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In heraldry what colour is argent? | Heraldic Colours (or Tinctures) | Patrick Baty – Historical paint consultant
Heraldic Colours (or Tinctures)
Tinctures
One of the main aims of heraldry is to provide easily recognisable symbols and this is achieved by using clear colours and by following strict rules. However, not all of these are colours in the true sense – some are metals, furs, “stains” and “proper”, hence the more correct use of the word tincture.1
As one might expect with a system of coded symbols the tinctures themselves have meaning attached and one can often begin to read more into the message conveyed by the original bearer of the arms. Over time many of these meanings have changed, but there are still certain themes that can be picked up and I outline below the commonly accepted ones.
The principal heraldic tinctures have changed little over the years. These are:
Metals
Ermine – White covered with black spots
Vair – White and blue pattern
(A number of variations of both of these furs are found.)
What are these Tinctures?
The exact colours employed in heraldry are usually left to the heraldic artist, whilst remaining within loose bounds.
In 1934 the British Colour Council published a Dictionary of Colour Standards in two volumes, one showing 220 colours presented on pure silk ribbon, named, numbered, and coded, and the other giving the history of each colour, the various names by which each had previously been known and the authority for standardisation. Amongst these were seven of the above colours, the purpose of which was to provide a guide to selecting appropriate shades.
As the British Colour Council developed its services to industry it became apparent that the bias in the dictionary towards colours for textiles made it less relevant as a standard reference work for Interior Decoration. In 1949 it published the Dictionary of Colours for Interior Decoration , which is discussed in another post.
Volume 3 of that work listed the colours and provided a brief history of those illustrated in the other two volumes of colour samples. Under the heading Heraldic Colours it provided details which had been supplied by Somerset Herald 2 at the College of Arms .
The following page is from Volume 2 of the Dictionary of Colours for Interior Decoration:
Sample page from Dictionary of Colours for Interior Decoration showing Murrey
Volume 3 tells us that:
“These heraldic terms date from the early thirteenth century, when heraldry became established as a science. The heraldic colour names are mainly of French derivation, or influenced by Latin. The names are still used in heraldry today.
It goes on to list the colours and provides examples of most of them:
This metal is often represented by yellow. Gold represents glory, generosity, constancy and elevation of the mind. A version was offered in the Dictionary:
Gold (CC 72)
Azure
Blue from Old French azur. Azure signifies piety, sincerity, loyalty and chastity. This was not illustrated in the 1949 edition, but it appeared as Larkspur (BCC 196) in the Dictionary of Colour Standards of 1934.
A recent project of mine saw me researching the heraldic Beasts of King Henry VIII for a recreation of a Tudor garden at Hampton Court Palace . As well as identifying which beasts were relevant, I also had to establish how they were to be painted and where each of the tinctures were to be applied.
Jane Seymour’s Heraldic Panther. Tudor Garden, Hampton Court Palace.
The heraldic panther resembles a leopard. However, it is silver and covered with spots of blue and red and has flames issuing from its ears and mouth. Jane’s panther, which is collared with a coronet and chained, was the dexter supporter of her arms. A panther had been counted among the number of royal beasts since the time of Henry IV and possibly earlier.
In this example one can see the following heraldic tinctures: Argent; Or; Gules; Azure and Vert. The latter is shown in its sixteenth century form, for at that stage there was only one satisfactory pigment to achieve a green colour in oil paint – Verdigris . Experiments carried out with it show that when first applied the colour is a very blue green and it is this form that has been used here. However, it becomes much yellower with time and exposure.
As can be seen below the present green colour used in heraldry tends to be much yellower.
Vert
This is from the French vert meaning green and, in turn, from the Latin word for green – viridis. Vert is symbolic of joy, youth and beauty and demonstrates loyalty in love. The Dictionary of Colours for Interior Decoration shows this as Apple Green (CC 98).
Apple Green (CC 98)
Gules
There is a great deal of dispute about the origin of the word. Some say that it derives from the Old French word goules, literally meaning “throats” (related to the English gullet; modern French gueules). It is also possible that the word may come from the Hebrew gulude, a piece of red cloth, or Arabic gule a red rose or possibly ghül a feeder on carcasses. Gules is symbolic of nobility, boldness and ferocity and has strong military connotations. In the Dictionary of Colours for Interior Decoration it is indicated as Poppy (CC 41)
Poppy (CC 41)
Purpure
The word comes from the Latin purpura, meaning ‘purple’. Purpure suggests justice, temperance and sovereignity.
The use of this colour is rare, although ancient examples do exist – for example in the arms of Henry de Lacy, Earl of Lincoln in the thirteenth century. The Dictionary of Colours for Interior Decoration shows it as Prune (CC 305).
Prune (CC 305)
This emerged in the twentieth century, in response to wartime requirements of the Royal Air Force .
No 1 (F) Squadron Royal Air Force – Note Sky Blue
Stains
Murrey
This is the colour of mulberries . The name is believed to come from the Old French moré and is sometimes referred to as Sanguine, the colour of blood. In the sixteenth century it was used as one of the two livery colours of the House of York . Murrey is meant to indicate patience in adversity. The Dictionary of Colours for Interior Decoration shows it as Murrey (CC 192).
Murrey (CC 192)
Tenné
This colour is sometimes known as Tawny and is of an orange hue. This colour is meant to signify ambition. It was not illustrated in the Dictionary of Colours for Interior Decoration, but it appeared as Mace (BCC 73) in the 1934 edition.
Tenné
Tenné also appears on a coloured silk ribbon in the magnificent volume of Traditional British Colours that was produced for the Coronation of His Majesty King George VI in 1937.
Another word is often encountered in connection with heraldic colour and that is the term proper, which is used to indicate that something is in its natural colour or shape, for example an animal or plant.
The Blazon
The blazon is the written description of a coat of arms. At first this might make little sense, but once understood it will be seen to be masterpiece of concision and will enable one to visualise the arms.
For example in the arms at the head of this page the shield is blazoned as follows:
“Gules on a Bend cotised Or an Escallop Ermine between two Cross Crosslets fitchy Sable”
Translated, this means something like “…on a gold band with a narrower stripe on either side are two black crosses, the ends of whose arms are crossed and the lower limbs pointed. In between these is a scallop shell in ermine. The whole is placed on a red shield.”
The crest , which sits on top of the helmet is further blazoned:
“On a Helm with a Wreath Argent and Gules An Eagle wings inverted and addorsed Argent gorged with a Collar gemel Gules and holding in the beak a Trefoil slipped Or”
This might be translated roughly as “…on a helmet with a twisted roll of red and silver fabric stands a silver eagle whose wings are behind the body and whose wingtips are tucked back. Around its neck is a double red collar and in its beak a stylised golden clover leaf.”
I think that one can see immediately that the formal blazon is more succint and less inclined to cause confusion.
Challenge
In the above arms over twenty references have been worked in to the design. Most will only be known to the bearer himself, but some will begin to become clear with a little thought. How many of these clues can be picked up?
Rules Concerning the Use of Colour
For the sake of visual clarity a number of rules were devised concerning the use of colour in heraldry:
Never place a metal on a metal – for example a silver on a gold shield.
Never place a colour on a colour – for example a red lion on a blue shield.
A fur can take the place of a metal or a colour.
Note how these rules have been obeyed in the arms featured at the top of this page, where a gold bend has been placed over the red shield and how the superimposed crosses are black and the scallop shell is in ermine rather than silver/white.
A Brief Word on Furs
In addition to metals and colours heraldry also uses furs . These are really patterns that suggest the costly furs worn by the medieval nobility. The two main ones being ermine and Vair .
Ermine & Vair
On the left can be seen the coat of arms of the former Duchy of Brittany described by one of the few known one-word blazons in existence, simply Ermine.
On the right, I believe, are the arms of the Counts of Guisnes.
Here is a photograph of a real piece of vair – the fur has been made from the back and front of squirrel pelts sewn together.
The use of the word vair in this post has prompted a comment about a possible mistranslation / mistranscription in the original story of Cinderella, which has long been a cause of puzzlement. This concerns her glass slippers.
The story appeared in Charles Perrault’s Histoires ou contes du temps passé avec des moralités, which was published in 1697.3 It has been suggested that pantoufle de vair (fur slipper) might have been mistaken for pantoufle de verre (glass slipper).
Current Availability of Colours
As with almost all the colours shown on this site they could be mixed into conventional modern paint by Papers and Paints Ltd .
Notes
1 I have tried to use the word “tincture” when it applies to the full range of colours, metals, furs, ‘stains’ and ‘proper’, while keeping “colour” when it applies to what one might generally consider a colour, but as you see it does get a bit confusing.
2 In 1934 this was Sir George Bellew . He later became Garter King of Arms .
3 Cendrillon ou la petite pantoufle in Perrault’s collection, which in English is known as Stories or Tales of Olden Times with Morals, or also Tales of My Mother Goose. I am grateful to Sarah Waldock for pointing this out and to Mark Liberman for the more detailed explanation.
Sources
A.C. Fox-Davies. A Complete Guide to Heraldry. Skyhorse Publishing. 2007.
Stefan Oliver. Introduction to Heraldry. David & Charles. 2002.
Stephen Slater. The Illustrated Book of Heraldry. Hermes House. 2002.
Thomas Woodcock and John Martin Robinson. The Oxford Guide to Heraldry. Oxford University Press. 1988.
| Silver |
Who rode a horse called Binky in Terry Pratchett’s Discworld novels? | The Classic Castle dot Com How-To's
Ermines
Vair
When the tinctures are used together the basic rule of thumb is to have the Tinctures stand out. The original purpose of arms were to enable easy identification, so they needed to be as simple and unmistakable as possible. For this reason, the Rule of Tincture is that a color should not be placed on a color, nor a metal on a metal. There are exceptions (the arms of the Crusader Kingdom of Jerusalem, gold crosses on a silver field, are the best known), and the rule is relaxed for certain kinds of objects and patterns.
In addition to the commonly used tinctures and metals, there are also several lesser know colors used, while they are mentioned here, they will not be represented. They are Tenne (tawney or orange), Sanguine (blood red), and Murrey (a purplish red). These are called stains, and were not used as frequently.
Partitions of the Field
The field can be partitioned according to several measures, the most common are shown here.
per Pale
Some examples of lines used in heraldry
Subordinaries
Subordinaries are another kind of charge. They are usually geometric shapes or simplified drawing of objects. They can be different sizes and colors and are usually contained within a division, but can also be placed on an ordinary. We won't attempt to define them all, but we will mention some of the more common. There can be multiple subordinaries on a coat of arms.
Some kinds of subordinaries are large and normally overlay the rest of the coat (like the canton and gyron, bordure and tressure, the label and the fret). Others are smaller and are usually placed on the field or on other charges.
In addition to those mentioned above, there is the orle (a bordure set in from the edge), flanches, points and gores (pieces on the sides and corners - the flanche, particularly, looks as if someone has taken a bite out of the shield), and the rustre (a lozenge with a hole, more common in Scotland than England).
Most subordinaries can be given any color, but circles (called roundels) have different names depending on their tincture. (Also, not shown here, is Fountain - barry-wavy argent and azure.)
Torteau
Cross Moline
Octofoil
The eldest son (during the lifetime of his father) bears a label of five points; the second son, a crescent; the third, a mullet; the fourth, a martlet; the fifth, an annulet; the sixth, a fleur-de-lis; the seventh, a rose; the eight, a cross moline; the ninth, an octofoil. A younger son of a younger son places a mark upon a mark. Thus the ninth son of a ninth son would place an octofoil upon an octofoil.
Charges
Charges are placed pretty much anywhere on the coat of arms. The can be on a field, an ordinary, or a subordinary. There can be multiples of charges. Almost anything can be used as a charge.
Some charges include:
The fantastic:
And the commonplace:
The charges can be tinctured, furred, patterned, or 'proper'; their normal color. For animals, there is also the description of how it is positioned. Some common terms used to describe animals are:
At Gaze - Applied to the hart, buck, stag or hind when represented full-faced, or with the face directly to the front.
Caboshed - The head of a beast borne full-faced, and without any neck showing. It has been cut off.
Couped - Said of an animal having the head or any limb cut clean off from the body.
Displayed - Said of any bird of prey borne erect, with the wings expanded. Applied especially to the eagle.
Langued - Tongued; having the tongue visible. Applied to the tongue of a bird or beast when of a different tincture from that of the body.
Rampant - Said of a beast of prey, as a lion, rising with fore paws in the air., as if attacking. The right fore leg and the right hind leg should be raised higher than the left. Unless otherwise specified, the animal faces dexter.
This is a very small sampling. A more complete list of terms is available here
Blazoning
In order to keep track of all the designs, it was necessary to describe them in words. The art of Blazoning was developed for this purpose. The rules of blazoning make it possible to completely reconstruct a coat of arms just from the written description.
In blazoning, the top of the shield is the "chief" the bottom is the "base". Right is "dexter" and left is "sinister" Right and left are described from the bearer's point of view, so what would be on the knight's dexter appears on our left. Please note that the word "sinister" only applies to the "left" side of the shield, there is no dishonor attached to a family which carries sinister elements on its coat of arms.
A coat of arms is blazoned from the bottom up. First you describe the field and all it's divisions, furs, patterns, etc. Then you describe the ordinaries, and if there are charges on the ordinary you describe them here. Then you describe the subordinaries if there are any, and the charges on them if there are any. Then you describe any other charges. This coat is blazoned: Gules a pale argent on a chief azure three mullets argent
Notice that the Rule of Tincure has been followed, since the azure (blue) chief does not really touch the gules (red) field because they are separated by the argent (white) pale.
Whew! Still with us? Good!
Now after all that we have a treat. We will blazon the LEGO® coats of arms as used by the different factions.
The Classic Age
Per pale gules and argent, a bordure azure
Purpure a crown or
Chevronny vert and or, a bordures sable
Gules a maltese cross argent
Azure, three trefoils or
Quarterly sable and gules
Quarterly gules and tan (tan wasn't really used)
Azure a lion rampant or, langued gules between two hearts gules a bordure of the second
The Golden Age
Azure a lion rampant crowned or langued gules, a bordure gules
Per pale sable and argent, a falcon displayed countercharged, a bordure azure
Or a lion rampant crowned azure langued gules, a bordure gules
Per pale sable and argent, a falcon displayed countercharged, a bordure or
Now it becomes apparent that the two shields on the left are related by blood, possibly two brothers. The same holds true for the Black Falcons on the right. There were four factions fighting in the kingdom at this time.
Alas all records were destroyed in the calamitous attack of the Dragon Masters in 1144.
The New Factions
Of course this refers to those factions that came from the mountains in the west, and out of the black forest. It also includes the new strains of the Blood Royal.
Vert a stags head at gaze erased proper, a bordure brown. (brown was not really used)
Sable a wolfs head caboshed argent, a bordure gules
Gules a cockatrice displayed azure, winged and armed or, a bordure of the second
Argent a bat sable lined gules, a bordure gules
Per pale argent and gules, a lions head crowned couped and fronted or a bordure azure
Azure a saltire or a lions head crowned couped and fronted or a bordure of the second, in the crown three torteaux
The authors would like to thank Anthony Sava for the great work he has done on drawing all the LEGO® faction shields. The information here barely scratches the surface of Heraldry and we had a hard time deciding what to include and what to gloss over. Feel free to contact us for any advice or questions that you may have. And of course further reading is always recommended.
Patrick K. Morgan - Baron Serac Of Draelith - the Western Coasts
Stephen Wroble - Baron of the Lakes and Defender of the Modular Kingdoms
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What was Napoleon’s horse that he named after one of his victories? | Faq#13: What was the name of Napoleon's horse?
What was the name of Napoleon's horse?
By J.F. Lozier
Since so many of the paintings of Napoleon show him riding a horse, it has become a common trivia question to ask "What was the name of Napoleon's horse?". However, it is not an easy one to answer, for Napoleon owned and used over 150 horses during the course of his life. The most famous ones were:
Wagram, a gray Arab Napoleon rode from 1809 onwards, it was brought along during the Elba exile.
Roitelet, an English-Limousin chestnut given to Napoleon by Prince Eugene de Beauharnais, it carried Napoleon back from Russia and was ridden at Lutzen and Arcis-sur-Aube.
Intendant, a pure white Norman nicknamed "Coco" by the Imperial Guard. He was mainly used for parades and reviews because of his calm, steady, and graceful nature during such ceremonies.
Vizir, one of the Emperor's favorites, this gray Arab was a gift from the Sultan of Turkey in 1805 and 10 years later Napoleon brought it with him to Saint-Helena. It now resides — stuffed — in the Musée de l'Armée in Paris.
Marengo, a gray Arab captured after Waterloo. His skeleton is kept at the National Army Museum in London.
Tauris, this gray was a gift from Alexander (Tsar of Russia) was ridden by Napoleon at Vitepsk, Smolensk, Borodino, during his entrance in Moscow, and during the retreat from Russia. After being brought to Elba, it was ridden from Golf-Juan to Paris during the Hundred Days.
Cyrus, one of the horses Napoleon rode at Austerlitz.
Styrie, ridden by Bonaparte across the Great Saint-Bernard, and at Marengo.
Désirée, ridden at Waterloo.
The names of some of his other horses include: Aboukir, Familier, Cheikh, Triomphant, Austerlitz, Calvados, Cid, Cordoue, Sagonte, Sélim, Bouffon, Conquérant, Extrême, Folâtre, Gracieux, Timide, Sahara, Major, Belle, Distingué, Gisors, Lowska, Favori, Harbet, Néron, Tamerlan, Hippogriffe, Kurde, Labrador, Sara, Épicurien, Embelli, Gessner, Bréant, Wuzbourg, Montevideo, Artaxercés, Aly, Coceyre, Sultan, Russe, Estime, Arabella, Babylonien, Euphrate, Hahim, Harbet, Helavert, Héricle, Lydienne, Lyre, Naïade, Nankin, Naturaliste, Naufragé, Nausicaa, Navigateur, Navire, Ninon, Emin, Gonsalvo.
© Copyright 1995-2015, The Napoleon Series, All Rights Reserved.
| Marengo |
Which prophet rode a horse called Al Borak? | 1 - In the Emperors Service - Travelling with Napoleon
Travelling with Napoleon
1 - In the Emperors Service
From the Low Countries to Paris
Now for Bonaparte, the disturber of all the great,
as well as of all the little folks of this lower world.
Sir Augustus Simon Frazer, Letters
Johannes Horn was born in 1787 in Bergen op Zoom, a thriving city on the Schelt. Pottery was the mainstay of Bergen op Zoom’s economy. There were more than ten potteries, carrying poetic names like Tree of Love, Red Lion, Thousand Fears and Wheel of Fortune. Bergen’s geographical location made it very suitable for trading and fishing; its anchovy was famous all over Europe. The city was the centre of a trade network extending from Paris to Amsterdam. Of course, the same position that made it so eminently suitable for trade, also meant that it held a strategic military location. Bergen op Zoom had been a fortress ever since the Middle Ages, but particularly since the Dutch Revolt in the sixteenth century. The city was never taken and was therefore nicknamed La Pucelle (the Virgin). In 1747 it lost its invincible reputation to the French army in the War of the Austrian Succession.
Map of Bergen op Zoom in 1773
The 1780s were a time of unrest throughout Europe, culminating in the French Revolution of 1789. As a result, the garrison at Bergen op Zoom was considerably strengthened several times. [1] At a time when the city had about five thousand inhabitants, the two thousand men of the garrison had a large social and economical impact on Bergen op Zoom. One of these men was Christiaan Horn, a native of the French Neusaarwerden in Alsace (now Sarre-Union). He was a grenadier in a Dutch regiment, and had brought his wife Doorretij Bekkerij to the Netherlands. On the 9 May 1787, their son Johannes Koenraat Horn was baptised in the Dutch Reformed Church.
Unfortunately, family life was not to last long. Christiaan Horn died when Johannes was still a little boy. So ‘he became dependent on the industry of his mother, whose parental tenderness and honest perseverance reared him until he arrived at the age of eighteen years’. [2] Their fortunes appeared to change when Doorretij Bekkerij received word that a cousin of her late husband had died on the Isle de Bourbon (now Reunion). The French used this tropical island near Madagascar as a stopover on their East Indies trade route. It is, incidentally, still an overseas department of France and thus the most remote part of the European Union. The relative, a cousin of his father’s and a captain of artillery, had left no direct heirs and a considerable property. Seeing no great future for herself and her son in Bergen op Zoom, Doorretij Bekkerij decided to try to claim this inheritance. ‘Few prospects are more pleasing than the acquisition of extensive wealth, without labour and without degradation. The widow entertained the most sanguine hopes of being able to see her son placed above the reach of want, or even of dependence; and therefore prosecuted her journey with vigour and alacrity.’ [3]
Hoever, with few connections and less money it proved impossible to gain access to the proper authorities. Though she tried her best, ‘she learned, at length, that other things are necessary than the propriety and reasonableness of a claim, to give it certainty’. Doorretij received a small part of the large sum, spent it in trying to claim the whole, and then gave up. As their funds were running out, and the purpose of the journey had been ‘to advance the interests of young Hornn, they resolved to try some expedient of procuring employment for him, if they could not obtain immediate wealth.’ Horn had worked with horses as a boy and so applied for a position in Napoleon’s stables. He presented himself to the superintendent of the Emperor’s personal horse establishment. After a number of tests he was taken on as a postillon (who rides the near horse of the leaders to guide the horses drawing a coach). ‘Although little can be expected to belong to this circumstance of any interest to mankind in general, yet to Hornn it was an event of consequence then, and of chief importance in the retrospect of his life. Indeed, situated as he had been, the native of a distant an not very considerable province, it must have been gratifying to his vanity to have been thus suddenly placed in the immediate service of so extraordinary a personage as his new master; one who was also at that time his recognised sovereign.’ [4]
Horn started his duties on the 20 May 1805, not three weeks after he had turned eighteen. While Napoleon won one of his most illustrious battles in December - that of Austerlitz – Horn worked in and around Paris. In 1806 he was promoted to the position of personal military coachman to Napoleon. His duties included driving the Emperor on campaign and to stay in his vicinity, when Napoleon decided to proceed on horseback.
Travelling arrangements
On his campaigns, Napoleon had the use of various means of transport. He had a string of saddle horses, which were often named after his major victories. The most famous – and elusive – of these was Marengo, but there were many others. There was a landau, the ‘light service’ vehicle, which was mainly used for quick transport between different army corps.
But pride of place has to go to Napoleons ‘dormeuse’ (sleeper). This vehicle was first ordered for the Russian campaign of 1812, from Napoleons favourite coachbuilder, Getting in Paris. It was an elaborate vehicle, containing all that an Emperor on campaign might need. There was a folding iron camp bed, a change of clothes, a tooth brush and razors as well as eau de Cologne. The carriage had special compartments for pens and paper and a writing desk which slid out of the front of the carriage. There were several drawers for maps and a small travel library. In one of the drawers a small liquor case, containing rum and a sweet Malaga wine was kept. The carriage also provided a tea pot, coffee pot, sugar basin, candlesticks, wash hand basin and plates for breakfast in gold and silver. The door panels of the carriage were bullet-proof and inside the carriage were two pistols. An outside lamp shone through the rear window, lighting the interior, shuttered windows made sure Napoleon could see the man on the front seat, but not the other way round. The carriage carried a four pound clock, by which the time pieces of his army were regulated. The front windows had a roller blind of strong painted canvas, which was designed to prevent the windows being blocked with snow or obscured by rain. At the back, there was a sliding panel, which permitted the addition or removal of conveniences without disturbing the Emperor. The dormeuse was painted a deep dark blue, with a handsome border ornamented in gold. The panels of the doors were emblazoned with the Imperial arms. The heavy-duty perch was painted vermillion. It really was a mobile home, as Napoleon’s secretary, Baron Fain, called it. [5]
Napoleon always referred to this coach as a ‘chaise de poste’, his adaptation of the English terminology: ‘post chaise’. A curious choice as ‘chaise de poste’ usually meant a two-wheeled vehicle in France at that time. [6] It is also referred to as the ‘berline’ or the ‘travelling carriage’. The vehicle was driven ‘en poste’, meaning by postillons on two of the three pairs of horses, obviating the need for a coachman. The box was usually taken by Napoleons personal servant, the mameluke Roustam. Two valets occupied the rear of the carriage. An ‘ecuyer’ (equerry) rode near the right door of the dormeuse, the side where Napoleon usually sat. On the left rode the general of the Guard, who commanded the escort. [7] As soon as travel turned into manoeuvring, he would leave the carriage and ride.
Napoleon´s suite consisted of ten or twelve carriages, which moved in three divisions, so that there was always an establishment ready to receive him at each place where he stopped. [8] He usually slept in a house or hut, prepared by the first relais. But if this was not available, he would sometimes use the carriage. When he moved away again, he could leave people to restock, pay and sometimes appease. These could then catch up with the Emperor without hurry, as the first group would have left 12 hours before Napoleon, to make sure he would find his quarters ready when he stopped again.
In the Emperor’s Service
Jena
Uncomfortable with the high-handed dealing of Napoleon in Germany after his victory over Austria the year before, Prussia had declared war in August 1806. On September 24th Horn set out for the first time to drive Napoleon to war. They travelled to Mainz and then headed north, stopping over at Weimar. Horn waited by the carriage whilst Napoleon entered the electoral palace there. A few minutes later one of the officers in attendance came out, and meeting with some others who were in waiting to accompany Napoleon, he told them how Napoleon had met the Duchess of Weimar. On being introduced, Napoleon had said ‘I pity you, for I shall annihilate the power of your husband. How could he be so infatuated as to oppose himself to me?’ The Duchess answered ‘Your majesty would have despised him if he had not. My husband has been in the service of the king of Prussia more than thirty years: and surely he ought not to have abandoned so old a master, in that moment when the king had to contend with so powerful an enemy as your majesty!’. The Emperor smiled and told her that she had saved her husband. [9] It is a telling story, not only about Napoleon himself, but also about Horn. He was not in the position to hear the story from the first or even the second hand, he merely overheard the officers speaking among themselves. In the entire memoirs there is only one instance of direct contact between Napoleon and Horn, other than in the giving of orders. In the Imperial Household Horn was just one of many. His position was comparable to that of executive chauffeurs today, ‘so close and yet so far away’.
