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Карусов
Воскресенье, 04.12.2016, 09:08


"...Цивилизация гибнет только у тех, кто сам её уничтожил.
И в этом была главная ошибка Карусов.
Они пожалели тех, кто сам уничтожил свои Миры и сам для себя ничего не стал делать, чтобы выжить на своих погибших планетах..."
 
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  • Наш опрос
    Должны ли быть сведения об Армии Карусов в учебниках по истории?
    1. Должны. Но надо и далее находить и распространять те факты, которые подтверждают реальную историю.
    2. Должны. Для этого уже достаточно фактов.
    3. Затрудняюсь ответить, так как еще не знаком(а) со статьями Сандры Римской.
    4. Не должны. Фактов существования Армии Карусов пока недостаточно.
    5. Не должны. Ученым, написавшим историю Руси, виднее, каким было наше прошлое.
    Всего ответов: 56

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    Система Orphus


    Статистика

    Главная » Статьи » Государство » Армия Ангелов Карусов

    Реальный 19 век. Правда быта - Королева всех доказательств. 11. Начало.

    A. Polman & J. Hohmann

    Portrait of Prince Willem of the Netherlands (1840-1879)    1859

    Photograph, painted  /  Koninklijk Huis Archief Den HaagCopyright 

    Koninklijk Huis Archief Den Haag (A_XIV_1054_2)   LL/25776

    Начало...

    Фотографии 1859 года.

    Alexander Klinder & Alexander Eichenwald

    View of Mariinskaya Square [St. Petersburg, Russia]   1859

    Albumen print   29 x 39 cm (image) 44.4 x 57.5 cm (mount)

    Hermitage Museum    Inventory Number: ЭРФТ-293    LL/56518

    André Adolphe-Eugène Disdéri

    Pauline Viardot-Garcia in Orphée   1859

    Carte de visite

    Paul Frecker    LL/13458

    Pauline Viardot-Garcia (1821-1910), French soprano

    Mezzo-soprano Pauline Garcia was born in Paris on 18 July 1821, to a Spanish family of musicians. Originally trained as a pianist, her father, Manuel Garcia, also gave her singing lessons, although her elder sister Maria Malibran was the singer of the family until her untimely death in 1836.

    In 1837, at the age of sixteen, Pauline Garcia gave her first concert performance in Brussels. Her opera début was made at Her Majesty's Theatre, London in May 1839, as Desdemona in Rossini's Otello. In 1849 she created FidÞs in Le ProphÞte and later, the title role in Gounod's Sapho.

    In 1840, she married Louis Viardot, director of the Théatre Italien in Paris. Her husband later managed her career.

    Renowned for her wide range and her dramatic roles on stage, Garcia's performances inspired several composers, including Frederic Chopin, Hector Berlioz and Camille Saint-SaÙns. Extremely intelligent, she spoke fluent French, Italian, Spanish, English, German and Russian, and composed songs in a variety of national techniques. Her career took her to all the best musical venues of Europe, and from 1843 to 1846 she was permanently attached to the Opera in St. Petersburg.

    In 1863 Pauline Viardot-Garcia retired from the stage. Due to her husband's public opposition to Napoléon III, she and her family left France and settled in Baden-Baden. After the fall of the Second Empire, the family returned to France where Pauline taught at the Paris Conservatory. She died in Paris on 18 May 1910 and was buried in the cemetery at Montmartre.

    She is seen here as she appeared in 1859 when she sang Orpheus at the ThéÔtre-Lyrique in the historic revival of Gluck's Orphée et Eurydice, in Berlioz's version, with Marie Sax as Eurydice. (Paul Frecker).

    André Adolphe-Eugène Disdéri

    Adelaide Ristori in Médée   1859

    Carte de visite  /  Paul Frecker    LL/13471

    The Italian actress Adelaide Ristori paid her first professional visit to Paris in 1855. Her début in the part of Francesca was rather coldly received, but she took the city by storm in the title role of Alfieri's Myrrha. Furious partisanship was aroused by the appearance of a rival to the great Rachel, and the very different acting styles of the two actresses. The fiery, Latin gesticulations of the Italian contrasted strongly with the controlled, restrained, introverted technique that Rachel had popularized since her début as a seventeen-year-old in 1838. Paris was divided into two camps, with playgoers fighting at gallery doors over the merits of their respective favourites.

    The playwright Ernest Legouvé originally wrote Médée for Rachel, but when she broke her contract in order to nurse her dying sister, the part was offered to Ristori instead. When the play opened in Paris in 1856, it was a huge success, a triumph that was repeated when Ristori took the play to London. In 1857 she visited Madrid, playing in Spanish to enthusiastic audiences, and in 1866 she paid the first of four visits to the United States, where she proved equally popular, particularly in Giacometti's Elizabeth, an Italian study of the English sovereign. She finally retired from professional life in 1885, dying in Rome in 1906.

