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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
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This is to promote the Street Photographers Website, yersterday we started this project with a bunch of great street photographers present on web, and I'm proud to be with them.
This is the statement:
“Street-photographers” is the name of a project with very high talented authors from around the world with unique style which represent her/his different view to our global surrounding. Our goal is to organize exhibitions and workshops around the world, to publish books and to represent street photography to wider public.
Stay tuned on:
We hope we'll do big things together.
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see my recent on black on flickriver
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La tombe d'Unayshu date de la fin du 1er siècle après JC. Ce tombeau sculpté par les Nabatéens face à Jabal al-Khubtha, la montagne surplombant Petra à l'Est et dédié à un membre de l'élite nabatéenne. Le pilastre de coin de la tombe et ceux qui encadrent l'entrée sont un dessin typiquement nabatéen. La façade lisse est dans le même style que les tombes trouvées à Madâin Sâlih en Arabie Saoudite.
The tomb of Unayshu dates from the end of the 1st century AD. This tomb carved by the Nabataeans facing Jabal al-Khubtha, the mountain overlooking Petra in the East and dedicated to a member of the Nabataean elite. The corner pilaster of the tomb and those that frame the entrance are a typical Nabataean design. The smooth facade is in the same style as the tombs found at Madâin Sâlih in Saudi Arabia.
Trying my hand at double exposure (faked in photoshop) (haha unintentional pun there)
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Demel
The title of this article is ambiguous. Other uses, see Demel (disambiguation).
K.u.K. Hofzuckerbäcker Ch Demel 's Söhne GmbH
Founded in 1786
Coffee and pastry industry
Products Coffee, tea, cakes
website www.Demel.at
Interior furnishings from Komptoir Demel in Vienna, from Portois Fix
When decorating goods Visitors may watch.
Demel is one of the most famous Viennese pastry at the carbon (cabbage) market (Kohlmarkt) 14 in the first Viennese district Innere Stadt. Demel was a k.u.k. Hofzuckerbäcker and runs this item today in public.
History
1778 came the of Wurttemberg stemming confectioner Ludwig Dehne to Vienna. 1786, he founded his pastry shot at the place of St. Michael. Dehne died in 1799 of tuberculosis. His widow then married the confectioner Gottlieb Wohlfahrt. In 1813 they bought the house in St. Michael's Square 14. Despite numerous innovations such as frozen the company's finances could not be rehabilitated. After the death of Gottlieb Wohlfahrt in 1826 the widow and her son from her first marriage August Dehne succeeded but the economic boom. August Dehne managed to great wealth, he invested in land. As the son of August Dehne struck another career as a lawyer, Dehne sold the confectionery in 1857 to his first mate Christoph Demel.
Demel also had success in the continuation of the company and established it to a Viennese institution. After the death of Christoph Demel in 1867 his sons Joseph and Charles took over the business, which is why it since "Christoph Demel 's Söhne" means. On request Demel received 1874 the Hoflieferantentitel (the titel as purveyor to the court). The proximity to the Imperial Palace directly opposite made business more profitable. The Hofburg borrowed from Demel occasionally staff and tableware for special occasions such as proms and parties. Recent developments in the art of confectionery were brought from Paris. Trained at Demel, professionals quickly found employment.
1888 Old Burgtheater was demolished at Michael's place and transformed the place. Demel had to move out of the house and he moved to the Kohlmarkt 14. The new store inside was equipped inside with high costs by purveyor to the court Portois & Fix. The interior is decorated in the style of Neo-Rococo with mahogany wood and mirrors. Regulars were members of the Viennese court as Empress Elisabeth, and other prominent members of the Vienna society of the time, the actress Katharina Schratt and Princess Pauline von Metternich. A peculiarity of Demel from the time of the monarchy is that the always female attendance, which originally was recruited from monastic students, is dressed in a black costume with a white apron. They are called Demelinerinnen and address the guest traditionally in a special "Demel German", which is a polite form of the third person plural, omitting the personal salutation and with questions such as "elected Have you?" or "want to eat?" was known.
After the death of Joseph and Carl Demel took over Carl's widow Maria in 1891 the management. She also received the k.u.k. Hoflieferantentitel. From 1911 to 1917 led Carl Demel (junior) the business and then his sister Anna Demel (4 March 1872 in Vienna - November 8, 1956 ibid ; born Siding). Under her leadership, the boxes and packaging were developed by the Wiener Werkstätte. Josef Hoffmann established in 1932 because of a contract the connection of the artist Friedrich Ludwig Berzeviczy-Pallavicini to Anna Demel. The design of the shop windows at that time was an important means of expression of the shops and there were discussions to whether they should be called visual or storefront (Seh- or Schaufenster - display window or look window). While under the Sehfenster (shop window) an informative presentation of goods was understood, the goods should be enhanced by staging the showcase. From 1933 until his emigration in 1938 took over Berzeviczy-Pallavicini the window dressing of Demel and married in 1936 Klara Demel, the adopted niece of Anna Demel.
