2017年8月31日星期四

Inquisitor's Palace, Il-Birgu, Malta




The Inquisitor's Palace (Maltese: Il-Palazz tal-Inkwiżitur), also known as the Sacred Palace,is a palace in Birgu, Malta. The Inquisitor’s Palace, situated in the heart of Vittoriosa, is one of the very few surviving palaces of its kind which, in the early modern period could be found all over Europe and South America. Many of these palaces simply succumbed to the ravages of time or were victims of the anti-reactionary power unleashed by the French Revolution. Fortunately, the Maltese Inquisitor’s Palace, throughout its five centuries of history, always hosted high-ranking officials representing the main powers on the island, who therefore ensured its survival.

The Inquisitor’s Palace was the seat of the Maltese Inquisition from 1574 to 1798, under the name Palazzo del Sant'Officio. The building was originally constructed as a courthouse known as the Castellania in the early 16th century, but little remains of the original building due to major alterations and renovations carried out in the subsequent centuries.

Mgr Pietro Dusina arrived in Malta in 1574 as the first general inquisitor and apostolic delegate of the Maltese Islands. The Grand Master offered him the unused palace as an official residence. Almost all successive inquisitors sought to transform the palace into a decent mansion. They all shared the same cultural values of clerical baroque Roman society, and by the mid-18th century they had managed successfully to transform the building into a typical Roman palace. The palace also managed to survive through the bombings of the Second World War and the threat of modern development.

After the inquisition was abolished during the French occupation of Malta in 1798, the palace was used for a number of purposes, including as a military hospital, a mess hall and a convent. It has been a museum since 1966, being known as the National Museum of Ethnography since 1992. The building is one of the few surviving palaces of its kind in the world, and the only one which is open to the public.

It is today the only Inquisitor’s Place open to the public in the world and an architectural gem, representative of the chequered history and European heritage of the Maltese islands.

The palace was built in around the 1530s, and it initially housed the Magna Curia Castellania Melitensis, a tribunal which was established by Grand Master Juan de Homedes y Coscon in 1543. The building's original design is attributed to the architects Diego Perez de Malfreire or Nicolò Flavari. It remained in use as a courthouse until 1572, when a new Castellania was built in Valletta after the Order of St. John moved their headquarters there.

The Inquisition was established in Malta in September 1574, with the first inquisitor being Pietro Dusina. Grand Master Jean de la Cassière offered the former Castellania to Dusina as his official residence, who moved in after the building was renovated. The building became the headquarters of the Inquisition, serving as both a palace for the inquisitor and also housing the tribunal and prisons.

Between the late 16th and 18th centuries, the various inquisitors who lived and worked in the palace made a number of major alterations to the building, and it was gradually transformed into a typical Roman palazzo with some Baroque influences. The palace was enlarged with the acquisition of nearby properties, and the first major renovation began in the 1630s under inquisitor Fabio Chigi (later Pope Alexander VII). The façade was rebuilt in 1660 to designs of Francesco Sammut, although it is often mistakenly attributed to Francesco Buonamici.

The palace was damaged during the 1693 Sicily earthquake, resulting in further repairs and alternations. The upper floor was possibly built in 1707 by the architect Giovanni Barbara. The interior was also altered and embellished throughout the 17th and 18th centuries, with the main staircase being built in 1733 to designs of Romano Carapecchia. Due to these modifications, the building has a somewhat labyrinthine plan. The only remains of the original Castellania is a small courtyard with a Gothic groin vault cloister.

The inquisition was abolished during the French occupation of Malta in June 1798. During French rule, the building was used as the headquarters of the Cottonera district. The coats of arms on the façade and some of those inside the building were probably defaced or removed at this point. Those forming the top hierarchy of the inquisition were given two days to leave the country.

When Malta was taken over by the British in 1800, the building was passed on to the military authorities. It was initially used as a military hospital, and it was converted into a mess-house for officers stationed at the barracks near Fort Saint Michael in nearby Senglea. Several alterations were made to the building by the British military throughout the course of the 19th century.

Around the turn of the century, the building was transferred to the civil authorities in exchange for some property in Valletta. The Public Works Office made plans to demolish the palace and replace it by government apartments in 1908, but nothing materialized.

The Inquisitor's Palace was passed to the Museums Department in 1926, and an extensive restoration was carried out by Vincenzo Bonello and Antonio Sciortino until 1939. In 1942, the palace was converted into a temporary Dominican convent after their original convent and church had been destroyed by aerial bombardment in World War II. The palace survived the bombings, and it was transferred back to the Museums Department after the Dominicans rebuilt their convent in 1954.

The palace was restored again and it opened as a museum called the Inquisitor's Palace on 21 February 1966. The upper floor became a Folklore Museum on 5 December 1981, but by the late 1980s the museum was in decline and only parts of it remained open to the public. The palace was fully reopened as the National Museum of Ethnography in 1992, and apart from a museum it also houses Heritage Malta's ethnography section. Historical reconstruction and further restoration is currently underway.

Apart from exhibits relating to the inquisition, the museum's collections also include a number of wooden architectural models of destroyed landmarks, including representations of Birgu before the World War II bombings, the Order's bakery in Valletta before it was demolished in the 1930s, and the Manderaggio before it was rebuilt in the 1950s.

The Inquisitor's Palace is one of the few surviving palaces of its kind around the world, and the only one which is open to the public. Many buildings used by the inquisition were destroyed during and after the French Revolution, or were left to decay over the centuries. The summer residence of Malta's inquisitor, Girgenti Palace, has also survived and it is now the summer residence of the Prime Minister of Malta.

The building was included on the Antiquities List of 1925. It is now a Grade 1 national monument, and it is also listed on the National Inventory of the Cultural Property of the Maltese Islands.

The Inquisitor's Palace is built in a number of architectural styles, but overall it resembles a Roman palazzo. It has a symmetrical façade which is divided by piers into five bays. The piers on the ground floor are rusticated, while those on the first floor are smooth-faced. The central bay contains the main doorway on the ground floor, above which is an open balcony supported on corbels. Two windows flank either side of the central bay, and they have rusticated surrounds on the ground floor and mouldings on the first floor. A string course runs along the first floor window sill level. The façade also has a socle to make up for the steep slope of the street.

Since the building was constructed over the course of the 16th, 17th and 18th centuries, with further alterations and restorations in the 19th and 20th centuries, its interior has a labyrinthine plan. One of the courtyards has a Gothic groin vault cloister, and this is the only part of the building that remains from the Castellania.
https://hisour.com/exhibition/inquisitors-palace-il-birgu-malta/

Inhotim, Brazil




The Inhotim Institute is home to one of the most important collections of contemporary art in Brazil and considered the largest outdoor art center in Latin America. The galleries dedicated to solo presentations of artist and the permanent outdoor works, four galleries - Fonte, Lago, Mata and Praça - house temporary exhibitions drawn from the growing contemporary art collection which now consists of more than 700 works by 200 artists from different countries around the world. By collaborating with artists in commissioning new works and adapting existing ones to new spaces, Inhotim’s artistic projects have dealt with landscape and nature, and have accumulated an impressive grouping of large-scale works. Having arisen from a private garden, Inhotim has developed an intensive line of work aimed at the preservation and development of vegetation and botanical research, pursuing new ways to preserve the biodiversity of the surrounding region and Brazil.

Instituto Inhotim is located in Brumadinho, 60 kilometers (37 miles) from Belo Horizonte, the capital of the state of Minas Gerais, and the third largest metropolitan area in Brazil. Inhotim features an internationally relevant art collection, located within 140 hectares (346 acres) of forests and botanical gardens. The botanical collection is shown in the institution’s gardens signed by the landscape designer Pedro Nehring and maintained in climate-controlled greenhouses and it contains about 4,200 species of plants, many of them threatened with extinction. In addition to these fields of art and botanical collection and research, Inhotim offers educational actions and an important program of social inclusion and citizenship for the local population, through programs developed with the local communities, organized social groups, corporate segments, public sector and regional institutions focused on culture and tradition.

Alongside its cultural role, activity that has qualified the institute as a civil-society organization of public interest (OSCIP) recognized by the Brazil’s Federal Government and by the State of Minas Gerais, in 2010 the institution received the official title of Botanical Garden by the Comissão Nacional de Jardins Botânicos.

In the 1980s, Paz began buying tracts of land surrounding his modest farmhouse as developers threatened to destroy the natural landscape. The farm had been named by locals after a former owner, a British engineer known as Senhor Tim — Nhô Tim in Minas Gerais's dialect.

Paz soon converted the then 3,000-acre ranch into a sprawling, 5,000-acre botanical garden designed by his friend, the late landscape artist Roberto Burle Marx. The project began when Brazilian contemporary artist Tunga persuaded Paz to start collecting contemporary art. Eventually, he allowed artists all the space and resources they needed to create larger-than-life works. The garden, which boasts two dozen art “pavilions”, opened to the public in 2006. The pavilions include more than 500 works by noted Brazilian and international artists, such as Hélio Oiticica, Yayoi Kusama, Anish Kapoor, Thomas Hirschhorn, Dominique Gonzalez-Foerster, Steve McQueen, Cildo Meireles and Vik Muniz. One pavilion is devoted to one of Paz′s ex-wives, the Brazilian artist Adriana Varejão.

In 2008, a geodesic dome designed by Paula Zasnicoff Cardoso of the Brazilian architectural practice Arquitetos Associados, was constructed within a eucalyptus forest and now contains Matthew Barney's installation De Lama Lâmina [From Mud, a Blade] (2004–08), which shows a vehicle uprooting a tree. Chris Burden’s Beam Drop (1984/2008) is made of 72 steel beams dropped 45 meters from 150-foot-high cranes into a pit filled with wet cement. Sonic Pavilion by Doug Aitken was realized in 2009 and consists of a circular building of frosted glass on top of a hill which contains a well. This goes down 200 meters into the ground and at its bottom microphones capture the sounds of the earth which are then amplified and played live in the gallery above. Vegetation Room (2012), by Cristina Iglesias, is a cube of polished stainless steel reflecting the surrounding forest. Visitors slip into crevices where the walls are sculpted foliage, entering a labyrinth within the labyrinth; at the cube's heart, torrents of water periodically rush.

In 2011, Inhotim joined the Brazilian government's official botanical garden association, and the staff has begun an inventory of its 4,500 plant species, including 1,300 types of palm alone. There are greenhouses for unusually rare plants.

The Instituto Inhotim is located within the domain of the Atlantic Forest, with enclaves of cerrado in the tops of the mountains. Situated at an altitude ranging from 700 m to 1,300 m above sea level, its total area is 786.06 hectares, having as a preservation area 440.16 ha, which comprise the forest fragments and include a Private Reserve of Patrimony Natural (RPPN), with 145.37 ha.