Napoleon and his suite arrived in the vicinity of Jena, about thirty kilometres from Weimar, on 13 October 1806; they were ‘within half a cannon’s shot’ of the Prussian army. At day-break the French engaged and within hours achieved a decisive victory. Napoleon made a fierce enemy here, the Lieutenant-General Gebhard von Blucher, who would never forget the humiliating defeat of Jena and would take his revenge at Waterloo. Napoleon drove on victoriously to Berlin. At the end of October, Napoleon reached Potsdam, where his military hero, Frederick the Great, was buried. He visited Sans Souci, Frederick’s palace, and examined it thoroughly. ‘The gratification which the Emperor felt, as well as the different objects themselves which he met with were subjects of his familiar conversation with his Generals. It was here that he came into approximation with a man to whose pursuits and disposition his own bore no inconsiderable resemblance. Ambition of the highest order governed the actions of them both.’ In the palace the sword and belt which the Prussian monarch had worn during the Seven Years War were discovered. ‘It is difficult to decide whether he was influenced by a reverence for Frederick, or by a desire to humiliate the pride of the existing Prussians’, but in any case Napoleon took Fredericks sword as a trophy for Les Invalides. Horn, as usual, was waiting with the carriage. [10]
In Berlin, Napoleon lost no time to try to subdue one of his more lasting enemies. He issued a decree forbidding any trade with Britain to the countries he conquered and demanded the same of his allies. After the battle of Trafalgar in 1805, Napoleon had given up his idea of invading Britain. Instead, he resorted to an economic boycott, which he hoped would bring this ‘nation of shopkeepers’ to its knees. But first Napoleon had another threat on his hands.
Friedland & Tilsit
Napoleons victory over the Prussians at Jena worried their – rather tardy – allies, the Russians. The Russians had by now assembled their army and marched for Berlin. Napoleon marched to meet them and the two armies met in Poland in December. The French won a minor victory at Pultrisk, but the first real battle took place on February 7th and 8th of 1807 at Eylau. Though Napoleon later claimed this as a victory, it cost him over 15.000 men, and was inconclusive. Napoleon decided not to attack the Russians again until spring: ‘Both armies had suffered too much to enter into renewed action without some repose from such arduous service, and some respite for the reinforcement of their strength.’ [11] After passing an unusually calm winter with his mistress, Marie Walewska, Napoleon started to prepare for battle. On the seventh anniversary of the auspicious battle of Marengo, the battle of Friedland was fought. It was a complete victory for Napoleon. He was now at the hight of his powers, having subdued Austria, Prussia and Russia and controlling most of what is now Italy, the Netherlands and Belgium. Of the European powers, only Portugal and Great-Britain were neither defeated nor allies. An armistice with the Russians was concluded on a raft constructed for the purpose on the river Niemen near Tilsit on the Russian border. The Prussian King Frederick was invited as well, though Napoleon lost no opportunity to make him feel his inferiority to the two Emperors.
Whilst the monarchs were talking, the French army was decorating its camp with materials taken from the countryside around them; fir branches, materials from the villages and much wood. When Czar Alexander visited the camp, he was much impressed with the decorations. He inquired of his minister of war whether their own camp could not be made more attractive? The minister replied that he did not think Alexander could afford to strip so many towns and villages as the French camp had cost. [12]
Spanish campaign
In 1807 and 1808 Napoleon focussed primarily on internal affairs, establishing institutions of art and science, designing new public buildings and building bridges. His empire was at the high-point of its power: all of Europe was subject to Napoleon. Just one small army of indomitable English held out on the Iberian Peninsula. To finally get rid of this irritating army resisting his power, Napoleon decided to take the matter in his own hands. In April 1808, Horn was sent to Bordeaux in advance of Napoleon. His marshals had encountered a number of setbacks in Spain, and Napoleon wanted to finally end the unrest in Iberia. Horn could take the horses in easy stages, to keep them fit when the Emperor needed them for his Spanish campaign. After Napoleon had reached Bordeaux Horn drove him on to the Spanish border. The crowds lining the route there had a rather curious appearance. It was a dry and sandy country (it is a large forest now), and horses were scarce. The peasants therefore used stilts of about two metres long to get around. With these implements they could keep up with the carriage. [13] Napoleon crossed the Pyrenees and only two months later, on December 4th, 1808, his troops entered Madrid in triumph.
On the way Napoleon sometimes behaved with great courage, as in the passage of the Leon Mountains in winter, no easy feat even today. Many of his men were literally blown off the mountain by the snowy winds, some with their horses. On the other hand, he could behave like a spoilt child, as when he returned to Benavente; 'Two roads presented themselves; and the Emperor desired Hornn not to take that one by which they had come, but to pursue the other. This road was nothing more than a way into a thick forest, into which he soon conducted them; and as the day was far advanced, it soon became dark. The road too became undistinguishable in the forest, and it was with difficulty the carriage could proceed. The Emperor persisted in going on, and at length they came to a river, which was running at the foot of a great precipice. General Nansoutti, on horseback, accompanied Bonaparte’s carriage; which was attended also by an escort of about fifty men. The general perceiving how dangerous it was to proceed on such a road in any vehicle, advised Napoleon to alight and walk. For some time he refused to do so; but at last he became impressed with the danger, and therefore got out of the carriage. But he could not conceal the vexation he felt in being thus obliged to walk on a cold night, and under circumstances so disagreeable. In the warmth of his temper, he turned to the general and said, “throw me into the river, and get rid of your Emperor”. In this manner the whole night was passed away, without having got clear of the forest; and being exposed to the danger of falling over the precipice into the river, or of being met with and made prisoners by the Spaniards: and it was not until morning that they escaped from this miserable labyrinth.’ Though he could claim it as a moderate success, the Spanish Campaign had not been a pleasure to Napoleon. Horn noted that 'there was no country in which he had seemed so completely dissatisfied as he had appeared to be in Spain' [14]
Wagram & Marie Louise
Napoleon kept campaigning, winning another victory against Austria at Wagram. This victory brought him a new bride. He had divorced Josephine, his first love, as she had not provided his Empire with an heir. Now he married into the House of Habsburg, one of the oldest ruling dynasties in Europe. For the good of her people Marie Louise of Austria agreed to married this arch-enemy of her country, whom she had been taught to call ‘the ogre’ or ‘the Antichrist’. Napoleon was gallant enough to remove all too poignant reminders of his Austrian victories before she came to Paris. [15] The marriage of convenience turned into a love affair even before it had been duly celebrated. Napoleon was so nervous, that he had ridden to meet his bride to be at the French border. Travelling on to Paris, he had retired with her before supper at the chateau of Compiègne, shocking his court. On Napoleon’s marriage day Horn drove one of the 44 state carriages in the procession from St. Cloud to Paris. A year later, Marie Louise duly presented Napoleon with an heir, Napoleon Francois Joseph Charles, whom Napoleon always referred to as The King of Rome, a title traditionally reserved for the heir to the Holy Roman Empire. Napoleon saw the birth of his son as a buttress to his throne: ‘Empires are created by the sword and are conserved by heredity.’ [16] He was a proud and doting father, who even showed his marshals the picture of his son on campaigns, to hearten them.
Russia
In March 1923, in an interview with The New York Times, the British mountaineer George Mallory was asked why he wanted to climb Mount Everest, and replied, 'Because it's there'. Such was probably Napoleon’s reason to wish to conquer Russia. It was at that time an enormous empire, with nearly 45 million inhabitants, subject or serf to their czar Alexander I. It stretched from the Artic Ocean in the North to the Black Sea in the South and from the Baltic sea in the West to the Pacific Ocean in the East. A vast tract of country to conquer with any army.
Ostensibly the reason for the Russian Campaign was that Alexander had broken the treaty of Tilsit by trading with England. As France itself was trading with England at the time, Alexander wrote to Napoleon: ‘Your Majesty cannot expect to impose on the Russians, as on the people of Hamburg, privations that you no longer impose on yourself.’ [17] Napoleon, however, was bent on believing that Alexander wanted war, even though his Russian Ambassador, Armand de Caulaincourt, tried to convince him of the opposite. He repeated Alexander’s parting words to Napoleon: ‘It is possible, even probable, that we shall be defeated, but that does not mean that he will be able to dictate a peace. I shall not be the first to draw my sword, but I shall be the last to sheathe it. People don’t know how to suffer. If the fighting went against me, I should retire to Kamtchatka rather than cede provinces and sign treaties in my capital that were really only truces. Your Frenchman is brave; but long privations and a bad climate wear him down and discourage him. Our climate, our winter, will fight on our side. With you, marvels only take place when the Emperor is in personal attendance; and he cannot be everywhere, he cannot be absent from Paris year after year.’ [18] These words soon proved to be prophetic. All the elements Alexander mentioned: retiring rather than ceding provinces, not signing peace treaties when his capital is taken, the cruel climate, the personal impact of Napoleon and the fact that he was now an Emperor, and not merely a General, proved to be crucial factors when Napoleon did in fact decide to invade Russia.
As mentioned before, the dormeuse was in fact designed for optimal comfort during the Russian campaign. It was used for the first time in 1812, when Napoleon left Paris for Moscow. At Dresden, Napoleon left behind his wife, Marie Louise. Horn then drove Napoleon through Prussia to Danzig (Gdansk), which is situated on the banks of the Vistula (now the Wisla River in Poland), near the Baltic Sea. They travelled fast in the carriage, drawn by six horses, making an average of more than ten kilometres an hour over increasingly bad roads. Napoleon was prepared to make long hours on the road. On the first day, they pressed on for twenty hours with scarcely a halt and the last day before he arrived at Danzig he drove on for a day and a night. [19] Napoleon was now 1600 kilometres from Paris, with over 1200 to go to Moscow.
At Danzig Napoleon inspected ‘the stupendous army which was there at that time’ [20] ; over half a million men from all corners of his vast empire were concentrated on the banks of the Vistula. Austrians, Prussians, Poles, Portugese, Bavarians, Croatians, Danes, Dutch, Germans, Swiss and many other nationalities had come to fight for their overlord. On June 6th Napoleon crossed the Vistula and three weeks later he crossed the Niemen (now the Nemunas River in Lithuania), the river which formed the border with Russia. He did not bother to declare war formally as he felt his diplomatic contacts with Alexander must have made his intentions clear. Napoleon started his advance towards Vilna (now Vilnius, Lithuania).
Despite the enthusiasm some felt for the grand adventure they were embarking on, the destruction of the Grande Armée started the moment it set foot on Russian soil. The weather was so bad that the soldiers mistook the thunder for cannon fire. [21] The supply-carts got stuck in the muddy roads, the bridges could not bear the weight of the guns, the Russians had polluted all water-supplies by throwing dead horses in them, and though every soldier carried a four days’ ration, most had consumed it all on the first day. Though Vilna was only 130 kilometres from the border, the first problems in the supply train started to show. So even before the advance had really started, Napoleon started to lose men and horses to hunger, exhaustion and the weather. The capture of Vilna only four days after he had crossed the Niemen restored morale, though not supplies. Within twenty-four hours its stores were exhausted, it being practically impossible to provide the daily necessities for half a million men, even excluding the town’s inhabitants.
Napoleon left Vilna again after three weeks, on July 17th. Horn recounts: ‘He had not proceeded far on the road to Cowno, when a storm took place, infinitely more dreadful than can be imagined by those who have never left the southern parts of Europe. The rain fell in such torrents that horses and men were indiscriminately swept away. The roads were strewed with dead horses, overturned waggons, and scattered baggage. The lightning too was almost as destructive as the rain; and among other accidents it produced, was the destruction of a considerable number of the grenadiers of the guards at one spot.’ [22] Another thing the French had not counted on was the fierce determination of the czar and his people to destroy everything they left behind. The scorched-earth tactics were devastating to an army of the size of the Grande Armée. They needed to forage further afield, where there was always the threat of the Cossacks. This militant tribe was allied with the Russian Czar, and though they had little effect as organised disciplined troops, they were highly valued as scouts, raiders and skirmishers and harried the French Grande Armée mercilessly. [23] A captured Cossack once told Napoleon ‘If Napoleon had Cossacks in his army, by this time he would be Emperor of China.’ [24] The horses suffered even more than the men at this stage, as there was hardly enough time to pasture them properly even if there was grass. Many died from eating unripe rye. ‘Being unable to sustain themselves on their patriotism, they fall down by the roadside and expire,’ noted a cynical French General. [25]
During the Russian campaign Napoleon’s personal train consisted of ‘eight canteen waggons, a carriage for his wardrobe, two butlers, two valets, three cooks, four footmen and eight grooms. He normally travelled in a coach drawn by six horses, but would ride for short distances and occasionally march. When in contact with the enemy, he would mount one of his chargers. At night, if no suitable house or monastery was found for him, he slept in his carriage on a makeshift couch, but more often in a tent, of which a reconstruction is displayed in the Musée de l’Armée in the Invalides, ten-foot square, equipped with a folding camp-bed, chair and table. A sword lay always within his reach. He ate frugally but well. He never lacked supplies of his special Chambertin. He worked all day, even in motion, for his carriage was fitted with a desk and lights, and Berthier was always at his side to take dictated orders to the corps commanders or the most distant parts of the Empire. The entire staff required fifty-two carriages, innumerable carts, and 650 horses to transport them.’ [26]
The army now advanced to Vitebsk, which it took on July 27th after some fighting. Napoleon again lost precious time by stopping here for another two weeks, before proceeding towards Smolensk and from there on towards Moscow. After a month of unsuccessful resistance, Czar Alexander had brought a new commander in the field to stop Napoleon from attacking his spiritual capital. Prince Michael Kutuzov was sixty-seven, a bon vivant whose enormous bulk showed that he enjoyed his food and drink. He was so corpulent that he had trouble riding. Kutuzov was forced by public opinion to take a stand to protect Moscow, though he would have preferred a more cautious course. He chose Borodino as his battlefield. Carl von Clausewitz, a Prussian general in Russian service, and later a famous military theorist concluded: ‘Kutuzov, it is certain, would not have given battle at Borodino, where he obviously did not expect to win. But the voice of the Court, the army and all Russia forced his hand.’ [27]
The battle of the Borodino was fought, grudgingly, by the two commanders. Kutuzov was reluctant to fight at all, Napoleon was not well and surprised all his generals by his inactivity. The men suffered, whatever their generals were thinking. Figures vary, but the Russians lost about one third of their army with 44.000 killed and wounded and the French lost at least 35.000 men, including 43 generals. It was the highest number of casualties on one day, until the battle of the Somme in 1916 would take over this macabre record. Both generals claimed Borodino as a victory, and it definitely was not a decisive victory for the French, as Kutuzov could stage an ordered retreat of his 80.000 remaining men. The battlefield was strewn with corpses when Napoleon toured it as night descended, though his pleasure was marred by the Russians shouting ‘victory’ from their camp-fires a few miles away. As he was riding he commented on the endurance of the Russian wounded, who were kissing the image of St. Nicholas to help them forget their pain. When a horse stepped on one of them and the man cried aloud, an aide said, ‘It’s only a Russian.’ ‘After a victory,’ Napoleon replied, ‘there are no enemies, only men.’ He ordered wounded of both sides to be carried to the monastery of Kolotskoye, which was transformed into a sort of hospital. Without medical supplies, one surgeon amputated 200 limbs, with just a gulp of brandy for the patients to numb their pain. [28]
The remaining 100 kilometres to Moscow were covered without a further battle with the Russians. Napoleon entered Moscow at the head of his guards at noon on the 14th of November, a week after Borodino. He took up his abode in the Kremlin, the traditional palace of the rulers of Russia. Horn noticed the fact that Moscow seemed empty when they came: ‘there was scarcely an indication that the place was inhabited’. A number of fires were seen as well, but this was attributed to the carelessness of the troops. [29] Later it became obvious that the Russians were destroying their most holy city on purpose. Count Rostopchin, the military governor of Moscow, had given orders to set fire to or blow up anything that might be of use to the French and had removed the fire-fighting equipment. Horn recounts: ‘The people who had concealed themselves were now compelled to come forth; and they were seen on every side, endeavouring to rescue from the fire some of their property; or at least to save their children, and those who were infirm, from the miseries of immediate death. But all this went on in awful silence. The poor creatures did not utter an imprecation or complaint. Some of them had not sufficient strength to get away, and died almost at the doors of their own houses. The streets, the public buildings, and particularly the churches, were filled with these unfortunate victims. During all this scene of confusion and horror, the fire continued to extend itself, and soon the finest parts of the city were involved in the general destruction. The magnificent palaces, with their costly furniture, were destroyed; and even the hospitals, which contained more than twelve thousand wounded soldiers, fell in the general desolation.’ [30] Napoleon could not stay at the Kremlin and relocated to the imperial palace of Peterskoe close by, while his soldiers looted the city. ‘The soldiers were employed in breaking open warehouses, and in taking wherever they could find them the most valuable articles. The crackling of the burning timbers, the breaking open of doors, and the occasional crash of falling buildings, were almost the only sounds that could be heard. Nor were the flames les active than the troops, in the work of destruction. Cottons, muslins, and the most valuable productions of Europe and Asia, became a prey to both. Many of the cellars also contained sugar, oil and vitriol; and when the conflagration had reached these subterranean repositories, and the liquid fire was seen pouring through the iron grates, the scene became splendid, as well as dreadful. But as the men stood together, they seemed as though in a fair, buying and selling the different commodities they had obtained. They ate of China, drank out of silver, and gave up, for the time, all discipline and restraint, together with the habits and manners of soldiers.’ [31]
Napoleon was now in a quandary. If he had wanted to make Moscow his winter quarters, its usefulness for that purpose had now seriously diminished. It was now September, the winter was not very far off. He could march even further into Russia to force Alexander to sign at least a truce or try to capture St. Petersburg next spring. He could retreat towards Smolensk and Vitebsk, where he would be closer to his supplies or he could turn south where it would be warmer. If he had only been a general, instead of an Emperor, he would probably have chosen to stay in Moscow. However, as Alexander had predicted, he could not stay away from Paris indefinitely. ‘The French are like women, one must not stay away from them too long’, Napoleon told Caulaincourt. [32] He had more or less expected Alexander to sue for a truce after he had taken Moscow and even approached him himself to this end. However, Alexander could afford to wait and even refused to see any more of Napoleons envoys.
On 19 October 1812 Napoleon finally took a decision. He advanced towards Kaluga, a city south of Moscow where Kutuzov had retired with his army. Napoleon’s Grande Armée, which had crossed the Niemen with over 500.000 men, had been reduced by four-fifths and now consisted of 87.500 infantry and 15.000 cavalry. They brought with them a train of some 40.000 vehicles, ‘laden with the immense spoils of magnificent Moscow. […] The whole scene was calculated to give an idea of the return of the Greek and Roman armies after the destruction of Troy and Carthage: even the cohorts of Xerxes had not more baggage than now belonged to the French army.’ [33] Among the trophies, Napoleon had ordered for the enormous golden cross of the bell tower of Ivan the Great to be taken to France, there to be erected over Les Invalides.
Napoleon and Kutuzov met again at Maloyaroslavets, but after a preliminary skirmish, which cost the French 4.000 and the Russians 7.000 men, both commanders withdrew. Napoleon spent the night in a squalid weaver’s hut at Ghorodnia, a few kilometres above Maloyaroslavets. Discouraged by what he started to see as a Sisyphean task – ‘ I beat them every time, but cannot reach the end’ – Napoleon decided to go for a ride at four o’ clock in the morning. Some officers accompanied him, but not his usual cavalry escort. Suddenly a band of Cossacks appeared, shouting their war-cry of ‘Houra, Houra’. Napoleon stood his ground calmly until a squadron of chasseurs came up, just in time, to fight off the Cossacks. Napoleon was undismayed by the incident, which could have ended his career, and called for a council of war in the weaver’s hut. After a long discussion with his generals, Napoleon decided not to push on and try to defeat Kutuzov, but to turn back to France by the way he came. It was a decision that would make the Russian Campaign legendary in its horrors.
It was a blow to the morale of the troops to return by the road which was in a very bad state from their former passage and where they knew virtually no food could be had. Napoleon pushed his men to the limit, encouraging them to make the most of the weather while it lasted. On 27 October, the snow began to fall and the retreat became increasingly difficult. Two days later they had to cross the battlefield at Borodino, where the snow had not yet fallen thickly enough to hide the decomposing bodies of the men that had fallen there only fifty days ago. ‘This scene almost seemed to have been reserved as a death-blow to the spirits of the troops. In that battle it was computed that more than sixty thousand men were left upon the field. Almost the whole of them still remained, exhibiting the frightful spectacle of human beings, some of them mutilated by wounds, and others torn to pieces by birds of prey’, Horn recounted. Cossack prisoners ‘cut limbs from off the bodies that were strewed around, and roasted and ate them’. [34]
The army proceeded slowly towards Smolensk, where they hoped to find abundant provisions. The frost by now was down to minus thirty degrees Celsius at night. Napoleon had not provided his army with winter supplies. The horses were not shod properly, the men did not have decent coats and instead wrapped themselves in the spoils of Moscow: ‘Nothing was more commonplace than to see a soldier, his face dark and repellent, wrapped in a coat of pink of blue satin, trimmed with swan of blue-fox. The very appearance of the army, bizarre if not pathetic, lowered its pride and hope of survival’. [35] There were no supplies and the frost so heavy, that soldiers even took to slicing meat of the horses that were still walking. The flesh immediately froze, and the horses walked on, until the wounds started to putrefy and the horses died after all. Cannibalism was rampant. A Russian officer saw ‘a French soldier “of good appearance” peeling off the charred flesh of a comrade. He asked him if this food was not loathsome to him. “Yes,” replied the man, “but not to save my life; only to lull the gnawing agonies.” The officer gave him a piece of bread, and the soldier looked at him with tears of gratitude, only to fall back dead before he could eat it.’ The wounded were worst of. ‘The doctors, embarrassed by their inability to give them any help, shunned them. Those who had found a place on a cart had to endure its constant jolting over rutted tracks, and their cries of anguish so exasperated the postillions that they would drive suddenly at speed to shake off their passengers to certain death under the wheels of the following cart or at the hands of partisans.’ The example was devastating for those who were still healthy, they knew what would happen if they were wounded themselves. Amid the suffering, all men became equal, officers and soldiers. A thin veneer of civilization sometimes overcame the instinct of self-preservation. ‘A private soldier thought his officer dead, and began to strip him of his warmer clothes. The officer, barely audible, whispered, ‘Camarade, je ne suis pas encore mort.’ (Comrade, I am not dead yet). The soldier stood aside : ‘Eh bien, mon officier, j’attendrai encore quelques moments.’ (All right, officer, I’ll just wait a moment more). [36]
Napoleon did not share his soldiers’ privations and usually travelled in his carriage, warm in his sable cap, fur-lined greatcoat and boots. On the read to Smolensk, we find the only instance of Napoleon conversing directly with Horn. ‘Some part of the march from Moscow to Smolensko was performed by Bonaparte on foot; but his saddle horses and his carriage were in immediate attendance upon him. In his own saddle was a pocket that contained a small vessel of spirits; and whether riding or walking he would sometimes, during the intense cold, drink some of the spirits from the mouth of the flask. He took it out one day when they were in a most dreary part of the march, and many leagues from a human habitation, but found it empty: turning to Hornn, who was close to him, he said, “Have you any spirits with you?” who answered, “that he had not.” ”Then,” said the Emperor, smiling, “go and buy some.” [37] The fact that Hornn thought it worthwhile to repeat this rather feeble joke implies that these exchanges must have been rare indeed.
The decaying army finally reached Smolensk on 9 November. The Grande Armée had crossed the Niemen with over half a million troops, reached Moscow with 100,000 and was now down to only 40,000 men. The promised shelter here was a disappointment: the city was still in ruins from the last battle and the provisions had been eaten within three days by the first troops to arrive, Napoleon’s famous Guard. The promised rest was short, because Napoleon found out that three Russian armies were threatening to bar his route to the west. He had to move quickly to escape the trap. He left Smolensk for Orsha at the head of his guard, just as the last stragglers entered the city of hope, soon to be disappointed.
His army was in a long drawn out line, extending over 60 kilometres. The Russians, who had been dogging his steps ever since Moscow now finally attacked and cut his line. The battle of Krasnoe could have been a great success for the Russians, but unaccountably, Kutuzov decided to break off the engagement. It became famous mostly for the dashing action of Marshal Ney, who was cut off from Napoleon by the Russian manoeuvre and yet escaped to join the Emperor unharmed. It earned him the title ‘the bravest of the brave’. Napoleon could not ignore the state of his army. During the battle, Horn recounts, ‘the musical band of the guards became separated from him. When they rejoined him, they struck up the national air, “Ou peut-on etre mieux, qu’an sein de sa famille” (Where can we be happier than in the bosom of our families). Such a sentiment under existing circumstances, might have produced inconvenient recollections; and the Emperor perceiving that it might be so received by the army, said to the musicians with some anger, “You had much better play Let us arise and save the Empire.” [38]
On November 19th Napoleon reached Orsha, on the right bank of the river Dniepr. Here there were stores enough to feed the greatly diminished army for two days. It had started to thaw, and though this meant the men could sleep longer without fear of freezing to death, the mud soon proved to be as bad as the ice. The very last horses were used to form a ‘Sacred Guard’ of sixhundred men to protect the Emperor. However ‘these horses had been taken particular care of, and by that means had been enabled to survive the many thousands which had been destroyed by the climate. But as soon as these were obliged to undergo fatigue and privations, they soon diminished; and within a few days the sacred squadron was no more.’ [39]
The Russians by now had concentrated 120,000 troops in the area, thus outnumbering Napoleon’s dilapidated army by more four to one. Even Napoleon recognised that his luck had finally run out and that his only chance lay in retreat. The Beresina River however was a formidable obstacle in his way, the insignificant stream of their earlier crossing having swollen into a fast-running death-trap. The Russians had taken and destroyed the Borisov bridge, where he had been headed. Trying to recapture and rebuild it would have cost him whatever army he had left. Napoleon needed to find a place shallow enough for his bridging brigade to build a pontoon bridge if he wanted to escape. A captured Lithuanian peasant, obviously wet from crossing the river, showed the French the solution. There was a ford, only three feet deep, except in the middle, where the horses would have to swim. It was, by the way, the same ford that the Swedish King Charles XII used to start his campaign in Russia over a century earlier. The result was much the same; the Russians under Czar Peter used scorched earth tactics, and Charles XII lost an army, and later an empire.
Napoleon, however, was not thinking about history, but about survival. He depended for this on his chief engineer, General Eblé, who miraculously saved his army and his reputation. Eblé arrived on the banks of the Beresina on the November 25th. He designed one bridge for infantry and a second, sturdier one for cavalry, artillery and vehicles. Both bridges were nearly a hundred meter long. Using all the materials he could find (much of the material he had take with him had been destroyed at the orders of Napoleon, to fasten their progress) he finished both of them only a day later. His men worked in abominable conditions, often standing in the freezing water for hours on end. Of the 400 men who achieved this remarkable feat, hardly any survived. They were swept away by the fast-running water, died of frostbite or, like their leader General Eblé, died a few weeks later of sheer exhaustion.
