year; and in 1172 he undertook to take the Cross himself. Thirteen years had passed. Henry was growing old. Such a vow, undischarged, threatened his immortal soul – as both Heraclius and he knew well. Henry must tread carefully. He summoned a Great Council at Clerkenwell. Surrounded by his advisers, he gave Heraclius his answer: ‘for the good of his realm and the salvation of his own soul’ he declared that he must stay in England. He would provide money instead. Heraclius was unimpressed: ‘We seek a man even without money – but not money without a man.’ Virum appetimus qui pecunia indigeat, non pecuniam quae viro.
***
Our church’s consecration was deep within the diplomatic labyrinth at whose centre lay the future of Jerusalem. The Templars had come a long way. The Order was founded in 1118-9 by a knight of Champagne, Hugh of Payns, who led a group of his fellow-knights in vows of poverty, chastity and obedience. At their foundation they were deeply suspect: it was unnatural for one man to be soldier and monk together. A handful of such ambivalent knights had little chance, it might seem, of attracting support. In the twelfth century the significance of their seal was well known: Matthew Paris, monk of St Albans, explained that the two knights on one horse recalled their lack of horses and poor beginnings.
In Champagne and Burgundy lay the Order’s origin and the seed of its success. Over the course of fifty years a star-burst of spiritual energy illumined all of Europe; and its centre lay in a small area of eastern France. Hugh’s town of Payns was near Troyes, the local city of one Robert, who became a Cluniac monk. In 1075 this Robert, already an abbot, left his monastery with a group of hermits to found a new house: at Molesme. The list of those influenced by Robert and his houses reads as a roll-call of Europe’s spiritual leaders. There was Bruno, who lived briefly as a hermit near Molesme before establishing the most ascetic of all houses, La Grande Chartreuse; Bruno had already been master to Odo, who later became Pope Urban II and preached the First Crusade. When Robert moved again, in search of a yet more rigorous life, he took with him Stephen Harding, later Archbishop of Canterbury. They set up their house at Citeaux.
Harding would in time become abbot. The rigour of the house made it few friends among the local nobility. Its future was uncertain. And then arrived as remarkable a monk as any of that remarkable age: Bernard. He spent three years at Citeaux before a local lord, Hugh Count of Champagne, gave him in 1116 an area of inhospitable woodland well to the north, back in the neighbourhood of Payns. It was known as the Valley of Gall. Bernard gave it a new name: Clairvaux, the Valley of Light.
Bernard secured single-handed the Templars’ future. Hugh of Champagne became a Templar; so did Bernard’s own uncle Andrew. The Templars’ constitution, the Rule, shows all the marks of Bernard’s influence; at the Council of Troyes in 1129 he spoke up for the Order; and, most influential support of all, at the repeated request of Hugh of Payns Bernard wrote In Praise of the New Knighthood.
The New Knighthood’s first half is well-known: in a text advising and praising and warning the knights, Bernard speaks as well to their critics. He is under no illusions: Europe was as glad to be rid of these warring knights as the Holy Land (in Bernard’s eyes) was glad to see them; their army could be a force for good – or for lawless violence. In the tract’s second half Bernard turns to the Holy Land and to Jerusalem itself. Here was his sharpest spur to the pilgrims’ understanding and to the Templars’ own.
Bernard reads Jerusalem itself like a book. In the tradition of Cassian’s fourfold reading of scripture, dominant throughout the Middle Ages, Bernard saw beneath the appearance of the city’s famous sites a far more important spiritual meaning. The land itself invited such a reading:- Bethlehem, ‘house of bread’, was the town where the living bread was first manifest. The ox and ass ate their food at the manger; we must discern there, by contrast, our spiritual food, and not chomp vainly at the Word’s ‘literal’ nourishment. Next, Nazareth, meaning ‘flower’: Bernard reminds us of those who were misled by the odour of flowers into missing the fruit.
And so to Jerusalem itself:- To descend from the Order’s headquarters on the Temple Mount across the Valley of Josaphat and up the Mount of Olives opposite, – this was itself an allegory for the dread of God’s judgement and our joy at receiving his mercy. The House of Martha, Mary and Lazarus offers a moral: the virtue of obedience and the fruits of penance. And above all: in the Holy Sepulchre itself the knight should be raised up to thoughts of Christ’s death and of the freedom from death that it had won for his people: ‘The death of Christ is the death of my death.’ Bernard draws on Paul’s famous account of baptism, and finds in the pilgrims’ weariness the process of their necessary ‘dying’: ‘For we are buried with him by baptism into death: that like as Christ was raised up from the dead by the glory of the Father, even so we should walk in newness of life. For if we have been planted together in the likeness of his death, so we shall be also in the likeness of the resurrection. How sweet it is for pilgrims after the great weariness of a long journey, after so many dangers of land and sea, there to rest at last where they know their Lord has rested!’
***
The Temple Church is now famous as a backwater, a welcome place of calm. The tides of history have shifted; their currents have dug deep channels far from our own Round Church. It was not always so. The effigies of the Marshal and his sons bear telling witness to the Temple’s role in the court’s and nation’s life. In the 16th century the chronicler Stow described the Templars’ seal. The story of their poverty was by then forgotten or incredible. Stow saw rather an emblem of Charity: a knight on horseback takes a fellow Christian out of danger. Perhaps there had always been romance in that picture of knights sharing a horse. The Order’s Rule, after all, allowed each knight three horses and a squire.
The effigies testify as well to a rich ‘reading’ of Jerusalem. The New Knighthood is double-edged: all that Bernard writes in praise of Jerusalem frees the faithful from the need to travel there: it is the spiritual sense of the city that matters – a sense as readily grasped at home. To find ‘Jerusalem’, as Bernard would have it, the faithful should rather come to Clairvaux, and not just on pilgrimage. So resolute a reading was hard to sustain. Bernard might detach Jerusalem from the benefits its contemplation could bring; but those around him sooner attached Jerusalem’s blessings to such places as fostered its contemplation.
Our effigies seem to us frozen in stone, their figures forever poised to fight battles that ended 700 years ago. But these knights’ eyes are open. They are all portrayed in their early thirties, the age at which Christ died and at which the dead will rise on his return. The effigies are not memorials of what has long since been and gone; they speak of what is yet to come, of these once and future knights who are poised to hear Christ’s summons and to spring again to war.
By 1145 the Templars themselves wore white robes with red crosses. White was linked with more than purity. In the Book of Revelation the martyrs of Christ, clad in white robes washed in the blood of the Lamb (Rev 7.14), are those who will be called to life at the ‘first resurrection’. For a millennium they will reign with Christ; at its end Satan will lead all the nations of the earth against ‘the beloved city’ (Rev 20.9). The final battle will be in Jerusalem. Our knights have good reason to draw their swords. For buried in ‘Jerusalem’, in Jerusalem they shall rise to join the Templars in the martyrs’ white and red. Here in the Temple, in our replica of the Sepulchre itself, the knights are waiting for their call to life, to arms and to the last, climactic defence of their most sacred place on earth.
Little more than fifty years after the consecration of the chancel, the Templars fell on evil times. The Holy Land was recaptured by the Saracens and so their work came to an end. The wealth they had accumulated made them the target of envious enemies, and in 1307, at the instigation of Philip IV King of France, the Order was abolished by the Pope. The papal decree was obeyed in England and King Edward II took control of the London Temple.
Eventually he gave it to the Order of St John – the Knights Hospitaller – who had always worked with the Templars. At the time, the lawyers were looking for a home in London in order to attend the royal courts in Westminster. So the Temple was rented to two colleges of lawyers, who came to be identified as the Inner and Middle Temples. The two colleges shared the use of the church. In this way, the Temple Church became the “college chapel” of those two societies and continues to be maintained by them to the present day.
It was King Henry VIII who brought about the next change in the church. In 1540 he abolished the Hospitallers and confiscated their property. The Temple again belonged to the Crown. It was then for Henry to provide a priest for the church, to whom he gave the title ‘Master of the Temple’.
‘Be of good comfort,’ said Hooker: ‘we have to do with a merciful God, rather to make the best of that little which we hold well; and not with a captious sophister who gathers the worst out of every thing in which we err.’
Richard Hooker was appointed Master of the Temple in 1585. England was in alarm. The threat from Catholic Europe had revived: there had been rebellion against the Queen and Settlement in 1569; in 1570 the Pope had excommunicated Elizabeth and declared her subjects free from their allegiance; Mary Queen of Scots was linked with ever further conspiracy against her cousin; and the danger of Spanish invasion was growing.
England’s radical reformers were convinced: England’s only hope of spiritual and political safety lay in the example of Calvin’s godly state, Geneva. The ‘head and neck’ of English Calvinism were Thomas Cartwright and Walter Travers. Since 1581 Travers had been the Reader (lecturer) of the Temple. In 1584 the Privy Council ordered the Inner Temple to continue his stipend ‘for his public labours and pains taken against the common adversaries, impugners of the state and the authorities under her Majesty’s gracious government.’ Hooker and Travers were to be colleagues. Their differences soon became clear. To recover the purity of the primitive church, Travers would be rid of all that intervened and would forge the English church anew. Hooker was steeped in classical and medieval thought; saw the roots of his own (and Travers’) understanding in Aristotle, Augustine, Thomas and Calvin himself; and acknowledged –even valued – the differences to which such a rich tradition could give rise: ‘Be it that Peter has one interpretation, and Apollos has another; that Paul is of this mind, and Barnabas of that. If this offend you, the fault is yours.’ As then, so now: ‘Carry peaceable minds, and you may have comfort by this variety.’ When Hooker carefully and bravely explored the possibility that individual Catholics could be saved, the scene was set for the most famous public debated of the day. ‘Surely I must confess unto you,’ said Hooker: ‘if it be an error to think that God may be merciful to save men, even when they err, my greatest comfort is my error. Were it not for the love I bear unto this “error”, I would neither wish to speak nor to live.’
We hear of Hooker’s preaching at the Temple: ‘his voice was low, stature little, gesture none at all, standing stone still in the pulpit, as if the posture of his body were the emblem of his mind, immovable in his opinions. Where his eye was left fixed at the beginning, it was found fixed at the end of the sermon. …The doctrine he delivered had nothing but itself to garnish it.’ Travers, by contrast, was a natural orator, and he was himself a distinguished thinker; he later became the first Provost of Trinity College, Dublin. Hooker held his ground and deepened his reasoning. It was to disclose and offer the comfort of faith that he spoke: ‘Have the sons of God a father careless whether they sink or swim?’ The Temple sermons that survive stress the simple conditions of salvation: ‘Infidelity, extreme despair, hatred of God and all godliness, obduration in sin – cannot stand where there is the least spark of faith, hope, love or sanctity; even as cold in the lowest degree cannot be where heat in the first degree is found.’
The debate was brought to an end by Archbishop Whitgift: In March 1586 Travers was forbidden to preach. In 1591 Hooker resigned, and was appointed vicar of Bishopsbourne in Kent. Here he developed his thought in his masterpiece, Ecclesiastical Polity, the foundational – and still, perhaps, the most important – exploration of doctrine in the history of the Anglican church. Hooker elaborated a theory of law based on the ‘absolute’ fundamental of natural law: this is the expression of God’s supreme reason and governs all civil and ecclesiastical polity. ‘Of Law there can be no less acknowledged, than that her seat is the bosom of God, her voice the harmony of the world: all things in heaven and earth do her homage, the very least as feeling her care, and the greatest as not exempted from her power: both angels and men and creatures of what condition soever, though each in different sort and manner, yet all with uniform consent, admiring her as the mother of their peace and joy.’ Hooker’s influence has pervaded English thought ever since. He was admired by Laud and by the puritan Baxter, extolled by the Restoration bishops, and brought once more to prominence by Keble and the Oxford Movement; he has now been rediscovered (in a recent monograph by Richard Atkinson) within the modern evangelical church. His reach has extended far beyond theologians. Ecclesiastical Polity was the starting-point for Clarendon’s History and seminal for Locke’s philosophy; its self-critical balance touched Andrew Marvell; and Samuel Pepys read it at the recommendation of a friend who declared it ‘the best book, and the only one that made him a Christian.’
THE BATTLE OF THE PULPIT
In 1585 the Master of the Temple, Richard Alvey, died. His deputy – the Reader, Walter Travers – expected to be promoted, but Queen Elizabeth I and her advisers regarded his views as too Calvinist, and Travers was passed over.
Instead a new Master, Richard Hooker, was appointed from Exeter College, Oxford. On Hooker’s arrival, a unique situation arose. Each Sunday morning he would preach his sermon; each Sunday afternoon Travers would contradict him. People came to call it the Battle of the Pulpit, saying mischievously that Canterbury was preached in the morning and Geneva in the afternoon. There was a lasting result of all this: Hooker published his teaching as Ecclesiastical Polity and came to be recognised as the founding father of Anglican theology.
By the end of the 16th century, the two Inns of Court had erected many fine buildings at the Temple, yet their position as tenants was not a secure one. In order to protect what they had built up from any future whims of the Crown, they petitioned King James I for a more satisfactory arrangement. On 13 August 1608 the King granted the two Inns a Royal Charter giving them use of the Temple in perpetuity.
One condition of this was that the Inns must maintain the church. The Temple and the church are still governed by that charter. In gratitude, the Inns gave King James a fine gold cup. Some years later, in the Civil war, his son Charles I needed funds to keep his army in the field. The cup was sold in Holland and has never been traced.
In February 1683, the treasurers of the two Societies of the Temple commissioned an organ from each of the two leading organ builders of the time, Bernhard Smith (1630-1708) and Renatus Harris (1652-1708). The organs were to be installed in the halls of the Middle and Inner Temple, to enable them to be played and judged. Smith was annoyed to discover that Harris was also invited to compete for the contract; he was under the impression that the job had already been offered to him. Smith petitioned the treasurers and won permission to erect his instrument in the church instead of in one of the halls. It was set on a screen which divided the round from the quire. This advantage was short-lived as Harris sought and obtained approval to place his organ at the opposite end of the church, to the south side of the communion table. It is thought that both organs were completed by May 1684.
Harris and Smith engaged the finest organists to show off their respective instruments and were put to great expense as the competition intensified and each instrument became more.
In 1841 the church was again restored, by Smirke and Burton, the walls and ceiling being decorated in the high Victorian Gothic style. The object of this was to bring the church back to its original appearance, for it would have been brightly decorated like this when first built. Nothing of the work remains, however, for it was destroyed by fire bombs exactly a century after its completion. After the Victorian restoration, a choir of men and boys was introduced for the first time. The first organist and choirmaster was Dr Edward John Hopkins who remained in this post for over 50 years, 1843-96, establishing the Temple Church choir as one of the finest in London, a city of fine choirs. This tradition of high-quality music was maintained by Hopkins’ well-known successor, Henry Walford Davies, who stayed until 1923.
In 1923 Dr GT Thalben-Ball was appointed organist and choirmaster. This musician, later world- renowned, was to serve the church even longer than his predecessor, John Hopkins, retiring in 1982 after 59 years in office. One reason for his fame was the record made in 1927 of Mendelssohn’s Hear My Prayer by Thalben-Ball and the boy soloist Ernest Lough. The recording became world-famous and brought visitors to the church from all parts of the globe.
In 1941 on the night of 10 May, when Nazi air raids on London were at their height, the church was badly damaged by incendiary bombs. The roof of the round church burned first and the wind soon spread the blaze to the nave and choir. The organ was completely destroyed, together with all the wood in the church. Restoration took a long time to complete. The choir, containing a new organ given by Lord Glentannar, was the first area of the church to be rededicated in March 1954. By a stroke of good fortune the architects, Walter and Emil Godfrey, were able to use the reredos designed by Wren for his 17th-century restoration. Removed by Smirke and Burton in 1841, it had spent over a century in the Bowes Museum, County Durham, and was now re-installed in its original position. The round church was rededicated in November 1958.
Probably the most notable feature of today’s church is the east window. This was a gift from the Glaziers’ Company in 1954 to replace that destroyed in the war. It was designed by Carl Edwards and illustrates Jesus’ connection with the Temple at Jerusalem. In one panel we see him talking with the learned teachers there, in another driving out the money-changers. The window also depicts some of the personalities associated with Temple Church over the centuries, including Henry II, Henry III and several of the medieval Masters of the Temple.
Cambodia (/kæmˈboʊdiə/ (About this soundlisten); also Kampuchea /ˌkæmpʊˈtʃiːə/; Khmer: កម្ពុជា Khmer: [kam.pu.ciə]; French: Cambodge), officially the Kingdom of Cambodia (Khmer: ព្រះរាជាណាចក្រកម្ពុជា, prĕəh riəciənaacak kampuciə, IPA: [prĕəh riə.ciə.naː.caʔ kam.pu.ciə]; French: Royaume du Cambodge), is a country located in the southern portion of the Indochina peninsula in Southeast Asia. It is 181,035 square kilometres in area, bordered by Thailand to the northwest, Laos to the northeast, Vietnam to the east and the Gulf of Thailand to the southwest.
The sovereign state of Cambodia has a population of over 16 million. The official religion is Theravada Buddhism, practised by approximately 95 percent of the population. The country's minority groups include Vietnamese, Chinese, Chams and 30 hill tribes. The capital and largest city is Phnom Penh, the political, economic and cultural centre of Cambodia. The kingdom is an elective constitutional monarchy with a monarch, currently Norodom Sihamoni, chosen by the Royal Throne Council as head of state. The head of government is the Prime Minister, currently Hun Sen, the longest serving non-royal leader in Southeast Asia, ruling Cambodia since 1985.
In 802 AD, Jayavarman II declared himself king, uniting the warring Khmer princes of Chenla under the name "Kambuja". This marked the beginning of the Khmer Empire, which flourished for over 600 years, allowing successive kings to control and exert influence over much of Southeast Asia and accumulate immense power and wealth. The Indianised kingdom facilitated the spread of first Hinduism and then Buddhism to much of Southeast Asia and undertook many religious infrastructural projects throughout the region, including the construction of more than 1,000 temples and monuments in Angkor alone. Angkor Wat is the most famous of these structures and is designated as a World Heritage Site.
After the fall of Angkor to Ayutthaya in the 15th century, a reduced and weakened Cambodia was then ruled as a vassal state by its neighbours. In 1863, Cambodia became a protectorate of France, which doubled the size of the country by reclaiming the north and west from Thailand.
Cambodia gained independence in 1953. The Vietnam War extended into the country with the US bombing of Cambodia from 1969 until 1973. Following the Cambodian coup of 1970 which installed the right-wing pro-US Khmer Republic, the deposed king gave his support to his former enemies, the Khmer Rouge. The Khmer Rouge emerged as a major power, taking Phnom Penh in 1975 and later carrying out the Cambodian genocide from 1975 until 1979, when they were ousted by Vietnam and the Vietnamese-backed People's Republic of Kampuchea, supported by the Soviet Union in the Cambodian–Vietnamese War (1979–91).
Following the 1991 Paris Peace Accords, Cambodia was governed briefly by a United Nations mission (1992–93). The UN withdrew after holding elections in which around 90 percent of the registered voters cast ballots. The 1997 factional fighting resulted in the ousting of the government by Prime Minister Hun Sen and the Cambodian People's Party, who remain in power as of 2018.
Cambodia is a member of the United Nations since 1955, ASEAN, the East Asia Summit, the WTO, the Non-Aligned Movement and La Francophonie. According to several foreign organisations, the country has widespread poverty, pervasive corruption, lack of political freedoms, low human development and a high rate of hunger. Cambodia has been described by Human Rights Watch's Southeast Asian Director, David Roberts, as a "vaguely communist free-market state with a relatively authoritarian coalition ruling over a superficial democracy".
While per capita income remains low compared to most neighboring countries, Cambodia has one of the fastest growing economies in Asia, with growth averaging 7.6 percent over the last decade. Agriculture remains the dominant economic sector, with strong growth in textiles, construction, garments and tourism leading to increased foreign investment and international trade. The US World Justice Project's 2015 Rule of Law Index ranked Cambodia 76 out of 102 countries, similar to other countries in the region.
NAME
The "Kingdom of Cambodia" is the official English name of the country. The English "Cambodia" is an anglicisation of the French "Cambodge", which in turn is the French transliteration of the Khmer កម្ពុជា kampuciə. Kampuchea is the shortened alternative to the country's official name in Khmer ព្រះរាជាណាចក្រកម្ពុជា prĕəh riəciənaacak kampuciə. The Khmer endonym Kampuchea derives from the Sanskrit name कम्बोजदेश kambojadeśa, composed of देश deśa ("land of" or "country of") and कम्बोज kamboja, which alludes to the foundation myths of the first ancient Khmer kingdom. The term Cambodia was already in use in Europe as early as 1524, since Antonio Pigafetta (an Italian explorer who followed Ferdinand Magellan in his circumnavigation of the globe) cites it in his work Relazione del primo viaggio intorno al mondo (1524-1525) as Camogia.
Colloquially, Cambodians refer to their country as either ស្រុកខ្មែរ srok khmae (Khmer pronunciation: [srok ˈkʰmae]), meaning "Khmer's Land", or the slightly more formal ប្រទេសកម្ពុជា prɑteih kampuciə (Khmer pronunciation: [prɑ.ˈteih kam.pu.ciə]), literally "Country of Kampuchea". The name "Cambodia" is used most often in the Western world while "Kampuchea" is more widely used in the East.
HISTORY
PRE-HISTORY
There exists sparse evidence for a Pleistocene human occupation of present-day Cambodia, which includes quartz and quartzite pebble tools found in terraces along the Mekong River, in Stung Treng and Kratié provinces, and in Kampot Province, although their dating is unreliable. Some slight archaeological evidence shows communities of hunter-gatherers inhabited the region during Holocene: the most ancient archaeological discovery site in Cambodia is considered to be the cave of L'aang Spean, in Battambang Province, which belongs to the Hoabinhian period. Excavations in its lower layers produced a series of radiocarbon dates around 6000 BC. Upper layers in the same site gave evidence of transition to Neolithic, containing the earliest dated earthenware ceramics in Cambodia
Archaeological records for the period between Holocene and Iron Age remain equally limited. A pivotal event in Cambodian prehistory was the slow penetration of the first rice farmers from the north, which began in the late 3rd millennium BC. The most curious prehistoric evidence in Cambodia are the various "circular earthworks" discovered in the red soils near Memot and in the adjacent region of Vietnam in the latter 1950s. Their function and age are still debated, but some of them possibly date from 2nd millennium BC.
Other prehistoric sites of somewhat uncertain date are Samrong Sen (not far from the ancient capital of Oudong), where the first investigations began in 1875, and Phum Snay, in the northern province of Banteay Meanchey. An excavation at Phum Snay revealed 21 graves with iron weapons and cranial trauma which could point to conflicts in the past, possible with larger cities in Angkor. Prehistoric artefacts are often found during mining activities in Ratanakiri. Iron was worked by about 500 BC, with supporting evidence coming from the Khorat Plateau, in modern-day Thailand. In Cambodia, some Iron Age settlements were found beneath Baksei Chamkrong and other Angkorian temples while circular earthworks were found beneath Lovea a few kilometres north-west of Angkor. Burials, much richer than other types of finds, testify to improvement of food availability and trade (even on long distances: in the 4th century BC trade relations with India were already opened) and the existence of a social structure and labour organisation. Also, among the artefacts from the Iron Age, glass beads are important evidence. Different kinds of glass beads recovered from several sites across Cambodia, such as the Phum Snay site in northwest and the Prohear site in southeast, show that there were two main trading networks at the time. The two networks were separated by time and space, which indicate that there was a shift from one network to the other at about 2nd–4th century AD, probably with changes in socio-political powers.
PRE-ANGKORIAN AND ANGKORIAN ERA
During the 3rd, 4th, and 5th centuries, the Indianised states of Funan and its successor, Chenla, coalesced in present-day Cambodia and southwestern Vietnam. For more than 2,000 years, what was to become Cambodia absorbed influences from India, passing them on to other Southeast Asian civilisations that are now Thailand and Laos. Little else is known for certain of these polities, however Chinese chronicles and tribute records do make mention of them. It is believed that the territory of Funan may have held the port known to Alexandrian geographer Claudius Ptolemy as "Kattigara". The Chinese chronicles suggest that after Jayavarman I of Chenla died around 690, turmoil ensued which resulted in division of the kingdom into Land Chenla and Water Chenla which was loosely ruled by weak princes under the dominion of Java.
The Khmer Empire grew out of these remnants of Chenla, becoming firmly established in 802 when Jayavarman II (reigned c790-850) declared independence from Java and proclaimed himself a Devaraja. He and his followers instituted the cult of the God-king and began a series of conquests that formed an empire which flourished in the area from the 9th to the 15th centuries. During the rule of Jayavarman VIII the Angkor empire was attacked by the Mongol army of Kublai Khan, however the king was able to buy peace. Around the 13th century, monks from Sri Lanka introduced Theravada Buddhism to Southeast Asia. The religion spread and eventually displaced Hinduism and Mahayana Buddhism as the popular religion of Angkor; however it was not the official state religion until 1295; when Indravarman III took power.
The Khmer Empire was Southeast Asia's largest empire during the 12th century. The empire's centre of power was Angkor, where a series of capitals were constructed during the empire's zenith. In 2007 an international team of researchers using satellite photographs and other modern techniques concluded that Angkor had been the largest pre-industrial city in the world with an urban sprawl of 2,980 square kilometres. The city, which could have supported a population of up to one million people and Angkor Wat, the best known and best-preserved religious temple at the site, still serves as a reminder of Cambodia's past as a major regional power. The empire, though in decline, remained a significant force in the region until its fall in the 15th century.
DARK AGES OF CAMBODIA
After a long series of wars with neighbouring kingdoms, Angkor was sacked by the Ayutthaya Kingdom and abandoned in 1432 because of ecological failure and infrastructure breakdown. This led to a period of economic, social, and cultural stagnation when the kingdom's internal affairs came increasingly under the control of its neighbours. By this time, the Khmer penchant for monument building had ceased. Older faiths such as Mahayana Buddhism and the Hindu cult of the god-king had been supplanted by Theravada Buddhism.
The court moved the capital to Longvek where the kingdom sought to regain its glory through maritime trade. The first mention of Cambodia in European documents was in 1511 by the Portuguese. Portuguese travellers described the city as a place of flourishing wealth and foreign trade. The attempt was short-lived however, as continued wars with Ayutthaya and the Vietnamese resulted in the loss of more territory and Longvek being conquered and destroyed by King Naresuan the Great of Ayutthaya in 1594. A new Khmer capital was established at Oudong south of Longvek in 1618, but its monarchs could survive only by entering into what amounted to alternating vassal relationships with the Siamese and Vietnamese for the next three centuries with only a few short-lived periods of relative independence.