The Inhotim visitation area has 96.87 ha and includes gardens, galleries, buildings and forest fragments, as well as five ornamental lakes, with approximately 3.5 hectares of water mirror. The botanical garden has 4,300 species in cultivation - a mark reached in 2011 - and is surrounded by native forest , with thirty percent of the entire collection on display to the public (about 102 hectares in 2011). In recognition of the need to preserve the 145 hectares of reserve, the institute received from the Ministry of the Environment in February 2011 the official classification of botanical gardens in category C. In this garden, are about 1,500 species cataloged of palm tree, the largest collection of the type of the world.

In February 2010, the white cube pavilions were replaced by transparent facilities. The intention is to promote dialogue with the surrounding mountains and woods. In an article by Fabiano Cypriano for the newspaper Folha de S. Paulo, it is mentioned that the changes create more local roots and Inhotim "becomes a new paradigm for the exhibition of contemporary production".

Open from Tuesday to Sunday and on holidays, Inhotim offers theme visits, with monitors, as well as educational visits for school groups, which must be arranged in advance. On Wednesdays, entrance is free.

The park houses several rare plants, both native and exotic.

The Institute is the only place in Latin America that has a specimen of the corpse, a species native to Asia known as the largest flower in the world. The specimen first bloomed on December 15, 2010, and again on December 27, 2012. The flower is in the Nursery Educator, in the Equatorial Greenhouse, was exposed to the public, and could be visited by interested and curious.

In addition to the 170 works of art on display, the museum has 98 banks of the designer Hugo França. The first bench was placed in the garden in 1990, under the shade of the angler tree, one of the symbols of the park. The banks are made of trunks and roots of pequi-vinegar tree, common tree in the Atlantic forest, that are found dead or dead in the forest.

In 2014, the museum was chosen by the TripAdvisor site, one of the 25 museums of the world more evaluated by the users.
https://hisour.com/exhibition/inhotim-brazil/

Indianapolis Museum of Art, United States




The Indianapolis Museum of Art (IMA) is the ninth oldest and eighth largest encyclopedic art museum in the United States. The permanent collection comprises over 54,000 works, including African, American, Asian, and European pieces. The Indianapolis Museum of Art is located on a 152-acre campus of lush gardens, historic homes, outdoor sculptures, inspiring performance and gallery spaces. Founded in 1883, the IMA is among the 10 oldest and 10 largest encyclopedic art museums in the United States and features significant collections of African, American, Asian, European, contemporary art and design arts that span 5,000 years of history.

The Indianapolis Museum of Art (known colloquially as the IMA) is an encyclopedic art museum located in Indianapolis, Indiana, United States. The museum, which underwent a $74 million expansion in 2005, is located on a 152-acre (0.62 km2) campus on the near northwest area outside downtown Indianapolis, northwest of Crown Hill Cemetery.

With innovative programming to engage guests of all ages, the IMA offers a variety of interactive experiences inside the galleries, throughout the campus and within the local community. From gardening demos in the Madeline F. Elder Greenhouse to outdoor film screenings in the IMA Amphitheater to community celebrations in The Virginia B. Fairbanks Art & Nature Park: 100 Acres, guests are invited to interact with art and nature in exciting new ways at the IMA. Along with the Indianapolis campus, the IMA also owns the Miller House and Garden in Columbus, Ind., one of the nation’s most highly regarded examples of mid-century Modernist residences.

Significant areas of the collection include: Neo-Impressionist paintings; Japanese paintings of the Edo period; Chinese ceramics and bronzes; paintings, sculptures, and prints by Paul Gauguin and the Pont-Aven School; a large number of works by J. M. W. Turner; and a growing contemporary art collection. Other areas of emphasis include textiles and fashion arts as well as a recent focus on modern design.

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In addition to its collections, the museum consists of 100 Acres: The Virginia B. Fairbanks Art and Nature Park; Oldfields, a restored American Country Place era estate once owned by Josiah K. Lilly, Jr.; and restored gardens and grounds originally designed by Percival Gallagher of the Olmsted Brothers firm. The IMA also owns the Miller House, a Mid-Century modern home designed by Eero Saarinen and located in Columbus, Indiana. The museum's holdings demonstrate the institution's emphasis on the connections among art, design, and the natural environment.

The Indianapolis Museum of Art was founded as the Art Association of Indianapolis, an open-membership group led by the suffragist May Wright Sewall. Formed in 1883, the organization aimed to inform the public about visual art and provide art education. The Art Association's first exhibition, which opened November 7, 1883, contained 453 artworks from 137 artists. The death of wealthy Indianapolis resident John Herron in 1895 left a substantial bequest with the stipulation that the money be used for a gallery and a school with his name. The John Herron Art Institute opened in 1902 at the corner of 16th and Pennsylvania street. Emphasis on the Arts and Crafts movement grew throughout the early years of the school, with a focus on applied art. William Henry Fox was hired in 1905 as the Art Institute's first director. From 1905 to 1910, Fox managed both the museum and the school while constructing two new buildings on the 16th street site.

From the 1930s until the 1950s, the John Herron Art Institute placed an emphasis on professionalism and growth in collections. Wilbur Peat, director of the museum from 1929 until 1965, acquired significant portions of the collection. Peat also made connections with benefactors such as Dr. George H. A. Clowes, Booth Tarkington, and Eli Lilly. Caroline Marmon Fesler, president of the Art Association of Indianapolis, gave a number of artworks in the 1940s, including 20th-century modern artworks and Post-Impressionist works by Cézanne, Van Gogh, and Seurat. After years of debate surrounding expansion and relocation of the museum and school, the great grandchildren of Eli Lilly, J.K. Lilly III and Ruth Lilly, donated the family estate, Oldfields, to the Art Association of Indianapolis in 1966. One year later it was decided that the school would become a part of Indiana University's Indianapolis campus in an effort to assist with accreditation. That same year it was confirmed that the museum would relocate to Oldfields, with the new Krannert Pavilion opening to the public in October 1970. In 1969, prior to moving to the new site, the Art Association of Indianapolis officially changed its name to the Indianapolis Museum of Art.

In 2008, the museum changed its main entrance and address from 1200 West 38th Street to 4000 North Michigan Road.

The Indianapolis Museum of Art has a permanent collection of over 54,000 works that represent cultures from around the world and span over 5,000 years. Areas of the collection include: European painting and sculpture; American painting and sculpture; prints, drawings, and photographs; Asian art; art of Africa, the South Pacific, and the Americas; ancient art of the Mediterranean; Design Arts; textile and fashion arts; and contemporary art. The museum holds a significant collection of Neo-Impressionist paintings and prints, many of which were given in 1977 by local industrialist W. J. Holliday. Combined with the Neo-Impressionist collection is the Samuel Josefowitz Collection of Gauguin and the School of Pont-Aven, which includes highlights such as Bretons in a Ferryboat by Émile Bernard. The IMA also holds a large collection of works by J.M.W. Turner, containing highlights such as the 1820 watercolor, Rosslyn Castle. The collection, which was formed by a substantial donation by philanthropist Kurt Pantzer in 1979, includes over fifty watercolors, as well as oil paintings, prints, and etchings.

The European collection, which is organized into works before 1800 and works from 1800–1945, includes highlights such as Aristotle by Jusepe de Ribera and The Flageolet Player on the Cliff by Paul Gauguin. Rembrandt's Self-Portrait is part of the Clowes Fund Collection, which comprises a number of significant Old Masters pieces. Part of the Neo-Impressionist collection, The Channel of Gravelines, Petit Fort Philippe by Georges Seurat was one of the first works to be donated by Caroline Marmon Fesler in the 1940s. Fesler would go on to donate a number of important works, including her bequest in 1961 of notable 20th-century modernism pieces that included Pablo Picasso, Chagall, and Matisse. Pieces in the American collection represent American Impressionism and Modernism, including works by Georgia O'Keeffe and George Inness. Significant pieces include Hotel Lobby (1943) by Edward Hopper and Boat Builders by Winslow Homer.

The museum has a substantial Asian art collection, with more than 5,000 pieces spanning 4,000 years. Most notable is the IMA's acclaimed collection of Japanese Edo Period paintings, scrolls, and screens. Highlights include A Thousand Peaks and Myriad Ravines, a Ming Dynasty work by Wu Bin, and Buddhist, Daoist, and Confucian Patriarchs, an Edo period panel by Kano Sanraku, in addition to a number of Chinese ceramics and bronzes that were donated by Eli Lilly in 1961, such as a fine Shang bronze guang. The IMA's collection is also made up of more than 2,000 pieces of African art and artifacts, 1,200 of which were donated by Harrison Eiteljorg in 1989. The IMA has expanded the collection to include both historical and contemporary objects from every major region of Africa, including Egypt. The museum is unique in its inclusive display of Islamic and ancient Egyptian works within the African gallery, rather than with Greek or Roman antiquities. Significant pieces include a female ancestor figure of the Senufo people and Magbo helmet mask for Oro association by master carver Onabanjo of Itu Meko.

The museum's textile and fashion art collection is made up of 7,000 items, including 20th-century, custom-designed costumes by Givenchy, Chanel, and Balmain. The collection includes a number of the world's fabric traditions, including African textiles donated by sisters Eliza and Sarah Niblack between 1916 and 1933 and a significant collection of Baluchi rugs. Based on the museum's early history of collecting textiles, items range from couture to silks and antique laces spanning 500 years. Some notable pieces include an Imperial Russian court dress by designer Charles Frederick Worth and Bodhisattva of Wisdom (Mañjusri), a Ming Dynasty silk panel. The museum's Design Arts collection is made up of European and American pieces from the Renaissance to the present. The collection includes Eliel Saarinen's sideboard designed in 1929 for The Metropolitan Museum of Art exhibition The Architect and the Industrial Arts: An Exhibition of Contemporary American Design and the Bubbles chaise longue designed by Frank Gehry in 1979 for the Experimental Edges Series.

In recent years the IMA has begun to focus on developing its contemporary art collection, which includes works such as Two White Dots in the Air by Alexander Calder and Light and Space III, a permanent installation by Robert Irwin located in the Pulliam Great Hall. Since 2007 the museum has featured site-specific contemporary installations in the Efroymson Pavilion, rotating the temporary works every six months. The Efroymson Pavilion has featured works by artists such as William Lamson, Ball-Nogues Studio, Orly Genger, and Heather Rowe to name a few. Contemporary art is also featured in 100 Acres: The Virginia B. Fairbanks Art and Nature Park, which is unique in its inclusion of commissioned works by emerging mid-career artists. Since 2007, the IMA has committed to building a modern design collection that illustrates the artistic merits of utilitarian objects. The focus on international contemporary design, combined with the opening of the Miller House in 2011, is expected to reposition the museum as an authority on design.

The IMA's collecting and deaccessioning practices have utilized technology to provide public access, openness, and transparency in museum operations. Unveiled in March 2009, the museum's online deaccession database lists every object being deaccessioned and links new acquisitions to the sold objects that provided funds for their purchase. The IMA has been praised for being the first among museums to openly share their deaccessioning practices and for including the ability to post public comments on entries in the searchable database. The IMA also developed the Association of Art Museum Director's (AAMD) Object Registry, a database that helps museums more easily abide by the 1970 UNESCO ruling that prevents illicit trafficking of antiquities. Since 2003, the IMA has systematically researched the provenance of artworks created before 1946 and acquired after 1932.