Napoleon had his bridges, the Grande Armée could cross the Beresina. The first infantry division crossed the bridge and made sure there was no opposition on the other side. As soon as the second bridge was ready, horses, guns and vehicles started to make the crossing as well. At first, the passage was orderly and before nightfall on the 26th several divisions had made the crossing. Pressure on the bridgehead heightened as the less disciplined divisions and stragglers reached the bridge. In a panic, fearing to be left behind, conflicts for priority broke out as those left on the far bank saw their way to survival threatened. By now, the Russians had been alerted to Napoleons movements and were firing on the crossing army. His marshals urged Napoleon to burn the bridges on the 27th, but Napoleon refused to leave organized formations behind. A fierce battle with the Russians ensued on the 28th. By now the bridges were swamped with refugees, stragglers and all the hangers-on an army on the march attracts. Some divisions cut their way through the melée with their swords to reach the other bank. On the morning of the 29th of November, Napoleon finally ordered the bridges to be burnt, leaving a despairing crowd of civilians and stragglers behind.
He now made as much speed as possible in the direction of Vilna, though the worst part of the march back from Moscow was yet to come. The frost fell in with a vengeance, killing more than half the army that was saved at the Beresina. And all this time Paris was still in blissful ignorance of the tragedy that had befallen the Grande Armée. On 3 December, Napoleon decided he would have to inform his country of the situation. He dictated the famous 29th Bulletin de la Grande Armée, in which he blamed the disaster on the weather. Having informed his people in France, he now turned to the immediate needs of what was left of his army. He wrote to Vilna for supplies: ‘Food, food, food – without it there are no horrors that this undisciplined mass will not commit in Vilna.’ On December 12th an English captain wrote to a friend in England about the reports he received in St. Petersburg about the state of the French army: ‘they are so pressed on all sides by the Cossacks, that they now march by night and halt all day in a hollow square. When the Russian army reaches the ground last abandoned by the French, they find, in general, many of them, unhappy wretches! frozen to death, in the very position of sitting round their fires warming themselves. Some had fallen into the fire, and their heads were burnt to cinders, not having had physical strength sufficient to recover their perpendicular after once losing their balance. The roads are strewed with their bodies, and every village is filled with them. The report for this week, for which we are going to church to-morrow, gives a sum total of the losses of the French army, within the last eight days, in killed, wounded, surrendered, starved, and frozen at Wilna and elsewhere, and it amounts to nothing short of 30,000 men, artillery, colours, &c.’ [40]
Napoleon decided not to wait any longer, but to leave for Paris immediately. He was well aware of the distress his departure would cause his army, but decided that his Imperial Crown was worth it. He needed to be in Paris, to quench the unrest the Bulletin would cause when it was published. On December 9th, Napoleon arrived at Smorghoni (now Smorgon, Belarus), sixty kilometres from Vilna. Here he rented horses and drove post-haste to Paris with only Caulaincourt (now his Master of the Horse) for a companion. Horn was directed to take Napoleons own horses through Berlin to Falda (probably Fulda, near Frankfurt) and to wait there for further instructions. Horn stayed at Falda until the next spring, when Napoleon expected to open the new campaign there. While Horn was there, the inhabitants used to amuse themselves by ridiculing the melancholy appearance of the French troops that passed through. ‘The soldiers in French regiments of the line, had on their backs the Emperor’s initials in four places, and the people said the four N.’s meant – “Nur Nicht Nach Northen” (Above all, do not go North).’ [41]
The End of an Empire
Napoleons spectacular re-appearance in Paris, only two days after the 29th Bulletin had been published did much to allay the fears of the French, who hardly had time to realize the extent of the disaster. Napoleon immediately set about recruiting a new army and only five months after he had left the remnants of his Grande Armée, he had raised a new army of 200,000 men. However, it soon proved that Napoleon had lost more than an army in Russia, he had lost his aura of invincibility. The slighted Prussian King concluded a secret treaty with the Czar in February 1813, and declared open war with France in March. Napoleon was forced to react and in May defeated the coalition forces twice even with his inexperienced new army. He did not dare to push his luck, and on June 4th an armistice was concluded. Horn was ordered to attend Caulincourt to Prague, where the four great nations Austria, Prussia, Russia and France started negotiations. He sometimes acted as a personal attendant, as well as a coachman. By September they were back at Dresden, with Napoleon. From there Horn drove Napoleon southeast to Pirna ‘during the whole of which journey, although the roads were extremely bad, and they were going as fast as it was practicable to go, he was continually urging Hornn to drive faster.’ [42]
The Allies finally managed to defeat Napoleon in the ‘Battle of the Nations’ at Leipzig in October. The English were supporting the coalition by attacking France from the south, the three allied forces of Austria, Prussia and Russia marched on Paris from the north and the east. Napoleon was now fighting not for conquest, but for safety; he fought on the soil of France. He was obliged to send his wife and son to safety in Austria, the land of is father-in-law cum enemy. Horn drove Napoleon during much of this campaign, which moved continuously through France, Troyes, Reims, St. Dizier, Soisson. On April 1st, Paris fell and five days later, Napoleon followed.
He agreed to be exiled to Elba, a Mediterranean island, not far from his native ground of Corsica. Two weeks after his abdication he said an emotional fare-well to his Old Guard, who had fought for him at Austerlitz, Jena and Moscow. The coach which had taken him to Moscow, now brought him to his new Empire of Elba. In Napoleon’s Parisian stables, the regime change was accepted with equanimity and business was carried on as usual. Whether Horn stayed on cannot be verified, but is very likely.
[1] Drs. Charles de Mooij, Eindelyk uit d’Onderdrukking. Patriottenbeweging en Bataafs-Franse tijd in Noord-Brabant 1784-1814, Zwolle, 1989, 19.
[2] Jean Hornn, The Narrative of Jean Hornn, Military Coachman to Napoleon Bonaparte, London, 1816, 1-2.
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Who did William Hamilton try to assassinate in 1849? | The men who tried to kill Queen Victoria | UK | News | Daily Express
UK
The men who tried to kill Queen Victoria
ON MAY 30, 1842, John Francis came close to making Queen Victoria's reign five years rather than 64. Standing on Constitution Hill with a flintlock pistol, Francis waited for Victoria and Prince Albert to return from a carriage ride through London's parks.
By Paul Thomas Murphy
09:47, Sun, Dec 16, 2012
It was his second attempt on the life of the monarch. The day before he had pointed his pistol at the Queen's carriage as she and Albert had made the short trip from Buckingham Palace to the Chapel Royal at St James's Palace. He had hesitated and fled but three people, including Albert, had seen him. The police were now on the alert and so were Victoria and Albert : they boldly decided to ride this day in an attempt to flush him out.
Their plan worked but not without a hitch. Half an hour before their return, PC William Trounce had spotted Francis but as the Queen's carriage rushed down the hill, Trounce was torn between his desire to show due respect to his monarch and his duty to protect her.
He opted for loyalty, turned to face the carriage and salute and was deafened as Francis fired at the Queen at close range.
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He thrust his pistol into her face but faithful servant John Brown knocked it to the ground
Such was the lax state of royal security during Victoria's reign . A detail of the Metropolitan Police followed her wherever she went and her Prime Ministers and Home Secretaries added to that detail as a response to any threat but it was she who decided when and how she would travel.
The day Francis shot at her, the decision to ride was hers, as was the decision to ride the next day among a crowd of thousands clamouring to congratulate her.
Between the first attempt on her life in 1840 and the last in 1882, Victoria refused to let her assailants cow her and opted to find her greatest security among her people.
HULTON ROYALS COLLECTION
Threats to the safety of our monarchy are sadly nothing new
Though her decisions might seem to us dangerous, foolhardy even, and run counter to every tenet of royal security today they ultimately served Victoria well, as she converted seven near-tragedies into triumphs. In the wake of each attempt on her life the public rose up to demonstrate its loyalty and affection.
Edward Oxford, pictured above, was the first: an unemployed barman who dreamt of a career as an Admiral in the Royal Navy. In June 1840, frustrated that the world did not recognise his greatness he confronted Victoria and Albert on Constitution Hill armed with two flashy duelling pistols.
Victoria was four months pregnant with their first child. Had either of Oxford's shots killed the Queen the German Saxe-Coburg and Gotha line would have been erased but he missed and she rode on.
Queen Victoria in pictures
Thu, October 13, 2016
Queen Victoria (Alexandrina Victoria) was Queen of the United Kingdom and Ireland from 20 June 1837 until her death on 22 January 1901.
Queen Elizabeth II's dresses on display at Buckingham Palace
He got his wish, pleading guilty under Peel's act and suffered seven years' penal servitude and at the prison colony at Gibraltar before disappearing into obscurity in Western Australia.
A year later, Victoria's fifth assailant, Robert Pate struck. He was the only one of the seven to harm the Queen. Well-known in London for his manic perambulations about Hyde Park, he interrupted one of these when he came upon the Queen's carriage inside the gates of her uncle's mansion on Piccadilly.
'He thrust pistol her face He pushed himself to the front of the crowd, knowing that when the Queen's carriage emerged he would find himself inches from her, and slashed his cane down upon the royal forehead, blackening Victoria's eye and leaving a welt. faithful John knocked the Victoria had intended to go to the opera that night. When her ladies-inwaiting begged her to stay home, she replied "Certainly not: if I do not go, it will be thought I am seriously hurt and people will be distressed and alarmed."
"But you are hurt, ma'am," her lady replied. "Then everyone shall see how little I mind it," the Queen said. Pate was sentenced to seven years' transportation.
HULTON ROYALS COLLECTION
Queen Victoria and Prince Albert in 1854
Victoria's sixth assailant, Arthur O'Connor, was the grand-nephew of the Chartist politician Fergus O'Connor and he had an overwhelming desire to surpass his great-uncle in fame in one stroke.
In February 1872 he wrote up an edict for the Queen to sign: an order freeing the many Irish political prisoners then in British penitentiaries. His plan was to interrupt the scheduled Thanksgiving at St Paul's cathedral and, with edict in one hand and a rusty flintlock in the other, force the Queen to sign. He knew he would then die but wrote into the edict the command that he be treated as a brave political foe, shot by a firing squad rather than hanged like a common criminal.
He failed to get into the cathedral as police spotted him acting suspiciously there the night before and threw him out. Two days later he clambered over the fence at Buckingham Palace and came upon the Queen at the end of one of her carriage rides.
He thrust his pistol into Victoria's face but was quickly knocked to the ground by her faithful servant John Brown. Brown got a medal for his act, O'Connor only got imprisonment and the threat of a whipping, a threat that was later negotiated into exile in Australia.
HULTON ROYALS COLLECTION
Queen Victoria at the christening of her great-grandson, the future King Edward VIII
The last attempt on Victoria's life was the most threatening. Roderick Maclean, the mentally disturbed scion of a wealthy family was wandering the south of England with a paranoid hatred of humanity and a fixation on the supernatural properties of the colour blue and the number four. In March 1882 he shifted his fixation to the Queen.
He bought a cheap revolver with four bullets in the chamber and confronted Victoria as she rode to Windsor Castle from the railway station. Although a number of police were in the station yard, the protocol for royal security was as woefully inadequate in 1882 as it had been in 1842: Victoria's protectors kept their eyes on her and not on the crowd and Maclean was able to get off a shot.
As Maclean's trial (for high treason and not high misdemeanour, since he certainly shot at her) approached, it became clear that the man was insane and the Queen's government was more than willing to accept a verdict of acquittal on the grounds of insanity, which would put Maclean in Broadmoor for the rest of his life.
However, the Queen was not willing. Her security, she thought, depended upon her attackers being found guilty and given sure punishment, not acquittal and treatment.
WHEN Maclean was found not guilty Victoria was livid. He had shot at her: therefore he was guilty. If the law did not recognise this the law had to be changed. She ordered Prime Minister William Gladstone to change it and he did, seeing through an act that changed the insanity verdict from not guilty by reason of insanity to "Guilty, but insane". This curious verdict remained on the books until 1964.
Seven times, then, assailants seeking something more in their lives breached security and got through to the Queen. Every time, Victoria exploited her questionable protection in order to enhance her own prestige. In the game of shooting Victoria the Queen always won.
• Shooting Victoria: Madness, Mayhem And The Modernisation Of The Monarchy is published on January 10 (Head Of Zeus, £25). To order your copy with free UK delivery call 0871 988 8366 or order online at expressbookshop.com. Calls cost 10p per minute from BT landlines.
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Which musical features the song Sit Down You’re Rockin’ The Boat? | Queen Victoria's Would-Be Assassins: A Review of Paul Thomas Murphy's "Shooting Victoria"
[ Victorian Web Home —> Book Reviews —> Victorianism —> Queen Victoria ]
[Formatted, with the addition of images and captions, by JB . All images except the first and last are from our own website, and can be used without prior permission for any scholarly or educational purpose, provided you cite the photographer/source, and link your document to the Victorian Web or cite it in a print one. Click on the images to enlarge them, and for more information.]
Front cover of the book under review
Several attempts were made on Queen Victoria's life between 1840 and 1882. They were generally regarded as the acts of the mentally unhinged, and were dismissed as such. Serious historians do not seem to have seen them as major events in her reign and have therefore tended to pass quickly over them. According to Paul Thomas Murphy, however, Victoria herself saw them in a positive light, believing that they made her more popular. After the last such attempt, by one Roderick Maclean, she wrote to her daughter Vicky that she was moved by the "enthusiasm, loyalty, sympathy and affection" shown by her subjects, and added: "It is worth being shot at to see how much one is loved" (458). Murphy's Shooting Victoria takes his thesis from this, suggesting that the acts of these desperadoes made both the Queen and the English monarchy more popular. He believes that they helped her to bring about a "redefinition of monarchy" by "yoking together royal legitimacy with popular will" (507). The culprits too had their reward, in that they gained some much sought-after notoriety, the only accolade they could aspire to in their miserable lives. They were either confined at "Her Majesty's pleasure" and given food and shelter, or, more often, ended up making new lives for themselves in Australia.
Not much has been known about these would-be assassins other than their names. In order to reconstruct their lives in a novelistic way, Murphy has turned to archival and published material which he has rifled with a tenacious zeal, as his detailed "Works Cited" and an elaborate bibliography testify. The incidents are put in their full historical context, and give new insights in to that context, too. It was, of course, an era when the monarch and her consort "had nothing like the protection offered the monarch and other heads of state today, in which at the first inkling of an assassination attempt, the protectors take charge and take steps to isolate their charges" (56). Murphy's detailed researches open up and weave together not only earlier forms of royal protocol and ceremonial, and the dealings of the Queen with the rest of the royal family and her ministers, but Victorian police and legal procedures as well, and the different social backgrounds of the seven variously eccentric and marginalised figures responsible for each assassination attempt.
Buckingham Palace as it was before the addition of the east wing in 1847. Nearly all the attempts were made in its vicinity.
Murphy's first and perhaps most thorough reconstruction is of the life of Edward Oxford. Oxford's father was a man of violent temperament, and he abused both his wife and his son. The younger Oxford had inherited his father's genes. As he grew up, his own "behaviour eerily reflected his father's" (32). He was subject to maniacal behaviour, uncontrollable laughter and fits of insanity. His mother left her husband and took her son to her relatives who were publicans. Oxford was given work in the family pub. He did his job well but often picked quarrels with his neighbours and customers. Once he struck his neighbour "on the head with a chisel, was brought before a magistrate and found guilty of assault." His aunt defended him but she "had serious doubts about the boy's sanity" (33). Oxford worked in pubs for the next three years. His employers were generally pleased with his work, but were "baffled and disconcerted by his eccentric behaviour. The inexplicable, maniacal laughter continued" (35). Finally his landlord Mr Robinson sacked him "with a quarter's wage" (36) — about five pounds. For no apparent reason, Oxford then went and bought himself some pistols, and with the remaining three pounds, made his way back home, where he idled away his time, read various books, and became fascinated with the idea of assassination. He fantasised about a military organisation called "Young England" of which he became a chief officer, and practised firing his pistols for practice as well as for his own amusement. He soon encountered an elderly man, John Hadfield, who had tried to shoot King George III, and perhaps developed his own plans then. Consulting newspapers in coffee-houses, he noted the movements of Victoria in the Court Circular, and arbitrarily decided to shoot her. Off he went to Buckingham Palace on 10 June 1840, and waited on Constitution Hill for the Queen and the Prince to emerge for their regular airing. They were sitting in a "droshky, a very low carriage that rendered the royal couple sitting alone fully visible to all" (54). Taking a "dueler's stance" (55), Oxford fired his pistol at them. The Queen thought someone was shooting in the park, but Albert had noticed the attacker. Seizing his wife's hands, he asked her if she was all right: she just "laughed at the whole thing." But when Oxford prepared to fire again, the Queen spotted him and sensibly crouched down and pulled her husband down beside her. Then (the important part), as confusion reigned, she told Albert to have the postilions "drive on, and they did" (56). Once safely back in the Palace, according to one account, "Victoria burst into tears . . . Albert held her and kissed her repeatedly 'praising her courage and self-possession'" (58). But her outward calmness and nonchalance had had the desired effect on the public, boosting its loyalty to the Queen and monarchy: "all suspicions of her German husband were forgotten" (57). Oxford did not run away. It was suspected that he was part of a greater conspiracy, an idea fuelled by his claim to be part of a movement. This led the police to ransack his home and search for people connected with the organisation. Murphy goes on to give minute details of their attempts to place Oxford at the centre of a non-existent conspiracy, showing how the young man basked in all the attention he got. He asked his lawyer, "did you see how I was noticed! — what a noise my case seems to make" (89). He was tried in court, and found guilty — but at the time insane. Sentenced to be put away "at the Queen's pleasure," he was sent to the hospital for the insane at Bethlem, where he stayed until being transferred to Broadmoor in 1864.
John Francis's attempt: "The Cowardly and Disgraceful Attempt on the Life of Her Majesty." The Illustrated London News, 4 June 1842.
Other such colourful incidents follow. So colourful are they that, reprehensibly but rather comically, Murphy's publishers inserted a disclaimer at the beginning of this English edition of his book, to the effect it "is a work of fiction. All characters, organizations, and events portrayed in this novel are either products of the author's imaginatiuon or are used fictitiously" (emphasis added). But these incidents really did occur, and Murphy has issued his own vigorous disclaimer of the disclaimer on our own website. The next "assault of sorts upon the Queen" (165) was on 3 December of the same year (1840), when an unkempt young man named Edward Jones was found hiding out in the Queen's dressing room. This sort of thing still happens very occasionally in our own time, despite all the measures now in place to prevent it. Then as now it caused a pubic sensation by exposing the security lapse in the Royal Household. On another occasion there was a sudden explosion when a man called John Francis for the second time in two days pointed a pistol at Victoria. He was seized, relieved of his pistol, and later charged with High Treason, being finally sent "in a hackney cab to Newgate" (186). Murphy surmises that the reports of Oxford's comfortable and easy life after the shooting encouraged Francis to hope that he too would live "a life of ease at the Queen's pleasure" (192). But in fact he was sentenced to be hanged. In the event, Francis's sentence was "commuted to transportation for life at hard labor" (205). The Queen's next would-be assassin, hardly more than a month later, was a seventeen-year-old hunch-back dwarf, John William Bean Junior, who had become "tired to death of his life" (207). He would wander around the royal parks, and one day, seeing the royal carriage pull up, took out his pistol and fired at the Queen. There was no explosion, but Bean was apprehended by an even younger youth called Charles Dassett, who managed to get hold of a policeman. Dassett turned to his friend Fred and said, "this chap is going to have a pop at the Queen — I think he wants to be provided for for life" (213). Bean was bundled off to the police station and sentenced appropriately. Commentators tried to find political motives for these incidents: they thought of the republicans, wide sections of the poor in London, the Chartists and the Fenians , who were agitating for Irish independence. But Murphy makes clear that whatever motives these particular assailants had, "political fanaticism was not among them" (225).
While fleshing out such narratives, however, he does reveal the mostly unknown fact that the movement for Irish independence originated in the Unites States, where the immigrant Irish formed the society of Fenians in New York in 1857. The group was "committed from the start to the militant overthrow of British rule and the establishment of an Irish Republic" (366), and was exported to Dublin the next year, where the Irish Republican Brotherhood was born. In fact, a bedraggled, penniless Irishman called William Hamilton had made an amateurish attempt on the Queen's life in 1849, thus bringing politics into play. But Hamilton, far from trying to score a political point, simply hoped that by alarming the Queen, he would be arrested, and (like Oxford) provided for at her Majesty's Pleasure. He somehow procured a pistol, went to Constitution Hill, and when the royal carriage arrived, pointed his pistol at Victoria. He was quickly apprehended. It was found that his pistol (like those of the Queen's other firearms-bearing attackers) simply contained gunpowder and was "certainly unloaded with any sort of projectile" (278). There was talk of political motives but Hamilton's nation "disowned him; no one sought clemency for him" (285). He was sentenced to seven years' transportation.
The Queen's next assailant was, unusually on both counts, a man of mature years and a gentlemen. Robert Francis Pate came from a rich family: he was always elegantly dressed and carried a cane. But he was rather an eccentric type, and his peculiar behaviour and mannerisms made people laugh at him. No one knew quite what to make of him. On 27 June 1850, he suddenly went up to the Queen's carriage when it was leaving Cambridge House in Piccadilly and hit her on her forehead with his cane, dislodging her headgear. She was shocked and fell "into the laps of her alarmed children." While the extraordinarily aptly-named Pate was apprehended and taken away, the Queen quickly recovered her composure, readjusted her headgear and announced "I am not hurt" (317). She resumed her duties, even going, according to plan, to see an opera at Covent Garden that very evening. Sporting visible evidence of her attack, she received a resounding welcome. Pate was tried in court. He "could offer no motive for striking the Queen besides claiming that 'felt very low for some time past'" (322). He too was transported, exiled to Tasmania, with the dubious honour of having actually touched and assaulted the Queen with his cane.
Parts of the relief on the Temple Bar , showing the melêe as the royal procession passes on its way to St Paul 's, on 27 February 1872 to celebrate the recovery of the Prince of Wales from typhoid fever. Having failed to hide himself in the cathedral itself, young, disaffected Arthur O'Connor failed too to get near enough the carriage to make his attempt. It is easy to understand how hard it was to get close to the carriage.
Next in this strange and largely pathetic line of attackers was seventeen-year-old Arthur O'Connor. He was indeed a self-proclaimed Irish nationalist. Though he had lived all his life in London, he was "passionately Irish" (379). He had visions of his glorious Irish heritage but was indignant that "his own family had sunk into obscurity and squalor" (378), and had decided that by shooting the Queen he would "restore the reputation of the O'Connors, and join the pantheon of great Irish heroes" (379). On second thoughts, however, he felt that killing the Queen would not serve his purpose because it would only bring in the Prince of Wales, who "certainly would not free the Fenians." He decided therefore just to terrify the Queen and all the people around her. He himself would of course be apprehended and would "certainly be executed for High Treason." His own personal reward would be that his death would bring him "everlasting fame" (380). O'Connor prepared a parchment and wrote on it the proclamation that all the Fenian prisoners should be released. He aimed to force the Queen to sign it. He then "obtained his pistol — the cheapest he could find" (381). When the Queen's carriage turned into the palace forecourt from an outing in the parks on 29 February 1872, he pointed the gun at her, crying "Take that from a Fenian" (385). He was quickly apprehended by the Queen's trusted servant John Brown and handed over to the appropriate police officers. O'Connor, like Oxford, was found to be insane. First he was sentenced to "one year's imprisonment at hard labor. And during that time, he would be subjected to one whipping: twenty strokes with a birch rod." Finally, he was committed to "Hanwell Asylum as an imbecile" (418).
A platform at Windsor Station today: this is the setting in which we first encounter Roderick Maclean.
Victoria's last would-be assassin was an even sadder case, the "slouching and a miserable-looking man" called Roderick Maclean, whose attempt was the only one made outside the environs of Buckingham Palace . When we first meet him on the platform of Windsor Station, on the day of his attempt (2 March 1882), he is "filthy, either unwilling or unable to wash off the dust of the many roads upon which he had tramped" (420). He was, in fact, a tramp and believed that he had a personal conversation with God who had assured him that he would assume the British throne someday. God also gave him the secret number four and the colour blue as his lucky signs. When he wrote a letter to his sister Annie telling her that "the English people have continued to annoy me" and that he was determined to take revenge on them, he added that by the time she got his letter, he would "be in prison" (427). Annie was alarmed, and consulted a doctor who certified that her brother was insane. Roderick was sent to a lunatic asylum where he was confined for fourteen months. After his release, he resumed his wanderings. One day he came across a pawnbroker's shop, went in and bought a pistol. Thus armed, he reached Windsor Station where the Queen was due to arrive. She wore her usual black dress, except that on this occasion she also wore a "blue sash of the Order of the Garter" (436), which Roderick considered a sign of luck. When her carriage approached, he duly fired. Far from being hit, the Queen was unhurt, and thought that the sound had come "from a train engine." The crowd fell on the culprit and subdued him. In a farcical scene, "Two of the Eton boys, armed with umbrellas, belaboured Maclean over his head and shoulders" (453). When a bullet was discovered in the mud, however, the Attorney General came to see the act as a bona fide attempt to kill the Queen. He therefore decided that Maclean should be tried as a murderer, not just for misdemeanour. But, as with his predecessors, the magistrate's enquiries found that Maclean was a victim of insanity. Accordingly, he was declared not "guilty on the grounds of insanity and was to be kept in custody at the Queen's pleasure" (480).
The Queen herself found such verdicts totally unsatisfactory. She wanted the attempts on her life to be taken more seriously by the government, and believed that the culprits should be punished more severely. However, she knew that she herself could not change the law. Her government tried to placate her by passing a new law dictating that the verdict "not guilty by reason of insanity" should be changed to "Guilty but insane" for every felony, including treason (487). "The consequences, of course, would remain the same — the detainment at the Queen's pleasure; it was the stigma that was new" (488). Murphy ends his long narrative by giving details of the "after life" of all those who made an attempt on the Queen's life. These provided for themselves either a protected life in confinement, where they lived without worries about food and shelter, or new opportunities far from the scene of their most notorious deeds. Those who were transported to Australia lived normal, and in a few cases, prosperous lives under different names. Edward Oxford, for example, was finally freed from Broadmoor in 1864 on condition that he went out to one of the colonies. In Melbourne he left his past behind him, becoming John Freeman, and eventually the Vice President of the West Melbourne Mutual Improvement Society.
A popular monarch: "Her Majesty's Gracious Smile," a visiting card with a photograph by Charles Knight dating from 1887 (Library of Congress Digital Gallery, reproduction no. LC-USZ62-93417), the year of her Golden Jubilee.
