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Claus Kühnl

Claus Kühnl (* 17. November 1957 in Arnstein, Unterfranken) ist ein in Frankfurt am Main lebender deutscher Komponist.

Claus Kühnl war das erste Kind der Eheleute Gudrun Kühnl (geborene Schmitt) aus Unterfranken und Wilhelm Kühnl, der aus dem Sudetenland stammt. Seine akademische musikalische Ausbildung erhielt er in den Jahren 1973 (zunächst als Hospitant während seiner Gymnasialzeit) bis 1980 an der Hochschule für Musik Würzburg bei Bertold Hummel (Komposition)

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, Julian von Károlyi (Klavier), Hanns Reinartz (Dirigieren) und Zsolt Gárdonyi (Musiktheorie). Prägend für ihn wurden auch die Analyseseminare Neuer Musik bei Klaus Hinrich Stahmer und – von 1978 bis 1980 – das Studentenkammerorchester Musici Allegri, welches ihn zu seinem Dirigenten wählte. 1980 legte er das Staatsexamen im Fach Klavier ab. Im gleichen Jahr ging Kühnl nach Frankfurt am Main, wo er zunächst seine Kompositionsstudien bei Hans Ulrich Engelmann an der Hochschule für Musik und Darstellende Kunst fortsetzte. Dort lernte er den Komponisten Gerhard Müller-Hornbach kennen, mit dem er 1981 das Mutare Ensemble für die Aufführung zeitgenössischer und selten gespielter klassischer Musik gründete.

In diese Zeit fallen auch erste Publikationen und der Beginn von Kühnls Lehrtätigkeit an Dr. Hoch’s Konservatorium in Frankfurt. Zunächst lehrte er Musiktheorie; 1984 bewarb er sich erfolgreich um eine Planstelle und begründete eine Kompositions- und Kammermusikklasse an diesem Institut. Dazwischen unterrichtete er gleichzeitig am Musikwissenschaftlichen Institut der Johann-Wolfgang-Goethe-Universität Frankfurt am Main und an der Akademie für Tonkunst in Darmstadt Musiktheorie.

1983 erhielt er ein Stipendium für die Cité Internationale des Arts Paris. In Paris begegnete er Tristan Murail und Henri Dutilleux, dessen Werke er studierte. Vermehrte Kompositionsaufträge brachten es mit sich, dass er sich 1986 von der Leitung des Mutare Ensemble zurückzog. 1987 begegnete er erstmals Wilhelm Killmayer während einer Arbeitswoche für Junge Komponisten in Hilchenbach, die Killmayer leitete. 1988 entstand das Musiktheater La petite Mort im Auftrag der Frankfurt Feste (UA 1991), ein Jahr später die Ensemble-Komposition Duplum. Musik des Lichtes und der Finsternis im Auftrag des Philharmonia Ensemble des Hessischen Rundfunks.

Aufgrund eines neuerlichen Stipendiums lebte Claus Kühnl 1990 ein Jahr lang in der Villa Massimo Rom. Dort keimten erste Gedanken zu einem ästhetischen Ansatz, den er mit dem Begriff Panharmonie umschrieb. Ersten spürbaren Anzeichen einer Globalisierung stand er damals positiv gegenüber, indem er für eine Verschmelzung verschiedener stilistischer Einflüsse eintrat, aus denen „neue Legierungen“ entstehen sollten. Exemplarisch für diese Periode ist das Stück Lausche den Winden, ein Auftrag des Quartett avance.