The IMA's conservation department was established in 1970 by the museum's first full-time conservator, Paul Spheeris, and quickly became known as a regional center for conservation. In 1978 the department began providing consulting services to regional institutions, taking on contracts from across the Midwest. An early high-profile contract involved the preservation of 45 governors' portraits over the course of 15 months. The 1979 exhibit, Portraits and Painters of the Governors of Indiana, was held at the IMA from January to March before the portraits were placed on permanent display at the Indiana Statehouse. Other major regional projects have included the conservation and restoration of the Thomas Hart Benton murals, first created for the Indiana Hall at the 1933 Chicago World's Fair and now located at Indiana University, the Wishard Memorial Hospital murals, the Otto Stark and Clifton Wheeler murals in Indianapolis Public School 54, and most recently the restoration of the May Wright Sewall Memorial Torches at Herron High School, the former site of the John Herron Art Institute.

Currently, the conservation department serves the needs of the museum through the expertise of specialists in paintings, textiles, works on paper, frames, and objects conservation. The department has grown in both size and staff throughout the years, with the most recent expansion occurring in 2007. As of 2007, the IMA owned one of the few computer-based X-ray units in the United States, continuing a trend in X-ray technology that the department began in the 1970s. In 1980, the department helped organize and establish the Midwest Regional Conservation Guild, which includes conservators and conservation scientists from Indiana, Ohio, Illinois, and Michigan. In the mid-1980s, the department received attention when head conservator Martin Radecki assisted local authorities in uncovering over two dozen forged T.C. Steele and William Forsythe paintings worth more than $200,000. The high-profile forgery case led Radecki to organize an exhibit in 1989, Is it Genuine? Steele, Forsythe and Forgery in Indiana. The exhibit highlighted conservation techniques and examined how forgeries can be discovered. Another public presentation of conservation took place in 2007 with Sebastiano Mainardi: The Science of Art, a Star Studio exhibit that allowed visitors to watch conservators as they worked on the 16th-century altarpiece. The IMA's Star Studio is an interactive gallery that enables visitors to learn, through the process of art-making and observation, about the museum's collections.

In February 2010, the IMA shifted from current environmental control standards within their exhibition spaces, allowing temperature and humidity fluctuation of a few degrees on either side of the suggested standard. The IMA relinquished the standard after concluding that the majority of artworks could sustain a greater range of humidity, so permitting the museum to save on the cost of energy bills and reduce its carbon footprint.

In October 2008, the IMA announced a $2.6 million grant from the Lilly Endowment to be used toward the creation of a state-of-the-art conservation science lab. Through a grant from the Andrew W. Mellon Foundation, Dr. Gregory Dale Smith, was hired in October 2009 to lead the lab as its senior conservation scientist. A main focus of the lab is researching the IMA's collection, including couture fashion in the textile collection and objects made of synthetic materials in the design collection. Another focus is scientific research on materials found in the collections, such as resins and dyes on African art pieces and glazes on Asian ceramics. Through the addition of the lab, the IMA aims to establish itself as an internationally recognized conservation center and to increase its potential as a training and professional development resource in conservation science.

In 1909 the Art Association campaigned for a major retrospective, the Augustus Saint-Gaudens Memorial Exhibition, to be brought to Indianapolis. The exhibition, also referred to as the Saint-Gaudens Memorial Exhibition of Statuary, attracted 56,000 visitors during its three-month run, well beyond the board's goal of attracting 50,000 visitors. A 1937 exhibition, Dutch Paintings of the Seventeenth Century, included loans from the Cincinnati Art Museum, the Metropolitan Museum of Art, and the Rijksmuseum Amsterdam. The six-week exhibition presented 65 pieces, including several Rembrandts, and was considered the beginning of the museum's rise to connoisseurship.

In 1977, the IMA acquired a collection of Neo-Impressionist paintings from Indianapolis industrialist W.J. Holliday, which was presented in an exhibition in 1983 titled The Aura of Neo-Impressionism: The W.J. Holliday Collection. From 1986 to 1988, the exhibit traveled to seven cities in the United States and made one stop in Europe at the Van Gogh Museum in Amsterdam. Opening in the summer of 1987 to coincide with the Pan American Games, Art of the Fantastic: Latin America, 1920–1987 presented 125 works by artists from a variety of nations. Well-known artists such as Frida Kahlo and Roberto Matta were featured, as well as artists who had never exhibited outside their native country. The show was the first large-scale presentation of 20th-century Latin American art in the United States in over 20 years and was the museum's first contemporary exhibition to travel.

In 1992, the IMA hosted The William S. Paley Collection, a traveling exhibition organized by the Museum of Modern Art that included Impressionist, Post-Impressionist, and modern pieces collected by the late CBS news chairman William S. Paley. The exhibit helped establish the IMA as a prominent museum venue in the Midwest and brought in a record-setting 60,837 visitors. In 2001, the IMA collaborated with the Armory Museum in Moscow to organize Gifts to the Tsars, 1500–1700: Treasures from the Kremlin. The show helped the IMA form partnerships with local arts organizations, gain international exposure, and attracted a record 70,704 visitors. Another important exhibit to travel to the IMA was Roman Art from the Louvre, which attracted 106,002 visitors during its 2008 run. The exhibition featured 184 mosaics, frescoes, statues, marble reliefs, and vessels loaned from the permanent collection of the Louvre in Paris, France. It was the largest collection ever loaned from the Louvre to date, and only stopped in three U.S. cities before returning to France.

In 2009, Sacred Spain: Art and Belief in the Spanish World brought together 71 works of art from a wide variety of lenders, including Peru, Mexico, and the Prado in Spain. The exhibit was composed of a rare collection of pieces, many of which had never been on view in the United States. It featured paintings, sculpture, metalwork, and books by artists such as El Greco, Diego Velázquez, and Bartolomé Esteban Murillo. Andy Warhol Enterprises was displayed at the IMA from October, 2010 to January, 2011 and featured more than 150 works of art by Andy Warhol, as well as archival materials. The exhibition was the largest to illustrate Warhol's fascination with money and feature consumerism as a central theme. Visitors were able to view the progression of Warhol's career, from his beginnings as a commercial artist to his multimillion-dollar empire.

European Design since 1985: Shaping the New Century was displayed from March 8 to June 21, 2009 and was the first major survey of contemporary European Design. The exhibition contained a collection of nearly 250 pieces by Western European industrial and decorative designers such as Philippe Starck, Marc Newson and Mathias Bengtsson. Three prominent modes of design emerged from 1985–2005 and could be seen in the exhibition: Geometric Minimal design, Biomorphic design and Neo-Pop design. Among the themes addressed throughout the exhibition was the question of what makes something "art" and how to distinguish a museum quality piece in a world full of mass-produced products. Rather than organizing the exhibition by designer or country, the pieces were organized based on the intellectual or philosophical precept under which they fell. After leaving the IMA, the exhibition traveled to the High Museum of Art in Atlanta and the Milwaukee Art Museum in Milwaukee.

Hard Truths: The Art of Thornton Dial, on display from February to September 2011, includes over 70 large-scale artworks and is the largest assemblage of Thornton Dial's work ever mounted. The exhibition contextualizes Dial as a relevant, contemporary artist rather than a folk artist or outsider artist as many have portrayed him in the past. The pieces on view in Hard Truths cover a range of social and political themes, many of which address rural life in the south and the treatment of African Americans. After departing Indianapolis, the exhibition is scheduled to travel to New Orleans, Charlotte, North Carolina and Atlanta.

In 2010, the IMA was selected to be the commissioning organization for the United States pavilion at the Venice Biennale (Biennale di Venezia). The IMA's proposal to create an exhibition featuring the work of Puerto Rican artists Jennifer Allora and Guillermo Calzadilla was accepted by the Bureau of Educational and Cultural Affairs at the U.S. State Department. Allora and Calzadilla were the first collaborative team to be exhibited at the Venice Biennale, and 2011 was the first time American artists from a Spanish-speaking community were selected. Six new works of art will be developed by the pair, who often explore geopolitical themes through their work. The pieces they created for the 2011 U.S. Pavilion will formed an exhibition entitled Gloria and highlighted competitive institutions such as the Olympic Games, the military, and international commerce. Allora and Calzadilla also brought bring elements of performance into their multimedia pieces through the participation of Olympic athletes. Three of the six pieces, entitled Body in Flight (Delta), Body in Flight (American), and Track and Field, featured Olympians Dan O'Brien, Chellsie Memmel, and David Durante.
https://hisour.com/exhibition/indianapolis-museum-art-united-states/

Indian National Trust For Art and Cultural Heritage (INTACH), Delhi, India


The Indian National Trust for Art and Cultural Heritage (INTACH) is a non-profit charitable organisation registered under the Societies' Registration Act, 1860.

The Indian National Trust For Art and Cultural Heritage (INTACH) is a non-profit organization set up in 1984 to involve its members in protecting and conserving India’s vast natural, built and cultural heritage.

INTACH has 150 chapters across the country.The Delhi chapter, started in 1984, has been involved a variety of programmes and activities that have helped promote the cause of INTACH and heritage conservation.

In 2007, the United Nations awarded INTACH a special consultative status with United Nations Economic and Social Council.

Today it has chapters in 170 Indian cities, as well as chapters in Belgium, and the United Kingdom.

The Memorandum of Association and Rules and Regulations of INTACH constituted the first Governing Council of the Trust with the following member: Rajiv Gandhi, Pupul Jayakar, L. K. Jha, Prof. M. G. K. Menon, Dr. Kapila Vatsyayan, Rajeev Sethi, B. K. Thapar, Martand Singh, Bilkees Latif, Madhavrao Scindia, and J. B. Dadachanji.

In 2007, INTACH signed a memorandum of understanding with AusHeritage, Australia's noted heritage network, to collaborate on South Asian and South East Asian regional initiatives.

Among the tasks undertaken by INTACH are restoration of monuments and their management; advocacy for heritage property conservation; public awareness through heritage walks and buses; establishment of heritage clubs in schools; and holding of awareness workshop for teachers of schools and colleges and heritage walks to various unprotected sites.

Over the years, INTACH has taken up restoration and protection of hundreds of monuments that fall outside the coverage of Archaeological Survey of India and other government agencies, and at times local authorities hand over the upkeep and restoration of heritage structures to INTACH directly.

INTACH has established chapters not only within India but also outside it. It now uses funds raised by its international chapters in Belgium and the United Kingdom, to take up restoration, conservation and protection projects of historical structures and heritage buildings across India.

After developing Raghurajpur, Orissa, a place famous for its master ‘Pattachitra’ artists and ‘Gotipua’ dance troupes as a heritage village, which has now become a major rural tourist destination, it later used the same pattern to develop Padmanabhpur village, Ganjam district, Orissa, famous for its weavers and folk dancers, into another heritage destination.

