(arquivo Fernando Correia de Oliveira)
domingo, 1 de outubro de 2023
Os relógios Baume & Mercier no Relógios & Canetas online
Meditações - An October like November
In October 1914 [Antwerp]
I
GLOOM!
An October like November;
August a hundred thousand hours,
And all September,
A hundred thousand, dragging sunlit days,
And half October like a thousand years . . .
And doom!
That then was Antwerp. . .
In the name of God,
How could they do it?
Those souls that usually dived
Into the dirty caverns of mines;
Who usually hived
In whitened hovels; under ragged poplars;
Who dragged muddy shovels, over the grassy mud,
Lumbering to work over the greasy sods. . .
Those men there, with the appearance of clods
Were the bravest men that a usually listless priest of God
Ever shrived. . .
And it is not for us to make them an anthem.
If we found words there would come no wind that would fan
them
To a tune that the trumpets might blow it,
Shrill through the heaven that's ours or yet Allah's,
Or the wide halls of any Valhallas.
We can make no such anthem. So that all that is ours
For inditing in sonnets, pantoums, elegiacs, or lays
Is this:
“In the name of God, how could they do it?”
II
For there is no new thing under the sun,
Only this uncomely man with a smoking gun
In the gloom. . .
What the devil will he gain by it?
Digging a hole in the mud and standing all day in the rain
by it
Waiting his doom;
The sharp blow, the swift outpouring of the blood,
Till the trench of gray mud
Is turned to a brown purple drain by it.
Well, there have been scars
Won in many wars . . .
Punic,
Lacedæmonian, wars of Napoleon, wars for faith, wars for
honour, for love, for possession,
But this Belgian man in his ugly tunic,
His ugly round cap, shooting on, in a sort of obsession,
Overspreading his miserable land,
Standing with his wet gun in his hand . . .
Doom!
He finds that in a sudden scrimmage,
And lies, an unsightly lump on the sodden grass . . .
An image that shall take long to pass!
III
For the white-limbed heroes of Hellas ride by upon their
horses
Forever through our brains.
The heroes of Cressy ride by upon their stallions;
And battalions and battalions and battalions—
The Old Guard, the Young Guard, the men of Minden and of
Waterloo,
Pass, for ever staunch,
Stand, for ever true;
And the small man with the large paunch,
And the gray coat, and the large hat, and the hands behind the
back,
Watches them pass
In our minds for ever . . .
But that clutter of sodden corses
On the sodden Belgian grass—
That is a strange new beauty.
IV
With no especial legends of marchings or triumphs or duty,
Assuredly that is the way of it,
The way of beauty . . .
And that is the highest word you can find to say of it.
For you cannot praise it with words
Compounded of lyres and swords,
But the thought of the gloom and the rain
And the ugly coated figure, standing beside a drain,
Shall eat itself into your brain:
And you will say of all heroes, “They fought like the
Belgians!”
And you will say: “He wrought like a Belgian his fate out of
gloom.”
And you will say: “He bought like a Belgian his doom.”
And that shall be an honourable name;
“Belgian” shall be an honourable word;
As honourable as the fame of the sword,
As honourable as the mention of the many-chorded lyre,
And his old coat shall seem as beautiful as the fabrics
woven in Tyre.
V
And what in the world did they bear it for?
I don't know.
And what in the world did they dare it for?
Perhaps that is not for the likes of me to understand.
They could very well have watched a hundred legions go
Over their fields and between their cities
Down into more southerly regions.
They could very well have let the legions pass through their
woods,
And have kept their lives and their wives and their children
and cattle and goods.
I don't understand.
Was it just love of their land?
Oh, poor dears!
Can any man so love his land?
Give them a thousand thousand pities
And rivers and rivers of tears
To wash off the blood from the cities of Flanders.
VI
This is Charing Cross;
It is midnight;
There is a great crowd
And no light.
A great crowd, all black that hardly whispers aloud.
Surely, that is a dead woman—a dead mother!
She has a dead face;
She is dressed all in black;
She wanders to the bookstall and back,
At the back of the crowd;
And back again and again back,
She sways and wanders.
This is Charing Cross;
It is one o'clock.
There is still a great cloud, and very little light;
Immense shafts of shadows over the black crowd
That hardly whispers aloud. . .
And now! . . That is
another dead mother,
And there is another and another and another. . .
And little children, all in black,
All with dead faces, waiting in all the waiting-places,
Wandering from the doors of the waiting-room
In the dim gloom.
