Le musée Franz-Kafka a ouvert ses portes à l'été 2005 dans le bâtiment de la briqueterie Herget au bord de la rivière Vltava.

Franz Kafka est né à Prague le 3 juillet 1883, est mort dans un sanatorium de Kierling le 3 juin 1924 et a été enterré dans le nouveau cimetière juif de Prague-Strašnice le 11 juin de la même année.

The Franz Kafka Museum opened in the summer of 2005 in the Herget Brickworks building on the Lesser-Town bank of the Vltava River. Franz Kafka was born in Prague on 3 July 1883, died in a sanatorium in Kierling on 3 June 1924, and was buried in the New Jewish Cemetery in Prague–Strašnice on 11 June.

St. Joseph's Jack Kilmartin almost loses his helmet while taking down Darien's Trevor Herget during the Cadets' 14-0 victory Saturday.

Darien's Thomas Herget pulls down this pass for his second touchdown against Fairfield Ludlowe Saturday. Herget scored 4 TDs as the Blue Wave defeated Ludlowe, 48-15.

The 50-mm cannon MK 214 A was a bomber developed for defense cannon for the jet fighter Messerschmitt Me 262 . By the end of the war only two Me 262s were equipped with this cannon.

As a basis for development of the 50-mm MK 214 A, was 5 cm PaK 38 ( anti-tank gun ), which as already Kwk 39 (Kampfwagenkanone) was used. In 1944, an aircraft cannon of heavy calibre was requested, created from the Pak 38 at the company Rheinmetall ‘s 50 mm BK 5 (this was including in the Me 410 built-in) and at the company Mauser , the 50-mm MK 214 A.

After several attempts, including the 50-mm BK 5 , on the 11th of March 1945 the installation of the 50-mm cannon MK 214 A V2 autoloader in a Messerschmitt Me 262 A-1a. This variant of the Messerschmitt 262 was designated Messerschmitt Me 262 A-1a/U4. The first flight of the prototype (W.Nr.111899) on 19 March 1945. When the factory testing, also were target practice next to the flight tests, carried out with the cannon. In this case, satisfactory results were obtained, both on the ground and in the air.

Then, the prototype of which was Jagdverband 44 passed where the machine by Major Wilhelm Herget was flown. At the only use of this Me 262 A-1a/U4 16 April 1945 against Allied bombers but the cannon failed because of jamming.

Only flown this aircraft in use was blown when the war ended. The second test aircraft (W.Nr.170083, ID: 083 V) with a 50-mm Mk 214 A was the end of April / beginning of May 1945, on the airfield Lechfeld of advancing units of the U.S. armed forces looted. In a later ferry flight to Cherbourg it crashed. The German pilot was with the parachute rescue. Another A-1a/U4 Me 262 was still under construction when the war ended and was in Augsburg captured by British forces.

The top register of the Palermo Stone lists sixteen kings of Lower Egypt - identifiable by their wicker crowns - before the legendary Menes conquered their kingdom and added it to his own. These Lower Egyptian kings are listed only by their names, rather than by important events during their rule. The order in which they are listed is clearly indicated by the way the enthroned figures are facing: in contrast to the other parts of the inscribed Annals, these kings of Lower Egypt are facing to the right. The first six names are worn away and the seventh is partly so, as are the last two. The third from last was Wadj-Nedj, whose name is probably recorded as 'Wash' in the 'smiting scene' on the back of the Narmer Palette.

Recording an enemy's real name in full would have been unusual in the light of Egyptian beliefs about the power of written names. Apparently there was more renown to be gained by identifying 'Wash' as the defeated enemy king than there was magical protection in leaving Wadj-Nedj completely nameless. Just to be on the safe side magically, 'Wash' is bound and unarmed. King Narmer, "the smasher of foreheads," wears the white 'hedjet' crown of Upper Egypt and packs a deadly battle mace. This is quite unlike the gilt-handled ornament shown in Herget's painting. The mace shown on the Narmer palette is similar to the Sayala mace, found in Lower Nubia in 1910.

Some have identified Narmer's prisoner as a slave and 'Wash' as the name of his town or region, but Wadj-Nedj's high status is clearly indicated. The most obvious clue is hieratic scale: Wadj-Nedj is the same size as Narmer, in contrast to Narmer's own companions.

In contrast to the other two of Narmer's enemies shown on the bottom of the reverse side of the Narmer Palette, only Wadj-Nedj has a headband. He isn't wearing a wig - as Narmer's iconic grip on his forelock clearly shows. For this reason, he would need a headband to hold his hair in place and keep a wicker crown on his head. The headband is shown, even though would have come off when Narmer grasped the hair of his enemy. It is added to emphasize the royal status of that enemy.

Wadj-Nedj also wears a menat - the beadwork fetish of a high priest - partially erased but faintly visible, hanging from his neck. Serving as a high priest was a king's original role. Another important clue is the bull's tail. Only Narmer and his father, Scorpion, are depicted wearing the bull's tail along with the white crown of Upper Egypt. The bull's tail Narmer wears may have been a trophy taken from Wadj-Nedj on the battlefield. A bull's tail was worn by the kings of Lower Egypt and, in later times, by Libyan chieftains.

On the reverse side of the palette, the 'procession scene' shows Narmer at a later time. He is now wearing the captured red 'deshret' crown of Lower Egypt as he reviews ten decapitated enemies. Wadj-Nedj is apparently the lowest victim in the left-hand column, the only one of the ten headless enemies who wears a headband. Unlike the other victims, he wasn't emasculated, which suggests that he was circumcised. Wadj-Nedj's menat now joins the four other ones hanging from Narmer's belt, symbolizing the major centers - Abydos, Hierakonpolis, Lycopolis, and Naqada - united by war and diplomacy to form the kingdom of Upper Egypt. The king - now personified as Montu in a bull's form - tramples the enemy city into the dust.

Four vexilloid standards also appear in this scene. Two hawks, symbols of Horus and Set, are borne by shorter men in Lower Egyptian loincloths. These standards may have been captured and then been paraded, borne by prisoners. The two hawks had been revered in Lower Egypt for centuries. For example, the Libyans depicted on the 'hunters palette' are holding two hawk standards. The two other standards on the Narmer palette are borne by taller men in Upper Egyptian kilts. As always, size is a vital clue. The victorious Upper Egyptians are depicted as taller, because they are more important.