During the Nazi regime in Austria the confectioner Demel got privileges from the district leadership because of its reputation. Baldur von Schirach and his wife took the confectioner under their personal protection, there were special allocations of gastronomic specialties from abroad in order to continue to survive. But while the two sat in the guest room and consumed cakes, provided the Demelinerinnen in a hallway between the kitchen and toilet political persecutws, so-called U-Boats. Those here were also hearing illegal radio stations and they discussed the latest news.
1952 Anna Demel was the first woman after the war to be awarded the title Kommerzialrat. She died in 1956. Klara Demel took over the management of the bakery. Berzeviczy-Pallavicini, who lived in the United States until then returned to Vienna. After Clara's death on 19 April 1965, he carried on the pastry. During his time at Demel he established the tradition to make from showpieces of the sugar and chocolate craft extravagant neo-baroque productions. Baron Berzeviczy sold the business in 1972 for economic reasons to the concealed appearing Udo Proksch, who established in 1973 in the first floor rooms for the Club 45; also Defence Minister Karl Lütgendorf had his own salon. After Proksch was arrested in 1989 in connection with the Lucona scandal, he sold Demel to the non-industry German entrepreneur Günter Wichmann. 1993 it came to insolvency. Raiffeisen Bank Vienna as principal creditor, acquired the property in 1994 from the bankrupt company to initially continue itself the traditional Viennese company through a subsidiary. In the process of the renovation in March 1995 on the fourth floor were mura painting from the 18th century exposed and the baroque courtyard covered by a glass construction which since the re-opening on 18 April 1996 can be used as Schanigarten (pavement café) or conservatory.
In 2002 the catering company Do & Co took over the Demel. The company was awarded with the "Golden Coffee Bean " of Jacobs coffee in 1999. Demel now has additional locations in Salzburg and New York.
Products
Demel chocolate products
One of the most famous specialty of the house is " Demel's Sachertorte" . The world-famous Sachertorte was invented by Franz Sacher, but completed only in its today known form by his son Eduard Sacher while training in Demel. After a 1938 out of court enclosed process occurred after the Second World War a till 1965 during dispute between Demel and the Sacher Hotel: The hotel insisted on its naming rights, Demel, however, could pointing out already since the invention of the "Original Sacher" called pie "having used the denomination". Demel had after the death of Anna Sacher in 1930, under defined conditions, the generation and distribution rights for "Eduard-Sacher-Torte" received. The dispute was settled in favor of the Hotel Sacher and the Demelsche cake is today, "Demel 's Sachertorte" and is still made by hand. While a layer of apricot jam under the chocolate icing and another in the center of the cake can be found in the "Original Sacher-Torte", is in "Demel 's Sachertorte " the layer in the middle omitted.
Besides the Sachertorte helped another specialty the pastry to world fame: the original gingerbread figures whose modeling came from the collection of Count Johann Nepomuk Graf Wilczek on Castle Kreuzenstein. Then there are the Demel cake (almond-orange mass with blackcurrant jam, marzipan and chocolate coating), Anna Torte, Dobos cake, cake trays, Russian Punch Cake, Esterházy cake, apple strudel and other confectionary specialties. Popular with many tourists are the candied violets with which Demel earlier supplied the imperial court and they allegedly have been the Lieblingsnaschereien (favorite candies) of Empress Elisabeth ("Sisi"). Rooms in the upper floors as the Pictures Room, Gold Room and the Silver rooms are rented for events. In addition to the pastry shop Demel operates, as it did at the time of the monarchy, a catering service, after the re-opening in 1996 as well as storage, shipping and packaging was desettled in the 22nd District of Vienna. Demel is also responsible for the catering at Niki Aviation.
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From the New South Wales Office of Environment and Heritage website (www.environment.nsw.gov.au/heritageapp/ViewHeritageItemDe...):
History:
The railway from Wentworth Falls to Mount Victoria was opened in 1868, passing through what was to become Katoomba. The Great Western Railway was intended to initially reach Bathurst but, beyond that town, its terminus was not stated.
The station opened in 1874 as 'The Crushers'. A sandstone quarry suitable for producing ballast for the construction and maintenance of the line was developed just to the north of the line, and from 1874 The Crushers was a stopping-place for trains with quarrymen, equipment and wagons for transporting ballast. A platform was provided in 1877 close to the level-crossing keeper's cottage (demolished in 1902).