    She is seen her as the sorceress Medea, who killed her own children to avenge herself on their father, Jason.

    André Adolphe-Eugène Disdéri

    Adelaide Ristori in Maria Stuarda    1859

    Carte de visite  /  Paul Frecker    LL/13472

    The Italian actress Adelaide Ristori is seen here as Mary, Queen of Scots, in André Maffei's translation of Schiller's Maria Stuarda, a role which she first played at the age of eighteen.

    Bruno L. Hamel

    An Album of Photographic Views, Taken during the Government Scientific Exploring Expedition   1859

    Title page   29.5 x24 x 2. 5 cm

    Auckland War Memorial Museum   /   Album 80   LL/39179

    Full title:

    An Album of Photographic Views, Taken during the Government Scientific Exploring Expedition conducted by Dr. Ferdinand Hochstetter, Geologist, of the Imperial Austrian Expedition, of the Province of Auckland, by Bruno L. Hamel, photographic artist, Auckland, New Zealand. 1859.

    The album contains the following albumen prints:

    1. Dr Ferdinand Hochstetter

    2. Auckland [foreshore 1859]

    3. Auckland [from Fort Britomart 1859]

    4. Government House, Auckland

    5a.Drury Hotel

    5b.Waikato River, Rangariri

    6. Rangariri [with raupo hut]

    7a. Raupo Huts [with figures]

    7b. Maori School, Taupiri [with children]

    8. Reception of the Exploring Party [Europeans being hosted by Maori]

    9. Mission Station, Otawhao [with groups of children]

    10a. Takatahi Kawhia [includes homestead]

    10b. Limestone Rocks, Kawhia

    11. Limestone Rocks, Kawhia

    12a. Tarawera

    12b. Wairoa Settlement, Tarawera

    13. Mission Station, Tarawera [Reverend S.M Spencer]

    14. Maori School, Tarawera [children with their books]

    15. Te Tarata, Rotomahana [white terrace]

    16. Te Tarata [white terrace]

    17. Te Tarata [white terrace]

    18. Rotomahana

    19. Otukupuarangi [pink terrace with raupo huts]

    20. Waikiti, Whakarewarewa

    21. Mutumutu Solfatara, Whakarewarewa

    22. Ohinemutu [Maori settlement]

    23. Papapatangi, Waiho Plains

    24. Forest Scenery

    25. Maori Monument at Rotorua [dressed]

    26. View at Rotomahana

    27. View at Rotomahana 28. Mission Station at Taupiri

    Bruno L. Hamel

    Dr. Ferdinand Hochstetter    [An Album of Photographic Views, Taken during the Government Scientific Exploring Expedition]   1859

    Albumen print   14.4 x 18 cm

    Auckland War Memorial Museum  

    Album 80     LL/39180

    Included in:

    An Album of Photographic Views, Taken during the Government Scientific Exploring Expedition conducted by Dr. Ferdinand Hochstetter, Geologist, of the Imperial Austrian Expedition, of the Province of Auckland, by Bruno L. Hamel, photographic artist, Auckland, New Zealand. 1859.

    Bruno L. Hamel

    Limestone Rocks: Rakau Nui, Kawhia    [An Album of Photographic Views, Taken during the Government Scientific Exploring Expedition]    1859

    Albumen print   21 x 15.5 cm

    Auckland War Memorial Museum

    Album 80    LL/39181

    Included in:

    An Album of Photographic Views, Taken during the Government Scientific Exploring Expedition conducted by Dr. Ferdinand Hochstetter, Geologist, of the Imperial Austrian Expedition, of the Province of Auckland, by Bruno L. Hamel, photographic artist, Auckland, New Zealand. 1859.

    Bruno L. Hamel

    Maori Monument at Rotorua   [An Album of Photographic Views, Taken during the Government Scientific Exploring Expedition]   1859

    Albumen print    11.1 x 14 8 cm

    Auckland War Memorial Museum

    Album 80   LL/39182

    Included in:

    An Album of Photographic Views, Taken during the Government Scientific Exploring Expedition conducted by Dr. Ferdinand Hochstetter, Geologist, of the Imperial Austrian Expedition, of the Province of Auckland, by Bruno L. Hamel, photographic artist, Auckland, New Zealand. 1859.