These are the women of Flanders.
They await the lost.
They await the lost that shall never leave the dock;
They await the lost that shall never again come by the train
To the embraces of all these women with dead faces;
They await the lost who lie dead in trench and barrier and
foss,
In the dark of the night.
This is Charing Cross; it is past one of the clock;
There is very little light.
There is so much pain.
L’Envoi
And it was for this that they endured this gloom;
This October like November,
That August like a hundred thousand hours,
And that September,
A hundred thousand dragging sunlit days,
And half October like a thousand years. . .
Oh, poor dears!
sábado, 30 de setembro de 2023
Janela para o passado, a GOAT Suzanne Lenglen
Suzanne Lenglen na capa da Ilustração Portuguesa de 7 de Outubro de 1922. Faria depois uma visita a Portugal, para competir, em Cascais.
Meditações - Before time can draw the line
[Chorus]
Beat the clock
Try to make it stop
Before time can draw the line
And cut you down to her size
Beat the clock
Try to make it stop
Tell me how long will it take
Before you finally realize
[Verse 1]
That the carnival is over
And you've seen much better days
You have wasted too much time
In to many different plays
You deny the possibility
Of growin' old
You are filled with false humility
You're much too bold
[Chorus]
Beat the clock
Try to make it stop
Before time can draw the line
And cut you down to her size
Beat the clock
Try to make it stop
Tell me how long will it take
Before you finally realize
sexta-feira, 29 de setembro de 2023
Coisas do Ephemera - agenda da Mundet para 1982, totalmente de cortiça
Coisas do Ephemera. O Núcleo do Tempo do maior arquivo privado do país tem no seu espólio mais de duas centenas de agendas, desde os anos 10 do século XX até à actualidade. Acaba de entrar um exemplar carregado de história – trata-se de uma agenda da Mundet, totalmente feita em cortiça, e para o ano de 1982. Seis anos depois, desapareceria uma das maiores empresas do país no sector corticeiro, sendo reconhecida pela sua política social inovadora.
O surgimento de novos materiais, como o plástico, fez com
que entrasse num processo de decadência até ao seu encerramento em 1988, depois
de um conturbado período de lutas sociais e de tentativas de viabilizar a sua
manutenção. Pelo seu longo historial, a corticeira está intimamente ligada à
vida de muitas gerações de seixalenses. Lido em https://www.cm-seixal.pt/ecomuseu-municipal/nucleo-da-mundet
Há 650 anos - relógio de bater horas em Tulln, Áustria, 29 de Setembro de 1373
On December 28, 1372, in the small Lower Austrian town of Tulln on the Danube, about 30 miles west of Vienna, a man named Niclas Swaelbl, burgher of Breslau (Wrocław) in today’s Poland, swore an expiatory oath in front of the judge and the members of Tulln’s town council.1 He came before the court, because he had killed Konrad, the local town clerk. The judge and the council decided that, for the “improvement of his soul” (ze pezzrung seiner sel), he should construct an arloy, that is, a clock, for St. Stephen’s parish church in Tulln, das sich selber slach an welher glokken man im zaigt (a clock with striking mechanism). Moreover, Niclas was ordered to make a pilgrimage to Rome. All this was to be done between then (December 28, 1372) and Saint Michael’s day of the following year (September 29, 1373), that is, during the next nine months. Then he would again be granted freedom of movement in Tulln and Austria. He should be liable with all his goods in Breslau and anywhere else. Niclas Swaelbl was a clockmaker, one of these specialist artisans who, particularly in the second half of the fourteenth century and first half of the fifteenth century, were internationally acknowledged and needed. He apparently did the job imposed in Tulln, although there are no more surviving sources about this particular novelty of a striking clock in the small Lower Austrian town at a time when even the nearby capital of Vienna did not yet possess one.2 This is not the only case that shows the attempts of small communities to outdo larger and wealthier cities by possessing a mechanical clock.3 We should add that the local court’s decision to “improve” Swaelbl’s “soul” may also be compared with the well-known late medieval donations for the support, building, and repair of other common and public necessities of communities,
1 St. Pölten (Lower Austria), Niederösterreichisches Landesarchiv, charter Tulln n. 36; Anton Kerschbaumer, Geschichte der Stadt Tulln (Krems, 1874), pp. 374–375. See also Ernst Englisch and Gerhard Jaritz, Das Leben im spätmittelalterlichen Niederösterreich (St. Pölten / Vienna, 1976), p. 13; Gerhard Dohrn-van Rossum, History of the Hour: Clocks and Modern Temporal Orders, trans. Thomas Dunlap (Chicago / London, 1996), p. 158.