If a pharaoh died without a male heir, his chief minister succeeded him by marrying his eldest daughter. After his victory over the north, Narmer married a Libyan princess, Neith-hotep, to claim the throne by marriage as well as conquest. On the Narmer Macehead, Narmer is shown receiving an unbearded and obviously female visitor - quite probably Neith-hotep - while three bearded Libyan captives look on.

On the Narmer Palette, a LIbyan head grows from a clump of six papyrus reeds above Wadj-Nedj's head. The king is personified as a hawk - probably Montu, the original war-god of Thebes - and leads a Libyan by a rope through his nose, indicating that 6,000 Libyans were taken prisoner. This points to a battle of annihilation, as when a defeated force is trapped against a natural obstacle, like a body of water. The accounts of Horus's victory over Set would later report that Set's defeated followers were turned into hippos and crocodiles.

On the Narmer Macehead, the conqueror claims to have taken a total of 400,000 oxen and 1,422,000 goats, plus some 120,000 Libyan males. While some argue that this record was merely a census of the conquered lands, there is reason to take these claims at face value. Many sites in the delta were abandoned for centuries, as rebellions and punitive raids continued. The base of a statue of the seated Khasekemwy - the last king of the Second Dynasty - is bordered with papyrus plants and dead rekhyt birds as well as bearded Libyan dead. Clearly, the wars of unification were long. These figures also help us to see why Narmer would never be recognized - at least in Lower Egypt - as the first king of a united country. Even though the king-lists of Upper Egypt show him as the first king of the First Dynasty, the killer of the god-king of Lower Egypt would never be fully accepted there. Aha, Narmer's son by Neith-hotep, would be the one recognized as Men, better known to us as Menes.

The negative reaction to Narmer's conquest eventually spread even to Upper Egypt. The legend of Osiris, the god-king murdered by his brother Set, grew from the folk-memory of the conquest, carried south with his captives. Osiris and his wife Isis had appeared in no royal inscriptions until the Pyramid Texts of the Fifth Dynasty. Then they suddenly - and completely - supplanted their Upper Egyptian counterparts. The Narmer Palette and Narmer Macehead had long been out of favor. They had been 'buried with honor' at the temple of Horus in Heirakonpolis. On the other hand, the skull of Osiris - most likely that of Wadj-Nedj - was revered for centuries in Abydos, Narmer's Upper Egyptian capital. The veiled relic was later depicted in the Temple of Osiris, built there by Seti I. Horus, the avenging son of Osiris, had long since been conflated with Montu, the hawk-god of Narmer and the First Dynasty kings, and became the protective deity of all the pharaohs.

The conquered people were known to the Egyptians as the Tjemehu. The ancient Egyptian name for Lower Egypt - the 'papyrus land' of Ta Mehu - was derived from this name. One of their tribes, the Libu, gave these ancient people the name Egyptology knows them by, Libyans. Anthropology calls them the Berbers, but their own name for themselves is the Amazigh.

Unlike the Egyptians who practiced male and female circumcision, most of the Libyans were uncircumcised. They were therefore considered 'unclean' by the conquerors, who called them 'rekhyt' after the lapwing plover, a common bird of the delta marshes. Dead lapwings hang from the standards on the Narmer Macehead. Lines of these rekhyt birds were later carved by temple doorways to indicate the only entrance that the 'unclean' Libyans were permitted to use. A distinct population - red-haired or even blond - survives to this day in the western Nile delta. Egyptian artists were careful to record their slight foreheads, bulbous noses, and receding chins, giving them a distinctly 'Mesopotamian' facial profile. All of the Libyans are thinly bearded. With the exception of Narmer - whose beard is probably artificial - none of the Upper Egyptians have beards. While some have rightly taken issue with Herget's depiction of pale-skinned ancient Egyptians, the Egyptians themselves painted Libyan men with yellow skin, the same color that they used for pampered Egyptian ladies, who were able to avoid the sun. In contrast, Egyptian men - and lower-class women - were painted brick-red.

Libyans formed a large part of the Egyptian underclass, to the extent that many translate the rekhyt bird glyph as meaning 'the common people.' Depictions of prisoners usually showed a Libyan in foreign dress as the foremost of pharaoh's captives. The Libyans were likely feared archers, because they are usually portrayed in battle scenes carrying tiny, useless bows, with no arrows. This precaution calls to mind the inscriptions of the god Horus battling with Set, where Set is depicted as mouse-sized, while Horus is a gigantic figure. This size disparity was a magical way to minimize the 'danger' of the evil parts of an inscribed image.

Some Libyan prisoners were drafted into the Egyptian army. Eventually, a few descendants of these assimilated Libyans even reached the throne. Seti I and his son, Ramses II - both of whom were red-haired - are two famous examples. The gray hairs of their mummies - Seti died in his forties and Ramses in his nineties - had been dyed with henna, but their hair follicles contained traces of natural red pigment. Mutnedjmet, the wife of Horemheb - and possibly the sister of the fabled Nefertiti - may have been Libyan as well. The lives of most assimilated Libyans were much less remarkable. Herodotus later observed that Egyptian men did the laundry, because the crocodiles made it too dangerous for women. However, the Egyptian word for 'laundry-worker' was the feminine form of 'rekhyt.'

In the Herget painting, Narmer - wearing the white crown of Upper Egypt - completes his victory by destroying a northern city, most probably the capital. Originally the twin towns of Pe and Dep, the Egyptians would call this city Per-Wadjet and the Greeks would know it as Buto. In Narmer's day, it was also Egypt's chief seaport. Narmer's decoy force has landed in plain view and the Libyans have massed to face it. A second column of Narmer's men has struck from behind, setting the town ablaze. The Libyan retreat has dissolved into a rout. In the confusion, Wadj-Nedj has been taken alive.