The hill tribe people in Cambodia were "hunted incessantly and carried off as slaves by the Siamese (Thai), the Annamites (Vietnamese), and the Cambodians".
In the nineteenth century a renewed struggle between Siam and Vietnam for control of Cambodia resulted in a period when Vietnamese officials attempted to force the Khmers to adopt Vietnamese customs. This led to several rebellions against the Vietnamese and appeals to Thailand for assistance. The Siamese–Vietnamese War (1841–1845) ended with an agreement to place the country under joint suzerainty. This later led to the signing of a treaty for French Protection of Cambodia by King Norodom Prohmborirak.
FRENCH COLONISATION
In 1863, King Norodom, who had been installed by Thailand, sought the protection of Thailand from French rule. In 1867, the Thai king signed a treaty with France, renouncing suzerainty over Cambodia in exchange for the control of Battambang and Siem Reap provinces which officially became part of Thailand. The provinces were ceded back to Cambodia by a border treaty between France and Thailand in 1907.
Cambodia continued as a protectorate of France from 1867 to 1953, administered as part of the colony of French Indochina, though occupied by the Japanese empire from 1941 to 1945.[48] Between 1874 and 1962, the total population increased from about 946,000 to 5.7 million. After King Norodom's death in 1904, France manipulated the choice of king, and Sisowath, Norodom's brother, was placed on the throne. The throne became vacant in 1941 with the death of Monivong, Sisowath's son, and France passed over Monivong's son, Monireth, feeling he was too independently minded. Instead, Norodom Sihanouk, a maternal grandson of King Sisowath was enthroned. The French thought young Sihanouk would be easy to control. They were wrong, however, and under the reign of King Norodom Sihanouk, Cambodia gained independence from France on 9 November 1953.
INDEPENDENCE AND VIETNAM WAR
Cambodia became a constitutional monarchy under King Norodom Sihanouk. When French Indochina was given independence, Cambodia lost hope of regaining control over the Mekong Delta as it was awarded to Vietnam. Formerly part of the Khmer Empire, the area had been controlled by the Vietnamese since 1698, with King Chey Chettha II granting the Vietnamese permission to settle in the area decades before. This remains a diplomatic sticking point with over one million ethnic Khmers (the Khmer Krom) still living in this region. The Khmer Rouge attempted invasions to recover the territory which, in part, led to Vietnam's invasion of Cambodia and deposition of the Khmer Rouge.
In 1955, Sihanouk abdicated in favour of his father to participate in politics and was elected prime minister. Upon his father's death in 1960, Sihanouk again became head of state, taking the title of prince. As the Vietnam War progressed, Sihanouk adopted an official policy of neutrality in the Cold War. Sihanouk allowed the Vietnamese communists to use Cambodia as a sanctuary and a supply route for their arms and other aid to their armed forces fighting in South Vietnam. This policy was perceived as humiliating by many Cambodians. In December 1967 Washington Post journalist Stanley Karnow was told by Sihanouk that if the US wanted to bomb the Vietnamese communist sanctuaries, he would not object, unless Cambodians were killed.
The same message was conveyed to US President Johnson's emissary Chester Bowles in January 1968. However, in public Sihanouk refuted the right of the U.S. to use air strikes in Cambodia, and on 26 March he said "these criminal attacks must immediately and definitively stop". On 28 March a press conference was held and Sihanouk appealed to the international media: "I appeal to you to publicise abroad this very clear stand of Cambodia—that is, I will in any case oppose all bombings on Cambodian territory under whatever pretext." Nevertheless, the public pleas of Sihanouk were ignored and the bombing continued. Members of the government and army became resentful of Sihanouk's ruling style as well as his tilt away from the United States.
KHMER REPUBLIC (1970–75)
While visiting Beijing in 1970 Sihanouk was ousted by a military coup led by Prime Minister General Lon Nol and Prince Sisowath Sirik Matak. US support for the coup remains unproven. However, once the coup was completed, the new regime, which immediately demanded that the Vietnamese communists leave Cambodia, gained the political support of the United States. The North Vietnamese and Viet Cong forces, desperate to retain their sanctuaries and supply lines from North Vietnam, immediately launched armed attacks on the new government. The king urged his followers to help in overthrowing this government, hastening the onset of civil war.
Soon Khmer Rouge rebels began using him to gain support. However, from 1970 until early 1972, the Cambodian conflict was largely one between the government and army of Cambodia, and the armed forces of North Vietnam. As they gained control of Cambodian territory, the Vietnamese communists imposed a new political infrastructure, which was eventually dominated by the Cambodian communists now referred to as the Khmer Rouge.[56] Between 1969 and 1973, Republic of Vietnam and US forces bombed Cambodia in an effort to disrupt the Viet Cong and Khmer Rouge.
Documents uncovered from the Soviet archives after 1991 reveal that the North Vietnamese attempt to overrun Cambodia in 1970 was launched at the explicit request of the Khmer Rouge and negotiated by Pol Pot's then second in command, Nuon Chea. NVA units overran many Cambodian army positions while the Communist Party of Kampuchea (CPK) expanded their small-scale attacks on lines of communication. In response to the North Vietnamese invasion, US President Richard Nixon announced that US and South Vietnamese ground forces had entered Cambodia in a campaign aimed at destroying NVA base areas in Cambodia (see Cambodian Incursion). Although a considerable quantity of equipment was seized or destroyed by US and South Vietnamese forces, containment of North Vietnamese forces proved elusive.
The Khmer Republic's leadership was plagued by disunity among its three principal figures: Lon Nol, Sihanouk's cousin Sirik Matak, and National Assembly leader In Tam. Lon Nol remained in power in part because neither of the others was prepared to take his place. In 1972, a constitution was adopted, a parliament elected, and Lon Nol became president. But disunity, the problems of transforming a 30,000-man army into a national combat force of more than 200,000 men, and spreading corruption weakened the civilian administration and army.
The Communist insurgency inside Cambodia continued to grow, aided by supplies and military support from North Vietnam. Pol Pot and Ieng Sary asserted their dominance over the Vietnamese-trained communists, many of whom were purged. At the same time, the CPK forces became stronger and more independent of their Vietnamese patrons. By 1973, the CPK were fighting battles against government forces with little or no North Vietnamese troop support, and they controlled nearly 60% of Cambodia's territory and 25% of its population. The government made three unsuccessful attempts to enter into negotiations with the insurgents, but by 1974, the CPK were operating openly as divisions, and some of the NVA combat forces had moved into South Vietnam. Lon Nol's control was reduced to small enclaves around the cities and main transportation routes. More than 2 million refugees from the war lived in Phnom Penh and other cities.
On New Year's Day 1975, Communist troops launched an offensive which, in 117 days of the hardest fighting of the war, collapsed the Khmer Republic. Simultaneous attacks around the perimeter of Phnom Penh pinned down Republican forces, while other CPK units overran fire bases controlling the vital lower Mekong resupply route. A US-funded airlift of ammunition and rice ended when Congress refused additional aid for Cambodia. The Lon Nol government in Phnom Penh surrendered on 17 April 1975, just five days after the US mission evacuated Cambodia.
KHMER ROUGE REGIME 1975–1978
The Khmer Rouge reached Phnom Penh and took power in 1975. Led by Pol Pot, they changed the official name of the country to Democratic Kampuchea. The new regime modelled itself on Maoist China during the Great Leap Forward, immediately evacuated the cities, and sent the entire population on forced marches to rural work projects. They attempted to rebuild the country's agriculture on the model of the 11th century, discarded Western medicine and destroyed temples, libraries, and anything considered Western.
Estimates as to how many people were killed by the Khmer Rouge regime range from approximately one to three million; the most commonly cited figure is two million (about a quarter of the population). This era gave rise to the term Killing Fields, and the prison Tuol Sleng became notorious for its history of mass killing. Hundreds of thousands fled across the border into neighbouring Thailand. The regime disproportionately targeted ethnic minority groups. The Cham Muslims suffered serious purges with as much as half of their population exterminated. Pol Pot was determined to keep his power and disenfranchise any enemies or potential threats, and thus increased his violent and aggressive actions against his people.
Forced repatriation in 1970 and deaths during the Khmer Rouge era reduced the Vietnamese population in Cambodia from between 250,000 and 300,000 in 1969 to a reported 56,000 in 1984. However, most of the victims of the Khmer Rouge regime were not ethnic minorities but ethnic Khmer. Professionals, such as doctors, lawyers and teachers, were also targeted. According to Robert D. Kaplan, "eyeglasses were as deadly as the yellow star" as they were seen as a sign of intellectualism.
Religious institutions were not spared by the Khmer Rouge either. Religion was so viciously persecuted to such a terrifying extent that the vast majority of Cambodia's historic architecture, 95% of Cambodia's Buddhist temples, was completely destroyed.
VIETNAMESE OCCUPATION AND TRANSITION 1978–1992
In November 1978, Vietnamese troops invaded Cambodia in response to border raids by the Khmer Rouge. The People's Republic of Kampuchea (PRK), a pro-Soviet state led by the Kampuchean People's Revolutionary Party, a party created by the Vietnamese in 1951, and led by a group of Khmer Rouge who had fled Cambodia to avoid being purged by Pol Pot and Ta Mok, was established. It was fully beholden to the occupying Vietnamese army and under direction of the Vietnamese ambassador to Phnom Penh. Its arms came from Vietnam and the Soviet Union.
In opposition to the newly created state, a government-in-exile referred to as the Coalition Government of Democratic Kampuchea (CGDK) was formed in 1981 from three factions. This consisted of the Khmer Rouge, a royalist faction led by Sihanouk, and the Khmer People's National Liberation Front. Its credentials were recognised by the United Nations. The Khmer Rouge representative to the UN, Thiounn Prasith, was retained, but he had to work in consultation with representatives of the noncommunist Cambodian parties. The refusal of Vietnam to withdraw from Cambodia led to economic sanctions by the US and its allies.
Peace efforts began in Paris in 1989 under the State of Cambodia, culminating two years later in October 1991 in a Paris Comprehensive Peace Settlement. The UN was given a mandate to enforce a ceasefire and deal with refugees and disarmament known as the United Nations Transitional Authority in Cambodia (UNTAC).
RESTAURATION OF THE MONARCHY
In 1993, Norodom Sihanouk was restored as King of Cambodia, but all power was in the hands of the government established after the UNTAC sponsored elections. The stability established following the conflict was shaken in 1997 by a coup d'état led by the co-Prime Minister Hun Sen against the non-communist parties in the government. In recent years, reconstruction efforts have progressed and led to some political stability through a multiparty democracy under a constitutional monarchy.
In July 2010, Kang Kek Iew was the first Khmer Rouge member found guilty of war crimes and crimes against humanity in his role as the former commandant of the S21 extermination camp and he was sentenced to life in prison. However, Hun Sen has opposed extensive trials of former Khmer Rouge mass murderers.
In August 2014, a UN-backed war crimes tribunal, the Extraordinary Chambers in the Courts of Cambodia (also known as the Khmer Rouge Tribunal), sentenced Khieu Samphan, the regime's 83-year-old former head of state, and Nuon Chea, its 88-year-old chief ideologue, to life in prison on war crimes charges for their role in the country's terror period in the 1970s. The trial began in November 2011. Former Foreign Minister Ieng Sary died in 2013, while his wife, Social Affairs Minister Ieng Thirith, was deemed unfit to stand trial due to dementia in 2012. The group's top leader, Pol Pot, died in 1998.
GEOGRAPHY
Cambodia has an area of 181,035 square kilometres (69,898 square miles) and lies entirely within the tropics, between latitudes 10° and 15°N, and longitudes 102° and 108°E. It borders Thailand to the north and west, Laos to the northeast, and Vietnam to the east and southeast. It has a 443-kilometre coastline along the Gulf of Thailand.
Cambodia's landscape is characterised by a low-lying central plain that is surrounded by uplands and low mountains and includes the Tonle Sap (Great Lake) and the upper reaches of the Mekong River delta. Extending outward from this central region are transitional plains, thinly forested and rising to elevations of about 200 metres above sea level.
To the north the Cambodian plain abuts a sandstone escarpment, which forms a southward-facing cliff stretching more than 320 kilometres from west to east and rising abruptly above the plain to heights of 600 to 180–550 metres. This cliff marks the southern limit of the Dângrêk Mountains.
Flowing south through the country's eastern regions is the Mekong River. East of the Mekong the transitional plains gradually merge with the eastern highlands, a region of forested mountains and high plateaus that extend into Laos and Vietnam. In southwestern Cambodia two distinct upland blocks, the Krâvanh Mountains and the Dâmrei Mountains, form another highland region that covers much of the land area between the Tonle Sap and the Gulf of Thailand.
In this remote and largely uninhabited area, Phnom Aural, Cambodia's highest peak rises to an elevation of 1,813 metres. The southern coastal region adjoining the Gulf of Thailand is a narrow lowland strip, heavily wooded and sparsely populated, which is isolated from the central plain by the southwestern highlands.
The most distinctive geographical feature is the inundations of the Tonle Sap, measuring about 2,590 square kilometres during the dry season and expanding to about 24,605 square kilometres during the rainy season. This densely populated plain, which is devoted to wet rice cultivation, is the heartland of Cambodia. Much of this area has been designated as a biosphere reserve.
WIKIPEDIA
Russia`s Maria Sharapova serving to Canada`s Stephanie Dubois.
Aegon Classic - Birmingham - 08/06/2009
The history of the Austrian Museum of Applied Art/Contemporary Art
1863 / After many years of efforts by Rudolf Eitelberger decides emperor Franz Joseph I on 7 March on the initiative of his uncle archduke Rainer, following the model of the in 1852 founded South Kensington Museum (now the Victoria and Albert Museum, London) the establishment of the "k.u.k. Austrian Museum for Art and Industry" and appoints Rudolf von Eitelberger, the first professor of art history at the University of Vienna director. The museum should be serving as a specimen collection for artists, industrialists, and public and as a training and education center for designers and craftsmen.
1864/ on 12th of May, opened the museum - provisionally in premises of the ball house next to the Vienna Hofburg, the architect Heinrich von Ferstel for museum purposes had adapted. First exhibited objects are loans and donations from the imperial collections, monasteries, private property and from the k.u.k. Polytechnic in Vienna. Reproductions, masters and plaster casts are standing value-neutral next originals.
1865-1897 / The Museum of Art and Industry publishes the journal Communications of Imperial (k.u.k.) Austrian Museum for Art and Industry .
1866 / Due to the lack of space in the ballroom the erection of an own museum building is accelerated. A first project of Rudolf von Eitelberger and Heinrich von Ferstel provides the integration of the museum in the project of imperial museums in front of the Hofburg Imperial Forum. Only after the failure of this project, the site of the former Exerzierfelds (parade ground) of the defense barracks before Stubentor the museum here is assigned, next to the newly created city park at the still being under development Rind Road.
1867 / Theoretical and practical training are combined with the establishment of the School of Applied Arts. This will initially be housed in the old gun factory, Währinger street 11-13/Schwarzspanier street 17, Vienna 9.
1868 / With the construction of the building at Stubenring is started as soon as it is approved by emperor Franz Joseph I. the second draft of Heinrich Ferstel.
1871 / The opening of the building at Stubering takes place after three years of construction, 15 November. Designed according to plans by Heinrich von Ferstel in the Renaissance style, it is the first built museum building at the Ring. Objects from now on could be placed permanently and arranged according to main materials. / / The School of Arts and Crafts (Kunstgewerbeschule) moves into the house at Stubenring. / / Opening of Austrian arts and crafts exhibition.
1873 / Vienna World Exhibition. / / The Museum of Art and Industry and the Vienna School of Arts and Crafts are exhibiting together at Stubenring. / / Rudolf von Eitelberger organizes in the framework of the World Exhibition the worldwide first international art scientific congress in Vienna, thus emphasizing the orientation of the Museum on teaching and research. / / During the World Exhibition major purchases for the museum from funds of the Ministry are made, eg 60 pages of Indo-Persian Journal Mughal manuscript Hamzanama.
1877 / decision on the establishment of taxes for the award of Hoftiteln (court titels). With the collected amounts the local art industry can be promoted. / / The new building of the School of Arts and Crafts, adjoining the museum, Stubenring 3, also designed by Heinrich von Ferstel, is opened.
1878 / participation of the Museum of Art and Industry as well as of the School of Arts and Crafts at the Paris World Exhibition.
1884 / founding of the Vienna Arts and Crafts Association with seat in the museum. Many well-known companies and workshops (led by J. & L. Lobmeyr), personalities and professors of the School of Arts and Crafts join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and craft since the 1860s has obtained. For this reason are organized various times changing, open to the public exhibitions at the Imperial Austrian Museum for Art and Industry. The exhibits can also be purchased. These new, generously carried out exhibitions give the club the necessary national and international resonance.
1885 / After the death of Rudolf von Eitelberger, Jacob von Falke, his longtime deputy, is appointed manager. Falke plans all collection areas al well as publications to develop newly and systematically. With his popular publications he influences significantly the interior design style of the historicism in Vienna.
1888 / The Empress Maria Theresa exhibition revives the contemporary discussion with the high Baroque in the history of art and in applied arts in particular.
1895 / end of directorate of Jacob von Falke. Bruno Bucher, longtime curator of the Museum of metal, ceramic and glass, and since 1885 deputy director, is appointed director.
1896 / The Vienna Congress exhibition launches the confrontation with the Empire and Biedermeier style, the sources of inspiration of Viennese Modernism.
1897 / end of the directorate of Bruno Bucher. Arthur von Scala, director of the Imperial Oriental Museum in Vienna since its founding in 1875 (renamed Imperial Austrian Trade Museum 1887), takes over the management of the Museum of Art and Industry. / / Scala wins Otto Wagner, Felician of Myrbach, Koloman Moser, Josef Hoffmann and Alfred Roller to work at the museum and School of Arts and Crafts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagates the example of the Arts and Crafts Movement and makes appropriate acquisitions for the museum's collection.
1898 / Due to differences between Scala and the Arts and Crafts Association, which sees its influence on the Museum wane, archduke Rainer puts down his function as protector. / / New statutes are written.
1898-1921 / The Museum magazine Art and Crafts replaces the Mittheilungen (Communications) and soon gaines international reputation.
1900 / The administration of Museum and Arts and Crafts School is disconnected.
1904 / The Exhibition of Old Vienna porcelain, the to this day most comprehensive presentation on this topic, brings with the by the Museum in 1867 definitely taken over estate of the "k.u.k. Aerarial Porcelain Manufactory" (Vienna Porcelain Manufactory) important pieces of collectors from all parts of the Habsburg monarchy together.
1907 / The Museum of Art and Industry takes over the majority of the inventories of the Imperial Austrian Trade Museum, including the by Arthur von Scala founded Asia collection and the extensive East Asian collection of Heinrich von Siebold .
1908 / Integration of the Museum of Art and Industry in the Imperial and Royal Ministry of Public Works.
1909 / separation of Museum and Arts and Crafts School, the latter remains subordinated to the Ministry of Culture and Education. / / After three years of construction, the according to plans of Ludwig Baumann extension building of the museum (now Weiskirchnerstraße 3, Wien 1) is opened. The museum thereby receives rooms for special and permanent exhibitions. / / Arthur von Scala retires, Eduard Leisching follows him as director. / / Revision of the statutes.
1909 / Archduke Carl exhibition. For the centenary of the Battle of Aspern. / / The Biedermeier style is discussed in exhibitions and art and arts and crafts.
1914 / Exhibition of works by the Austrian Art Industry from 1850 to 1914, a competitive exhibition that highlights, among other things, the role model of the museum for arts and crafts in the fifty years of its existence.
1919 / After the founding of the First Republic it comes to assignments of former imperial possession to the museum, for example, of oriental carpets that are shown in an exhibition in 1920. The Museum now has one of the finest collections of oriental carpets worldwide.
1920 / As part of the reform of museums of the First Republic, the collection areas are delimited. The Antiquities Collection of the Museum of Art and Industry is given away to the Museum of Art History.
1922 / The exhibition of glasses of classicism, the Empire and Biedermeier time offers with precious objects from the museum and private collections an overview of the art of glassmaking from the former Austro-Hungarian Empire. / / Biedermeier glass serves as a model for contemporary glass production and designs, such as of Josef Hoffmann.
1922 / affiliation of the museal inventory of the royal table and silver collection to the museum. Until the institutional separation the former imperial household and table decoration is co-managed by the Museum of Art and Industry and is inventoried for the first time by Richard Ernst.
1925 / After the end of the directorate of Eduard Leisching, Hermann Trenkwald is appointed director.
1926 / The exhibition Gothic in Austria gives a first comprehensive overview of the Austrian panel painting and of arts and crafts of the 12th to 16th Century.
1927 / August Schestag succeeds Hermann Trenkwald as director.
1930 / The Werkbund (artists' organization) Exhibition Vienna, a first comprehensive presentation of the Austrian Werkbund, takes place on the occasion of the meeting of the Deutscher (German) Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.
1931 / August Schestag concludes his directorate.
1932 / Richard Ernst is new director.
1936 and 1940 / In exchange with the Kunsthistorisches Museum (Museum of Art History), the museum at Stubenring gives away part of the sculptures and takes over arts and crafts inventories of the collection Albert Figdor and the Kunsthistorisches Museum.
1937 / The Collection of the Museum of Art and Industry is newly set up by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.
1938 / After the "Anschluss" (annexation) of Austria by Nazi Germany, the museum is renamed into "National Museum of Arts and Crafts in Vienna".
1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Arts and Crafts in Vienna" in this way also is enlarged.
1945 / Partial destruction of the museum building by impact of war. / / War losses on collection objects, even in the places of rescue of objects.
1946 / The return of the outsourced objects of art begins. A portion of the during the Nazi time expropriated objects is returned in the following years.
1947 / The "State Museum of Arts and Crafts in Vienna" is renamed into "Austrian Museum of Applied Arts".
1948 / The "Cathedral and Metropolitan Church of St. Stephen" organizes the exhibition The St. Stephen's Cathedral in the Museum of Applied Arts. History, monuments, reconstruction.
1949 / The Museum is reopened after repair of the war damages.
1950 / As last exhibition under director Richard Ernst takes place Great art from Austria's monasteries (Middle Ages).
1951 / Ignaz Schlosser is appointed manager.
1952 / The exhibition Social home decor, designed by Franz Schuster, makes the development of social housing in Vienna again the topic of the Museum of Applied Arts.
1955 / The comprehensive archive of the Wiener Werkstätte (workshop) is acquired.
1955-1985 / The Museum publishes the periodical ancient and modern art .
1956 / Exhibition New Form from Denmark, modern design from Scandinavia becomes topic of the museum and model.
1957 / On the occasion of the exhibition Venini Murano glass, the first presentation of Venini glass in Austria, there are significant purchases and donations for the collection of glass.
1958 / End of the directorate of Ignaz Schlosser
1959 / Viktor Griesmaier is appointed as new director.
1960 / Exhibition Artistic creation and mass production of Gustavsberg, Sweden. Role model of Swedish design for the Austrian art and crafts.
1963 / For the first time in Europe, in the context of a comprehensive exhibition art treasures from Iran are shown.
1964 / The exhibition Vienna around 1900 (organised by the Cultural Department of the City of Vienna) presents for the frist time after the Second World War, inter alia, arts and crafts of Art Nouveau. / / It is started with the systematic work off of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary offers the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.
1965 / The Geymüllerschlössel (small castle) is as a branch of the Museum angegliedert (annexed). Simultaneously with the building came the important collection of Franz Sobek - old Viennese clocks, made between 1760 and the second half of the 19th Century - and furniture from the years 1800 to 1840 in the possession of the MAK.
1966 / In the exhibition Selection 66 selected items of modern Austrian interior designers (male and female ones) are brought together.
1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues until today of Austria's most important design project in the 20th Century.
1968 / To Viktor Griesmaier follows Wilhelm Mrazek as director.
1969 / The exhibition Sitting 69 shows at the international modernism oriented positions of Austrian designers, inter alia by Hans Hollein.
1974 / For the first time outside of China Archaeological Finds of the People's Republic of China are shown in a traveling exhibition in the so-called Western world.
1979 / Gerhart Egger is appointed director.
1980 / The exhibition New Living. Viennese interior design 1918-1938 provides the first comprehensive presentation of the spatial art in Vienna during the interwar period.
1981 / Herbert Fux follows Gerhart Egger as director.
1984 / Ludwig Neustift is appointed interim director. / / Exhibition Achille Castiglioni: designer. First exhibition of the Italian designer in Austria
1986 / Peter Noever is appointed director and starts with the building up of the collection contemporary art.
1987 / Josef Hoffmann. Ornament between hope and crime is the first comprehensive exhibition on the work of the architect and designer.
1989-1993 / General renovation of the old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for the collection and additional exhibit spaces arise.
1989 / Exhibition Carlo Scarpa. The other city, the first comprehensive exhibition on the work of the architect outside Italy.
1990 / exhibition Hidden impressions. Japonisme in Vienna 1870-1930, first exhibition on the theme of the Japanese influence on the Viennese Modernism.
1991 / exhibition Donald Judd Architecture, first major presentation of the artist in Austria.
1992 / Magdalena Jetelová domestication of a pyramid (installation in the MAK portico).
1993 / The permanent collection is newly put up, interventions of internationally recognized artists (Barbara Bloom, Eichinger oder Knechtl, Günther Förg, GANGART, Franz Graf, Jenny Holzer, Donald Judd, Peter Noever, Manfred Wakolbinger and Heimo Zobernig) update the prospects, in the sense of "Tradition and Experiment". The halls on Stubenring accommodate furthermore the study collection and the temporary exhibitions of contemporary artists reserved gallery. The building in the Weiskirchner street is dedicated to changing exhibitions. / / The opening exhibition Vito Acconci. The City Inside Us shows a room installation by New York artist.
1994 / The Gefechtsturm (defence tower) Arenbergpark becomes branch of the MAK. / / Start of the cooperation MAK/MUAR - Schusev State Museum of Architecture Moscow. / / Ilya Kabakov: The Red Wagon (installation on MAK terrace plateau).