    Bruno L. Hamel

    Reception of the Exploring Party: by Takerei on the Waipa   [An Album of Photographic Views, Taken during the Government Scientific Exploring Expedition]   1859

    Albumen print    19.4 x 14.2 cm

    Auckland War Memorial Museum

    Album 80   LL/39183

    Included in:

    An Album of Photographic Views, Taken during the Government Scientific Exploring Expedition conducted by Dr. Ferdinand Hochstetter, Geologist, of the Imperial Austrian Expedition, of the Province of Auckland, by Bruno L. Hamel, photographic artist, Auckland, New Zealand. 1859.

    Charles Thurston Thompson [Attributed to]

    Work - Portrait of Thomas Carlyle   1859

    Albumen print   18.5 x 31.2 cm

    Birmingham Museum and Art Gallery

    Accession number: 1975P329   LL/45919

    Curatorial notes  Birmingham Museums and Art Gallery

    ЛЮСТРА!!!

    Charles Nègre

    Vincennes Imperial Asylum: Recreation Hall   1859

    Albumen silver print   21.4 x 16.4 cm

    National Gallery of Canada

    Purchased 1968, no. 32508   LL/39042

    Although Brown met Thomas Carlyle (1795-1881), the essayist was too busy to sit for 'Work' in person and instead posed for this photograph. It appears to have been taken in 1859 at 'Mr Thompson's Photographic Establishment'. Mr. Thompson is likely to have been the photographer Charles Thurston Thompson (1816-1868). Brown was deeply impressed with the works of Carlyle and several of them influenced his choice of subject matter. Carlyle's writings were known for their lively rhetoric which comes across in the letter he wrote to Brown agreeing to pose for the photograph:'I think it a pity you had not put (or should not still put) some other man than me in your Great Picture. It is certain you could hardly have found among the sons of Adam, at present, any individual who is less in a condition to help you forward with it ... I very well remember your amiable request, and the promise I made to you, to 'sit for some photographs.' That promise I will keep; and to that we must restrict ourselves, hand of Necessity compelling. Any afternoon I will attend here, at your studio, or where you appoint me, and give your man one hour to get what photographs he will or can of me. If here, the hour must be 3"pm (my usual hour of quitting work, or to speak justly, the chamber of work); if at any other place, attainable by horseback, it will be altogether equally convenient to me; and the hour may such as enables me to arrive (at a rate of 5 miles per hour we will say!)' (F. M. Hueffer, 'Ford Madox Brown: A Record of his Life and Work, p. 163) The National Portrait Gallery holds another photograph of Carlyle sitting in a chair, which was owned by the sculptor Thomas Woolner (1825-1892), a friend of the artist. It appears to have been taken in the same studio session as the sitter as the same clothes, props and backdrop can be seen in the photograph. It is a smaller portrait of Carlyle from the waist up, and is likely to have been taken as the sitter seems to have moved his head in the Birmingham photograph, producing a blurred effect which may not have contained enough detail for Brown to work from. The Birmingham photograph has pin holes in the corners suggesting that Brown tacked it up to use as a guide to Carlye's pose, which is the same as in the finished picture, but may have relied on the clearer half-length study for his likeness.

    Charles Nègre

    Vincennes Imperial Asylum: Game of Quoits   1859

    Albumen silver print   17 cm (diameter)

    National Gallery of Canada

    Purchased 1968, no. 32490    LL/39038

    Charles Nègre

    Vincennes Imperial Asylum: General View with Coach    1859

    Albumen silver print   36.8 x 43.4 cm (irregular)

    National Gallery of Canada   Purchased 1968, no. 32498    LL/39039

    ЧТО НА ПОТОЛКЕ?! 

    Charles Nègre

    Vincennes Imperial Asylum: Inauguration Ceremony   1859

    Albumen silver print    16.4 x 14.5 cm

    National Gallery of Canada

    Purchased 1968, no. 32495   LL/39040

    Charles Nègre

    Vincennes Imperial Asylum: Pavillon Gobelin   1859

    Albumen silver print   19 x 16.1 cm

    National Gallery of Canada

    Purchased 1968, no. 32489   LL/39041

    ЧТО НА СТЕНЕ?! 

    http://www.luminous-lint.com/app/image/168528026165390433765728831

    Charles Nègre

    Vincennes Imperial Asylum: the Doctor's Visit   1859

    Albumen silver print   17 cm (diameter)

    National Gallery of Canada

    Purchased 1968, no. 32504   LL/39043

    Charles Nègre

    Vincennes Imperial Asylum: the Gardens   1859

    Albumen silver print   23.1 x 18 cm

    National Gallery of Canada

    Purchased 1968, no. 32492   LL/39044

    Charles Nègre

    Vincennes Imperial Asylum: the Gardens   1859

    Albumen silver print   19.1 x 16.6 cm

    National Gallery of Canada

    Purchased 1968, no. 32493   LL/39045

    Charles Nègre

    Vincennes Imperial Asylum: the Inauguration   1859

    Albumen silver print   32.3 x 43.2 cm (oval)

