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(L-R) K.M., A.C., M.G. There's two very good reasons for them to be happy right about now... first, we had just surfaced from another great Scuba Dive, and second, SCHOOL'S OUT FOR THE SUMMER!!!
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Septa-Surface all-electric PCC 2099 (St Louis 1948) emerges from 40th & Woodlawn portal outbound on Route 13 YEADON 8-20-80
Shot with a Pentax MX
SMC Pentax-A 100mm f/2.8 Macro lens
Kentmere Pan 400 film
Shot at EI 400
Developed in the Ego Lab using XTOL (1:1, 7:28 min at 79F, agitating first and each minute)
Scanned on a Coolscan 9000ED
GONE--This mid-century piece is great for a graphic designer or artist; it doesn't take up too much room, yet it has a huge work surface to spread out on--books, tablets, screens--the lot!
by David T. Hill : Updated March 9, 2020 Anno Domini
"Copper is great at killing superbugs – so why don’t hospitals use it?
Copper and its alloys exhibit impressive antibacterial, anti-fungal and antiviral properties. Copper has been exploited for health purposes since ancient times. Egyptian and Babylonian soldiers would sharpen their bronze swords (an alloy of copper and tin) after a battle, and place the filings in their wounds to reduce infection and speed healing.
The process involves the release of copper ions (electrically charged particles) when microbes, transferred by touching, sneezing or vomiting, land on the copper surface. The ions prevent cell respiration, punch holes in the bacterial cell membrane or disrupt the viral coat, and destroy the DNA and RNA inside.
This latter property is important as it means that no mutation can occur – preventing the microbe from developing resistance to copper. Copper alloys kill superbugs, including MRSA and those from the notorious ESKAPE group of pathogens – the leading cause of hospital-acquired infections."
theconversation.com/copper-is-great-at-killing-superbugs-...
It has been recorded that both Kids and Women (and probably African Americans) have more immunity to Coronavirus then adult Men and the probable reason is that these groups have higher Copper content in their systems. See quotes below.
Copper Tincture :
"Put some copper pennies into vinegar overnight. The vinegar may turn pale blue - that is the cuprous ion. Add a drop of that to your coffee, tea or food for copper. Good idea, but don't overdo it. Copper coating on pennies is fine since it is still copper. You can buy copper supplements but I'd rather do it this way."
lunaticoutpost.com/thread-167147-post-3115235.html?fbclid...
You can use this for ingestion and you could also make a bigger batch and use it for cleaning - dampen a rag and wipe down all surfaces - tables, counters, door handles, etc. You could even take a sponge bath with it. Mix it with vaseline and dab it in your nostrils and every time you breathe in you will be putting copper ions into your lungs but this should probably only be done if you have actually contracted the virus.
The Masks are virtually useless (because they don't make an air tight seal so its a waste of time shaving your beards boys) but if you soak one in this solution it will kill the virus (making masks reusable) and wear it damp every time you breathe in you will be breathing in Copper Ions which will kill the Virus in your lungs as well as making it into your Blood Stream. But you will need to monitor for Copper Toxicity (Headaches, acne, greenish complexion, etc., see url below).
You could pour this solution into a Humidifier and, in theory, Ionize an entire room and turn it into an impromptu clinic if you needed to but, again, this should be only if you have contracted the virus.
There is no proof that Colloidal Silver or Vitamin C kills viruses (see quotes below) and, in fact, the Aids Community tried both and neither one worked so they discarded that practice so you probably don't want to waste your time with Silver or Vitamins to stop a Weaponized Virus (Antiviral Research, Vol. 16, April 2020, Article : The spike glycoprotein of the new coronavirus 2019-nCoV contains a furin-like cleavage site absent in CoV of the same clade) which is probably Airborne like Influenza (New England Journal of Medicine, Feb. 19, 2020 SARS-CoV-2, Article : Viral Load in Upper Respiratory Specimens of Infected Patients). Copper Ions, however, have been proven to kill both the HIV Virus and Coronavirus (see quote below).
Some multivitamins have copper in them. You can make some impromptu 'silverware' so you ingest particulates of copper on a regular basis so it gets in your blood. You can make rings out of copper grounding wire and wear them on you hands and then everything you touch will have copper particles on them. You can even carry a penny in you mouth off and on but make sure you use an older penny cause the recent ones are only copper coated.
"You can buy colloidal copper in liquid form (gold too)."
lunaticoutpost.com/thread-167147-post-3115387.html?fbclid...
You can ask at any pharmacy like Walmart or any good Vitamin Store and they should be able to order liquid colloidal copper for you if they don't already carry it in stock and it should have the normal dosage suggestions on the bottle.