1995 / The MAK founds the branch of MAK Center for Art and Architecture in Los Angeles, in the Schindler House and at the Mackey Apartments, MAK Artists and Architects-in-Residence Program starts in October 1995. / / Exhibition Sergei Bugaev Africa: Krimania.
1996 / For the exhibition Philip Johnson: Turning Point designs the American doyen of architectural designing the sculpture "Viennese Trio", which is located since 1998 at the Franz-Josefs-Kai/Schottenring.
1998 / The for the exhibition James Turrell. The other Horizon designed Skyspace today stands in the garden of MAK Expositur Geymüllerschlössel. / / Overcoming the utility. Dagobert Peche and the Wiener Werkstätte, the first comprehensive biography of the work of the designer of Wiener Werkstätte after the Second World War.
1999 / Due to the Restitution Act and the Provenance Research from now on numerous during the Nazi time confiscated objects are returned.
2000 / Outsourcing of Federal Museums, transformation of the museum into a "scientific institution under public law". / / The exhibition Art and Industry. The beginnings of the Austrian Museum of Applied Arts in Vienna is dealing with the founding history of the house and the collection.
2001 / In the course of the exhibition Franz West: No Mercy, for which the sculptor and installation artist developed his hitherto most extensive work, the "Four lemurs heads" are placed at the bridge Stubenbrücke, located next to the MAK. / / Dennis Hopper: A System of Moments.
2001-2002 / The CAT Project - Contemporary Art Tower after New York, Los Angeles, Moscow and Berlin is presented in Vienna.
2002 / Exhibition Nodes. symmetrical-asymmetrical. The historical Oriental Carpets of the MAK presents the extensive rug collection.
2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, takes place the exhibition The Price of Beauty. 100 years Wiener Werkstätte. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.
2004 / James Turrell's MAKlite is since November 2004 permanently on the facade of the building installed. / / Exhibition Peter Eisenmann. Barefoot on White-Hot Walls, large-scaled architectural installation on the work of the influential American architect and theorist.
2005 / Atelier Van Lieshout: The Disciplinator / / The exhibition Ukiyo-e Reloaded presents for the first time the collection of Japanese woodblock prints of the MAK on a large scale.
2006 / Since the beginning of the year, the birthplace of Josef Hoffmann in Brtnice of the Moravian Gallery in Brno and the MAK Vienna as a joint branch is run and presents annually special exhibitions. / / The exhibition The Price of Beauty. The Wiener Werkstätte and the Stoclet House brings the objects of the Wiener Werkstätte to Brussels. / / Exhibition Jenny Holzer: XX.
2007/2008 / Exhibition Coop Himmelb(l)au. Beyond the Blue, is the hitherto largest and most comprehensive museal presentation of the global team of architects.
2008 / The 1936 according to plans of Rudolph M. Schindler built Fitzpatrick-Leland House, a generous gift from Russ Leland to the MAK Center LA, becomes with the aid of a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, center of the MAK UFI project - MAK Urban Future Initiative. / / Julian Opie: Recent Works / / The exhibition Recollecting. Looting and Restitution examines the status of efforts to restitute expropriated objects from Jewish property from museums in Vienna.
2009 / The permanent exhibition Josef Hoffmann: Inspiration is in the Josef Hoffmann Museum, Brtnice opened. / / Exhibition Anish Kapoor. Shooting into the Corner / / The museum sees itself as a promoter of Cultural Interchange and discusses in the exhibition Global:lab Art as a message. Asia and Europe 1500-1700 the intercultural as well as the intercontinental cultural exchange based on objects from the MAK and from international collections.
2011 / After Peter Noever's resignation, Martina Kandeler-Fritsch takes over temporarily the management. / /
Since 1 September Christoph Thun-Hohenstein is director of the MAK and declares "change through applied art" as the new theme of the museum.
2012 / With future-oriented examples of mobility, health, education, communication, work and leisure, shows the exhibition MADE4YOU. Designing for Change, the new commitment to positive change in our society through applied art. // Exhibition series MAK DESIGN SALON opens the MAK branch Geymüllerschlössel for contemporary design positions.
2012/2013 / opening of the newly designed MAK Collection Vienna 1900. Design / Decorative Arts from 1890 to 1938 in two stages as a prelude to the gradual transformation of the permanent collection under director Christoph Thun-Hohenstein
2013 / SIGNS, CAUGHT IN WONDER. Looking for Istanbul today shows a unique, current snapshot of contemporary art production in the context of Istanbul. // The potential of East Asian countries as catalysts for a socially and ecologically oriented, visionary architecture explores the architecture exhibition EASTERN PROMISES. Contemporary Architecture and production of space in East Asia. // With a focus on the field of furniture design NOMADIC FURNITURE 3.0. examines new living without bounds? the between subculture and mainstream to locate "do-it-yourself" (DIY) movement for the first time in a historical context.
2014 / Anniversary year 150 years MAK // opening of the permanent exhibition of the MAK Asia. China - Japan - Korea // Opening of the MAK permanent exhibition rugs // As central anniversary project opens the dynamic MAK DESIGN LABORATORY (redesign of the MAK Study Collection) exactly on the 150th anniversary of the museum on May 12, 2014 // Other major projects for the anniversary: ROLE MODELS. MAK 150 years: from arts and crafts to design // // HOLLEIN WAYS OF MODERN AGE. Josef Hoffmann, Adolf Loos and the consequences.
Lamb of God
Alcatraz - Milano
07 Gennaio 2014
ph ©Mairo Cinquetti
All rights reserved
There are metal bands and then there is Lamb of God.
A new breed of modern American metal was erected in the 2000s, with Lamb of God serving as an architect, designing the blueprint that would become the standard by which bands that came after them would be judged. So often, the European metal scene has set the tone and established the creative high watermark of the global metal scene, providing the template that their American brethren would follow. Then Lamb of God came along and all bets were off.
It was Lamb of God who rewrote the rules, devised a new playbook and raised the standard. The genre was forever and irrefutably changed by what the band has done.
By the mid-00s, there was a full metal Renaissance, if you will, in America, with the genre enjoying several years of renewed success and critical respect. Lamb of God worked to establish themselves without question as the scene's alpha males, dominating at every turn, leaving a parade of other acts to merely feast on their leftovers and scraps. Mind you, this was not a scene, style or era populated by middling acts. The era was filled quality bands and still, it was Lamb of God who defined the time period and that quickly ascended as the game changers and torch bearers. No. Questions. Asked.
Turns out, they've merely nicked the surface of what they can do and plan on accomplishing.
In 2012, Lamb of God remain the pre-eminent metal band and not by default, either. The scene is still healthy, even if some of the peers who stood shoulder-to-shoulder with them during that period of growth have fallen by the wayside. Lamb of God still reign atop of the genre thanks to their consistent ability to feed fans with only the best extreme metal there is. Their seventh album Resolution finds the band firing on all cylinders and doing things their way. As if we'd expect anything less from this Virginia wrecking crew.
With a rich history including three Grammy nominations, an invitation to tour with Metallica (which they did in 2008 through 2010 on the World Magnetic trek); multiple debuts in the Top 10 on the Billboard Top 200 (2009's Wrath debuted at No. 2 while 2006's Sacrament debuted at No. 8); multiple Platinum-selling DVDs (Killadelphia and Walk With Me in Hell); an arena tour with Slipknot (which took place in 2005); the main stage of OZZfest (2006) and wearing the fact that they were banned in Los Angeles (the Forum had a problem with their name and booted them off the bill of two shows, one with Slipknot and one with Metallica) as a badge of honor, there's no question that Lamb of God rule the metal roost. Everyone else is left to watch and marvel, and choke on their dust. However, they're not resting on past successes or what they've done. For Lamb of God, what happened in 2002 happened in 2002. It's about the right now and what's next: Resolution.
With Resolution, Lamb of God emerged from their haven in the South as powerful, as hungry and as extreme as ever. While most bands are running on fumes or coasting and sputtering to album No. 7, Lamb of God are reinvigorated. They still have something to say and more to prove…to themselves and no one else. This sonic terror squad has come along way from playing squats in basements as Burn the Priest with one constant element: the instinct to make legit, honest music their way, which is just what they've done with Resolution.
“The first and foremost thing that you have to realize about LOG is that we do exactly what we want, when we want, and how we want to," declares vocalist Randy Blythe. "We always have and we always will. That’s why each record is a snapshot in time. We never consciously sit down and say 'We’re going to keep it heavy. We’re going to keep it metal.' We just do that because that’s what we want to do. If we felt like putting out a polka record tomorrow, we would. We’re trying to make 'smart' heavy music.”
Point taken and mission most certainly accomplished with Resolution, a 100 percent trend-free and intelligently constructed album that could power a small country with its unstoppable energy and potent riffery. In a scene littered with "here today, gone tomorrow" bands, Lamb of God have survived because nothing stops them from staying the course they've purposely chosen to embark upon. They're not here to collect a check or respond to a label exec's request to pen a "radio song." It's none of the above for Lamb of God. The men that comprise the band are a little older now, a lot wiser and have families to support. Yet despite all those realities, making this music and making it their way is something that compels them, drives them and sustains them.
“You can still be a band that goes to the practice space, actually writes music together and then records. Being an actual band is still a viable option," Blythe says. "Bands are disappearing with digital recording today. Things are progressing to the point where people are just playing a riff or pattern and programming the drums, and at the end of the day, they have a technically perfect record, but it isn’t a real record. We didn’t do that. Our record is a REAL record.” Indeed, there is blood and adrenaline coursing through every vein of Resolution and its pulse will be felt by all who listen. It's an incredibly human record.
"We're not spitting out a Lamb of God template record," guitarist Mark Morton says. "If it's uninspired or you have nothing left to say, you stop. We're all putting other things in life off to do this, and we're not going to do it if gets boring to us. It's still exciting on our seventh studio record. We're still gaining momentum and getting better." That's not a quality you come across often with aggressive bands. Playing physically taxing music at full tilt leads to wear and tear on the body and the mind, but Lamb of God are not affected by such issues. They're like mutants made stronger by challenging themselves. While 2009's Wrath was sonically forceful enough to shift tectonic plates, Resolution finds the band knocking out their songs with the signature groove and swagger that made them heir apparent to Pantera's throne --an accolade left at LOG's doorstep by critics over time-- but with a little more refinement and attention to dynamics.
Overall, Morton feels that Resolution is the natural next chapter in his band's history, albeit one that harks back to the past, saying, "It almost completes the circle. There is a purity in the music, like when you first begin and you don't have those big aspirations, in a business sense, other than to play."
Drummer Chris Adler, long regarded as one of the most jaw-droppingly talented and proficient rhythm keepers in metal concurs, "Wrath was a bit of a first round knock-out punch to the face album and was purposefully very aggressive. Resolution is much more of a dynamic album.” He also feels that Resolution is born of the desire to surprise himself along with the fans who are happily along for the ride. He says, “A lot of bands get to the point where they put out seven or eight records and fans start to take them for granted. They aren’t the 'cool guys' anymore. I’m not immune to that, and we wanted to push ourselves and surprise ourselves by not resting on prior successes and by default surprising our fans.” Even so, he's not interested in following any sort of trends. He continued, “The biggest thing is that we don’t all want to be the next 'fill in the blank.' We don’t have a unified influence as a band. Because of that, our approach and our sound is slightly different than most bands. We fight and argue which makes it a more honest process.” As bandmate Blythe said earlier, Lamb of God, as an entity is like a living, breathing creature, not one that is plugged in.
The desire to maintain a "personal best" also keeps Adler and his bandmates at the very top of their game this deep into an enviable career. “What inspires me is to outdo the 21-year-old that I was," he states. "I have to prove to myself that I am still a player in this game and keep up with the best. As a band it was important to us to prove to ourselves that we have something left to offer. We don’t need to put out records anymore, but we want to put out records. We don’t want to tarnish the legacy of the band, so whatever we do has to be stronger than what we’ve done. And we’ve done it with Resolution.”
As Blythe decreed, the fact that the band owns the same goals since their humble beginning is what makes the album so real. Bassist John Campbell says, “Putting out heavy music has been our aim since we started this. We wanted to be a great, heavy band. It was never a thought to us that this would be conceptual commercially. We’re all the original members and this is what we do. This isn’t a contrived business thing to get famous and make money. Our core value is to write heavy music, and I think that’s what makes a great band.”
Amen to that!
So with that mindset firmly and collectively in place, when it came time to write and record Resolution, and to get into the meats and the guts of the album, the band elected to let producer Josh Wilbur become involved sooner, to direct what was flowing out of them, egos be damned. "We did incorporate Josh [Wilbur] a bit earlier in the process this time around," guitarist Willie Adler says. "To have an objective ear early on in the process allowed us to sideline our egos at times and really drive for the best shit possible. We also wanted, as far as guitars are concerned, to really capture our live tone to record.”
Morton also revealed that the band did try something new and different with Resolution. “Unlike any other album before, this album was written over the course of a couple of years, at least with the guitars. Willie and I starting songwriting as soon as we started touring with Wrath," instead of their usual M.O. of touring writing upon their return from the road. "Due to having the recording software, we were able to take down ideas," he says about the head start. As a result, Resolution boasts some of the most punk rock moments and some of the bluesiest moments of the band's recorded career, perhaps fostered along by the liveliness of the writing-on-the-road process.
The album may display some of the band's deeper and less obvious influences, but Chris Adler is quick to assess the album's frantic energy. You can feel tension and release in the songs, making the album as a whole a truly cathartic experience. He says, “We really were living on a bit of the edge of our capabilities. There are some frantic moments in the music; they sound almost panic-inducing. The album is overwhelmingly aggressive and will definitely get people off their asses and driving fast.”
Blythe, he of the booming, bellowing voice, is known for spitting out provocative verses in a militaristic, almost drill-sergeant style bark. His voice and his style demand and command your attention. What he declares in the space of his lyrics isn't always comfortable –for him or for you- but he will always make you think about what he is saying. "I’m 40 years old, and I’m just now really getting some clarity on where my place in my life is," Blythe admits. "This is about me getting clarity after partying for a long amount of time, looking at my life and saying 'This is where I am, where do I want to go now?'"
Asking that question, which is something more than a fair share of the band's red-blooded, average American fans are likely to pose to themselves, allowed the singer to enter an entirely different zone on Resolution. While he may have experienced discomfort, LOG ended up with a better and more honest record for it. He continues, "It’s an introspective record and goes over some uncomfortable things for me. I hope people that hear those lyrics will look at themselves and look at the world around them and say 'This is where I am, I don’t like this.' and try to invoke a change in themselves. My overall feeling for this record is 'awakening.'"
The singer admits that he was attracted to underground, aggressive music in his youth because it offered a voice of dissent, one that he could relate to, so he attempts to distill that same feeling into Lamb of God. "That’s what I’m trying to put forth in my music," he says. "Not everything is really okay. You can have your cable TV and Xbox in your car or whatever, but that doesn’t mean that everything is okay and you can just stop because it’s easy. The root of what I try to put forth lyrically is 'Think for yourself.' Do something, do anything.” And that's precisely what bonds Lamb of God to their legion of loyal fans that have stuck with them for seven albums. Well, that and those bludgeoning riffs and technically proficient grooves have something to do with it, as well!
While Resolution admittedly contains some of "the swampiest, sludgiest stuff" of their career, according to Morton, as well as some of the aforementioned "most punk" songs they've ever laid to tape, the album also boldly goes elsewhere and features strings, orchestral movements and bluesy, acoustic guitars living among the band's patented, potent groove and swagger. The song "Insurrection" is a signature, natural and instinctive moment for Chris Adler, who revealed the song was born when the group was locked together in a room and tasked with seeing what it could come up with.
Album closer "King Me" is a real showpiece on an album full of showpieces. As Resolution's punctuation mark, it's a beautiful piece of music from grizzled, meat-and-potatoes-peddling veterans. It was purposely placed at the end of the album, as an unexpected pay off for the fan who spent an hour of his or her life listening to what came before it. Even though Lamb of God make music that could put hair on your chest, underneath the buzz of the guitars, the thunder of the percussion and the ferocity of the vocal declarations, this is still thinking man's metal.
""King Me' is an epic song," Blythe declares without hesitation. "It fits that definition, there’s no way around it. When a song is an epic song, you want to make it as big as possible, which is what we did with the opera singer and the string incorporation." Morton shared a little more about the process and how they arrived at such an "epic" moment, saying, "This isn’t necessarily us changing our songwriting approach or the method, but we really stretched out in the way we 'treated' the songs. Those are things that are added to the song after the fact, but they have a very impact on the overall sound. I don’t think we looked at it as 're-inventing' ourselves; it’s really as simple as that we’re continuing to strive to make music that we’re interested in and that we’re challenged to play, and that we enjoy performing.”
Now that Resolution is in the books and has asserted its rightful place as one of the most cohesive, dynamic and boot-to-the-throat heavy albums in Lamb of God's already extensive body of work, complete with epic and provocative moments, the goal remains singular: to move fans and connect with them, all the while creatively stimulating themselves. Lamb of God are pleased with the album. The only question mark is the fans and judging from the heft and the intensity of Resolution, there will be nothing but pleased fans once they get a load of the album.
Willie Adler said, "To see someone who has really been touched by the music is inspiring to me. Regardless of what emotion they’re feeling, what they’re going thru in their life at that moment, as long as they feel something, I feel as though I’ve done my job.” It's true that Resolution has the capacity to connect with its listener on multiple emotional levels, in addition to the sonic one.
Perhaps Morton sums up Resolution the best: "If it doesn't make you want to push the accelerator to the floor a little harder, flip off a cop or throw a bottle against a brick wall, then I haven't have done my job."
Few bands can craft an album that's as thoughtful as it is visceral. One is often sacrificed in favor of the other. But such is not the case here. Lamb of God have managed to create a masterwork that allows the listener to unlock layers of sound and meaning on each consecutive listen.
There's a whole host of reasons that Lamb of God remain at the top of their game in 2012, while others have faded and fallen away. Resolution is evidence of the band's stronghold on heavy metal in 2012. None can match it, nor do they come close.
In 2012, and with Resolution, Lamb of God has earned their place in the metal pantheon.
classroom signage
Serving students who range in age from 11-18, the McCracken Regional Juvenile Detention Center is a short-term coed holding facility serving the West Kentucky area. Juveniles have been placed at the center by court order and are awaiting trial, waiting sentencing, or waiting for placement in another alternative setting (group home, day treatment, boot camp, etc).
Approximately 15-20% are girls and approximately 40% have a documented learning disability. The average reading level for teens in the facility is at 5th-6th grade level. Most have not been academically successful in their previous schools.
The school program offers a graduation track or a GED option depending on the personal and academic circumstances of the individual student.
Port of Makassar, also known as Port of Soekarno-Hatta, is a seaport in Makassar, Indonesia. It has the highest passenger traffic among Indonesian ports and the largest cargo traffic in Sulawesi. It is considered a primary port (Pelabuhan Kelas Utama) by the Indonesian Government, along with the Port of Tanjung Priok (Jakarta), Port of Tanjung Perak (Surabaya), and Port of Belawan (Medan).
An expansion to the port, dubbed New Port Makassar, is under construction with an expected additional capacity of 1.5 million TEUs in its first phase. The Indonesian Ministry of Transportation has expressed a desire to designate the port as hub for the rest of Eastern Indonesia, in accordance to the current government's maritime axis program.
Makassar (Buginese-Makassarese: ᨀᨚᨈ ᨆᨀᨔᨑ; historically spelled Macassar) is the capital of the Indonesian province of South Sulawesi. It is the largest city in the region of Eastern Indonesia and the country's fifth largest urban centre after Jakarta, Surabaya, Bandung, and Medan. From 1971 to 1999, the city was named after one of its subdistricts, Ujung Pandang. The city is located on the southwest coast of the island of Sulawesi, facing the Makassar Strait.
Throughout its history, Makassar has been an important trading port, hosting the center of the Gowa Sultanate and a Portuguese naval base before its conquest by the Dutch East India Company in the 17th century. It remained an important port in the Dutch East Indies, serving Eastern Indonesian regions with Makassarese fishermen going as far south as the Australian coast. For a brief period after Indonesian independence, Makassar became the capital of the State of East Indonesia, during which an uprising occurred.
The city's area is 199.3 square kilometres and it had a population of around 1.6 million in 2013. Its built-up (or metro) area has 1,976,168 inhabitants covering Makassar City and 15 districts. Its official metropolitan area, known as Mamminasata, with 17 additional districts, covers an area of 2,548 square kilometres and had a population of around 2.4 million according to 2010 Census. According to the National Development Planning Agency, Makassar is one of the four main central cities of Indonesia, alongside Medan, Jakarta, and Surabaya. According to Bank Indonesia, Makassar has the second-highest commercial property values in Indonesia, after Greater Jakarta.
HISTORY
The trade in spices figured prominently in the history of Sulawesi, which involved frequent struggles between rival native and foreign powers for control of the lucrative trade during the pre-colonial and colonial period, when spices from the region were in high demand in the West. Much of South Sulawesi's early history was written in old texts that can be traced back to the 13th and 14th centuries.
Makassar is mentioned in the Nagarakretagama, a Javanese eulogy composed in 14th century during the reign of Majapahit king Hayam Wuruk. In the text, Makassar is mentioned as an island under Majapahit dominance, alongside Butun, Salaya and Banggawi.
MAKASSARESE KINGDOM
The 9th King of Gowa Tumaparisi Kallonna (1512-1546) is described in the royal chronicle as the first Gowa ruler to ally with the nearby trade-oriented polity of Tallo, a partnership which endured throughout Makassar's apogee as an independent kingdom. The centre of the dual kingdom was at Sombaopu, near the then mouth of the Jeneberang River about 10 km south of the present city centre, where, where an international port and a fortress were gradually developed. First Malay traders (expelled from their Melaka metropolis by the Portuguese in 1511), then Portuguese from at least the 1540s, began to make this port their base for trading to the Spice Islands' (Maluku), further east.
The growth of Dutch maritime power over the spice trade after 1600 made Makassar more vital as an alternative port open to all traders, as well as a source of rice to trade with rice-deficient Maluku. The Dutch East India Company (VOC) sought a monopoly of Malukan nutmeg and cloves, and came close to succeeding at the expense of English, Portuguese and Muslims from the 1620s. The Makassar kings maintained a policy of free trade, insisting on the right of any visitor to do business in the city, and rejecting the attempts of the Dutch to establish a monopoly.
Makassar depended particularly on the Muslim Malay and Catholic Portuguese sailors communities as its two crucial economic assets. However the English East India Company also established a post there in 1613, the Danish Company arrived in 1618, and Chinese, Spanish and Indian traders were all important. When the Dutch conquered Portuguese Melaka in 1641, Makassar became the largest Portuguese base in Southeast Asia. The Portuguese population had been in the hundreds, but rose to several thousand, served by churches of the Franciscans, Dominicans and Jesuits as well as the regular clergy. By the 16th century, Makassar had become Sulawesi's major port and centre of the powerful Gowa and Tallo sultanates which between them had a series of 11 fortresses and strongholds and a fortified sea wall that extended along the coast. Portuguese rulers called the city Macáçar.
Makassar was very ably led in the first half of the 17th century, when it effectively resisted Dutch pressure to close down its trade to Maluku, and made allies rather than enemies of the neighbouring Bugis states. Karaeng Matoaya (c.1573-1636) was ruler of Tallo from 1593, as well as Chancellor or Chief Minister (Tuma'bicara-butta) of the partner kingdom of Gowa. He managed the succession to the Gowa throne in 1593 of the 7-year-old boy later known as Sultan Alaud-din, and guided him through the acceptance of Islam in 1603, numerous modernizations in military and civil governance, and cordial relations with the foreign traders. The conversion of the citizens to Islam was followed by the first official Friday Prayer in the city, traditionally dated to 9 November 1607, which is celebrated today as the city's official anniversary. John Jourdain called Makassar in his day "the kindest people in all the Indias to strangers". Matoaya's eldest son succeeded him on the throne of Tallo, but as Chancellor he had evidently groomed his brilliant second son, Karaeng Pattingalloang (1600-54), who exercised that position from 1639 until his death. Pattingalloang must have been partly educated by Portuguese, since as an adult he spoke Portuguese "as fluently as people from Lisbon itself", and avidly read all the books that came his way in Portuguese, Spanish or Latin. French Jesuit Alexandre de Rhodes described his passion for mathematics and astronomy, on which he pestered the priest endlessly, while even one of his Dutch adversaries conceded he was "a man of great knowledge, science and understanding."
DUTCH COLONIAL PERIOD
After Pattingalloang's death in 1654, a new king of Gowa, Sultan Hasanuddin, rejected the alliance with Tallo by declaring he would be his own Chancellor. Conflicts within the kingdom quickly escalated, the Bugis rebelled under the leadership of Bone, and the Dutch VOC seized its long-awaited chance to conquer Makassar with the help of the Bugis (1667-9). Their first conquest in 1667 was the northern Makassar fort of Ujung Pandang, while in 1669 they conquered and destroyed Sombaopu in one of the greatest battles of 17th century Indonesia. The VOC moved the city centre northward, around the Ujung Pandang fort they rebuilt and renamed Fort Rotterdam. From this base they managed to destroy the strongholds of the Sultan of Gowa who was then forced to live on the outskirts of Makassar. Following the Java War (1825–30), Prince Diponegoro was exiled to Fort Rotterdam until his death in 1855.
After the arrival of the Dutch, there was an important Portuguese community, also call a bandel, that received the name of Borrobos. Around 1660 the leader of this community, which today would be equivalent to a neighborhood, was the Portuguese Francisco Vieira de Figueiredo.
The character of this old trading center changed as a walled city known as Vlaardingen grew. Gradually, in defiance of the Dutch, the Arabs, Malays and Buddhist returned to trade outside the fortress walls, and were joined later by the Chinese.
The town again became a collecting point for the produce of eastern Indonesia – the copra, rattan, Pearls, trepang and sandalwood and the famous oil made from bado nuts used in Europe as men's hair dressing – hence the anti-macassars (embroidered cloths protecting the head-rests of upholstered chairs).
Although the Dutch controlled the coast, it was not until the early 20th century that they gained power over the southern interior through a series of treaties with local rulers. Meanwhile, Dutch missionaries converted many of the Toraja people to Christianity. By 1938, the population of Makassar had reached around 84,000 – a town described by writer Joseph Conrad as "the prettiest and perhaps, cleanest looking of all the towns in the islands".