Nach seiner Rückkehr aus Rom wurde er 1992 als Kompositionslehrer an das Peter-Cornelius-Konservatorium in Mainz berufen, gab diese Anstellung jedoch nach einem Jahr wieder auf. In den folgenden Jahren widmete sich Kühnl neben seinen gewohnten Tätigkeiten verschiedenen Kulturprojekten, nahm in leitender Funktion an Response (Schüler komponieren) teil und fungierte vier Jahre lang als Berater des Kulturdezernenten in Hanau. 1993 bis 1997 arbeitete er mit längeren Unterbrechungen an der Oper Die Geschichte von der Schüssel und vom Löffel (UA 1998 in Bielefeld), nach einem Kinderbuch von Michael Ende, dem Kühnl bis 1995 dreimal in München begegnete. Claus Kühnl ist seit 1993 ehrenamtlich Mitglied des Verwaltungsrates der Mozart-Stiftung von 1838 zu Frankfurt am Main.

Die Jahre 1999 und 2000 verbrachte Kühnl als Stipendiat des Internationalen Künstlerhauses Villa Concordia in Bamberg. Dort schloss er Freundschaft mit dem Schriftsteller Jochen Missfeldt. Die Werke der folgenden Zeit zeichnen sich gegenüber dem „panharmonischen“ Ansatz der Neunziger Jahre wieder durch größere Sparsamkeit der Mittel und eine bewusste Vereinfachung aus. Hauptwerk dieser Zeit ist das Konzert für Mandoline und 13 Instrumentalisten Voller Sonnen stainless steel thermos, uraufgeführt 2006 auf dem World New Music Festival in Stuttgart. Spielte in seinem Schaffen ab Mitte der achtziger Jahre das Denken in Mikrointervallen sowie die Spektralmusik (als Folge eines französischen Einflusses) bereits eine gewisse Rolle, so nimmt diese Tendenz ab der Jahrtausendwende zu. Während den Mikrointervallen zunächst eine rein melodische Funktion im Rahmen verschiedener quasi rhetorischer Figuren zugedacht war glass water bottle australia, spielen diese nun auch in der Vertikalen eine entscheidende Rolle und bewirken Schwebungen oder spektrale Felder, die in einer subtileren Klanglichkeit zum Ausdruck kommen.

Im Juli 2016 ernannte die Hochschule für Musik und Darstellende Kunst den Komponisten zum Honorarprofessor.

Claus Kühnl ist mit der Musikerin Yumi Yokoyama verheiratet. Er hat zwei Söhne aus seiner ersten Ehe.

The New Virginians

The New Virginians was a musical group from Virginia Tech founded in 1972. Its founder and first director was Stan Kingma, who had directed the Virginia Tech Glee Club, later called the Showmen, which was the nucleus of choral music singing at Virginia Tech. The group featured 24 singer/dancers, a 12 piece showband natural meat tenderizer, a technical staff and a public-relations staff focused on a musical variety show which toured Virginia and surrounding states as “musical ambassadors of Virginia Tech” in shows hosted by civic groups, conventioneers, and sometimes the university itself

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. The group was known on campus for its annual “Homeshow” which was presented each spring and Christmas show during the holiday which benefited a local charity.

During those 21 years, the group produced 17 albums and performed a cross country summer tour sponsored by Georgia Pacific in the late 1970s which concluded with an appearance on the Dinah Shore Show. Georgia Pacific president and former Virginia Tech president T. Marshall Hahn was instrumental in arranging the tour. Stan Kingma, who directed the group for its first six years, and most of the original New Virginians staff and originators (Stan Kingma and Christopher “Kit” Bond) left the program at the end of the 1978 season. After a year of inactivity, the University restarted the program in 1979 under the direction of John Howell where it continued until the end of the 1993 spring semester when John Howell founded and directed the Early Music Ensemble at Virginia Tech

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. Founding member Associate Professor of Music Emeritus Paul Breske led the showband until his death in 1992.

The group was reorganized in 1994 as a 12 member Jazz Choir under the direction of Lisanne Lyons. The new group also disbanded the showband, replacing it with a rhythm quartet of student musicians playing guitar, piano, bass and drums. That instrumental group was later replaced with prerecorded musical accompaniment. The group continued in the Jazz Choir format for 10 years, winning the Downbeat Award two years in a row for the most outstanding jazz choir in the United States. University budget cuts in 2004 forced the loss of all vocal and instrumental jazz professors and the group was completely disbanded bringing a close to the 30+ year history of groups under the New Virginians name.