What is Colloidal Copper :
www.healthline.com/health/colloidal-copper
Colloidal Silver :
"Proponents of colloidal silver claim that it can have antiviral effects in your body. Some studies have suggested that different types of silver nanoparticles may help kill viral compounds. However, the amount of nanoparticles in a colloid solution can vary and a recent study found colloidal silver to be ineffective at killing viruses, even in test-tube conditions."
www.healthline.com/nutrition/colloidal-silver?fbclid=IwAR...
Vitamin C :
"Several years ago there was much interest in high-dose Vitamin C as an HIV treatment. By the end of 1987 this interest had greatly diminished, although some people continue to use the treatment today. One reason we have been skeptical of Vitamin C is that if the treatment had worked well, it seems unlikely that the community would have stopped using it."
www.aids.org/2010/10/vitamin-c-laboratory-tests-indicate-...
HIV :
"Incorporation of copper alloy surfaces in conjunction with effective cleaning regimens and good clinical practice could help to control transmission of respiratory coronaviruses, including MERS and SARS.
Copper alloys have demonstrated excellent antibacterial and antifungal activity against a range of pathogens in laboratory studies (14,–19). Copper ion release has been found to be essential to maintaining efficacy, but the mechanism of action is variable (20, 21). A reduction in microbial bioburden and acquisition of nosocomial infection has now been observed in clinical trials of incorporation of copper alloy surfaces in health care facilities (22,–25).
Rapid inactivation of human coronavirus occurs on brass and copper nickel surfaces at room temperature (21°C).Inactivation of coronavirus on copper and copper alloy surfaces results in fragmentation of the viral genome, ensuring that inactivation is irreversible.
Copper ions have been shown to directly inhibit proteases by reacting with surface cysteine and to inflict damage to the viral genome in HIV and herpes simplex virus (40, 41).
The mechanism of bacterial death on copper surfaces is complex, involving not only direct action of copper ion on multiple targets but also the generation of destructive oxygen radicals, resulting in “metabolic suicide” (20). This was not observed for norovirus destruction on copper, presumably because of the lack of respiratory machinery (26). However, it appears that superoxide and hydroxyl radical generation may be important in the inactivation of coronaviruses on copper alloys but that inactivation on 100% copper surfaces is primarily due to the direct effect of copper ions.
In this study, we observed rapid damage, including clumping, breakage, membrane damage, and loss of surface spikes, to the coronavirus particles following exposure to copper, and some particles appeared smaller and seemed to have lost rigidity, folding up on themselves. These changes were not observed with virus recovered from stainless steel surfaces.
There is now a large body of evidence from laboratory studies and small clinical trials to suggest that incorporation of copper surfaces could play a significant role in reducing infection transmission from contaminated surfaces."
www.ncbi.nlm.nih.gov/pmc/articles/PMC4659470/
Plasma Copper in Human Subjects
"Plasma copper was not correlated with age among control subjects or AD patients. Plasma and cerebrospinal fluid copper were not correlated in any group.
Plasma copper is increased in human female (1008 ± 51) compared to male (836 ± 41) control subjects (P = 0.01) when all age groups were combined. When the control subjects were divided by age group, trends to higher plasma copper in females were appreciated in the middle-aged and old control subjects, but not the young subjects."
www.ncbi.nlm.nih.gov/pmc/articles/PMC3199105/
"Copper levels in plasma and erythrocytes in healthy Japanese children and adults.
This study showed differences in plasma and erythrocyte copper concentrations in children and adults. All determinations were performed with a flameless atomic absorption spectrophotometer. The mean plasma copper level at 1 month of age was significantly lower than in adults. After 1 month of age the mean concentration in plasma increased to its peak value at 2 to 5 yr of age, then decreased gradually with age. At 7 months to 10 yr of age, the copper levels in plasma were significantly higher than in adults. The erythrocyte copper levels at 1 month to 1 yr of age were significantly higher than in adults. The copper content of erythrocytes was highest at 2 to 6 months of age and then decreased gradually. The copper concentration of erythrocytes may reflect more accurately liver and total body copper levels than does the plasma copper level. There is less possibility of copper contamination in erythrocytes than in hair. Therefore, the measurement of erythrocyte copper concentration may well be a helpful index of the total copper status."
www.ncbi.nlm.nih.gov/pubmed/7064868
Copper Toxicity Symptoms :
www.holistic-back-relief.com/images/x7-signs-of-Copper-to...
Original Post :
theoferrum.activeboard.com/t66302031/copper-ions-the-silv...