So novelistic that it apparently fooled his English publishers, Murphy's account of this aspect of Victoria's reign is both involving and entertaining. The repeated attacks on the Queen's person not only failed to remove her, but helped to win both her and the British monarchy, as an institution, greater popularity. They were, of course, not the only factors involved. Lytton Strachey, having himself deftly summarised the attacks in a few pages at the end of his Queen Victoria (1921), finds many other causes for the change in attitude, not least the public sympathy aroused by the various personal losses that the Queen sustained over the years. Nevertheless, Murphy's focus on these episodes has brought to light a huge amount of previously unexplored material about different layers of society. His own brief biography on the inside back cover tells us that he has taught "a variety of disciplines" at the University of Colorado, and all of them seem to have come in useful here. He has written a wide-ranging book bringing the political and social history of Victorian times to life through seven previously hidden lives, united by the same strange compulsion. Anyone with any interest in the age will enjoy reading it, and learn much from it.
Murphy, Paul Thomas. Shooting Victoria: Madness, Mayhem and the Modernisation of the Monarchy. London: Head of Zeus, 2012. 669 + xiiipp. £25.00. ISBN 9781781851272.
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Kenny Everett’s TV show introduced which sexy dance troupe? | Hot Gossip Dance TroupeThe Kenny Everett Years - YouTube
Hot Gossip Dance TroupeThe Kenny Everett Years
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A potted history of the superb and groundbreaking Hot Gossip dance troupe.Kenny Everett Hot Gossip and Thames TV a menage et trois made in heaven.
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What is the first event on Day 2 of the Decathlon? | Benny's Place • Love Machine Tribute
In order to accomodate those who do not have Pop-Up Support in their browsers, there are two links for each gallery. The Photos in the gallery are 235 pixels wide by 170 pixels high.
Featuring: Claire Lutter, Libby Roberts, Teresa Lucas, Jane Eve (Colthorpe) & Lorraine Doyle
Love Machine
The dancing and singing troupe Love Machine:
1. from the end of the "Dancing In The Nude" number from April 21, 1976. From left: Claire Lutter (qv), Libby Roberts (qv), Teresa (Terry) Lucas, and Jane Eve (Colthorpe).
2. From their "Think Of The Boys" number of Feb. 23, 1977, which spotlighted their vocal as well as terpsichorean talents; by which time a cute redhead named Lorraine Doyle (qv) had joined the troupe [from left: Jane, Terry, Lorraine, Libby and Claire]. It is widely regarded that their dance routines would pave the way for the future addition of the Hill's Angels to the show. Note: Click The Top Two photos for a larger image.
6. Jane Eve (Colthorpe) IMDB Entry
(who would be known after 1982 as Jane Newman; her other credits, under both names, include Kenny Everett's TV shows, as a member of the "Hot Gossip" dance troupe; the 1980 Village People movie Can't Stop the Music; and the 1983 Monty Python film The Meaning of Life).
7. Lorraine Doyle IMDB Entry
TRIVIA NOTE: An early member of the Machine was future TBHS cast member Sue Upton, but she had left the troupe before either they or she were booked onto the program for their respective first times. As noted elsewhere, two of the Love Machinists would later be involved with the Angels, in different capacities: Ms. Doyle, as the most prominent after Ms. Upton (especially following the departure of Louise English from the series in 1986); and Ms. Roberts, as Angels choreographer from Jan. 16, 1984 to the end (including the independently-produced New York special). Closeups of individual members at left: (all from April 21, 1976, except for the shot of Lorraine from Feb. 23, 1977).
Lorraine Doyle
IMDB Entry
Three shots of the lovely Lorraine Doyle, (top) from the Hill's Angels Photocall bit of April 5, 1989; (middle) from one of the 1985 "Just Married" quickies. First appeared on TBHS in 1977 as part of the Love Machine (qv) dancing/singing troupe, and that same year made an impression as (bottom), "Slimey Sally" in the now-famous "Husky & Starch" bit. (To see how she appeared back then, go to the Love Machine entry elsewhere in Who's Who.) She is one of only two known individuals to have been in both Love Machine and Hot Gossip, the other being Jane Eve (Colthorpe); but whereas Jane was a mainstay for several years, Lorraine was in and out of the latter troupe over the years, with at least one period (in 1981) where they toured together, though neither were in the latter outfit at the same time. Also did much stage and TV, as well as being one of the dancers in the 1984 movie Indiana Jones and the Temple of Doom, before returning to TBHS full-time starting with the 1985 series; by which time her old Love Machine mate, Libby Roberts (qv), had become the Hill's Angels choreographer. Ms. Doyle quickly rose to prominence among the cast, eventually becoming the second most prominent Hill's Angel after Sue Upton, especially in the wake of Louise English's departure from the series in 1986. Lorraine's other major TV work besides the Hill show was in the role of "Jackie" in the sitcom Executive Stress (whose star, Penelope Keith, had co-starred with one-time-only TBHS guest Paul Eddington (qv) in The Good Life, a.k.a. Good Neighbors). For more about her life and career, click on the Love Machine Q&A section.
IMDB Entry
Top: from the Feb. 23, 1977 Love Machine "Think of the Boys" musical number and Bottom, from the Feb. 18, 1976, "Transistor Radio" sketch. The Felixstowe native first joined the Machine in 1975, just prior to their first appearance on TBHS (she came in following the departure from the group of future Hill mainstay Sue Upton). After the Machine disassembled in 1979, Jane joined the racy dance troupe Hot Gossip which appeared on both Kenny Everett's Thames Video Show and BBC Television Show; she followed in the footsteps of fellow ex-Machinist (and future Hill's Angel) Lorraine Doyle (qv) who'd been a Hot Gossiper the year before; but unlike Ms. Doyle whose run was somewhat brief, Jane lasted with the group well into the mid-'80's. She and the other Hot Gossip dancers as constituted at the time appeared in the 1980 Village People turkey Can't Stop the Music, on which she was credited as Jane Margaret Colthworphe (the spelling of her surname in the credits of that flick appeared a bit too outlandish to be true - and indeed, it was; however, the BFI database has her surname spelled correctly in connection with this film credit). For many years after 1982, she was known as Jane Newman, her first major credit as such being in Monty Python's The Meaning of Life (1983; she was one of the many dancers who participated in the "Christmas in Heaven" musical number). She remained with the Everett show as a featured player in sketches after her run with Hot Gossip ended. There is a page which has some other info about her at the point of her Hot Gossip run, c. 1983 at www.early-sarah-brightman.com .
IMDB Entry
Two stills of Love Machinist Teresa Lucas, both from their "Think of the Boys" number of Feb. 23, 1977. An original member of the group, and known as Terry for short, she was as adept in comedy sketches as in the Machine's dance routines. Her own name was used in the "long-jump" routine of the Feb. 18, 1976 "Word of Sport" sketch in which she (and her fellow Love Machinists) appeared. She was also mentioned in an advert put in The Stage and Television Today in 1982 after the dance troupe Lipstick (which she and her fellow ex-Machinist, Libby Roberts, choreographed at the time before taking over the helm of the Angels) performed at a Royal Gala Performance before HRH Princess Alexandra in Reading, England, on June 13, 1982; at the bottom of the ad was this contact info: "Enquiries to Libby Roberts or Teresa Lucas."
Claire Lutter
From the "Chow Mein Package Tours" sketch of 3/23/77, is Claire Lutter. She later played a prostitute in the ill-fated Sean Penn/Madonna vehicle Shanghai Surprise. Here is a link to her page at www.gridmodels.homestead.com
Libby Roberts
IMDB Entry
Here we have one of The Love Machinists, Libby Roberts, as seen here from the "Sale of the Half-Century" parody of April 21, 1976, who went on (from 1984 onwards) to be the Hill's Angels' choreographer (she succeeded Linda Finch, ex-regular Roger's sister). Her son, Adam Johnstone, was one of the "Hill's Little Angels" who appeared in the 1988 and '89 series of TBHS (and also the independently-produced "New York" special).
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Which island calls itself Kerkyra? | Corfu Greece | Greece.com
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General Information on Corfu
Corfu or Kerkyra is the northernmost of the Ionian islands, at the entrance of the Adriatic, towards Albania. It is the second largest island of the group, after Kefalonia . It has a surface area of about 641km² and is inhabited by approximately 114,000 people.
Corfu was one of the first Greek islands that opened its doors to tourists, and since then, has evolved into an international tourist centre, attracting visitors from all over the world, and offering well-equipped and modern tourist facilities. Despite the fact that the tourism rate here is among the highest in Greece, Corfu has managed to keep its authenticity. Almost all villages and especially the capital Corfu Town seem untouched, retaining their local colours. Due to the size of the island, visitors can find peace and quiet, wild nightlife and amazing crowded and deserted beaches, all in one.
History of Corfu
Corfu or Kerkyra owes its name to the nymph Korkira, the daughter of the river god Aesopos. According to mythology, Poseidon, god of sea, fell in love with Korkira, kidnapped her and brought her to the island. It was also the island of Phaeacians, referred in the Odyssey. As Homer said, hospitable Phaeacians helped Odysseus return to Ithaca . Corfu is also considered the island where the Argonauts found refuge from the avenging Colchic fleet, after having stolen the Golden Fleece.
Archaeological excavations have proven that the island has been inhabited since the Paleolithic Era (7th–4th centuries B.C.), during which it was a very important commercial centre. Later on, the island became a Corinthian colony and further evolved. The efforts of its inhabitants to gain their independence from Corinthos led to many conflicts. Corfu asked for help from Athenians, who supported the island, and that was one of the many reasons that led to the Peloponnesian War. In 338 B.C., Macedonians, under the rule of Philippos II, won an important battle and conquered Corfu.
Starting in 300 B.C., the island was successively attacked and conquered by Spartans, Illyrians and Romans who stayed in Corfu until 337 A.D. After the fall of the Roman Empire, the island became part of the Byzantine Empire and later came under Norman rule, followed by the Venetians . At that point, the island gained a feudal hierarchy, and the population was categorised in three classes: nobles, the bourgeoisie and the commoners. When Napoleon Bonaparte conquered Venice in 1797, Corfu became part of the French State and Napoleon publicly burnt the “Libro d’ Oro” (Golden Book), which was the book enumerating the privileges of the nobles. While Corfu remained under French domination, the English began to occupy the Ionian islands and reached the island in 1815. While Corfu was under the prospering rule of the English, the rest of Greece was still under the Ottoman rule. The island offered financial help to the rest of Greece in the preparations of the Revolution of 1821. In 21 May 1864, the Ionian islands became part of the new Greek state. During the 20th century, Corfu suffered a lot. Both World Wars had serious consequences on the island. Whole blocks of historical and architectural monuments were reduced to piles of ruins including about twenty eight percent of the historical and beautiful old town.
Towns & Villages in Corfu
Corfu Town: it is the capital and the main port of the island and one of the most beautiful and elegant towns in Greece. It is also the largest town of the Ionian islands with 40,000 inhabitants, a number that doubles in summer. The architecture is a mix of different styles as it was influenced by the many conquerors. Sicilians, Venetians, French and English have left their marks on Corfu Town. Expanding throughout the years, the town is separated into a northern and a southern section between the Esplanade Square (also called Esplanade) and the new fortress. This is the central square of the capital and also one of the biggest in Europe. It was designed based on French garden architecture and, every summer, it welcomes the sole cricket competition of Greece. At the western side of Esplanade Square stands one of the most beautiful buildings of Corfu, the Liston building, which houses elegant, luxurious and, of course, expensive cafes and restaurants. The town is dominated by two fortresses: the 13th century Neo Frourio (New Fortress) with dungeons, cellars and impressive turret battlements, and the 6th century Paleo Frourio (Old Fortress).
Benitses : it is a fishing village situated 13.5km south of Corfu Town. In recent years, the village has become an important tourist resort with all kinds of facilities. Many hotels, restaurants and bars can be found here, contributing to the intense nightlife Benitses is known for. Despite the touristic development, the old village has kept its authentic colors and atmosphere. The beaches in the surrounding area are good with pebbles, clear waters and sport facilities.
Paleokastritsa : it is the most famous village of the island of Corfu, located 26km northwest of Corfu Town. The village itself is not something special but the surroundings are amazing. The area consists of six small coves with incredibly clear waters, nestled in a coastline of hills and promontories full of olive, cypress and lemon trees.
Pelekas : The lovely village of Pelekas is situated 13km of Corfu Town and stands on a 270-meter hill. The village has an authentic Greek character and offers amazing vistas, especially during sunsets. Pelekas is a busy village due to its position and it is used as an access point for some of the great beaches nearby.
Agios Matheos: it is a mountainous village located 25km southwest of the capital. It is built within a dense forest on the side of Mountain Agios Matheos and is full of charming stone houses. The beach of the village, located few kilometers away, is very popular and crowded but there are other more quiet beaches around.
Lefkimi : The village Lefkimi is situated 40km south of Corfu Town and it is the second largest settlement of the island. Lefkimi is a lovely village well off the beaten track and a step back in time. The settlement has two impressive churches, Agios Theodoros, located at the main square, and Agios Arsenios with a distinctive orange dome.
Beaches in Corfu
The island of Corfu has some of the most beautiful beaches of Ionio. There is a great variety of beaches all around the island. Most of them have been turned into resorts, while others remain untouched and remote.
Agios Georgios (SW): the beach is situated at the northwestern part of the island. Many regard this long and sandy beach as the best in Corfu . It is a popular destination for families. It’s 5km long with quite deep waters, and is also one of the few remote beaches.
Myrtiotisa : the English writer Lawrence Darrell said this is “the loveliest beach in the world”, and it might well be. The beach is surrounded by steep hills covered in trees. It is sandy, unorganized, totally untouched and unofficially nudist. It is relatively difficult to reach from the nearby village of Vatos , as the road is very bumpy and rocky. At the end of the road, there is private parking and a small path that leads to the beach. Of course, the climb back up is quite exhausting.
Glyfada : it is located 16km west of Corfu Town and is one of the most popular beaches of the island. The large surface of fine golden sand is surrounded by cliffs covered in trees. The beach is popular among families and it is fully organized.
Ermones : the beach is very nice, small and quiet. It is located in the west coast of Corfu. The bay is tiny with pebbles and sand and it is surrounded by very steep hills. The beach is organized with many hotels, and water sports facilities, like diving and sailing.
Sidari : It is the most famous tourist resort of north Corfu and well worth visiting. It is 32km away from the capital. The place is famous for the “Canal d’ Amour”, an underground path between two rocks that the visitors can easily walk to, due to the shallow waters. The beach at Sidari , which has been awarded the Blue Flag, is beautiful and very crowded. The carved, white rocks that look like natural sculptures and light blue waters create an exotic scenery.
Kouloura : The fishing village of Kouloura has a small and not so populated beach with sand, pebbles and many cypress trees. The beach is ideal for those who want to avoid crowded and organized beaches. There are no water sports, no boat hire, no bars and no clubs; the closest tavern is a 20-minute walk away in nearby Kerasia .
Kerasia : This is a nice, pebble beach with crystal clear waters. It is very quiet, organized and offers a great view of Albania. Kerasia beach is located at the northeast tip of the island.
Avlaki : It lies between Agios Stefanos to the south and Kassiopi to the North. The beach seems to be visited by few, probably because of its better-known neighbour Kassiopi . However, the beach is popular among Corfiots for its crystal clear waters. Avlaki beach is narrow and long, with pebbles. It is also organized and has few water sports facilities.
Almyros : it is a very long sandy beach with an interesting view of the rolling hills of Albania to the right. The centre of the beach is the busiest part, with hotels and bars around. However, as you keep walking towards the outer parts, it gets a lot quieter and more isolated.
Agios Georgios (NW): Agios Georgios Pagon (=ice) is one of the most beautiful beaches of northwestern Corfu. It is situated 30km away from the capital. It has golden sand, clear waters and some tourist facilities.
Top Things to Do in Corfu
1. Museums: Corfu is noted for its peculiar collections and interesting museums. In Corfu Town, there are many museums, such as the Serbian War Museum with items and papers regarding the Balkan Wars of 1915-1917. Also in the capital, the Ionian Bank houses a Museum of Banknotes. One of the most interesting museums of Corfu is the Museum of Asian Art; it is the only Asian museum in Greece and was founded in 1927 by Gregory Manos, an ambassador, who donated his private collection of 10,500 objects of Sino-Japanese origin. Nowadays, the museum houses more collections with Asian items. The Archaeological Museum of Corfu was built between 1962 and 1965 to house the Gorgon pediment from the temple of Artemis, which was found in the area of Paleopolis. Today, the collections of the museum include excavation finds from the ancient city of Corfu, the Kerkyrean Cassiope, and many more. Another very interesting museum is the Museum of Sea, located in Benitses village. It was founded in 1989 by diver and collector Napoleon Sagja, and contains one of the largest collections of shells, corals, sponges, fossils and shark teeth.
2. Achillion Palace: The Palace, located in the village of Gastairi, was built in 1891 for Elizabeth (Sissy), the Empress of Austria, in honour of the hero Achilles, whom the Empress admired. Later, Kaiser Wilhelm of Germany bought it. The Palace is a beautiful building with picturesque gardens overlooking the sea and Corfu Town. Achillion is famous among British visitors as it is the birthplace of Prince Phillip.
3. Bosceto Garden: Bosceto Garden is situated in the historical city of Corfu, opposite the famous Esplanade Square. The Garden is known for its many types of flowers, its beautiful architecture and decoration of its parterres and for the many scattered statues.
4. New Fortress: The New Fortress was built between 1572 and 1645 by the Venetians, to protect the west side of Corfu Town. The fortification works were completed by both the French and the British. The Fortress consists of two twin bastions, and the most impressive architectural characteristics are the two gates bearing the emblem of Galinotatis, the winged lion of Saint Mark.
5. Pondikonisi : Pondikonisi is a trademark of Corfu. The island owes its name (“Mouse Island”) to its size. The main characteristic of Pondikonisi is the dense vegetation. According to mythology, this tiny island is the rock where the ship of Odysseus crashed. The ship was destroyed and Odysseus ended up as a castaway to the island of Pheakes.
How to Reach Corfu
Air: Corfu has several flights weekly to/from Athens and Thessaloniki . Charter flights also land here from various European countries.
Coach: KTEL coaches run two or three times daily between Corfu Town and Athens (11 hours including the time with the ferry between Corfu and the mainland). Some services go via Lefkimmi to the south. There is also a service once or twice daily to/from Thessaloniki .
Ferry – Domestic: Hourly ferries run between Corfu and Igoumenitsa (1 ¾ hours). You can also travel to Patra on one of the frequent international ferries that call in Corfu in summer. There are also a few daily ferries between Lefkimmi and Igoumenitsa (1 hour).
Ferry – International: Corfu is on the Patras-Igoumenitsa ferry route to Italy (Brindisi, Bari, Ancona, Trieste, and Venice). Ferries go a few times daily to Brindisi (7 hours) and in summer usually once daily to Bari (10 hours), Ancona (14 hours), Triesta (21 hours) and Venice (30 hours).
Hydrofoil: from May to September, there are at least two hydrofoils daily between Corfu and Paxi via Igoumenitsa and one hydrofoil daily from Corfu to Igoumenitsa.
Getting Around in Corfu
To/from the Airport: there is no bus service between Corfu Town and the airport. Nos 6 and 10 from Plateia San Rocco in Corfu Town stop on the main road 500m from the airport.
Bus: Destinations of KTEL buses (green and cream-coloured) are posted at the long-distance bus station on Avramiou street. Destinations of local buses (dark blue) are posted at the bus stations in San Rocco Square.
| Corfu |
Wallachia is a region of which country? | Map of Corfu island, Greece - Greeka.com
Corfu
Corfu Map
Corfu is one of the most famous islands in Greece for its major historical interest and unique natural beauty. The Ionian island is blessed with a rich verdant environment and gorgeous landscape that attracts thousands of visitors throughout the year. The Venetian town of Corfu is a sightseeing itself and counts on unique architectural marvels which are considered some of the best-preserved buildings in Europe.
The beautiful surrounds of Corfu consist of idyllic beaches, green hills and charming scenery. The inhabited monasteries and picturesque houses that are scattered along the its mountain sides give breathtaking views to the sea. The lively resorts of Corfu, like Benitses and Paleokatsritsa, will give you a sense of cosmopolitan atmosphere but the quieter villages are characteristic examples of the local tradition.
This section proposes a map of Corfu with all the major locations of the island.
Where is Corfu?
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Which capital is on the river Manzanares? | Madrid Río, the park of the Manzanares River | Estudio Sampere
Home » Living Madrid: culture, books, plans » Madrid Río, the park of the Manzanares River
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Madrid Río, the park of the Manzanares River
Madrid is known all around the world for many things; its river, however, has never been one of them — though this may be about to change. Inaugurated in April of 2011, Madrid Río is a new park that runs the length of the urban stretch of the Manzanares River. Spanning 1.210.881 square meters of terrain, the park was made possible when the city’s inner beltway, the M-30, was moved from the banks of the river into tunnels constructed beneath the riverbed. The space now void of the highway has since been exploited in a number of different ways for the everyone’s enjoyment.
Bridges and Crossings in Madrid Río
As the park encompasses land on both sides of the river, it has been necessary to build additional bridges; there are currently 33 crossings altogether which Madrid’s residents can use to take advantage of all the park has to offer. The oldest bridge over the river is the Puente de Segovia , the construction of which dates back to the late sixteenth century. Other historic bridges include the Puente de Toledo and the Puente del Rey, both of which were built during the early eighteenth century. Of the newer constructions, perhaps the most eye-catching is the Puente Monumental de Arganzuela, a 274-meter pedestrian bridge made of two enormous steel tubes.
Bike Paths and sports facilities
Madrid Río is an excellent place to go cycling or to take a leisurely bike ride. The park has thirty kilometers of paths that can be ridden on, although these are simultaneously used by pedestrians, thus necessitating the use of caution by cyclists. What’s more is that the park’s bike paths link up with the city’s Anillo Verde , a type of cycling beltway that surrounds the capital. There is also the possibility of connecting to bike path GR-124 from the north of the park, which leads all the way to the mountains as far as the town Manzanares El Real . In the South, Madrid Río’s paths connect to Parque Tierno Galván and Parque Lineal Manzanares Sur, reaching all the way to the city of Getafe.
In addition to bike paths, Madrid Río is full of various sports facilities. There are tennis and padel tennis courts, a rock climbing wall, soccer fields, a skate park, and a BMX circuit, among others. The most important facility, however, is Vicente Calderón Stadium , where Atlético de Madrid soccer team play. There are currently plans to demolish the stadium and move the team to La Peineta , however. Be sure to catch a game before you’re forced to go to the other side of the city to do so.
| Madrid |
A mutated MC1R gene causes what physical trait? | What is the capital city of Spain? | Reference.com
What is the capital city of Spain?
A:
Quick Answer
The capital city of Spain is Madrid. Also the country's largest city and the residence of its monarch, Madrid is located in the heart of the country along the Manzanares River.
Full Answer
Spain also has a number of autonomous regions, each of which has its own capital city. In history, Spain has had a number of different capital cities. Under the Visigoths during the 5th century AD, the capital was at Toledo, and the Byzantines set up a capital at Málaga. The Muslim invaders who conquered Spain in the 8th century set up their capital at Córdoba. However, apart from a brief period in the early 17th century, Madrid has been the capital of Spain since 1561, when Phillip II moved his court there.
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Which liqueur is marked D.O.M? | benedictine bottle | eBay
benedictine bottle:
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In which French city is the HQ of Interpol? | D.O.M. Bénédictine - a review
D.O.M. Bénédictine
by Azlin Bloor Leave a Comment
D.O.M. Benedictine
D.O.M. Bénédictine is a drink with a romantic and mysterious past with history that includes an old Bénédictine monk, The Philosopher’s Stone, a French king, the French revolution and a catastrophic fire that would have defeated all but the most resilient. Very much the proverbial Phoenix.
The original recipe for D.O.M. Bénédictine was created in 1510, in the Abbey of Fécamp, by an old Bénédictine monk, Dom Bernardo Vincelli , a scholar and an alchemist, and was consumed as a tonic and a medicinal elixir. It quickly became known in the region as a drink of outstanding taste, and even François I of France (1515-1547) was reputed to have been a huge fan, claiming it to be the best drink he’d ever tasted.
This elixir enjoyed a huge popularity for almost three hundred years but disappeared during the French Revolution when the abbey was destroyed. But all good stories need a hero, right? So, along comes Alexandre Le Grand, a wine merchant. One day, as he was going through old documents in his family’s treasure of a library, he came across an aged manuscript for the study of hermeticism and alchemy that inevitably included the search for the elusive and legendary Philosopher’s Stone, the desideratum for almost every alchemist of that time.
Within the pages of this invaluable manuscript, he came across the recipe for this once popular drink, and it took Monsieur Le Grand about a year to work through the language and another year or so to finally replicate the old recipe. Wanting to pay homage to the drink’s origins, our wine merchant obtained permission to use the name and the coat of arms of the Benedictine Abbey in Fécamp and called his liqueur BÉNÉDICTINE®. He also retained the acronym D.O.M., which in Latin, stands for Deo Optimo Maximo (God infinitely good, infinitely great) and is also a reference to the Latin word Dominus (Master), given to Benedictine friars.
D.O.M. Benedictine
Review of D.O.M. Bénédictine
So, what of the drink itself, I hear you ask. Well, let’s start with the fact that D.O.M. Bénédictine is made up of a secret blend of 27 herbs and spices that includes saffron, cinnamon, angelica, hyssop, juniper and myrrh from five continents! So secret that only a handful of people know the recipe, this select group includes the Master Herbalist and the Master Distiller.
D.O.M. Bénédictine weighs in at 40% abv (alcohol by volume), making it a very potent spirit, perhaps there is some truth in the stories that the old abbot’s ghost is seen from time to time at the distillery?!! Sorry, couldn’t resist that one! Now, despite this high level of alcohol, it is remarkably smooth and quite sweet, with a decidedly herbal scent, quite reminiscent of a cough mixture at times!
Nose – as mentioned, very herbal, after the first hit of alcohol fumes! Definite hints of orange, honey and an indefinable herbal mix – very, very pleasant indeed.
Personally, I never drink it neat or even on ice, finding its character a little too intimidating. It is one of the defining ingredients in the Singapore Sling (click for recipe) and I certainly think that its strength lies in its ability to quite transform but never dominate whatever cocktail you use it in.
Singapore Sling
If you do want to have it on its own, add some ice cubes to it and let it settle for a couple of minutes. I find that this releases its aromatic constituents, letting one appreciate its mysterious bouquet even more. It goes rather splendidly with brandy, giving the simple but exquisite Benedictine and Brandy, B & B by Bénédictine, a proprietary blend since 1937. Ernest Hemingway was supposedly the first to mix the two.