In 2007, the government of Goa signed a memorandum of understanding (MoU) with INTACH for restoration, conservation and maintenance of 51 officially listed heritage and cultural monuments in the state. This includes the restoration and conservation of the 16th century Reis Magos Fort in Goa, then in 2008, INTACH signed anouth a memorandum of understanding with the Government of Delhi for the conservation of 92 monuments in Delhi, in the preparation of the Commonwealth Games 2010.

INTACH’s mission to conserve heritage is based on the belief that living in harmony with heritage enhances the quality of life, and it is the duty of every citizen of India as laid down in the Constitution of India. The objectives spelt out in the Memorandum of Association constitute INTACH’s Mandate and Vision. Its stated mission to date continues to be:

Sensitise the public about the pluralistic cultural legacy of India
Instill a sense of social responsibility towards preserving India’s common heritage
Protect and preserve India’s living, built, and natural heritage by undertaking necessary actions and measures
Document unprotected buildings of archaeological, architectural, historic and aesthetic significance, as well as the cultural resources, as this is the first step towards formulating conservation plans
Develop heritage policies and regulations, and make legal interventions to protect India’s heritage when necessary
Provide expertise in the field of conservation, restoration and preservation of specific works of art; and encourage capacity-building by developing skills through training programmes
Undertake emergency response measures during natural or man-made disasters and support the local administration whenever heritage is threatened
Foster collaborations, Memoranda of Understanding (MoU) and partnerships with government and other national and international agencies
Generate sponsorships for conservation and educational projects
To achieve the above-stated mission, at subsequent Visioning Exercises further measures were spelt out:

INTACH must widen and strengthen its base so as to involve people in caring for our common heritage, as outlined in the objectives of the Memorandum of Association of the Society
INTACH should develop into a highly competent and efficient organization of first recourse in all matters concerning Built (Architectural), Natural, Art (Material), Intangible (Living) Heritage in the country by building the requisite professional and other skills, both at its Central Office and at the Chapter level
INTACH should strive to become the primary advisor on all matters pertaining to protection, conservation and preservation of heritage for the central government, the state governments (including institutions, agencies and organizations under them, such as the Armed Forces), and for institutions of decentralised governance such as the Panchayati Raj Institutions in the rural areas, for the urban local bodies (municipalities, metropolitan authorities, cantonment boards, etc.), and also the Corporate and Public Sectors
INTACH should put into place an effective system of networking with other like-minded organizations and build a mutual support system

The INTACH UK Trust, established in 1987, is a registered charity in the United Kingdom funded by the Charles Wallace bequest. The aim of this trust is to support the cause of heritage conservation in India.

In the recent years INTACH has been fortunate to receive support from the central government and several state governments, corporate houses and international agencies.
https://hisour.com/partner/asia/indian-national-trust-art-cultural-heritage-intach-delhi-india/

Indian Museum, Kolkata, India




The Indian Museum is the largest and oldest museum in India and has rare collections of antiques, armour and ornaments, fossils, skeletons, mummies, and Mughal paintings. It is the oldest and the largest multipurpose museum not only in the Indian subcontinent but also in the Asia-Pacific region of the world. It has more than one hundred thousand objects in its collection which is divided into three main wings - Archaeology, Anthropology, and Art. In addition, it also houses the collections of the Zoological, Botanical, and Geological Surveys of India. It was founded by the Asiatic Society of Bengal in Kolkata (Calcutta), India, in 1814. The founder curator was Nathaniel Wallich, a Danish botanist.

With the foundation of Indian Museum in 1814, the Museum movement started rolling in India and through the years from then, got a new fillip and great momentum. Since then, it has so magnificently developed and culminated into the fruitful existence of more than 400 museums in the country.

The movement, which was started in 1814, in fact was the beginning of a significant epoch initiating the socio-cultural and scientific achievements of the country. It is otherwise considered as the beginning of the modernity and the end of mediaeval era.

It has six sections comprising thirty five galleries of cultural and scientific artifacts namely Art, Archaeology, Anthropology, Geology, Zoology and Economic Botany. At present, it includes six cultural and scientific sections, viz. Art, Archaeology, Anthropology, geology, zoology and economic botany, with a number of galleries under each section. Many rare and unique specimens, both Indian and trans-Indian, relating to humanities and natural sciences, are preserved and displayed in the galleries of these sections. the administrative control of the Cultural sections, viz. Art, Archaeology and Anthropology rests with the Board of Trustees under its Directorate, and that of the three other science sections is with the geological survey of India, the zoological survey of India and the Botanical survey of India. The museum Directorate has eight co-ordinating service units: Education, Preservation, publication, presentation, photography, medical, modelling and library. This multipurpose Institution with multidisciplinary activities is being included as an Institute of national importance in the seventh schedule of the Constitution of India. It is one of oldest museums in the world. This is an autonomous organization under Ministry of Culture, Government of India.

The Indian Museum originated from the Asiatic Society of Bengal which was created by Sir William Jones in 1784. The concept of having a museum arose in 1796 from members of the Asiatic Society as a place where man-made and natural objects could be collected, cared for and displayed. The objective began to look achievable in 1808 when the Society was offered suitable accommodation by the Government of India in the Chowringhee-Park Street area.

In February 2, 1814, Nathaniel Wallich, a Danish botanist, who had been captured in the siege of Serampore but later released, wrote a letter supporting the formation of a museum in Calcutta which he said should have two sections - an archaeological, ethnological and technical section and a geological and zoological one. The Museum was created, with Wallich named the Honorary Curator and then Superintendent of the Oriental Museum of the Asiatic Society. Wallich also donated a number of botanical specimens to the museum from his personal collection.

After the resignation of Wallich, curators were paid salaries ranging from Rs 50 to Rs 200 a month. Until 1836 this salary was paid by the Asiatic Society but in that year its bankers, Palmer and Company became insolvent and the Government began to pay from its public funds. A temporary grant of Rs 200 per month was sanctioned for maintenance of the museum and library, and J. T. Pearson of the Bengal Medical Service was appointed curator followed shortly by John McClelland and after his resignation by Edward Blyth. In 1840, the Government took a keen interest in the geology and mineral resources and this led to an additional grant of Rs 250 per month for the geological section alone. A new building became a need and this was designed by Walter R Granville and completed in 1875 for the cost of Rs 1,40,000. In 1879 it received a portion of the collection from the India Museum (South Kensington) when that collection was dispersed.

The Zoological and Anthropological sections of the museum gave rise to the Zoological Survey of India in 1916, which in turn gave rise to the Anthropological Survey of India in 1945.

The Scottish anatomist and zoologist John Anderson took up the position of curator in 1865, and catalogued the mammal and archaeology collections. The English zoologist James Wood-Mason worked at the museum from 1869 and succeeded Anderson as curator in 1887.

It currently (2009) occupies a resplendent mansion, and exhibits among others: an Egyptian mummy, The organs are taken out of the mummy's body through nostrils, except heart. The heart is placed in special chambers. The body was then massaged with salt and oil. The covering was done by thin cotton cloththe Buddhist stupa from Bharhut, the Buddha's ashes, the Ashoka pillar, whose four-lion symbol became the official emblem of the Republic of India, fossil skeletons of prehistoric animals, an art collection, rare antiques, and a collection of meteorites. The Indian Museum is also regarded as "the beginning of a significant epoch initiating the socio-cultural and scientific achievements of the country. It is otherwise considered as the beginning of the modernity and the end of mediaeval era" by UZER Places.

Jorasanko Thakurbari O Rabindranath: To commemorate the 150th birth anniversary of Kaviguru Rabindranath Tagore an exhibition was organized on ‘Jorasanko Thakurbari O Rabindranath’ at Asutosh Birth Centenary Hall, Indian Museum, Kolkata. Director, Indian Museum, Sri Anup Matilal punctuated his welcome speech with some popular paintings of Rabindranath Tagore. The exhibition was inaugurated by Dr Asok Kumar Das, Tagore National fellow. The exhibition represented the glorious objects and paintings on Rabindranath Tagore. Some fascinating paintings, photographs, manuscripts of Rabindranath and portraits of him drawn by others were showcased from the cabinet of the Indian Museum Collection. The exhibition remained open from 6th to 12th May 2011. On this Occasion a catalogue was released in connection with the exhibition.

Musical Instrument Donated by Raja Sir Sourindro Mohun Tagore: To pay homage to Raja Sir Sourindro Mohun Tagore on the occasion of International Museum Day an exhibition titled ‘Musical Instrument Donated by Raja Sir Sourindro Mohun Tagore’ on the musical instruments from the collection of Indian Museum was held from 18th to 25th May, 2011 at Asutosh Birth Centenary Hall, Indian Museum, Kolkata. The exhibition was inaugurated by Sri Amitendranath Tagore. On this occasion a catalogue titled ‘Musical Instrument Donated by Raja Sir Sourindro Mohun Tagore’ was released. Vote of thanks was given by Sri G. N. Ghosh, Deputy Keeper, Archaeology Section.

Saktirupena: an exposition on mother goddess in Indian Art: On the occasion of Durga Puja, the Indian Museum organized an exhibition titled ‘Saktirupena: an exposition of mother goddess in India Art’ at Asutosh Birth centenary Hall on 23 September 2011. The exhibition on Sakti icons displayed the great mother principle in various forms, in stone sculptures, terracotta, metal carving, coins, miniature, ivory, folk paintings, etc. ranging from the proto-historic period to present through the early historic period. Prof. Bharati Roy, the former Pro Vice-Chancellor, University of Calcutta inaugurated the exhibition and Dr Taran Kumar Biswas, Director, Birla Academy, Kolkata enumerated the origin and development of Durga idols and the impact of Durga Puja in Indian society. Dr Biswas graced the occasion as Chief Guest. Sri Anup Kumar Matilal, Director, Indian Museum welcomed the august assembly. Vote of thanks was given by Sri G. N. Ghosh, Deputy Keeper (Pre-history) and In-charge (Archaeology Section).

Games and Pastime through the ages: An in-house exhibition ‘Games and Pastime through the ages’ was held at the Asutosh Birth Centenary Hall, Indian Museum, Kolkata from 17 to 25 Nevember 2011. The objects from the collection of Art, Archaeology and Anthropology Sections showcased in the exhibition highlighted the long tradition of games and pastimes of Indian society. The exhibition through the exhibits exposed the panoramic view of indoor, outdoor amusement and recreations enjoyed by the people in the historic period. Sri Chuni Goswami, the legendary sports personality inaugurated the exhibition. Welcome address was given by Sri Anup Matilal, Director, Indian Museum and Vote of thanks was given by Sri G. N. Ghosh, Deputy Keeper (Pre-history) and In-charge (Archaeology, Indian Museum, Kolkata.