Corundite (emery rock) with corundum/sapphire (blue) and calcite (yellowish-brown). (broken surface, dry)
Corundite is a remarkable metamorphic rock. The sample seen here has an attractive bluish color and wisps of yellowish-brown. Its composition and origin are quite unusual. Corundite (also known as emery rock) is dominated by corundum, a very hard (H ≡9) aluminum oxide mineral (Al2O3). This particular rock has blue corundum, therefore it can be called sapphire. Rock-forming corundum is rare.
This material comes from the Naxos Emery Deposits on the island of Naxos in the Aegean Sea. Naxos is dominated by metamorphic rocks and some igneous rocks. Much of the island consists of marbles (originally limestones). Some of the original limestones had lenses of bauxite, which is a rock having aluminum hydroxy-oxide minerals. Upon metamorphism, the limestones were converted to marbles and the bauxites were converted to diasporites (= diaspore (AlO·OH)-dominated rocks).
Upon further metamorphism, the diasporites were converted to corundites plus water. High fluid pressures fractured the rocks, and the fractures got filled up with corundite.
Metamorphism on Naxos occurred during the Cenozoic in two main phases. A high-grade metamorphic event occurred during the Eocene, at about 40-50 million years ago. A second, intermediate-grade metamorphic event occurred during the Early Miocene, at 16-20 million years ago.
-------------
Info. synthesized from:
Urai & Feenstra (2001) - Weakening associated with the diaspore-corundum dehydration reaction in metabauxites: an example from Naxos (Greece). Journal of Structural Geology 23: 941-950.
Feenstra & Wunder (2002) - Dehydration of diasporite to corundite in nature and experiment. Geology 30(2): 119-122.
Surfacing by artist Kitty Cantrell of Starlite Studio. They make some incredible looking – yet very expensive – sculptures. IIRC, the whales are hand-painted & fired Aluminum then liquid lucite is poured around the whales in a mold, heated for 24 hours to harden the lucite, and then smoothed and polished by hand.
Testing my new Nikon D500 - this was a hand held shot from inside the car, rather pleased with it considering!
via Tarmacadam Surfaces tarmacadamsurfaces.tumblr.com/post/149555401722
Tarmacadam Multi-Use Games Area in Dobwalls #Macadam #MUGA #Surface #Dobwalls t.co/wfEmuWiw0o
Palma Vecchio, autour de 1480-1528,
actif à Venise et Bergame
Les Nymphes se baignants, environ 1525-1528
Le thème de la femme nue gisant dans la nature sauvage est depuis Giorgione et le début du Titien à Venise familière. Jamais, cependant, l'accent a été mis tellement sur l'élaboration plastique, sur le contour linéaire des figures féminines, associés les une les autres d'une façon compliquée. Palma ici reprit animation organique des sculptures antiques et il s'appuya sur répertoire de ses contemporains maniéristes tels que Giulio Romano. La sensuelle texture de surface, à Venise habituelle, avait fait place à une fraîcheur porcelaine.
Palma Vecchio, um 1480-1528,
tätig in Venedig und Bergamo
Badende Nymphen, um 1525/28
Das Thema der in freier Natur gelagerten nackten Frau ist seit Giorgione und dem frühen Tizian in Venedig heimisch. Nie lag jedoch der Akzent so deutlich auf dem plastischen Herausarbeiten, auf der linearen Kontur der kompliziert einander zugeordneten weiblichen Figuren. Palma übernahm hier Bewegungsmotive antiker Skulpturen und schöpfte aus dem Repertoire seiner manieristischen Zeitgenossen wie Giulio Romano. Die in Venedig übliche sinnliche Oberflächentextur ist porzellanhafter Kühle gewichen.
Austria Kunsthistorisches Museum
Federal Museum
Logo KHM
Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture
Founded 17 October 1891
Headquartered Castle Ring (Burgring), Vienna 1, Austria
Management Sabine Haag
www.khm.at website
Main building of the Kunsthistorisches Museum at Maria-Theresa-Square
The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.
The museum
The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.
History
Archduke Leopold Wilhelm in his Gallery
The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building .
Architectural History
The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währingerstraße/ Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the opera ring, and Ludwig Zettl the southeast side of the grain market (Getreidemarkt).
From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience with of Joseph Semper at the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.
Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.
Construction of the two museums began without ceremony on 27 November 1871 instead. Semper moved to Vienna in the sequence. From the beginning, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, built in 1878, the first windows installed in 1879, the Attica and the balustrade from 1880 to 1881 and built the dome and the Tabernacle. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.
The lighting and air conditioning concept with double glazing of the ceilings made the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times .