Now, I definitely spy orange in there, so I think Cointreau seems to be the perfect companion for it; next time you have Cointreau and orange (one of my favourite combinations), add a shot of Bénédictine and you’ll see how it enhances the blend, in fact I think anything citrus is the perfect balance to its sweetness. Just remember, a little goes a long way; it’s robust and it’s sweet, a touch is all you need for it to enhance and not dictate the flavours.
One last thing before I leave you. If you find yourself in Normandy, a visit to the Palais Bénédictine is a must! Purpose built to house the distillery, the original was burned down in 1892. The replacement, completed in 1898, the year Alexander Le Grand died, is both splashy and ornate at the same time, with gothic and renaissance characteristics at play. The tour is well worth the effort, especially if you appreciate history and beauty. There is a certain sense of surrealism as you are shown the old copper stills the drink is distilled in and as you continue on your tour, there is a definite sense of walking on hallowed grounds.
One word of advice, be sure to get the real thing, as with anything so well known, there are many fakes out there! In fact the palais displays hundreds of fake bottles that have been seized over the years, in a special “hall of shame”!
Incidentally, the world’s largest consumer of Bénédictine is a gentlemen’s club in Burnley, right here in the UK!
There you go folks, sally forth, grab a bottle, take a sip or cook up a cocktail! I’d love to hear what you make of it.
Later,
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Which Turkish town was the birthplace of St Paul? | Tarsus-Birthplace of St. Paul, About St. Paul, Journeys of St. Paul, Biblical tour guide, biblical tours, biblical turkey tour, religious tours turkey, religious tour, biblical tour organization, turkey greece biblical ours, seven churches of revelation t
About St. Paul Tarsus-Birthplace of St. Paul
Journeys of St. Paul Tarsus-Birthplace of St. Paul
At the of St. Paul's birth and upbringing, Tarsus was the most important city in the Cilician plain (Cukurova) which was then know as Smooth Cilicia.
When St. Paul was born, Tarsus was already very ancient. Excavations at Gozlu Kule tumulus near the present city have shown that this site was occupied since the Neolithic period, from about the seventh millennium BCE. During its later Bronze Age history the tumulus is thought to have been the capital of the kingdom of Kizzuwatna. The famous Hittite queen Puduhepa, before she moved to the Hittite capital Hattusas, was a priestess in Kizzuwatna, whose capital was ' Tarsa'. The first Greek elements in the settlement's culture date from the beginning of the twelfth century BCE, the time of upheavals created by the Sea People.
In the Assyrian annals the tumulus appears as Tarzi, and the capital of the kingdom of Que. The reference to Coa (Que or Cilicia) in the Second Book of Chronicles is related approximately to this period of the city' s history in the tenth century BCE: 'Solomon also imported horses from Egypt and Coa (Cilicia). The agents would acquire them by purchase from Cilicia, and would then bring up chariots from Egypt and export them at six hundred silver shekels, with the horses going for a hundred and fifty shekels. At these rates they served as middlemen for all the Hittite and Aramean kings (2 Chr 1: 16-17).
King Sennacherid (705-651) of Assyria, is know to have moved the city from the tumulus to its present location on the Cydnus river (Tarsus Cayi) to a point some 15 km from the sea. Before reaching the Mediterranean Cydnus flowed into a large lagoon, which was know as the lake of Rhegma in roman times, and was navigable up to the city. At present the area where this lake existed is a fertile cotton field. In the Old Testament, Tarsis is used as a place- name in the Mediterranean after the sixth-fifth centuries, from which metals like silver, iron or lead came to Tyre in Phoenicia.
Some scholars regard this place as being Tarsus, the major port in Cilicia having connections with inland states of Anatolia rich in metals, horses and slaves: ' Tarsish traded with you, so great was your wealth, exchanging silver, iron, tin, and lead for your wares' (Ez 27: 12). All of what was built in ancient Tarsus after its re-foundation on the plain lies under the silt of the Cydnus River and the citys apartment houses, some six meters deep.
Following the collapse of the Assyrian kingdom, Cilicia seems to have survived as an independent state until Anatolia was captured by Cyrus the Great (555-530 BCE) of the Persian Empire. Tarsus was the first urban center with the amenities of civilization after crossing the Cilician Gates to the south, and thus an indispensable stage to recover before traveling on to Syria and the countries beyond. According to Xenophon, Cyrus the Younger, and to Arrian, Alexander the Great did not miss the chance of enjoying the opportunities the city offered.
In Anabasis Cyrus, after crossing the ' impassable' Cilician Gates (401 BCE) found himself in large and well- watered Cilician plain ' full of an kinds of trees and of vines, which' produces quantities of sesame and millet and wheat and barley, its capital ' a large and prosperous city ' with a river called the Cydnus running ' through the middle of the city. Strabo in Geography says that an immersion in the Cydnus was ' beneficial both to beasts and to men who suffer from sinews '.
It is know if Alexander knew this when he plunged into the river some four hundred years before Strabo, a venture that ended up immediately with acute pneumonia and almost cost him his life. Sometime after it came under Roman rule in 50 BCE the Roman statesman Cicero is know to have served as the first Roman governor of Cilicia, staying at Tarsus. One of the most memorable events of the city's early Roman history, which was later commemorated by Shakespeare, was the love story of Mark Antony (Marcus Antonius) and Cleopatra (41 BCE), which began here.
Some eight years before Cleopatra had had herself delivered to Caesar in Alexandria by a merchant, wrapped in a carpet. This time she arranged a parade, which was exaggerated by later writes, but still appropriate to the vulgar and ambitious character of Antony. She had built for herself a barge with fittings in gold and silver and equipped with purple silk sails. The vessel 's crew, young boys and girls, were dressed as Erotes and Nereids. The sound of music and scent of rich perfumes reached across the water to the Tarsians who had flocked to the Cydnus ' banks. ' Cleopatra herself reclined beneath a canopy of cloth of gold.
This was beginning of a love story, which lasted about a decade, with the well - know fatal end. Among many things, which Antony would bestow on his beloved after a few years, was the cedar - rich mountains of Rough Cilicia, which was a major timber source of the Roman world for ship - building.
Recent excavations have shown that Tarsus was a smaller flourishing copy of Antioch on Orontes during the Roman period. A prosperous city in the first century, St. Pauls pride in his home is evident when he says I am a Jew, of Tarsus in Cilicia, a citizen of no mean city' (Acts 21: 39). Acts mentions St. Paul's Tarsus citizenship only twice (Acts 21: 39; Heb 22: 3) and does not give any information about it. The ancient street which has recently been excavated, the remains of the Via Tauris connecting the city to the Cilician Gates and the large floor mosaic which was brought to light in the city give us an idea about the Tarsus of St. Paul 's time.
When he begins his defense before the king Herod Agrippa II (150-100), St. Paul makes it clear that he spent all hiss youth among Jews in Jerusalem (Acts 26: 4) having been sent there to study under Gamaliel (Acts 22:3). Although ancient literature refers to Tarsus as a seat of Greek philosophy, famous for its Stoic school, it is known that St. Paul, having spent most of his youth in Jerusalem, did not have the chance to make use of this opportunity. St. Paul returned to his native city to teach the gospel, before joining St. Barnabas in Antioch. Though not explicitly stated in acts it likely that he visited his city again when he traveled to Galatia and Pisidia during his Second Journey and third journey.
Journeys of St. Paul
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What sort of device is a ‘loupe’? | Tarsus, Biblical Sites in Turkey, Biblical tour guide, biblical tours, biblical turkey tour, religious tours turkey, religious tour, biblical tour organization, turkey greece biblical ours, seven churches of revelation turkey, reli
Missionary Journeys of St. Paul
During one of his missionary journeys St. Paul visited Ephesus in Turkey.
He stays in the city about three years (Acts 19:1-20). In Ephesus Paul discovers twelve believers who were baptized but who did'nt as yet have God's spirit. Paul baptizes them in His name and they receive God's Holy Spirit (Acts 19:1-7).
Seven Churches of Revelation
In looking at the letters to the 7 Churches, we see the Lord speaking directly to the 7 Churches
that existed in the Holy land at the time John lived. We also see the Lord's opinion of those Churches, and what they were doing
at the time: Ephesus, Pergamon, Laodicea, Sardis, Thyatira, Smyrna, Philadelphia churches.
Biblical sites in Turkey
Turkey is called the Other Holy Land as it has more biblical sites than any other country in the Middle East.
Antioch - the place where the followers of Jesus were first called Christians; Tarsus - where Apostle Paul was born and many others..
Tarsus Acts 9:11;9:30;11:25;21:39;22:3
Tarsus was the capital of the Roman Province of Cilicia, situated between the Taurus Mountains and the Mediterranean Sea. The Province of Cilicia varied between 30 to 60 miles wide and was about 300 miles long. The city of Tarsus was about 10 miles inland of the Mediterranean on the alluvial plain, watered by the Cydnus and may have had as many as one half million inhabitants in the time of St. Paul. Ramsey described the city as about 70 feet above sea level on a level plain.
The lower Cyndus was made navigable and a port had been built to carry goods to and from
the sea. A major road lead to the north where the famous mountain pass known as the Cilician Gates lay less than 29 miles inland. Sir William Ramsey described the pass as one of the most famous and important passes in history.
The origins of the city are shrouded in mystery, but it appears the city was a native Cilician town taken over by Ionian settlers of antiquity. Josephus attributes the city to the Tarshish of Genesis 10:4, but this is by no means certain. It is mentioned several places in historical record with certainty. The Black Obelisk of Shalmaneser says this city was taken by the Assyrians (mid C9 BCE). Xenophon passed through in 401 BCE, and found the ruler to be a local. Alexander found the rulership in the hands of the Persians, and he replaced the ruler (334 BCE).
Coins found in excavations of the region make no claim of autonomy until after the defeat of Antiochus the Great at the hands of the Romans (189 BCE). Syria appears to have undergo
ne some reorganization at this time, allowing autonomy in some of the regions. Tarsus appears to have grown into autonomy at this time establishing a constitution as a free city. The city became part of the Roman Empire with the arrival of Pompey the Roman General and the defeat of the pirates that often harassed the city by about 64 BCE.
Some scholars speculate that St. Paul may be a descendant of some of those who were promised free citizenship if they moved to the Cilician city in 171 BCE. Another claim for the citizenship ancestry of St. Paul can be found in some who raise the possibility that St. Pauls father or grandfather helped Marc Antony (and thus Rome) during Cleopatras renowned visit to Tarsus in 41 BCE.
The historian Strabo mentions the splendor of the event, as Cleopatra sailed her gilded barge in the Cyndus into the city. In addition, there is reason to believe that Antony and Octavian used some resources of the city in their struggle against Brutus and Cassius, who they later defeated at Philippi in Macedonia. Some have even suggested that a tent makers gift could have been rep
aid in citizenship (cp. Acts 18:3), though this is mere speculation.
Autonomy meant that Tarsus was able to govern itself under its own laws, impose import taxation and a variety of other freedoms. Strabo mentions that the city was excited by education, and was home to the third largest university, after Athens and Alexandria. One teacher or note that came from Tarsus was the famous Athenodorus, a Stoic Philosopher that tutored Augustus at Apollonia, and later became his advisor from 44 to 15 BCE.
This probably accounts for Augusts favor on the city. Athenodorus returned to Tarsus and established a reform to the city in15 BCE. Along with the reforms, he established a patrician class that probably included the family of St. Paul, who boasts of his association with the city (Acts 21:39).
In addition to being the hometown of St. Paul (Acts 9:11; 21:39; 22:3), it was also the city
St. Paul returned to after his escape from Jerusalem (Acts 9:30). Barnabas found St. Paul in the city and enlisted him to service at Antioch (Acts 11:25ff). St. Paul may well have visited on the Second and Third Mission Journeys (Acts 15:41; 18:22-23).
Biblical Sites in Turkey List
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The Four Hills is a tournament in which sport? | The Four Hills Tournament | LIVE-PRODUCTION.TV
The Four Hills Tournament
Reinhard Penzel
Bergisel Ski Jump in Innsbruck
The Four Hills Tournament (Vierschanzentournee) is composed of four Ski Jumping World Cup events and has taken place in Germany and Austria each year since 1952. The tournament is third only to the World Cup and the Winter Olympics as the most sought-after title on the ski jumping world circuit. The Four Hills Tournament comprises four individual World Cup events and points gained in the Four Hills Tournament are added to points gained in other World Cup events throughout the season.
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One of the tournament's particularities is its controversial qualifying system. Unlike the other ski jumping events where the best 30 competitors of the first series qualify into the second series, all four tournament's events follow the so called knock-out system, first introduced in the 1996/97 season. 50 first series competitors are divided into 25 pairs. All 25 winners of those internal "duels" plus five best "lucky losers" qualify into the second series. This way, it is theoretically possible that a competitor with the 12th first series result does not qualify into the second series (if he loses his internal duel, five lucky losers and winners of their duels have better results) while the one with the 49th first series result may still qualify (if his "rival" has the worst result). If qualification is postponed until the day of competition, knock-out system is not used, and competition follows regular world cup rules.
Bergisel Ski Jump in Innsbruck
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Because of that in 2007/08 tournament, knock-out system was used only in Oberstdorf. The 2007–08 Four Hills Tournament was held in only three of the traditional venues of Oberstdorf, Garmisch-Partenkirchen and Bischofshofen, located in Germany and Austria. The competition at Innsbruck was cancelled due to adverse weather conditions and replaced by an additional visit to Bischofshofen. The host broadcaster for the competitions in Germany is ARD while ORF is the host broadcaster in Austria.
For the events in Oberstdorf, Garmisch-Partenkirchen and Bischofshofen more than 20 cameras were installed, including a Sony SuperSloMo, a LMC UltraSloMo, two MiniCams at the take-off area as well as PoleCams and wireless cameras. New at this year’s tournament was the introduction of LMC’s UltraSloMo camera “Antelope”. The camera recorded the ski jumpers with 500 and 1.000 pictures/s. For the playback the system has generated a clip in 1080i and via a dedicated controller impressive pictures of the flying and landing sequences could be visualized. The cameraman can operate the “Antelope” system as a normal camera, zoom and focus control is the same as with all other broadcast cameras.
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Dartfish StroMotion - Dartfish SimulCam - LMC Antelope Control
Due to the knock-out system at the Four Hills Tournament, also LMC’s sports analyzing-system, which is based on the SimulCam/StroMotion software from Dartfish, was in use to compare some of the head to head competitors. SimulCam™ is based on the idea that whenever two athletes are competing at different times, but over the same terrain, their filmed performances can be composited into a single video showing both competitors seemingly competing together. To create SimulCam™ pictures, DartStudio™ computes and compensates automatically the differences in camera angle (pan, tilt, zoom) between the two recorded performances and blend the two performances creating a new high quality video.SimulCam™ pictures show at each instant, the relative position, speed and posture of the two competitors on a single display support. SimulCam™ pictures allow unparalleled in-depth comparison and analysis. It contrasts and compares the position, style and trajectory of competitors. It illustrates what one 10th of a second’s difference at the take-off area can mean in the jumping width of an athlete. In addition StroMotion™ reveals the evolution of an athlete’s movement, technique, execution and tactics over space and time in an immediate, intuitive fashion. An athletic movement is unfold in time and space by compounding video images into a frame-by-frame sequence. The StroMotion™ concept is based on stroboscoping, a means to analyze rapid movement so that a moving object is perceived as a series of static images along the object’s trajectory. The StroMotion™ not only helps revealing the evolution of an athlete’s movement, technique and execution it also shows the different techniques of the jumpers e.g. at the take-off area. The integration of the Dartfish user interface for SimulCam™ and StroMotion™ into the LMC application including an EVS SloMo server the system has proven it’s robustness in all kind of broadcast live productions.
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Who was the last King of Troy? | What on earth is the Four Hills tournament? | Sports | DW.COM | 26.12.2014
Sports
What on earth is the Four Hills tournament?
Known to Germans and Austrians as the "Vierschanzentournee," the Four Hills ski jumping tournament is a Yuletide tradition like no other. DW's André Leslie tells you all you need to know about the mysterious event.
If you come from the US, it's Thanksgiving football, and if you are from Australia, it's the Boxing Day Test. I'm talking about famous sports events with a long tradition that are scheduled in and around the holiday season. Win or lose, the main thing is, they are just there in the background every year, forming part of what is (hopefully) an enjoyable holiday season with the family. Or maybe, depending on your family, an excuse to leave the dinner table.
For Germans and Austrians, the Four Hills ski jumping tournament is part of Christmas and New Year like Glühwein and sugared almonds. Sure, not everyone in Germany or Austria owns a huge, long wide pair of skis and likes to dress up in a neoprene suit, but everyone can appreciate the art of jumping off a huge height. It's a sport of millimeters, of perfect timing, of luck - not to mention the wind factor. This is the responsibility of the coaches at the bottom of the mountain, the guys holding the little flags: we'll come back to this later.
Still, despite the round-the-clock-reporting in Germany, the Four Hills tournament remains a bit of a mystery to the English-language world. The website of the event is completely in German and doesn't even bother offering the normally standard English language subpage with only half the content. Even the event preview on the International Ski Federation (FIS) website is written in overly-enthusiastic, broken English.
It's no surprise really. A quick look over the winners list from the last 62 years, produces only a handful of Americans and Canadians. Not even Eddie the Eagle won it. Instead, its winners come from countries like Norway, Finland, Austria and Germany, with the odd standout from Japan.
Not a bad view: Gregor Schlierenzauer jumps above Innsbruck in Austria
A format with tradition
The Four Hills tournament (sometimes called the Four Hills Tour) has been going on in Austria and Germany since 1952, after officials from both countries decided that a multi-day event at various jump sites was the way to go to get their sport a bit more attention. The event was scheduled annually from late December to early January, when snow levels were traditionally good and when people were otherwise looking for things to do. It's only recently that the tournament has battled with low snow levels.
The tournament always starts in Oberstdorf in Germany late in December, before moving to Garmisch-Partenkirchen for the so-called "New Year's Jump" on January 1. Then competitors head across the border to Austria, to compete in Innsbruck and Bischofshofen. This is when things start to really get serious.
Although it's great to win a single event, competitors really only want one thing: to take out the overall Four Hills trophy (known as "The Golden Eagle") by getting the most points across all four events. It's a tough ask because it requires concentration to jump perfectly at all four locations. And then there's that wind factor, which turns most ski jumps into a bit of a lucky dip.
Austrian domination
Austria has dominated the Four Hills Tournament over the last six years in a way that has rarely been seen since Norway and East Germany managed to in the '60s and '70s respectively. In fact, Austria has really turned into the Bayern Munich of ski jumping as far as the "Vierschanzentournee" is concerned.
The man with the flag: German ski jumping head coach Werner Schuster
Five separate Austrians have won the tournament in the last six years, with Gregor Schlierenzauer winning twice in a row in 2012 and 2013. Germany, in contrast, have struggled over the last few years. Their last Four Hills winner was Sven Hannawald way back in 2002.
This year though, the German ski jumpers think they may have a chance, with the country's top ski jumper Severin Freund already engaging in a bit of trash-talking ahead of the event.
"It's time for someone new to win it," Freund said to news agency SID this week. "The Austrians are not as tight as a team as they used to be."
The 26-year-old predicts the chance that someone from outside of Austria winning this year to be "relatively big." Whether it is himself or his team mate Richard Freitag this year, he wasn't prepared to predict. After all, luck always plays a bit of a role in who wins the Four Hills tournament, not to mention the wind conditions. Don't even get me started on the wind factor.
DW will have daily online coverage of the Four Hills tournament at www.dw.de/sports as soon as the event gets underway on Sunday, December 28.
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Which scientific principle is used in a police speed trap? | TCCoA Tech Articles
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This article has been written for attorneys representing defendants in civil, criminal and administrative proceedings. It is a technical guide on generally accepted police procedure in the enforcement of traffic speed laws using various speed measuring devices. It is not legal advice or a guide on legal proceedings. It does not provide instructions or advice on how to avoid detection or prosecution for the violation of any laws. Due to the number of variations in state laws and the design of individual traffic speed measuring devices, this work is provided without warranty or guarantee, express, or implied, to any particular situation. The author does not recommend or encourage the violation of any traffic laws. Do not operate a vehicle in other than a safe and prudent manner at a speed reasonable for the existing conditions. This work is protected under copyright laws.
Always use your seat belt. Never drink and drive. Drive defensively.
In 1906, the Supreme Court of Pennsylvania (Brazier v. City of Philadelphia, 215 Pa. 297, 64 A 508, 510 (1906)), in affirming a ruling under a city ordinance for speeding at the then outrageous speed of 7 m.p.h., said, "It is only necessary to resort to the most cursory observation to find the evidence that many drivers of automobiles, in their desire to put their novel and rapid machines to a test of their capacity, drive such vehicles through the streets with a reckless disregard of the rights of others."
And with these words, the contest between the motorist and traffic law enforcement officials began in earnest. The motorist, sometimes traveling at a speed higher than the law allows while evading detection, and the police, trying to find them. Through the years, technology has entered the game and for every new measure taken by one side the other has found, or tried to find, a counter-measure. Radar has been the preferred device by the police for many years and motorists have responded with a variety of counter-measures.
Take this short test to find out how much you really know about police traffic radar.
1. Aluminum foil strips placed inside the hubcaps will prevent the vehicle from being detected by police radar. True or false?
2. Metal chains hanging from the metal frame of a car will ground the body and prevent the car from being detected by police radar. True or false?
3. The police can use radar to accurately determine your speed when you are on the far side of a hill because the radar beam follows the Earth's terrain. True or false?
4. When a radar traffic unit is calibrated, that means every reading taken by a police officer is correct. True or false?
5. Radar detectors will always provide ample warning to slow down when police traffic radar is nearby. True or false?
6. An FCC radio license is required for anyone that operates traffic radar. True or false?
7. The picture taken by photo radar is absolute evidence you were speeding. True or false?
If you said true to any of the above, read the rest of this article. Every statement is false.
The term "radar" is an acronym, it stands for Radio Detection and Ranging. Radar technology was first developed by the British shortly before World War II. The principles of radar are based on the laws of physics. Despite the efforts of any state legislature to write laws to the contrary, anyone operating radar must have a basic understanding of the applicable physics to operate radar correctly. Without this understanding, a police officer running radar is very likely to write speeding citations that are not deserved.
The National Highway Traffic Safety Administration has published a training program for traffic radar operators. (Basic Training Program in Radar Speed Measurement, U.S. Department of Transportation, National Highway Traffic Safety Administration.)
This manual is the basis for the training and certification programs presented by all the states. Each state may modify the course to comply with and incorporate state laws but the basic material must be presented. In Unit 1 it states, "It is not enough to know how to turn radar on and measure a vehicle's speed."
There is more involved than just pointing a radar gun down the road and writing tickets. Much more.
Wavelength, speed and frequency --
Just as police officer has to know how radar works to prosecute, you have to have a basic understanding to defend a radar speeding ticket. If you don't have a grasp on the physics, then nothing else in this treatise will make sense and you could miss an excellent opportunity to have a citation dismissed for lack of evidence.
A radar unit transmits radio signals. The same kind of radio signal transmitted by any radio station, CB radio, or TV station. Radio signals go out in waves, like the waves on a pond surface that has been disturbed. The waves radiate out in a continuous series, so many per second, and will continue to go on forever unless they are absorbed, reflected or refracted by another object in the path. If reflected, they bounce back in the direction they came from, back to the transmitting unit.
A traffic radar beam may transmit as many as 36 billion waves per second. The waves are continuous as long as the radar is transmitting and will travel on forever unless absorbed, reflected or refracted. Because traffic radar uses very little power, the waves can be absorbed easily by particles in the atmosphere. This limits the operational range of traffic radar.
If the object they bounce off is moving towards or away from the transmitter, then the object's motion changes the signal, the wavelength and frequency are changed. The receiving part of the radar gun detects this change, calculates it and displays the change in miles per hour. Fairly simple.
As stated before, radio signals, or radar signals, go out in waves, a series of peaks and valleys. The distance from the beginning of a peak to the bottom of a wave is one wavelength. A wavelength is a measurable distance. An X band wave measures 1 1/5 inches long while K band has a wavelength of 1/2 inch. Compared to other types of radio transmissions, radar waves are very short.
The number of waves sent out in one second is called the frequency. Frequency is controlled by the transmitting unit. Radar operates in extremely high frequencies, in the microwave or gigahertz band, way above the AM and FM radio bands. Two frequencies assigned to traffic radar are X band and K band. X band radar is assigned 10.525 Ghz. (10,525,000,000 waves per second) and K band operates at 24.15 Ghz. (24,150,000,000 waves per second).
X and K band radars are the ones the motorist is most likely to encounter. The FCC also permits burglar-alarm motion sensors and supermarket door openers to operate in this frequency. X band radar was first commonly used in the 1960's. K-band has been around since the 70's.
When the FCC authorized police use of another microwave band, the Ka-band in 1982 (radar gun makers did not produce the radar guns to use it until 1989), the frequency available for clocking speeds jumped to a wide band, from 34.20 to 35.20 Ghz. In 1992 this was expanded to a bandwidth of 33.40 to 36.00 Ghz. Radar operating in this range is called wide-band radar.
All radio signals travel at one speed, the speed of light, which is 186,000 miles per second. This never changes. If a radar signal is sent out on a certain frequency with a certain wavelength, it will continue on at that frequency and wavelength unless it hits something. If it is reflected by a stationary object, then it will bounce back at the same speed and frequency and the wavelength will be the same. The traffic radar readout will display 0 miles per hour because the object is not moving. But if it is reflected off an object that is moving towards or away from the radar unit, it will come back at the same speed but the frequency and wavelength will change. The readout will indicate the speed the object is moving relative to the receiver in miles per hour.
The receiver on the radar unit measures the difference in the wavelength and frequency received compared to what was sent out. If the moving object is coming towards the radar, then the wavelength will be shorter, it is compressed, and the frequency must be higher, more waves in a given distance. If it is going away, the wavelength will be longer, it extends and the frequency must be lower. The speed of the signal never changes, just the wavelength and frequency. See the diagram on the next page.
The scientific principle on which radar works, as described above, is called the Doppler Principle. It is named after the discoverer Christian Johann Doppler, an Austrian physicist. The Doppler Principle states "When there is relative motion between two objects, one of which is emitting energy in waves, the frequency of the energy wavelength will be changed because of the relative motion." The key words here are "relative motion".