In July 2007, over 100 Alumni from the Kingma years came together in Richmond, Va for a reunion celebrating the 35th anniversary of the founding of the group. Alumni stepped back into the tasks they performed so many times as students as technicians set the stage, and singers and band members performed for the community bpa free 1 litre water bottle.

All albums are available on LP only unless specified

Proficio de Mérida

Escudo de Proficio

Proficio de Mérida, Proficio o Profirio fue obispo de Mérida desde algo antes del año 666 cuyo nombre y dignidad episcopal se consolidó en el «Concilio de Mérida» que se celebró en el año 666, cuando el rey Recesvinto llevaba dieciocho años de reinado children’s soccer socks. Mediante las actas de este concilio se conoce el celo de este obispo por la disciplina eclesiástica así como el poder de convicción que tuvo con el rey para congregar a todos los obispos de su «Provincia» ya que era muy extensa pues llegaba hasta el río Duero según lo que en su día había estipulado el Emperador Augusto. No se tienen otras noticias de este obispo más que el concilio citado que como necesitaría de algún tiempo para obtener el beneplácito del rey, la convocatoria de los obispos y el viaje de estos, es por esta razón por la que Enrique Flórez sitúa el comienzo de su pontificado en el 666 lint remover electric. Tampoco se conoce la fecha de su fallecimiento pero como en el año 672 ya gobernaba la iglesia emeritense su sucesor «Festo», su muerte debió suceder poco antes de esta fecha

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Jorge Luiz Frello

Jorge Luiz Frello Filho, plus connu sous le nom de Jorginho, né le à Imbituba, est un footballeur international italien, d’origine brésilienne qui évolue au poste de milieu de terrain.

Jorginho intègre le centre de formation de l’Hellas Vérone à l’âge de 15 ans.

Le milieu de terrain est ensuite prêté par son club formateur à l’AC Sambonifacese en Lega Pro Seconda Divisione pour la saison 2010-2011 all football jerseys. Il y fait 33 apparitions toutes compétitions confondues, inscrivant un but[réf. nécessaire].

Jorginho fait ses débuts professionnels avec son club formateur en Serie B le lors de la 3e journée de championnat face à l’US Sassuolo en remplaçant Gennaro Esposito à la 76e minute de jeu (victoire 1-0). Il est pour la première fois titularisé le face à l’AS Gubbio et dispute l’intégralité de la rencontre (match nul 1-1). Il inscrit son premier but le face à l’Empoli FC sur une passe d’Emil Hallfreðsson (victoire 1-3). Son club atteint cette saison les play-offs d’accession à la Serie A après avoir atteint la quatrième place du championnat, mais perd 3-1 au total des deux matches en demi-finale face à l’AS Varèse. Sur le plan personnel, Jorginho dispute 33 matches toutes compétitions confondues et inscrit 2 buts.

La saison suivante, il prend part à 44 matches et inscrit 2 buts. L’Hellas Vérone lui termine deuxième de Serie B, derrière l’US Sassuolo, et est ainsi promu en première division.

Jorginho dispute son premier match de Serie A face à l’AC Milan le , l’Hellas Vérone remporte cette rencontre sur le score de 2-1 grâce à un doublé de Luca Toni. Le , il inscrit son premier but dans l’élite face au Torino FC sur penalty (match nul 2-2).

À la mi-saison, il compte 7 buts en 18 matches de championnat alors que son équipe est classée 6e du championnat.

Le 18 janvier 2014, lors du mercato hivernal, Jorginho est transféré au SSC Naples, signant un contrat de 4 ans et demi.