    National Gallery of Canada

    Purchased 1968, no. 32496    LL/39046

    Charles Nègre

    Vincennes Imperial Asylum: the Kitchens   1859

    Albumen silver print   17 cm (diameter)

    National Gallery of Canada

    Purchased 1968, no. 32500   LL/39047

    Charles Nègre

    Vincennes Imperial Asylum: the Kitchens. Preparing the Plates   1859

    Albumen silver print   23.3 x 22.1 cm (sheet) 23.3 x 19.8 cm (image)

    National Gallery of Canada

    Purchased 1968, no. 32502   LL/39048

    Charles Nègre

    Vincennes Imperial Asylum: the Library   1859

    Albumen silver print   20.4 x 17.1 cm   National Gallery of Canada   Purchased 1968, no. 32491   LL/39049

    Charles Nègre

    Vincennes Imperial Asylum: the Linen Room   1859

    Albumen silver print   22.3 x 18.9 cm

    National Gallery of Canada    Purchased 1968, no. 32505   LL/39050

    ЕЩЁ ЛЮСТРЫ!!! БЫЛО ЭЛЕКТРИЧЕСТВО

    Charles Nègre

    Vincennes Imperial Asylum: the Refectory   1859

    Albumen silver print    24.5 x 18 cm (sheet, irregular) 23.3 x 16.6 cm (image)

    National Gallery of Canada   Purchased 1968, no. 32506

    http://www.luminous-lint.com/app/image/6995694926935390513418875044

    Charles Nègre

    Spartan Soldier   1859

    Albumen silver print, from glass negative   35.3 x 43.5 cm (13 7/8 x 17 1/8 ins)

    Metropolitan Museum of Art

    Gilman Collection, Purchase, Harriette and Noel Levine Gift, 2005, Accession Number: 2005.100.52

    Charles Nègre

    The Tiber, Tuileries Garden, Paris   1859

    Albumen print from wet collodion negative   36.50 x 44.60 cm (14 5/16 x 17 1/2 ins) (image)

    Cleveland Museum of Art

    Leonard C. Hanna, Jr. Fund, Accession No.: 1994.201   LL/40880

    Charles Nègre

    The Seine and the Marne, Tuileries Gardens, Paris   1859

    Albumen print from wet collodion negative   17 1/4 x 17 ½

    Charles Isaacs Photographs, Inc   LL/4191

    Felice Beato

    Gate of the Golden Temple at Amritsar   1859

    Albumen print   260 x 300 mm

    Bonhams – London

    Courtesy of Bonhams, London (Sale 15313 - India and Beyond in Books and Photography, Lot 228 - 26 Oct 2007)   LL/24097

    Francis Bedford

    Miner's Bridge at Betws-y-Coed, North Wales   1859 (taken)

    Albumen silver print, mounted   5.2 x 21.0 cm

    Private collection of Steven Evans   LL/47369

    Frederick Pickersgill (British, 1820–1900)

    Sunshine and Shade   1859

    Albumen print

    National Media Museum

    The Royal Photographic Society Collection, Purchased with the assistance of The Art Fund   LL/45915

    Gabriel__De_Rumine

    The Dome of the Rock, Jerusalem   1859

    Photograph

    J. Paul Getty Museum

    Inventory number requested   LL/52724

    George K. Warren

    Yearbook Cover   1859

    Album cover   13 x 11 ins

    Smithsonian Books

    Courtesy of Smithsonian Books.   LL/44455

    Owners of early yearbooks, like this one belonging to George Washington McNeel, assembled the books and had them bound by professional bookbinders. Each owner decided which designs and patterns would emblazon the covers and whether elegant touches like gilding were within budget.

    This photograph is included in Shannon Thomas Perich The Changing Face of Portrait Photography: From Daguerreotype to Digital (Washington, DC: National Museum of American History, 2011)

    Giacomo Caneva

    Portrait of a Family   1859

    Salted paper print

    Getty Research Instititute

    Partial gift of The Kelton Foundation, 2007.R.10.3.    LL/43542

    Продолжение...

     

    Александра Римская 16.01.2015 г., 663, Anno Domini. Xikrik to river Novogor

    Список статей Сандры Римской

    http://sandra-rimskaya.livejournal.com/449814.html

    Группа ВК "История

    Категория: Армия Ангелов Карусов | Добавил: Александра (16.01.2015) | Автор: Сандра Римская E W
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    Неделя землетрясения в Сан-Франциско Армии в 1906 году 
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