Ganesa: gifted by Vasant Chowdhury: Indian Museum is one of the pioneering repositories of ‘Ganesa icons’ in the Museums in India. Vasanta Chowdhury, a well known film actor, former hon’ble member of the Board of Trustees, Indian Museum, donated 101 Ganesa icons to Indian Museum in the year 2000. In memory of Vasanta Chowdhury, Indian Museum organized a special exhibition titled ‘Ganesa: gifted by Vasant Chowdhury’ held from 1 to 4 December 2011 at Asutosh Birth Centenary Hall, Indian Museum. Those Ganesa icons (100 nos.) were exposed in the exhibition hall, are from the collection of Archaeology Section. The collection of Lord Ganesa identifiable with different region of Southeast Asia and they are captured in ivory, bronze, stone, etc. The origin of the objects stylistically dates back to the first century AD to the present. The exhibition was inaugurated by Sri Jawhar Sircar, I.A.S, Secretary, Ministry of Culture, Government of India. A lecture on the objects ‘Ganesa from Vasant Chowdhury collection’ was delivered by Dr S. K. Chakravarti former Director, Indian Museum. Sri Srinjoy Chowdhury, son of Vasanta Chowdhury , also deliberated a lecture on the collection and preservation of the Ganesa done by his father.

Puppets: from the collection of the late Raghunath Goswami: To pay tribute to late Raghunath Goswami, Indian Museum organised an exhibition on Puppets: from the collection of the late Raghunath Goswami between 6 and 12 January 2012 at Asutosh Birth Centenary Hall, Indian Museum, Kolkata. The exhibition was inaugurated by Sri Subhaprasanna Bhattacharya. In connection with the exhibition Indian Museum has also organised Puppet show (glove and hand puppets) at the courtyard of the Museum.

Ancient Indian Terracottas: On the occasion of 198th Anniversary, Indian Museum organized a special exhibition on “Ancient Indian Terracottas” from 2 February to 12 February 2012, in the Asutosh Birth Centenary Hall, Indian Museum. His Excellency Mr M. K. Narayanan, Hon’ble Governor of West Bengal and Chairman, Board of Trustees, Indian Museum inaugurated the exhibition. Prof. Sabyasachi Bhattacharya, Eminent historian graced the occasion as Chief Guest. Prof. K. Paddayya, Emeritus Professor, Deccan College, Pune delivered the Nathaniel Wallich Lecture on Cultural heritage in India: Its Preservation and Relevance.
https://hisour.com/exhibition/culture/indian-museum-kolkata-india/

2017年8月27日星期日

Independence National Historical Park, Philadelphia, United States




Independence National Historical Park is a United States National Park in Philadelphia that preserves several sites associated with the American Revolution and the nation's founding history. The collections at Independence National Historical Park tell the story of the creation of the American nation. They reflect the new American identity. Collections range from furnishings, glass, and metalwork created by skilled Philadelphia artisans, to images on canvas and paper. Many 18th and 19th century American artists are represented, including a large number of works by Charles Willson Peale. Administered by the National Park Service, the 55-acre park comprises much of Philadelphia's most-visited historic district.

The centerpiece of the park is Independence Hall, Independence Hall is the birthplace of America. The Declaration of Independence and U.S. Constitution were both debated and signed inside this building. The legacy of the nation's founding documents - universal principles of freedom and democracy - has influenced lawmakers around the world and distinguished Independence Hall as a UNESCO World Heritage Site. Independence Hall was the principal meetinghouse of the Second Continental Congress from 1775 to 1783 and the Constitutional Convention in the summer of 1787.

Across the street from Independence Hall, the Liberty Bell, an iconic symbol of American independence, is displayed in the Liberty Bell Center. The park contains other historic buildings, such as the First Bank of the United States, the first bank chartered by the United States Congress, and the Second Bank of the United States, which had its charter renewal vetoed by President Andrew Jackson as part of the Bank War. Carpenters' Hall, the site of the First Continental Congress, is located on Park property as well, however the building is privately owned and operated. It also contains City Tavern, a recreated colonial tavern, which was the favorite of the delegates, and John Adams felt was the finest tavern in all America.

Construction on the building started in 1732. Built to the Pennsylvania State House, the building originally housed all three branches of Pennsylvania's colonial government. The Pennsylvania legislature loaned their Assembly Room out for the meetings of the Second Continental Congress and later, the Constitutional Convention. Here, George Washington was appointed Commander in Chief of the Continental Army in 1775, the Articles of Confederation were adopted in 1781, and Benjamin Franklin gazed upon the "Rising Sun" chair in 1787.

Most of the park's historic structures are located in the vicinity of the four landscaped blocks between Chestnut, Walnut, 2nd, and 6th streets. The park also contains Franklin Court, the site of a museum dedicated to Benjamin Franklin and the United States Postal Service Museum. An additional three blocks directly north of Independence Hall, collectively known as Independence Mall, contain the Liberty Bell Center, National Constitution Center, Independence Visitor Center, and the former site of the President's House. The park also contains other historical artifacts, such as the Syng inkstand which was used during the signings of both the Declaration and the Constitution.

In response to the Intolerable Acts, which had punished Boston for the Boston Tea Party, the First Continental Congress met at Carpenters' Hall in Philadelphia from September 5, 1774 to October 26, 1774. The convention organized a pact among the colonies to boycott British goods (the Continental Association) starting December 1, 1774 and provided for a Second Continental Congress in Philadelphia. On May 10, 1775, the Second Continental Congress assembled at the Pennsylvania State House after the Battles of Lexington and Concord marked the beginning of the American Revolutionary War. Congress adopted the Olive Branch Petition in July 1775, which affirmed American loyalty to Great Britain and entreated King George III to prevent further conflict. The petition was rejected—in August 1775, the King's Proclamation of Rebellion formally declared the colonies to be in a state of rebellion.

In February 1776, colonists received news that Parliament passed the Prohibitory Act, which established a blockade of American ports and declared American ships to be enemy vessels. Although the measure amounted to a virtual declaration of war by the British, Congress did not have immediate authority to declare independence until each individual colony authorized its delegates to vote for independence. On June 11, Congress appointed the "Committee of Five," consisting of John Adams of Massachusetts, Benjamin Franklin of Pennsylvania, Thomas Jefferson of Virginia, Robert R. Livingston of New York, and Roger Sherman of Connecticut, to draft an official declaration of independence. Congress unanimously adopted its final version of the Declaration on July 4, marking the formation of the United States of America. Historians believe that the Old State House Bell, now known as the Liberty Bell, was one of the bells rung to mark the reading of the Declaration on July 8.

After 1781, the national government operated under the Articles of Confederation, which gave the federal government virtually no power to regulate domestic affairs or raise revenue. At the Annapolis Convention in September 1786, the delegates asked for a broader meeting to be held the next May in Philadelphia to address the regulation of trade and the structure of the government. This resulted in the Philadelphia Convention, which met from May 14 to September 17, 1787 at the Pennsylvania State House.

The Convention was dominated by controversies and conflicting interests, but the delegates forged a Constitution that has been called a "bundle of compromises". At the convention, delegate James Madison presented the Virginia Plan, which proposed a national government with three branches with proportional representation. Large states supported this plan, but smaller states feared losing substantial power under the plan. In response, William Paterson designed the New Jersey Plan, which proposed a one-house (unicameral) legislature in which each state, regardless of size, would have one vote, as under the Articles of Confederation. Roger Sherman combined the two plans with the Connecticut Compromise, and his measure passed on July 16, 1787 by seven to six—a margin of one vote. Other contentious issues were slavery and the federal regulation of commerce, which resulted in additional compromises.

The Residence Act of 1790 empowered President George Washington to locate a permanent capital along the Potomac River. Robert Morris, a representative from Pennsylvania, convinced Congress to designate Philadelphia as the temporary capital city of the United States federal government. From December 6, 1790 to May 14, 1800, the same block hosted federal, state, county, and city government offices. Congress Hall, which was originally built to serve as the Philadelphia County Courthouse, served as the seat of the United States Congress. The House of Representatives convened on the first floor and the Senate convened on the second floor. During Congress Hall's duration as the capitol of the United States, the country admitted three new states: Vermont, Kentucky, and Tennessee; ratified the Bill of Rights of the United States Constitution; and oversaw the Presidential inaugurations of both George Washington (his second) and John Adams. The President's House served as the official residence and principal workplace for President George Washington during his two terms, and President John Adams occupied it from March 1797 to May 1800. At the house, the Fugitive Slave Act of 1793 and the Alien and Sedition Acts were signed. The Supreme Court met at Old City Hall, where Chief Justices John Jay, John Rutledge, and Oliver Ellsworth presided over eleven docketed cases.

While plans for the permanent capital were being developed, Pennsylvania delegates continued to put forth effort to undermine the plan. The city began construction on a massive new Presidential palace on Ninth Street and an expansion to Congress Hall. Regardless of these efforts, the federal government relocated from Philadelphia for the final time on May 14, 1800.

Despite its crucial role in the nation's founding, the site served most of its useful life as a municipal facility after the federal government relocated to the District of Columbia. The state government moved to Harrisburg in October 1812, and since there was little use for the Pennsylvania State House, the State of Pennsylvania considered selling it and dividing the State House Yard into building lots as early as 1802. The state came close to demolishing the hall in 1816. By 1818, the buildings had become surplus state property and were purchased by the City of Philadelphia, which used them uneventfully until late in the nineteenth century when the city government moved into a new city hall. In 1852, the Liberty Bell was removed from its steeple and put on public display within the "Declaration Chamber" of Independence Hall. Between 1885 and 1915, the Liberty Bell made seven trips by train to various expositions and celebrations until the city refused further requests.

The district's importance had waned with the western movement of City Hall and other institutions, but it remained an active and occupied business center. The first proposal for an Independence Hall park originated in 1915, when architects Albert Kelsey and D. Knickerbacker Boyd proposed clearing the half-block between Chestnut Street and Ludlow Street in front of Independence Hall. Kelsey and Boyd were motivated by a desire to create a fitting setting for Independence Hall, lessen the fire hazard, reduce congestion, and beautify the entire district. The idea for a park gained momentum in the 1920s and 1930s, with patriotic sentiment accompanying the American Sesqui-Centennial in 1926. The commencement of World War II led to a heightened sense of patriotism and urgency toward the protection of national monuments.

On June 28, 1948, Congress passed Public Law 795, H.R. 5053 to authorize the creation of Independence National Historical Park, and it was formally established on July 4, 1956. On March 16, 1959, it incorporated the Old Philadelphia Customs House (Second Bank of the United States), which had been designated a national historic site on May 26, 1939. As with all historic areas administered by the National Park Service, the park was listed on the National Register of Historic Places on October 15, 1966. In 1973, the Pennsylvania legislature voted to transfer the three blocks that compose Independence Mall to the federal government. Independence Hall was designated a UNESCO World Heritage Site on October 24, 1979.

The Federal Bureau of Prisons Northeast Region Office is in the U.S. Custom House.

The National Park Service, a federal agency within the Department of the Interior, is responsible for the park's maintenance and preservation. In the 2003 fiscal year, the National Park Service spent approximately US$30.7 million dollars on the park. Personnel and benefit costs represented about 41 percent of expenditures, and non-recurring construction and investment projects represented about 25 percent of expenditures. The Independence Visitor Center is operated as a joint venture between Independence National Historical Park and the Independence Visitor Center Corporation, a nonprofit organization. The National Park Service employs 247 permanent employees and seven seasonal employees. The park's cultural resource management program protects the historic buildings, archaeological sites, and cultural landscapes within the park, and approximately 1.5 million artifacts within the park. In 2003, the park's major projects primarily addressed repair and rehabilitation of park buildings and grounds.

