#Elisabeth of wied

[romanovsonelastdance]

The Russian Imperial Family in Romania, 1914.

[epoque-victorienne]

[romanian-monarchy]

Princess Elisabeth, Prince Carol (later King Carol II) and Queen Elisabeth of Wied.

[thatswhywelovegermany]

Dummheit stellt sich in die erste Reihe, um gesehen zu werden; der Verstand stellt sich zurück, um zu sehen.

Stupidity puts itself in the front row to be seen; reason puts itself in the back row to see.

Carmen Sylva (née Elisabeth zu Wied, 1843 – 1916), German princess and queen of Romania

[tryingadifferentsong]

Schloss Einstein Rewatch Folge 113 - 116

Oliver begrüße Tine mit einem Kuss auf die Wange und wir haben schon wieder nichts von deren Zusammenkommen gesehen? Erst Alexandra und Atze und jetzt auch noch bei Oliver und Tine, ist das euer Ernst Kika?? Bei deren ersten richtigen On Screen Kuss läuft in der Lagerhalle einfach in voller Lautstärke "Sex Bomb" im Hintergrund 💀 Stellt euch mal vor, DAS wäre beim Nolin Kuss gelaufen 🫣😂

Als neuen Namen für ihre Band liefern und Budhi und Oliver gleich einen Shipnamen für ihre Freundschaft mit: Obuli 🥳 Da haben sie nach Sonja gerade wieder ihre Bromance etabliert, da kommt Iras Onkel dazwischen, der Musikproduzent ist, und nur Budhi zu einem Casting einlädt. Dieses Hin-und-Her aus Oliver ist sauer, Budhi will doch zum Casting, Oliver gönnt es Budhi usw. war mir ein bisschen zu ausführlich. Als Budhi und Oliver ihren liebsten Hundeblick inklusive Augenklimpern auspacken, um Ira um einen neuen Termin zu bitten und danach ihren Obuli-Clap vorführen, musste ich richtig lachen! Warum wurde das nicht so wie der Nesrika-Clap etabliert?? 😂😂 Und was für ein großer Popkultur-Moment bitte, als Oliver Budhi mit einer von Tic Tac Toe abgewandelten Punch Line kontert: "verpiss dich, ich weiß keiner vermisst dich" 👀

Auch wenn ich noch wusste, worauf das hinausläuft - als Iras Onkel dann Budhi als "was exotisches" und "dieser Inder, den Ira mir da auf geschwätzt hat" bezeichnet (seinen Namen konnte er sich natürlich auch nicht merken....), war ich dann doch kurz geschockt. Das ist ja absichtlich mit so einem rassistischem Ton geschrieben und die Autor:innen lassen das ernsthaft einfach so stehen? Hätte Budhi denen nicht wenigstens eine Standpauke halten können oder so...

Oh, der Elisabeth und Sebastian Slow Burn geht weiter, sie bietet sich extra an, um Sebastian sein von Herrn Wolfert konfisziertes Modellflugzeug zurückzubringen (und macht es in der nächsten Szene direkt kaputt). Wenn man noch nicht weiß, das sich hier eine Lovestory aufbaut, fällt sowas glaub ich gar nicht groß auf, aber wenn man's weiß, ist das richtig süß zu sehen.

Es gibt mal wieder eine Wette zwischen den Dorfkids und den Einsteiner*innen, sie wollen Fluggeräte bauen. Das haben sie sich ja selbst eine ähnlich unmöglich Aufgabe gestellt, wie Herr Fabian vor ein paar Folgen mit dem Gold herstellen... Aber was ist denn mit Wolf in diesen Folgen los? Er ist super grundlos aggressiv ☹️ Na wenigstens entschuldigt er sich ganz Gentlemen-like mit Blumen und seinem signature Spruch "ich heiße zwar Wolf, hab mich aber benommen wie ein Esel" - wer kann da noch widerstehen??

Wolf will eine Spionage-Aktion am Einstein starten, aber Ingo will sich davor drücken, indem er behauptet dass Einstein "gebaut ist wie eine Festung, da kommst du nicht einfach rein oder raus". Ähm, die Dorfkids spazieren doch öfter wies ihnen grad lustig ist im Internet herum, nicht besonders glaubwürdig 😅 Als Monika und Sebastian dann Ingo und Wolf beim "Einbruch" ins Einstein erwischen, fesseln sie die beiden erst Mal Rücken an Rücken. Wenn Ingo und Wolf es von selbst nicht hinbekommen, sich mal körperlich näher zu kommen, müssen eben härtere Methoden angewandt werden 😈😂 Anscheinend hat das sogar gewirkt: wir haben später sogar eine kleine Wolfingo Umarmung bekommen ♥️🥺 Love it!