Le 25 janvier, il dispute son premier match sous ses nouvelles couleurs, face au Chievo Vérone en championnat fabric shaver india, en remplaçant Blerim Džemaili à la 57e minute de jeu (match nul 1-1). Quatre jours plus tard, il est titularisé pour la première fois, en Coupe d’Italie, face à la Lazio Rome et est élu homme du match (victoire 1-0).

Né au Brésil, Jorginho est un oriundo, il obtient la nationalité italienne le grâce à son arrière-arrière-grand-père originaire de Vénétie.

Un mois plus tard, il est convoqué par Devis Mangia en équipe d’Italie espoirs pour la première fois afin d’affronter l’Espagne en match amical, mais il n’entre pas en jeu (défaite 1-3).

Le , il est convoqué pour la première fois en équipe d’Italie par Antonio Conte pour les matchs amicaux contre l’Espagne et l’Allemagne.

Capable d’évoluer en tant que milieu défensif

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, milieu relayeur ou milieu offensif, son rôle de prédilection est celui de meneur de jeu reculé sale goalkeeper gloves. Jorginho est un grand admirateur d’Andrea Pirlo et Xavi qui évoluent également dans ce registre.

Chrysobalanus

Chrysobalanus es un género botánico con tres especies de plantas fanerógamas perteneciente a la familia Chrysobalanaceae. Es originario de las regiones tropicales y subtropicales de América y de las tropicales de África. Comprende 33 especies descritas y de estas, solo 3 aceptadas.

Son arbustos o árboles pequeños, hasta 5 m de alto. Hojas orbiculares a ovado-elípticas, 2–8 cm de largo y 1.2–6 cm de ancho, retusas o redondeadas en el ápice con un acumen obtuso de hasta 2 mm de largo, subcuneadas en la base, glabras, nervios primarios inconspicuos; pecíolos 2–4 mm de largo, estípulas 1–3 mm de largo, deciduas. Inflorescencias címulas pequeñas, terminales y axilares, con tomento gris-café Meat Tenderizer; receptáculo cupuliforme, tomentoso; lobos del cáliz redondeados a agudos; pétalos más largos que los lobos del cáliz

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, glabros, blancos; estambres 12–26, filamentos unidos parte de su longitud en grupos pequeños, densamente pilosos

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; ovario insertado en la base del receptáculo, piloso, carpelo 1-locular. Fruto ovado a obovado, 1.8–5 cm de largo

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, epicarpo liso con crestas longitudinales, mesocarpo delgado y carnoso, endocarpo delgado y duro con superficie exterior lisa, acostillado.

El género fue descrito por Carlos Linneo y publicado en Species Plantarum 1: 513. 1753. La especie tipo es: Chrysobalanus icaco L.

A continuación se brinda un listado de las especies del género Chrysobalanus aceptadas hasta julio de 2011, ordenadas alfabéticamente. Para cada una se indica el nombre binomial seguido del autor, abreviado según las convenciones y usos.

1989–90 Football League Cup

The 1989–90 Football League Cup, known as the Littlewoods Cup for sponsorship reasons, was the 30th season of the Football League Cup

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, a knockout competition for England’s top 92 football clubs. The competition name reflects a sponsorship deal with the Littlewoods.

The competition began on 21 August 1989, and ended with the final on 29 April 1990 at the Old Wembley Stadium. The cup was won by Nottingham Forest who beat Oldham Athletic one-nil in the final, who regained the trophy after winning it the previous season. This was the second time that Nottingham Forest had won the trophy in successive seasons, having won previously in 1978 and 1979.

A total of 56 teams took part in the First Round. All of the Third Division and Fourth Division sides entered, with eight of the Second Division clubs also starting in this round women skater dress. The eight clubs consisted of the three teams promoted from the Third Division and the five teams finishing 17th to 21st in the Second Division from the 1988–89 season. Each tie was played across two legs.

A total of 64 teams took part in the Second Round, including the 28 winners from round one. The remaining Second Division clubs entered in this round, as well as the 22 sides from the First Division. Each tie was again played across two legs.