2 Concerning the earliest clocks in Vienna, see Ferdinand Opll, Leben im mittelalterlichen Wien (Vienna / Cologne / Weimar, 1998), pp. 12–13.
3 Dohrn-van Rossum, History of the Hour, p. 141, mentions, for example, the small Silesian town of Schweidnitz near Breslau. As early as 1370 the town representatives ordered “a clock equal to the one in Breslau or better.”like roads, paths and bridges. These were also seen as pious contributionsmeant for the salvation of the donors’ souls.
4 Some years ago, the German historian Gerhard Dohrn-van Rossum conducted an extensive study of the development, function and perception of mechanical clocks in the late Middle Ages.
5 My contribution is meant to offer some additional observations concerning the variety of values that were connected with clocks, their function, use, and public presentation. The first European boom of the new invention of the mechanical clock was between 1370 and 1380, as the story about Niclas Swaelbl indicates.
6 The earliest evidence of public clocks originates from northern Italy in the first half of the fourteenth century. Around the mid-fourteenth century, an “internationalization” can already be demonstrated, with clocks in urban centres and residences of England, Sweden, France, and Germany.
7 Some of the clockmaker specialists traveled through all of Europe, even to today’s Ukraine and further (for instance, Moscow, 14048), constructing clocks in a large number of mainly urban communities that had enough funds to afford the new mechanical devices to measure time, prestigious objects to be seen and heard in public. With regard to surviving late medieval specimens, one of the most famous examples is the mechanical clock and astronomical dial on the southern wall of the Old Town City Hall in Prague (Fig. 9.1), dating back to 1410 and constructed by a local clockmaker and a professor of mathematics and astronomy at Charles University.
9 This Prague orloj was one of the most prestigious pieces among the complex mechanical and astronomical clocks designed and constructed during the fourteenth and fifteenth centuries.
4 Concerning pious donations for building bridges, see Franz Falk, “Die Kirche und der Brückenbau im Mittelalter,” Historisch-politische Blätter für das katholische Deutschland 87 (1881), pp. 87–110, 184–194, 245–259; Erich Maschke, “Die Brücke im Mittelalter,” Historische Zeitschrift 224 (1977), pp. 265–292. Regarding indulgences for building bridges and roads, see also Nikolaus Paulus, Geschichte des Ablasses am Ausgang des Mittelalters (Paderborn, 1923; rpt. Darmstadt, 2000), pp. 370–374.
5 Dohrn-van Rossum, History of the Hour.
6 Concerning this boom, see ibid., pp. 157–159; with regard to the invention of the mechanical clock and its dissemination during the Middle Ages and the early modern period, generally, see ibid., pp. 45–215.
7 Ibid., pp. 129–133.
8 Ibid., p. 161.
9 See Jakub Malina, The Prague Horologe—A Guide to the History and Esoteric Concept of the Astronomical Clock in Prague (Prague, 2005).
In: Time: Sense, Space, Structure, Gerhard Jaritz, Chapter 9, Medieval Mechanical Clocks
Meditações - I miss the village green The church, the clock, the steeple
Out in the country
Far from all the soot and noise of the city
There's a village green
It's been a long time
Since I last set eyes on the church with the steeple
Down by the village green
'Twas there I met a girl called Daisy
And kissed her by the old oak tree
Although I loved my Daisy, I saw fame
And so I left the village green
I miss the village green
And all the simple people
I miss the village green
The church, the clock, the steeple
I miss the morning dew, fresh air and Sunday school
And now all the houses
Are rare antiquities
American tourists flock to see the village green
They snap their photographs and say: Gawd darn it
Isn't it a pretty scene?
And Daisy's married Tom the grocer boy
And now he owns a grocery
I miss the village green
And all the simple people
I miss the village green
The church, the clock, the steeple
I miss the morning dew, fresh air and Sunday school
And I will return there
And I'll and Daisy
And we'll sip tea, laugh
And talk about the village green
We will laugh and talk about the village green
quinta-feira, 28 de setembro de 2023
Watches and Wonders Geneva 2024 de 9 a 15 de Abril
O salão de Alta Relojoaria Watches and Wonders de Genebra terá a sua ppróxima edição de 9 a 15 de Abriol de 2024-
Serão 55 expositores, com 3 dias abertos ao público.
