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No question as to who would win in a confrontation be me and this wave. Slight reach and height advantage on me ha!
The Steinhof Church (also: Church of St. Leopold) was built in 1904-1907, designed by Otto Wagner, and is considered one of the most important buildings of the Vienna Art Nouveau. The Roman Catholic church building is located on the grounds of "Social Medical Center Baumgartnerhöhe" in the 14th district of Vienna Penzing.
History
The Church of "St. Leopold", better known as Steinhof church (or Otto Wagner church Steinhof ) arose from the construction of the Lower Austrian State Hospital and Nursing Home for nervous and mental patients at the stone courtyard (Steinhof) 1904 until 1907. The for the planning responsible architect Otto Wagner had to take into account that there is an asylum church for mentally ill patients, and elicited in discussions with doctors and nurses the specific requirements of such a structure. A doctor's room, toilets and emergency exits were planned, the pews have due to injury no sharp corners. Wagner, in which projects the hygienic aspects have always been a big concern, designed instead of an ordinary holy water basin, a variant with dripping holy water to reduce the risk of infections. He designed the ground sloping down to the altar, so that patients could see better in the back rows to the front. There were also separate inputs not only for nurses but also for male and female patients, since at that time in mental hospitals segregation was prescribed. Lack of money, however, both the Cross as well as the Unterkirchen (Lower Churches) for Protestants and Jews were not realized. Also a heater was not installed.
8 October 1907 the church was opened by Archduke Franz Ferdinand. Between the Archduke, who was not very fond of the Art Nouveau style, and Otto Wagner, however, there was already the beginning of creative disagreements, why Wagner was not mentioned in the opening statement, and subsequently by the Imperial Household got no more orders. These resulting from very different views on architecture and aesthetics gap misled the Neue Freie Presse in its issue of opening day to the question: "And it's not a pretty ironic history that pretty much the first sensible large-scale secession building in Vienna has been built for the insanes?".
After about six years of extensive renovation, the church was established and on October 1st 2006 reopened. Among other things, the dome was re-gilded using 2 kg of gold, replaced the drum base with artificially patinated copper sheets and the marble facade completely replaced. Windows, mosaics and figures have been carefully cleaned and restored. The now radiant with the new look and highly visible in the western part of Vienna golden dome, reminiscent of half a lemon, incidentally, owes the Baumgartnerhöhe on which the church stands, it's nickname" Lemoniberg" . The church, in 2007, got three new bells that were made by the Grassmayr bell foundry. The church is only open for worship, as well as on Saturdays and Sundays for a fee. On these days, also guided tours take place.
Architecture
The church of Steinhof is next to the Secession building one of the masterpieces of Art Nouveau in Vienna and has parallels with the design, designed by Otto Wagner student of Max Hegele and 1910 finished of Charles Borromeo Church in Vienna's central cemetery. One of the distinctive features of the church is based on a Byzantine motif golden dome, supported inside by a clad structure. On the bell towers on the west front are enthroned Saint Leopold as the patron of Lower Austria and Vienna and to the east the preacher Severin. The figures were created by Richard Luksch. As well as the orientation of the church to the south rather than east introduced the representation of saints sitting rather than standing a breakthrough
Under the cornice is a decorative strip with crosses and Loorbeerkränzen (laurel wreaths) that are often incorporated in Otto Wagner buildings, such as, for example, in the Postal Savings Bank or the cast iron railings of the metropolitain railway. Above the at that time only for larger celebrations used main entrance stand four angel figurines created by Othmar Schimkowitz with heads bowed to the church square. In a storm the second angel seen from the right the head was torn away and been re-soldered by the janitor, but with its head held high. This situation was remedied during the renovation.
Stained glass window
The physical virtues
The arrangement of the stained glass windows were designed by Otto Wagner, so that the church interior is flooded with natural light as possible. The glass mosaic window in Tiffany Style created by Koloman Moser. The west window with the motto "Verily I say unto you. Inasmuch as ye have done it unto one of these my brethren ye have done it unto me " shows the physical virtues. The angels above the figures of Saints hold humbly the grave cloth of Jesus. The ministrants viewing from bottom to top lower the head.
St. Elizabeth with Roses: Feed the hungry
Saint Rebecca in offering the potion: The Thirsty soak
St. Bernard: The strangers house
St. Martin with the sword to divide the mantle: The naked clothe
Visit the sick: John of God, the founder of the Order of the Brothers of Charity
John of Matha, founder of the Order of the Trinity: The released prisoners
Tobias with a shovel: the dead bury
The intellectual virtues
The east window with the motto " Blessed are the merciful for they shall obtain mercy " shows the intellectual virtues. The angel looking up at a dove. The ministrants lift up the head.
John the Baptist: rebuke the sinner
Francis de Sales: instruct the ignorant
Clement Mary Hofbauer advise the doubters right
St. Therese: The afflicted comfort
Suffering injustice with patience: Joseph of Egypt
Stephan: To those who have offended us a pardon
Abraham ask for the living and the dead with God
The four windows in the dome, the four evangelists.
Altarpiece
The altarpiece the promise of heaven should be originally designed by Koloman Moser. Even with the side windows there had been criticism and objections of prelate Heinrich Swoboda, who had been entrusted with the supervision of the Church. However, as Moser married Ditha Mautner Markhof and he converted to Protestantism, he was removed from the job despite intercessions of Otto Wagner. The already operating in parallel at this time of the order Carl Ederer submitted a design that was similar to that of Moser and originated in this form at the urging of Swoboda. Moser Ederer consequently accused of plagiierens (plagiating), whereupon he had left at the urging of the other members of the Secession, of which Moser in 1905 had left, filed suit. The trial ended with a settlement and the apology of Moser expressing liveliest regret" about the " ignorance of the circumstances". At the opening of the church in 1907, thus, only the design of Ederer could be issued on cardboard. In agreement with Moser and Wagner 1910 was a renewed design of Remigius Geyling, but because of "lack of suitability" in 1911 he took off the job. The execution of 84.8 m2 and four-ton mosaic was ultimately performed by Leopold Forstner.
The altarpiece depicts in the middle the blessing Christ and two angels.
Stand at his right
The Virgin Mary
St. Dymphna, patron saint of the mentally ill
St. Aloysius, who took care of plague victims and the dignified burial
St. Margaret, patron saint of women in labor and in all wounds, one of the Fourteen Holy Helpers
St. Vitus, helpers in mental illness and the patron saint of epilepsy, one of the Fourteen Holy Helpers
Severin of Noricum, the patron saint of Bavaria, the prisoners, winegrowers and weavers as well as for fertility of the vines
Standing to his left
St. Joseph
St. Elizabeth of Thuringia, a symbol of active charity
Hermann the German, the first prior of a Dominican convent in the German speaking Friesach
St. Christopher, helpers against unsuspecting death, patron saint of travelers, one of the Fourteen Holy Helpers
St. Francis of Assisi, patron saint of the poor and social work. Helper for headaches and the plague
St. Pantaleon, Patron of doctors and midwives, one of the Fourteen Holy Helpers
On the steps of the Church kneels St. Leopold and he is handing over the Steinhof church. The figures at the side of the altarpiece are representing Paul with sword and Peter with keys. The altar was made according to designs by Otto Wagner. The mosaics of the side altars have been made by Rudolf Jettmar. The right shows the Annunciation left the Archangel Gabriel. The confessionals were manufactured by the Wiener Werkstätte.