Iris und Nadine schauen in einer Zeitschrift (wahrscheinlich die Uta, der Artikel heißt "Hat er dich verdient?" - Spoiler: wenn man sich so eine Frage ernsthaft stellt, dann ist die Antwort meistens nein 🙃) ein Bild von einem männlichen Model mit einem Hund an. Nadine: "Wie findest du den hier?" - Iris: "Der Hund gefällt mir besser". Lass ich mal so stehen 😄

In einer Szene ganz groß Saftpäckchen von "hohes C" im Bild - na, dass sie die Werbefreiheit der öffentlich rechtlichen nicht so genau genommen haben, wissen wir ja schon seit den Ritex-Kondomen 😬

[pfalztexter]

Carmen das Lied und Sylva der Wald

Prinzessin Elisabeth zu Wied, spätere Königin von Rumänien, um 1890

"Carmen das Lied und Sylva der Wald. Von selbst gesungen das Waldlied erschallt. Und wenn ich nicht am Wald geboren wär’, Dann säng ich die Lieder schon selbst nicht mehr. Den Vögeln hab’ ich sie abgelauscht, Der Wald hat sie mir zugerauscht, Vom Herzen tät ich den Schlag dazu, Mich singen der Wald und das Lied dazu!" (Quelle)

Die rumänische Königin (Elisabeth zu Wied) mit George Enescu und Dimitrie Dinicu

George Enescu - Trio Nr. 1 g-Moll | WDR Sinfonieorchester:

[pcttrailsidereader]

Inspiration and Reflection

Right about this time of the season (winter) I can't help but begin to think about the upcoming summer. Backpacking, camping trips, and day hikes all come to mind. What will unfold often gets determined over the next month or so. Ideally I also like to leave some room for spontaneity as one never knows when an opportunity will arise, the weather will cooperate or an invitation to be a part of an adventure comes along.

I am a sucker for good quotes. I am terrible at memorizing them so I take heart in coming across a good thought put into words. Here are a few that I like. You may have your own that you are welcome to share here at pcttrailsidereader@gmail.com We would love to share them.

Haruki Murakami

“Not just beautiful, though — the stars are like the trees in the forest, alive and breathing. And they’re watching me.”

Alice Walker

“In nature, nothing is perfect and everything is perfect. Trees can be contorted, bent in weird ways, and they’re still beautiful.”

Elisabeth Kübler-Ross

"Should you shield the canyons from the windstorms you would never see the true beauty of their carvings."

Ralph Smart

“There is no Wi-Fi in the forest, but I promise you will find a better connection.”

John Muir

"In every walk with nature one receives far more than he seeks."

Katrina Mayer

 “Time spent amongst trees is never time wasted.”

Sylvia Plath

“I felt my lungs inflate with the onrush of scenery — air, mountains, trees, people. I thought, ‘This is what it is to be happy.’”

Pythagoras

“Leave the roads; take the trails.”

Richard Louv

“The greener the setting, the more the relief.”

Toni Morrison

“All water has a perfect memory and is forever trying to get back to where it was.”

Wendell Berry

“The Earth is what we all have in common.”

[tiny-librarian]

Royal Birthdays for today, December 29th:

Elizabeth Petrovna, Empress and Autocrat of All the Russias, 1709

Elisabeth of Wied, Queen of Romania, 1843

Yi Ku, Korean Prince, 1931

Norihito, Prince Takamado, 1954

Kako of Akishino, Japanese Princess, 1994

Savannah Phillips, Granddaughter of Princess Anne, 2010

[rosen-und-disteln]

DIE SCHWESTERN

SOPHIE VON ALENÇON

ELISABETH VON OESTERREICH

Wer sie gesehn: von echtem königtume Das noch gebahren feiler gleichheit scheut Vererbten glanz und acht und gnade hütend: Empfing der hoheit schauer und den hauch Von weh und wucht unfassbar der die niedren Weit von sich wies … So schritten sie in adel Und stolz und trugen herrlicher als Andre Bescholtne kronen ihr erlauchtes haar.

Die jüngste nach der brachen brautschaft trauer Wo sie den strahlenden Unseligen streifte Gewann die anmut der drei heiligen lilien Und weilte still · ganz liebe und ganz lächeln. Ihr los erfüllte sich am fest des mitleids .. Schon gellte schrei · schon beizte rauch die augen · Man bot ihr rettung · doch sie sprach: »lasst erst Die gäste gehn!« und sank umhüllt von flammen.

Die andre war so dass sie tränen regte Ehmals mit huld und jugend · dann mit huld Und trübnis. Sie in volkes jauchzen stumm · Dem tagessinn unnahbar trug das rätsel Verborgner ähnlung und verflackte schimmer Mit sich von eben morgenroten welten: Bis sie unduldbar leid zum meer zum land Zum meer zum dolch hintrieb der sie erstach.