O comunicado:
Taking place from April 9 to 15, 2024, the next Watches and
Wonders Geneva promises to be a thrilling one, with an enhanced program at the
Salon and In The City, specially designed for the general public. The focus
will be on the visitor experience, as well as meaningful connection and
interaction with the exhibiting Maisons. Several spaces have been expanded,
allowing the event to host new brands and welcome the public over 3 full days!
Planning is already well underway for Watches and Wonders
Geneva to ensure a unique week for the world of fine watchmaking, with a record
55 watch brands confirmed to take part in 2024. It’s a chance for industry
professionals, connoisseurs and enthusiasts to come together, experience the
latest products first-hand, engage and build meaningful connections. A new
7-day program has been designed with the Salon opening to the public from
Saturday to Monday. Tickets can be purchased online from early February 2024,
with student and weekend prices available.
The Watches and Wonders Geneva experience has been reimagined for 2024. It will now encompass two floors and feature new spaces for visitors to explore along with enhanced venues for meeting and discussion.
In addition to prestigious names such as Rolex, Cartier, Patek Philippe, IWC Schaffhausen and TAG Heuer, six new brands will be exhibiting for the first time, with Bremont on one side and Eberhard & Co, Gerald Charles, Nomos Glashütte, Norqain and Raymond Weil on the other. H. Moser & Cie. will also be making its return to the Carré des Horlogers.
The LAB, which serves as a window into the future of the industry, will take on a new dimension at the heart of the Salon, symbolically representing the importance of technological innovation within the manufactures. Here, startups, schools and engineers will reveal the secrets of tomorrow's watchmaking. It’s an immersive, tactile and sensory experience for the curious and especially relevant to younger enthusiasts with career aspirations.
The heart of the City will be ticking even louder to the rhythm of watch movements, with a dynamic In The City program. A new Village Horloger will be created to showcase the wonders of fine watchmaking, its crafts, savoir-faire and talents. Major brands will also be joining the festivities with in-store activities featuring presentations and special exhibitions of their finest creations. The evening celebration – with its free concert - will be held on April 11 on the Quai Général-Guisan.
Watches and Wonders Geneva is aimed at all audiences and all ages, with a particular focus on younger generations who have shown a growing interest in the industry. The countdown begins as the whole city is getting ready to once again welcome the watchmaking event of the year!
EXHIBITING MAISONS
A. LANGE & SÖHNE | ALPINA WATCHES | ANGELUS | ARNOLD
& SON | BAUME & MERCIER | BEAUREGARD | BELL & ROSS | BREMONT |
CARTIER | CHANEL | CHARLES ZUBER | CHARRIOL | CHOPARD | CHRONOSWISS | CYRUS
GENÈVE | CZAPEK & CIE | EBERHARD & CO. | FERDINAND BERTHOUD |
FREDERIQUE CONSTANT | GERALD CHARLES | GRAND SEIKO | GRÖNEFELD | H. MOSER &
CIE. | HAUTLENCE | HERMÈS | HUBLOT | HYSEK | IWC SCHAFFHAUSEN |
JAEGER-LECOULTRE | LAURENT FERRIER | LOUIS MOINET | MONTBLANC | NOMOS GLASHÜTTE
| NORQAIN | ORIS | PANERAI | PARMIGIANI FLEURIER | PATEK PHILIPPE | PEQUIGNET |
PIAGET | RAYMOND WEIL | REBELLION TIMEPIECES | RESSENCE | ROGER DUBUIS | ROLEX
| RUDIS SYLVA | SPEAKE-MARIN | TAG HEUER | TRILOBE | TUDOR | U-BOAT | ULYSSE NARDIN
| VACHERON CONSTANTIN | VAN CLEEF & ARPELS | ZENITH
Janela para o passado - há 90 anos, contra o Negus, marchar, marchar
Artigo de Guilherme de Ayalla Monteiro, em 1963, contra o Imperador da Etiópia, o Negus (Rei dos Reis), Hailé Selassié, que tinha visitado Poetugal em 1959. In Gazeta dos Caminhos de Ferro de 1 de Janeiro de 1964.