In World War II the Makassar area was defended by approximately 1000 men of the Royal Netherlands East Indies Army commanded by Colonel M. Vooren. He decided that he could not defend the coast, and was planning to fight a guerrilla war inland. The Japanese landed near Makassar on 9 February 1942. The defenders retreated but were soon overtaken and captured.
AFTER INDEPENDENCE
In 1945 came the Indonesian declaration of Independence, and in 1946, Makassar became the capital of the State of East Indonesia, part of the United States of Indonesia. In 1950, it was the site of fighting between pro-Federalist forces under Captain Abdul Assiz and Republican forces under Colonel Sunkono during the Makassar uprising. By the 1950s, the population had increased to such a degree that many of the historic sites gave way to modern development, and today one needs to look very carefully to find the few remains of the city's once grand history.
CONNECTION WITH AUSTRALIA
Makassar is also a major fishing center in Sulawesi. One of its major industries is the trepang (sea-cucumber) industry. Trepang fishing brought the Makassan people into contact with Indigenous Australian peoples of northern Australia, long before European settlement (from 1788).
C. C. MacKnight in his 1976 work entitled Voyage to Marege: Macassan Trepangers in Northern Australia has shown that they began frequenting the north of Australia around 1700 in search of trepang (sea-slug, sea cucumber, Beche-de-mer), an edible Holothurian. They left their waters during the Northwest Monsoon in December or January for what is now Arnhem Land, Marriage or Marega and the Kimberley region or Kayu Djawa. They returned home with the south-east trade winds in April.
A fleet of between 24 and 26 Macassan perahus was seen in 1803 by French explorers under Nicolas Baudin on the Holothuria Banks in the Timor Sea. In February 1803, Matthew Flinders in the Investigator met six perahus with 20–25 men each on board and was told by the fleet's chief Pobasso, that there were 60 perahus then on the north Australian coast. They were fishing for trepang and appeared to have only a small compass as a navigation aid. In June 1818 Macassan trepang fishing was noted by Phillip Parker King in the vicinity of Port Essington in the Arafura Sea. In 1865 R.J. Sholl, then Government Resident for the British settlement at Camden Sound (near Augustus Island in the Kimberley region) observed seven 'Macassan' perahus with a total of around 300 men on board. He believed that they made kidnapping raids and ranged as far south as Roebuck Bay (later Broome) where 'quite a fleet' was seen around 1866. Sholl believed that they did not venture south into other areas such as Nickol Bay (where the European pearling industry commenced around 1865) due to the absence of trepang in those waters. The Macassan voyages appear to have ceased sometime in the late nineteenth century, and their place was taken by other sailors operating from elsewhere in the Indonesian Archipelago.
ECONOMY
The city is southern Sulawesi's primary port, with regular domestic and international shipping connections. It is nationally famous as an important port of call for the pinisi boats, sailing ships which are among the last in use for regular long-distance trade.
During the colonial era, the city was widely known as the namesake of Makassar oil, which it exported in great quantity. Makassar ebony is a warm black hue, streaked with tan or brown tones, and highly prized for use in making fine cabinetry and veneers.
Nowadays, as the largest city in Sulawesi Island and Eastern Indonesia, the city's economy depends highly on the service sector, which makes up approximately 70% of activity. Restaurant and hotel services are the largest contributor (29.14%), followed by transportation and communication (14.86%), trading (14.86), and finance (10.58%). Industrial activity is next most important after the service sector, with 21.34% of overall activity.
TRANSPORTATION
Makassar has a public transportation system called pete-pete. A pete-pete (known elsewhere in Indonesia as an angkot) is a minibus that has been modified to carry passengers. The route of Makassar's pete-petes is denoted by the letter on the windshield. Makassar is also known for its becak (pedicabs), which are smaller than the "becak" in the island of Java. In Makassar, people who drive pedicabs are called Daeng. In addition to becak and pete-pete, the city has a government-run bus system, and taxis.
A bus rapid transit (BRT), which is known as "Trans Mamminasata" was started in 2014. It has some routes through Makassar to cities around Makassar region such as Maros, Takallar, and Gowa. Run by Indonesian Transportation Department, each bus has 20 seats and space for 20 standing passengers.
A 35-kilometer monorail in the areas of Makassar, Maros Regency, Sungguminasa (Gowa Regency), and Takalar Regency (the Mamminasata region) was proposed in 2011, with operations commencing in 2014, at a predicted cost of Rp.4 trillion ($468 million). The memorandum of understanding was signed on 25 July 2011 by Makassar city, Maros Regency and Gowa Regency. In 2014, the project was officially abandoned, citing insufficient ridership and a lack of financial feasibility.
The city of Makassar, its outlying districts, and the South Sulawesi Province are served by Hasanuddin International Airport. The airport is located outside the Makassar city administration area, being situated in the nearby Maros Regency.
The city is served by Soekarno-Hatta Sea Port. In January 2012 it was announced that due to limited capacity of the current dock at Soekarno-Hatta sea port, it will be expanded to 150x30 square meters to avoid the need for at least two ships to queue every day.
ADMINISTRATION AND GOVERNANCE
The executive head of the city is the mayor, who is elected by direct vote for a period of five years. The mayor is assisted by a deputy-mayor, who is also an elected person. There is a legislative assembly for the city, members of which are also elected for a period of five years. Makassar City is divided into 15 administrative districts and 153 urban villages. Districts in Makassar city are Biringkanaya, Bontoala, Sangkarang Islands, Makassar, Mamajang, Manggala, Mariso, Panakkukang, Rappocini, Tallo, Tamalanrea, Tamalate, Ujung Pandang, Ujung Tanah and Wajo.
GEOGRAPHY
This official metropolitan area covers 2.689,89 km2 and had a population of 2.696.242 (2017). The metropolitan area of Makassar (Mamminasata) extends over 47 administrative districts (kecamatan), consisting of all 15 districts within the city, all 9 districts of Takalar Regency, 11 (out of 18) districts of Gowa Regency and 12 (out of 14) districts of Maros Regency.
Districts of Takalar Regency which included in the metro area are, Mangara Bombang, Mappakasunggu, Sanrobone, Polombangkeng Selatan, Pattallassang, Polombangkeng Utara, Galesong Selatan, Galesong and Galesong Utara. Districts of Gowa Regency which included in the metro area are, Somba Opu, Bontomarannu, Pallangga, Bajeng, Bajeng Barat, Barombong, Manuju, Pattallassang, Parangloe, Bontonompo and Bontonompo Selatan. Districts of Maros Regency which included in the metro area are, Maros Baru, Turikale, Marusu, Mandai, Moncongloe, Bontoa, Lau, Tanralili, Tompo Bulu, Bantimurung, Simbang and Cenrana.
CLIMATE
Makassar has a tropical monsoon climate. The average temperature for the year in Makassar is 27.5 °C, with little variation due to its near-equatorial latitude: the average high is around 32.5 °C and the average low around 22.5 °C all year long. In contrast to the virtually consistent temperature, rainfall shows wide variation between months in Makassar due to movement of the Intertropical Convergence Zone. Makassar averages around 3,137 millimetres of rain on 187 days during the year, but during the month with least rainfall – August – only 15 millimetres on two days of rain can be expected. In contrast, during its very wet wet season, Makassar can expect over 530 millimetres per month between December and February. During the wettest month of January, 734 millimetres can be expected to fall on twenty-seven rainy days.
MAIN SIGHTS
Makassar is home to several prominent landmarks including:
- the 17th century Dutch fort Fort Rotterdam
- the Trans Studio Makassar—the third largest indoor theme park in the world
- the Karebosi Link—the first underground shopping center in Indonesia
- the floating mosque located at Losari Beach.
- the Nusantara
- the Bantimurung - Bulusaraung National Park well-known karst area, famous for the remarkable collection of butterflies in the local area, is nearby to Makassar (around 40 km to the north).
DEMOGRAPHICS
Makassar is a multi-ethnic city, populated mostly by Makassarese and Buginese. The remainder are Torajans, Mandarese, Butonese, Chinese and Javanese. The current population is approximately 1.5 million, with a Metropolitan total of 2.2 million.
EDUCATION
State University of Makassar
Hasanuddin University
Alauddin Islamic State University
Universitas Muhammadiyah Makassar
Universitas Muslim Indonesia
By 2007 the city government began requiring all skirts of schoolgirls be below the knee.
TRADITIONAL FOOD
Makassar has several famous traditional foods. The most famous is Coto Makassar. It is a stew made from the mixture of nuts, spices, and selected offal which may include beef brain, tongue and intestine. Konro rib dish is also a popular traditional food in Makassar. Both Coto Makassar and Konro are usually eaten with Burasa or Ketupat, a glutinous rice cake. Another famous cuisine from Makassar is Ayam Goreng Sulawesi (Celebes fried chicken); the chicken is marinated with a traditional soy sauce recipe for up to 24 hours before being fried to a golden colour. The dish is usually served with chicken broth, rice and special sambal (chilli sauce).
In addition, Makassar is the home of Pisang Epe (pressed banana), as well as Pisang Ijo (green banana). Pisang Epe is a banana which is pressed, grilled, and covered with palm sugar sauce and sometimes eaten with Durian. Many street vendors sell Pisang Epe, especially around the area of Losari beach. Pisang Ijo is a banana covered with green colored flours, coconut milk, and syrup. Pisang Ijo is sometimes served iced, and often eaten during Ramadan.
WIKIPEDIA
There is a stained glass window in the church of St Mary, Wortham dedicated to Arnold and his brother Ralph. I wonder if the faces are those of the young men concerned.
In memory of Arnold William Rash 2nd Lieut Suffolk Regt, who fell at the Battle of Passchendaele
July 31st 1917 aged 25, & of Ralph Reginald Rash 2nd Lieut Suffolk Regt who fell at the battle of the Somme October 12th 1916 – aged 20, 4th and 6th sons of J J Rash J.P. of Wortham.
Arnold W Rash………………………………………….
The Roll of Honour for those who served from the Parish has
+Rash, Arnold William………………………4th Suffolk
RASH, ARNOLD WILLIAM
Rank:………………………………….Second Lieutenant
Date of Death:……………………31/07/1917
Age:……………………………………25
Regiment:………………………….Suffolk Regiment,5th Bn.
Grave Reference:……………….C. 18.
Cemetery:………………………….BUFFS ROAD CEMETERY
Additional Information:
Son of John J. and Mary L. Rash, of 44, Cranley Gardens, Muswell Hill, London. Native of Wortham, Suffolk.
CWGC: www.cwgc.org/find-war-dead/casualty/451689/RASH,%20ARNOLD...
Soldiers who Died in the Great War records that 2/Lt Arnold William Rash was Killed in Action on the 31st July 1917 whilst serving with the 5th Battalion (Territorial), Suffolk Regiment.
The Medal Index card for Second Lieutenant Arnold William Rash, Suffolk Regiment, is held at the National Archive under reference WO 372/16/151415. He had originally been Private 2173 in the same Regiment.
discovery.nationalarchives.gov.uk/details/r/D4786580
The Probate Calendar for 1918 records that Arnold William Rash of 44 Cranley Gardens, Muswell Hill, Middlesex died of wounds on the 31st July 1917 in France. Administration was granted at the London Court on the 8th June 1918 to the widow Mary Lucy Rash. Effects were valued at £964 5s.
probatesearch.service.gov.uk/Calendar?surname=Rash&ye...
Arnold William Rash, born 5th May 1892, attended Framlingham College from 1906 – 10. He was one of seven brothers to attend the College. The College Roll of Honour records that he was a Prefect and Queen Victoria Scholar. He won the Goldsmith Prize and Gold Medal for Maths 1908, the Book Keeping Prize 1908-09 and the Maths Prize, 1909. The article includes a picture of his headstone.
www.oldframlinghamian.com/gallery2/main.php?g2_view=core....
He is also remembered on the Leiston cum Sizewell War Memorial.
www.roll-of-honour.com/Suffolk/Leiston.html
April to June 1892
The birth of an Arnold William Rash was registered in the Hartismere District of Suffolk in this quarter of 1892. (Hartismere includes the village of Wortham)
familysearch.org/ark:/61903/1:1:2FM4-3QW
The baptism of Arnold William Rash, son of John Josiah and Mary Lucy Rash took place at St Mary Redgrave with Botesdale, Suffolk on the 17th October 1892.
familysearch.org/ark:/61903/1:1:NNX7-F26
1901 Census
The 8 year old Arnold William, born Wortham, was recorded as resident at New Waters Farm, Wortham. This was the household of his parents, John Josiah, (aged 49 and a Miller + Farmer from Wortham) and Mary Lucy, (aged 39 and from Norwich, Norfolk). As well as Arnold, the other children still at home are:-
Ethel Maud…………aged 17…………born Wortham
Annie Lucy………….aged 16…………born Wortham
Ella Mary…………….aged 14…………born Wortham…..Deaf + Dumb from Childhood
Rowland Harry……aged 10…………born Wortham
Basil Lionel………….aged 6………….born Wortham
Ralph Reginald…….aged 4………….born Wortham
The family then have one live in servant.
New Waters Farm, Wortham
media1.fineandcountry.com/v3/clients/346/properties/50024...
The legend on the window states that Arnold and Reginald are the 4th and 6th sons,and the details from the Framlingham College Roll of Honour indicates 6 sons attended the College. Its likely therefore that there are two older sons who were not living at home on the 1901 census. Going back to the 1891 census it looks like the family have been recorded with the surname “Pash”. Running through the children recorded, as well as Ethel Maud, (7), Annie Lucy,(6), Ella Mary, (4) and Rowland Harry, (5 months) there are also two additional sons – John Cecil, (3) and Charles Edward, (1) – both born Wortham.
On the 1901 census, John Cecil Rash, (13 – born Wortham) and Charles Edward Rash, (11 – born Wortham), were both recorded as Boarders at Eye Grammar School in the nearby town of Eye.
1911 Census
The 18 year old Arnold William, an Engineering Cost Clerk from Wortham, was recorded living as a Boarder at “Lyndhurst”, Leiston, Suffolk. This was the household of a William and Eliza West. William works as a General Labourer in a Boiler Shop.
I could not find a marriage in England and Wales for an Arnold Rash. So unless he married somewhere else, (or there is a gap\error in the official records), then I suspect the widow Mary Lucy who sorted out his estate was his mother.
Older brother John Cecil, aged 23 and single, was recorded as the Head of the Household at 6, New Bridge Terrace, St Ives, Huntingdon. John was working as a Solicitors Articled Clerk.
John also appears on the Wortham Roll of Honour of those that served – his unit is shown as the 4th Suffolks.
In fact it looks like he actually initially served with the Suffolk (The Duke of York’s Own Loyal Suffolk Hussars) Yeomanry as a Private and was then appointed to be a Second Lieutetant in the Suffolk Regiment, effective 21st September 1915.
www.thegazette.co.uk/London/issue/29302/supplement/9308/d...
There are two Medal Index Cards held at the National Archive for a J C Rash. On the first he is shown as a Second Lieutenant, and its held under reference WO 372/24/80921.
discovery.nationalarchives.gov.uk/details/r/D6320446
The second records him as Second Lieutenant\Temporary Captain in the same Regiment, using reference WO 372/24/51747
discovery.nationalarchives.gov.uk/details/r/D6526611
The second oldest son, Charles Edward, (21) has meanwhile moved back home, where he describes himself as a Miller and Merchant, a Working Partner in a business run from home. Head of the household is his widowed mother Mary Lucy, aged 49. Although she does not state how many years she was married to her late husband, she has completed the columns advising on the number of children of the relationship. Mary had 13 children of which 11 are then still alive. As well as Charles Edward, also still at home are:-
Ethel Maud………..aged 27
Annie Lucy………….aged 26
Ella May……………..aged 24…Deaf and Dumb from birth
Eric Douglas……….aged 6..born Wortham
Joyce Eileen……….aged 1..born Wortham
There is also a guest and 2 live in Domestic Servants. Although Ella’s disabilities are documented on all three censuses she appears on after birth, from the signature it looks like she actually completed the return.
Ralph Reginald and Basil Lionel were recorded as Boarders at Framlingham College, Framlingham, Suffolk.
Rowland Harry Rash is not on the 1911 census. However, the death of a Rowland Harry Rash born 10th November 1890 did not occur until the October to December quarter of 1977 in the Hartismere District of Suffolk, so either he was outside England and Wales on the night of the census, was missed or had been mis-transcribed.
In Kelly's of 1937 Rowland Harry Rash is living at Wortham Manor.
He is also noted as being farmer and landowner Wortham Manor, Ling and
Hall > Farms, The Executors of J J Rash - Bailiff Robert Dixon looking after Beech Tree
Farm. There is a note to say that the Manor, occupied by R H Rash is an ancient
manor set in well timbered grounds.
I recall delivering groceries to the Manor in the sixties. The place was at that time owned and inhabited by the widow of Mr R H Rash. She was Doreen Rash, nee Wallace, and was a celebrated authoress in her maiden name.
In the 'thirties, the Rashes led a famous protest against the payment of tithes to the church, a campaign which was featured in the national press, I believe. There is a monument in the village (although not all that near to the Manor House), which commemorates the events, although its inscription
doesn't offer a very informative explanation of its purpose. It is known as the 'Tithe War Stone'.
Source: archiver.rootsweb.ancestry.com/th/read/SUFFOLK/2005-02/11...
On the day
The 5th Territorials were actually serving in Palestine, so I suspect he was more likely on the books of the 2nd/5th, the training unit. From there he would most probably have been attached to one of the active service Battalions serving in France.
Update (and correction) 25/10/2015)
I originally assumed this was probably the 8th Battalion, as that was the only unit I could identify from the Suffolk Regiment who were in the assault on the day of Alan’s death. When I originally posted this image I gave details of that battalions actions and casualties on that day. However, seeking to confirm this one way or the other, I posted a question on the Great War Forum.
Very quickly Forum member IPT identified that he was attached to the 1st/1st Battalion, Cambridgeshire – a unit I know has very close connections with the Suffolk Regiment.
31st July 1917: 5.30am 118th Brigade advanced in artillery formation. Cheshires on right, Herts in centre and 4/5th BW on left, with Cambs in reserve moving behind BW. 6.30am the three leading btns in Blue line and 1st Cambs on X line. 7.30am 116th & 117th Brigades took Black line. 118th Brigade advanced. Cambs advanced at 10.30am disposed as follows - two coys on a line east and west of 250yds north of Border House, with two coys in reserve and due west of Border House and one detailed to support 4/5 BW at C1815.5. At 10.10am brigade moved forward to attack the Solid Green line. 10.54am Solid Green line captured by Cheshires. 10.50am counter attack from most eastern part of Langemarke line on Herts who had lost all officers. BW had to fall back to conform. Cambs attacked with two coys and drove Germans back. By 5pm the line was back on Dotted Green Line with exception of 4/5 BW. At this time Cambs attacked at Border House and beat Germans back. Germans were around flank so Cambs ordered to retire south of Hannebeke. At 5.30pm they were at Canvas Tr-Canteen Tr. 10pm ordered to withdraw through 116th and 117th Brigades.
August 1st: 1.30pm Cambs Rgt reassembled in Coney Street and roll called. A, B and HQ in tunnels at Belle Alliance and C & D in Coney Street. Due to casualties, re-organised btn into two coys.
Aug 2nd: About noon orders received that Germans expected to counter-attack. Btn moved into support in Calf Trench (old German front line). 9pm, btn to occupy Blue and Dotted Blue Lines from Mouse Trap Farm to Krupp Farm - whole neighbourhood almost 12 inches deep in mud. No II Coy on right in position aout 2.30am, but No I on left did not get into position until 5am.
3rd: Btn HQ in old dugout in Caliban Trench.
4th: 2pm orders received that btn would relieve 17th Sherwood Foresters in front line - relief completed by midnight. No 1 coy in Dotted Blue line in front of Steenbeck, No 2 at Alberta. Btn HQ in Black Line at Kitchener’s Wood.
5th: 11pm btn relieved by 1/4th Ox & Bucks, moved to camp near Reigensburg Chateau.
Casualties 31/7 to 6/8: Killed - Capt F C Jonas, Capt B M Hunter RAMC, 2nd Lt A H Muirhead, Lt A J Gray, att 118th Brigade; 2nd Lt A W Rash, 4th Suffolks; Capt C L Awberry, 4th Essex. DoW - 2nd Lt W Ritchie; 2nd Lt R Hill. Wounded: Capt A Dunlop, Lt C L Tebbutt, Lt A Fison, 2nd Lts G Smith, G Blackburn, F Spicer, B Silk, E Twelvetrees, H Raven. Other ranks - 30 killed, 26 missing, two wounded and missing, 215 wounded.
Another forum member has more details on brother John Cecil who served with the 1/4th Suffolks.
1914-1918.invisionzone.com/forums/index.php?showtopic=232...
Ralph R Rash……………………………………………..
The Roll of Honour for those who served from the Parish has
+Rash, Ralph Reginald………………………10th Suffolk
RASH, RALPH REGINALD
Rank:…………………………………Second Lieutenant
Date of Death:…………………..12/10/1916
Age:…………………………………..19
Regiment:………………………….Suffolk Regiment, 7th Bn.
Panel Reference:……………….Pier and Face 1 C and 2 A.
Memorial:…………………………THIEPVAL MEMORIAL
Additional Information:
Son of Mary Lucy Rash, of 44, Cranley Gardens, Muswell Hill, London, and the late John Josiah Rash, J.P.
CWGC: www.cwgc.org/find-war-dead/casualty/1550248/RASH,%20RALPH...
Soldiers who Died in the Great War records that 2/Lt (TP) Ralph Reginald Rash was Killed in Action on the 12th October 1916 whilst serving with the 7th Battalion, Suffolk Regiment.
The Medal Index Card for Second Lieutenant Ralph Reginald Rash, Suffolk Regiment, is held at the National Archive under reference WO 372/16/151428
discovery.nationalarchives.gov.uk/details/r/D4786593
Ralph Reginald Rash, born 7th November 1896, attended Framlingham College from 1910-13. One of 6 brothers to attend the College, he was a Sub-Prefect. A 2nd Lieutenant in the 7th Battalion, Suffolk Regiment, he was Killed in Action on the 12th October 1916. There is a picture of the relevant panel on the Thiepval Memorial.
www.oldframlinghamian.com/gallery2/main.php?g2_view=core....
He was appointed Temporary Second Lieutenant on the 20th July 1915 being either a Cadet oe Ex-Cadet of the Officer Training Corps.
www.thegazette.co.uk/London/issue/29236/page/7081/data.pdf
Birth
The birth of a Ralph Reginald Rash was recorded in the Hartismere District of Suffolk in the October to December quarter of 1896.
familysearch.org/ark:/61903/1:1:2F7M-2MF
1901 census
See Brother Arnold William above for details of the family on this census.
1911 Census
The 14 year old Ralph Reginald was recorded as a Boarder at Framlingham College, Framlingham, Suffolk.
On the day
12th - Attack on Guedecourt with 7th Suffolks on right, 7th Norfolks on left. Wire uncut and remnants of battalions back to start.
1914-1918.invisionzone.com/forums/index.php?showtopic=487...
Nearer to Gueudecourt, 12th Div attacked Hilt Trench with the Newfoundland Regt. The Newfies were attached from 29th Div. They continued the advance to Grease Trench but were forced to withdraw at 5.30pm. They held onto the captured section of Hilt Trench and bombed some way along it before erecting a barricade. Meanwhile 7th Suffolks and 7th Norfolks (35 Bde, 12th Div) were halted by uncut wire in front of Bayonet Trench.
forum.irishmilitaryonline.com/showthread.php?9058-The-Som...
Battalion War Diary for the 7th Norfolks.
12th October 1916. Flers Trench near Flers.
Today at 2.5pm we attacked BAYONET TRENCH. Last night the assembly trenches were completed + all the battalion lay out in them from 5 a.m. this morning until the attack. The attack was carried out with all four companies in the line, disposed in depth, one platoon behind the other, D on the right C,B,A. On our right, 7th Suffolk Regt and on our left 2nd Royal Scots, 30 Divison. Battn HQ remained in BULLS ROAD. The object was to attack was first of all to capture BAYONET+SCABBARD TRENCH and then to sweep up + take LUISENHOF FARM and establish a line beyond it.
At 2.5 pm our artillery barrage commenced + our men advanced to the assault. After advancing about 50 yards, the Hun opened fire with M.G.s from both flanks + from in front. Our troops continued to advance but before reaching the enemys trench ran into barbed wire which had not been cut. The wire coupled with the M.G fire prevented any further advance, and our men lay down in shell holes from where they brought rifle fire to bear on the Germans who were standing up in their trenches shooting at them. We caused considerable casualties in this way to the enemy. After dark we made a further attempt to cut a way through to the enemy’s trench but the line proved too strong. The survivors then crawled back to our own line and then reformed. The 9th Essex Regt.then relieved us +the Suffolk Regt. In the front line + we came back to FLERS TRENCH, the Reserve lines near FLERS which we are sharing with the Suffolk Regt.
The first morsels from the sheep's head and the horse's shank are sliced before being handed to the honoured guests. The meat is cooked with green onions and served on fresh pasta. Drinks include milk tea with butter.
We are in Ba Li Gai Village, Alaty, Xinjiang. The nearest country to Alaty is Kazakstan, which is accesible by road.
Building a unique niche at the bottom of the pyramid, dozens of products - from personal grooming and hygiene to home care to snacks - are available in tiny single-serving packages.
This rainbow of packaging can be found hanging from stalls and shops throughout Chennai and every village. Most products cost Rs 0.5 to Rs 2 for a single use serving of shampoo, dish detergent, mouth freshener, or candies. While convenient and certainly immensely popular, this lovely patina of plastic colour also now graces every street, lot, park and waterway.
GONE - This vintage serving trolley from the UK has three tiers, each of which is a fully removable tray. So perfect for parties, when you can wheel the trolley in from the kitchen and then pass the trays around.
55x38cm, height till top tray 65cm
The history of the Austrian Museum of Applied Arts/Contemporary Art
1863 / After many years of efforts by Rudolf Eitelberger decides Emperor Franz Joseph I on 7 March on the initiative of his uncle Archduke Rainer, following the model of the in 1852 founded South Kensington Museum (now the Victoria and Albert Museum, London), the establishment of the "k. k. Austrian Museum for Art and Industry" and apponted Rudolf von Eitelberger, the first professor of art history at the University of Vienna, to director. The museum should be serving as a specimen collection for artists, industrialists, and public and as a training and education center for designers and craftsmen.