Relative motion is a change in distance between two objects over a period of time. But not all moving objects are moving relative to each other. A group of passengers on a jet plane traveling along at 300 m.p.h. have no relative motion between themselves, they are all moving along together at 300 m.p.h. and the relative distance between them is not changing. But there is relative motion between them and the friends they left behind at the airport. Two cars going along a highway, both at 65 m.p.h., in the same direction, have no relative motion between them. But there is relative motion between them and the police car parked on the side. There is also relative motion between them and the oncoming traffic. It is this motion that radar detects. The relative motion between the radar unit and a target vehicle.
Reflection, refraction and absorption --
Radar depends on a reflected signal. If no signal is reflected, there is nothing for the radar's internal computer to compute. Cars make excellent reflectors. Radar reflects very nicely off metal and hard, opaque plastics. A radar's return signal comes mainly from the body of the car but in the case of those vehicles with fiberglass bodies, it may get a return from the engine. Fiberglass is essentially transparent to radar. Unless, of course, you have a metallic paint.
Radar signals can be absorbed. Trees, bushes, snow, earth, all absorb a radar signal. A radar signal can be refracted. An example of refraction is the multi-colored band of light passing through a crystal prism. The radar signal can enter a prism, bend while passing through and be lost as it disperses. Military jets, such as the F117 Stealth Fighter, use the absorption and refraction concepts to avoid enemy radar. The aircraft body is coated with materials that resist reflecting radar signals. The airplane has few broad, flat, distinctive surfaces to reflect a signal. The aircraft was designed with radar avoidance as the primary goal.
Some auto accessory firms make nose covers and front license plate covers for cars that they claim will prevent traffic radar from receiving a return signal. This is all hype. To effectively prevent your car from reflecting radar signals, you would have to remove all the glass, headlights and turn signals and cover every exposed part with a non-reflective coating. According to my friends in the Defense Department, the coating alone would cost you about $250,000. If you could get it. They do not sell it at your local auto parts store. Don't forget to change the entire body style to present as small a surface as possible front and rear. For considerably less you could cover the entire car, from the ground up, with foam rubber one foot thick. Then you would have a stealthy car. Foam rubber absorbs radar signals.
While a basic knowledge of the physics of radar is necessary to operate it correctly, you cannot use any of this information to fight a traffic ticket. In June 1955, the New Jersey Supreme Court took judicial notice of the Doppler Principle. Every other state quickly followed suit. The courts have decided the Doppler Principle is a scientific fact that you cannot argue about.
The Kentucky Court of Appeals, in the case of Honeycutt v. Commonwealth, ruled a radar operator need not be able to explain the internal workings of a radar unit; that knowledge of the Doppler Principle is irrelevant to radar operation; that the defense cannot question the operator's knowledge of the Doppler Principle or other scientific principles and the operator will not be allowed to describe or explain these principles in court.
Since you cannot defend a traffic ticket based on the physics, or challenge the operator on how the radar unit works, what's left? Plenty. Most people drive a car but not many know how it works, let alone the physics involved. There are rules in driving they obey even if they do not know exactly why. They know they have to step on the brake pedal to slow down but do not know how the brakes work. The same is true with radar operators. Some know they have to do certain things, but do not know why. Because they do not know the "why," they tend to bend the rules for convenience or forget some of the procedures. Therein lies the defense.
Calibration --
Just because a radar gun is calibrated does not mean it is being used properly. Calibration is a check of the internal functioning of the unit. There are two types of calibration. The first calibration test is the internal circuit check. The operator presses a test button and should get speed readings, set by the manufacturer, that indicates the computer is functioning correctly. If the readings are correct, proceed to the next test.
The second test uses tuning forks. Tuning forks vibrate at specified pitches. The back and forth movement of the forks corresponds to a speed, the sound from the tuning forks has nothing to do with the calibration. A tuning fork is struck against a hard surface and then held in front of the radar gun. The speed displayed on the radar gun must match the speed stamped on the tuning fork +/- 1 mile per hour. Two tuning forks are used, one reflecting a low speed, about 35 m.p.h., and the other a speed around 65 m.p.h. If the unit does not pass these tests, it must be repaired by the manufacturer. Judicial notice was taken of the tuning fork method of calibration by the Connecticut Supreme Court in the case of State v. Tomanelli.
When a radar gun is calibrated, or more precisely tested for accuracy, is up to the individual police department. Some require it be tested at the beginning and end of each shift, others after every citation is issued. Still others leave it to the officer's discretion. As long as the officer can testify that he tested the unit within a reasonable time before and after a citation is issued, the courts will accept that it was working correctly when the citation was issued.
An officer can be challenged on the performance of the calibration test. Every manufacturer of traffic radar provides two tuning forks with the unit. The tuning forks have serial numbers stamped on them. Those supplied with a particular radar gun can only be used with that unit, they cannot be used to calibrate any other radar gun. Performing just the internal circuit test is not sufficient. An external test with tuning forks, conducted strictly in accordance with the manufacturer's detailed instructions, must be accomplished. To challenge an officer on the test procedures, a copy of the operating manual for the radar gun used must be obtained as there are minor differences between makes and models of radar guns.
If the officer did not have the operator's manual with him when he conducted the test, and he cannot explain the exact procedure for performing the calibration test without it, then the accuracy of any reading is questionable. It is rare for an officer to have the operator's manual with him when he conducts the calibration test. Usually they are stored back at the department if one is kept on file at all. If the wrong tuning forks were used, the readings are equally questionable regardless of the calibration test results.
Targeting vehicles --
This is the area where most citations can be challenged. A radar beam cannot be seen so how is the officer to know which vehicle he is tracking? How is he to know he is not getting a false return?
Police traffic radar does not operate like airport radar. There is no screen showing the positions of vehicles, it does not rotate or sweep an area. There is no screen showing a number of blips with data beside each one. It is single point radar that only displays a speed reading, a number, from a target within a fairly narrow area.
The radar beam goes out in a fan pattern. The further away from the transmitter the radar beam travels, the wider it gets. Generally, radar guns send out a beam at an initial angle of between 11 and 18 degrees. At 12 degrees, a K band beam becomes 420 feet wide at 2000 feet away. Any vehicle moving within the beam can reflect the signal. The radar gun can only display one speed at a time and does not show the operator which vehicle is being tracked. Traffic radar, unlike airport radar, does not give the location of the target, just a speed.
To help ascertain a good track, traffic radar provides audio doppler. This is a whistling sound or tone. The pitch of the tone corresponds with the speed calculated by the radar receiver. The higher the pitch of the tone, the higher the speed. If the sound is clear and steady, then the radar unit has a good track and is receiving a strong return signal. If the sound is fuzzy, noisy or broken, then the track is not strong and the displayed speed, if any, is questionable. Some officers turn the audio doppler tone volume down so low it cannot be heard. After a few hours this noise can become annoying so they just turn it off. An audio doppler tone is required for a traffic radar track. Having just the visual display is not sufficient.
Outside interference can produce false radar readings. Outdoor moving signs, motion detectors on burglar alarms, airport radar, radio transmitters, telephone lines moving in the wind, can all produce false, momentary, readings but they will not send back a clear steady tone. The interpretation of the audio doppler is required to confirm the speed displayed on the radar unit.
A maker of radar detectors once ran an ad that pictured a radar gun aimed at a group of trees and the unit was displaying a speed of 65 m.p.h. The not-too-subtle suggestion was radar makes mistakes and you can protect yourself from being invited to appear in court by buying one of his radar detectors. What the advertiser did not show in the picture was the hand held radio being keyed right next to the radar receiver. The radar receiver was picking up interference from the radio transmitter and displaying the interference as speed. It was not producing an acceptable audio tone.
One of the first things shown to a radar operator in training is the 35 m.p.h. defroster. Radar units, when mounted on the dash of a patrol car, will pick up the movement of a windshield defroster fan running on high and display a speed. The audio tone will be fuzzy and broken. Solid returns will override this interference, a clear audio tone will be heard.
For the officer to confirm he has a good radar track, a strong, clear, steady tone is required. If the tone changes in pitch, then the displayed speed reading must also change accordingly. This is something that takes practice but a competent operator can estimate the speed of a tracked vehicle just by the tone. Fortunately, this is not enough to get a conviction.
Now that we know how to determine a false signal from a good return using the audio doppler, the only question remaining is which vehicle is being tracked? Traffic radar only displays numerical speed readings, not which vehicle is being tracked.
For the officer to issue a citation, he has to see the vehicle speeding. He must make a visual estimate of the car's speed in addition to the speed displayed on the radar gun and the audio tone. They all have to match. Some police officers are very good at estimating speeds and others not so good. If you go to court, they will all say they estimated your speed at the same speed displayed on the radar unit. It would be very difficult to challenge someone on their ability to visually estimate vehicle speeds. Most state certification courses require at least 20 hours of hands on training during which the trainee is required to accurately estimate vehicle speeds before being shown the radar reading.
When the officer makes the visual speed estimate, he also has to make sure the vehicle he is observing is within the radar's operational beam, that there is no interference that would produce a false return in the area and that the vehicle is out front and by itself. Large vehicles and faster vehicles return stronger signals than smaller or slower vehicles. If any other cars or trucks are in the immediate vicinity of the car the officer visually estimates to be speeding, then an argument can be made that he cannot be certain which vehicle was being tracked by the radar. Radar cannot pick out a single vehicle in a tight group.
Shadowing is an aspect that can result in undeserved citations. Large vehicles will return a stronger radar signal than small vehicles. Tractor trailer rigs, with their large, flat forward surfaces send back very strong signals. A car, in front, behind or to the side of a tractor trailer rig can be moving along faster than the truck but will not be detected by a radar unit until it gets well in front of the truck. On the other hand, a speeding truck coming up from behind a slower moving car will cause a strong signal to be returned, overshadowing the car's speed which could be much lower. Even though the car is out front, the truck's larger surface area and speed returns a stronger signal than is reflected from the car. The radar operator has to be aware of all traffic in the immediate vicinity of the targeted vehicle. Sudden shifts or changes in the audio doppler tone indicates the radar unit is processing numerous signals. The return of numerous short, differentiated signals in the audio tone makes the radar readings questionable.
Stationary and Moving radar --
Traffic radar works in two modes, stationary, when the radar unit is not moving, and moving mode, both the radar unit and the target vehicle are moving. It is almost impossible for stationary radar to provide a strong audio doppler tone in error. Of the two modes, stationary radar is the easiest to use. Moving mode is most often used by highway patrols on high speed roads and requires greater care to target the right vehicle. If a radar gun is set to the stationary mode and the patrol vehicle is moving, the radar will pick up the relative motion of the car over the earth and display the patrol vehicle's speed. Should another vehicle approach, it will calculate the closing speed between the two cars and display that. For instance, if the patrol vehicle is going along at 30 m.p.h., and another car is approaching from ahead at 40 m.p.h., then the radar display will read 70 m.p.h. (30 + 40 = 70).
The mode of most radar guns can be changed by the operator just by pressing a button. The radar guns have indicator lights to show which mode they are in. In stationary mode, only one speed, a target speed is displayed, the patrol speed display window will always be blank.
Both stationary and moving mode radar sends out one signal but moving radar reads two returns. One is called the low doppler shift. The low doppler shift is a return from the surrounding terrain, the speed the patrol car is moving relative to the earth. The other return is the high doppler shift, the speed of a target vehicle.
The radar computer reads the low doppler shift and then reads the high doppler shift. The high doppler shift is the relative closing speed between the two cars. If the patrol is going along at 55 m.p.h. and the approaching car is traveling at 75 m.p.h., then the closing speed is 130 m.p.h. The radar's computer subtracts the low doppler shift from the high doppler shift and displays this as the approaching vehicle speed (130 - 55 = 75). So far, so good.
There is a unique possibility for error when using moving radar. The audio doppler tone will only reflect the approaching vehicle's computed speed, not the patrol vehicle speed. The patrol speed is displayed but without a tone. If for any reason, such as outside interference or equipment failure, the patrol speed reading on the radar is lower than the actual patrol speed, then the residual speed computed from the closing rate will be given to the approaching vehicle.
For example, a patrol car is traveling along at 55 m.p.h. but the low doppler shift on the radar unit is reading 25 m.p.h. as a patrol speed because there is a large truck going 30 m.p.h. in front of the patrol car. The back end of the truck is reflecting a strong low doppler shift. The radar unit is reading the closing speed of the patrol car on the truck going in the same direction in front. (55 - 30 = 25). From the opposite direction comes a car, traveling at 60 m.p.h. Since the radar unit "thinks" it is moving over the earth at 25 m.p.h., and is closing on the approaching car at 115 m.p.h., then it shows the speed of the approaching vehicle as 90 m.p.h. (115 - 25 = 90). This is 30 m.p.h. over the actual speed of the target vehicle.
The only way for the officer to avoid writing an undeserved citation in this situation is to check the radar displayed patrol speed against the patrol car's speedometer. They must match whenever moving mode radar is being used.
Another phenomena associated with moving radar is batching. Batching occurs when the patrol car speeds up or slows down suddenly. The radar unit cannot keep up with the sudden changes in speed using the low doppler shift. This will cause momentary speed readings inconsistent with the vehicle's actual speed. Radar operators are taught to maintain roughly even speeds when running moving radar. Sudden shifts in speed from a vehicle being tracked on the high doppler shift will not cause this type of error.
Some radar units have two transmitter heads, one pointing to the front and one to the rear. Either one can be operated in a stationary or moving mode as explained earlier. The one in the front operates in the standard moving radar mode, it calculates the closing speed of the two vehicles and subtracts the patrol vehicle speed. The one in the rear does it a little differently. A car, coming up behind a patrol car, must be closing on the patrol, that is going faster. As it enters the radar's operational beam, the radar's computer uses readings from both transmitter heads to determine the target speed. The front transmitter is used to determine the patrol vehicle speed while the rear transmitter reads the closing speed of the target vehicle behind.
If a patrol vehicle is traveling at 30 m.p.h., and is being approached from behind by another car going 60 m.p.h., then the car from behind is closing on the patrol car at 30 m.p.h. The radar's computer add the two speeds and displays the result as the speed of the closing vehicle (30 + 30 = 60). It is difficult to estimate the speed of a car approaching from the rear using your rear-view mirrors but this must be done for the officer to issue a citation in this scenario.
The mode of the radar, moving checking vehicles coming from behind, moving checking vehicles approaching from the front or stationary is selected by the radar operator using a series of buttons on the radar unit. The officer must know which mode the radar is in at all times.
Radar, due to the wide fan pattern of the radar beam, is not lane selective on multi-lane roads. The operator cannot pick out a target vehicle when there is another vehicle going in the same direction in the immediate vicinity of the target. To a certain extent, two vehicles going in opposite directions can also affect the returns. If the operator claims his radar is lane selective, then he is not competent to operate traffic radar and any citations he issues are questionable.
When you are stopped --
When you first see those pretty lights in your rear-view mirror, turn on your four-way flashers. This lets the officer know you see him and will stop at the first safe place. This shows the officer you are cooperative and they like that. Slow down and pull well off to the side of the road, on the right if practical. Do not slam on the brakes suddenly as the officer does not want to rear-end your car.
Once you have pulled over, turn off the engine, put it in park and get your driver's license, registration and insurance papers out and ready to hand the officer. If everything is in order, current address on the license and registration and the insurance is valid, things will go much smoother.
If you have a legitimate emergency, tell the officer at once. He will either escort you to where you need to be or call an ambulance. Don't try to lie about this as the officer has all the time necessary to check it out. If he finds you were trying to fool him, the consequences can be dire. Police officer's do not like being lied to by speeding motorists.
Stay in your car unless the officer instructs you to get out. If you have passengers, they must stay in their seats unless told to get out by the officer. Follow directions, do not argue, get angry or feign a lack of understanding. Don't get excited. If you are not sure what the officer said, calmly and clearly ask for clarification.
If the officer approaches your car while you are still in it, keep your eyes forward and your hands high on the steering wheel where he can see them. He is more afraid of you at this point than you are of him. Do not reach for anything inside the car unless the officer asks you. A suspect, which is what you are at this point, reaching for something unexpectedly makes them very nervous. Passengers should remain still with their hands in plain view. A few yes, sirs and no, sirs will not hurt but don't over do it.
Answer questions of where you were coming from or going to clearly and calmly. If asked if you knew how fast you were going, and you know, tell him. If you don't know, say so. When an officer is asking what appears to be irrelevant questions like this, he is fishing for additional information. He is listening, looking and smelling for evidence of intoxication or other criminal activities. He is on the job, working, and not exchanging pleasantries or trying to win friends. If he finds something, the last thing you need to worry about is a speeding citation.
Don't ask for his name or badge number, it will be on the citation should you get one. Don't threaten to have his badge, flirt with him, offer a bribe, call his boss, your brother the mayor or anything else of this ilk. It does not work and could cost you later in court. On the issue of offering a bribe, attaching a $100 bill to your driver's license with a paper clip and then denying knowing it was there is a very bad idea. No police officer is going to let you threaten his career like this. You could end up in jail facing felony charges. Never, under any circumstances, argue with a patrol officer on the side of the road. You will lose this argument and at the very least give the officer even more ammunition to use against you in court. Avoid acknowledging you were speeding and do not offer some lame excuse, they have heard them all. Accept the citation graciously and drive off carefully. It is not a good idea to inform the officer that you are an attorney. It does not matter if your area of practice is real estate, personal injury, maritime law or criminal defense. Some police officers have an outright hatred for the profession. Those that consider attorneys "the other side" will take great personal pleasure in writing a citation to you. And they will show up for court. Basically, to avoid getting a citation when you have been stopped, cooperate and be pleasant. The officer may be having a bad day but more likely, he is just doing his job as he sees fit. At least make this traffic stop as clean, quick and unmemorable as possible. You just might get out of a ticket because you were nice.
Be very careful of what you say and do during a traffic stop. Many police cars are now equipped with video cameras that come on automatically when the overhead lights are activated. The police officer may also have a microphone on his uniform that picks up the entire conversation. This is all recorded on a video tape in the trunk of the patrol car. Should an officer become abusive or rude, immediately file a formal complaint with his department so any video tape can be recovered by his superiors.
The officer is not required to, and probably could not in any event, show you any readings that were made with the radar gun when you were clocked. First, there is nothing to see. A radar "lock" does not mean he froze a reading on the display. It means he achieved a good track and saw the readings on the display. They will change as the target speed changes. It is his interpretation of the readings that matters. You could look at the radar gun but the display will be showing any targets currently in range or nothing at all. It does not record past displays.
Many states have laws on the books that prohibit the use of any type of readout locking device or automatic locking system that freezes the display with the highest reading when speeds above a certain level are indicated. Only the oldest radar units currently in service have these locks installed and manufacturers disable them when the units come in for repair.
In court --
Should you decide to contest a speeding citation, you have to go to court. If the officer does not show up, you win by default. If the officer does show up, have your defense ready.
One defense tactic that sometimes works is to obtain as many delays in your court appearance as possible. The more time that passes between the day you were issued a citation and the day the officer actually has to show up for court, the fainter his memory of the traffic stop. Since many officers issue hundreds of citations in a single month, there is a good possibility he will not remember your stop at all.
The court will give greater credence to the officer in a simple contest of he says you were speeding and you say you were not. You will lose.
You can and should question the radar operator on the traffic and weather conditions at the time the stop was made. Ask about terrain, bushes, trees, obscured speed limit signs, other vehicles, pedestrians and bicycles that were in the area. If there were any overhead wires and it was windy, it is possible the radar gun picked up the movement of the overhead wires whipping in the wind. Ask about businesses in the area that may have burglar alarms with microwave motion sensors. This could affect the reliability of the radar reading.
Make the officer dig deep in his memory for details. This is your opportunity to put him on the defensive and go fishing for information just like he did on the side of the road.
Some operators have just enough knowledge of traffic radar to impress the unknowing with their direct testimony. Call the bluff. Have all your background materials at hand and be thoroughly familiar with them. Be ready to cross-examine the officer on qualifications and procedures to the tiniest detail. A collection of small errors in procedure can add up to a very impressive list and make the radar readings questionable. The police have very specific procedures that must be followed when running radar. These procedures should be contained in standard operating instructions maintained by the department. Copies of operating manuals should also be on file with the department for every make and model of radar in use. Most of the standard operating instructions state the police officer must satisfy certain criteria before issuing a citation based on a radar reading. The first item is certification as a radar operator by the state. The officer should be able to produce a certificate indicating he completed a radar operator's course. Some states also require refresher training at specific intervals.
The second item is the testing and calibration of the radar unit. When was it tested, who tested it and what was the procedure? Did the procedure exactly match the one in the manufacturer's manual? Does the officer know the correct procedure? Were the correct tuning forks used? Check to make sure the tuning forks used were the ones issued with the radar gun by obtaining the serial numbers from the tuning forks and the serial number from the radar unit. Then contact the radar manufacturer to determine if these are the right tuning forks for that particular radar unit.
Did the officer make a visual speed estimate? Was the targeted vehicle out front and by itself? Was it well separated from any other vehicles? Was there an audio doppler tone consistent with the speed displayed and his visual estimate? For judicial notes on these requirements, see Honeycutt v. Commonwealth.
An easy way to determine if an officer knows his basic radar procedure is to ask, "Did you complete a tracking history checklist before issuing this citation?" If the officer does not even know what it is, he needs to go back to radar school. The tracking history checklist is not written down but is a standardized method to eliminate most questionable radar readings. The checklist is detailed in the N.H.T.S.A. radar operator's training manual.
For stationary radar the checklist is:
1. Was a visual speed estimate made of the suspect vehicle?
2. Was the speed reading displayed consistent with the visual estimate?
3. Did the audio doppler tone match the speed reading and visual estimate?
4. Was the suspect vehicle out front and by itself when the speed readings were made?
For moving radar operations, add
5. Did the radar displayed patrol speed match the vehicle's speedometer reading at the time the suspect vehicle was tracked?
The basic premise is the radar unit is a tool, as smart as a hammer. It cannot testify for itself. Traffic radar is only as good as the operator and the operator must be able to testify as to the accuracy of the readings and the accuracy of the unit at the time the violation was observed.
It is on this point that photo radar has come under fire. A photograph alone cannot show what outside influences were affecting a radar beam at the time the photo was taken. It can only show vehicles within the camera's range. What if there is more than one car within the radar's range? Which car was speeding and which is cited? There is no record of the audio doppler tone which is essential to radar operation. There is no person to testify as to the accuracy of the unit at the time the photo was taken even though the camera is connected to the radar's computer. Finally, there is no person to testify that they saw the pictured vehicle speeding.
Laser timing devices and airborne officers have one thing in common when it comes to going to court. Two officers have to show up. As most laser units are run by one officer and the actual citation written by the other, both have to appear to testify to their respective contributions to the citation. Same thing goes for police officers timing cars from aircraft using a stop watch. He sees the violation and informs another officer on the ground who issues the ticket.
Radar detectors --
Recall that when a radar beam is transmitted, it goes out in a fan pattern and will go on forever unless it hits something. The operational range of a radar beam is about one-half mile. Radar receivers require a fairly strong signal to produce a reading. Radar detectors will pick up a very weak signal, far away from the radar gun, parts that are too faint for the radar receiver to analyze. Basically, a radar detector is an extremely sensitive radar receiver. When it receives a radar signal, it buzzes or lights up to alert the driver. The driver is supposed to slow down in time to avoid a citation. Great in theory, lousy in reality.
The first problem with radar detectors is sensitivity. They tend to give out false warnings. Radio signals can be sent out from burglar alarm motion detectors, radio station transmitters, and even automatic door openers. They all use high frequency radio to detect motion and some infringe into the radar bands. Radar detectors, being necessarily sensitive to work at all, often give out false warnings because of these types of transmitters.
With the production of Ka band radar guns, operating within a very wide band, the work of radar detectors became much more difficult. To provide a warning, they have to search a very large area of the radar frequency spectrum. This slows their response time down as they try to tune out possibly false signals. To add to the confusion, radar gun makers now have a large area in which to tune their radar guns.
All radar units have a "hold transmission" switch. Sometimes this is called "instant on radar" or "pulsed radar". Both terms are misnomers. The unit is powered up but no signal is being sent out. As long as no signal is going out, there is nothing for the radar detector to detect. An officer, sitting on the side of a road, simply waits until he has a vehicle in sight and well within his radar operational range. If you are not paying attention, you won't see him. Then he hits the switch and starts getting speed readings in milliseconds.
Let's assume you are going along at 75 m.p.h. in a 55 m.p.h. zone. The police have radar set-up but with the "hold transmission" button set. No signal is going out, your radar detector is quiet. The radar operator sees you in his range, visually estimates your speed and turns on the radar gun. You radar detector starts screaming wildly and you hit the brakes. Too late. The officer got your highest speed reading as soon as he turned on the radar gun. Then he tracked your speed down from 75 to a more sedate 50, all the while watching the nose of your car dive as it decelerated. While he was watching you madly trying to slow down, he was getting speed readings equal to your deceleration. Just a little more confirmation that he has the right car with the very high initial speed reading. Say hello to the nice police officer.
Another way the police thwart radar detectors is to use terrain to their advantage. If a radar unit is set up on the far side of a hill, facing up the hill, the extraneous radar signal, the part radar detectors depend on to give early warnings, will be absorbed by the earth or head off into space. Once your car crests the hill approaching the radar unit, you are being tracked. Now your radar detector will start sounding off. About 30 seconds too late.
Some radar detectors boast of the ability to locate radar to the side. This is of absolutely no value. Radar only detects relative motion, either coming in or going away. If a car is going along perpendicular to a radar unit, then there is very little relative movement. The only readings the radar would display would be extremely low. This is called Cosine Error, a function of geometry. For the most accurate readings, radar must be within 10 degrees of the travel path of the target vehicle. The farther off to the side of the road, the greater the angle. The greater the angle, the more the closing speed decreases and a radar reading below the target's true speed is presented in the display. Cosine Error always works in the motorist's favor.
Never even mention Cosine Error in court. It only works against the defense by suggesting your actual speed was higher than the radar's display.
If you like to drive fast and purchased a radar detector to give you ample warning of the presence of traffic radar, then be prepared to pay extra for fines and increased insurance rates. You are going to get caught. The author has yet to see any radar detector manufacturer provide a guarantee that offers to pay the fine of anyone caught speeding on radar while using one of these devices. They cannot get around the fact that traffic radar operates under some very basic laws of physics and this is what governs their actual performance. More than one police officer has found amusement in annoying drivers with radar detectors. Many detectors mount high on the windshield with small flashing lights. These lights can be seen out the back window at night. Imagine your frustration when your radar detector keeps going off intermittently with no police in sight. What's going on? Look in your rear-view mirror and see if there is a patrol car back there. The officer just might be following you while turning his radar on and off watching the lights through your rear window.