Otto Wagner, Kirche Am Steinhof, 1904-07, Church Am Steinhof - Projekt Museum Am Steinhof, Otto-Wagner-Spital (Hospital)
Artist's Statement: "The Butcher's Window"
In this painting, I explore the unsettling yet intimate relationship between the human experience and the raw, visceral reality of meat. The butcher's window, a place of commerce and sustenance, becomes a stage where the textures, colours, and forms of meat take on a disconcerting presence. I chose to depict an abundance of meats—hanging joints, sausages, and various cuts—interwoven with layers of fat and skins in shades of red, brown, and cream. The heaviness of the brushwork with a large brush reflects the weight of this abundance, almost overwhelming in its intensity. The structure of the painting mirrors the bulk and density of the meat on display.
The shop's interior is bathed in a greenish hue, evoking an atmosphere that is both clinical and slightly unnerving. The pale greenish reflection across the window adds another layer of abstraction, suggesting a flattening of the scene and a sense of detachment from reality. There is a tension in this duality: the raw, unrefined world of the butcher’s craft, paired with the muted, sterile light that seems to remove it from its natural context.
In this composition, the two implied characters—the butcher, mostly hidden, and the gentleman customer—serve as subtle figures of interaction within this environment. Their presence adds depth to the scene, but they remain distant, nearly lost in the sea of flesh and form that surrounds them. Their anonymity underscores the focus on the meat itself, challenging the viewer to confront the spectacle of such abundance.
Ultimately, the painting asks the viewer to reflect on the discomfort that can arise from our consumption of animal products. The overwhelming quantity of meat displayed in this shop, coupled with the vibrant yet unsettling colours and brushwork, invites contemplation of the place of meat in our lives, and the complex emotions that arise when faced with its physicality. The sheer volume and visceral reality of the scene are meant to be challenging to the eye, reflecting the tension between sustenance and the uncomfortable reality of its source.
Thought Provoking!
Sorry if it's a bit gory, its not really supposed to be, it was the layout that caught my eye, and just how much stock he had on display. Photo taken in Bath while on a day visit to the city while I was working in Bristol away from home for a fortnight, on an offshore wind project.
A bright and bold statement necklace fit for a queen of fashion! Tutorial blogged here: erinsiegeljewelry.blogspot.com/2013/08/fashionista-statem...
More info: www.craftivist-collective.com/Mini-Fashion-Statements
PRESS RELEASE 16.2.17:
Will you find a Mini Fashion Statement in your pocket this April?
As the world remembers the Rana Plaza disaster on 24 April, the Craftivist Collective will be launching a new craftivism kit to make and gently challenge people to think about how their clothing is made.
The collapse of a Bangladeshi factory in 2013 saw 1,138 garment workers killed and over 2,500 injured. There had been signs of structural failure the previous day, but workers were ordered to return to work regardless.
The Mini Fashion Statements kit is being launched in support of Fashion Revolution, a global movement born in the wake of the disaster, which calls for greater transparency, sustainability and ethics in the fashion industry.
The kit feature small scrolls on which makers all over the world are encouraged to write - slowly and in their neatest handwriting on their own or in groups - one of three provocative but not preachy messages designed to get both writer and reader thinking about the true cost of fashion and inspire them to play their part in improving the ugly side of the industry.
Shop-droppers not shop-lifters
The finished scrolls, tied with a pretty bow and featuring an invitation to “please open me”, a smiley face and a kiss, can then be ‘shop-dropped’ into the pockets of garments in fashion stores, or clothes worn by family, friends and colleagues.
This deliberately non-confrontational form of ‘guerilla activism’ using handcrafts is a designed as an alternative to some the more traditional aggressive types of activism.
Sarah Corbett, founder of the Craftivist Collective, said: “We help people learn the art of ‘gentle protest’. We want every part of the fashion industry to be beautiful, not just the clothes. Our pocket-sized scrolls are powerful and poignant little reminders of the role we can play as consumers. They’re designed to make us think about how the clothes we buy and wear are made, and how we might be able to help tackle problems like poor conditions for workers or the use of materials that are damaging to the environment.”
Asking #whomademyclothes
Orsola de Castro, co-founder and Creative Director of Fashion Revolution, said: “We want to unite the fashion industry and ignite a revolution to radically change the way our clothes are sourced, produced and purchased, so that what the world wears has been made in a safe, clean and fair way.
“The Craftivist Collective’s Mini Fashion Statements are a really simple, fun and creative way to be part of the Fashion Revolution. Made with love and placed into a pocket on a store's clothes rail, they surprise shoppers with a message that reminds us to be more curious about our clothes.
“They may be small, but they have the power to make shoppers stop and consider the people who make our clothes, their working conditions and human rights issues. This shows that activism doesn't need to shout from the rooftops, it can gently provoke from our pockets!”
The Mini Fashion Statement kits were pioneered by Sarah during workshops at Stockholm Fashion Week and Helsinki Design Week, and are the first non-stitched Craftivist Collective project. Sarah will be holding further workshops in London and Lincoln in early April to introduce people to the kits and teach them how to do ‘shop drops’ to distribute their mini fashion statements.
[Subhead:] Editor’s notes
CRAFTIVIST COLLECTIVE: Founded in 2009, the Craftivist Collective produces projects, products and kits to help individuals and groups across the globe change the world one stitch (or sentence) at a time using slow, gentle, beautiful activism. You can find out more at www.craftivist-collective.com
FASHION REVOLUTION: Fashion Revolution is a global movement calling for greater transparency, sustainability and ethics in the fashion industry. Fashion Revolution Week runs from 24-30 April 2017. For more information visit www.fashionrevolution.org
RESOURCES / CONTACT: Logos and product imagery, as well as quotes and interview opportunities, are available on request - please email press@craftivist-collective.com.
MINI FASHION STATEMENT KITS: Each kit features: a roll of high quality scrolls, each with an embossed Craftivist Collective logo; three different colours of ribbon (enough for 10 scrolls) to help make your messages stand out; ‘Crafterthought’ questions to reflect on as you write; two small free gifts; tips and message templates. They will available from 24 April at <a href=www.craftivist-collective.com/shop.
EVENT: Hackney, London: Thursday 6th April, Showroom Studio, 6.30-8pm. £10 You will learn the art of gentle protest, create beautiful small fashion statements supporting the organisation Fashion Revolution to put into the world as catalysts for change and practice the skill of shopdropping (the opposite of shoplifting).
Dress: A Grecian Turn Dress, Rubber Ducky via ModCloth
Cardigan: Charter School Cardigan in Raspberry via ModCloth
Bracelets: Nordstrom (blue bracelet), Talbots (orange and pink bracelet), and vintage (gold bangles)
Necklace: Statement of the Art Necklace in Sun via ModCloth
Laptop Bag: Marc by Marc Jacobs via Nordstrom
Photo by Pat Zimmerman
More info: www.craftivist-collective.com/Mini-Fashion-Statements
PRESS RELEASE 16.2.17:
Will you find a Mini Fashion Statement in your pocket this April?
As the world remembers the Rana Plaza disaster on 24 April, the Craftivist Collective will be launching a new craftivism kit to make and gently challenge people to think about how their clothing is made.
The collapse of a Bangladeshi factory in 2013 saw 1,138 garment workers killed and over 2,500 injured. There had been signs of structural failure the previous day, but workers were ordered to return to work regardless.