In 1881 a new timber platform and station were built, to the west of the level-crossing. The goods yard between the stations and Bathurst Road (then the Great Western Highway) was developed in 1883-4. This expansion was necessary because of Katoomba's growth in the 1880s and 1890s as a tourist and local commercial centre. The goods yard contains a valuable collection of traditional railway structures, including the 5 ton jib crane (no. T171), the goods shed 54’ x 12’ dating in part from 1881 and an unusual curved timber loading platform. There is also an office for the yard gatekeeper and for a signalman, all dating from the early 1900s.
In 1891, the 1881 station building was moved to the improved goods yard to the south. The Katoomba Times reported on 10 October 1891 that 'the old Katoomba station building is to be the goods shed, and was put into position last Wednesday (7 October 1891)', with the 1884 crane adjacent to the east. Around 1921 the goods yard was altered, the siding was realigned and the goods shed (the former station of 1881) was moved 18 metres to the east, where it still resides. The 1884 five-tonne crane was moved along with the shed to its present position.
The present island platform and building at Katoomba date from 1891 and was constructed for £6,922 (including the subway) by Quiggan and Kermode, builders. They are unusual for two reasons. Firstly, the timber building is curved and, secondly, the building design was only used in the Sydney metropolitan rail system. It is the only such building constructed outside the Central to Parramatta line. It is one of 4 such structures remaining extant from a number of stations containing Type 10 buildings including Newtown, MacDonaldtown, Ashfield, Lewisham (all demolished - possibly other examples) and Summer Hill, Homebush and Croydon (extant). Extensions to the building in the same style were carried out in 1913 for £216. Its dominant feature is the extension of the roof bearers to form awnings on both sides and the position of small ornate brackets under the awning beams, marking a transition from the use of posted verandas to cantilevered awnings. The platform was reached by the use of a pedestrian subway constructed in 1891, which were rare outside Sydney.
The other main platform building is the elevated, timber signal box, which was commissioned in 1903. The signal box contains a cam and tappet 40 lever interlocking machine that was installed in 1945. It is typical of the construction time and is similar to boxes at Mount Victoria, Newnes Junction, Lithgow Yard and Exeter.
The line was duplicated in 1902. A two-room timber building was built on the western end of the platform in 1909 for an inspector and an electrician and this building was extended in 1945 for use as a staff meal room. An 'out-of' shed completed the platform structures.
At the entrance to the Station are the ‘Progress Buildings’ which are shown on a plan as part of a new ‘Booking and Parcels Office Building’ dated 20/12/1938. The buildings are a single storey group of three shops facing south to Bathurst Road with an additional shopfront facing east to the exit from the railway station subway. The eastern most shop, 283-285 Bathurst Road, retains its original brass shopfront, albeit with some modification, and tiled piers between, the shop entries are recessed from the street with splayed shopfront reveals. The tiled and marble threshold records the name "MARX" an early Katoomba businessman who used the premises. The Progress Buildings are still owned by RailCorp and leased for private business.
The railway residence at 8 Abbotsford Rd was sold in 1964.
Why significant?
Katoomba Railway Station and Yard is of state significance as a unique railway site in NSW developed around a former ballast quarry and is significant for demonstrating Katoomba’s growth in the 1880s and 1890s as the first tourist and local commercial centre in the Blue Mountains, before the duplication of the Western line in 1902.
The 1891 station building is significant as one of few surviving timber railway station buildings known as ' Standard Eddy', designed under Commissioner Eddy, and demonstrating the introduction of island platform buildings in NSW. Katoomba station building is the only known example of this station type outside the inner city area and is unique to the other examples for its curved form along the platform. The adjacent signal box with its garden beds and planting is also an important and integral element within the station group and is a rare example of a timber on-platform signal box.
The site of the goods yard is of particular significance as it was part of the original Katoomba station precinct dating from 1878, which was used for locomotive turning and minor servicing and stabling of trains. While fulfilling a minor railway use at present for per way maintenance, it contains two relatively rare items, which are the former 1881 timber station building as its goods shed and the 1891 crane.
The station group comprises a homogenous collection of timber structures adding significance to the townscape and streetscape with direct relationships to both. Situated at the focal point of Katoomba, the station is connected visually and physically to the town's commercial heart by the pedestrian subway and landscaped surrounds. The adjacent Progress Buildings from part of the station group and contribute to the early 20th Century character of the commercial precinct of Katoomba with their largely intact shopfronts.
When the software I'm the more proud of is showcased and sold on one of the most respectable font website… :-)
Website: www.benporterwildlife.co.uk
Blog: www.benporterphotography.blogspot.co.uk
I took this image just after the sun had set a few days ago, when the street lights and house lights provided some interesting lighting on the lake. This Black-headed Gull drifted across the water just before darkness, providing me with this image.