Radar detectors are illegal to operate in some states. There is a "radar detector detector" in use by the police in those states. Radar detector detectors work because all electronic devices emit radio frequencies when in use. Radar detector detectors scan for emissions in certain bands from these devices. There is probably a "radar detector detector detector" on the market. A few other ways people have tried to defeat radar includes hanging chains from the car's body so they drag on the ground. The theory is this grounds out the car and the radar signals are directed to the ground and not back towards the radar unit. This does not work. Radar does not "energize" a car body, it is merely reflected like light from a mirror.
Placing foil in the hubcaps will do nothing more than cause the wheels to go out of balance and give you a rough ride. Frantically honking the horn has been put forth as a means to defeat radar. This is done under the mistaken impression that the rapid oscillation of the horn's speaker will interfere with the radar signal. No. Not even close. The oscillation is so small, and the horn so buried under sheet metal, it has absolutely no affect. Except to get the attention of the police officer as you go by.
Radar jammers are sometimes advertised. These devices are sold in kit form, not as complete, ready-to-install units and for a very good reason. They are illegal to sell, own or operate without a license from the Federal Communications Commission because they are radio transmitters. It's a misdemeanor. Radar manufacturers have licenses for the units they sell, individual licenses are not required for each operator. The FCC will not issue you a license for a traffic radar jammer.
Radar jammers are supposed to transmit a signal on the same frequency and wavelength as the radar gun pointing at you. The signal sent out by the jammer either causes a blank display on the police unit or a lower speed reading. Of course, this assumes your jammer matches the exact frequency of the police unit and with all the radar bands now available, this would be a neat trick.
There are often repeated stories of someone having built a traffic radar jammer that will cause a radar gun to instantly burn out. Pure fairy tale. The signal strength required to cause a circuit burn out from an outside transmission would be so strong everything within a 5 mile radius of the jammer would begin to glow. No automotive electrical system could possibly produce this much power.
Some police traffic radar units even have a jamming indicator/locator so they can track you down, confiscate the jammer and take the matter to federal court. This can be much more serious, and costly, than a speeding ticket. Should they decide not to prosecute, do you really think they are going to give that expensive piece of contraband back to you?
A few states have specifically outlawed the possession of radar jammers in vehicles. Tests conducted by various auto enthusiast magazines have consistently shown radar jammers do not provide the protection from police radar they claim. They are all made by very small electronics firms, hobbyists really, usually in a backyard garage. To top it all off, they are expensive. Sometimes as much as $2000 for a basic kit with a few critical parts missing that you have to track down and install yourself.
By not providing a complete unit, the manufacturer can skirt federal laws regarding the licensing of radio transmitters.
Laser radar --
Laser timing devices have become the latest addition to the traffic speed enforcement arsenal. "Laser radar" is a misnomer as there is no radar in the laser devices. Laser timing devices, also known as Lidar, use light instead of radio signals. The basis is a little different from radar in that lasers send out pulses of light and measures the time it takes for the reflection to return.
Laser timing devices, unlike radar, have not received judicial notice and it is possible to challenge laser devices on operating principles. This means the state would have to bring in experts to support their case. Be warned, however, that any discussion of the physics of lasers and how they work is going to be extremely technical with very intense math. Since lasers are still fairly new in traffic enforcement, there are major differences in the way each unit works.
Lidar has a very narrow beam compared to radar. At 1000 feet, the beam is less than four feet wide. Lidar can pick out a single vehicle from a group of cars as long as there are no vehicles in a straight line between the Lidar transmitter and the reflecting surface. To run Lidar, the operator must have a visual line of sight to the targeted vehicle. Any reflective surface on the target vehicle is sufficient for a Lidar return although operators are instructed to aim for the front license plate.
At present, Lidar is restricted to the stationary mode, it cannot be run from a moving vehicle. It is typically used in the "wolf pack" scenario where one officer runs the Lidar while several others up the road pull over vehicles he has identified. The identification process includes make, color, type and sometimes model of the targeted vehicle. Most often, the officer running the Lidar can see which vehicles his cohorts are pulling over and provides confirmation via radio when he sees they have the right one.
Lidar is not subject to radio interference because it does not use radio signals. It is subject to failures in inclement weather but very few departments would risk destroying an expensive laser unit in the rain. Laser detectors are on the market but they have no value in reality. Laser beams are detectable, in the same way the sound of a guillotine is detectable to the condemned -- he hears it just before his head is lopped off. Lasers do not emit a broad, fan type beam over great distances. The laser is not turned on until the operator has a target vehicle in sight so there is nothing for a laser detector to detect until it is too late. Lidar, like radar, gives readings instantly and any sudden deceleration simply adds to the operator's tracking history checklist.
Car and Driver Magazine reported in their November 1993 issue that the use of powerful lights may reduce -- and sometimes defeat -- lidar's effectiveness and buy time for drivers to slow down after their lidar detectors go off. Every state has laws on how bright and how many lights you can have on the front of your car. What's allowed, typically no more than 300 candlepower total, is far below that required to defeat police lasers.
Lasers could be jammed if your car was equipped with extremely powerful lights covered with an infrared band filter. All lights produce some infrared light, but this filter blocks all light except that in the 904 nanometer range, which is that of police laser. The FCC does not govern this part of the spectrum either, so laser jammers are legal from this aspect. By sending out an infrared light similar to that of the laser gun, the receiving diode in the laser gun can't make a determination between reflected laser gun light and "jamming" light from the car. The laser gun would not get a reading. This would be a practical solution if the power requirements for lights bright enough to have any effect would not burn out your car's electrical system.
Covering the headlights with the filter has several problems -- it is illegal because by law you cannot drive with the headlights covered, standard headlights will not produce nearly a strong enough jamming light and the filters just might melt from the heat of the lamps. Of course, you could always tow around a small diesel generator to power a few 1000 watt lamps with the appropriate heat shields and filters.
A car can be made to be less visible, but not invisible, to lasers. Cover all the reflective surfaces, headlights, taillights, windows and chrome, with light refracting covers and paint the entire body with flat, not glossy, black paint. Do not apply wax. If you have been clocked with a laser, defend on operator training, qualification, vehicle identification and the tracking history checklist.
There are two other ways commonly used to detect speeding vehicles; airborne officers and pacing. Pacing requires the patrol officer to get behind a car and travel along with it for a sufficient distance to determine cruising speed. Police vehicles should have calibrated speedometers. Just because the auto maker put a placard on the dash saying the speedometer was calibrated does not mean it will remain that way forever. It is a mechanical device subject to wear and tear. Speedometers need to be calibrated regularly.
It is not hard to calibrate a speedometer, a radar unit in stationary mode can be used. A card indicating when the speedometer was calibrated, who did it and how it was done should be in the patrol car at all times. Any differences between the speedometer speed indications and the calibration device speed readings should be noted in not more than 10 m.p.h. increments. A speedometer can be off by several miles per hour and still be accurate as long as this difference is taken into account.
Police vehicles are subject to hard use, sudden accelerations and decelerations. A speedometer is controlled by a series of small cogs in the speedometer head, the part you see on the dash, connected by a cable to the transmission. Any wear or damage to the cogs or cable can put the speedometer off true. Changes in tire or wheel rim size from the original manufacturer's specifications can also cause a change in accuracy.
When in court, if you have been paced, ask the officer when the speedometer was last calibrated, who did it, and what was the recorded error ratio? How many miles, weeks, months or years have passed since it was last calibrated? If more than 90 days or 10,000 miles have passed between the last test and the day the citation was issued, then the accuracy is questionable. Check the department's standard operating procedures to see if they have a set schedule for calibration testing and if it was complied with. Ask to see the calibration records.
To achieve a good speed reading while pacing, a steady speed must be achieved for some distance. Sudden bursts of speed can cause speedometers to show a momentary high speed that does not accurately reflect the actual speed achieved. A pacing distance of 1/10th mile at a relatively steady speed is generally considered sufficient. How far and for how long did the officer pace you? Did he have you in sight the entire time? Was he able to maintain a constant distance between the vehicles during the pacing? What were the traffic conditions at the time? Were there any other cars similar to yours in the immediate vicinity?
Airborne officers watch traffic from a light aircraft flying along a highway. Painted on the road are white bars, ground markers, spaced at specific distances. The officer in the aircraft starts a stopwatch when a car crosses the first of a series of bars then stops it when the same car crosses the next in the series.
A quick check of a timing sheet shows that if it took a car 10 seconds to travel the one-quarter mile between the two bars, then it is traveling at 90 m.p.h. He radios to another officer on the ground some distance ahead of the offending vehicle and then watches to make sure he stops the right one.
The police tend to calibrate those stopwatches regularly. If you go to court to challenge this type of ticket, the prosecution must present both officers to testify.
One other type of timing device in very limited use is Vascar. Vascar is a trade name for a simple, visual, stopwatch arrangement that is entirely dependent unpon the officer's observations. The officer starts a stop watch when a vehicle passes a reference point and stops it when the vehicle reaches another reference point. The time it takes to pass between the two points is used to calculate your speed.
There are even more timing devices in use including electric eyes or air hoses spaced across a road. Both of these arrangements are connected to a timer that measures the time it takes a car to break two sequential beams or hoses. They are in extremely limited use. How to defend against a ticket received in this situation would depend upon the device.
Quotas and speed traps --
Just because you were caught speeding with radar does not mean you were caught in a speed trap. To entrap someone, some kind of bait must be set or something to entice the person to do something illegal that they would not have otherwise done. A classic speed trap involves the removal of speed limit signs along a stretch of road where the speed limit has just dropped. Since a driver did not see a speed reduction sign, they continue on at highway speed. Somewhere in this area is a patrol with radar, a ticket book and very fast pen. Once a number of citations are issued, the signs are put back up. Variations on this scheme involve defacing, obscuring or in some cases temporarily changing the signs.
Speed traps have been used by less than scrupulous politicians as a means to raise money for local city coffers. Citations issued by state highway patrols must be written against state statutes. The states assign very little of the citation fine, usually one dollar, to the enforcement agency that wrote the citation. The rest is doled out in percentages to a broad range of government service providers, almost none of which have any connection to law enforcement. Small towns, using local ordinances to write the citations against instead of the state statutes, can receive the lion's share of the fine. This is not a common practice but should you get caught in one just pay the fine. The local judge will be in on the game and will have no tolerance for your cross-examination of the officer that wrote the citation.
It may feel good to give a parting remark to an officer that just wrote you a ticket about him meeting his quota. Reality check. Police do not have ticket quotas. At least, not in the literal sense. A police officer is an employee performing a job and, like any other job, he has to meet certain performance goals to keep his job or get promoted.
Larger departments do not track who wrote how many tickets in any given time frame. They do track how many public contacts the patrol has made during a shift. They do this with the dispatcher's log. Every traffic stop, or any other contact for that matter, is called in via radio. A supervisor can check to see that his patrolmen are making contacts and not out there sleeping through the shift. Traffic stops are just one part of a police function. Traffic officers also must handle more mundane things like truck inspections and accidents.
A group of patrol officers all working in one area do not constitute a speed trap. Intense local enforcement can be ordered because of a real or perceived problem with speeding cars in a certain area. The intense enforcement is to remind all drivers, not just those that are stopped, of the presence of the enforcement community. A group of patrols working like this are called wolf packs.
Summary --
Police traffic radar enforcement is not perfect. It was invented by humans and is, for the most part, operated by humans. Always challenge the operator's qualifications, training and procedures.
Laser devices are extremely accurate but their use is limited by current technology and cost. Other forms of detecting speeding vehicles are simple and have been around since cars first went on the road but can be defended if counsel has the right information at hand.
There are other aspects of traffic radar operation that will result in lower than actual speed readings (Cosine Error) but this is not a matter of concern to the motorist. It is addressed extensively in the radar operator's courses.
To quote the N.H.T.S.A. radar operator's training manual:
Statement of Overall Goal -
| Doppler effect |
What kind of rock is formed as a result of heat or pressure? | How Speed Trap Radar Works
Simplified for the Layman
Picture the radar's beam as very much like a searchlight. It spreads out from the source and is easily reflected, a feature that light shares with microwave radiation. Metal objects (cars, signs, bridges) make excellent radar reflectors, sending microwaves around at odd angles. However, microwaves are invisible. They are not invisible to a radio frequency receiver though, and radar is nothing more than a radio transmitter and receiver designed for those frequencies. Radar works on the "Doppler shift" principle. An example of this happens at railroad crossings. When you're stopped at the crossing, the approaching train's whistle changes pitch after it passes you. It goes from high to low. That's an example of a Doppler shift. A radar unit measures the frequency between the sent and reflected (received) signal. Since the frequency of the sent signal is known, it makes it's determinations based on that. If the reflected frequency is higher, the target is moving closer. If the reflected frequency is lower, it's moving away.
Radar is much like a flashlight; there's a limit to how much area the flashlight can illuminate. Naturally, the greater the power of the flashlight, the more light it puts out. The same holds true for radar units.
Traffic radar's low power limits its ability to detect vehicles far away. As with flashlights, the farther the microwaves have to travel to the target to be reflected, the farther the return trip is and the weaker the signal is. If an officer zaps you with radar while you're still a mile away, that radar signal has to travel two miles since it needs to return to the radar gun to be of any value. If the signal is weak, no speed is recorded. You're out of range.
Radar's effectiveness depends on two things: the power of the transmitted signal, and the reflectivity of the target. The amount of power is determined by the radar designers, who must keep in mind municipal budgets (more power = higher cost) and the typical police vehicle's electrical capacity. As far as you're concerned while you're on the road, neither of these two are variables. However, the reflectivity of the target is a variable.
For vehicles, radar reflectivity is mostly an issue of size and shape. The larger you are, the easier it is for radar to pick up and bounce off of you. A typical over-the-road semi is a wonderful radar reflector; It’s huge and the surfaces are primarily flat. However, a car is smaller and the sheet metal is generally not flat. This reduces the "visibility" of the car to the radar signals.
Types Of Police Radar
All traffic radar operates on the same principles we've outlined previously. However, there are different kinds of radars, just like there are different size flashlight batteries. Each has a particular use:
Stationary radar is the archetypical "radar gun" that everyone talks about although mobile radars can also be used in the stationary mode. Use of these radars is popular with motorcycle police, where two-piece radars are more convenient. Hand-held radars are also used to detect how fast a pitcher is throwing a baseball. However, due to the health problems associated with microwave radiation, some states (such as Connecticut) have outlawed some types of radar to protect the health of the officers operating them. This is very similar to the x-ray technician at your hospital. The few x-rays you get that day won't hurt you because you only come in once or twice a year, but the x-ray technician uses the device many times a day. That's why they leave the room.
Mobile radar is a more complex radar setup where the officer is able to check the speeds of drivers while his patrol car is moving (or not moving). The theory of operation is just the same as all other radar; a microwave beam bounces off a car and the returning frequency is measured to determine the target's speed. However, this beam has two purposes: to find the speed of the target vehicles, and to find the speed of the patrol car. The strongest reflection is assumed to be the nearby terrain, signs, bridges, etc. and is used to calculate patrol car speed. The second strongest reflection is assumed to be traffic, and an internal calculator compares patrol speed with target speed to produce a final target speed reading, provided there are no errors. The radar unit does not get the patrol car speed from the car's speedometer.
Instant-on radar is not really a kind of radar, but an operating procedure. Most of today's units can be operated in the instant-on mode, either while stationary or moving. It exists only to defeat radar detectors.
The instant-on radar speed trap is just like the normal trap, except that the radar unit isn't transmitting until the operator pushes a button. The system is on and warmed up but it is not transmitting. The operator sits and waits for a target to be in range. When a vehicle appears and the officer zaps it with instant on radar, its speed is recorded and a citation is issued if necessary.
Photo radar is a form of stationary radar hooked up to a computer and a still camera. The radar is transmitting continuously, and the officer sets the computer to a particular trip speed, usually just a few miles per hour over the posted limit. Any motorist exceeding that trip speed will have their front or rear license plate photographed. The picture normally has a time and date stamp on it in addition to the speed it recorded. The film is retrieved at the end of the day and sent to the photo radar rental company for developing. These companies normally provide the renters with the services necessary to find the registered owner's address and mail them the picture along with the citation.
Photo radar is experiencing legal challenges in the United States because most state laws hold the driver accountable, not the registered owner. This is as it should be. In order to make photo radar legal, these laws must be changed. Wisconsin and New Jersey have banned photo radar. Photo radar can be effectively challenged by applying the rulings in MUNICIPALITY OF ANCHORAGE, v. Clyde BAXLEY (included with The Tipmra)
Laser is not at all like radar, so calling it "laser radar" is not correct. Laser (or lidar as it's sometimes called, Light Detection And Ranging) uses invisible infrared light sent out in pulses. It does not use radio waves or the Doppler shift principle like radar does. It works based on the time-of-flight of a pulse of laser light. The operator aims at your license plate, as an aiming point nothing more. (some sites tell you to use a non reflective coating on your plates to make the light not reflect. This is pure unadulterated hog wash prorogated by the truly uninformed) The computer inside the laser gun measures the time between sent and reflected pulses. It sends out over 400 pulses per second, and an average of those pulses is computed and displayed as speed. Since time is constant and distance is known (laser guns also calculate distance, something police radar can't do), the only variable is your speed. 95 % of jurisdictions in Canada and the USA have not taken Judicial notice that Laser is acceptable for evidence in a speeding conviction. However the nice cops and courts don't tell you this as they are taking your money and convicting you. ADMISSIBILITY OF MOTOR VEHICLE SPEED READINGS PRODUCED BY the LTI MARKSMAN 20-20 LASER SPEED DETECTION SYSTEM.( in the tipmra ) will make the court, and officer Parker sit up and take notice.
Target Acquisition
Traffic radar's biggest problem is in the way it displays information - by a digital display. An officer can point the antenna down a road and it will cover vehicles ranging in size from a motorcycle to a tractor-trailer. All the radar unit will display is a number; it can't tell which one is moving fastest.
So then, how does the operator know which one is causing the reading? In truth, the operator often does not know for sure. He must guess, and may assume the vehicle in the left (passing) lane is the speeder. Because traffic radar is made to work in a car with it's space/power limitations and must be affordable enough for municipalities to buy them, it has to be a simple device. With a constant beam (as opposed to the modulated beam of military and air-traffic control radars) it can't distinguish between targets that are in range. Expect the officer at trial to testify that there was no other target then you and nothing between him and you. He will swear the readings were from your car and the court will believe him.
To make up for the lack of a modulated beam and a display screen, the radar manufacturers simply program their electronics to ignore all but the strongest reflections. It's up to the operator to decide which of the moving vehicles is producing the reflection. If there's only one vehicle on the road, it is likely that's the cause of the reflection, but keep in mind that microwaves can also bounce off of trees, trash blowing across the road, or be interfered with by electricity (thunderstorms, power lines) or signs wavering in the wind.
If there is more than one vehicle, the operator must choose. Is the reading caused by the closest one to the patrol car or the biggest one? It could be both, depending on the situation.
An officer who believes in justice will not write a ticket until he is absolutely sure that the reading was caused by a particular vehicle. A less-skilled officer might think he has the right vehicle and be wrong. Finally, an officer who needs to meet the monthly ticket production standard (quota) may simply assign the number on the display to the "profile" car; a red Corvette or a black 300ZX.
Due to it's cost and physical constraints, traffic radar is as not as infallible as you're told it is. In the late 1970's, a Florida TV station reported that police radar clocked a tree at 37 mph and a house at 28. Were those readings wrong? Not at all. The radar was seeing something. But what? In this example, an officer's handheld radio (which was transmitting at the time) caused the erroneous readings. Wind-blown tree leaves, a patrol car heater fan, lightning, or signs wavering in the wind can all affect the radar's display.
In the late Seventies, the National Highway Traffic Safety Administration tasked the National Bureau of Standards (now the National Institute of Standards and Technology) to develop standards for the purpose of discovering its errors and developing standards to eliminate them. These standards were never published until 1994.
It is interesting to note that radar was first used for speed law enforcement back in the late 1940's yet U.S. government standards didn't exist for nearly 40 years. To avoid a repeat of that problem with laser, NIST took their radar standards and did little more than changed the word "radar" to "laser" in the text and released it as the definitive standard for police laser units. The radar standard calls for a level of immunity to transmitting radio interference, which is something radar is affected by. (see above). The laser standard also calls for this even though lasers are, by their very nature, immune to radio waves. Furthermore, since radar is not affected by light, the radar standards have no minimum requirement for light interference. But lasers are affected by light, and the laser standard makes no reference to light interference!
Radar Detectors And Jammers
A radar detector is no different than the radio in your car's dashboard. It merely "listens" to a band of frequencies like an AM/FM radio. Remember that a radar unit sends out a microwave beam and listens for the reflection. A radar detector is nothing more than the listening section of the radar gun.
A radar and laser jammer, is either reactive or active. The active types transmit a false return and are illegal in all States and have recently been banned by the FCC as well. Reactive jammers take the cops signal and add a chirp that confuses his radar or laser guns computer. He will not be able to read your speed. Only Rocky Mountain radar produces FCC legal Jammers and scramblers.
Can a detector find radar before you're in range? You bet. If you're on a straight and level highway headed right for the speed trap, the radar beam is reaching out for you. Remember though, that microwaves lose energy as the distance from the transmitter increases. To measure your speed, the beam has to have enough power to bounce off of you, return to the sender and be decoded by the radar's electronics. The return signal must have enough power to be of any use.
Say the radar gun can clock you when you're a mile away. That means it can detect a radar beam that has traveled two miles; one mile to you and one mile back. If your detector is as sensitive as that of the radar gun's receiver, you will be able to detect the trap two miles away, well before you're in range. It is not at all difficult to make a detector more sensitive than the radar gun.
But radar isn't usually used on the open road for that very reason. Traffic officers favor the ambush where they hide behind a bridge or over the crest of a hill. When you pop into view, you're already in range. So how can a detector work in this case?
Remember when we said radar is like the beam coming from a flashlight? On a foggy night you can see the beam even though it is not pointed at you. Microwaves act the same way. Because they are line-of-sight (like light), they can't bend and detect your speed around a corner or over hills. A detector can certainly pick them out though because microwaves get scattered by dust or fog and will shoot through a forest. While they are not reflected back to the radar gun, a detector will hear them.
All that's needed is a receiver as sensitive as that in the radar gun. However, unlike radar guns, a detector doesn't need to calculate speed, so it can pick out much weaker signals than the radar unit can and still make use of them.
Detectors are not infallible. If you believe one will prevent you from getting a ticket, you're in for a surprise. Radar units have had the "instant-on" capability for many years now, which is designed solely to defeat detectors. A radar gun is kept in the "standby" mode until the operator pushes the button. While in "standby" mode it is on and warmed up but not transmitting. So, a detector can't find it. Even the continuously-transmitting radar guns can be made into a form of "instant-on" radar by simply aiming the antenna away from the road until a speeder comes into range.
A detector is still useful against instant-on radar. When radar hits a car in front of you, your detector will sense the microwaves and sound an alarm. For this reason, it is very important to believe all alarms. At highway speeds, you and the officer in the oncoming lane are approaching at 140 miles per hour. Distances shrink quickly at that speed, and you'll soon be in range.
A detector never gives false alarms. That may be hard to believe, but it's true. Every time it sounds an alarm, it is detecting a signal that it was designed to hear. However, it cannot determine the source of the signal since a 10.525 GHz microwave beam from a supermarket door opener is the same as a 10.525 GHz beam from a police radar unit. It's your job to identify the source.
Laser detectors do work, contrary to the belief among some. However, the laser beam is a lot harder to find because it is much smaller than a typical radar beam. It is imperative that you heed every alarm if the laser detector is going off. Although the police normally have your speed and distance information when the laser detector goes off, there is a chance the laser is being aimed at a vehicle in front of you. The invisible laser light will travel through car glass. Lasers are new to the highways, so you can be sure that laser detectors will improve.
Photo radar detectors also work, but because of the very low power of the radar, you better be smiling for the camera by the time your detector goes off, because it got you. You are normally able to see the photo radar vans long before your detector will.
Frequency bands: (USA, Canada, United Kingdom)
X band: 10.500 to 10.550 GHz (gigahertz, or 1,000,000,000 Hz)
K band: 24.050 to 24.250 GHz
Ka band: 33.4 to 36.0 GHz
Laser: 904 nanometers
A common question today centers around radar jammers. Are they legal? There are two answers.
"Passive" radar jammers do not transmit anything. Some make the claim of being "radar re-radiators," meaning they are radar reflectors. Well, so is your car! It doesn't matter if it has electronics inside, if they don't transmit, or if they claim to mix in some white noise with the radar signal or do some 'phase-shifting' of the radar beam, they don't work. So they're legal. But why spend $200 on something that doesn't work? You can get a detector that actually works for less.
"Active" radar jammers do transmit. In the United States, in order to transmit anything in the radar bands, the transmitter must be type-accepted by the Federal Communications Commission, and the operator must be licensed. (In the case of police radar, the department's or municipality's license is good enough; individual cops don't need an FCC license.) These jammers are not FCC type-accepted because the FCC doesn't approve devices when the sole intent is to jam other transmitters. Notice too, that they don't include license applications with the jammer.
So, "active" jammers do work, but are illegal. By the way, many newer radar units can detect when they're being jammed, and an indicator lights up. Since the police are trained to visually estimate speed, it's easy for them to spot someone zooming by at 85 mph and think something's wrong when the radar display shows only 32 mph, or some equally erroneous speed. Even untrained people could do that. So, by using a jammer, you may be getting exactly the attention you had hoped to avoid. It may be possible for the officer to cite you for obstruction of justice, or interfering with a police officer.
Laser jammers do work, and are legal as far as the FCC is concerned. The FCC doesn't regulate devices that transmit above a certain frequency. If they did, they'd have to issue licenses for every light bulb and TV remote ever made. However, the same story about obviously erroneous speeds or interfering with an officer applies here as well. States may have laws banning laser jammers.
The VG-2 Radar Detector-Detector
For those that don't know, it is possible for police officers to know that you have a radar detector even if it is not visible. How can they know?
All modern radar detectors are simply super heterodyne radio receivers (like your AM/FM radio) that listen for radio frequencies in the bands where police radar units operate. Super heterodyne radios utilize a circuit known as a local oscillator (LO). The use of this circuit is a double-edged sword - it vastly increases the sensitivity of the radio to weak signals (that's good), but it also creates what are known as spurious emissions. That's bad.
Spurious emissions are unintended radio frequency (RF) signals generated inside of electronic equipment. All electronic equipment generates some amount of spurious emissions. If they leak out, and they almost always do, they can be detected. When super heterodyne radar detectors first became common in the early 1980's, they sounded an alarm for no apparent reason. It was eventually realized that our radar detectors were detecting the spurious emissions of other radar detectors! The radar detector manufacturers quickly developed methods of ignoring the spurious emissions from other detectors, but did nothing at the time to reduce the emissions themselves. [Note: Short bursts of Ka-band alerts are caused by the same phenomenon, even today.]