The Mini Fashion Statements kit is being launched in support of Fashion Revolution, a global movement born in the wake of the disaster, which calls for greater transparency, sustainability and ethics in the fashion industry.
The kit feature small scrolls on which makers all over the world are encouraged to write - slowly and in their neatest handwriting on their own or in groups - one of three provocative but not preachy messages designed to get both writer and reader thinking about the true cost of fashion and inspire them to play their part in improving the ugly side of the industry.
Shop-droppers not shop-lifters
The finished scrolls, tied with a pretty bow and featuring an invitation to “please open me”, a smiley face and a kiss, can then be ‘shop-dropped’ into the pockets of garments in fashion stores, or clothes worn by family, friends and colleagues.
This deliberately non-confrontational form of ‘guerilla activism’ using handcrafts is a designed as an alternative to some the more traditional aggressive types of activism.
Sarah Corbett, founder of the Craftivist Collective, said: “We help people learn the art of ‘gentle protest’. We want every part of the fashion industry to be beautiful, not just the clothes. Our pocket-sized scrolls are powerful and poignant little reminders of the role we can play as consumers. They’re designed to make us think about how the clothes we buy and wear are made, and how we might be able to help tackle problems like poor conditions for workers or the use of materials that are damaging to the environment.”
Asking #whomademyclothes
Orsola de Castro, co-founder and Creative Director of Fashion Revolution, said: “We want to unite the fashion industry and ignite a revolution to radically change the way our clothes are sourced, produced and purchased, so that what the world wears has been made in a safe, clean and fair way.
“The Craftivist Collective’s Mini Fashion Statements are a really simple, fun and creative way to be part of the Fashion Revolution. Made with love and placed into a pocket on a store's clothes rail, they surprise shoppers with a message that reminds us to be more curious about our clothes.
“They may be small, but they have the power to make shoppers stop and consider the people who make our clothes, their working conditions and human rights issues. This shows that activism doesn't need to shout from the rooftops, it can gently provoke from our pockets!”
The Mini Fashion Statement kits were pioneered by Sarah during workshops at Stockholm Fashion Week and Helsinki Design Week, and are the first non-stitched Craftivist Collective project. Sarah will be holding further workshops in London and Lincoln in early April to introduce people to the kits and teach them how to do ‘shop drops’ to distribute their mini fashion statements.
[Subhead:] Editor’s notes
CRAFTIVIST COLLECTIVE: Founded in 2009, the Craftivist Collective produces projects, products and kits to help individuals and groups across the globe change the world one stitch (or sentence) at a time using slow, gentle, beautiful activism. You can find out more at www.craftivist-collective.com
FASHION REVOLUTION: Fashion Revolution is a global movement calling for greater transparency, sustainability and ethics in the fashion industry. Fashion Revolution Week runs from 24-30 April 2017. For more information visit www.fashionrevolution.org
RESOURCES / CONTACT: Logos and product imagery, as well as quotes and interview opportunities, are available on request - please email press@craftivist-collective.com.
MINI FASHION STATEMENT KITS: Each kit features: a roll of high quality scrolls, each with an embossed Craftivist Collective logo; three different colours of ribbon (enough for 10 scrolls) to help make your messages stand out; ‘Crafterthought’ questions to reflect on as you write; two small free gifts; tips and message templates. They will available from 24 April at <a href=www.craftivist-collective.com/shop.
EVENT: Hackney, London: Thursday 6th April, Showroom Studio, 6.30-8pm. £10 You will learn the art of gentle protest, create beautiful small fashion statements supporting the organisation Fashion Revolution to put into the world as catalysts for change and practice the skill of shopdropping (the opposite of shoplifting).
Joseph's Church (St. Pölten )
Catholic Parish Church of St. Josef
Object ID : 26022 Kranzbichlerstraße 24a
The wide three-aisled pillar basilica under a gable roof with a transept was built 1924-1929 in Romanesque style according to the plans of the architect Matthäus Schlager.
The Parish Church of St. Joseph is a Roman Catholic church in the city of St. Pölten.
On the north side there are three portals, the middle portal is funnel-shaped, the facades have rounded arch windows and a historicized Traufgesims (eaves cornice). The retracted choir has a round apse. To the west of the church, to Mariazellerstraße is situated a freestanding metal casting statue Christ by sculptor Karl Schwerzek. The high church tower under a pitched roof is to the west at transept and choir juxtaposed. The square in front of the entrance facade was named with Father Paul's Place and on Paul Wörndl as the first pastor of the church a memorial plaque at the church installed.
Inside is the church as well as the organ loft on the north side continuously kreuzgratgewölbt (groined vaulted) and baroquising monumentally designed. The interior of the church, such as altar, Stipes (thick post - substructur of the altar) with stepped retabel wall, tabernacles with reliefs, like a statue of Saint Josef, were created based on designs by the sculptor Heinrich Zita 1933. The wall paintings in the vaults and in the shallow round arched niches in the apse and the side altars are by the painter Sepp Zöchling from 1958.
de.wikipedia.org/wiki/Liste_der_denkmalgesch%C3%BCtzten_O...(Stadtteil)
de.wikipedia.org/wiki/Josefskirche_(St._P%C3%B6lten)
(further information is available by clicking on the link at the end of page!)
History of the City St. Pölten
In order to present concise history of the Lower Austrian capital is in the shop of the city museum a richly illustrated full version on CD-ROM.
Tip
On the occasion of the commemoration of the pogroms of November 1938, the Institute for Jewish History of Austria its virtual Memorbuch (Memory book) for the destroyed St. Pölten Jewish community since 10th November 2012 is putting online.
Prehistory
The time from which there is no written record is named after the main materials used for tools and weapons: Stone Age, Bronze Age, Iron Age. Using the latest technologies, archaeologists from archaeological finds and aerial photographs can trace a fairly detailed picture of life at that time. Especially for the time from the settling down of the People (New Stone Age), now practicing agriculture and animal husbandry, in the territory of St. Pölten lively settlement activity can be proved. In particular, cemeteries are important for the research, because the dead were laid in the grave everyday objects and jewelry, the forms of burial changing over time - which in turn gives the archeology valuable clues for the temporal determination. At the same time, prehistory of Sankt Pölten would not be half as good documented without the construction of the expressway S33 and other large buildings, where millions of cubic meters of earth were moved - under the watchful eyes of the Federal Monuments Office!
A final primeval chapter characterized the Celts, who settled about 450 BC our area and in addition to a new culture and religion also brought with them the potter's wheel. The kingdom of Noricum influenced till the penetration of the Romans the development in our area.
Roman period, migrations
The Romans conquered in 15 BC the Celtic Empire and established hereinafter the Roman province of Noricum. Borders were protected by military camp (forts), in the hinterland emerged civilian cities, almost all systematically laid out according to the same plan. The civil and commercial city Aelium Cetium, as St. Pölten was called (city law 121/122), consisted in the 4th Century already of heated stone houses, trade and craft originated thriving urban life, before the Romans in the first third of the 5th Century retreated to Italy.
The subsequent period went down as the Migration Period in official historiography, for which the settlement of the Sankt Pöltner downtown can not be proved. Cemeteries witness the residence of the Lombards in our area, later it was the Avars, extending their empire to the Enns.
The recent archaeological excavations on the Cathedral Square 2010/2011, in fact, the previous knowledge of St.Pölten colonization not have turned upside down but enriched by many details, whose full analysis and publication are expected in the near future.