1864/ on 12th of May, opened the museum - provisionally in premises of the ball house next to the Vienna Hofburg, the architect Heinrich von Ferstel for museum purposes had adapted. First exhibited objects are loans and donations from the imperial collections, monasteries, private property and from the kk polytechnic in Vienna. Reproductions, masters and plaster casts are standing value-neutral next originals.
1865-1897 / The Museum of Art and Industry publishes the journal Communications of Imperial (k. k.) Austrian Museum for Art and Industry .
1866 / Due to the lack of space in the ballroom setting up of an own museum building is accelerated. A first project of Rudolf von Eitelberger and Heinrich von Ferstel provides the integration of the museum in the project of imperial museums in front of the Hofburg Imperial Forum. Only after the failure of this project, the site of the former Exerzierfelds (parade ground) of the defense barracks before Stubentor the museum here is assigned, next to the newly created city park on the still being under development Rind Road.
1867 / Theoretical and practical training are combined with the establishment of the School of Applied Arts. This will initially be housed in the old gun factory, Währinger Straße 11-13/Schwarzspanierstrasse 17, Vienna 9.
1868 / With the construction of the building at Stubenring is started as soon as it is approved by Emperor Franz Joseph I. the second draft of Heinrich Ferstel.
1871 / The opening of the building at Stubering takes place after three years of construction, 15 November. Designed according to plans by Heinrich von Ferstel in the Renaissance style, it is the first built museum building on the ring. Objects from now on could be placed permanently and arranged according to main materials. / / The Arts School moves into the house on Stubenring. / / Opening of Austrian art and crafts exhibition.
1873 / Vienna World Exhibition. / / The Museum of Art and Industry and the Vienna School of Arts and Crafts are exhibiting together at Stubenring. / / Rudolf von Eitelberger organizes in the framework of the World Exhibition the worldwide first international art scientific congress in Vienna, thus emphasizing the orientation of the Museum on teaching and research. / / During the World Exhibition major purchases for the museum of funds of the Ministry are made, eg 60 pages of Indo-Persian Journal Mughal manuscript Hamzanama.
1877 / decision on the establishment of taxes for the award of Hoftiteln (court titels). With the collected amounts the local art industry can be promoted. / / The new building of the School of Applied Arts, adjoining the museum, Stubenring 3 , also designed by Heinrich von Ferstel, is opened.
1878 / participation of the Museum of Art and Industry and the School of Art at the Paris World Exhibition.
1884 / founding of the Vienna Arts and Crafts Association with seat in the museum. Many well-known companies and workshops (led by J. & L. Lobmeyr), personalities and professors of the arts and crafts school join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and crafts since the 1860s has obtained. For this reason are organized various times changing, open to the public exhibitions at the Imperial Austrian Museum for Art and Industry. The exhibits can also be purchased. These new, generously carried out exhibitions give the club the necessary national and international resonance.
1885 / After the death of Rudolf von Eitelberger is Jacob von Falke, his longtime deputy, appointed manager. Falke plans all collection areas als well as publications to develop newly and systematically. With his popular publications he influences significantly the interior design style of the historicism in Vienna.
1888 / The Empress Maria Theresa exhibition revives the contemporary discussion with the high baroque in the history of art and in applied arts in particular.
1895 / end of the Directorate of Jacob von Falke. Bruno Bucher, longtime curator of the Museum of metal, ceramic and glass, and since 1885 deputy director, is appointed director.
1896 / The Vienna Congress exhibition launches the confrontation with the Empire and Biedermeier style, the sources of inspiration of Viennese Modernism .
1897 / end of the Directorate of Bruno Bucher. Arthur von Scala, Director of the Imperial Oriental Museum in Vienna since its founding in 1875 (renamed Imperial Austrian Trade Museum 1887), takes over the management of the Museum of Art and Industry. / / Scala wins Otto Wagner, Felician of Myrbach, Koloman Moser, Josef Hoffmann and Alfred Roller to work at the museum and school of applied arts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagated the example of the Arts and Crafts Movement and makes appropriate acquisitions for the museum's collection.
1898 / Due to differences between Scala and the Arts and Crafts Association, which sees its influence on the Museum wane, Archduke Rainer puts down his function as protector. / / New statutes are written.
1898-1921 / The Museum magazine art and crafts replaces the Mittheilungen (Communications) and soon gaines international reputation.
1900 / The administration of Museum and Arts and Crafts School is disconnected.
1904 / The Exhibition of Old Vienna porcelain, the to this day most comprehensive presentation on this topic, brings with the by the Museum in 1867 definitely taken over estate of the " k. k. Aerarial Porcelain Manufactory" (Vienna Porcelain Manufactory) important pieces of collectors from all parts of the Habsburg monarchy together.
1907 / The Museum of Art and Industry takes over the majority of the inventories of the Imperial Austrian Trade Museum, including the by Arthur von Scala founded Asia collection and the extensive East Asian collection of Heinrich von Siebold .
1908 / Integration of the Museum of Art and Industry in the Imperial and Royal Ministry of Public Works.
1909 / separation of Museum and Arts and Crafts School, the latter remains subordinated to the Ministry of Culture and Education. / / After three years of construction, the according to plans of Ludwig Baumann extension building of the museum (now Weiskirchnerstraße 3, Wien 1) is opened. The museum receives thereby rooms for special and permanent exhibitions. / / Arthur von Scala retires, Eduard Leisching follows him as director. / / Revision of the statutes.
1909 / Archduke Carl exhibition. For the centenary of the Battle of Aspern. / / The Biedermeier style is discussed in exhibitions and art and crafts.
1914 / Exhibition of works by the Austrian art industry from 1850 to 1914, a competitive exhibition that highlights, among other things, the role model of the museum of arts and crafts in the fifty years of its existence.
1919 / After the founding of the First Republic it comes to assignments of former imperial possession to the museum, for example, of oriental carpets that are shown in an exhibition in 1920. The Museum now has one of the finest collections of oriental carpets worldwide .
1920 / As part of the reform of museums of the First Republic, the collection areas are delineated. The Antiquities Collection of the Museum of Art and Industry is given away to the Museum of Art History.
1922 / The exhibition of glasses of classicism, the Empire and Biedermeier time offers with precious objects from the museum and private collections an overview of the art of glassmaking from the former Austro-Hungarian Empire. / / Biedermeier glass serves as a model for contemporary glass production and designs, such as Josef Hoffmann.
1922 / affiliation of the museal inventory of the royal table and silver collection to the museum. Until the institutional separation the former imperial household and table decoration is co-managed by the Museum of Art and Industry and is inventoried for the first time by Richard Ernst.
1925 / After the end of the Directorate of Eduard Leisching Hermann Trenkwald is appointed director.
1926 / The exhibition Gothic in Austria gives a first comprehensive overview of the Austrian panel painting and of arts and crafts of the 12th to 16th Century.
1927 / August Schestag succeeds Hermann Trenkwald as director .
1930 / The Werkbund (artists' organization) Exhibition Vienna, A first comprehensive presentation of the Austrian Werkbund, takes place on the occasion of the meeting of the Deutscher Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.
1931 / August Schestag finishes his Directorate .
1932 / Richard Ernst is the new director .
1936 and 1940 / In exchange with the Kunsthistorisches Museum (Museum of Art History), the museum at Stubenring gives away part of the sculptures and takes over craft inventories of the collection Albert Figdor and the Kunsthistorisches Museum.
1937 / The Collection of the Museum of Art and Industry is re-established by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.
1938 / After the "Anschluss" of Austria by Nazi Germany, the museum was renamed "National Museum of Decorative Arts in Vienna".
1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Applied Arts in Vienna" is also enlarged in this way.
1945 / Partial destruction of the museum building by impact of war. / / War losses on collection objects, even in the places of rescue of objects.
1946 / The return of the outsourced objects of art begins. A portion of the during the Nazi time expropriated objects is returned in the following years.
1947 / The "State Museum of Applied Arts in Vienna" is renamed "Austrian Museum of Applied Arts".
1948 / The "Cathedral and Metropolitan Church of St. Stephen" organizes the exhibition The St. Stephen's Cathedral in the Museum of Applied Arts. History, monuments, reconstruction.
1949 / The Museum is reopened after repair of the war damages.
1950 / As last exhibition under director Richard Ernst takes place Great art from Austria's monasteries (Middle Ages).
1951 / Ignaz Schlosser is appointed manager.
1952 / The exhibition Social home decor, designed by Franz Schuster, makes the development of social housing in Vienna again the topic of the Museum of Applied Arts.
1955 / The comprehensive archive of the Wiener Werkstätte (workshop) is acquired.
1955-1985 / The Museum publishes the periodical ancient and modern art .
1956 / Exhibition New Form from Denmark, modern design from Scandinavia becomes topic of the museum and model.
1957 / On the occasion of the exhibition Venini Murano glass, the first presentation of Venini glass in Austria, there are significant purchases and donations for the collection of glass.
1958 / End of the Directorate Ignaz Schlosser
1959 / Viktor Griesmaier is appointed as the new director.
1960 / Exhibition Artistic creation and mass production of Gustavsberg, Sweden. Role model of Swedish design for the Austrian art and crafts.
1963 / For the first time in Europe, in the context of a comprehensive exhibition art treasures from Iran are shown.
1964 / The exhibition Vienna 1900 presents Crafts of Art Nouveau for the first time after the Second World War. / / It is started with the systematic processing of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary grantes the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.
1965 / The Geymüllerschlössel is as a branch of the Museum angegliedert (annexed). Gleichzeitig (at the same time) with the building came the important collection of Franz Sobek - old Viennese clocks, emerged between 1760 and the second half of the 19th Century - and furniture from the years 1800 to 1840 in the possession of the MAK.
1966 / In the exhibition Selection 66 selected items of modern Austrian interior designers (male and female ones) are merged.
1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues to today of Austria's most important design project in the 20th Century.
1968 / On Viktor Griesmaier follows Wilhelm Mrazek as director.
1969 / The exhibition Sitting 69 shows on the international modernism oriented positions of Austrian designers, inter alia by Hans Hollein.
1974 / For the first time outside of China Archaeological Finds of the People's Republic of China are shown in a traveling exhibition in the so-called Western world.
1979 / Gerhart Egger is appointed director .
1980 / The exhibition New Living. Viennese interior design 1918-1938 provides the first comprehensive presentation of the art space in Vienna during the interwar period.
1981 / Herbert Fux follows Gerhart Egger as Director.
1984 / Ludwig Neustift is appointed interim director. / / Exhibition Achille Castiglioni: Designer. First exhibition of the Italian designer in Austria
1986 / Peter NOEVER is appointed as Director and started building up the collection of contemporary art.
1987 / Josef Hoffmann. Ornament between hope and crime is the first comprehensive exhibition on the work of the architect and designer.
1989-1993 / General renovation of thee old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for collection and additional exhibit spaces arise.
1989 / Exhibition Carlo Scarpa. The other city, the first comprehensive exhibition on the work of the architect outside Italy.
1990 / exhibition Hidden impressions. Japonisme in Vienna 1870-1930, first exhibition on the theme of the Japanese influence on the Viennese Modernism.
1991 / exhibition Donald Judd Architecture, first major presentation of the artist in Austria.
1992 / Magdalena Jetelová domestication of a pyramid (installation in the MAK portico).
1993 / The permanent collection is re-established, interventions of internationally recognized artists (Barbara Bloom, Eichinger oder Knechtl, Günther Förg, GANGART, Franz Graf, Jenny Holzer, Donald Judd, Peter Noever, Manfred Wakolbinger and Heimo Zobernig) update the prospects, in the sense of "Tradition and Experiment". The halls on Stubenring accommodate furthermore the study collection and the temporary exhibitions of contemporary artists reserved gallery. The building in the Weiskirchnerstraße is dedicated to changing exhibitions. / / The opening exhibition Vito Acconci. The City Inside Us shows a room installation by New York artist.
1994 / The Gefechtsturm (defence tower) Arenbergpark becomes branch of the MAK. / / Start of the cooperation MAK/MUAR - Schusev State Museum of Architecture Moscow. / / Ilya Kabakov: The Red Wagon (installation on the MAK terrace plateau).
1995 / The MAK founds the branch of MAK Center for Art and Architecture in Los Angeles, in the Schindler House and at the Mackey Apartments, MAK Artists and Architects-in-Residence Program starts in October 1995. / / Exhibition Sergei Bugaev Africa : Krimania.
1996 / For the exhibition Philip Johnson: Turning Point designs the American doyen of architectural designing the sculpture "Viennese Trio", which is located since 1998 at the Franz-Josefs-Kai/Schottenring.
1998 / The for the exhibition James Turrell. The other Horizon designed Skyspace today stands in the garden of MAK Expositur Geymüllerschlössel. / / Overcoming the utility. Dagobert Peche and the Wiener Werkstätte, the first comprehensive Personale of the work of the designer of Wiener Werkstätte after the Second World War.
1999 / Due to the Restitution Act and the Provenance Research from now on numerous during the Nazi time confiscated objects are returned .
2000 / Outsourcing the federal museums, transforming the museum into a "scientific institution under public law". / / The exhibition of art and industry. The beginnings of the Austrian Museum of Applied Arts in Vienna are dealing with the founding history of the house and the collection.
2001 / As part of the exhibition Franz West: No Mercy, for which the sculptor and installation artist developed his hitherto most extensive work the "Four lemurs heads " are placed at the Stubenbrücke located next to the MAK. / / Dennis Hopper: A System of Moments.
2001-2002 / The CAT Project - Contemporary Art Tower after New York, Los Angeles, Moscow and Berlin in Vienna is presented.
2002 / Exhibition Nodes. symmetrical-asymmetrical. The historic Oriental Carpets of the MAK presents the extensive rug collection.
2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, the exhibition The Price of Beauty. 100 years Wiener Werkstätte takes place. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.
2004 / James Turrell MAKlite is since November 2004 permanently on the facade of the building installed. / / Exhibition Peter Eisenmann. Barefoot on White-Hot Walls, large-scaled architectural installation on the work of the influential American architect and theorist.
2005 / Atelier Van Lieshout: The Disziplinatornbsp / / The exhibition Ukiyo-e Reloaded for the first time presents the collection of Japanese woodblock prints of the MAK in large scale.
2006 / Since the beginning of the year the birthplace of Josef Hoffmann in Brtnice of the Moravian Gallery in Brno and the MAK Vienna as a joint branch is run and presents special exhibitions annually. / / The exhibition The Price of Beauty. The Wiener Werkstätte and the Stoclet House brings the objects of the Wiener Werkstätte to Brussels. / / Exhibition Jenny Holzer: XX.
2007/2008 / Exhibition Coop Himmelb(l)au. Beyond the Blue, is the hitherto largest and most comprehensive museal presentation of the global team of architects .
2008 / The 1936 according to plans of Rudolph M. Schindler built Fitzpatrick-Leland House, a generous gift from Russ Leland to the MAK Center LA, becomes using a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, the center of the MAK UFI project - MAK Urban Future Initiative. / / Julian Opie: Recent Works / / The exhibition Recollecting. Looting and Restitution examines the status of efforts to restitute expropriated objects from Jewish property of museums in Vienna.
2009 / The permanent exhibition Josef Hoffmann: Inspiration is in the Josef Hoffmann Museum, Brtnice opened. / / Exhibition Anish Kapoor. Shooting into the Corner / / The museum sees itself as a promoter of Cultural Interchange and discusses in the exhibition Global:lab Art as a message. Asia and Europe 1500-1700 the intercultural as well as the intercontinental cultural exchange based on objects from the MAK and from international collections.
2011 / After Peter Noevers resignation Martina Kandeler-Fritsch takes over temporarily the management. / / Since 1 September Christoph Thun-Hohenstein is director of the MAK.
The history of the Austrian Museum of Applied Art/Contemporary Art
1863 / After many years of efforts by Rudolf Eitelberger decides emperor Franz Joseph I on 7 March on the initiative of his uncle archduke Rainer, following the model of the in 1852 founded South Kensington Museum (now the Victoria and Albert Museum, London) the establishment of the "k.u.k. Austrian Museum for Art and Industry" and appoints Rudolf von Eitelberger, the first professor of art history at the University of Vienna director. The museum should be serving as a specimen collection for artists, industrialists, and public and as a training and education center for designers and craftsmen.
1864/ on 12th of May, opened the museum - provisionally in premises of the ball house next to the Vienna Hofburg, the architect Heinrich von Ferstel for museum purposes had adapted. First exhibited objects are loans and donations from the imperial collections, monasteries, private property and from the k.u.k. Polytechnic in Vienna. Reproductions, masters and plaster casts are standing value-neutral next originals.
1865-1897 / The Museum of Art and Industry publishes the journal Communications of Imperial (k.u.k.) Austrian Museum for Art and Industry .
1866 / Due to the lack of space in the ballroom the erection of an own museum building is accelerated. A first project of Rudolf von Eitelberger and Heinrich von Ferstel provides the integration of the museum in the project of imperial museums in front of the Hofburg Imperial Forum. Only after the failure of this project, the site of the former Exerzierfelds (parade ground) of the defense barracks before Stubentor the museum here is assigned, next to the newly created city park at the still being under development Rind Road.
1867 / Theoretical and practical training are combined with the establishment of the School of Applied Arts. This will initially be housed in the old gun factory, Währinger street 11-13/Schwarzspanier street 17, Vienna 9.
1868 / With the construction of the building at Stubenring is started as soon as it is approved by emperor Franz Joseph I. the second draft of Heinrich Ferstel.
1871 / The opening of the building at Stubering takes place after three years of construction, 15 November. Designed according to plans by Heinrich von Ferstel in the Renaissance style, it is the first built museum building at the Ring. Objects from now on could be placed permanently and arranged according to main materials. / / The School of Arts and Crafts (Kunstgewerbeschule) moves into the house at Stubenring. / / Opening of Austrian arts and crafts exhibition.
1873 / Vienna World Exhibition. / / The Museum of Art and Industry and the Vienna School of Arts and Crafts are exhibiting together at Stubenring. / / Rudolf von Eitelberger organizes in the framework of the World Exhibition the worldwide first international art scientific congress in Vienna, thus emphasizing the orientation of the Museum on teaching and research. / / During the World Exhibition major purchases for the museum from funds of the Ministry are made, eg 60 pages of Indo-Persian Journal Mughal manuscript Hamzanama.
1877 / decision on the establishment of taxes for the award of Hoftiteln (court titels). With the collected amounts the local art industry can be promoted. / / The new building of the School of Arts and Crafts, adjoining the museum, Stubenring 3, also designed by Heinrich von Ferstel, is opened.
1878 / participation of the Museum of Art and Industry as well as of the School of Arts and Crafts at the Paris World Exhibition.
1884 / founding of the Vienna Arts and Crafts Association with seat in the museum. Many well-known companies and workshops (led by J. & L. Lobmeyr), personalities and professors of the School of Arts and Crafts join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and craft since the 1860s has obtained. For this reason are organized various times changing, open to the public exhibitions at the Imperial Austrian Museum for Art and Industry. The exhibits can also be purchased. These new, generously carried out exhibitions give the club the necessary national and international resonance.
1885 / After the death of Rudolf von Eitelberger, Jacob von Falke, his longtime deputy, is appointed manager. Falke plans all collection areas al well as publications to develop newly and systematically. With his popular publications he influences significantly the interior design style of the historicism in Vienna.
1888 / The Empress Maria Theresa exhibition revives the contemporary discussion with the high Baroque in the history of art and in applied arts in particular.
1895 / end of directorate of Jacob von Falke. Bruno Bucher, longtime curator of the Museum of metal, ceramic and glass, and since 1885 deputy director, is appointed director.
1896 / The Vienna Congress exhibition launches the confrontation with the Empire and Biedermeier style, the sources of inspiration of Viennese Modernism.
1897 / end of the directorate of Bruno Bucher. Arthur von Scala, director of the Imperial Oriental Museum in Vienna since its founding in 1875 (renamed Imperial Austrian Trade Museum 1887), takes over the management of the Museum of Art and Industry. / / Scala wins Otto Wagner, Felician of Myrbach, Koloman Moser, Josef Hoffmann and Alfred Roller to work at the museum and School of Arts and Crafts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagates the example of the Arts and Crafts Movement and makes appropriate acquisitions for the museum's collection.
1898 / Due to differences between Scala and the Arts and Crafts Association, which sees its influence on the Museum wane, archduke Rainer puts down his function as protector. / / New statutes are written.
1898-1921 / The Museum magazine Art and Crafts replaces the Mittheilungen (Communications) and soon gaines international reputation.
1900 / The administration of Museum and Arts and Crafts School is disconnected.
1904 / The Exhibition of Old Vienna porcelain, the to this day most comprehensive presentation on this topic, brings with the by the Museum in 1867 definitely taken over estate of the "k.u.k. Aerarial Porcelain Manufactory" (Vienna Porcelain Manufactory) important pieces of collectors from all parts of the Habsburg monarchy together.
1907 / The Museum of Art and Industry takes over the majority of the inventories of the Imperial Austrian Trade Museum, including the by Arthur von Scala founded Asia collection and the extensive East Asian collection of Heinrich von Siebold .
1908 / Integration of the Museum of Art and Industry in the Imperial and Royal Ministry of Public Works.
1909 / separation of Museum and Arts and Crafts School, the latter remains subordinated to the Ministry of Culture and Education. / / After three years of construction, the according to plans of Ludwig Baumann extension building of the museum (now Weiskirchnerstraße 3, Wien 1) is opened. The museum thereby receives rooms for special and permanent exhibitions. / / Arthur von Scala retires, Eduard Leisching follows him as director. / / Revision of the statutes.
1909 / Archduke Carl exhibition. For the centenary of the Battle of Aspern. / / The Biedermeier style is discussed in exhibitions and art and arts and crafts.
1914 / Exhibition of works by the Austrian Art Industry from 1850 to 1914, a competitive exhibition that highlights, among other things, the role model of the museum for arts and crafts in the fifty years of its existence.
1919 / After the founding of the First Republic it comes to assignments of former imperial possession to the museum, for example, of oriental carpets that are shown in an exhibition in 1920. The Museum now has one of the finest collections of oriental carpets worldwide.
1920 / As part of the reform of museums of the First Republic, the collection areas are delimited. The Antiquities Collection of the Museum of Art and Industry is given away to the Museum of Art History.
1922 / The exhibition of glasses of classicism, the Empire and Biedermeier time offers with precious objects from the museum and private collections an overview of the art of glassmaking from the former Austro-Hungarian Empire. / / Biedermeier glass serves as a model for contemporary glass production and designs, such as of Josef Hoffmann.
1922 / affiliation of the museal inventory of the royal table and silver collection to the museum. Until the institutional separation the former imperial household and table decoration is co-managed by the Museum of Art and Industry and is inventoried for the first time by Richard Ernst.
1925 / After the end of the directorate of Eduard Leisching, Hermann Trenkwald is appointed director.
1926 / The exhibition Gothic in Austria gives a first comprehensive overview of the Austrian panel painting and of arts and crafts of the 12th to 16th Century.
1927 / August Schestag succeeds Hermann Trenkwald as director.
1930 / The Werkbund (artists' organization) Exhibition Vienna, a first comprehensive presentation of the Austrian Werkbund, takes place on the occasion of the meeting of the Deutscher (German) Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.
1931 / August Schestag concludes his directorate.
1932 / Richard Ernst is new director.
1936 and 1940 / In exchange with the Kunsthistorisches Museum (Museum of Art History), the museum at Stubenring gives away part of the sculptures and takes over arts and crafts inventories of the collection Albert Figdor and the Kunsthistorisches Museum.
1937 / The Collection of the Museum of Art and Industry is newly set up by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.
1938 / After the "Anschluss" (annexation) of Austria by Nazi Germany, the museum is renamed into "National Museum of Arts and Crafts in Vienna".
1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Arts and Crafts in Vienna" in this way also is enlarged.
1945 / Partial destruction of the museum building by impact of war. / / War losses on collection objects, even in the places of rescue of objects.
1946 / The return of the outsourced objects of art begins. A portion of the during the Nazi time expropriated objects is returned in the following years.
1947 / The "State Museum of Arts and Crafts in Vienna" is renamed into "Austrian Museum of Applied Arts".
1948 / The "Cathedral and Metropolitan Church of St. Stephen" organizes the exhibition The St. Stephen's Cathedral in the Museum of Applied Arts. History, monuments, reconstruction.
1949 / The Museum is reopened after repair of the war damages.
1950 / As last exhibition under director Richard Ernst takes place Great art from Austria's monasteries (Middle Ages).
1951 / Ignaz Schlosser is appointed manager.
1952 / The exhibition Social home decor, designed by Franz Schuster, makes the development of social housing in Vienna again the topic of the Museum of Applied Arts.
1955 / The comprehensive archive of the Wiener Werkstätte (workshop) is acquired.
1955-1985 / The Museum publishes the periodical ancient and modern art .
1956 / Exhibition New Form from Denmark, modern design from Scandinavia becomes topic of the museum and model.
1957 / On the occasion of the exhibition Venini Murano glass, the first presentation of Venini glass in Austria, there are significant purchases and donations for the collection of glass.
1958 / End of the directorate of Ignaz Schlosser
1959 / Viktor Griesmaier is appointed as new director.
1960 / Exhibition Artistic creation and mass production of Gustavsberg, Sweden. Role model of Swedish design for the Austrian art and crafts.
1963 / For the first time in Europe, in the context of a comprehensive exhibition art treasures from Iran are shown.
1964 / The exhibition Vienna around 1900 (organised by the Cultural Department of the City of Vienna) presents for the frist time after the Second World War, inter alia, arts and crafts of Art Nouveau. / / It is started with the systematic work off of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary offers the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.
1965 / The Geymüllerschlössel (small castle) is as a branch of the Museum angegliedert (annexed). Simultaneously with the building came the important collection of Franz Sobek - old Viennese clocks, made between 1760 and the second half of the 19th Century - and furniture from the years 1800 to 1840 in the possession of the MAK.
1966 / In the exhibition Selection 66 selected items of modern Austrian interior designers (male and female ones) are brought together.
1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues until today of Austria's most important design project in the 20th Century.
1968 / To Viktor Griesmaier follows Wilhelm Mrazek as director.
1969 / The exhibition Sitting 69 shows at the international modernism oriented positions of Austrian designers, inter alia by Hans Hollein.