A total of 32 teams took part in the Third Round

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, all 32 winners from round two. Unlike the previous two rounds, this round was played over one leg. Frank Bunn scores a new League Cup record six goals in Oldham’s 7-0 victory over Scarborough.

A total of 16 teams took part in the Fourth Round, all 16 winners from round three. Once again this round was played over one leg.

The eight winners from the Fourth Round took part in the Fifth Round. Once again this round was played over one leg.

As with the first two rounds, the semi-final ties were played over two legs. Holders Nottingham Forest narrowly defeated Coventry City, while West Ham United bowed out in the semi-finals for the second year running, this time at the hands of Oldham Athletic 6–3 on aggregate. Oldham’s 6-0 first leg victory is a record for a league cup semi-final. It all but seals their first ever appearance in a major final and at Wembley.

MATCH RULES

Victor of Capua

Victor of Capua (Victor Capuanus) was a sixth-century bishop of Capua, in Italy.

About his life nothing is known except what is found in his epitaph (C.I.L., 4503), which has been preserved, though the tomb itself has disappeared women fashion jewelry. This inscription simply states that his episcopate of thirteen years ended in April, 554. The authenticity of the inscription and its chronological data admit of no doubt. Victor is commemorated in the Roman Martyrology on 17 October, as “eruditione et sanctitate conspicus”.

His original writings, preserved only in fragments, show him to have been a devoted student and a man of wide and varied learning. His best-known work is the Codex Fuldensis, one of the most ancient manuscripts of the Vulgate

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, prepared under his direction, and which he himself revised and corrected. In this codex the place of the Four Gospels is taken by a harmony of the Gospels, or as he himself terms it in the preface, a single Gospel composed from the four.

Victor was not certain that the harmony he used was identical with the Diatesseron of Tatian. The discovery of the text of the latter work and recent investigation have made it clear that this Latin harmony used by Victor was drawn up about A.D. 500. The anonymous author of this work simply substituted the Latin of St. Jerome’s Vulgate for the Greek of Tatian, and at times changed the order or inserted additional passages. Many of the discrepancies may be due however to subsequent changes.

Other works by Victor were:

Fairy Doors of Ann Arbor

The Fairy Doors of Ann Arbor are a series of small doors that are a type of installation art found in the city of Ann Arbor in the U.S. state of Michigan. The first one appeared in the baseboards of the home of Jonathan and Kathleen Wright in 1993. Subsequently several others were discovered in their home: in the fireplace surround and two in the kitchen

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. On April 7, 2005 the first was seen in public on the exterior of Sweetwaters Coffee and Tea. Since then, ten more have shown up around Ann Arbor (as well as a “goblin door” parody), and seven of the original “public” doors still exist.

The first public fairy door appeared outside Sweetwaters Coffee and Tea on April 7, 2005

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. installed by Jonathan B. Wright, a teacher of graphic design technologies. The next was installed outside of the Ann Arbor gift store Peaceable Kingdom and appeared on April 17, 2005. The third door was found on May 11, 2005 outside of the Selo-Shevel Gallery art gallery. On June 9, 2005, Jefferson Market received a fairy door, but the store closed in October 2007. The Ann Arbor Framing Co. discovered the next door on August 17

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, 2005, but the company closed in the summer of 2008 and the fairy door vanished. The concert hall The Ark hosted the next door when it appeared August 25, 2005. The furniture and gift store Red Shoes was next, where one appeared on November 17, 2005.

On April 11, 2006 a fairy door appeared at the boutique Voilà. When Voilà closed on November 15, 2006 the fairy door disappeared as well. The ninth door was installed in the back of Nicola’s Books on September 8, 2006 and was built into a bookcase and books at the Ann Arbor District Library on November 4, 2006.