Middle Ages
With the submission of the Avars by Charlemagne around 800 AD Christianity was gaining a foothold, the Bavarian Benedictine monastery of Tegernsee establishing a daughter house here - as founder are mentioned the brothers Adalbert and Ottokar - equipped with the relics of St. Hippolytus. The name St. Ypolit over the centuries should turn into Sankt Pölten. After the Hungarian wars and the resettlement of the monastery as Canons Regular of St. Augustine under the influence of Passau St. Pölten received mid-11th Century market rights.
In the second half of the 20th century historians stated that records in which the rights of citizens were held were to be qualified as Town Charters. Vienna is indeed already in 1137 as a city ("civitas") mentioned in a document, but the oldest Viennese city charter dates only from the year 1221, while the Bishop of Passau, Konrad, already in 1159 the St. Pöltnern secured:
A St. Pöltner citizen who has to answer to the court, has the right to make use of an "advocate".
He must not be forced to rid himself of the accusation by a judgment of God.
A St. Pöltner citizen may be convicted only by statements of fellow citizens, not by strangers.
From the 13th Century exercised a city judge appointed by the lord of the city the high and low jurisdiction as chairman of the council meetings and the Municipal Court, Inner and Outer Council supported him during the finding of justice. Venue for the public verdict was the in the 13th Century created new marketplace, the "Broad Market", now the town hall square. Originally square-shaped, it was only later to a rectangle reduced. Around it arose the market district, which together with the monastery district, the wood district and the Ledererviertel (quarter of the leather goods manufacturer) was protected by a double city wall.
The dependence of St. Pölten of the bishop of Passau is shown in the municipal coat of arms and the city seal. Based on the emblem of the heraldic animal of the Lord of the city, so the Bishop of Passau, it shows an upright standing wolf holding a crosier in its paw.
Modern Times
In the course of the armed conflict between the Emperor Frederick III . and King Matthias of Hungary pledged the Bishop of Passau the town on the Hungarian king. From 1485 stood Lower Austria as a whole under Hungarian rule. The most important document of this period is the awarding of the city coat of arms by King Matthias Corvinus in the year 1487. After the death of the opponents 1490 and 1493 could Frederick's son Maximilian reconquer Lower Austria. He considered St. Pölten as spoils of war and had no intention of returning it to the diocese of Passau. The city government has often been leased subsequently, for instance, to the family Wellenstein, and later to the families Trautson and Auersperg.
That St. Pölten now was a princely city, found its expression in the coat of arms letter of the King Ferdinand I. from 1538: From now on, the wolf had no crosier anymore, and the from the viewer's point of view left half showed the reverse Austrian shield, so silver-red-silver.
To the 16th Century also goes back the construction of St. Pöltner City Hall. The 1503 by judge and council acquired house was subsequently expanded, rebuilt, extended and provided with a tower.
A for the urban history research important picture, painted in 1623, has captured scenes of the peasant uprising of 1597, but also allows a view to the city and lets the viewer read some of the details of the then state of construction. The economic inconveniences of that time were only exacerbated by the Thirty Years War, at the end of which a fifth of the houses were uninhabited and the citizenry was impoverished.
Baroque
After the successful defense against the Turks in 1683, the economy started to recover and a significant building boom began. Lower Austria turned into the land of the baroque abbeys and monasteries, as it is familiar to us today.
In St. Pölten, the change of the cityscape is closely connected to the Baroque architect Jakob Prandtauer. In addition to the Baroquisation of the interior of the cathedral, a number of buildings in St. Pölten go to his account, so the reconstruction of the castle Ochsenburg, the erection of the Schwaighof and of the core building of the Institute of the Blessed Virgin Mary (Englische Fräuleins - English Maidens) - from 1706 the seat of the first school order of St.Pölten - as well as of several bourgeois houses.
Joseph Munggenast, nephew and co-worker of Prandtauer, completed the Baroquisation of the cathedral, he baroquised the facade of the town hall (1727) and numerous bourgeois houses and designed a bridge over the Traisen which existed until 1907. In the decoration of the church buildings were throughout Tyroleans collaborating, which Jakob Prandtauer had brought along from his homeland (Tyrol) to St. Pölten, for example, Paul Troger and Peter Widerin.
Maria Theresa and her son Joseph II: Their reforms in the city of the 18th Century also left a significant mark. School foundings as a result of compulsory education, the dissolution of the monasteries and hereinafter - from 1785 - the new role of St. Pölten as a bishop's seat are consequences of their policies.
1785 was also the year of a fundamental alteration of the old Council Constitution: The city judge was replaced by one magistrate consisting of five persons, at the head was a mayor. For the first mayor the painter Josef Hackl was chosen.
The 19th century
Despite the Napoleonic Wars - St. Pölten in 1805 and 1809 was occupied by the French - and despite the state bankruptcy of 1811, increased the number of businesses constantly, although the economic importance of the city for the time being did not go beyond the near vicinity.
Against the background of monitoring by the state secret police, which prevented any political commitment between the Congress of Vienna and the 1848 revolution, the citizens withdrew into private life. Sense of family, fostering of domestic music, prominent salon societies in which even a Franz Schubert socialized, or the construction of the city theater were visible signs of this attitude.
The economic upswing of the city did not begin until after the revolution of the year 1848. A prerequisite for this was the construction of the Empress Elisabeth Western Railway, moving Vienna, Linz, soon Salzburg, too, in a reachable distance. The city walls were pulled down, St. Pölten could unfold. The convenient traffic situation favored factory start-ups, and so arose a lace factory, a revolver factory, a soap factory or, for example, as a precursor of a future large-scale enterprise, the braid, ribbon and Strickgarnerzeugung (knitting yarn production) of Matthias Salcher in Harland.
In other areas, too, the Gründerzeit (years of rapid industrial expansion in Germany - and Austria) in Sankt Pölten was honouring its name: The city got schools, a hospital, gas lanterns, canalization, hot springs and summer bath.
The 20th century
At the beginning of the 20th Century the city experienced another burst of development, initiated by the construction of the power station in 1903, because electricity was the prerequisite for the settlement of large companies. In particular, the companies Voith and Glanzstoff and the main workshop of the Federal Railways attracted many workers. New Traisen bridge, tram, Mariazell Railway and other infrastructure buildings were erected; St. Pölten obtained a synagogue. The Art Nouveau made it repeatedly into the urban architecture - just think of the Olbrich House - and inspired also the painting, as exponents worth to be mentioned are Ernst Stöhr or Ferdinand Andri.
What the outbreak of the First World War in broad outlines meant for the monarchy, on a smaller scale also St. Pölten has felt. The city was heavily impacted by the deployment of army units, a POW camp, a military hospital and a sick bay. Industrial enterprises were partly converted into war production, partly closed. Unemployment, housing emergency and food shortages long after the war still were felt painfully.
The 1919 to mayor elected Social Democrat Hubert Schnofl after the war tried to raise the standard of living of the people by improving the social welfare and health care. The founding of a housing cooperative (Wohnungsgenossenschaft), the construction of the water line and the establishment of new factories were further attempts to stimulate the stiffening economy whose descent could not be stopped until 1932.
After the National Socialist regime had stirred false hopes and plunged the world into war, St. Pölten was no longer the city as it has been before. Not only the ten devastating bombings of the last year of the war had left its marks, also the restrictive persecution of Jews and political dissidents had torn holes in the structure of the population. Ten years of Russian occupation subsequently did the rest to traumatize the population, but at this time arose from the ruins a more modern St. Pölten, with the new Traisen bridge, district heating, schools.