The long red pennants Herget showed streaming from the standards of Horus and Set are probably wrong. These streamers appeared in front of temples and form part of the hieroglyph for 'god' or 'goddess.' On the Narmer palette, however, the standards of Horus and Set appear only in the 'procession scene,' The items hanging from them consist of several short pieces, rather than continuous lengths. They are some sort of battle trophy - possibly uncircumcized phalli. As with the depiction of Wadj-Nedj's hair grasped by Narmer's left hand and the images of the two Lower Egyptian worthies (most likely the rulers of Sais and Busiris) trampled under Narmer's feet in the smiting scene, the design of the captured standards is calculated to convey humiliation.

The geometric tattoos on the knees of Wadj-Nedj's bodyguards are authentic Libyan designs, although they are copied from ones in the tomb of King Seti I of the 19th Dynasty, almost eighteen centuries later. The pear-shaped mace Narmer uses to dispatch them likely belonged to Wadj-Nedj himself. It is most probably among the uninscribed maceheads which were found by Green and Quibell in the Main Deposit at Hierakonpolis in 1898 and 1899. Unlike the massive Narmer Macehead, these piriform maceheads were small enough to have been used as actual weapons.

Behind Narmer, the twice-wounded Wadj-Nedj wears the red crown of Lower Egypt and clutches an animal-headed 'was' scepter. He would be executed at a later time, along with the other nine victims in the procession scene. The myth says that Osiris was done away with by being lured into trying out a beautiful sarcophagus at a feast, possibly Wadj-Nedj's fate after Neith-hotep's 'marriage' to Narmer. Afterward, Isis hid in the delta marshes with her infant son, Horus, who grew up to defeat Set and reclaim his father's kingdom. The Narmer Macehead records this 'marriage' of Narmer and Neith-hotep as happening near a temple to the stork-like Bennu bird. The center of this worship was in the town the Egyptians knew as On, which the Greeks later would call Heliopolis. This town, on the Nile's east bank, served as Narmer's forward headquarters during the conquest of the north.

This suggests that both flanks of the delta fell under Narmer's control first, while the central delta remained as a center of resistance. The last part of Lower Egypt to fall to Narmer would be the swampy area between the two main branches of the river. Three main cities - Buto, Sais, and Busiris - bordered these wild regions, most of which were submerged in the annual floods. These lands would be largely undeveloped for another millenium, until the late Middle Kingdom.

For more information, see:

"Lapwings and Libyans in Ancient Egypt" by Alessandra Nibbi, Oxford, 1986

"The Narmer Palette: A Forgotten Member" by Renee Friedman in Nekhen News, Vol 10, 1998, p 22

The top register of the Palermo Stone lists sixteen kings of Lower Egypt, before the legendary Menes conquered their kingdom and added it to his own. Unlike later rulers, these Lower Egyptian kings are recorded only by their names. The first six names are worn away and the seventh is partly so, as are the last two. The fourteenth king of Lower Egypt was Wadjha, whose name is recorded as 'Wash' in the 'smiting scene' on the back of the Narmer Palette.

Recording an enemy's name in full was unusual, in the light of Egyptian beliefs about the magical power of names, and most particularly written ones. Apparently there was more fame to be gained by identifying 'Wash' as the defeated enemy than there was magical protection in leaving Wadjha completely anonymous. Just to be on the safe side, 'Wash' is depicted as a bound prisoner - naked and unarmed - while Narmer is brilliant in his white linen kilt and wears the tall white 'hedjet' crown of Upper Egypt. He also packs a deadly battle mace, quite unlike the gilt-handled ornament shown in the Herget painting.

Some have identified Narmer's prisoner as a slave and 'Wash' as the name of his town or region, but Wadjha's royal status is clearly indicated. The most obvious clue is hieratic scale: Wadjha's image is the same size as Narmer's, in contrast to the images of Narmer's own companions.

Unlike the other two of Narmer's enemies shown on the reverse of the palette, only Wadjha has a headband. He isn't wearing a wig, as Narmer's grip on his forelock clearly shows. He would need a headband to hold his hair-piece or wig in place and keep a wicker crown on top of it. This is no minor detail. The headband is shown, even though would have come off when Narmer grasped the hair of his enemy.

It is

retained to reveal the royal status of that enemy.

Wadjha also wears a menat - the beadwork fetish of a high priest - partially erased but faintly visible, hanging from his neck. Serving as a high priest was a king's original role. Another important clue is the bull's tail. Only Narmer and his father, Scorpion, are depicted wearing the bull's tail along with the white 'hedjet' crown of Upper Egypt. The bull's tail Narmer wears may also have been a battlefield trophy, taken from Wadjha. A bull's tail was an emblem worn by the kings of Lower Egypt and, in later times, by Libyan chieftains.

On the other side of the palette, the 'procession scene' shows Narmer, now wearing the captured red 'deshret' crown of Lower Egypt as he reviews ten decapitated enemies. Wadjha is apparently the lowest victim in the left-hand column, the only one of the ten enemies who wears a headband. Unlike the other victims, he wasn't emasculated, which suggests that he was either circumcised or aposthic. Wadjha's menat now joins the four other ones hanging from Narmer's girdle- belt, symbolizing the major centers united by war and diplomacy to form the Thinite confederacy of Upper Egypt.

Four vexilloid standards also appear in this scene. Two hawks, symbols of Horus and Set, are borne by shorter men in Lower Egyptian loincloths. The two other standards are borne by taller men in Upper Egyptian kilts. As always, size is a vital clue. The Upper Egyptians are depicted as taller, because - as the victors - they are more important. The presence of some Lower Egyptians and Libyans indicates that some effort was made to draft them into Narmer's Thinite army.

If a pharaoh died without a male heir, his chief minister succeeded him by marrying his eldest daughter. After his victory over the north, Narmer married a Libyan princess, Neith-hotep, to claim the throne by marriage as well as conquest. On the Narmer Macehead, Narmer is shown receiving a beardless and obviously female visitor - quite probably Neith-hotep - while three bearded Libyan captives look on. Neith-hotep's motive in this may be clearly evident: Alone - of all the Lower Egyptian towns - the ancient northern capital, Buto, known to us as Per-Wadjet) escaped destruction.

On the other side of the Narmer Palette, Narmer takes the hawk form of the ancient Theban war-god, Montu. He leads by the nose a Libyan head that grows from a clump of six papyrus reeds above Wadjha's head, indicating that 6,000 prisoners were taken.