Most of INHP's buildings and land are contained within the broad plaza called Independence Mall, which is bookended by the National Constitution Center on the north, Independence Hall on the south, and Fifth and Sixth Streets on the east and west, respectively. The Mall was created in the 1950s by city planner Ed Bacon to bring an open space to the heart of historic Philadelphia in front of Independence Hall. Most of the buildings that previously occupied the site of Independence Mall were late nineteenth-century buildings that replaced earlier buildings destroyed by fire in 1851 and 1855. Proponents of the mall thought these buildings were eyesores because of their contrast with the historic nature of the area. As plans emerged, retailers on Market Street resisted, arguing that the demolition was out-of-scale with the comparatively small landmark at its southern end.

By 1959, when the bulldozers finished work on Independence Mall, only the Free Quaker Meetinghouse remained. The building had been used as a warehouse for plumbing supplies before its restoration as part of the project. In 1961, the building was moved 38 feet west and 8 feet south to its present location to allow for the widening of Fifth Street.

To plan for the celebration of the United States Bicentennial in 1976, the NPS relocated the Liberty Bell from Independence Hall to the glass-enclosed Liberty Bell Pavilion, as the Independence Hall could not accommodate the millions expected to visit Philadelphia that year.

In 1997, the NPS announced a plan to redesign Independence Mall. As part of the plan, several new public buildings were constructed. The Independence Visitors Center was opened in November 2001, the National Constitution Center was opened in July 2003, and the Liberty Bell, which had been housed in a glass pavilion, was moved into the Liberty Bell Center in October 2003. Exhibits include coverage of slavery in US history and its abolition.

At the corner of 6th and Market Street, a President's House memorial outlines the site of the former mansion and commemorates the slaves who worked there. The former building had been demolished in portions starting in 1835, and its remnants were removed during the creation of Independence Mall.

Independence Mall is bordered by the Philadelphia Mint, the Federal Reserve Bank of Philadelphia, the National Museum of American Jewish History, the James A. Byrne Courthouse (which houses the United States Court of Appeals for the Third Circuit and the United States District Court for the Eastern District of Pennsylvania), and the main studio of WHYY-TV.
https://hisour.com/exhibition/historic/independence-national-historical-park-philadelphia-united-states/

Imperial War Museums London, United Kingdom


Imperial War Museums (IWM) is a British national museum organisation with branches at five locations in England, three of which are in London. Founded as the Imperial War Museum in 1917, the museum was intended to record the civil and military war effort and sacrifice of Britain and its Empire during the First World War. The museum's remit has since expanded to include all conflicts in which British or Commonwealth forces have been involved since 1914. As of 2012, the museum aims "to provide for, and to encourage, the study and understanding of the history of modern war and 'wartime experience'".

The museum has occupied the former Bethlem Royal Hospital on Lambeth Road since 1936. The hospital building was designed by the hospital surveyor, James Lewis, from plans submitted by John Gandy and other architects, and construction completed in October 1814. The hospital consisted of a range of buildings 580 feet long with a basement and three storeys, parallel to Lambeth Road, with a central entrance under a portico.

The building was substantially altered in 1835 by architect Sydney Smirke. In order to provide more space, he added blocks at either end of the frontage, and galleried wings on either side of the central portion. He also added a small single-storey lodge, still in existence, at the Lambeth Road gate. Later, between 1844–46, the central cupola was replaced with a copper-clad dome in order to expand the chapel beneath. The building also featured a theatre in a building to the rear of the site.

The building remained substantially unchanged until vacated by the hospital in 1930. After the freehold was purchased by Lord Rothermere, the wings were demolished to leave the original central portion (with the dome now appearing disproportionately tall) and Smirke's later wings. When the museum moved into the building in 1936 the ground floor of the central portion was occupied by the principal art gallery, with the east wing housing the Naval gallery and the west wing the Army gallery. The Air Force gallery was housed in the former theatre. The first floor comprised further art galleries (including rooms dedicated to Sir William Orpen and Sir John Lavery), a gallery on women's war work, and exhibits relating to transport and signals. The first floor also housed the museum's photograph collection. The second floor housed the museum's library in its west wing, and in the east wing the map collection and stored pictures and drawings. This division of exhibits by service, and by civil or military activity, persisted until a wide-ranging redisplay of the galleries from the 1960s onwards. In September 1972 the building received Grade II listed building status.

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The original hospital building is now largely occupied by corporate offices. The 1966 extension houses the library, art store, and document archives while the 1980s redevelopments created exhibition space over five floors. The first stage created 8,000 m2 of gallery space of which 4,600 m2 was new, and the second provided a further 1,600 m2. The final phase, the Southwest Infill, was partly funded by a £12.6 million grant from the Heritage Lottery Fund and provided 5,860m2 of gallery space and educational facilities over six floors. Before the 2013-14 redevelopment, the basement was occupied by permanent galleries on the First and Second World Wars, and of conflicts after 1945. The ground floor comprised the atrium, cinema, temporary exhibition spaces, and visitor facilities. The first floor included the atrium mezzanine, education facilities, and a permanent gallery, Secret War, exploring special forces, espionage and covert operations. The second floor included the atrium viewing balcony, two art galleries, a temporary exhibition area and the permanent Crimes against Humanity exhibition. The third floor housed the permanent Holocaust Exhibition, and the fourth floor, a vaulted roof space, accommodated the Lord Ashcroft Gallery. Opened in November 2010 the gallery exhibits the museum's Victoria Cross (VC) and George Cross collection, alongside the private VC collection amassed by Michael Ashcroft, 241 medals in total.

The Imperial War Museum's original collections date back to the material amassed by the National War Museum Committee. The present departmental organisation came into being during the 1960s as part of Frankland's reorganisation of the museum. The 1970s saw oral history gain increasing prominence and in 1972 the museum created the Department of Sound Records (now the Sound Archive) to record interviews with individuals who had experienced the First World War. The museum maintains an online database of its collections.

The museum's documents archive seeks to collect and preserve the private papers of individuals who have experienced modern warfare. The archive's holdings range from the papers of senior British and Commonwealth army, navy and air officers, to the letters, diaries and memoirs of lower-ranked servicemen and of civilians. The collection includes the papers of Field Marshals Bernard Montgomery, and Sir John French. The archive also includes large collections of foreign documents, such as captured German Second World War documents previously held by the Cabinet Office Historical Section, Air Historical Branch and other British government bodies. The foreign collection also includes captured Japanese material transferred from the Cabinet Office. The collection also includes files on Victoria and George Cross recipients, and correspondence relating to the BBC documentary The Great War. The documents collection also includes the UK National Inventory of War Memorials. In 2012 the museum reported its documents collection to contain 24,800 collections of papers.

The museum's art collection includes paintings, prints, drawings, sculpture, and works in film, photography and sound. The collection originated during the First World War, when the museum acquired works that it had itself commissioned, as well as works commissioned by the Ministry of Information's British War Memorials Committee. As early as 1920 the art collection held over 3,000 works and included pieces by John Singer Sargent, Wyndham Lewis, John Nash and Christopher Nevinson. Notable First World War works include Sargent's Gassed and other works commissioned for an, unbuilt, Hall of Remembrance. The collection expanded again after the Second World War, receiving thousands of works sponsored by the Ministry of Information's War Artists' Advisory Committee. In 1972 the museum established the Artistic Records Committee (since renamed the Art Commissions Committee) to commission artists to cover contemporary conflicts. Commissioned artists include Ken Howard, Linda Kitson, John Keane, Peter Howson, Steve McQueen and Langlands & Bell, responding to conflicts in Northern Ireland, the Falklands, the Persian Gulf, Bosnia, Iraq and Afghanistan. The collection also includes over twenty thousand items of publicity material such as posters, postcards, and proclamations from both world wars, and more recent material such as posters issued by anti-war organisations such as the Campaign for Nuclear Disarmament and the Stop the War Coalition. The museum's collection is represented in digital resources such as the Visual Arts Data Service (VADS), and Google Art Project. In 2012 the museum reported the total size of its art collection as 84,980 items.

The museum's Film and Video Archive is one of the oldest film archives in the world. The archive preserves a range of historically significant film and video material, including the official British film record of the First World War. Notable among the archive's First World War holdings is The Battle of the Somme, a pioneering 1916 documentary film (which was inscribed on the UNESCO Memory of the World register in 2005), and Der Magische Gürtel, a German 1917 propaganda film about the submarine U-35. The archive's Second World War holdings include unedited film shot by British military cameramen, which document combat actions such as the British landings on D-Day in June 1944, and the liberation of the Bergen-Belsen concentration camp in April 1945. The archive also holds government information films and propaganda features such as Target for Tonight and Desert Victory. The archive's post-Second World War collections include material from the Korean War, Cold War material, the former film library of NATO, and material produced by the United Nations UNTV service in Bosnia. As an official repository under the 1958 Public Records Act, the archive continues to receive material from the Ministry of Defence. The archive also seeks to acquire amateur film taken by both service personnel and civilian cameramen. Material from the collection was used to make a number of well-known TV documentary series including The Great War and The World at War. In 2012 the museum reported the size of its film archive as being in excess of 23,000 hours of film, video and digital footage.

The museum's Photograph Archive preserves photographs by official, amateur and professional photographers. The collection includes the official British photographic record of the two world wars; the First World War collection includes the work of photographers such as Ernest Brooks and John Warwick Brooke. The archive also holds 150,000 British aerial photographs from the First World War, the largest collection of its kind. The Second World War collection includes the work of photographers such as Bill Brandt, Cecil Beaton and Bert Hardy. Like the Film Archive, the Photograph Archive is an official repository under the 1958 Public Records Act, and as such continues to receive material from the Ministry of Defence. In 2012 the museum reported the size of its photographic holdings as approximately 11 million images in 17,263 collections.

The museum's exhibits collection includes a wide range of objects, organised into numerous smaller collections such as uniforms, badges, insignia and flags (including a Canadian Red Ensign carried at Vimy Ridge in 1917, a Union flag from the 1942 British surrender of Singapore, and another found among the wreckage of the World Trade Center following the September 11 attacks); personal mementoes, souvenirs and miscellanea such as trench art; orders, medals and decorations (including collections of Victoria and George Crosses); military equipment; firearms and ammunition, ordnance, edged weapons, clubs (such as trench clubs) and other weapons, and vehicles, aircraft and ships. The museum holds the national collection of modern firearms. The firearms collection includes a rifle used by T. E. Lawrence, and an automatic pistol owned by Winston Churchill. The ordnance collection includes artillery pieces that participated in notable battles, such as the Néry gun, a field gun that was used during the 1914 action at Néry, and equipment captured from enemy forces. The museum's vehicles collection includes Ole Bill, a bus used by British forces in the First World War, and a number of vehicles used by Field Marshal Montgomery during the Second World War. The museum's aircraft collection includes aircraft that are notable for their rarity, such as the only complete and original Royal Aircraft Factory R.E.8 in existence and one of only two surviving TSR-2 strike aircraft, and aircraft associated with particular actions, such as a Supermarine Spitfire flown during the Battle of Britain. The museum's naval collection includes HM Coastal Motor Boat 4 and a midget submarine HMS XE8. In 2012 the museum reported its exhibits collection to contain 155,000 objects and a further 357 vehicles and aircraft.