This trend continued, an era of recovery and modernization made the economic miracle palpable. Already in 1972 was - even if largely as a result of incorporations - exceeded the 50.000-inhabitant-limit.
Elevation to capital status (capital of Lower Austria), 10 July 1986: No other event in this dimension could have become the booster detonation of an up to now ongoing development thrust. Since then in a big way new residential and commercial areas were opened up, built infrastructure constructions, schools and universities brought into being to enrich the educational landscape. East of the Old Town arose the governmental and cultural district, and the list of architects wears sonorous names such as Ernst Hoffmann (NÖ (Lower Austria) Landhaus; Klangturm), Klaus Kada (Festspielhaus), Hans Hollein (Shedhalle and Lower Austrian Provincial Museum), Karin Bily, Paul Katzberger and Michael Loudon ( NÖ State Library and NÖ State Archive).
European Diploma, European flag, badge of honor, Europe Price: Between 1996 and 2001, received St. Pölten numerous appreciations of its EU commitment - as a sort of recognition of the Council of Europe for the dissemination of the EU-idea through international town twinnings, a major Europe exhibition or, for example, the establishment and chair of the "Network of European medium-sized cities".
On the way into the 21st century
Just now happened and already history: What the St. Pöltnern as just experienced sticks in their minds, travelers and newcomers within a short time should be told. The theater and the hospital handing over to the province of Lower Austria, a new mayor always on the go, who was able to earn since 2004 already numerous laurels (Tags: polytechnic, downtown enhancement, building lease scheme, bus concept) - all the recent changes are just now condensed into spoken and written language in order to make, from now on, the history of the young provincial capital in the 3rd millennium nachlesbar (checkable).
www.st-poelten.gv.at/Content.Node/freizeit-kultur/kultur/...
I wonder what this guy's political persuasions are? :-D
I'm sure he's glad how those runoff elections in Georgia turned out.
I still don't understand how this guy (I saw him get out of his car) is a liberal yet drives a crossover. Well, it is a Subaru, at least. But I think a Toyota Yaris would have been more appropriate.
Taken with my flip phone at the West Caldwell, New Jersey ShopRite.
Artist Statement
The list of the worldly issues minor and major that impact personal experiences seems to be endless. Some of those issues may be: human overconsumption, intrusive surveillance, racial and other forms of inequality and discrimination, deforestation, air and water pollution, religious control, etc. In our contemporary society we are all potentially impacted by these negative forces since the time we start developing in our mother’s wombs. Humanity, right now, has all the necessities and commodities to provide every person on this planet with a comfortable place to sleep, healthy food to eat, clean water to drink, fresh clothes to wear, and a proper healthcare. But yet the said destructive forces are too overpowering, so the future seems doomed.
For this photographic project making “the personal is political,” I approached different people and asked how they wanted our world to change and to write out this desire with black marker on a white board. In an attempt to allow the people photographed to freely and fearlessly express their truest thoughts about any issues that bother them, I asked them to wear a Guy Fawkes mask to conceal their identities. I chose specifically to use this mask because of its long history, the meaning and the symbolism it carries, and the emotions and thoughts it invokes in most people who are familiar with the mask.
Guy Fawkes was a revolutionary who did not like the status quo, and wanted to overthrow corrupt government and make the world a better place. Hollywood greatly popularized his image via the movie “V For Vendetta,” so to this day he is remembered by many people around the globe as the one who opposed the ruling system. The mask symbolizes protest against tyranny, totalitarianism, any kind of oppression, and any other type of mistreatment and misconduct towards other fellow human beings. It symbolizes a great desire for a better and happier life for all people. It reminds us that we all are creators of our own destiny, builders of our own fate. Except the limitations you place ourselves into by our your own beliefs there are no limitations to what people can do.
Made in Lland (Artist’s Statement)
My mind (Reason) says no, my Imagination screams “..and yes I said yes I will Yes."
Thus, I adopt the most famous utterance generated by my own race, the final words from James Joyce’s 'Ulysses', and pillage the masters of my adopted host (Vermeer, Van Gogh, and Rembrandt), hopefully combining Lyricism and Pragmatism, and generating an idea, and a plan, to reinvigorate the Silk Route between the City State of LLand and the People’s Republic of Ina.
By insinuating a note, written to himself in 1914, the Artist/Chess-master Marcel Duchamp, in a self-admonition, even - spawned a philosophy proffering the possibility of the Universal Equality of All Matter and Anti-Matter.
I am taken to a land of limitless possibilities and imaginative leaps, kaleidoscoping time and place, and choosing to ignore all boundaries. The note said simply:
“To use a Rembrandt as an ironing board”.
This pithy statement could lead to nihilistic despair or it could lead in the other direction entirely. I choose the latter.
"..perhaps it will be the task of an artist as detached from aesthetic preoccupations and as intent on the energetic as Marcel Duchamp, to reconcile art and the people."
Guillaume Apollinaire , Les Peintre Cubistes (published 1913).
This exhibition is the beginning of a foray into that realm, the notion of, through the prism of Duchamp’s statement, initially introducing that most impressive manifestation of the collective consciousness, China, to three of the most venerated Individuals of the Western (Dutch) Canon, through the commonplace vehicle of Duchamp’s ironing board.
‘Maid in Lland’ represents the first phase of this endeavour; the journey of developing Pragma and the Rembrandt board itself. The show collapses time and visualises the painting of the boards in Dafen, a township on the Chinese mainland totally devoted to the copying of European masterpieces.
The second and third phases, the Vermeer and Van Gogh boards, have already been developed over six years, in 4,000 images on the Internet. This body of work presented here has been drawn from that same source.
The ‘story’ is interwoven with personal details, of self-love recovered after a history of abuse; these chart an individuation process which has proceeded to the point where I can say, with confidence, that anything is possible.
If a pinch of spice or a tulip bulb could generate a ‘Golden Age’, then anything can - even a Duchamp ironing board. It is simply a matter of determined people, who believe this is possible, coming together and focussing on pushing it through - with some humour and beauty.
All of these ideas and works generated are copyright free, so that anyone can use any of it, without fear of litigation. I would be more than pleased, indebted even, if anyone can take any of these ideas further.
---------------
Royal Irish Academy
Ireland’s Academy for the Sciences and Humanities
Catherine Marshall
5 Saint Kevin’s Road
Portobello
Dublin 8
Reference: Billy Quinn
23 June 2009
To Whom It May Concern
I came to know the artist Billy Quinn and his work in 1995/6 when he returned from New York to do a residency at the Irish Museum of Modern Art where I was Head of Collections. I was impressed then, both by his work and by his commitment to social engagement through his art practice. I was equally impressed, as were my colleagues, by his knowledge of art history, literature and philosophy, which, along with his social commitment, provides a deep well of sources from which the conceptual underpinnings of his work derive. Later I had the pleasure of working with him more closely when the Museum purchased some of his work, and several exhibitions in Ireland, the United States and Finland included it.