1974 / For the first time outside of China Archaeological Finds of the People's Republic of China are shown in a traveling exhibition in the so-called Western world.
1979 / Gerhart Egger is appointed director.
1980 / The exhibition New Living. Viennese interior design 1918-1938 provides the first comprehensive presentation of the spatial art in Vienna during the interwar period.
1981 / Herbert Fux follows Gerhart Egger as director.
1984 / Ludwig Neustift is appointed interim director. / / Exhibition Achille Castiglioni: designer. First exhibition of the Italian designer in Austria
1986 / Peter Noever is appointed director and starts with the building up of the collection contemporary art.
1987 / Josef Hoffmann. Ornament between hope and crime is the first comprehensive exhibition on the work of the architect and designer.
1989-1993 / General renovation of the old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for the collection and additional exhibit spaces arise.
1989 / Exhibition Carlo Scarpa. The other city, the first comprehensive exhibition on the work of the architect outside Italy.
1990 / exhibition Hidden impressions. Japonisme in Vienna 1870-1930, first exhibition on the theme of the Japanese influence on the Viennese Modernism.
1991 / exhibition Donald Judd Architecture, first major presentation of the artist in Austria.
1992 / Magdalena Jetelová domestication of a pyramid (installation in the MAK portico).
1993 / The permanent collection is newly put up, interventions of internationally recognized artists (Barbara Bloom, Eichinger oder Knechtl, Günther Förg, GANGART, Franz Graf, Jenny Holzer, Donald Judd, Peter Noever, Manfred Wakolbinger and Heimo Zobernig) update the prospects, in the sense of "Tradition and Experiment". The halls on Stubenring accommodate furthermore the study collection and the temporary exhibitions of contemporary artists reserved gallery. The building in the Weiskirchner street is dedicated to changing exhibitions. / / The opening exhibition Vito Acconci. The City Inside Us shows a room installation by New York artist.
1994 / The Gefechtsturm (defence tower) Arenbergpark becomes branch of the MAK. / / Start of the cooperation MAK/MUAR - Schusev State Museum of Architecture Moscow. / / Ilya Kabakov: The Red Wagon (installation on MAK terrace plateau).
1995 / The MAK founds the branch of MAK Center for Art and Architecture in Los Angeles, in the Schindler House and at the Mackey Apartments, MAK Artists and Architects-in-Residence Program starts in October 1995. / / Exhibition Sergei Bugaev Africa: Krimania.
1996 / For the exhibition Philip Johnson: Turning Point designs the American doyen of architectural designing the sculpture "Viennese Trio", which is located since 1998 at the Franz-Josefs-Kai/Schottenring.
1998 / The for the exhibition James Turrell. The other Horizon designed Skyspace today stands in the garden of MAK Expositur Geymüllerschlössel. / / Overcoming the utility. Dagobert Peche and the Wiener Werkstätte, the first comprehensive biography of the work of the designer of Wiener Werkstätte after the Second World War.
1999 / Due to the Restitution Act and the Provenance Research from now on numerous during the Nazi time confiscated objects are returned.
2000 / Outsourcing of Federal Museums, transformation of the museum into a "scientific institution under public law". / / The exhibition Art and Industry. The beginnings of the Austrian Museum of Applied Arts in Vienna is dealing with the founding history of the house and the collection.
2001 / In the course of the exhibition Franz West: No Mercy, for which the sculptor and installation artist developed his hitherto most extensive work, the "Four lemurs heads" are placed at the bridge Stubenbrücke, located next to the MAK. / / Dennis Hopper: A System of Moments.
2001-2002 / The CAT Project - Contemporary Art Tower after New York, Los Angeles, Moscow and Berlin is presented in Vienna.
2002 / Exhibition Nodes. symmetrical-asymmetrical. The historical Oriental Carpets of the MAK presents the extensive rug collection.
2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, takes place the exhibition The Price of Beauty. 100 years Wiener Werkstätte. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.
2004 / James Turrell's MAKlite is since November 2004 permanently on the facade of the building installed. / / Exhibition Peter Eisenmann. Barefoot on White-Hot Walls, large-scaled architectural installation on the work of the influential American architect and theorist.
2005 / Atelier Van Lieshout: The Disciplinator / / The exhibition Ukiyo-e Reloaded presents for the first time the collection of Japanese woodblock prints of the MAK on a large scale.
2006 / Since the beginning of the year, the birthplace of Josef Hoffmann in Brtnice of the Moravian Gallery in Brno and the MAK Vienna as a joint branch is run and presents annually special exhibitions. / / The exhibition The Price of Beauty. The Wiener Werkstätte and the Stoclet House brings the objects of the Wiener Werkstätte to Brussels. / / Exhibition Jenny Holzer: XX.
2007/2008 / Exhibition Coop Himmelb(l)au. Beyond the Blue, is the hitherto largest and most comprehensive museal presentation of the global team of architects.
2008 / The 1936 according to plans of Rudolph M. Schindler built Fitzpatrick-Leland House, a generous gift from Russ Leland to the MAK Center LA, becomes with the aid of a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, center of the MAK UFI project - MAK Urban Future Initiative. / / Julian Opie: Recent Works / / The exhibition Recollecting. Looting and Restitution examines the status of efforts to restitute expropriated objects from Jewish property from museums in Vienna.
2009 / The permanent exhibition Josef Hoffmann: Inspiration is in the Josef Hoffmann Museum, Brtnice opened. / / Exhibition Anish Kapoor. Shooting into the Corner / / The museum sees itself as a promoter of Cultural Interchange and discusses in the exhibition Global:lab Art as a message. Asia and Europe 1500-1700 the intercultural as well as the intercontinental cultural exchange based on objects from the MAK and from international collections.
2011 / After Peter Noever's resignation, Martina Kandeler-Fritsch takes over temporarily the management. / /
Since 1 September Christoph Thun-Hohenstein is director of the MAK and declares "change through applied art" as the new theme of the museum.
2012 / With future-oriented examples of mobility, health, education, communication, work and leisure, shows the exhibition MADE4YOU. Designing for Change, the new commitment to positive change in our society through applied art. // Exhibition series MAK DESIGN SALON opens the MAK branch Geymüllerschlössel for contemporary design positions.
2012/2013 / opening of the newly designed MAK Collection Vienna 1900. Design / Decorative Arts from 1890 to 1938 in two stages as a prelude to the gradual transformation of the permanent collection under director Christoph Thun-Hohenstein
2013 / SIGNS, CAUGHT IN WONDER. Looking for Istanbul today shows a unique, current snapshot of contemporary art production in the context of Istanbul. // The potential of East Asian countries as catalysts for a socially and ecologically oriented, visionary architecture explores the architecture exhibition EASTERN PROMISES. Contemporary Architecture and production of space in East Asia. // With a focus on the field of furniture design NOMADIC FURNITURE 3.0. examines new living without bounds? the between subculture and mainstream to locate "do-it-yourself" (DIY) movement for the first time in a historical context.
2014 / Anniversary year 150 years MAK // opening of the permanent exhibition of the MAK Asia. China - Japan - Korea // Opening of the MAK permanent exhibition rugs // As central anniversary project opens the dynamic MAK DESIGN LABORATORY (redesign of the MAK Study Collection) exactly on the 150th anniversary of the museum on May 12, 2014 // Other major projects for the anniversary: ROLE MODELS. MAK 150 years: from arts and crafts to design // // HOLLEIN WAYS OF MODERN AGE. Josef Hoffmann, Adolf Loos and the consequences.
I don't know if Amtrak every uses the upstairs serving station in a Sighterseer lounge, but it appears ready for use. Shown is the lounge aboard the westbound Capitol Limited.
Misa celebrada en la Catedral Metropolitana Domingo 26 de Mayo 2013 presidida por el Cardenal Primado de Mexico Norberto Rivera Carrera Norberto Rivera Carrera es un cardenal católico mexicano, Arzobispo de la Ciudad de México y Arzobispo Primado de México, es el trigésimo quinto sucesor de Fray Juan de Zumárraga y custodio de la imagen de la Virgen de Guadalupe del Tepeyac © Álbum 0610-5 By Catedrales e Iglesias By Cathedrals and Churches By Catedrais e Igrejas Par Cathédrales et Eglises Arquidiócesis Primada de México www.catedraleseiglesias.com Rectoría La Asunción (Catedral Metropolitana) Adscrito Pbro: Cuauhtémoc Islas Barquera Rector Pbro: Francisco Javier Becerra Martínez Adscrito Pbro:Luis Gutiérrez Hoppe Rector Pbro: Manuel Arellano Rangel Adscrito Pbro: Felipe Galicia Reyes Plaza Constitución S/N Colonia Centro C.P. 06060 Delegación Cuauhtémoc Tel: 01 (555) 521-7737 Fax:01 (555) 521-6873 La Catedral Metropolitana de la Ciudad de México es el gran templo católico ubicado en la Plaza de la Constitución, en el centro histórico de la Ciudad de México. Las medidas aproximadas de este templo son 59 metros de ancho por 110 de largo y una altura de 60 metros hasta la cúpula. Es también una de las principales obras del arte mexicano, y se considera entre las más sobresalientes de todo el arte hispanoamericano. Construida con cantera gris, cuenta con cinco naves y 16 capillas laterales. Está dedicada a la Asunción de la Virgen María y es la iglesia principal de la Arquidiócesis Primada de México. Historia de una construcción En el tiempo de la ciudad de Tenochtitlán el área en donde se encuentra la actual catedral estuvo ocupada por un pequeño templo dedicado a Xipe o quizá por el templo de Quetzalcóatl, un templo dedicado al sol y otras edificaciones menores. Tres años después de concluida la conquista, Hernán Cortés mandó construir una iglesia en el lugar aprovechando material de los templos aztecas. Esta iglesia fue convertida en catedral por Carlos V y el papa Clemente VII según la bula del 9 de septiembre de 1530 y nombrada metropolitana por Paulo III en 1547.Pronto quedó clara su insuficiencia y por mandato de Felipe II se derribó en 1552. Los trabajos de construcción de la nueva no comenzaron sino hasta 1571 cuando el virrey Martín Enríquez de Almansa y el arzobispo Pedro Moya de Contreras colocaron la primera piedra de su sucesora, la actual catedral... La suma del costo de la obra hasta la dedicación de 1657 fue de 1.759.000 pesos. Dicho costo fue cubierto en buena parte por los reyes Felipe II, Felipe III, Felipe IV y Carlos II. Luego, hubo un concurso para designar al arquitecto que terminaría la fachada. El proyecto ganador de dicho concurso fue el neoclásico presentado por el veracruzano José Damián Ortiz de Castro, que se antepuso a los de José Joaquín de Torres (barroco) e Isidro Vicente de Balbás. Ortiz de Castro procedería a terminar las torres, parte de la cúpula y obras al interior. La muerte de Ortiz de Castro dejaría las obras en suspenso un breve tiempo. En 1793 el arquitecto valenciano Manuel Tolsá recibe el encargo de finalizar las obras de construcción de la Catedral, que no concluyen sino hasta 1813. Sucesos de la Catedral A lo largo del tiempo la catedral ha perdido parte de su acervo artístico. Se tiene constancia de algunas de las obras perdidas: lámparas de plata de gran tamaño, candelabros, blandones y figuras del mismo metal, la custodia de Borda (88 marcos de peso en oro; con 10 perlas, cubierta al frente por 5872 diamantes y al dorso por 2653 esmeraldas, 544 rubíes y 28 zafiros), un pectoral de oro con reliquias, otro con topacios y brillantes y con anillos de accesorio, alfombras, cojines, colgaduras y muchos tesoros más de características similares.
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Catedrales e Iglesias Misa celebrada en la Catedral Metropolitana Domingo 26 de Mayo 2013 presidida por el Cardenal Primado de Mexico Norberto Rivera Carrera
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Fotos Nuevas Mayo 2013 © Álbum 0158 By Catedrales e Iglesias By Cathedrals and Churches Arquidiócesis Primada de México www.catedraleseiglesias.com Ex Convento Regina Coeli (Natividad de María Santísima) Párroco Señor Presbítero José Cenobio Ramírez Chávez Calle de Bolivar No 92 Colonia Centro C.P. 6080 Delegación Cuauhtémoc Tel. 5709-2640 Tel. Fax. 5709-6272 En 1573 la administración virreinal cedió amplios terrenos a las religiosas concepcionistas en el viejo calpulli prehispánico de Moyotlán (más tarde barrio de San Juan) para que establecieran un convento. La fundación, dedicada a la Reina del Cielo traducción de la expresión latina Regina Coeli y a la Natividad de la Virgen María, fue aprobada por el Papa Gregorio XIII en 1578. El templo del monasterio se edificó en el ángulo que forman las actuales calles de Bolívar y Regina, frente a un espacio libre que ya en el siglo XVII se conocía con el nombre de Plaza Chiquita de Regina. Su forma irregular se origino en el trazo de una de las acequias que atravesaban ese baldío. El convento y el templo primitivos fueron muy pobres, con cimentación deficiente. La reestructuración de estos edificios se realizó en 1656 a expensas de Melchor de Terreros. El templo se reformo después y se abrió el 13 de septiembre de 1731. La obra la proyectó el arquitecto Miguel Custodio Durán y la financió el arzobispo José Lanciego y Eguilaz. Como todas las plazas y calles de la ciudad colonial anteriores a la gestión del virrey Revillagigedo, la Plaza de Regina no escapó a la suciedad y abandono en que se encontraban los espacios exteriores de la metrópoli: falta de drenaje conveniente, encharcamientos constantes, ausencia de empedrados y banquetas y carencia de iluminación nocturna, que la convertían en un lugar peligroso durante las noches. Además, en ella frecuentemente se asentaban tianguis y tablados de toda índole, habiendo sido utilizada, incluso, para matanza de animales, mezclándose a todas esas incomodidades el espectáculo de mendigos y menesterosos que se aposentaban en ella durante las funciones religiosas. Transformación radical sufrió la plaza al ser exclaustradas las monjas concepcionistas, conjuntamente con las de otras órdenes religiosas, el 8 de marzo de 1863, y aunque estas volvieron al convento durante el imperio de Maximiliano de Habsburgo, el 14 de noviembre de 1867 se entregó el convento a la Secretaría de Guerra, sirviendo de cuartel hasta el 15 de junio de 1871, cuando el gobierno de la República lo dió, en pago de adeudos, al acaudalado Ramón Obregón. El templo, por su parte, permaneció abierto al culto. Un informe rendido por el regidor del ramo en 1868, hace mención de las obras realizadas para que desaparecieran la insalubridad y los muladares acumulados en la plaza, donde ya existía una fuente pública que cuidaban las autoridades de la ciudad, insistiendo en que debía barrerse y regarse todos los días "por los aguadores que concurren a la fuente de Regina a sacar agua", así como para que los areneros, carboneros, zacateros o cualquier otro tratante de este género, asearan el lugar que ocupasen con sus mercaderías. Además, en febrero de ese mismo año, se instalaron faroles de hojalata con aparatos de gas líquido, de trementina, de veinte luces, sustituyendo al alumbrado de aceite instalado por la administración colonial. Gracias a la generosidad y filantropía de la señorita María Concepción Máxima Béistegui y García, quien a su muerte, ocurrida en 1873, cedió sus bienes para la fundación de un hospital en lo que fuera el Convento de Regina, se pudieron salvar de la destrucción, que se había iniciado poco antes, el claustro principal y las crujías adyacentes al mismo. Así, el denominado Hospital Concepción Béistegui, después de laboriosa adaptación, fue inaugurado por el Gral. Porfirio Díaz el 21 de marzo de 1886. El resto del convento fue dividido en lotes, construyéndose en su lugar varias casas y locales sin ningún valor arquitectónico. En 1967, las autoridades del Departamento del Distrito Federal, ante la necesidad de contar con amplios espacios abiertos en esta zona de la ciudad, eligieron la Plaza de Regina como una de las primeras en la restauración de los centros cívicos capitalinos. Entonces la plaza fue cerrada al tránsito vehicular en el tramo de la calle de Regina que corría frente al templo, dejándolo fluir únicamente por la calle lateral ubicada al norte de la plaza, y llevando el pavimento pétreo, en adoquín de San Luis Potosí, hasta la fachada misma del templo. Los árboles existentes fueron reubicados al norte de la plaza para permitir mayor visibilidad al edificio. Informacion tomada de www.ciudadanosenred.org.mx/node/16488 Ex Convent Regina Coeli (Nativity of Mary) Mr. Priest Pastor Jose Ramirez Chavez Cenobio Bolivar Street No 92 Cologne Center C.P. 6080 Cuauhtemoc Mexico City Phone 5709-2640 Phone Fax. 5709-6272 In 1573 the colonial administration gave the spacious grounds of the old religious Conceptionists calpulli prehispanic Moyotlan (later district of San Juan) to establish a convent. The foundation, dedicated to the Queen of Heaven translation of the Latin Regina Coeli and the Nativity of the Virgin Mary, was approved by Pope Gregory XIII in 1578. The temple of the monastery was built in the angle formed by the present streets of Bolívar and Regina, compared to free space in the seventeenth century and was known by the name of Piazza Regina Chiquita. Its irregular shape originated in the stroke of one of the canals running through this wasteland. The convent and the primitive church were very poor, poor foundation. The restructuring of these buildings was performed in 1656 at the expense of Melchor de Terreros. The temple was later reformed and opened on September 13, 1731. The work was designed by the architect Miguel Custodio Durán and funded the Archbishop Jose Lanciego and Eguilaz. Like all the squares and streets of the colonial city prior to the management of Viceroy Revillagigedo, Plaza Regina did not escape the dirt and neglect that were outside spaces of the metropolis: lack of appropriate drainage, ponding constant, no paving and sidewalks and lack of night lighting, which became a dangerous place at night. Moreover, she often settled swap meets and tablados of all kinds, having been used, even to killing animals, mixing all these discomforts the spectacle of beggars and needy that aposentaban there for religious functions. Square underwent radical transformation when exclaustradas the Franciscan nuns, together with those of other religious orders, the March 8, 1863, and although these returned to the monastery during the reign of Maximilian of Hapsburg, 14 November 1867 gave the convent to the Secretary of War, serving as headquarters until June 15, 1871, when the government of the Republic gave it in payment of debts, the wealthy Ramón Obregón. The church, meanwhile, remained open for worship. A report issued by the ruler of the sector in 1868, makes mention of the work undertaken to disappear unhealthiness and middens accumulated in the square, where there was already a public source guarded the city authorities, insisting he swept and watered every day "by the watermen who attend Regina source to draw water" as well as for litter boxes, coal, or any other dealer zacateros of this kind, asearan occupy the place with their merchandise. Moreover, in February of that year, tin lanterns were installed with liquid gas appliances, turpentine, twenty lights, replacing oil lamps installed by the colonial administration. Thanks to the generosity and philanthropy of Miss Maria Conception High Beistegui and Garcia, who at his death in 1873, transferred its assets to the foundation of a hospital in what was once the Convent of Regina, were saved from destruction, that had begun shortly before, the main cloister and the bays adjacent to it. So-called Beistegui Conception Hospital, after laborious adaptation, was inaugurated by General Porfirio Diaz on March 21, 1886. The rest of the convent was divided into lots, built several houses in place and local architectural worthless. In 1967, the authorities of the Federal District, to the need for open spaces in this area of the city, chose Regina Square as one of the first in the restoration of civic centers in the capital. Then the square was closed to traffic on the stretch of Regina Street that ran opposite the temple, just letting it flow down the side street just north of the square, carrying the stone pavement in San Luis Potosi cobble up the facade of the temple itself. Existing trees were relocated to the north of the square to allow greater visibility to the building.
Fotos Nuevas Mayo 2013 © Álbum 0158 By Catedrales e Iglesias By Cathedrals and Churches Arquidiócesis Primada de México www.catedraleseiglesias.com Ex Convento Regina Coeli (Natividad de María Santísima) Párroco Señor Presbítero José Cenobio Ramírez Chávez Calle de Bolivar No 92 Colonia Centro C.P. 6080 Delegación Cuauhtémoc Tel. 5709-2640 Tel. Fax. 5709-6272 En 1573 la administración virreinal cedió amplios terrenos a las religiosas concepcionistas en el viejo calpulli prehispánico de Moyotlán (más tarde barrio de San Juan) para que establecieran un convento. La fundación, dedicada a la Reina del Cielo traducción de la expresión latina Regina Coeli y a la Natividad de la Virgen María, fue aprobada por el Papa Gregorio XIII en 1578. El templo del monasterio se edificó en el ángulo que forman las actuales calles de Bolívar y Regina, frente a un espacio libre que ya en el siglo XVII se conocía con el nombre de Plaza Chiquita de Regina. Su forma irregular se origino en el trazo de una de las acequias que atravesaban ese baldío. El convento y el templo primitivos fueron muy pobres, con cimentación deficiente. La reestructuración de estos edificios se realizó en 1656 a expensas de Melchor de Terreros. El templo se reformo después y se abrió el 13 de septiembre de 1731. La obra la proyectó el arquitecto Miguel Custodio Durán y la financió el arzobispo José Lanciego y Eguilaz. Como todas las plazas y calles de la ciudad colonial anteriores a la gestión del virrey Revillagigedo, la Plaza de Regina no escapó a la suciedad y abandono en que se encontraban los espacios exteriores de la metrópoli: falta de drenaje conveniente, encharcamientos constantes, ausencia de empedrados y banquetas y carencia de iluminación nocturna, que la convertían en un lugar peligroso durante las noches. Además, en ella frecuentemente se asentaban tianguis y tablados de toda índole, habiendo sido utilizada, incluso, para matanza de animales, mezclándose a todas esas incomodidades el espectáculo de mendigos y menesterosos que se aposentaban en ella durante las funciones religiosas. Transformación radical sufrió la plaza al ser exclaustradas las monjas concepcionistas, conjuntamente con las de otras órdenes religiosas, el 8 de marzo de 1863, y aunque estas volvieron al convento durante el imperio de Maximiliano de Habsburgo, el 14 de noviembre de 1867 se entregó el convento a la Secretaría de Guerra, sirviendo de cuartel hasta el 15 de junio de 1871, cuando el gobierno de la República lo dió, en pago de adeudos, al acaudalado Ramón Obregón. El templo, por su parte, permaneció abierto al culto. Un informe rendido por el regidor del ramo en 1868, hace mención de las obras realizadas para que desaparecieran la insalubridad y los muladares acumulados en la plaza, donde ya existía una fuente pública que cuidaban las autoridades de la ciudad, insistiendo en que debía barrerse y regarse todos los días "por los aguadores que concurren a la fuente de Regina a sacar agua", así como para que los areneros, carboneros, zacateros o cualquier otro tratante de este género, asearan el lugar que ocupasen con sus mercaderías. Además, en febrero de ese mismo año, se instalaron faroles de hojalata con aparatos de gas líquido, de trementina, de veinte luces, sustituyendo al alumbrado de aceite instalado por la administración colonial. Gracias a la generosidad y filantropía de la señorita María Concepción Máxima Béistegui y García, quien a su muerte, ocurrida en 1873, cedió sus bienes para la fundación de un hospital en lo que fuera el Convento de Regina, se pudieron salvar de la destrucción, que se había iniciado poco antes, el claustro principal y las crujías adyacentes al mismo. Así, el denominado Hospital Concepción Béistegui, después de laboriosa adaptación, fue inaugurado por el Gral. Porfirio Díaz el 21 de marzo de 1886. El resto del convento fue dividido en lotes, construyéndose en su lugar varias casas y locales sin ningún valor arquitectónico. En 1967, las autoridades del Departamento del Distrito Federal, ante la necesidad de contar con amplios espacios abiertos en esta zona de la ciudad, eligieron la Plaza de Regina como una de las primeras en la restauración de los centros cívicos capitalinos. Entonces la plaza fue cerrada al tránsito vehicular en el tramo de la calle de Regina que corría frente al templo, dejándolo fluir únicamente por la calle lateral ubicada al norte de la plaza, y llevando el pavimento pétreo, en adoquín de San Luis Potosí, hasta la fachada misma del templo. Los árboles existentes fueron reubicados al norte de la plaza para permitir mayor visibilidad al edificio. Informacion tomada de www.ciudadanosenred.org.mx/node/16488 Ex Convent Regina Coeli (Nativity of Mary) Mr. Priest Pastor Jose Ramirez Chavez Cenobio Bolivar Street No 92 Cologne Center C.P. 6080 Cuauhtemoc Mexico City Phone 5709-2640 Phone Fax. 5709-6272 In 1573 the colonial administration gave the spacious grounds of the old religious Conceptionists calpulli prehispanic Moyotlan (later district of San Juan) to establish a convent. The foundation, dedicated to the Queen of Heaven translation of the Latin Regina Coeli and the Nativity of the Virgin Mary, was approved by Pope Gregory XIII in 1578. The temple of the monastery was built in the angle formed by the present streets of Bolívar and Regina, compared to free space in the seventeenth century and was known by the name of Piazza Regina Chiquita. Its irregular shape originated in the stroke of one of the canals running through this wasteland. The convent and the primitive church were very poor, poor foundation. The restructuring of these buildings was performed in 1656 at the expense of Melchor de Terreros. The temple was later reformed and opened on September 13, 1731. The work was designed by the architect Miguel Custodio Durán and funded the Archbishop Jose Lanciego and Eguilaz. Like all the squares and streets of the colonial city prior to the management of Viceroy Revillagigedo, Plaza Regina did not escape the dirt and neglect that were outside spaces of the metropolis: lack of appropriate drainage, ponding constant, no paving and sidewalks and lack of night lighting, which became a dangerous place at night. Moreover, she often settled swap meets and tablados of all kinds, having been used, even to killing animals, mixing all these discomforts the spectacle of beggars and needy that aposentaban there for religious functions. Square underwent radical transformation when exclaustradas the Franciscan nuns, together with those of other religious orders, the March 8, 1863, and although these returned to the monastery during the reign of Maximilian of Hapsburg, 14 November 1867 gave the convent to the Secretary of War, serving as headquarters until June 15, 1871, when the government of the Republic gave it in payment of debts, the wealthy Ramón Obregón. The church, meanwhile, remained open for worship. A report issued by the ruler of the sector in 1868, makes mention of the work undertaken to disappear unhealthiness and middens accumulated in the square, where there was already a public source guarded the city authorities, insisting he swept and watered every day "by the watermen who attend Regina source to draw water" as well as for litter boxes, coal, or any other dealer zacateros of this kind, asearan occupy the place with their merchandise. Moreover, in February of that year, tin lanterns were installed with liquid gas appliances, turpentine, twenty lights, replacing oil lamps installed by the colonial administration. Thanks to the generosity and philanthropy of Miss Maria Conception High Beistegui and Garcia, who at his death in 1873, transferred its assets to the foundation of a hospital in what was once the Convent of Regina, were saved from destruction, that had begun shortly before, the main cloister and the bays adjacent to it. So-called Beistegui Conception Hospital, after laborious adaptation, was inaugurated by General Porfirio Diaz on March 21, 1886. The rest of the convent was divided into lots, built several houses in place and local architectural worthless. In 1967, the authorities of the Federal District, to the need for open spaces in this area of the city, chose Regina Square as one of the first in the restoration of civic centers in the capital. Then the square was closed to traffic on the stretch of Regina Street that ran opposite the temple, just letting it flow down the side street just north of the square, carrying the stone pavement in San Luis Potosi cobble up the facade of the temple itself. Existing trees were relocated to the north of the square to allow greater visibility to the building.