Kuppelhalle
Entrance (by clicking the link at the end of the side you can see all the pictures here indicated!)
Grand staircase
Hall
Empire
The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891 , the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol will need another two years.
189, the farm museum was organized in seven collections with three directorates:
Directorate of coins, medals and antiquities collection
The Egyptian Collection
The Antique Collection
The coins and medals collection
Management of the collection of weapons, art and industrial objects
Weapons collection
Collection of industrial art objects
Directorate of Art Gallery and Restaurieranstalt (Restoration Office)
Collection of watercolors, drawings, sketches, etc.
Restoration Office
Library
Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.
1914, after the assassination of Franz Ferdinand, heir to the throne, his " Estonian Forensic Collection " passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d' Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.
The First World War went by, apart from the oppressive economic situation without loss. The farm museum remained during the five years of war regularly open to the public.
Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.
First Republic
The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.
It was not until the Treaty of Saint-Germain of 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.
On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House" , by the Republic. Of 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.
Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.
With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the
Egyptian and Near Eastern Collection (with the Oriental coins)
Collection of Classical Antiquities
Collection of ancient coins
Collection of modern coins and medals
Weapons collection
Collection of sculptures and crafts with the Collection of Ancient Musical Instruments
Picture Gallery
The Museum 1938-1945
Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.
With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the empire.
After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to perform certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.
The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. This was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.
The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.
The museum today
Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).
The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.
In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.
Management
1919-1923: Gustav Glück as the first chairman of the College of science officials
1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director
1933: Arpad Weixlgärtner first director
1934-1938: Alfred Stix first director
1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief in 1941 as first director
1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections in 1949 as general director of the historical collections of the Federation
1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections in 1949 as general director of art historical collections of the Federation
1949-1950: Hans Demel as administrative director
1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation
1951-1952: Fritz Eichler as administrative director
1953-1954: Ernst H. Buschbeck as administrative director
1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director
1967: Edward Holzmair as managing director
1968-1972: Erwin Auer first director
1973-1981: Friderike Klauner first director
1982-1990: Hermann Fillitz first director
1990: George Kugler as interim first director
1990-2008: Wilfried Seipel as general director
Since 2009: Sabine Haag as general director
Collections
To the Kunsthistorisches Museum are also belonging the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.
Kunsthistorisches Museum (main building)
Picture Gallery
Egyptian and Near Eastern Collection
Collection of Classical Antiquities
Vienna Chamber of Art
Numismatic Collection
Library
New Castle
Ephesus Museum
Collection of Ancient Musical Instruments
Arms and Armour
Archive
Hofburg
The imperial crown in the Treasury
Imperial Treasury of Vienna
Insignia of the Austrian Hereditary Homage
Insignia of imperial Austria
Insignia of the Holy Roman Empire
Burgundian Inheritance and the Order of the Golden Fleece
Habsburg-Lorraine Household Treasure
Ecclesiastical Treasury
Schönbrunn Palace
Imperial Carriage Museum Vienna
Armory in Ambras Castle
Ambras Castle
Collections of Ambras Castle
Major exhibits
Among the most important exhibits of the Art Gallery rank inter alia:
Jan van Eyck: Cardinal Niccolò Albergati, 1438
Martin Schongauer: Holy Family, 1475-80
Albrecht Dürer : Trinity Altar, 1509-16
Portrait Johann Kleeberger, 1526
Parmigianino: Self Portrait in Convex Mirror, 1523/24
Giuseppe Arcimboldo: Summer 1563
Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07
Caravaggio: Madonna of the Rosary (1606-1607)
Titian: Nymph and Shepherd to 1570-75
Portrait of Jacopo de Strada, 1567/68
Raffaello Santi: Madonna of the Meadow, 1505 /06
Lorenzo Lotto: Portrait of a young man against white curtain, 1508
Peter Paul Rubens: The altar of St. Ildefonso, 1630-32
The Little Fur, about 1638
Jan Vermeer: The Art of Painting, 1665/66
Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559
Kids, 1560
Tower of Babel, 1563
Christ Carrying the Cross, 1564
Gloomy Day (Early Spring), 1565
Return of the Herd (Autumn), 1565
Hunters in the Snow (Winter) 1565
Bauer and bird thief, 1568
Peasant Wedding, 1568/69
Peasant Dance, 1568/69
Paul's conversion (Conversion of St Paul), 1567
Cabinet of Curiosities:
Saliera from Benvenuto Cellini 1539-1543
Egyptian-Oriental Collection:
Mastaba of Ka Ni Nisut
Collection of Classical Antiquities:
Gemma Augustea
Treasure of Nagyszentmiklós
Gallery: Major exhibits