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Website : GYPSIES OF RAJASTHAN
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Website : REGARDS DU MONDE
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German Federal Garden Show
Bundesgartenschau (BUGA 2019)
Heilbronn
Bionic pavilion made of wood.
Click here for more photographs of the
German Federal Garden Show.
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If interested in more photographs of mine, please visit my website
Website : lvalenciaphoto.wordpress.com/
500px : 500px.com/laurentvalencia
Etang de Bolmon / Marignane
Canon 5DSR
Canon 24-105mm
Tous droits réservés © L. VALENCIA
Merci de ne pas utiliser cette photo sans mon autorisation.
After months of work by MandaBW, StolBW, and I, I’m happy to announce that the official BrickWarriors Website is now live!
The first 10 people to order from it will receive a free prototype with their order, so hurry on over and go check it out.
Also, for a limited time we're offering free shipping for domestic orders over $50.
We ship world-wide.
We tested it quite a bit and I don’t think there are any problems, but if you find any don’t hesitate to tell me about them.
Note: Checkout is done through paypal, but you still just use a credit card without signing up. We did this in order to keep your personal information as secure as possible.
Watch kitten videos - www.youtube.com/user/utahactor
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I just created a new portfolio website using 22 slides. It took all of a few hours to set up and was the best experience I have ever had building a portfolio website. Check out the new site at port.photosbychrismartin.com
Also, if you are a photographer check out the trial at www.22slides.com
Dusky Leaf Monkey aka Dusky Langur aka Spectacled Leaf Monkey aka Spectacled Langur, Taman Negara National Park, Pahang, Malaysia
Website: www.ashley-vincent.com
Instagram: @ashleyvincentphotography
Valencia March 2009 L'Ofrenda floral. This is what is known as the "Ofrenda de Flores a la Virgen de los Desamparados", a floral offering to the Kingdom of Valencia's patron saint, Our Lady of the Forsaken. All the Fallas Committees take part in this event, decked out in their finest, to present their bouquets of flowers to the enormous image of the Virgin which stands in the centre of the plaza named after her, overlooked by her Basilica.
This occurs all day on their days of March 17th and March 18th. The virgin's body is then constructed with these flowers. The Falles (in Valencian) are a Valencian traditional celebration in praise of Saint Joseph in Valencia, Spain. The term Falles refers to both the celebration and the monuments created during the celebration.
Each neighbourhood of the city has an organized group of people, the Casal faller, that works all year long holding fundraising parties and dinners, usually featuring the famous speciality paella. Each casal faller produces a construction known as a falla which is eventually burnt. A casal faller is also known as a comissió fallera.
The name of the festival is thus the plural of falla. The word's derivation is as follows:
falla ← Vulgar Latin *facla ← Latin facula (diminutive) ← Latin fax, "torch". There are a few different theories regarding the origin of the Falles festival. One theory suggests that the Falles started in the Middle Ages, when artisans put out their broken artifacts and pieces of wood that they sorted during the winter then burnt them to celebrate the spring equinox. Valencian carpenters used planks of wood to hang their candles on. These planks were known as parots. During the winter, these were needed to provide light for the carpenters to work by. With the coming of the Spring, they were no longer necessary, so they were burned. With time, and the intervention of the Church, the date of the burning of these parots was made to coincide with the celebration of the festival of Saint Joseph, the patron saint of the carpenters.
This tradition continued to change. The parot was given clothing so that it looked like a person. Features identifiable with some well-known person from the neighborhood were added as well. To collect these materials, children went from house to house asking for Una estoreta velleta (An old rug) to add to the parot. This became a popular song that the children sang to gather all sorts of old flammable furniture and utensils to burn in the bonfire with the parot. These parots were the first ninots. With time, people of the neighborhoods organized the process of the creation of the Falles and monuments including various figures were born.
Until the beginning of the twentieth century, the Falles were tall boxes with three or four wax dolls dressed in cloth clothing. This changed when the creators began to use cardboard. The creation of the Falle continues to evolve in modern day, when largest monuments are made of polyurethane and soft cork easily molded with hot saws. These techniques have allowed Falles to be created in excess of 30 meters.
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Website: www.benporterwildlife.co.uk
Blog: www.benporterphotography.blogspot.co.uk
It was amazing to watch this superb bird down to a few metres at Marazion (Cornwall) yesterday! Feeding in a small pool by the roadside, it was completely unperturbed by people's presence, allowing us to watch as it plucked out earthworms from the ground and went about its business. Cracking bird