Quinn is an Irish artist but his vision has never been limited by the constraints of life on a small island. He has chosen to work in New York, London, Berlin and Amsterdam, but his gaze encompasses artistic, political and religious events as far away as China and Afghanistan. Much of his work in the past decade has been digital and is disseminated through the internet, using this contemporary medium to comment on outmoded traditions of art making and the artmarket, on connoisseurship and elitism. He has a particular preference for Flickr because it is an egalitarian platform, which excludes nobody. Appropriation is seminal to his practice, and so it is entirely consistent that he now wants the opportunity to make artwork based on his own digital work, which in turn references Rembrandt, Vermeer, Van Gogh and Marcel Duchamp. His new project refers also to the work of Jeff Koons and Andy Warhol, as he searches for a painter to paint an ‘original’ Quinn/Rembrandt painting. He intends to travel to Dafen in China, where paintings are mass-produced, tantalisingly hand painted but entirely devoid of the aura traditionally associated with the hand of the artist. The project questions authorship, connoisseurship and notions of the elite art collector, since the painting and multiple hand-painted reproductions of it will be offered for sale as mass produced objects for consumption in key tourist locations in Amsterdam. The universality and circularity of this process is reminiscent also of the Dutch history of trade with the east, while the hand-painted reproductive process derives, similarly, from good 17th century practice.
The value of this new body of work lies in its scale and ambition. It transcends time and place and breaks down divisions between east and west, between fine art and popular culture. It questions the privileged position of the traditional collector and empowers those previously excluded. Above all it acknowledges the continuity of time and space, hero and follower, matter and idea and does so in a way that is accessible without diminishing its complexity. Like Baudrillard’s simulacrum it obliges the viewer to commit to a position in relation to the ‘reality’ of the work on every level.
From my previous knowledge of his career, as a working artist and as a successful doctoral candidate in Fine Art Practice, I have had reason to respect Billy Quinn’s professionalism and to admire the courage and perseverance with which he tackles his self-imposed tasks. He is not motivated by financial reward but would like to present his art in a very democratic public arena. He holds all ideas to be universal property and does not copyright his work focussing instead on notions of universal equality in a manner that is both beautiful and humourous. I very much hope that this project, his most exciting and ambitious to date, will meet with the support, financial and artistic, that it deserves.
Catherine Marshall
Co-Editor Vol V
Art and Architecture of Ireland
Royal Irish Academy
On secondment from the Irish Museum of Modern Art
----------------
Billy Quinn
william.quinn11@btinternet.com
Mobile Phone: 06 2734 6635
Education
1997-2000Professional Doctorate in Studio Practice, University of East London.
1980-82 B.A. Hons. Fine Art (Film), University of East London.
1973-74National College of Art and Design, Dublin. Foundation Course.
Solo Exhibitions
October 2007 Artist in Residence Studio Exhibition at M4 Gastatelier, Amsterdam
2002 March/April
Postcards From the Wedge (The Thick End),
The Fridge Gallery, London.
2000 More Life : Minor Wounds, The East London Gallery, London E13.
1999 Work in Progress, The East London Gallery, London E 13.
1998The Diet of Worms, The East London Gallery, London.13.
1998 Denial of Burial and Other External Crosses, Ko Raw Gallery, London
1998 Quinn's Da, The Temple Bar Gallery, Dublin.
1997 Traditional Family Values, Goldstrom Gallery, New York City.
1997The Icon Series, WWW.plexus.org/quinn/plague.
1996Traditional Family Values The Temple Bar Gallery, Dublin.
1994Traditional Family Values , Mindy Oh Gallery, Chicago IL
1994A Show of Hands, Andre Zarre Gallery, New York City.
1993A Plague of Angels, Mindy Oh Gallery, Chicago IL.
Group Exhibitions
Feb 2010 Bittersweet- Expressions of Love and Hate,
The Doswell gallery, West Cork
June30
-Aug 25, 06 Selfportraitr A Virtual show of images from Flickr.com
The Pace/MacGill Gallery, NYC
June 2005 Incantations. Nun’s Chapel, Douglas Street, Cork
June 2004 Mediators. Fordham Gallery, Princlet Street, London
Sept 2002-May 2003
Something Else. Touring group show, opening in Turku travelling
To Helsinki, Oulu, and Joensuu in Finland
April 2002-May 2002
Ierse Kunst Uit de Collectie van het Museum of Modern Art te Dublin
Stedelijk Museum, Aalst, Belgium
Nov 14 –April 2002.
Irish art Now: From the Poetic to the Political.
Touring show of American Institutions from The Irish Museum of
Modern Art (I.M.M.A.), curated by Declan Mc Gonagle.
Irish Museum of Modern Art, Dublin.
July 14-Sept 23, 2001.
Irish art Now , Chicago Cultural Centre, Chicago.
May 6-June 25, 2000.
Irish art Now, Pittsburg Centre for the Arts, Pittsburg.
Jan 3 - April 9, 2000.
Irish art Now , Art Gallery of Newfoundland and Labrador, St Johns.
Oct 3- Dec 12, 1999
Irish art Now , The Mc Mullan Museum of Art, Boston.
1999 4 Irish Artists, The Irish Club, Eaton Square, London.
1998Künstler für die Insel IV, Frankfurt am Main, Germany.
1998 Documenta USA, The Museum of Contemporary Art, Pontiac,
Michigan.
1997Recent Acquisitions: work in Focus, I.M.M.A., Dublin.
1997Juno Moneta: For Your Eyes Only, Mindy OH Gallery, New York City.
1996Out Art, City Arts Centre, Dublin.
1995Summer Group Show, Foster Goldstrom Gallery, New York City.
1994 Cultured Pearl, Mindy Oh Gallery, Chicago, IL.
1994 The Annex Show, Mindy Oh Gallery, The Chicago Art Fair, IL.
1994Animal, Mineral, Vegetable, Andre Zarre Gallery, New York City.
1994Homage to Camus, Mindy Oh Gallery, Chicago IL.
1994 Healing Before Art, Mary Ryan Gallery, New York City
1993 Saints and Survivors in a Time of Plague, Three person show Lowinsky
Gallery, New York City.
1992New Acquisitions Show, Lightworks, Syracuse, New York City.
Related Work
2000-2003Lecturing in Dublin, Cork and Galway (Ireland) and Turku (Finland) and Winchester College of Art on the PhD course.
1999-2000 Extensive lecturing on development of work practice relative to Doctoral
research.
Guest lecturer at Goldsmiths, Leeds, Exeter, Central St. Martins,
The Royal Academy of Stockholm, and Winchester College of Art
1998Part-time lecturer in Fine Art at the University of East London.
1996CURSAI, R.T.E. Irish national television programme.
Guest lecturer, University of Belfast.
1995 Black Box, R.T.E. Television arts programme.
Guest lecturer, National College of Art and Design, Dublin.
Guest lecturer, The Dublin Institute of Technology.
1993Guest lecturer, The Illinois Institute of Technology and The Art Institute
of Chicago.
Selected publications
Eroticism and Art. Alyce Mahon, Lecturer in the History of Art at the University of Cambridge and Fellow of Trinity College. Oxford University Press 2005
The Irish Museum of Modern Art: The Permanent Collection. Catherine Marshall 2005
Something Else: Irish Contemporary Art. Valerie Connor, Maija Koskinen and Declan Mc Gonagle, Turku Art Museum 2002
Irish Art Now: From the Poetic to the Political.. Declan Mc Gonagle, Fintan O’ Toole and Kim Levin, Merrell Holberton Publishers.
The Art of Aids, Robert Barker, Continuum Publishing, New York City.
CIRCA. The Magazine of the Irish Arts. An 8 page insert "work in progress" with Catherine Harper. The Spring issue 1997.