Fotos Nuevas Mayo 2013 © Álbum 0158 By Catedrales e Iglesias By Cathedrals and Churches Arquidiócesis Primada de México www.catedraleseiglesias.com Ex Convento Regina Coeli (Natividad de María Santísima) Párroco Señor Presbítero José Cenobio Ramírez Chávez Calle de Bolivar No 92 Colonia Centro C.P. 6080 Delegación Cuauhtémoc Tel. 5709-2640 Tel. Fax. 5709-6272 En 1573 la administración virreinal cedió amplios terrenos a las religiosas concepcionistas en el viejo calpulli prehispánico de Moyotlán (más tarde barrio de San Juan) para que establecieran un convento. La fundación, dedicada a la Reina del Cielo traducción de la expresión latina Regina Coeli y a la Natividad de la Virgen María, fue aprobada por el Papa Gregorio XIII en 1578. El templo del monasterio se edificó en el ángulo que forman las actuales calles de Bolívar y Regina, frente a un espacio libre que ya en el siglo XVII se conocía con el nombre de Plaza Chiquita de Regina. Su forma irregular se origino en el trazo de una de las acequias que atravesaban ese baldío. El convento y el templo primitivos fueron muy pobres, con cimentación deficiente. La reestructuración de estos edificios se realizó en 1656 a expensas de Melchor de Terreros. El templo se reformo después y se abrió el 13 de septiembre de 1731. La obra la proyectó el arquitecto Miguel Custodio Durán y la financió el arzobispo José Lanciego y Eguilaz. Como todas las plazas y calles de la ciudad colonial anteriores a la gestión del virrey Revillagigedo, la Plaza de Regina no escapó a la suciedad y abandono en que se encontraban los espacios exteriores de la metrópoli: falta de drenaje conveniente, encharcamientos constantes, ausencia de empedrados y banquetas y carencia de iluminación nocturna, que la convertían en un lugar peligroso durante las noches. Además, en ella frecuentemente se asentaban tianguis y tablados de toda índole, habiendo sido utilizada, incluso, para matanza de animales, mezclándose a todas esas incomodidades el espectáculo de mendigos y menesterosos que se aposentaban en ella durante las funciones religiosas. Transformación radical sufrió la plaza al ser exclaustradas las monjas concepcionistas, conjuntamente con las de otras órdenes religiosas, el 8 de marzo de 1863, y aunque estas volvieron al convento durante el imperio de Maximiliano de Habsburgo, el 14 de noviembre de 1867 se entregó el convento a la Secretaría de Guerra, sirviendo de cuartel hasta el 15 de junio de 1871, cuando el gobierno de la República lo dió, en pago de adeudos, al acaudalado Ramón Obregón. El templo, por su parte, permaneció abierto al culto. Un informe rendido por el regidor del ramo en 1868, hace mención de las obras realizadas para que desaparecieran la insalubridad y los muladares acumulados en la plaza, donde ya existía una fuente pública que cuidaban las autoridades de la ciudad, insistiendo en que debía barrerse y regarse todos los días "por los aguadores que concurren a la fuente de Regina a sacar agua", así como para que los areneros, carboneros, zacateros o cualquier otro tratante de este género, asearan el lugar que ocupasen con sus mercaderías. Además, en febrero de ese mismo año, se instalaron faroles de hojalata con aparatos de gas líquido, de trementina, de veinte luces, sustituyendo al alumbrado de aceite instalado por la administración colonial. Gracias a la generosidad y filantropía de la señorita María Concepción Máxima Béistegui y García, quien a su muerte, ocurrida en 1873, cedió sus bienes para la fundación de un hospital en lo que fuera el Convento de Regina, se pudieron salvar de la destrucción, que se había iniciado poco antes, el claustro principal y las crujías adyacentes al mismo. Así, el denominado Hospital Concepción Béistegui, después de laboriosa adaptación, fue inaugurado por el Gral. Porfirio Díaz el 21 de marzo de 1886. El resto del convento fue dividido en lotes, construyéndose en su lugar varias casas y locales sin ningún valor arquitectónico. En 1967, las autoridades del Departamento del Distrito Federal, ante la necesidad de contar con amplios espacios abiertos en esta zona de la ciudad, eligieron la Plaza de Regina como una de las primeras en la restauración de los centros cívicos capitalinos. Entonces la plaza fue cerrada al tránsito vehicular en el tramo de la calle de Regina que corría frente al templo, dejándolo fluir únicamente por la calle lateral ubicada al norte de la plaza, y llevando el pavimento pétreo, en adoquín de San Luis Potosí, hasta la fachada misma del templo. Los árboles existentes fueron reubicados al norte de la plaza para permitir mayor visibilidad al edificio. Informacion tomada de www.ciudadanosenred.org.mx/node/16488 Ex Convent Regina Coeli (Nativity of Mary) Mr. Priest Pastor Jose Ramirez Chavez Cenobio Bolivar Street No 92 Cologne Center C.P. 6080 Cuauhtemoc Mexico City Phone 5709-2640 Phone Fax. 5709-6272 In 1573 the colonial administration gave the spacious grounds of the old religious Conceptionists calpulli prehispanic Moyotlan (later district of San Juan) to establish a convent. The foundation, dedicated to the Queen of Heaven translation of the Latin Regina Coeli and the Nativity of the Virgin Mary, was approved by Pope Gregory XIII in 1578. The temple of the monastery was built in the angle formed by the present streets of Bolívar and Regina, compared to free space in the seventeenth century and was known by the name of Piazza Regina Chiquita. Its irregular shape originated in the stroke of one of the canals running through this wasteland. The convent and the primitive church were very poor, poor foundation. The restructuring of these buildings was performed in 1656 at the expense of Melchor de Terreros. The temple was later reformed and opened on September 13, 1731. The work was designed by the architect Miguel Custodio Durán and funded the Archbishop Jose Lanciego and Eguilaz. Like all the squares and streets of the colonial city prior to the management of Viceroy Revillagigedo, Plaza Regina did not escape the dirt and neglect that were outside spaces of the metropolis: lack of appropriate drainage, ponding constant, no paving and sidewalks and lack of night lighting, which became a dangerous place at night. Moreover, she often settled swap meets and tablados of all kinds, having been used, even to killing animals, mixing all these discomforts the spectacle of beggars and needy that aposentaban there for religious functions. Square underwent radical transformation when exclaustradas the Franciscan nuns, together with those of other religious orders, the March 8, 1863, and although these returned to the monastery during the reign of Maximilian of Hapsburg, 14 November 1867 gave the convent to the Secretary of War, serving as headquarters until June 15, 1871, when the government of the Republic gave it in payment of debts, the wealthy Ramón Obregón. The church, meanwhile, remained open for worship. A report issued by the ruler of the sector in 1868, makes mention of the work undertaken to disappear unhealthiness and middens accumulated in the square, where there was already a public source guarded the city authorities, insisting he swept and watered every day "by the watermen who attend Regina source to draw water" as well as for litter boxes, coal, or any other dealer zacateros of this kind, asearan occupy the place with their merchandise. Moreover, in February of that year, tin lanterns were installed with liquid gas appliances, turpentine, twenty lights, replacing oil lamps installed by the colonial administration. Thanks to the generosity and philanthropy of Miss Maria Conception High Beistegui and Garcia, who at his death in 1873, transferred its assets to the foundation of a hospital in what was once the Convent of Regina, were saved from destruction, that had begun shortly before, the main cloister and the bays adjacent to it. So-called Beistegui Conception Hospital, after laborious adaptation, was inaugurated by General Porfirio Diaz on March 21, 1886. The rest of the convent was divided into lots, built several houses in place and local architectural worthless. In 1967, the authorities of the Federal District, to the need for open spaces in this area of the city, chose Regina Square as one of the first in the restoration of civic centers in the capital. Then the square was closed to traffic on the stretch of Regina Street that ran opposite the temple, just letting it flow down the side street just north of the square, carrying the stone pavement in San Luis Potosi cobble up the facade of the temple itself. Existing trees were relocated to the north of the square to allow greater visibility to the building.
Fotos Nuevas Mayo 2013 © Álbum 0158 By Catedrales e Iglesias By Cathedrals and Churches Arquidiócesis Primada de México www.catedraleseiglesias.com Ex Convento Regina Coeli (Natividad de María Santísima) Párroco Señor Presbítero José Cenobio Ramírez Chávez Calle de Bolivar No 92 Colonia Centro C.P. 6080 Delegación Cuauhtémoc Tel. 5709-2640 Tel. Fax. 5709-6272 En 1573 la administración virreinal cedió amplios terrenos a las religiosas concepcionistas en el viejo calpulli prehispánico de Moyotlán (más tarde barrio de San Juan) para que establecieran un convento. La fundación, dedicada a la Reina del Cielo traducción de la expresión latina Regina Coeli y a la Natividad de la Virgen María, fue aprobada por el Papa Gregorio XIII en 1578. El templo del monasterio se edificó en el ángulo que forman las actuales calles de Bolívar y Regina, frente a un espacio libre que ya en el siglo XVII se conocía con el nombre de Plaza Chiquita de Regina. Su forma irregular se origino en el trazo de una de las acequias que atravesaban ese baldío. El convento y el templo primitivos fueron muy pobres, con cimentación deficiente. La reestructuración de estos edificios se realizó en 1656 a expensas de Melchor de Terreros. El templo se reformo después y se abrió el 13 de septiembre de 1731. La obra la proyectó el arquitecto Miguel Custodio Durán y la financió el arzobispo José Lanciego y Eguilaz. Como todas las plazas y calles de la ciudad colonial anteriores a la gestión del virrey Revillagigedo, la Plaza de Regina no escapó a la suciedad y abandono en que se encontraban los espacios exteriores de la metrópoli: falta de drenaje conveniente, encharcamientos constantes, ausencia de empedrados y banquetas y carencia de iluminación nocturna, que la convertían en un lugar peligroso durante las noches. Además, en ella frecuentemente se asentaban tianguis y tablados de toda índole, habiendo sido utilizada, incluso, para matanza de animales, mezclándose a todas esas incomodidades el espectáculo de mendigos y menesterosos que se aposentaban en ella durante las funciones religiosas. Transformación radical sufrió la plaza al ser exclaustradas las monjas concepcionistas, conjuntamente con las de otras órdenes religiosas, el 8 de marzo de 1863, y aunque estas volvieron al convento durante el imperio de Maximiliano de Habsburgo, el 14 de noviembre de 1867 se entregó el convento a la Secretaría de Guerra, sirviendo de cuartel hasta el 15 de junio de 1871, cuando el gobierno de la República lo dió, en pago de adeudos, al acaudalado Ramón Obregón. El templo, por su parte, permaneció abierto al culto. Un informe rendido por el regidor del ramo en 1868, hace mención de las obras realizadas para que desaparecieran la insalubridad y los muladares acumulados en la plaza, donde ya existía una fuente pública que cuidaban las autoridades de la ciudad, insistiendo en que debía barrerse y regarse todos los días "por los aguadores que concurren a la fuente de Regina a sacar agua", así como para que los areneros, carboneros, zacateros o cualquier otro tratante de este género, asearan el lugar que ocupasen con sus mercaderías. Además, en febrero de ese mismo año, se instalaron faroles de hojalata con aparatos de gas líquido, de trementina, de veinte luces, sustituyendo al alumbrado de aceite instalado por la administración colonial. Gracias a la generosidad y filantropía de la señorita María Concepción Máxima Béistegui y García, quien a su muerte, ocurrida en 1873, cedió sus bienes para la fundación de un hospital en lo que fuera el Convento de Regina, se pudieron salvar de la destrucción, que se había iniciado poco antes, el claustro principal y las crujías adyacentes al mismo. Así, el denominado Hospital Concepción Béistegui, después de laboriosa adaptación, fue inaugurado por el Gral. Porfirio Díaz el 21 de marzo de 1886. El resto del convento fue dividido en lotes, construyéndose en su lugar varias casas y locales sin ningún valor arquitectónico. En 1967, las autoridades del Departamento del Distrito Federal, ante la necesidad de contar con amplios espacios abiertos en esta zona de la ciudad, eligieron la Plaza de Regina como una de las primeras en la restauración de los centros cívicos capitalinos. Entonces la plaza fue cerrada al tránsito vehicular en el tramo de la calle de Regina que corría frente al templo, dejándolo fluir únicamente por la calle lateral ubicada al norte de la plaza, y llevando el pavimento pétreo, en adoquín de San Luis Potosí, hasta la fachada misma del templo. Los árboles existentes fueron reubicados al norte de la plaza para permitir mayor visibilidad al edificio. Informacion tomada de www.ciudadanosenred.org.mx/node/16488 Ex Convent Regina Coeli (Nativity of Mary) Mr. Priest Pastor Jose Ramirez Chavez Cenobio Bolivar Street No 92 Cologne Center C.P. 6080 Cuauhtemoc Mexico City Phone 5709-2640 Phone Fax. 5709-6272 In 1573 the colonial administration gave the spacious grounds of the old religious Conceptionists calpulli prehispanic Moyotlan (later district of San Juan) to establish a convent. The foundation, dedicated to the Queen of Heaven translation of the Latin Regina Coeli and the Nativity of the Virgin Mary, was approved by Pope Gregory XIII in 1578. The temple of the monastery was built in the angle formed by the present streets of Bolívar and Regina, compared to free space in the seventeenth century and was known by the name of Piazza Regina Chiquita. Its irregular shape originated in the stroke of one of the canals running through this wasteland. The convent and the primitive church were very poor, poor foundation. The restructuring of these buildings was performed in 1656 at the expense of Melchor de Terreros. The temple was later reformed and opened on September 13, 1731. The work was designed by the architect Miguel Custodio Durán and funded the Archbishop Jose Lanciego and Eguilaz. Like all the squares and streets of the colonial city prior to the management of Viceroy Revillagigedo, Plaza Regina did not escape the dirt and neglect that were outside spaces of the metropolis: lack of appropriate drainage, ponding constant, no paving and sidewalks and lack of night lighting, which became a dangerous place at night. Moreover, she often settled swap meets and tablados of all kinds, having been used, even to killing animals, mixing all these discomforts the spectacle of beggars and needy that aposentaban there for religious functions. Square underwent radical transformation when exclaustradas the Franciscan nuns, together with those of other religious orders, the March 8, 1863, and although these returned to the monastery during the reign of Maximilian of Hapsburg, 14 November 1867 gave the convent to the Secretary of War, serving as headquarters until June 15, 1871, when the government of the Republic gave it in payment of debts, the wealthy Ramón Obregón. The church, meanwhile, remained open for worship. A report issued by the ruler of the sector in 1868, makes mention of the work undertaken to disappear unhealthiness and middens accumulated in the square, where there was already a public source guarded the city authorities, insisting he swept and watered every day "by the watermen who attend Regina source to draw water" as well as for litter boxes, coal, or any other dealer zacateros of this kind, asearan occupy the place with their merchandise. Moreover, in February of that year, tin lanterns were installed with liquid gas appliances, turpentine, twenty lights, replacing oil lamps installed by the colonial administration. Thanks to the generosity and philanthropy of Miss Maria Conception High Beistegui and Garcia, who at his death in 1873, transferred its assets to the foundation of a hospital in what was once the Convent of Regina, were saved from destruction, that had begun shortly before, the main cloister and the bays adjacent to it. So-called Beistegui Conception Hospital, after laborious adaptation, was inaugurated by General Porfirio Diaz on March 21, 1886. The rest of the convent was divided into lots, built several houses in place and local architectural worthless. In 1967, the authorities of the Federal District, to the need for open spaces in this area of the city, chose Regina Square as one of the first in the restoration of civic centers in the capital. Then the square was closed to traffic on the stretch of Regina Street that ran opposite the temple, just letting it flow down the side street just north of the square, carrying the stone pavement in San Luis Potosi cobble up the facade of the temple itself. Existing trees were relocated to the north of the square to allow greater visibility to the building.
Fotos Nuevas Mayo 2013 © Álbum 0158 By Catedrales e Iglesias By Cathedrals and Churches Arquidiócesis Primada de México www.catedraleseiglesias.com Ex Convento Regina Coeli (Natividad de María Santísima) Párroco Señor Presbítero José Cenobio Ramírez Chávez Calle de Bolivar No 92 Colonia Centro C.P. 6080 Delegación Cuauhtémoc Tel. 5709-2640 Tel. Fax. 5709-6272 En 1573 la administración virreinal cedió amplios terrenos a las religiosas concepcionistas en el viejo calpulli prehispánico de Moyotlán (más tarde barrio de San Juan) para que establecieran un convento. La fundación, dedicada a la Reina del Cielo traducción de la expresión latina Regina Coeli y a la Natividad de la Virgen María, fue aprobada por el Papa Gregorio XIII en 1578. El templo del monasterio se edificó en el ángulo que forman las actuales calles de Bolívar y Regina, frente a un espacio libre que ya en el siglo XVII se conocía con el nombre de Plaza Chiquita de Regina. Su forma irregular se origino en el trazo de una de las acequias que atravesaban ese baldío. El convento y el templo primitivos fueron muy pobres, con cimentación deficiente. La reestructuración de estos edificios se realizó en 1656 a expensas de Melchor de Terreros. El templo se reformo después y se abrió el 13 de septiembre de 1731. La obra la proyectó el arquitecto Miguel Custodio Durán y la financió el arzobispo José Lanciego y Eguilaz. Como todas las plazas y calles de la ciudad colonial anteriores a la gestión del virrey Revillagigedo, la Plaza de Regina no escapó a la suciedad y abandono en que se encontraban los espacios exteriores de la metrópoli: falta de drenaje conveniente, encharcamientos constantes, ausencia de empedrados y banquetas y carencia de iluminación nocturna, que la convertían en un lugar peligroso durante las noches. Además, en ella frecuentemente se asentaban tianguis y tablados de toda índole, habiendo sido utilizada, incluso, para matanza de animales, mezclándose a todas esas incomodidades el espectáculo de mendigos y menesterosos que se aposentaban en ella durante las funciones religiosas. Transformación radical sufrió la plaza al ser exclaustradas las monjas concepcionistas, conjuntamente con las de otras órdenes religiosas, el 8 de marzo de 1863, y aunque estas volvieron al convento durante el imperio de Maximiliano de Habsburgo, el 14 de noviembre de 1867 se entregó el convento a la Secretaría de Guerra, sirviendo de cuartel hasta el 15 de junio de 1871, cuando el gobierno de la República lo dió, en pago de adeudos, al acaudalado Ramón Obregón. El templo, por su parte, permaneció abierto al culto. Un informe rendido por el regidor del ramo en 1868, hace mención de las obras realizadas para que desaparecieran la insalubridad y los muladares acumulados en la plaza, donde ya existía una fuente pública que cuidaban las autoridades de la ciudad, insistiendo en que debía barrerse y regarse todos los días "por los aguadores que concurren a la fuente de Regina a sacar agua", así como para que los areneros, carboneros, zacateros o cualquier otro tratante de este género, asearan el lugar que ocupasen con sus mercaderías. Además, en febrero de ese mismo año, se instalaron faroles de hojalata con aparatos de gas líquido, de trementina, de veinte luces, sustituyendo al alumbrado de aceite instalado por la administración colonial. Gracias a la generosidad y filantropía de la señorita María Concepción Máxima Béistegui y García, quien a su muerte, ocurrida en 1873, cedió sus bienes para la fundación de un hospital en lo que fuera el Convento de Regina, se pudieron salvar de la destrucción, que se había iniciado poco antes, el claustro principal y las crujías adyacentes al mismo. Así, el denominado Hospital Concepción Béistegui, después de laboriosa adaptación, fue inaugurado por el Gral. Porfirio Díaz el 21 de marzo de 1886. El resto del convento fue dividido en lotes, construyéndose en su lugar varias casas y locales sin ningún valor arquitectónico. En 1967, las autoridades del Departamento del Distrito Federal, ante la necesidad de contar con amplios espacios abiertos en esta zona de la ciudad, eligieron la Plaza de Regina como una de las primeras en la restauración de los centros cívicos capitalinos. Entonces la plaza fue cerrada al tránsito vehicular en el tramo de la calle de Regina que corría frente al templo, dejándolo fluir únicamente por la calle lateral ubicada al norte de la plaza, y llevando el pavimento pétreo, en adoquín de San Luis Potosí, hasta la fachada misma del templo. Los árboles existentes fueron reubicados al norte de la plaza para permitir mayor visibilidad al edificio. Informacion tomada de www.ciudadanosenred.org.mx/node/16488 Ex Convent Regina Coeli (Nativity of Mary) Mr. Priest Pastor Jose Ramirez Chavez Cenobio Bolivar Street No 92 Cologne Center C.P. 6080 Cuauhtemoc Mexico City Phone 5709-2640 Phone Fax. 5709-6272 In 1573 the colonial administration gave the spacious grounds of the old religious Conceptionists calpulli prehispanic Moyotlan (later district of San Juan) to establish a convent. The foundation, dedicated to the Queen of Heaven translation of the Latin Regina Coeli and the Nativity of the Virgin Mary, was approved by Pope Gregory XIII in 1578. The temple of the monastery was built in the angle formed by the present streets of Bolívar and Regina, compared to free space in the seventeenth century and was known by the name of Piazza Regina Chiquita. Its irregular shape originated in the stroke of one of the canals running through this wasteland. The convent and the primitive church were very poor, poor foundation. The restructuring of these buildings was performed in 1656 at the expense of Melchor de Terreros. The temple was later reformed and opened on September 13, 1731. The work was designed by the architect Miguel Custodio Durán and funded the Archbishop Jose Lanciego and Eguilaz. Like all the squares and streets of the colonial city prior to the management of Viceroy Revillagigedo, Plaza Regina did not escape the dirt and neglect that were outside spaces of the metropolis: lack of appropriate drainage, ponding constant, no paving and sidewalks and lack of night lighting, which became a dangerous place at night. Moreover, she often settled swap meets and tablados of all kinds, having been used, even to killing animals, mixing all these discomforts the spectacle of beggars and needy that aposentaban there for religious functions. Square underwent radical transformation when exclaustradas the Franciscan nuns, together with those of other religious orders, the March 8, 1863, and although these returned to the monastery during the reign of Maximilian of Hapsburg, 14 November 1867 gave the convent to the Secretary of War, serving as headquarters until June 15, 1871, when the government of the Republic gave it in payment of debts, the wealthy Ramón Obregón. The church, meanwhile, remained open for worship. A report issued by the ruler of the sector in 1868, makes mention of the work undertaken to disappear unhealthiness and middens accumulated in the square, where there was already a public source guarded the city authorities, insisting he swept and watered every day "by the watermen who attend Regina source to draw water" as well as for litter boxes, coal, or any other dealer zacateros of this kind, asearan occupy the place with their merchandise. Moreover, in February of that year, tin lanterns were installed with liquid gas appliances, turpentine, twenty lights, replacing oil lamps installed by the colonial administration. Thanks to the generosity and philanthropy of Miss Maria Conception High Beistegui and Garcia, who at his death in 1873, transferred its assets to the foundation of a hospital in what was once the Convent of Regina, were saved from destruction, that had begun shortly before, the main cloister and the bays adjacent to it. So-called Beistegui Conception Hospital, after laborious adaptation, was inaugurated by General Porfirio Diaz on March 21, 1886. The rest of the convent was divided into lots, built several houses in place and local architectural worthless. In 1967, the authorities of the Federal District, to the need for open spaces in this area of the city, chose Regina Square as one of the first in the restoration of civic centers in the capital. Then the square was closed to traffic on the stretch of Regina Street that ran opposite the temple, just letting it flow down the side street just north of the square, carrying the stone pavement in San Luis Potosi cobble up the facade of the temple itself. Existing trees were relocated to the north of the square to allow greater visibility to the building.
Ex Convento y Parroquia Regina Coelli,Ciudad de México
42 fotos
Visita la Pagina Facebook y da clik en me gusta www.facebook.com/catedralesiglesias © Álbum 3088 By Catedrales e Iglesias By Cathedrals and Churches By Catedrais e Igrejas Par Cathédrales et Eglises Diócesis de San Juan de los Lagos www.catedraleseiglesias.com Parroquia Nuestra Señora de la Asunción Dirección:M. Leandro Guerra y Rosas Moreno o Apdo. Postal # 29 Colonia Centro C. P. 47400 Lagos de Moreno, Jal. Tel: 01 (474) 742-0877 HORARIO: Martes a Sábado de 10 a 1.30pm y de 4.30 a 7.30pm HORARIO "A": Domingo 10 a 1.30pm CERRADA LUNES DECANATO: 02.- Lagos DIOCESIS:San Juan de los Lagos La parroquia de Nuestra Señora de La Asunción es el templo de mayor tamaño en Lagos de Moreno, Jalisco y forma parte de la Diócesis de San Juan de los Lagos. Representa uno de los ejemplos del barroco en América. Su construcción comienza el 6 de mayo de 1741 y fue dedicada solemnemente el 8 de octubre de 1798. El cuerpo central del frontispicio y fachadas de los accesos laterales así como el interior de la cúpula son de estilo churrigueresco. En los altares y muros colaterales se nota el rico estilo plateresco (renacentista)[cita requerida], con algunos detalles del barroco. Sus torres son del siglo XIX y sus columnas ostentan los tres órdenes: el primer cuerpo, toscano, derivado del dórico; el segundo, jónico; y el tercero, corintio. El Templo Parroquial se levanta del plano de la ciudad sobre una esbelta y espaciosa escalinata que la convierte en catedralicia. Todo el conjunto circundado por enrejados del siglo XIX forjado en Real de Comanja.