On the Narmer Macehead, the conqueror claims to have taken a total of 400,000 oxen and 1,422,000 goats, plus some 120,000 Libyan males. While some argue that this record was merely a census of the conquered lands, there is reason to take these claims at face value. Many sites in the delta were abandoned for centuries, as rebellions and punitive raids continued for the years of Narmer's rule. The base of a statue of the seated King Khasekemwy (the last king of the Second Dynasty) is bordered with papyrus plants and dead rekhyt birds - symbolic of the northerners - as well as bearded Libyan dead. Clearly, the war of unification was a long affair. These figures also help us to see why Narmer would never be recognized - at least in Lower Egypt - as the first king of a united country. Even though the king-lists of Upper Egypt show him as the first king of the First Dynasty, the killer of the god-king Wadjha would never be fully accepted in Lower Egypt. Aha, Narmer's son by Neith-hotep, would be the one recognized as Men, better known to us as Menes.

The negative reaction to Narmer's conquest eventually spread even to Upper Egypt. The legend of Osiris, the god-king murdered by his brother Set, grew from the folk-memory of Narmer's conquest, carried south with his captives. Osiris and his wife Isis had appeared in no royal inscriptions until the Pyramid Texts of the Fifth Dynasty. Then they suddenly - and completely - supplant their Upper Egyptian counterparts, Set and Nephthys. The Narmer Palette and Narmer Macehead had long been out of official favor. They had been 'buried with honor' at the temple of Horus in Hierakonpolis. On the other hand, the skull of Osiris - most likely that of Wadjha - was revered for centuries in the temple at Abydos, Narmer's Upper Egyptian capital. The veiled relic was later depicted in the Temple of Osiris, built by Seti I. Horus, the avenging son of Osiris, had long since been conflated with the original Horus, the god of Narmer and the First Dynasty kings, and became the protective deity of the pharaohs.

The conquered people were known to the Egyptians as the Meshwesh or Ma. The ancient Egyptian name for Lower Egypt - the 'papyrus land' of Ta Mehu - was derived from this name. One of their tribes, the Libu of Cyrenaica, gave these ancient people the name Egyptology knows them by, that of Libyans. Anthropology calls them the Berbers, but their own name for themselves and their language is "Amazigh."

Unlike the Egyptians who practiced both male and female circumcision, most of the Libyan tribes were uncircumcised. They were therefore considered 'unclean' by the conquerors, who called them 'rekhyt' after the lapwing plover, the most common bird of the delta marshes. Dead lapwings hang from the standards on the Narmer Macehead. Lines of these rekhyt birds were later carved over temple doorways to indicate the only entrance that the 'unclean' Libyans were permitted to use. A distinct population - red-haired or even blond - survives to this day in the western Nile delta. Egyptian artists were careful to record their slight foreheads, bulbous noses, and receding chins, giving them a distinctly 'Mesopotamian profiles. All of the Libyans are thinly bearded, but with the exception of Narmer - whose beard is probably artificial - none of the Upper Egyptians has a beard. While some have rightly taken issue with Herget's depiction of pale-skinned ancient Egyptians, the ancient Egyptians themselves painted Libyan men with yellow skin, the same color that they used for pampered Egyptian ladies, who were able to avoid the sun. In contrast, Egyptian men - and lower-class women - were painted brick-red.

Libyans formed a large part of the Egyptian underclass, to the extent that many translate the rekhyt bird glyph as meaning 'the common people.' Depictions of prisoners usually showed a foreign-dressed Libyan as the foremost of pharaoh's captives. We can conclude that the Libyans were feared archers, because they are usually portrayed carrying tiny bows, with no arrows at all. This calls to mind the inscriptions of the god Horus the Younger battling with Set, where the hippopotamus-sized Set is depicted as mouse-sized, while Horus is gigantic. This size disparity in size was a magical way to minimize the 'danger' of the evil parts of an inscribed image.

Many of these Libyan prisoners were drafted into the Egyptian army. Eventually, a few descendants of these assimilated Libyans even reached the throne. Seti I and his son, Ramses II - both of whom were red-haired - are two famous examples. The gray hairs of their mummies - Seti died in his 40's and Ramses in his 90's - had been dyed red with henna, but the roots of the hair shafts contained natural red pigments. Mutnedjmet, the wife of Horemheb - and possibly the half-sister of the fabled Nefertiti - was another. The lives of most assimilated Libyans were much less remarkable. Herodotus later observed that Egyptian men did the laundry, because the crocodiles made it so dangerous. However, the Egyptian word for 'laundry-worker' was the feminine form of 'rekhyt.'

In the Herget painting, Narmer - wearing the white 'hedjet' crown of Upper Egypt - completes his victory by destroying a northern city, most probably Sais. Narmer's main force has landed in plain view and the Libyans have massed against it. A second column of Narmer's men has landed out of sight and struck from behind, setting the undefended town ablaze. Their Libyan allies have been driven from the field Wadjha's bodyguards have been swept aside. Wadjha himself has been 'struck-alive' and taken prisoner.

The long red pennants Herget shows streaming from the standards of Horus and Set are like the ones shown being carried by the Libyans on the Hunter's Palette. These streaming pennants appeared in front of temples and form part of the hieroglyph sign for 'god' or 'goddess.' On the Narmer palette, however, the standards of Horus and Set appear only in the 'procession scene,' The items hanging from them consist of several short pieces, rather than continuous lengths. They are some sort of battle trophy, paraded on the captured enemy standards. Like the depiction of Wadjha's carefully-coifed hair grasped by Narmer's unclean left hand and the two worthies - most likely the rulers of Sais and Busiris - trampled under Narmer's feet in the smiting scene, the imagery of the captured standards is calculated to convey contempt.

The geometric tattoos on the knees of Wadjha's bodyguards are authentic Libyan designs, although they are copied from ones in the tomb of King Seti I of the 19th Dynasty, almost eighteen centuries later. The pear-shaped mace Narmer uses to dispatch Wadjha's bodyguards most likely belonged to Wadjha himself. It is most probably among the hundreds of uninscribed mace-heads which were found by Green and Quibell in the Main Deposit at Hierakonpolis in 1898. Unlike the massive Narmer Macehead, these piriform, discoid, or round mace-heads were small enough to have been used as actual weapons.