The museum's library is a national reference collection on modern conflict, and holds works on all aspects of warfare, including regimental or unit histories (such as 789 rare German unit histories from the First World War), technical manuals, biographical material and works on war's social, cultural, economic, political and military aspects. The library also holds printed ephemera such as the Imperial War Museum Stamp Collection, leaflets and ration books, printed proclamations, newspapers, trench magazines (such the Wipers Times) and trench maps. In 2012 the museum reported its library collection to contain over 80,000 items of historic importance (such as maps, proclamations and rare books) and a further 254,000 items of reference material.

The museum's Sound Archive holds 33,000 sound recordings, including a large collection of oral history recordings of witnesses to conflicts since 1914. The museum's sound collection originated in 1972 with the creation of the Department of Sound Records and the instigation of an oral history recording programme. The sound collection opened to the public in July 1977. The collection also includes recordings made by the BBC during the Second World War, actuality sound effects, broadcasts, speeches and poetry. As part of the museum's First World War centenary programme, the museum is producing Voices of the First World War, a podcast series drawing upon the museum's oral history recordings. In 2012 the museum reported the size of its sound collection as 37,000 hours.

The Imperial War Museum is an executive non-departmental public body under the Department for Culture, Media and Sport, from which it receives financial support in the form of a grant-in-aid. The governance of the museum is the responsibility of a Board of Trustees, originally established by the Imperial War Museum Act 1920, later amended by the Imperial War Museum Act 1955 and the Museums and Galleries Act 1992 and other relevant legislation. The board comprises a president (currently Prince Edward, Duke of Kent) who is appointed by the sovereign, and fourteen members appointed in varying proportions by the Prime Minister, and the Foreign, Defence, and Culture Secretaries. Seven further members are Commonwealth High Commissioners appointed ex officio by their respective governments. As of January 2012 the Chairman of the Trustees is Sir Francis Richards and his deputy is Lieutenant-General Sir John Kiszely. Past chairmen have included Admiral Sir Deric Holland-Martin (1967–77), Admiral of the Fleet Sir Algernon Willis and Marshal of the Royal Air Force Sir John Grandy (trustee 1971–78, Chairman 1978–89). During the Second World War Grandy had commanded RAF Duxford, and was chairman during the planning of Duxford's American Air Museum, which opened in 1997.

The museum's Director-General is answerable to the trustees and acts as accounting officer. Since 1917 the museum has had six directors. The first was Sir Martin Conway, a noted art historian, mountaineer and explorer. He was knighted in 1895 for his efforts to map the Karakoram mountain range of the Himalayas, and was Slade Professor of Fine Arts at the University of Cambridge from 1901 to 1904. Conway held the post of Director until his death in 1937, when he was succeeded by Leslie Bradley. Bradley had served in the First World War in the Middlesex Regiment before being invalided out in 1917. He later became acquainted with Charles ffoulkes, who invited him to join the museum where he was initially engaged in assembling the museum's poster collection. Bradley retired in 1960 and was succeeded by Dr Noble Frankland. Frankland had served as a navigator in RAF Bomber Command, winning a Distinguished Flying Cross. While a Cabinet Office official historian he co-authored a controversial official history of the RAF strategic air campaign against Germany. Frankland retired in 1982 and was succeeded by Dr Alan Borg who had previously been at the Sainsbury Centre for Visual Arts. In 1995 Borg moved to the Victoria and Albert Museum and was succeeded by Sir Robert Crawford, who had originally been recruited by Frankland as a research assistant in 1968. Upon Crawford's retirement in 2008 he was succeeded by Diane Lees, previously Director of the V&A Museum of Childhood. She was noted in the media as the first woman appointed to lead a British national museum.
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Imperial Carriage Museum, Vienna, Austria




The Imperial Carriage Museum (Kaiserliche Wagenburg Wien) is one of the Collections of the Kunsthistorisches Museum Vienna. The “Wagenburg” building at Schönbrunn is home to the core of the former vehicle fleet of the Viennese Court. Following the demise of the monarchy in 1918, there remained around 100 carriages, sleds, sedan chairs and litters along with their associated harnesses, saddles and caparisons. Since that time, the collection has been expanded to total 170 vehicles. The highlights of the Carriage Collection include the gilded “Imperial Carriage,” the Golden Carousel Carriage of Maria Theresia, the Child’s Phaeton of Napoleon’s son, the Black Hearse of the Viennese court, the personal Landaulet of Empress Elisabeth and the only preserved Court Automobile of 1914.

A carriage is a wheeled vehicle for people, usually horse-drawn; litters (palanquins) and sedan chairs are excluded, since they are wheelless vehicles. The carriage is especially designed for private passenger use, though some are also used to transport goods. A public passenger vehicle would not usually be called a carriage – terms for such include stagecoach, charabanc and omnibus. It may be light, smart and fast or heavy, large and comfortable or luxurious. Carriages normally have suspension using leaf springs, elliptical springs (in the 19th century) or leather strapping. Working vehicles such as the (four-wheeled) wagon and (two-wheeled) cart share important parts of the history of the carriage, as does too the fast (two-wheeled) chariot.

The word carriage (abbreviated carr or cge) is from Old Northern French cariage, to carry in a vehicle. The word car, then meaning a kind of two-wheeled cart for goods, also came from Old Northern French about the beginning of the 14th century; it was also used for railway carriages, and was extended to cover automobile around the end of the nineteenth century, when early models were called horseless carriages.

A carriage is sometimes called a team, as in "horse and team". A carriage with its horse is a rig. An elegant horse-drawn carriage with its retinue of servants is an equipage. A carriage together with the horses, harness and attendants is a turnout or setout. A procession of carriages is a cavalcade.

Prehistory:Some horsecarts found in Celtic graves show hints that their platforms were suspended elastically. Four-wheeled wagons were used in prehistoric Europe, and their form known from excavations suggests that the basic construction techniques of wheel and undercarriage (that survived until the age of the motor car) were established then.

Chariot: The earliest recorded sort of carriage was the chariot, reaching Mesopotamia as early as 1900 BC. Used typically for warfare by Egyptians, the near Easterners and Europeans, it was essentially a two-wheeled light basin carrying one or two passengers, drawn by one to two horses. The chariot was revolutionary and effective because it delivered fresh warriors to crucial areas of battle with swiftness.

Roman carriage: First century BC Romans used sprung wagons for overland journeys. It is likely that Roman carriages employed some form of suspension on chains or leather straps, as indicated by carriage parts found in excavations.

Ancient Chinese carriage: In the kingdom of the Zhou Dynasty the Warring States were also known to have used carriages as transportation. With the decline of these civilizations these techniques almost disappeared.

Medieval carriage: The medieval carriage was typically a four-wheeled wagon type, with a rounded top ('tilt') similar in appearance to the Conestoga Wagon familiar from the USA. Sharing the traditional form of wheels and undercarriage known since the Bronze Age, it very likely also employed the pivoting fore-axle in continuity from the ancient world. Suspension (on chains) is recorded in visual images and written accounts from the 14th century ('chars branlant' or rocking carriages), and was in widespread use by the 15th century. Carriages were largely used by royalty, aristocrats (and especially by women), and could be elaborately decorated and gilded. These carriages were on four wheels often and were pulled by two to four horses depending on how they were decorated (elaborate decoration with gold lining made the carriage heavier). Wood and iron were the primary requirements needed to build a carriage and carriages that were used by non-royalty were covered by plain leather.

Another form of carriage was the pageant wagon of the 14th century. Historians debate on the structure and size of pageant wagons; however, they are generally miniature house-like structures that rest on four to six wheels depending on the size of the wagon. The pageant wagon is significant because up until the 14th century most carriages were on two or 3 wheels; the chariot, rocking carriage, and baby carriage are two examples of carriages which pre-date the pageant wagon. Historians also debate whether or not pageant wagons were built with pivotal axle systems, which allowed the wheels to turn. Whether it was a four- or six-wheel pageant wagon, most historians maintain that pivotal axle systems were implemented on pageant wagons because many roads were often winding with some sharp turns. Six wheel pageant wagons also represent another innovation in carriages; they were one of the first carriages to use multiple pivotal axles. Pivotal axles were used on the front set of wheels and the middle set of wheels. This allowed the horse to move freely and steer the carriage in accordance with the road or path.

Coach: One of the great innovations of the carriage was the invention of the suspended carriage or the chariot branlant (though whether this was a Roman or medieval innovation remains uncertain). The 'chariot branlant' of medieval illustrations was suspended by chains rather than leather straps as had been believed. Chains provided a smoother ride in the chariot branlant because the compartment no longer rested on the turning axles. In the 15th century, carriages were made lighter and needed only one horse to haul the carriage. This carriage was designed and innovated in Hungary. Both innovations appeared around the same time and historians believe that people began comparing the chariot branlant and the Hungarian light coach. However, the earliest illustrations of the Hungarian 'Kochi-wagon' do not indicate any suspension, and often the use of three horses in harness.

Under King Mathias Corvinus (1458–90), who enjoyed fast travel, the Hungarians developed fast road transport, and the town of Kocs between Budapest and Vienna became an important post-town, and gave its name to the new vehicle type. The Hungarian coach was highly praised because it was capable of holding 8 men, used light wheels, could be towed by only one horse (it may have been suspended by leather straps, but this is a topic of debate). Ultimately it was the Hungarian coach that generated a greater buzz of conversation than the chariot branlant of France because it was a much smoother ride. Henceforth, the Hungarian coach spread across Europe rather quickly, in part due to Ippolito d'Este of Ferrara (1479–1529), nephew of Mathias' queen Beatrix of Aragon, who as a very junior Archbishopric of Esztergom developed a liking of Hungarian riding and took his carriage and driver back to Italy. Around 1550 the 'coach' made its appearance throughout the major cities of Europe, and the new word entered the vocabulary of all their languages. However, the new 'coach' seems to have been a concept (fast road travel for men) as much as any particular type of vehicle, and there is no obvious change that accompanied the innovation. As it moved throughout Europe in the late 16th century, the coach’s body structure was ultimately changed, from a round-top to the 'four-poster' carriages that became standard by c.1600.

Later development of the coach: The coach had doors in the side, with an iron step protected by leather that became the "boot" in which servants might ride. The driver sat on a seat at the front, and the most important occupant sat in the back facing forwards. The earliest coaches can be seen at Veste Coburg, Lisbon, and the Moscow Kremlin, and they become a commonplace in European art. It was not until the 17th century that further innovations with steel springs and glazing took place, and only in the 18th century, with better road surfaces, was there a major innovation with the introduction of the steel C-spring.