Visita la Pagina Facebook y da clik en me gusta www.facebook.com/catedralesiglesias © Álbum 3088 By Catedrales e Iglesias By Cathedrals and Churches By Catedrais e Igrejas Par Cathédrales et Eglises Diócesis de San Juan de los Lagos www.catedraleseiglesias.com Parroquia Nuestra Señora de la Asunción Dirección:M. Leandro Guerra y Rosas Moreno o Apdo. Postal # 29 Colonia Centro C. P. 47400 Lagos de Moreno, Jal. Tel: 01 (474) 742-0877 HORARIO: Martes a Sábado de 10 a 1.30pm y de 4.30 a 7.30pm HORARIO "A": Domingo 10 a 1.30pm CERRADA LUNES DECANATO: 02.- Lagos DIOCESIS:San Juan de los Lagos La parroquia de Nuestra Señora de La Asunción es el templo de mayor tamaño en Lagos de Moreno, Jalisco y forma parte de la Diócesis de San Juan de los Lagos. Representa uno de los ejemplos del barroco en América. Su construcción comienza el 6 de mayo de 1741 y fue dedicada solemnemente el 8 de octubre de 1798. El cuerpo central del frontispicio y fachadas de los accesos laterales así como el interior de la cúpula son de estilo churrigueresco. En los altares y muros colaterales se nota el rico estilo plateresco (renacentista)[cita requerida], con algunos detalles del barroco. Sus torres son del siglo XIX y sus columnas ostentan los tres órdenes: el primer cuerpo, toscano, derivado del dórico; el segundo, jónico; y el tercero, corintio. El Templo Parroquial se levanta del plano de la ciudad sobre una esbelta y espaciosa escalinata que la convierte en catedralicia. Todo el conjunto circundado por enrejados del siglo XIX forjado en Real de Comanja.
Visita la Pagina Facebook y da clik en me gusta www.facebook.com/catedralesiglesias © Álbum 3088 By Catedrales e Iglesias By Cathedrals and Churches By Catedrais e Igrejas Par Cathédrales et Eglises Diócesis de San Juan de los Lagos www.catedraleseiglesias.com Parroquia Nuestra Señora de la Asunción Dirección:M. Leandro Guerra y Rosas Moreno o Apdo. Postal # 29 Colonia Centro C. P. 47400 Lagos de Moreno, Jal. Tel: 01 (474) 742-0877 HORARIO: Martes a Sábado de 10 a 1.30pm y de 4.30 a 7.30pm HORARIO "A": Domingo 10 a 1.30pm CERRADA LUNES DECANATO: 02.- Lagos DIOCESIS:San Juan de los Lagos La parroquia de Nuestra Señora de La Asunción es el templo de mayor tamaño en Lagos de Moreno, Jalisco y forma parte de la Diócesis de San Juan de los Lagos. Representa uno de los ejemplos del barroco en América. Su construcción comienza el 6 de mayo de 1741 y fue dedicada solemnemente el 8 de octubre de 1798. El cuerpo central del frontispicio y fachadas de los accesos laterales así como el interior de la cúpula son de estilo churrigueresco. En los altares y muros colaterales se nota el rico estilo plateresco (renacentista)[cita requerida], con algunos detalles del barroco. Sus torres son del siglo XIX y sus columnas ostentan los tres órdenes: el primer cuerpo, toscano, derivado del dórico; el segundo, jónico; y el tercero, corintio. El Templo Parroquial se levanta del plano de la ciudad sobre una esbelta y espaciosa escalinata que la convierte en catedralicia. Todo el conjunto circundado por enrejados del siglo XIX forjado en Real de Comanja.
Visita la Pagina Facebook y da clik en me gusta www.facebook.com/catedralesiglesias © Álbum 3088 By Catedrales e Iglesias By Cathedrals and Churches By Catedrais e Igrejas Par Cathédrales et Eglises Diócesis de San Juan de los Lagos www.catedraleseiglesias.com Parroquia Nuestra Señora de la Asunción Dirección:M. Leandro Guerra y Rosas Moreno o Apdo. Postal # 29 Colonia Centro C. P. 47400 Lagos de Moreno, Jal. Tel: 01 (474) 742-0877 HORARIO: Martes a Sábado de 10 a 1.30pm y de 4.30 a 7.30pm HORARIO "A": Domingo 10 a 1.30pm CERRADA LUNES DECANATO: 02.- Lagos DIOCESIS:San Juan de los Lagos La parroquia de Nuestra Señora de La Asunción es el templo de mayor tamaño en Lagos de Moreno, Jalisco y forma parte de la Diócesis de San Juan de los Lagos. Representa uno de los ejemplos del barroco en América. Su construcción comienza el 6 de mayo de 1741 y fue dedicada solemnemente el 8 de octubre de 1798. El cuerpo central del frontispicio y fachadas de los accesos laterales así como el interior de la cúpula son de estilo churrigueresco. En los altares y muros colaterales se nota el rico estilo plateresco (renacentista)[cita requerida], con algunos detalles del barroco. Sus torres son del siglo XIX y sus columnas ostentan los tres órdenes: el primer cuerpo, toscano, derivado del dórico; el segundo, jónico; y el tercero, corintio. El Templo Parroquial se levanta del plano de la ciudad sobre una esbelta y espaciosa escalinata que la convierte en catedralicia. Todo el conjunto circundado por enrejados del siglo XIX forjado en Real de Comanja.
Visita la Pagina Facebook y da clik en me gusta www.facebook.com/catedralesiglesias © Álbum 3088 By Catedrales e Iglesias By Cathedrals and Churches By Catedrais e Igrejas Par Cathédrales et Eglises Diócesis de San Juan de los Lagos www.catedraleseiglesias.com Parroquia Nuestra Señora de la Asunción Dirección:M. Leandro Guerra y Rosas Moreno o Apdo. Postal # 29 Colonia Centro C. P. 47400 Lagos de Moreno, Jal. Tel: 01 (474) 742-0877 HORARIO: Martes a Sábado de 10 a 1.30pm y de 4.30 a 7.30pm HORARIO "A": Domingo 10 a 1.30pm CERRADA LUNES DECANATO: 02.- Lagos DIOCESIS:San Juan de los Lagos La parroquia de Nuestra Señora de La Asunción es el templo de mayor tamaño en Lagos de Moreno, Jalisco y forma parte de la Diócesis de San Juan de los Lagos. Representa uno de los ejemplos del barroco en América. Su construcción comienza el 6 de mayo de 1741 y fue dedicada solemnemente el 8 de octubre de 1798. El cuerpo central del frontispicio y fachadas de los accesos laterales así como el interior de la cúpula son de estilo churrigueresco. En los altares y muros colaterales se nota el rico estilo plateresco (renacentista)[cita requerida], con algunos detalles del barroco. Sus torres son del siglo XIX y sus columnas ostentan los tres órdenes: el primer cuerpo, toscano, derivado del dórico; el segundo, jónico; y el tercero, corintio. El Templo Parroquial se levanta del plano de la ciudad sobre una esbelta y espaciosa escalinata que la convierte en catedralicia. Todo el conjunto circundado por enrejados del siglo XIX forjado en Real de Comanja.
Parroquia Ntra Sra de la Asunción,Lagos de Moreno,Jalisco,México
29 fotos
Visita la Pagina Facebook y da clik en me gusta www.facebook.com/catedralesiglesias © Álbum 3088 By Catedrales e Iglesias By Cathedrals and Churches By Catedrais e Igrejas Par Cathédrales et Eglises Diócesis de San Juan de los Lagos www.catedraleseiglesias.com Parroquia Nuestra Señora de la Asunción Dirección:M. Leandro Guerra y Rosas Moreno o Apdo. Postal # 29 Colonia Centro C. P. 47400 Lagos de Moreno, Jal. Tel: 01 (474) 742-0877 HORARIO: Martes a Sábado de 10 a 1.30pm y de 4.30 a 7.30pm HORARIO "A": Domingo 10 a 1.30pm CERRADA LUNES DECANATO: 02.- Lagos DIOCESIS:San Juan de los Lagos La parroquia de Nuestra Señora de La Asunción es el templo de mayor tamaño en Lagos de Moreno, Jalisco y forma parte de la Diócesis de San Juan de los Lagos. Representa uno de los ejemplos del barroco en América. Su construcción comienza el 6 de mayo de 1741 y fue dedicada solemnemente el 8 de octubre de 1798. El cuerpo central del frontispicio y fachadas de los accesos laterales así como el interior de la cúpula son de estilo churrigueresco. En los altares y muros colaterales se nota el rico estilo plateresco (renacentista)[cita requerida], con algunos detalles del barroco. Sus torres son del siglo XIX y sus columnas ostentan los tres órdenes: el primer cuerpo, toscano, derivado del dórico; el segundo, jónico; y el tercero, corintio. El Templo Parroquial se levanta del plano de la ciudad sobre una esbelta y espaciosa escalinata que la convierte en catedralicia. Todo el conjunto circundado por enrejados del siglo XIX forjado en Real de Comanja.
Visita la Pagina Facebook y da clik en me gusta www.facebook.com/catedralesiglesias © Álbum 3088 By Catedrales e Iglesias By Cathedrals and Churches By Catedrais e Igrejas Par Cathédrales et Eglises Diócesis de San Juan de los Lagos www.catedraleseiglesias.com Parroquia Nuestra Señora de la Asunción Dirección:M. Leandro Guerra y Rosas Moreno o Apdo. Postal # 29 Colonia Centro C. P. 47400 Lagos de Moreno, Jal. Tel: 01 (474) 742-0877 HORARIO: Martes a Sábado de 10 a 1.30pm y de 4.30 a 7.30pm HORARIO "A": Domingo 10 a 1.30pm CERRADA LUNES DECANATO: 02.- Lagos DIOCESIS:San Juan de los Lagos La parroquia de Nuestra Señora de La Asunción es el templo de mayor tamaño en Lagos de Moreno, Jalisco y forma parte de la Diócesis de San Juan de los Lagos. Representa uno de los ejemplos del barroco en América. Su construcción comienza el 6 de mayo de 1741 y fue dedicada solemnemente el 8 de octubre de 1798. El cuerpo central del frontispicio y fachadas de los accesos laterales así como el interior de la cúpula son de estilo churrigueresco. En los altares y muros colaterales se nota el rico estilo plateresco (renacentista)[cita requerida], con algunos detalles del barroco. Sus torres son del siglo XIX y sus columnas ostentan los tres órdenes: el primer cuerpo, toscano, derivado del dórico; el segundo, jónico; y el tercero, corintio. El Templo Parroquial se levanta del plano de la ciudad sobre una esbelta y espaciosa escalinata que la convierte en catedralicia. Todo el conjunto circundado por enrejados del siglo XIX forjado en Real de Comanja.
Visita la Pagina Facebook y da clik en me gusta www.facebook.com/catedralesiglesias © Álbum 3088 By Catedrales e Iglesias By Cathedrals and Churches By Catedrais e Igrejas Par Cathédrales et Eglises Diócesis de San Juan de los Lagos www.catedraleseiglesias.com Parroquia Nuestra Señora de la Asunción Dirección:M. Leandro Guerra y Rosas Moreno o Apdo. Postal # 29 Colonia Centro C. P. 47400 Lagos de Moreno, Jal. Tel: 01 (474) 742-0877 HORARIO: Martes a Sábado de 10 a 1.30pm y de 4.30 a 7.30pm HORARIO "A": Domingo 10 a 1.30pm CERRADA LUNES DECANATO: 02.- Lagos DIOCESIS:San Juan de los Lagos La parroquia de Nuestra Señora de La Asunción es el templo de mayor tamaño en Lagos de Moreno, Jalisco y forma parte de la Diócesis de San Juan de los Lagos. Representa uno de los ejemplos del barroco en América. Su construcción comienza el 6 de mayo de 1741 y fue dedicada solemnemente el 8 de octubre de 1798. El cuerpo central del frontispicio y fachadas de los accesos laterales así como el interior de la cúpula son de estilo churrigueresco. En los altares y muros colaterales se nota el rico estilo plateresco (renacentista)[cita requerida], con algunos detalles del barroco. Sus torres son del siglo XIX y sus columnas ostentan los tres órdenes: el primer cuerpo, toscano, derivado del dórico; el segundo, jónico; y el tercero, corintio. El Templo Parroquial se levanta del plano de la ciudad sobre una esbelta y espaciosa escalinata que la convierte en catedralicia. Todo el conjunto circundado por enrejados del siglo XIX forjado en Real de Comanja.
Visita la Pagina Facebook y da clik en me gusta www.facebook.com/catedralesiglesias © Álbum 3088 By Catedrales e Iglesias By Cathedrals and Churches By Catedrais e Igrejas Par Cathédrales et Eglises Diócesis de San Juan de los Lagos www.catedraleseiglesias.com Parroquia Nuestra Señora de la Asunción Dirección:M. Leandro Guerra y Rosas Moreno o Apdo. Postal # 29 Colonia Centro C. P. 47400 Lagos de Moreno, Jal. Tel: 01 (474) 742-0877 HORARIO: Martes a Sábado de 10 a 1.30pm y de 4.30 a 7.30pm HORARIO "A": Domingo 10 a 1.30pm CERRADA LUNES DECANATO: 02.- Lagos DIOCESIS:San Juan de los Lagos La parroquia de Nuestra Señora de La Asunción es el templo de mayor tamaño en Lagos de Moreno, Jalisco y forma parte de la Diócesis de San Juan de los Lagos. Representa uno de los ejemplos del barroco en América. Su construcción comienza el 6 de mayo de 1741 y fue dedicada solemnemente el 8 de octubre de 1798. El cuerpo central del frontispicio y fachadas de los accesos laterales así como el interior de la cúpula son de estilo churrigueresco. En los altares y muros colaterales se nota el rico estilo plateresco (renacentista)[cita requerida], con algunos detalles del barroco. Sus torres son del siglo XIX y sus columnas ostentan los tres órdenes: el primer cuerpo, toscano, derivado del dórico; el segundo, jónico; y el tercero, corintio. El Templo Parroquial se levanta del plano de la ciudad sobre una esbelta y espaciosa escalinata que la convierte en catedralicia. Todo el conjunto circundado por enrejados del siglo XIX forjado en Real de Comanja.
Visita la Pagin
Serving brunch 9am-3pm ~ Call 401-831-3733 For Reservations. We will have all the @nfl playoff games on today as well. Dinner 4pm-10pm and bar late. : Flank Steak & U8 Shrimp 🍤 Benny | Fried Fingerlings | Chimmichurri Sauce • • • • #foodnetwork #foodart #foodgasm #instafood #foodandwine #foodie #foodies #food #thrillist #eater #food52 #foodphotography #foodblogger #foodlover #foodpassion #foodpics #foodtrip #foodcoma #brunch #eggs #bacon #potatoes #englishmuffin #farm #chef #foodblog #foodlovers
Units: 507023 & 508117
Location: Liverpool Central
Train: 2O33 14:17 Liverpool Central - Ormskirk & 2G89 13:58 Kirkby - Liverpool Central
(for further information please click on the link at the end of page!)
Palais Daun-Kinsky
If the Freyung once has been one of the most prestigious residential addresses in town, so for it was next to the Palais Harrach especially the Grand Palais Kinsky responsible. In its place in the middle ages were two parcels, each with a small building. The front part of the Freyung was since the 16th Century always in aristocratic in hands (Bernhard Menesis Freiherr von Schwarzeneck, Countess Furstenberg, Counts Lamberg). 1686 acquired Karl Ferdinand Count Waldstein the house of Count Lamberg. His son bought also the adjacent house in Rose Street (Rosengasse) and united both plots to one parcel. He had three granddaughters, who sold the site in 1709 to Wirich Philipp Laurenz Graf Daun. This came from an old Rhenish nobility. His ancestors were mostly working for the Elector of Trier as officers. In the battle of the Habsburgs against the Turks, Spanish and Frenchmen, he acquired great military merit. He brought it to the General Feldzeugmeister (quartermaster) and Viceroy of Naples. In 1713 he had the house at the Freyung demolished and by Johann Lukas von Hildebrandt built in its place until 1716 a palace, him serving as Vienna's city residence. Down may have been Antonio Beduzzi requested the creation of reconstruction plans, but was eventually Hildebrandt entrusted with the work. In 1719, the palace was largely completed. Daun lived there but rarely because he stayed a lot in Italy and in Austria preferred his country castles Ladendorf, Kirchstetten and Pellendorf. In 1746 acquired Johann Joseph Count von Khevenhüller the Palais from Leopold Joseph von Daun, the son of the owner, who happened to be in financial difficulty. The Reichsgraf (count of empire) was appointed in 1763 by the Empress Maria Theresa for his services to the Lord Steward and Lord Chamberlain, and raised to the hereditary imperial princes (princes of the Holy Roman Empire).
Door knocker
He sold the palace in 1764 to the Imperial Councilor President Ferdinand Bonaventura Harrach Count II. This worked as a diplomat, especially in Holland and Italy. At times of Maria Theresa, the building was inhabited by her Swiss Guards until they 1784 moved to their new quarters in Hofstallgebäude (court stable building). Ferdinand Bonaventura's daughter Rosa brought the palace in 1790 into her marriage to Josef Graf Kinsky. Whose family belonged to the Bohemian nobility. Its members appear at the beginning of the 13th Century documented. Wilhelm Freiherr von Kinsky was a colonel and friend of Wallenstein. He was murdered with this 1634 in Eger. His confiscated estates were divided among the assassins. Only two masteries (Chlumez and Bohemian Kamnitz ) remained through the timely change of front of his nephew, Johann Octavian with the family. The Kinsky but succeeded soon to rise again. They occupied again high positions in the administration and the military. 1798 the had modernized their Viennese palace by the architect Ernst Koch inside. Thus, the original Baroque interior was lost. As in 1809 the Frenchmen had occupied Vienna, a french Marshal and General were billeted in the palace. Prince Ferdinand Kinsky was a great patron of Beethoven, which he paid an annual salary of 4,000 florins for life along with two other nobles. In 1856, the Palace was refurbished in the interior by the architect Friedrich Stache. In the 19th Century lived the Princes Kinsky mostly on their Bohemian goods or in Prague. The building was therefore temporarily rented to some posh tenants. So lived here temporarily Field Marshal Radetzky and Archduke Albrecht. 1904 redecorated the French interior designer Armand Decour the piano nobile.
Staircase - second floor
With the end of World War II began a tough time for the Kinsky family. Almost all goods and industrial holdings, with the exception of the hunting lodge Rosenhof at Freistadt lay in Bohemia. By 1929, 50 % of the extensive Bohemian possessions were expropriated. There were still about 12,000 acres, a sugar factory and breweries. 1919 had to be a part of Vienna's Palais force-let. During World War II it was requisitioned by the German army. For fear of air raids the in the palace remaining objects of art were transferred to some Bohemian castles. The Palais Kinsky was not destroyed, its art treasures but remained in Bohemia. After the Second World War, the remaining Czech possessions were lost by nationalization for the family. In the Viennese palace were temporarily housed the embassies of China and Argentina. In 1986 it was sold by Franz Ulrich Prince Kinsky. After several short-term owners, the palace was acquired by the Karl Wlaschek private foundation in 1997. It was generously restored from 1998 to 2000 and adapted for offices and shops. The Grand Ballroom is often used because of its excellent acoustics as a concert hall. Since 1992, acclaimed art auctions are held at the Palais.
The Palais Kinsky is probably next to the Belvedere the most prominent secular work of the great Baroque architect and one of the best preserved baroque palaces in Vienna. Despite multiple changes of ownership and of numerous rearrangements inside the main components such as Baroque facade, vestibule, staircase, hall and gallery remained largely unchanged. The building extends between Freyung and Rosengasse. The property is only 30 meters wide, but three times longer. It was therefore not an easy task to build on it a representative palace with a grand staircase. Hildebrandt but has brilliantly overcome by putting up four floors at 24 m height, and yet preserving the proportions. He grouped the construction with two long side wings and a cross section around two consecutive large courtyards. The pomp and living rooms of the palace are mounted around the first courtyard, while the second contained carriage houses and stables. Here have yet been preserved the marble wall panels with the animal waterings made of cast iron and enamel from the late 19th century. Hildebrandt integrated various parts of the previous building into the new building. The seven-axle face side at the Freyung is divided several times. Stability is procured by the rusticated ground floor with its inserted diamond blocks. On it sit the two residential floors. They are embraced by Corinthian Riesenpilaster (giant pilasters). The mezzanine floor above it features in comparison with the underlying main floor tiny windows.
Hercules
The large windows on the main floor are particularly detailed designed. While the outer pairs of windows possess pagoda-like over roofings, those of the three windows of the central projection are round-arched. The trophies and weapons depicted in the lintel fields refer to the military profession of the owner. Vertically is the extensive looking facade accented by the slightly protruding, tri-part central risalite, the pilasters are decorated much richer than that of the side projections. In the Fantasiekapitelle (fantasy capital) of the pilasters are diamond lattices incorporated, an important component of the coat of arms of the Counts Down. The with figures and trophies decorated attica is over the central part formed as balustrade. The sculptures are believed to originate from Joseph Kracker, representing the gods Minerva, Juno, Hercules, Neptune, Diana and Constantia. Very elegant looks the plastically protruding portal. Its composition goes back to Johann Lukas von Hildebrandt. It is considered one of the most beautiful Baroque portals of Vienna. The draft was submitted in 1713 and carried out until 1715. The richly decorated wooden gate dates from the period around 1856, when it was renewed. It is outside flanked by two, obliquely placed Doric columns that match the rusticated ground floor. Sloped to the inside carry two, on pillar stumps standing atlases (also from Kracker) the entablature with the overlying structured segment gable. On it sit the stone figures of Prudence and Justice. The middle window in between is much richer decorated than the rest of the window openings on the first floor. Instead of the usual trapezoidal over roofings here it is crowned by a cartouche held by two putti. The originally thereon located coat of arms of the owner was replaced after the change of ownership by that of the Kinsky family with three boar's teeth. Above the shield hangs an chain with the Order of the Golden Fleece. Both the gusset of the archway as well as the overlying triglyph frieze are decorated with trophies.
Banquet Hall
If someone passes the portal, so one gets into one, by strong pillars divided three-aisled gatehouse. The massive spatial impression is something mitigated by the large sculptures in the niches. They were created by Joseph Kracker. Among the somewhat restrained stucco decorations you can see the coat of arms of the owner, with its characteristic diamond motif. At this gate hall adjoins the widely embedded and more than twice as high vestibule with its domed ceiling. This transverse oval space is divided by pilasters and Doric columns. The rich stucco decoration of the ceiling provided with lunettes could come from Alberto Camesina or from his workshop. The here used motifs are again relating to the career of the client as a commander. For instance, in the lunette caps are reliefs of Roman soldiers. On the left side of the vestibule leads an anteroom to the grand staircase. It is dominated by a vault carrying Hercules, a work by Lorenzo Mattielli. As the monogram of Charles VI proves, with it the Emperor was meant to be worshiped. In two oval niches stand above the two double doors of the Treppenvorhauses (stairway hall way) busts of Caesar and Emperor Titus Flavius Vespasian. The elongated stairway occupies almost the entire length of the left wing of the first courtyard. In the stairwell are eleven statues of Roman deities in stucco niches. The relatively narrow, crossed grand stairway is considered one of the most beautiful of Vienna. It overall design might go back to Antonio Beduzzi. On the second floor stand on the from winded perforated volute forms constructed stone balustrade four groups of playing or scrapping putti. They serve in part as a lantern holders, partly just as a decoration. The statue cycle in the staircase is a work of Lorenzo Mattielli, but the cherubs are believed to stem from Joseph Kracker. This type of decoration already points to the coming Rococo. A fresco by Carlo Innocenzo Carlone adorns the ceiling. The simulated architecture painted Antonio Beduzzi. The large wall mirror of the staircase were added after 1907 .
Staircase/ceiling fresco
The somewhat playful balustrade leads to the reception rooms on the second floor. The large oval ballroom above the entrance hall is oriented towards the courtyard. Its allegorical ceiling painting stems from Carlo Innocenzo Carlone. The other frescoes are of him and Marcantonio Chiarini. The walls are covered with marble. The room was several times, most recently in 1904 changed structurally. In front of the banquet hall is the former dining room. It is now called Yellow Salon. In 1879/80 was installed in it a choir stalls from the Pressburg Cathedral by Georg Raphael Donner ( 1736) and partly completed. The also acquired confessionals were converted into boxes that are in the antechamber of the second floor today. In the chapel, designed by Hildebrandt, was until 1741 as altarpiece Francesco Solimena's "Holy Family with the Infant John the Baptist". 1778 the sacred space, however, was already desecrated. The altarpiece is already since the 18th Century in Wiener Neustadt Neuklosterkirche (church in Lower Austria). In the cross-section between the first and the second courtyard lay the paneled gallery whose spatial effect in 1856 by an attached conservatory was changed something. Its vaulted ceiling is decorated with frescoes by Carlo Innocenzo Carlone. Marcantonio Chiarini created 1716/18 the quadrature paintings. At it followed a larger hall in which Francesco Solimena's oil painting "Phaeton and Apollo" was located. It can be admired today in the National Gallery in Prague. The hall was later used as a library. Part of the state rooms 1714 was equipped with ceiling paintings by Peter Strudel. In the course of a radical redesign of the building's interior Ernest Koch has cut off all stucco ceilings of the staterooms 1798-1800 and also redesigned the walls. Since 1879 Carl Gangolf Kayser tried to restore the original spatial impression by the of Rudolf von Weyr created new Neo-Baroque stucco ceilings. Only in a few areas (vestibule, staircase, ballroom), the original substance remained. In the palace there are numerous Mamorkamine (marble fireplaces) and stoves from the 18th and 19th Century. The star parquet floors and many original door fittings date from the third quarter of the 19th Century. The facades of the first courtyard are structured by Tuscan pilasters. The arcades on the ground floor have already been closed in 1753. The with a mascaron decorated wall fountain is a work of Rudolf von Weyr. The second courtyard is kept simple. Remarkable at it rear end is the cenotaph for the current owner Karl Wlaschek.
Location/Address: 1010 Vienna, Freyung 4
Activities: The courtyards are freely accessible, the staircase usually also. A look at the state rooms is only possible if these are not just rented.