Behind Narmer, the twice-wounded Wadjha wears the red crown of Lower Egypt and clutches an animal-headed 'was' scepter. He would be executed at a later time, along with the other nine victims shown in the procession scene. The myth says that Osiris was done away with by being lured into a beautiful sarcophagus at a feast, possibly Wadjha's fate after Neith-hotep's 'marriage of state' to Narmer. Afterward, Isis hid in the delta marshes with her infant son, Horus the Younger, who grew up to defeat Set and reclaim his kingdom. The Narmer Macehead records this marriage of Narmer and Neith-hotep as happening near a temple to the stork-like Bennu bird. The center of this worship was in the town the Egyptians knew as On, which the Greeks later would call Heliopolis.

This suggests that both flanks of the delta fell under Narmer's control first, while the central delta remained as a center of resistance. The last part of Lower Egypt to fall to Narmer would be the swampy area between the two main branches of the modern river. Three main cities - Buto, Sais, and Busiris - bordered these wild regions, most of which were submerged in the annual floods. These lands would be largely undeveloped for another millenium, until the late Middle Kingdom.

For more information, see:

"Lapwings and Libyans in Ancient Egypt" by Alessandra Nibbi, Oxford, 1986

"The Narmer Palette: A Forgotten Member" by Renee Friedman in Nekhen News, Vol 10, 1998, p 22

Prague Castle - Rosenberg Palace - Department of noblewomen

Originally a Renaissance palace was built between 1545-1574 by the Lords of Rosenberg. In the mid 18th century it was radically rebuilt to the Institute of noble women. He founded the Maria Theresa in the year. 1753 and served for 30 impoverished nobles provision daughters until 1918. Unique chapel, Renaissance hall and exhibition, which aims to evoke the life of an unmarried noblewoman in the first half of the 19th century, is part of a tour of Prague Castle.

History of the building

On the site of the sprawling building complex began to grow unique homes in the 13th and 14th centuries. Part of the land later the palace in 1513, the lords of Rosenberg. Termination or substantial damage to all local buildings during a fire in 1541, it makes room for a new, more generous construction. First, under the leadership of Hans Vlach was a four-wing palace with arcades in the two shorter wings and a gate Jifska street. Later, when the Rosenbergs obtained the neighboring houses and the Schwamberg family of Rožmitál palace on the western side added a large garden lined with arcaded gallery. The construction was led Ulrico Avostalis in the years 1573-1574. In 1600, the palace received in exchange Emperor Rudolf II. and connect it to the wooden walkway on pillars with Louis' wing of the Royal Palace. In the 20 years of the 18th century, the palace was raised on the second floor and inside the parted partition (Thomas Haffenecker). Since 1753, then ran for the conversion of Institute of Gentlewomen (A. Luragho project by N. Pacassi). Work on the building lasted from 16 September 1753 to 7 December 1756, although the ceremonial opening took place at the end of the year of 1755.

The Institute was designed to educate thirty noble daughters, older than 24 years - with the exception of orphans who could stay in the institute since 18 years. It was headed by unmarried Archduchess of Habsburg-Lorraine dynasty. The first abbess was the daughter of Maria Theresa - Archduchess Marie Anna. The order became a hallmark image of the Immaculate Conception of the Virgin Mary in a golden oval medal, lined with white enamel. Noblewoman inhabited the 1st and 2nd floor of the institute. Additional space occupied apartment complex abbess, lounges, a chapter room, a chorus, a Baroque Chapel of the Holy Trinity and the Immaculate Conception (one name chapel) and economic background of the room.

Paccassiho rebuilding touched both internal layout, as well as all the facades. The original buildings Rosenberg Palace maintain the disposition of two courtyards, to which was parked on the west third, then ground Rosenberg palace entrance arcade, the eastern wing of the former palace of Švamberks, cellars beneath the central courtyard and basement of the southern fortification wall. In principle (except for minor modifications) in this state area preserved. In the years 1787-1788 was adapted Institute under the leadership of designer prof. Engineer Francis Leonard Herget and supervisors of construction Franz Josef Roll and John Louis Stuppla. Stone work carried out by master Koller, painting master Winkler.

Department of noblewomen was dissolved May 1, 1919 and the building was leased to the Ministry of Interior, which was during the 20th century Several internal adaptations. A complete renovation was done in 1996-2007. In January 2008, they were finally completed extensive work to repair and reconstruction of the Institute of Noblemen originally Renaissance building Rosenberg Palace and its courtyard. Palace since April 2010 open to the public, is part of a sightseeing tour along the Prague Castle.

www.prague.eu/cs/objekt/mista/348/prazsky-hrad-rozmbersky...

Horst Herget at work on what will be developed as a tin type portrait, at the Danforth East Arts Fair in East Lynn Park.

Memphis Redbirds pitcher Kevin Herget was solid for the Redbirds. Colorado Springs Sky Sox vs Memphis Redbirds May 17th, 2018.

Austrian musician Raoul Herget playing the sousaphone.

Website of his band Mammut Horns

More images of their performance here in Scheibbs/Austria on the website of scheibbs-impuls-kultur

Haupt Bahnhof, Giessen. February 1972.

Giessen. February 1972

On Thursday, April 14th, Stevenson University renamed the road that is home to the Owings Mills North Campus from Gundry Lane to Ted Herget Way in honor of Charles E. "Ted" Herget, Jr., former chairman of Stevenson’s Board of Trustees.

Nove prakse, nova orodja: na Dunaju

6. 10. 2022, Dunaj

Foto: Baran Demir, Helen Herget, Jakob Travnik (Gebäudelehre und Entwerfen archive)

May 8, 2016: Daytona Tortugas pitcher Jimmy Herget delivers during a Florida State League game in Dunedin, FL.

Flight Sergeant TEERMAN, ALFRED WALTER

Service Number 414436

Died 22/06/1943

Aged 20

Royal Australian Air Force

Son of Walter Gilbert and Rose Agnes Teerman, of Windsor, Queensland, Australia.