Meditações - Turn your clock back
Last time, wrong time
Outside, out of line, uh
Yeah, but this time's our time
Right on, we'll let it shine, get up
Turn your clock back
Paint it red on black
Bring it all right back
Oh hell yeah
Come on
Alright
Hey, hey, hey
You can spend my money
Don't you waste my time (my time, my time)
Well we're right now makin' up for lost time, yeah
Alright alright
I think it's high time we lay it out there on the line
Now it's about time
It's about time
It's about time
Yeah
Bright lights, old fights
This time we got it right, yeah
It's been a long time, overtime
Second flash, you're out of sight, yeah, so get up
Turn your clock back
Paint it red on black
We'll get it all right back
Oh hell yeah, yeah
Come on
It's alright
Hey, hey, hey
You can spend my money
Don't you waste my time (my time, my time)
Well, we're 'bout to make it up to ya, big time
Big, big, big, big time
Well it's about time we lay it out there on the line
Woo
It's about time
It's about time
It's a just about time
Just about time, yeah
It's alright
Yeah, spend my money
Don't you waste my time (my time, prime time)
Well, we're gonna make it up to you big time
(Big time, big time)
Because it's high time we lay it out on the line
It's about time
It's about time
It's about time
It's just about time
It's about time
It's about time
It's all about
Talk about
Want to know
There ain't no doubt
It's about time
Yeah, yeah, yeah
Woo, you go ahead, turn your clocks back
Yeah, ow
quarta-feira, 27 de setembro de 2023
Janela para o passado - há 90 anos - os ingleses e o ajardinamento das estações de combóios em Portugal
Entrevista a Albert Loweth, britânico radicado em Sintra, que introduziu um concurso de estações floridas para a linha de Sintra, à semelhança do que ocorria no seu país. Tinha sido Chefe de Contabilidade na The Anglo Portuguese Telephone Company, in Gazeta dos Caminhos de Ferro, de 16 de Março de 1933
Meditações - The clock strikes twelve and moondrops burst
The clock strikes twelve and moondrops burst
Out at you from their hiding place
Like acid and oil on a madman's face
His reason tends to fly away
Like lesser birds on the four winds
Like silver scrapes in May
And now the sand's become a crust
And most of you have gone away
Come Susie dear, let's take a walk
Just out there upon the beach
I know you'll soon be married
And you'll want to know where winds come from
Well it's never said at all
On the map that Carrie reads
Behind the clock back there you know
At the Four Winds Bar
Hey! Hey! Hey! Hey!
Four doors at the Four Winds Bar
Two doors locked and windows barred
One door to let to take you in
The other one just mirrors it
Hey! Hey! Hey! Hey!
Hellish glare and inference
The other one's a duplicate
The Queenly flux, eternal light
Or the light that never warms
Or the light that never, never warms
Or the light that never
Never warms
Never warms
Never warms
The clock strikes twelve and moondrops burst
Out at you from their hiding place
Miss Carrie nurse and Susie dear
Would find themselves at Four Winds Bar
It's the nexus of the crisis
And the origin of storms
Just the place to hopelessly
Encounter time and then came me
Hey! Hey! Hey! Hey!
Call me Desdinova
Eternal light
These gravely digs of mine
Will surely prove a sight
And don't forget my dog
Fixed and consequent
Astronomy... a star (repeats)
terça-feira, 26 de setembro de 2023
Janela para o passado - há 90 anos, combóios, a solução para as regiões com falta de água
in Gazeta dos Caminhos de Ferro, de 10 de Março de 1933
Meditações - Put the clock back on the wall!
When the local population starts to worry about your mood
Starts to wonder why the clouds are in your eyes
You can tell them that it's the flowers or the cinder in the
air
But don't let on what's under your disguise
Hey
I can't reveal what's inside or behind me and
Thoughts that are real I can't feel
They won't find me
Hey
Put the clock back on the wall!
I've been away where the night meets the morning
Flashes of gray bring the day and it's warning me.
Hey
Put the clock black on the wall!
When the local populations starts to act a little strange.
Starts to make you giggle to yourself inside, and he'll ask
you why you're laughing as he laughs along with you, you don't know but you
both laughed so hard you cried,
Hey
Put the clock back on the wall!
segunda-feira, 25 de setembro de 2023
Seis milhões de visualizações
Acabámos de ultrapassar os 6 milhões de visualizações (auditadas pelo Blogger). Recordamos aqui um post onde falamos de uma Tese de Mestrado que teve como objecto, entre outros, o Estação Cronográfica. Nele explicamos o nosso propósito de total independência editorial e de cumprimento das ética e deontologia jornalísticas. Que mantemos. Sobre nós, ver aqui.
Janela para o passado - há 90 anos - viagens de luxo em combóio
in Gazeta dos Caminhos de Ferro de 10 de Março de 1933
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