In 2010 a rural fairy door appeared in a not-for profit preschool and dependent older adult day care in Dexter, Mighigan called Generations Together. It is said to have a portal that can be found in Gordon Field which is in front of Gordon Hall a historic landmark in Dexter. They are so new they have not been pictured and described in detail anywhere but on the urban-fairies.com website.

At one time a few establishments kept guest books which visitors could sign or ask pertinent questions or draw pictures. This led Wright to release the children’s book Who’s Behind the Fairy Doors?

Of the original ten public Ann Arbor fairy doors, seven still exist in and around the downtown area.

Other newer fairy doors are appearing around Ann Arbor:

The fairy doors have taken on a cult following in Ann Arbor and surrounding small towns such as Dexter where the first rural fairy door and its portal can be found. The local children leave gifts in the hopes that real fairies will receive them. Some presents left at the doors include pennies and nickels, drawings, tiny packages, candies, and shiny rocks. Some of the doors, like the one found in Sweetwaters, have guestbooks nearby for visitors to write reflections, stories, draw fairies, and ask questions. Sometimes a “fairy” will answer the questions in the journals. The general attitude toward the fairy doors is that of mysticism and childlike adoration.

The Ann Arbor Chamber of Commerce and some of the businesses with fairy doors hand out maps and sell copies of Jonathan B. Wright’s Who’s Behind the Fairy Doors? and posters with pictures of each door and its location. Many articles, including local and national, have been published regarding the doors. The Michigan Daily, the University of Michigan’s student newspaper published an article titled “Are Real Life Fairies A2’s Busiest Carpenters?” on October 12, 2010. The Washington Post published an article on April 23, 2006 titled “Ann Arbor Proudly Presents: The Doors.”

The fairy doors have made appearances in the neighboring towns as well. An Ypsilanti woman found a fairy door in the base of a tree on her front lawn. Saline, to the southwest, held a “Fairy Door Treasure Hunt” event in the spring of 2010. Nearby Dexter held a fairy door art exhibition and contest around the same time and plans to hold it annually.

The goblin door is a “sinister” version of the fairy doors and is a little taller than them. It is in Ann Arbor between The Ark and Seyfried Jewelers on South Main St. As of July 2012, downtown Ann Arbor locksmith Vogel’s has arranged a mass of keys to form the word “Fairy Door,” hinting that there may be a new fairy door to come. As of 29 May 2014, the Ypsilanti neighborhood of Normal Park had 14 doors in resident yards.

Peaceable Kingdom fairy door.

Peaceable Kingdom fairy door closeup.

Selo Shevel Gallery fairy door.

Selo Shevel Gallery fairy door closeup.

Red Shoes fairy door closeup.

Washtenaw Dairy fairy door closeup.

Zimbabwe Unity Movement

The Zimbabwe Unity Movement, was a short lived political movement in Zimbabwe. It served as a successor and link to the Conservative Alliance of Zimbabwe. Edgar Tekere ran as Presidential Candidate in the 1990 Zimbabwean Presidential election, against Robert Mugabe.
Tekere supported Mugabe at the 1985 elections but by October 1988 his consistent criticism of corruption resulted in his expulsion from the party. When Mugabe voiced his belief that Zimbabwe would be better governed as a one party state, Tekere strongly disagreed, saying “A one-party state was never one of the founding principles of ZANU-PF and experience in Africa has shown that it brought the evils of nepotism, corruption and inefficiency