Born; 27 October 1922 in Brisbane Qld and enlisted in the RAAF on 14 September 1941. After training in both Australia and Canada Alfred sailed to the UK where he joined 460 Sqn on the 17 June 1943. Alfred and his crew completed one operation on a mining trip off the French before being on the battle order for an attack on 21/22 June 1943 on Krefeld in Lancaster W4929 AR-L. Their aircraft was shot down short of the target by Hptm Wilhelm Herget of Stab I./NJG4. Six of the crew were killed and only one airman managed to escape the aircraft, the bomb aimer Sgt H Thomson who finished the war as a pow. Those killed are buried in Rheinberg War Cemetery.

In 2007, Conservation Design Forum assisted Herget Middle School in designing bioswales, rain gardens, and native landscape systems.

Thanks to Conservation Design Forum for the photo.

Fue el primer faraón del Antiguo Egipto, fundador de la Dinastía I. Narmer, unificó los territorios egipcios bajo su mando ( 3150 a.d.C. ). En la ilustración, el faraón, que porta sobre su cabeza la corona Blanca del Alto Egipto, se dispone a rematar con la maza a un enemigo en la " Conquista del Delta" .

b1904 in Pullwitz; succumbed to diseases in World War II while on a hospital transport train 1944 in Latvia

I bought this at a yard sale for .50...

measured 11" x 16 1/2".....could not get it all on the scanner........© 1935...

painted by H.M. HERGET

Manifest der Bewegung:

Es gibt viele Tatsachen, aber nur eine Wahrheit. Leben heisst Bewegung, denn Bewegung ist der Ursprung allen Werdens. Am Anfang war das Wort. Das Wort war Bewegung, Vibration, Klang. Gott sprach und es wurde Wahr. Alles Gesagte existiert für immer. Der Kosmos ist voller Klang. Er Ist Erfüllt vom Gesang der Planeten. Die absolute Stille ist eine Illusion. Der absolute Stillstand ist eine Illusion. Der Ursprung aller Kunst ist Bewegung. Bewegung ist überall. Bewegung ist immer. Bewegung ist alles. Ihr könnt Euch nicht entziehen, niemand kann sich entziehen. Bewegt Euch zum Klang von Gottes Gitarren. Lasst Euch durchfluten vom Licht der Wahrheit.

Alles hat seinen Ursprung:

Wir haben die Aktion Gitarren Gottes ins Leben gerufen, um uns auf die Spuren intensiver Klangforschung zu begeben. Damit führen wir die Tradition einer der Gründungsväter der Fachhochschule Düsseldorf, Friedrich Trautwein, fort. Dieser galt seit der Erfindung des Trautoniums in den 30er Jahren als wissenschaftlicher Pionier im Bereich der elektronischen Musik. Im Fokus der Gitarren Gottes steht der Kausalzusammenhang visueller und akustischer Grundprinzipien. Sowohl Klang als auch Bild sind Bewegung, und Bewegung wiederum ist der Ursprung beider Phänomene. Das erfahrbar und wahrnehmbar zu machen ist der Sinn der Aktion Gitarren Gottes.

Bewegung:

Ursprung aller Kunst. Goethe forderte den Generalbass der Malerei. Laut Klee liegt Bewegung allem Werden zugrunde. Und Itten zufolge sind alle Gestaltungselemente aus der Bewegung geborene Formen. Mit anderen Worten: Leben ist Bewegung Bewegung ist Klang Klang ist Bild Bild ist Bewegung Bild und Klang entstehen aus der Bewegung Bewegung ist Ursprung aller Kunst.

Der Aufbau der Komposition:

Die Superformel. Ausgehend von der Beschäftigung mit seriellen Kompositionstechniken, wie sie zum Beispiel …

Im Magazin kannst Du den kompletten Text lesen

— bestell Dir eine RAKETE hier >>

// GITARREN GOTTES: GABRIELA BARTLETT, KATRIN BÖFFGEN, SANDRA BRAUN, SUSANNE DOSSMANN, ANDRÉ HEIN, NADJA HERGET, GESA HOLLERBACH, SLOBODAN JAKOMOVIC, HYUN-JUNG HWANG, ALEXANDER JAHN, CHARLOTTE JAUS, NINA KNEVELS, SIGURD KÖNKER, BETTINA KRAMPS, JOCHEN KRONNENBERG, DANIEL LEVERENZ, STEFFI LÖHR, SANDRA MAYER, ELISABETH MOCH, LENA PIOTROWSKI, MEIKE REICHERT, OLIVER SALKIC, MARC SCHAPPACH, MARTIN SCHMOLKE, REBECCA SCHMÜCKER, CHRISTIAN SCHNEIDER, ALEKSANDER TODOROVIC UND CARSTEN TRILL

// DESIGN: ALEXANDER JAHN, CHRISTIAN SCHNEIDER

“The only source of knowledge is experience”

~ Albert Einstein

Swift Hall was the second building erected for the Engineering Department at the University of Cincinnati. Constructed in 1926, Swift Hall was designed by Harry Hake to be fireproof, made of steel and concrete, red wire-cut brick and Terra cotta trimming. The building was the last word in architecture, design and construction methods as new inventions changed the fabric of construction.

In 2002 and 2003 Swift Hall, along with other buildings at UC, were renovated to include computer-based classrooms, offices and meeting spaces. Currently Swift Hall houses the Main Campus Newspaper, the News Record, offices and classrooms. On a fun side note: astronomer Paul Herget later helped design the Pringle Potato Chip.

Swift Hall Renovation

Oringinally completed in 1926, Swift Hall is adjacent to the Steger Student Life Center and houses classrooms, lecture halls, and offices for various UC programs. glaserworks, as Architect of Record worked closely with the University and with design firm Moore Ruble Yudell to create some of UC’s earliest high-tech "digital" classrooms. These electronic classrooms have been designed to comply with specific guidelines supporting teaching and learning with technology. Nearly every student has an unobstructed view of high definition video images projected from a computer, laptop, VCR, DVD, or document camera augmented with excellent sound quality. Lighting and shades are automatically controlled for optimum viewing and note-taking. In the larger lecture rooms, multiple screens allow simultaneous viewing and recording of side-by-side images for comparison or examination i.e. a scanned photo downloaded from the web shown adjacent to a physical specimen placed under the document camera.

On December 7, members of the Cressy community gathered at the Storys building to hear Prof. Jim Fisher speak about leadership and to reconnect with each other.