It was not until the 18th century that steering systems were truly improved. Erasmus Darwin was a young English doctor who was driving a carriage about 10,000 miles a year to visit patients all over England. Darwin found two essential problems or shortcomings of the commonly used light carriage or Hungarian carriage. First, the front wheels were turned by a pivoting front axle, which had been used for years, but these wheels were often quite small and hence the rider, carriage and horse felt the brunt of every bump on the road. Secondly, he recognized the danger of overturning.

A pivoting front axle changes a carriage’s base from a rectangle to a triangle because the wheel on the inside of the turn is able to turn more sharply than the outside front wheel. Darwin proposed to fix these insufficiencies by proposing a principle in which the two front wheels turn about a centre that lies on the extended line of the back axle. This idea was later patented as Ackerman Steering. Darwin argued that carriages would then be easier to pull and less likely to overturn.

Carriage use in North America came with the establishment of European settlers. Early colonial horse tracks quickly grew into roads especially as the colonists extended their territories southwest. Colonists began using carts as these roads and trading increased between the north and south. Eventually, carriages or coaches were sought to transport goods as well as people. As in Europe, chariots, coaches and/or carriages were a mark of status. The tobacco planters of the South were some of the first Americans to use the carriage as a form of human transportation. As the tobacco farming industry grew in the southern colonies so did the frequency of carriages, coaches and wagons. Upon the turn of the 18th century wheeled vehicle use in the colonies was at an all-time high. Carriages, coaches and wagons were being taxed based on the number of wheels they had. These taxes were implemented in the South primarily as the South had superior numbers of horses and wheeled vehicles when compared to the North. Europe, however, still used carriage transportation far more often and on a much larger scale than anywhere else in the world.

Carriages and coaches began to disappear as use of steam propulsion began to generate more and more interest and research. Steam power quickly won the battle against animal power as is evident by a newspaper article written in England in 1895 entitled "Horseflesh vs. Steam". The article highlights the death of the carriage as the means of transportation.

Nowadays, carriages are still used for day-to-day transport in the United States by some minority groups such as the Amish. They are also still used in the tourism as vehicles for sightseeing in cities such as Bruges, Vienna, New Orleans, and Little Rock, Arkansas.

The most complete working collection of carriages can be seen at the Royal Mews in London where a large selection of vehicles is in regular use. These are supported by a staff of liveried coachmen, footmen and postillions. The horses earn their keep by supporting the work of the Royal Household, particularly during ceremonial events. Horses pulling a large carriage known as a "covered brake" collect the Yeoman of the Guard in their distinctive red uniforms from St James's Palace for Investitures at Buckingham Palace; High Commissioners or Ambassadors are driven to their audiences with The Queen in landaus; visiting heads of state are transported to and from official arrival ceremonies and members of the Royal Family are driven in Royal Mews coaches during Trooping the Colour, the Order of the Garter service at Windsor Castle and carriage processions at the beginning of each day of Royal Ascot.

Construction
Carriages may be enclosed or open, depending on the type. The top cover for the body of a carriage, called the head or hood, is often flexible and designed to be folded back when desired. Such a folding top is called a bellows top or calash. A hoopstick forms a light framing member for this kind of hood. The top, roof or second-story compartment of a closed carriage, especially a diligence, was called an imperial. A closed carriage may have side windows called quarter lights (British) as well as windows in the doors, hence a "glass coach". On the forepart of an open carriage, a screen of wood or leather called a dashboard intercepts water, mud or snow thrown up by the heels of the horses. The dashboard or carriage top sometimes has a projecting sidepiece called a wing (British). A foot iron or footplate may serve as a carriage step.

A carriage driver sits on a box or perch, usually elevated and small. When at the front it is known as a dickey box, a term also used for a seat at the back for servants. A footman might use a small platform at the rear called a footboard or a seat called a rumble behind the body. Some carriages have a moveable seat called a jump seat. Some seats had an attached backrest called a lazyback.

The shafts of a carriage were called limbers in English dialect. Lancewood, a tough elastic wood of various trees, was often used especially for carriage shafts. A holdback, consisting of an iron catch on the shaft with a looped strap, enables a horse to back or hold back the vehicle. The end of the tongue of a carriage is suspended from the collars of the harness by a bar called the yoke. At the end of a trace, a loop called a cockeye attaches to the carriage.

In some carriage types the body is suspended from several leather straps called braces or thoroughbraces, attached to or serving as springs.

Beneath the carriage body is the undergear or undercarriage (or simply carriage), consisting of the running gear and chassis. The wheels and axles, in distinction from the body, are the running gear. The wheels revolve upon bearings or a spindle at the ends of a bar or beam called an axle or axletree. Most carriages have either one or two axles. On a four-wheeled vehicle, the forward part of the running gear, or forecarriage, is arranged to permit the front axle to turn independently of the fixed rear axle. In some carriages a 'dropped axle', bent twice at a right angle near the ends, allows a low body with large wheels. A guard called a dirtboard keeps dirt from the axle arm.

Several structural members form parts of the chassis supporting the carriage body. The fore axletree and the splinter bar above it (supporting the springs) are united by a piece of wood or metal called a futchel, which forms a socket for the pole that extends from the front axle. For strength and support, a rod called the backstay may extend from either end of the rear axle to the reach, the pole or rod joining the hind axle to the forward bolster above the front axle.

A skid called a drag, dragshoe, shoe or skidpan retards the motion of the wheels. A London patent of 1841 describes one such apparatus: An iron-shod beam, slightly longer than the radius of the wheel, is hinged under the axle so that when it is released to strike the ground the forward momentum of the vehicle wedges it against the axle. The original feature of this modification was that, instead of the usual practice of having to stop the carriage to retract the beam and so lose useful momentum, the chain holding it in place is released (from the driver's position) so that it is allowed to rotate further in its backwards direction, releasing the axle. A system of "pendant-levers" and straps then allows the beam to return to its first position and be ready for further use.

A catch or block called a trigger may be used to hold a wheel on a declivity.

A horizontal wheel or segment of a wheel called a fifth wheel sometimes forms an extended support to prevent the carriage from tipping; it consists of two parts rotating on each other about the kingbolt above the fore axle and beneath the body. A block of wood called a headblock might be placed between the fifth wheel and the forward spring.

A trap, pony trap or horse trap is a light, often sporty, two-wheeled or sometimes four-wheeled horse-drawn carriage, accommodating usually two to four persons in various seating arrangements, such as face-to-face or back-to-back.

A tanga (Hindi: टाँगा, Urdu: ٹانگہ, Bengali: টাঙ্গা) or Tonga is a light horse-drawn carriage used for transportation in India, Pakistan, and Bangladesh. Tangas are a popular mode of transportation because they are fun to ride in, and are usually cheaper to hire than a taxi or rickshaw. However, in many cities, tangas are not allowed to use highways because of their slow pace. In Pakistan, tangas are mainly found in the older parts of cities and towns, and are becoming less popular for utilitarian travel and more popular for pleasure. Tangas have become a traditional feature of weddings and other social functions in Pakistan, as well as in other nations. They are usually pulled by two horses, though some require only one. Others are designed for farm work. The room under the seats is sometimes used by the coachman (locally called "coach-waan") to keep his horse's food and sometimes to keep luggage if required.

Tangas are used for economic activity, mainly to carry heavy goods within the city limits.

Tangas were the most common means of transport in urban India and Pakistan until the early 1980s. Although autorickshaws have overtaken them in popularity, tangas are still common today in many cities and villages.

A volante is a two-wheeled, one- or two-passenger Spanish carriage formerly much used in Cuba. The axle was behind an open, hooded body. The carriage was driven by a rider on the horse.

An araba (from Arabic: عربة, araba or Turkish: araba) (also arba or aroba) is a carriage (such as a cabriolet or coach), wagon or cart drawn by horses or oxen, used in Turkey and neighboring Middle Eastern countries. It is usually heavy and without springs, and often covered.

The names of many of these have now passed into obscurity but some have been adopted to describe automotive car body styles: coupé, victoria, brougham, landau and landaulet, cabriolet (giving us our cab), phaeton, and limousine – all these once denoted particular types of carriages.

A man whose business was to drive a carriage was a coachman. A servant in livery called a footman or piquer formerly served in attendance upon a rider or was required to run before his master's carriage to clear the way. An attendant on horseback called an outrider often rode ahead of or next to a carriage. A carriage starter directed the flow of vehicles taking on passengers at the curbside. A hackneyman hired out horses and carriages. When hawking wares, a hawker was often assisted by a carriage.

Upper-class people of wealth and social position, those wealthy enough to keep carriages, were referred to as carriage folk or carriage trade.

Carriage passengers often used a lap robe as a blanket or similar covering for their legs, lap and feet. A buffalo robe, made from the hide of an American bison dressed with the hair on, was sometimes used as a carriage robe; it was commonly trimmed to rectangular shape and lined on the skin side with fabric. A carriage boot, fur-trimmed for winter wear, was made usually of fabric with a fur or felt lining. A knee boot protected the knees from rain or splatter.

A horse especially bred for carriage use by appearance and stylish action is called a carriage horse; one for use on a road is a road horse. One such breed is the Cleveland Bay, uniformly bay in color, of good conformation and strong constitution. Horses were broken in using a bodiless carriage frame called a break or brake.

A carriage dog or coach dog is bred for running beside a carriage.

A roofed structure that extends from the entrance of a building over an adjacent driveway and that shelters callers as they get in or out of their vehicles is known as a carriage porch or porte cochere. An outbuilding for a carriage is a coach house, which was often combined with accommodation for a groom or other servants.

A livery stable kept horses and usually carriages for hire. A range of stables, usually with carriage houses (remises) and living quarters built around a yard, court or street, is called a mews.

A kind of dynamometer called a peirameter indicates the power necessary to haul a carriage over a road or track.

In most European and English-speaking countries, driving is a competitive equestrian sport. Many horse shows host driving competitions for a particular style of driving, breed of horse, or type of vehicle. Show vehicles are usually carriages, carts, or buggies and, occasionally, sulkies or wagons. Modern high-technology carriages are made purely for competition by companies such as Bennington Carriages. in England. Terminology varies: the simple, lightweight two- or four-wheeled show vehicle common in many nations is called a "cart" in the USA, but a "carriage" in Australia.

Internationally, there is intense competition in the all-round test of driving: combined driving, also known as horse-driving trials, an equestrian discipline regulated by the Fédération Équestre Internationale (International Equestrian Federation) with national organizations representing each member country. World championships are conducted in alternate years, including single-horse, horse pairs and four-in-hand championships. The World Equestrian Games, held at four-year intervals, also includes a four-in-hand competition.

For pony drivers, the World Combined Pony Championships are held every two years and include singles, pairs and four-in-hand events.
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Objective abstraction

Objective abstraction was a British art movement. Between 1933 and 1936 several artists later associated with the Euston Road School produce...