Residencies
November 2007- January 2008: Artist Residency at Foundation B.A.D. Rotterdam
August - October 2007: Artist Residency at M4 Gastatelier, Amsterdam
1997 Helsinki International Artist’s Project (HIAP), Finland
2 month residency Nov-Dec.
1995-96 Artist's Work Programme. Irish Museum Of Modern Art.
1992Lightwork, Artist-in-Residence program, Syracuse, New York State.
Grants
New Work Award 2006. The Irish Arts Council: €35,000
Collections
Irish Museum of Modern Art, Dublin.
The Jonathan Stiles Collection, Helsinki.
Steven F Foster Collection, London.
Peter Kabcenell Collection, New York City.
Mindy Oh Collection, Chicago.
Monique Goldstrom Collection, New York City.
Tim Peterson and Richard Gerrig Collection, New York City.
Carl Miller Collection, Boston.
City of Galveston Collection, Texas.
Lightwork Collection, Syracuse.
Bela Majoros Collection, Budapest.
Chantal Boisgontier Collection, Paris.
John McBratney Collection, Dublin.
Alexander Tinti Collection, Vienna.
The Chancellor of the Exchequer Jeremy Hunt leaves 11 Downing Street to deliver his Autumn Statement to parliament
This statement bib necklace features rose pink, fuchsia and salmon pinked colored multi-faceted acrylic beads set in a fan shape held together by rose gold tone facets. The lower right hand corner features a hand enameled bumble bee with fuchsia crystals.
Buy from:
www.1928.com/pages-productinfo/category-22_31_538/product...
Ancient City palace
Object ID: 33535 Wiener Straße 37
The for the first time 1719 mentioned Baroque building was probably shortly before by Jakob Prandtauer erected. It is considered as one of the last remaining buildings of Prandtauer in St. Pölten.
(further information is available by clicking on the link at the end of page!)
History of the City St. Pölten
In order to present concise history of the Lower Austrian capital is in the shop of the city museum a richly illustrated full version on CD-ROM.
Tip
On the occasion of the commemoration of the pogroms of November 1938, the Institute for Jewish History of Austria its virtual Memorbuch (Memory book) for the destroyed St. Pölten Jewish community since 10th November 2012 is putting online.
Prehistory
The time from which there is no written record is named after the main materials used for tools and weapons: Stone Age, Bronze Age, Iron Age. Using the latest technologies, archaeologists from archaeological finds and aerial photographs can trace a fairly detailed picture of life at that time. Especially for the time from the settling down of the People (New Stone Age), now practicing agriculture and animal husbandry, in the territory of St. Pölten lively settlement activity can be proved. In particular, cemeteries are important for the research, because the dead were laid in the grave everyday objects and jewelry, the forms of burial changing over time - which in turn gives the archeology valuable clues for the temporal determination. At the same time, prehistory of Sankt Pölten would not be half as good documented without the construction of the expressway S33 and other large buildings, where millions of cubic meters of earth were moved - under the watchful eyes of the Federal Monuments Office!
A final primeval chapter characterized the Celts, who settled about 450 BC our area and in addition to a new culture and religion also brought with them the potter's wheel. The kingdom of Noricum influenced till the penetration of the Romans the development in our area.
Roman period, migrations
The Romans conquered in 15 BC the Celtic Empire and established hereinafter the Roman province of Noricum. Borders were protected by military camp (forts), in the hinterland emerged civilian cities, almost all systematically laid out according to the same plan. The civil and commercial city Aelium Cetium, as St. Pölten was called (city law 121/122), consisted in the 4th Century already of heated stone houses, trade and craft originated thriving urban life, before the Romans in the first third of the 5th Century retreated to Italy.
The subsequent period went down as the Migration Period in official historiography, for which the settlement of the Sankt Pöltner downtown can not be proved. Cemeteries witness the residence of the Lombards in our area, later it was the Avars, extending their empire to the Enns.
The recent archaeological excavations on the Cathedral Square 2010/2011, in fact, the previous knowledge of St.Pölten colonization not have turned upside down but enriched by many details, whose full analysis and publication are expected in the near future.
Middle Ages
With the submission of the Avars by Charlemagne around 800 AD Christianity was gaining a foothold, the Bavarian Benedictine monastery of Tegernsee establishing a daughter house here - as founder are mentioned the brothers Adalbert and Ottokar - equipped with the relics of St. Hippolytus. The name St. Ypolit over the centuries should turn into Sankt Pölten. After the Hungarian wars and the resettlement of the monastery as Canons Regular of St. Augustine under the influence of Passau St. Pölten received mid-11th Century market rights.
In the second half of the 20th century historians stated that records in which the rights of citizens were held were to be qualified as Town Charters. Vienna is indeed already in 1137 as a city ("civitas") mentioned in a document, but the oldest Viennese city charter dates only from the year 1221, while the Bishop of Passau, Konrad, already in 1159 the St. Pöltnern secured:
A St. Pöltner citizen who has to answer to the court, has the right to make use of an "advocate".
He must not be forced to rid himself of the accusation by a judgment of God.
A St. Pöltner citizen may be convicted only by statements of fellow citizens, not by strangers.
From the 13th Century exercised a city judge appointed by the lord of the city the high and low jurisdiction as chairman of the council meetings and the Municipal Court, Inner and Outer Council supported him during the finding of justice. Venue for the public verdict was the in the 13th Century created new marketplace, the "Broad Market", now the town hall square. Originally square-shaped, it was only later to a rectangle reduced. Around it arose the market district, which together with the monastery district, the wood district and the Ledererviertel (quarter of the leather goods manufacturer) was protected by a double city wall.
The dependence of St. Pölten of the bishop of Passau is shown in the municipal coat of arms and the city seal. Based on the emblem of the heraldic animal of the Lord of the city, so the Bishop of Passau, it shows an upright standing wolf holding a crosier in its paw.
Modern Times
In the course of the armed conflict between the Emperor Frederick III . and King Matthias of Hungary pledged the Bishop of Passau the town on the Hungarian king. From 1485 stood Lower Austria as a whole under Hungarian rule. The most important document of this period is the awarding of the city coat of arms by King Matthias Corvinus in the year 1487. After the death of the opponents 1490 and 1493 could Frederick's son Maximilian reconquer Lower Austria. He considered St. Pölten as spoils of war and had no intention of returning it to the diocese of Passau. The city government has often been leased subsequently, for instance, to the family Wellenstein, and later to the families Trautson and Auersperg.
That St. Pölten now was a princely city, found its expression in the coat of arms letter of the King Ferdinand I. from 1538: From now on, the wolf had no crosier anymore, and the from the viewer's point of view left half showed the reverse Austrian shield, so silver-red-silver.
To the 16th Century also goes back the construction of St. Pöltner City Hall. The 1503 by judge and council acquired house was subsequently expanded, rebuilt, extended and provided with a tower.
A for the urban history research important picture, painted in 1623, has captured scenes of the peasant uprising of 1597, but also allows a view to the city and lets the viewer read some of the details of the then state of construction. The economic inconveniences of that time were only exacerbated by the Thirty Years War, at the end of which a fifth of the houses were uninhabited and the citizenry was impoverished.
Baroque
After the successful defense against the Turks in 1683, the economy started to recover and a significant building boom began. Lower Austria turned into the land of the baroque abbeys and monasteries, as it is familiar to us today.