"The Institute of Nobles (Tereziánský ústav schlechtičen), the former Renaissance Rožmberk Palace, is a vast baroque-classical palace building in the grounds of Prague Castle, between Jiřská Street and Na Valech Garden.

Since the Middle Ages, the original disjointed individual buildings have been documented here. In 1513, part of this land was acquired by the Rožmberks. The development of this part of Prague Castle was helped by a fire that destroyed the local buildings in 1541. The Rožmberk family had a one-story, four-winged arcaded palace built here on the site of the old courtyard, which burned down, with an entrance gate facing Jiřská Street. The construction was started in 1545 for Peter of Rožmberk by the Italian builder Hans Vlach (real name probably Giovanni Fontano di Brusata). This palace is preserved in its basic constructions.

In 1573, Vilém from Rožmberk also bought two neighboring houses of the lords from Švamberk and from Rožmitál. They were partially demolished, some parts were attached to the Rosenberg Palace, which was also supplemented with a garden with a walkway and arcades. This reconstruction was carried out in 1573–1574 by the builder Ulrico Aostalli.

In 1600, under Peter Vok of Rožmberk, the palace became the property of Emperor Rudolf II, which connected the Ludvík wing of Prague Castle to it through a wooden corridor on pillars. This was followed by another reconstruction in the 1820s (the palace was raised by a 2nd floor and partitioned inside; the builder was Tomáš Haffenecker), and in the 1850s it was followed by a radical reconstruction for the purposes of the Institute of Nobles, carried out by Anselmo Lurago according to the project Nicolo Paccasi. It was only completed in 1756, although the institute itself was officially opened in 1755. Archduchess Maria Anna, daughter of Empress Maria Theresa, became the first superior of the institute. The palace served as an educational institution for young noblewomen (over the age of 24, in the case of orphans over the age of 18). The 1st and 2nd floors were intended for the dwellings of the nobles, the other spaces were occupied by the abbess's suite, the chapel, social rooms and the facilities of the institution. Another adaptation of the building took place in 1787-1788 under the leadership of František Leonard Herget.

However, the actual institute actually ceased to exist after the creation of the independent Czechoslovak Republic in May 1919, and then this building was used by the Czechoslovak Ministry of the Interior; the building was adapted to his needs (e.g. there were garages and a gas station in the courtyard).

At the end of the 1990s and at the beginning of the 21st century, a very expensive and extensive reconstruction of the building to its original form, established by a structural historical survey, took place here. The reconstruction was completed in 2007, and since April 2010 this part of Prague Castle has been partly accessible to the public (you can see, for example, the chapel of the Holy Trinity and the Immaculate Conception of the Virgin Mary or the Renaissance Rosenberg Hall); some spaces are used by the Prague Castle Administration and the Castle Police, there are also workplaces of the Archaeological Institute of the Academy of Sciences of the Czech Republic and the Archives of the Office of the President of the Republic.

Prague Castle (Czech: Pražský hrad; [ˈpraʃskiː ˈɦrat]) is a castle complex in Prague, Czech Republic serving as the official residence and workplace of the president of the Czech Republic. Built in the 9th century, the castle has long served as the seat of power for kings of Bohemia, Holy Roman emperors, and presidents of Czechoslovakia. As such, the term "Prague Castle" or simply "Castle" are often used as metonymy for the president and his staff and advisors. The Bohemian Crown Jewels are kept within a hidden room inside it.

According to the Guinness Book of Records, Prague Castle is the largest ancient castle in the world, occupying an area of almost 70,000 square metres (750,000 square feet), at about 570 metres (1,870 feet) in length and an average of about 130 metres (430 feet) wide. The castle is among the most visited tourist attractions in Prague, attracting over 1.8 million visitors annually.

Hradčany (German: Hradschin) is an urban district and cadastral territory of Prague with an area of ​​1.5 km², divided between city districts and at the same time the city districts of Prague 1 and Prague 6. A significant part of the district is occupied by Prague Castle, one of the most famous castles in Europe and, according to the Guinness Book of Records, the largest castle complex in the world. Hradčany was an independent town until 1784, when it became part of the united royal capital of Prague.

Hradčany includes the area of ​​Prague Castle, the territory of the historic city around Hradčanské and Loretánské náměstí, Pohořelec, the area of ​​Strahov Monastery and Nový Svět, as well as the area of ​​the former Marian Walls forming an arc from the western edge of Letenská plain to the top of Petřín.

Prague 6 includes a strip of territory defined by tram lines in Dlabačov, Keplerova, Jelení, Mariánské hradby, Badeni, Milada Horáková, Patočkova and Myslbekova streets. The cadastral territory Hradčany is adjacent to Střešovice to the northwest, Dejvice to the north, Mala Strana to the east, Smíchov (a small strip of territory) to the south, and Břevnov to the southwest.

Prague (/ˈprɑːɡ/ PRAHG; Czech: Praha [ˈpraɦa]; German: Prag [pʁaːk]; Latin: Praga) is the capital and largest city of the Czech Republic and the historical capital of Bohemia. On the Vltava river, Prague is home to about 1.3 million people. The city has a temperate oceanic climate, with relatively warm summers and chilly winters.

Prague is a political, cultural, and economic hub of central Europe, with a rich history and Romanesque, Gothic, Renaissance and Baroque architectures. It was the capital of the Kingdom of Bohemia and residence of several Holy Roman Emperors, most notably Charles IV (r. 1346–1378) and Rudolf II (r. 1575–1611).

It was an important city to the Habsburg monarchy and Austro-Hungarian Empire. The city played major roles in the Bohemian and the Protestant Reformations, the Thirty Years' War and in 20th-century history as the capital of Czechoslovakia between the World Wars and the post-war Communist era.

Prague is home to a number of well-known cultural attractions, many of which survived the violence and destruction of 20th-century Europe. Main attractions include Prague Castle, Charles Bridge, Old Town Square with the Prague astronomical clock, the Jewish Quarter, Petřín hill and Vyšehrad. Since 1992, the historic center of Prague has been included in the UNESCO list of World Heritage Sites.

The city has more than ten major museums, along with numerous theatres, galleries, cinemas, and other historical exhibits. An extensive modern public transportation system connects the city. It is home to a wide range of public and private schools, including Charles University in Prague, the oldest university in Central Europe.