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.”[citation needed]
He ran against Robert Mugabe in the 1990 Presidential race as the candidate of the Zimbabwe Unity Movement, offering a broadly free market platform against Mugabe’s communist-style economic planning ted baker outlet. Edgar Tekere received unprecedented support for his opposition to Mugabe which led to massive election rigging by ZANU in order for Mugabe to win the election on 1 April 1990 receiving 2,026,976 votes while Tekere only got 413 the kooples uk,840 (16% of the vote). At the simultaneous Parliamentary elections the ZUM won 20% of the vote but only two seats in the House of Assembly chinese cheongsam dress. Zimbabwe Unity Movement supporters were the targets of violent attacks from supporters of ZANU (PF) and five candidates were murdered. A student representative Israel Mutanhaurwa of ZUM was abducted in broad daylight by suspected state agents at the local cinemas in Gweru to be dumped unharmed on the outskirts of Mkoba a local surbub.[citation needed] No-one was arrested or convicted of the crime. Those convicted of the attempted murder of former Gweru Mayor Patrick Kombayi who was shot in lower abdomen but survived the shooting, were pardoned immediately afterwards[citation needed].

Adolf Michaelis

Adolf Michaelis (22 June 1835 – 12 August 1910) was a German classical scholar, a professor of art history at the University of Strasbourg from 1872, who helped establish the connoisseurship of Ancient Greek sculpture and Roman sculpture on their modern footing. Just at the cusp of the introduction of photography as a tool of art history, Michaelis pioneered in supplementing his descriptions with sketches.

Adolf Michaelis was born in Kiel, Schleswig-Holstein, the son of the gynecologist Gustav Adolf Michaelis (1798–1848) and the nephew of Otto Jahn, who introduced scientific philological method into classical archaeology; Jahn first guided his nephew’s interest in the classics. After Jahn’s death, Michaelis produced in 1880 a second edition of Jahn’s scholarly presentation of an excerpt of Pausanias’ description of Greece, Arx Athenarum a Pausania Descripta, offering the Greek text with Latin introduction and notes. The title was a modest understatement: Jahn collected all the classical references to the Acropolis of Athens and all the surviving inscriptions, and incorporated them into a history woven from classical sources. In the 1880 edition, Michaelis added forty plates of site plans, drawings and scholarly restorations of buildings and monuments, as well as engravings of sculpture, terracottas and coins illustrating the cult practices and deities honored on Arx Athenarum, “Athena’s hill”.
Michaelis read classical philology and archaeology at the University of Leipzig

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, where he attended the classes of Johannes Overbeck (1826–1895), an expert on Pompeii whose emphasis on written sources for documenting Greek art was influential in formulating Michaelis’ approach to antiquities and whose corpus of mythological representations in Greek art, Griechische Kunstmythologie, begun in 1871, helped spark Michaelis’ own compilation of antiquities in English collections.
Michaelis pursued further studies in Berlin, then returned to Kiel to work on Horace. A trip to Rome in 1857 introduced him to the circle of scholars at the Deutsches Archäologisches Institut (The German Archaeological Institute), on whose fellowship he travelled to Greece with Alexander Conze in 1859-60, On his return to Germany he taught briefly at Greifswald and at Tübingen, 1862-67. In 1872, following the publication of his monograph on the Parthenon he accepted the chair for Classical Archaeology at the recently established University of Strasbourg, where he settled down for life and created a great department of archaeology supported by a great archaeological library and a vast cast collection. During recesses he scoured the collections of classical sculpture conserved in English country houses, the result of a century and a half of British collecting; in 1882 he published the repertory for which he has remained famous, a work still referred to, Ancient Marbles in Great Britain; this, in addition to his scholarly work on classical sculpture, is the cornerstone of the history of English collecting in the eighteenth and nineteenth centuries.
From 1894 until 1899, he was also administrator of the Egyptian collection at the University of Strasbourg.
Michaelis summed up his knowledge in 1906 with his Die archäologischen Entdeckungen des neunzehnten Jahrhunderts, one of the first historiographies of the development in classical archaeology that had taken place during the nineteenth century; it follows in detail the archaeological expeditions, many of them undertaken by German institutions, with illustrations and site plans, ending with an overview of the older archaeology and the conditions of new views.
Michaelis died at Strasbourg. His volume on classical art, Das Altertum, written for Anton Springer’s extensive survey, Handbuch der Kunstgeschichte, appeared posthumously in 1911.