Doch war nicht all-erschreckend gieriges wüten Vorsichtige sternenmilde? Beide litten Grausamste furcht vor langsam greisem schwinden Und wurden jäh erlöst in lezten jahren Da noch · umschlungen von dem vollen leben · Ihr reiz bestrickte … Oder war dies schönheit In ihnen dass geheimer bann sie hemmte Zu brechen mit vergilbtem schicksalspruch?

Stefan George

[industry-and-enterprise]

Compass Gallery

Compass Gallery, Glasgow's oldest contemporary art gallery established in 1968, has been a pivotal force in supporting emerging artists, both new graduates and established talents.

The gallery showcases a monthly program featuring solo and themed exhibitions, including the renowned 'New Generation Show.' Since its founding in 1969, the gallery has actively scouted fresh talent across Scotland, fostering a lively arts scene. Pioneering initiatives like Christmas Shows and New Generation Shows have become industry standards.

Compass Gallery, originally founded as the New Charing Cross Gallery, evolved under the guidance of Cyril Gerber into a prominent player in the Glasgow art scene. Notable artists, including Peter Howson and Jennifer McRae, debuted as new graduates in annual exhibitions, a groundbreaking concept initiated by Gerber.

The gallery's contributions extend to exhibiting mature artists like David Bellany and Elisabeth Frink, highlighting its enduring influence on Scottish contemporary art. With a friendly atmosphere and an engaged staff, Compass Gallery continues to enrich Glasgow's artistic landscape with its imaginative and diverse exhibition program.

Strange Field

Strange Field, established in 2012, is a dynamic platform fostering creative experimentation, learning, and development, with a strong commitment to underrepresented and early-stage career artists. Situated at both French Street and The Pipe Factory in Glasgow's East End, Strange Field envisions accessible creative platforms embedded in communities, catalysing increased creative development, education, experimentation, and inclusion.

The organisation prioritises supporting underrepresented and early-career artists, emphasising accessibility and resilience within the arts. It actively engages with the local community in Glasgow's East End as a catalyst for creative change and improved quality of life through cultural activities.

Striving for best practices, Strange Field operates with a non-hierarchical governance model known as Policy Governance or Carver Governance, fostering co-operative working and organisational resilience.

The curated programme includes exhibitions, events, residencies, and workshops, focusing on early career and underrepresented artists. Strange Field provides affordable studios for artist production, a unique application writing support service, and is actively working towards an open community art school at The Pipe Factory.

French Street offers affordable, first-come-first-served studios with rates inclusive of bills, ranging from £95 to £200 per month. While the studios are wheelchair accessible, there is currently no accessible WC. Studios provide 24-hour access, Wi-Fi, and open-plan spaces with natural daylight.

Strange Field is expanding its studio provision at 111/113 French Street and developing an alternative arts education program—a community art school—to overcome barriers preventing diverse participation in creative activities.

In summary, Strange Field stands as a vibrant hub supporting artists and communities, embodying inclusivity, creative exploration, and a commitment to fostering emerging talent.

The Pipe Factory

Friends of The Pipe Factory, driven by a Regeneration Capital Grant Fund award of £1,965,354, is set to transform Glasgow's B-listed Pipe Factory into a vibrant community and creative hub. Originally a clay smoking pipe factory from 1877 to 1955, the building's renovation project aims to revitalise it as a facility for creative activity and community well-being. The grant will facilitate internal remodelling, installation of new facilities, energy-efficient systems, and various upgrades, honouring the building's historical significance.

The Pipe Factory, built in 1876-79, designed by architect Matthew Forsyth, once employed over 500 people producing up to 14,000 clay pipes a day. Closed in 1955, the building's current project seeks to refire it as a creative and community space.

Between 2012 and 2018, The Pipe Factory Ltd ran a successful program with residencies, exhibitions, and events. In 2016, emergency repairs were undertaken, including replacing windows and a new slate roof, supported by Glasgow City Council and the Architectural Heritage Fund.

The Pipe Factory Ltd, now trading as Strange Field, played a pivotal role in creating a cultural resource in Glasgow's East End. Friends of The Pipe Factory CIC, formed in 2020, aims to continue this legacy by purchasing and redeveloping the iconic building into a creative social enterprise.

The grant will fund internal remodelling, installation of a new lift and secondary staircase, building fabric repairs, energy-efficient systems, and replacements of windows and doors, making the building accessible and sustainable.

Friends of The Pipe Factory CIC outlines six main outcomes, including increased community engagement, improvements in physical and mental well-being through arts programs, new learning opportunities, pathways to employability, support for creative industries, and the preservation of heritage.

In March 2021, Friends of The Pipe Factory purchased the building as a community asset, fuelling their ambition to create a permanent home fostering creativity and individual learning, with young people and communities at its heart.