In St. Pölten, the change of the cityscape is closely connected to the Baroque architect Jakob Prandtauer. In addition to the Baroquisation of the interior of the cathedral, a number of buildings in St. Pölten go to his account, so the reconstruction of the castle Ochsenburg, the erection of the Schwaighof and of the core building of the Institute of the Blessed Virgin Mary (Englische Fräuleins - English Maidens) - from 1706 the seat of the first school order of St.Pölten - as well as of several bourgeois houses.
Joseph Munggenast, nephew and co-worker of Prandtauer, completed the Baroquisation of the cathedral, he baroquised the facade of the town hall (1727) and numerous bourgeois houses and designed a bridge over the Traisen which existed until 1907. In the decoration of the church buildings were throughout Tyroleans collaborating, which Jakob Prandtauer had brought along from his homeland (Tyrol) to St. Pölten, for example, Paul Troger and Peter Widerin.
Maria Theresa and her son Joseph II: Their reforms in the city of the 18th Century also left a significant mark. School foundings as a result of compulsory education, the dissolution of the monasteries and hereinafter - from 1785 - the new role of St. Pölten as a bishop's seat are consequences of their policies.
1785 was also the year of a fundamental alteration of the old Council Constitution: The city judge was replaced by one magistrate consisting of five persons, at the head was a mayor. For the first mayor the painter Josef Hackl was chosen.
The 19th century
Despite the Napoleonic Wars - St. Pölten in 1805 and 1809 was occupied by the French - and despite the state bankruptcy of 1811, increased the number of businesses constantly, although the economic importance of the city for the time being did not go beyond the near vicinity.
Against the background of monitoring by the state secret police, which prevented any political commitment between the Congress of Vienna and the 1848 revolution, the citizens withdrew into private life. Sense of family, fostering of domestic music, prominent salon societies in which even a Franz Schubert socialized, or the construction of the city theater were visible signs of this attitude.
The economic upswing of the city did not begin until after the revolution of the year 1848. A prerequisite for this was the construction of the Empress Elisabeth Western Railway, moving Vienna, Linz, soon Salzburg, too, in a reachable distance. The city walls were pulled down, St. Pölten could unfold. The convenient traffic situation favored factory start-ups, and so arose a lace factory, a revolver factory, a soap factory or, for example, as a precursor of a future large-scale enterprise, the braid, ribbon and Strickgarnerzeugung (knitting yarn production) of Matthias Salcher in Harland.
In other areas, too, the Gründerzeit (years of rapid industrial expansion in Germany - and Austria) in Sankt Pölten was honouring its name: The city got schools, a hospital, gas lanterns, canalization, hot springs and summer bath.
The 20th century
At the beginning of the 20th Century the city experienced another burst of development, initiated by the construction of the power station in 1903, because electricity was the prerequisite for the settlement of large companies. In particular, the companies Voith and Glanzstoff and the main workshop of the Federal Railways attracted many workers. New Traisen bridge, tram, Mariazell Railway and other infrastructure buildings were erected; St. Pölten obtained a synagogue. The Art Nouveau made it repeatedly into the urban architecture - just think of the Olbrich House - and inspired also the painting, as exponents worth to be mentioned are Ernst Stöhr or Ferdinand Andri.
What the outbreak of the First World War in broad outlines meant for the monarchy, on a smaller scale also St. Pölten has felt. The city was heavily impacted by the deployment of army units, a POW camp, a military hospital and a sick bay. Industrial enterprises were partly converted into war production, partly closed. Unemployment, housing emergency and food shortages long after the war still were felt painfully.
The 1919 to mayor elected Social Democrat Hubert Schnofl after the war tried to raise the standard of living of the people by improving the social welfare and health care. The founding of a housing cooperative (Wohnungsgenossenschaft), the construction of the water line and the establishment of new factories were further attempts to stimulate the stiffening economy whose descent could not be stopped until 1932.
After the National Socialist regime had stirred false hopes and plunged the world into war, St. Pölten was no longer the city as it has been before. Not only the ten devastating bombings of the last year of the war had left its marks, also the restrictive persecution of Jews and political dissidents had torn holes in the structure of the population. Ten years of Russian occupation subsequently did the rest to traumatize the population, but at this time arose from the ruins a more modern St. Pölten, with the new Traisen bridge, district heating, schools.
This trend continued, an era of recovery and modernization made the economic miracle palpable. Already in 1972 was - even if largely as a result of incorporations - exceeded the 50.000-inhabitant-limit.
Elevation to capital status (capital of Lower Austria), 10 July 1986: No other event in this dimension could have become the booster detonation of an up to now ongoing development thrust. Since then in a big way new residential and commercial areas were opened up, built infrastructure constructions, schools and universities brought into being to enrich the educational landscape. East of the Old Town arose the governmental and cultural district, and the list of architects wears sonorous names such as Ernst Hoffmann (NÖ (Lower Austria) Landhaus; Klangturm), Klaus Kada (Festspielhaus), Hans Hollein (Shedhalle and Lower Austrian Provincial Museum), Karin Bily, Paul Katzberger and Michael Loudon ( NÖ State Library and NÖ State Archive).
European Diploma, European flag, badge of honor, Europe Price: Between 1996 and 2001, received St. Pölten numerous appreciations of its EU commitment - as a sort of recognition of the Council of Europe for the dissemination of the EU-idea through international town twinnings, a major Europe exhibition or, for example, the establishment and chair of the "Network of European medium-sized cities".
On the way into the 21st century
Just now happened and already history: What the St. Pöltnern as just experienced sticks in their minds, travelers and newcomers within a short time should be told. The theater and the hospital handing over to the province of Lower Austria, a new mayor always on the go, who was able to earn since 2004 already numerous laurels (Tags: polytechnic, downtown enhancement, building lease scheme, bus concept) - all the recent changes are just now condensed into spoken and written language in order to make, from now on, the history of the young provincial capital in the 3rd millennium nachlesbar (checkable).
www.st-poelten.gv.at/Content.Node/freizeit-kultur/kultur/...
A valid statement in Iceland is "not sure if geyser or power plant." My first full day in Iceland, I saw this steam while driving the Golden Circle and was excited about the geothermal activity, even if it did seem like being back in the mountain west with Yellowstone. Nope, not geyser. Power plant. Not as exciting, but still pretty, as is this extremely placid stream at Þingvellir. So calm, so sunny! (That weather didn't last.)
Speaker Nancy Pelosi released the following statement today on the passing of civil rights leader Dr. Dorothy I. Height:
“Men and women of every race and faith are heirs to the work, passion, and legacy of Dr. Dorothy I. Height. From her earliest days as an activist, she fought for equality under the law for every American - recognizing that the battle for civil rights extended to African Americans, women, the disabled and anyone denied the chance to succeed because of who they are. For four decades, she stood at the helm of the National Council of Negro Women, continuing the struggle for an America that lived up to its ideals of liberty and opportunity, regardless of race or gender.
“In every fight, Dr. Height turned the tides of history toward progress. Today, we live in an America that Dorothy Height helped to shape – a nation defined by equality, shaped by civil rights, and driven by the pursuit of justice for all.
“Our thoughts and prayers are with the family, friends, and loved ones of Dorothy Height – the mother of the civil rights movement and a champion for social justice. Her loss is felt by all who knew her, who respected her, and who followed in her footsteps. The nation mourns the passing of this giant of American history. We will all deeply miss her commitment, compassion, and devotion to a better future.”