Prague is classified as a "Alpha-" global city according to GaWC studies. In 2019, the city was ranked as 69th most livable city in the world by Mercer. In the same year, the PICSA Index ranked the city as 13th most livable city in the world. Its rich history makes it a popular tourist destination and as of 2017, the city receives more than 8.5 million international visitors annually. In 2017, Prague was listed as the fifth most visited European city after London, Paris, Rome, and Istanbul.

Bohemia (Latin Bohemia, German Böhmen, Polish Czechy) is a region in the west of the Czech Republic. Previously, as a kingdom, they were the center of the Czech Crown. The root of the word Czech probably corresponds to the meaning of man. The Latin equivalent of Bohemia, originally Boiohaemum (literally "land of Battles"), which over time also influenced the names in other languages, is derived from the Celtic tribe of the Boios, who lived in this area from the 4th to the 1st century BC Bohemia on it borders Germany in the west, Austria in the south, Moravia in the east and Poland in the north. Geographically, they are bounded from the north, west and south by a chain of mountains, the highest of which are the Krkonoše Mountains, in which the highest mountain of Bohemia, Sněžka, is also located. The most important rivers are the Elbe and the Vltava, with the fertile Polabean Plain extending around the Elbe. The capital and largest city of Bohemia is Prague, other important cities include, for example, Pilsen, Karlovy Vary, Kladno, Ústí nad Labem, Liberec, Hradec Králové, Pardubice and České Budějovice, Jihlava also lies partly on the historical territory of Bohemia." - info from Wikipedia.

Summer 2019 I did a solo cycling tour across Europe through 12 countries over the course of 3 months. I began my adventure in Edinburgh, Scotland and finished in Florence, Italy cycling 8,816 km. During my trip I took 47,000 photos.

Now on Instagram.

Become a patron to my photography on Patreon or donate.

Einige der Namen, die kursieren.

Für Werder:

Andi Reinke

Dieter Burdenski

Uli Borowka

Günther Hermann

Ümit Davala

Frank „Otze“ Odenewitz (yo ... mach et Otze!!)

Für den VfB Oldenburg:

Radek Drulak

Karsten Linke

Paulo da Palma

Frank Meyer

Timo Ehle

Für den HSV

Thomas von Heesen

Markus Marin

Für Leverkusen:

Ulf Kirsten (genauuu ... der "Schwatte"!)

Hans-Peter Lehnhoff

Für Schalke 04:

Matthias Herget

Mike Büskens

Für Fenerbace:

der Nigerianer Uche

der Niederländer Pierre van Hoydonk

Karten gibt es in drei Kategorien zu Preisen zwischen 12 und 17 Euro.

Der Vorverkauf beginnt am Mittwoch, 14. November.

Nove prakse, nova orodja: na Dunaju

6. 10. 2022, Dunaj

Foto: Baran Demir, Helen Herget, Jakob Travnik (Gebäudelehre und Entwerfen archive)

L'avion d'Herget porte la gueule de requin car il fut à la ZG 76 en 1940. La photo a été faite à Laon. Les Allemands de la NJG 4 rencontrés citaient deux aérodromes: Laon-Athies et Laon-Juvincourt.

Wyoming Army National Guard soldiers Staff Sgt. Derrick Perkins, a medic, and Chief Warrant Officer 2 Bryan Herget, a UH-60 Black Hawk pilot, both assigned to G Company, 2-211th Aviation Regiment (formerly C Company, “Charlie Med” 5-159th) receive the DUSTOFF Association’s Rescue of the Year award for their heroic effort that saved the lives of five critically wounded soldiers during a MEDEVAC mission in Afghanistan in 2015. Gov. Matt Mead and Maj. Gen. Luke Reiner, Wyoming adjutant general and DUSTOFF board member Col. (ret.) Henry “Hank” Tuell, one of the Medical Service Corps’ most highly decorated aviators, presented the award at a May 5 ceremony at the Army Aviation Support Facility in Cheyenne. The DUSTOFF Association is a nonprofit incorporated veterans’ organization for Army Medical Department enlisted and officer personnel, aviation crewmembers, and others who are (or ever were) engaged in (or actively supported in any capacity) Army aeromedical evacuation programs in war or peace. (Wyoming Army National Guard photo by Sgt. 1st Class Jimmy McGuire)

Some of the friends and supporters who braved the rainy weather to participate in the Topping Off ceremony at Bridgepoint Health.

(photo credit: Horst Herget)

Ases do II./ZG 76. Presenças de Hans-Joachim Jabs, Wilhelm Herget, Walter Borchers, Heinz Nacke e Martin Drewes (10:18:14:20).

Selters Weg in Giessen. February 1972.

There were plenty of amulets in the tombs of the wealthy, but that's because they believed in magic. If you were afraid of drowning, you wore a tiny amulet shaped like a herdsman's bundled-reed life-preserver. If you wanted a lasting marriage, you wore a small amulet that featured two crows, because crows mate for life. No matter what you needed, there was an amulet for it. A green 'heart' scarab was usually added - not to protect the mummy's heart, but to keep it from tattling on its owner during the Final Judgment. If they couldn't afford expensive amulets, there were ones made of clay or wood.

Amulets were wrapped with the mummy, for use in the afterlife. Many of them may have been funerary gifts. In any event, there was no point in leaving any of them behind, since "the voyage to the west," as the Egyptians called it, was a one-way journey. They reasoned that you never knew how much magic you'd need in eternity, so they wore far more amulets in death than they ever did in life.

The tomb paintings that we so admire were also supposed to perform magical services. Typically, there were scenes of hunting game animals for food. Then there were scenes of the harvest and the preparation of various foods. Last but not least, there were scenes of fabulous banquets with an abundance of food and drink. While many describe the Egyptians as morbidly obsessed with death, their tomb art shows that they were actually obsessed with food.

The Nile only flooded to the proper level about every second year, on average. Too low or high a flood could mean a disastrous loss of food production. In the chaos that marked years of famine, the lives of even the wealthiest Egyptians were at risk. These tomb scenes don't tell us what living in ancient Egypt was like as much as they tell us what each Egyptian hoped their personal afterlife could be, and - based on a lifetime of sad experiences - what they feared it might become.