Barras 100, a year-long celebration of the 100th anniversary of The Barras market, is the first creative project by Friends of The Pipe Factory, showcasing the building's commitment to community engagement and cultural celebration.

This ambitious project, driven by a passionate group of organisations, aims to breathe new life into The Pipe Factory, offering a space for collaboration, learning, and creative experimentation that will benefit both individuals and the wider community.

Transmission

Transmission, established in 1983, stands as a pivotal artist-run organisation in Glasgow, embodying a commitment to autonomy while being intricately connected to its membership and communities. Operating as the longest-standing artist-run space in Glasgow, Transmission engages in diverse activities, including exhibitions, events, exchanges, residencies, and publications. It serves as a social hub, fostering a present-day community while housing an archive of materials tied to its gallery's history and membership.

Transmission collaborates with artists across various initiatives, providing a platform for the production of exhibitions, events, and publications. It also facilitates exchanges, residencies, and shares resources with its membership to support activities beyond its programming.

While labouring under the banner of autonomy, Transmission acknowledges its deep interdependence on factors and players influencing its operational parameters. As a registered charity, it sustains itself through a combination of state funding, voluntary labor, and the ongoing construction of its community.

Engrained in its constitution is the commitment to keeping all Transmission activities and resources free, ensuring fair pay for everyone involved, including artists and creative practitioners. This commitment coexists with the voluntary nature of the committee managing and programming Transmission.

Beyond being an exhibition space, Transmission serves as a vibrant social hub, fostering a dynamic community of artists, creatives, and supporters. Its activities aim to bridge the gap between autonomy and the collaborative efforts that sustain its existence.

As a registered charity, Transmission embodies its commitment to fair pay and free access through a unique organisational structure managed by a voluntary committee. The committee, consisting of six individuals, operates under the ethos of Transmission, with successive two-year terms.

Transmission, with its rich history and ongoing commitment to artistic freedom, fair pay, and community engagement, remains a cornerstone in Glasgow's artist-run landscape, showcasing the intricate balance between autonomy and collaborative efforts in sustaining a vibrant creative space.

Glasgow Project Room

Established in 1997, the Glasgow Project Room originated as a space for studio members to showcase their work. Located on the first floor of the Trongate 103 centre, it has evolved into a dynamic project space that supports both the studios and a broader audience, hosting exhibitions and events by artists locally and globally. The Project Room operates without direct funding, requiring artists to fund and manage their own shows.

The studio offers an open-plan system fostering support and dialogue among a diverse community of artists working in various media. Artists in the studios have gone on to further education and international exchanges. To apply for studio space, artists can contact the committee by email or telephone, and successful applicants must demonstrate a commitment to being a visual artist and the artistic use of the studio.

Artists and curators are invited to submit proposals to Glasgow Project Room by sending six examples of their work, a CV, and an outline of their intentions for the space to projectroom@gis.uk.com. The committee reviews proposals every three months, and responses may take this duration.

[romanovsonelastdance]

The Russian Imperial Family with the Romanian Royal Family, 1914.

Alexei and Prince Nicholas (Nicolae) sit on the ground; Olga has baby Prince Mircea in her lap, Tatiana has Princess Ileana on hers.

[royalwatcher7190]

Princess Marie Elisabeth zu Wied’s Diamond Tiara

[thatswhywelovegermany]

Du kannst die Leute nicht lehren, deine Sprache zu sprechen, sprichst du nicht zuvor die ihre.

You can't teach people to speak your language unless you first speak theirs.

Carmen Sylva (née Elisabeth zu Wied, 1843 – 1916), German princess and queen of Romania

[inthepynck]

We can all relate with Carolina Herrera 2023 collection

Carolina Herrera brings romance and grandeur from Wes Gordon at the Plaza Hotel, with Cinderella dresses and Empress Elisabeth of Austria-inspired designs

For picky snaps from the show

For the latest in Fashion and Lifestyle, check us out

[fashionsfromhistory]

Evening Dress; Supposedly owned by Queen Elisabeth of Wied

Mme Joséphine and Co

c.1905

Museum of Decorative Arts in Prague

[venicepearl]

Pauline Elisabeth Ottilie Luise of Wied (29 December 1843 – 2 March 1916) was the first queen of Romania as the wife of King Carol I from 15 March 1881 to 27 September 1914. She had been the princess consort of Romania since her marriage to then-Prince Carol on 15 November 1869.

Elisabeth was born into a German noble family. She was briefly considered as a potential bride for the future British king Edward VII, but Edward rejected her. Elisabeth married Prince Carol of Romania in 1869. Their only child, Princess Maria, died aged three in 1874, and Elisabeth never fully recovered from the loss of her daughter. When Romania became a kingdom in 1881, Elisabeth became queen, and she was crowned together with Carol that same year.

Elisabeth was a prolific writer under the name Carmen Sylva.