Because of the way that X and K band relate to each other in frequency, almost all of the radar detectors on the market used the same LO frequency. All it took was for someone to realize that it was possible to intentionally listen for this LO (rather than ignore it as the detector manufacturers did), and the idea for the VG-2 was created.
That's what a device called the VG-2 Interceptor does. It simply listens for a signal that is only likely to come from a radar detector that's turned on.
Or is it? As mentioned, all electronic devices produce some spurious emissions. Your car radio, your desktop computer, even a battery-operated AM radio produce some. It is unavoidable. Most of this stray RF energy is corralled by "shielding," or encasing the electronics causing the interference in a metal enclosure that's grounded to the frame. Shielding the receiver section of a radio is particular problem as the antenna connection goes almost directly to the LO circuit. Size, weight, economics, and sometimes heat are other issues engineers must take into account when designing the shielding for a device. Once your detector has been manufactured, shielding cannot be added to reduce it's visibility to the VG-2.
Further, amateur ("ham") radio operators that operate their radios in the 10 and 24 GHz bands can set off the VG-2 because either the frequency of their radio's super heterodyne receiver and/or their transmitters are in the band that the VG-2 listens to (11.4 to 11.6 GHz). Note that police radar operates in the 10 and 24 GHz bands too. These are licensed radio operators legally operating in the bands they share with other services. There have been cases of licensed hams being pulled over in Virginia because the VG-2 was set off by ham radios.
The VG-2 isn't very expensive. It is a very simple device with no anti-falsing circuitry or other electronic wizardry. It is capable of listening to only one band. It is not state-of-the-art in electronics.
The VG-2's antenna is somewhat unidirectional; that is, it "hears" best in the direction it is pointed, just like a regular radar detector. The reported range is 30� either side of center, but real-world experience shows that it responds to RF from all directions (again, just like an ordinary radar detector). It has a bar-graph display to indicate signal strength, which gives some indication of the location of the device it is hearing. If the meter peaks, then drops as you pass by, there’s a chance the detector in your car was causing the reading.
The VG-2 is most effective when it's antenna is aimed at right angles to the flow of traffic, since the area that it can scan is minimized, and it takes advantage of the scenario just described. Unlike radar detectors, the VG-2's beep rate is not variable, so the operator must constantly watch the signal strength meter to determine the proximity of a violator. (Try driving safely at the same time.) Since radar detectors vary wildly in their RF leakage, two vehicles may give identical readings on the VG-2's display at vastly different distances.
Two-lane highways are where it is most effective. Light traffic combined with little or no outside interference work to its advantage. City streets are not favorable to it due to the large number of vehicles close by, and because RF can reflect off of buildings. On interstates, it's ability to pick out vehicles with detectors is inversely proportional to the number of vehicles on the road. A low number of cars means a high probability of correct "hits." Conversely, while the officer is moving among a large amount of traffic, the VG-2 is less effective.
The VG-2 can report legal items. Here's a sampling:
Ham radios, as mentioned above.
Satellite links (radio and TV).
Cell phones. Police radios.
Microwave burglar alarms.
Because microwaves bounce off of trees, overpasses, signs, etc. serious errors in identification can occur, especially if the VG-2 is used while moving.
Example: A trooper is out patrolling on an Interstate. You are in the same lane, approaching from behind in a car with a detector. Just as the officer approaches an overpass, its metal structure reflects your detector's RF leakage into the antenna of the VG-2 causing it to beep. As this happens, a tractor-trailer goes by in the other lane. (Keep in mind that detectors are illegal in big trucks.) The trooper could very easily pursue, stop and search that truck even though it had no detector. What would remain unanswered is the legality of such a stop when no detector was found. This is what happens when you put blind faith in technology and the manufacturer's claims.
Since the VG-2 came out, many radar detectors have been designed to reduce the leakage of spurious emissions, and/or to change the frequency of the LO to make the VG-2 ineffective. Of course, since the VG-2 uses a super heterodyne circuit that that leaks RF, a VG-2 detector could be developed, or perhaps a "smart" radar detector could combine that feature with the ability to go into a "sleep" mode and shut down for a few seconds when it detected a VG-2.
Measure - Countermeasure; the game continues.
In Today's World a Radar Jammer Radar Detector is essential to prevent tickets
Often Imitated but Never Duplicated
| i don't know |
To whom did Clive Anderson say ‘Is there no beginning to your talents’? | Clive Anderson: 'For most people, I have ceased to exist!' - Telegraph
Comedy News
Clive Anderson: 'For most people, I have ceased to exist!'
Barrister-turned-comedian Clive Anderson was the nation's darling - and then he seemed to vanish. Now at the Edinburgh Fringe for the first time in over a decade, Britain's wittiest 'natural-born pessimist' tells Dominic Cavendish what happened
Clive Anderson: 'I still feel like I’m an 18-year-old in awe of the world' Photo: Rick Pushinsky
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“Anyone in the public eye goes quite rapidly from ‘Who’s he?’, to ‘Oh, I love him!’, to ‘Oh, not him again!’. That happens to all of us. If you’re lucky, you settle back into ‘Oh, good, it’s him again.’ ”
Clive Anderson is sitting in the cultivated gloom of a posh Moroccan eatery off Regent Street being incredibly sanguine – remarkably sunny, really – about the fickle nature of fame. In the shadows, he still looks, so far as one can tell, a lot like the golden boy of yore, or at least the one-time poster-boy for Channel 4’s early days of doing things differently. A bit craggier, to be sure, now he’s 61, but the twinkle in the eye is there, the grin comes naturally, the dimply cheeks remain endearingly cherubic and, surprisingly, there is still a lot of hair for a man who appeared to be going bald in the late-Eighties. “It has gone at a slow rate,” he says with a smile. “Some people have overtaken me.” A dash of gravitas? He now has that too.
“I still feel like I’m an 18-year-old in awe of the world,” he continues, in disbelief. But, if time has been relatively kind, the television industry hasn’t been nearly so gentle to the former criminal barrister who made a decisive break for showbusiness after a long, busy, dithery period of having a foot in both camps.
Once upon a time, only two decades ago, Anderson was everywhere, the people’s favourite slightly nervy presenter. He shot to success in 1988 as the twitchy, quick-witted host of Whose Line Is It Anyway?, the long-running improvisation game-show that helped usher in the era of comedy’s new cultural dominance. And not long after that became a monster hit, he broke the mould again with a quirky, irreverent C4 chat show that anticipated the teasing, familiar way with celebrities that Alan Carr , Graham Norton and Jonathan Ross have now made almost wearyingly standard.
Anderson always stood at the more Wildean end of the spectrum: witness his notorious put-down to Jeffrey Archer who, needled by the insult “Is there no beginning to your talents?”, retaliated with “The old jokes are always the best”, only to be parried with, “Yes, I’ve read your books!” The self-effacing upstart won the 1991 British Comedy Award as Top Entertainment Presenter. In so doing, he struck a blow for the buttoned-up, strait-laced chap-next-door. Key to his appeal was his apparent incongruity in a world of brazen show-offs. Here was someone who looked more like a city commuter than one of those citadel-storming alternative comedians. It was a counter-intuitive radicalism.
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23 Jul 2014
When his chat show moved to the BBC around the start of the New Labour era, it looked as if things could only get better. But, after garnering reasonable ratings and some headline-grabbing moments – the Bee Gees huffed off-set, affronted by his far-from-deferential asides – suddenly, in 2001, he became yesterday’s news. It wasn’t that he lost his lustre, he lost his platform. He wasn’t guillotined – he was left dangling by indecision.
“It was an odd thing,” he recalls. “They said: ‘We don’t want you to carry on doing the chat show.’ ‘Why’s that?’ The audience figures weren’t going down. ‘We’re keeping ahead of the audience,’ they said. The controller wanted ‘something a bit different’ – we made one series of this different thing, by which time the controller had moved on. So they had a new show they didn’t want anymore. That was that. But it’s not a dreadful thing. You’re not there for life. I had my time in the sun. You can’t complain.”
Well, maybe he should have complained. I missed his gauche, jerky presence, and I’m sure others did too. These days, there would probably have been a Twitter campaign to get him back on our screens. Instead, he has to contend with strangers’ consolations. “I get a lot of people who say to me, ‘What has happened to you? Haven’t seen you for years.’ Which is true – I haven’t had a TV show for a long time.”
He does crop up from time to time – a stint on Have I Got News for You here, a foray onto QI there, and he even hosted Discovery Mastermind for a year – but that barely registers. There is the radio of course, where he is a regular presence: he presides over the cultural chat-show Loose Ends on Radio 4 as well as the legal series Unreliable Evidence. “ ‘Oh … radio,’ they say. I’m dead as far as they’re concerned. For most people, I have ceased to exist!”
It is around his radio commitments in Edinburgh that he has scheduled a fortnight’s appearance on the Fringe – his first since a 2001 stage chat-show – which could, were another, less reticent Clive Anderson beating the drum for it, stir up huge excitement. In essence, the public is being treated to the closest thing yet to a live incarnation of Whose Line Is It Anyway? For legal reasons, the improv show has been named, after a slight muddle, What Does the Title Matter Anyway? Although he doesn’t have the rights to trade directly on past glories, enough of the gang who made Whose Line? a hit in the first place – including Americans Greg Proops, Mike McShane and our own improv veteran Josie Lawrence – are going to be on hand to satisfy devotees.
That will be fun, won’t it, Clive? Hmm. Talking things up isn’t his forte, and Anderson is unsentimental about this get-together. When the idea was first suggested, he explains, it was less a case of leaping at the opportunity than struggling to find an excuse to show it the door. “I’m usually a great one for saying, ‘I’m not quite sure whether that works’, but with this, try as I might, I couldn’t think of a reason why we shouldn’t do it.”
He is confident that it won’t make much money and ponders what might have been had Whose Line? enjoyed a live outing back in the day. “You think: why didn’t we do it? I’ve heard stand-up comedians say they only do television in order to create a market for their million-pound tours. When we were big on telly, that was probably the time to do a stage-show.” It’s not quite Terry Gilliam dissing the Python reunion shows, but the pessimism is palpable.
“I’m a natural-born pessimist,” he admits, quite affably. He thinks he has inherited that from his Glaswegian father. “It’s the Scottish Presbyterian this-will-never-work thing,” he says, the flip-side being a similar sense of humour. “He was quite a funny man himself. I remember at his funeral his old mates said, ‘He was always very pleased to see you on television,’ but I don’t remember him saying that very much. If he commented on a programme, he would say something like, ‘I didn’t like the tie you were wearing.’ I could be interviewing the Dalai Lama, the Pope and the Queen and he’d go, ‘Yeah, fine but I thought that joke you did at the beginning was a bit off-colour.’ ”
He may sound Home Counties, have the perfect BBC presenter’s voice, but does he feel Scottish? He does a bit – even though he grew up with his elder sister in suburban Stanmore, Middlesex, his father having come out of the war ‘bombing the Germans’ and headed straight for a stable life, ending up as the manager of the local branch of the Midland bank. He swiftly deflects talk about a dual-identity though. ‘It’s slightly spurious, almost an affectation.’
Perhaps if I’d caught up with him in Argyll, where he has a holiday home to which he, his wife and three children have often beaten a retreat from Highbury, north London, I’d get a more expansive take on things. Throughout, Anderson inclines towards drily discussing career choices and deflecting attention on to others rather than open up about his feelings, which in itself seems interesting.
Does he ever regret abandoning the law? He was called to the bar in 1976, and his last case was in 1991 – that’s a lot of work to have put in to something that came to nothing. “I get the odd sliding-doors moment when I see names of people I know involved in big cases,” he admits. “It used to be barristers, now it’s judges. But there’s no guarantee that my legal career would have prospered in the same way. I suppose it could have done.” He grins. “It could have been me sentencing light-entertainment figures to periods of imprisonment rather than being me having worked with those figures.”
Oh yes: he has interviewed Jimmy Savile , Gary Glitter and Rolf Harris in his time. To his self-deprecating credit, he decides himself a “poor judge of character”. “I looked back on my interview with Jimmy Savile. As everyone knows, there were a lot of rumours going around for a long time about him. His line was a clever one, I suppose. He said, ‘Look, people are always saying this stuff about me. I’ve been famous for years – if there had been anything, the tabloids would have had me by now.’ ” As for the other two, “I wasn’t aware of dodgy stories – certainly not with Rolf Harris. It wouldn’t even have occurred to me that he would be investigated. He was on television my entire life.”
Was Anderson a funny kid when at school, Harrow County School for Boys? A bit of a smart-aleck, he reckons, like a lot of his peers (who included Michael Portillo), but studious. He initially wanted to be a doctor – “I had a few quite pleasant experiences of going into hospital” being the principal rationale – so he did science subjects. “I got about a week into doing A-levels and realised it wasn’t really for me, but I stuck with them. I then imaginatively switched to wanting to be a barrister, a very north-London-suburban outlook on life.”
It was at Cambridge, studying law at Selwyn College, that he fell in with a comedy crowd that included Griff Rhys Jones, Douglas Adams , Jimmy Mulville (who now runs Hat Trick Productions) and Peter Fincham, currently ITV’s Director of Television. He was president of Footlights in 1974. He remembers a night early on doing a monologue as part of the Footlights revue: “I knew that every joke that I had written was getting its full amount of laughs, and I was getting more from reacting to the laughs – that’s when you get the bug.”
He was there on the first night of the Comedy Store in 1979, reputedly the first act (he can’t recall). There were sundry visits to the Edinburgh Fringe, and he wrote for Frankie Howerd and Not The Nine O’Clock News, did TV studio warm-ups too – all this, and being a barrister too. When pushed, he says the most fulfilled time of his life was when he was nipping between two worlds. “That was my favourite period – doing both. I was better at both as a result. It gave me more confidence. In court, I’d be thinking, “In six weeks’ time I’ve got my own chat show.” In my TV studio, I’d be thinking, ‘This isn’t really my world.’ ”
A psychologist might make much of the fact that his mother died in 1982 when he was just starting out and wonder aloud whether that is what lends him that curious ill-at-ease, little-boy-lost air that brings out the maternal in viewers. He doesn’t divulge too much about her, but says he thinks she might have disapproved of his career choice – “I think she would probably have thought it was being too trivial to stop being a lawyer.” Was she artistic? “The only quirky thing,” he says, suddenly tender, “and I’m afraid it hasn’t come on to me, is that if we were on holiday somewhere, or just away somewhere and there was a piano, she could sit down and play show-tunes. You’d go: how do you know how to do that? She couldn’t explain it – she’d never had a music lesson, couldn’t read music. The only thing is that they’d had a piano in their house when they were growing up, and somehow she knew what to do.”
There’s an old-fashioned leather briefcase on the table, rather schoolboyish, groaning with things that Anderson needs to be getting on with. He grimaces – I sense he’d like to be pressing a buzzer, Whose Line-style, and bringing this to a halt. Summing up, how would he characterise how things have gone, where he’s headed? He pauses. “When I first started in broadcasting, Michael Grade described me as a gifted amateur. I think that was a compliment. By now, I should have been able to display the gifts more obviously and become professional. But I think I’m always going to be something of an amateur who drifts in to doing things – gifted or otherwise!”
‘What Does the Title Matter Anyway?’ is at the Underbelly’s McEwan Hall, Edinburgh, Aug 6-19. Tickets: 0844 545 8252; underbelly.co.uk
| Jeffrey Archer |
Which artist did Gore Vidal describe as ‘The only genius with an I.Q. of 60’? | Political
From Scorn with extra bile by English journalist, Matthew Parris
"Richard Nixon is a no-good lying bastard. He can lie out of both sides of his mouth at the same time and if he ever caught himself telling the truth, he'd lie just to keep his hand in" - Harry S Truman
"If the president's penis is straight, it is the only thing about his administration that is" - Sunday Telegraph columnist Mark Steyn on reports of a physical abnormality in Bill Clinton
"Jerry Ford is so dumb that he can't fart and chew gum at the same time" Lyndon B Johnson on Gerald Ford
"Jerry Ford is a nice guy, but he played too much football with his helmet off" Lyndon B Johnson on Gerald Ford
"He looks like the guy in a science fiction movie who is the first to see the Creature" - David Frye on Gerald Ford
"A triumph of the embalmer's art" - Gore Vidal on Ronald Reagan.
"Trust him as much as you would trust a rattlesnake with a silencer on its rattle" - Dean Acheson on J Edgar Hoover, head of the FBI
"When his library burned down, it destroyed both books. Dole hadn't finished colouring in the second" - Jack Kemp on Bob Dole before he became Dole's running mate in the 1996 presidential election race
"I am not like the leader of the opposition. I did not crawl out of the cabinet room like a mangy maggot" - Australian prime minister Paul Keating about his opposition leader John Howard
"As an intellectual, he bestowed upon the games of golf and bridge all the enthusiasm and perseverance that he withheld from books and ideas" - Emmett John Hughes on Dwight David Eisenhower
"How can they tell?" - Dorothy Parker, on being told that Calvin Coolidge was dead.
"McKinley has a chocolate eclair backbone" - Theodore Roosevelt on William McKinley
"Thomas E Dewey is just about the nastiest little man I've ever known. He struts sitting down" - Mrs Clarence Dykstra .
"He has a bungalow mind" - Woodrow Wilson on Warren G Harding, his successor as President of the USA
"His argument is as thin as the homeopathic soup that was made by boiling the shadow of a pigeon that had been starved to death" - Abraham Lincoln on Stephen A Douglas
"The trouble with Senator Long is that he is suffering from halitosis of the intellect" - Harold L Ickes on Huey Long
"A real Centaur: part man, part horse's ass" - Dean Acheson on president Lyndon Johnson.
"He was a man of splendid abilities but utterly corrupt. Like rotten mackerel by moonlight, he shines and stinks"
John Randolph on Edward Livingstone
"A political leader worthy of assassination" - Irving Layton on Pierre Trudeau
"A man who looks as if he has two flies f**cking in his mouth" - Boris Yeltsin on his adviser Sergei Filatov
"An improbable creature, like a human giraffe, sniffing down his nostril at mortals beneath his gaze" - Richard Wilson on Charles de Gaulle
"The weak are a long time in politics" - Neil Shand on John Gummer .
"A semi-house-trained polecat" - Michael Foot on Norman Tebbit
"Far better to keep your mouth shut and let everyone think you're stupid than to open it and leave no doubt" - Norman Tebbit on Dennis Skinner
"I suppose the honourable gentleman's hair, like his intellect, will recede into the darkness" - Paul Keating again, this time on shadow treasurer Andrew Peacock
"If you were hanging from a ledge by your fingers, he'd stamp on them" - Edward Pearce on James Callaghan
"I wouldn't say she is open-minded on the Middle East, so much as empty-headed. She probably things Sinai is the plural of sinus" - Jonathan Aitken on Margaret Thatcher
"He is going around the country stirring up apathy" - William Whitelaw on Harold Wilson
"Winston has devoted the best years of his life to preparing his impromptu
speeches" - FE Smith on Winston Churchill
"The Right Honourable and Learned Gentleman has twice crossed the floor of this house, each time leaving behind a trail of slime" - David Lloyd George on Sir John Simon
"When they circumcised Herbert Samuel they threw away the wrong bit" - David Lloyd George
"The Right Honourable gentleman is indebted to his memory for his jests, and to his imagination for his facts" - Richard Brindley Sheridan, replying to a speech by Henry Dundas
"Is there no beginning to your talents?" - Clive Anderson to Jeffrey Archer
"Whenever I want a good read I get one of Jeffrey's novels, and stand on it, so I can reach the good books" - Steven Norris.
"Mr Blair is a man of hidden shallows" - Hugo Gurdon
"A mind not so much open as permanently vulnerable to a succession of opposing certainties" - Hugo Young on David Howell
"He was swaggering in a predatory way towards the susceptible of this conference like a gigolo eying the passenger deck" - Edward Pearce on Michael Portillo
"A systematic liar and a beggarly cheat; a swindler and a poltroon... He has committed every crime that does not require courage" - Benjamin Disraeli on Daniel O'Connell
| i don't know |
Who said of Mick Jagger ‘This man has child-bearing lips’? | Joan Rivers | SComedy
Joan Rivers
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USA
Joan Alexandra Molinsky (born June 8, 1933), better known by her stage name Joan Rivers, is an American television personality, comedian, writer, film director, and actress. She is known for her brash manner; her loud, raspy voice with a heavy New York accent; and her numerous cosmetic surgeries. Rivers' comic style relies heavily on her ability to poke fun at herself and other Hollywood celebrities. Joan Rivers was born Joan Alexandra Molinsky in Brooklyn, New York, the daughter of Russian Jewish immigrants Beatrice (née Grushman; January 6, 1906 – October 1975) and Meyer C. Molinsky (December 7, 1900 – January 1985). She was raised in Brooklyn, New York, and her family later moved to Larchmont, in Westchester County, New York. She attended Connecticut College between 1950 and 1952 and graduated from Barnard College in 1954 with a bachelor-of-arts degree in English literature and anthropology. Before entering show business, Rivers worked at various jobs such as a tour guide at Rockefeller Center, a writer/proofreader at an advertising agency and as a fashion consultant at Bond Clothing Stores. During this period, the agent Tony Rivers advised her to change her name, so she chose Joan Rivers as her stage name.
| Joan Rivers |
Who played Dudley Moore’s love interest in the 1981 comedy Arthur? | Joan Rivers | SComedy
Joan Rivers
Country
USA
Joan Alexandra Molinsky (born June 8, 1933), better known by her stage name Joan Rivers, is an American television personality, comedian, writer, film director, and actress. She is known for her brash manner; her loud, raspy voice with a heavy New York accent; and her numerous cosmetic surgeries. Rivers' comic style relies heavily on her ability to poke fun at herself and other Hollywood celebrities. Joan Rivers was born Joan Alexandra Molinsky in Brooklyn, New York, the daughter of Russian Jewish immigrants Beatrice (née Grushman; January 6, 1906 – October 1975) and Meyer C. Molinsky (December 7, 1900 – January 1985). She was raised in Brooklyn, New York, and her family later moved to Larchmont, in Westchester County, New York. She attended Connecticut College between 1950 and 1952 and graduated from Barnard College in 1954 with a bachelor-of-arts degree in English literature and anthropology. Before entering show business, Rivers worked at various jobs such as a tour guide at Rockefeller Center, a writer/proofreader at an advertising agency and as a fashion consultant at Bond Clothing Stores. During this period, the agent Tony Rivers advised her to change her name, so she chose Joan Rivers as her stage name.
| i don't know |
What is Dorothy’s surname in The Wizard of Oz? | Oz Characters - OzWiki
Oz Characters
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[NOTE: As with the previous section, some parts of the Oz books may be given away here. If you'd prefer to meet the characters by reading their stories, you may wish to skip this section. Also, questions about characters who appear only in The Movie are answered in the section The Movie — Trivia and Miscellany .]
Contents
30 Why doesn't Polychrome recognize the Shaggy Man in Tik-Tok of Oz, even though they traveled together in The Road to Oz?
Who are some of the famous citizens of Oz?
There are an awful lot of these, as you can imagine from a series of forty books. But here are some of the most famous and important:
Dorothy Gale, formerly a Kansas farmgirl and now a princess of Oz. She destroyed two wicked witches on her first trip to Oz, and has had many adventures since. She eventually moved to Oz for good, and has lived there ever since. Her Uncle Henry, Aunt Em, dog Toto, and cat Eureka all have come to live in Oz as well.
The Scarecrow. Former ruler of Oz, he is still well beloved by the citizens and a trusted advisor to Queen Ozma. He helped Dorothy on her first adventure, hoping to receive a brain. He got it, and his wisdom has been most helpful in thinking through many problems.
Nick Chopper, the Tin Woodman. He was an ordinary woodchopper who, having angered the Wicked Witch of the East, accidentally chopped parts of himself off when the witch enchanted his ax. Fortunately he had a friend who was a skilled tinsmith, who was able to replace each part, until there was nothing left of Nick Chopper but tin. He joined Dorothy looking for a new heart. He is one of the kindest men in Oz, and rules the Winkie Country.
The Cowardly Lion. He came with Dorothy to the Emerald City looking for courage, and the Wizard helped him acquire it. He is loyal and brave, and often acts as a bodyguard for Ozma on state occasions. But he's the first to admit that he's still scared sometimes.
The Wizard of Oz. After returning to America, the Wizard found his way back to Oz once again, where he was invited to stay and become a real wizard. He has learned much real magic from Glinda the Good, and is now one of Ozma's closest advisors.
Glinda the Good. Ruler of the Quadlings, she is also a skilled sorceress, and one of the most respected citizens of Oz because of her power and knowledge. She is able to keep track of all that goes on through her Great Book of Records, where every event is written down as soon as it happens.
Jack Pumpkinhead. Made to scare an old witch, she brought him to life instead, and he eventually found his way to the Emerald City. His pumpkinseeds don't seem to always work well as far as brains go, and he must carve a new head when his old one gets soft or mushy, but his simple charm makes him a favorite of all his friends.
Professor H. M. Wogglebug, T. E. Once an ordinary small wogglebug (a common Ozian insect), he learned much when he made his home between the floorboards of a schoolhouse. (He gave himself the honorary degree of T. E., for "thoroughly educated.") He was found by the schoolteacher and magically enlarged (hence his first initials, H. M., standing for "Highly Magnified"), and so he made his way to the Emerald City to become a lecturer. He is now dean of the Royal Athletic College of Oz.
Ozma. The daughter of deposed king Pastoria and the rightful ruler of Oz, she was discovered and restored to her throne, where she has ruled ever since. Her subjects love and trust her, and she is good and kind to them in return.
Billina, a yellow hen who accompanied Dorothy on her second trip to Oz. She was the first character from the Great Outside World since the Wizard to settle in Oz, and she has since raised several chicks, all named Dorothy or Daniel.
Tik-Tok. A copper man who runs by clockwork, Dorothy met him in the land of Ev. After helping Dorothy and Ozma in an adventure there, he was invited to come to Oz, and he accepted. Trustworthy and bright, he does have a problem with winding down at inopportune moments, and he is helpless until somebody winds him up again.
The Hungry Tiger. This beast longs to eat a fat baby, but his conscience will not allow it. Like his good friend the Cowardly Lion, he also acts as Ozma's bodyguard on important occasions. (Although officially introduced in Ozma of Oz, the Hungry Tiger may have actually first appeared in an incident towards the end of The Wizard of Oz, when he meets the Cowardly Lion and his friends in a Quadling forest.)
The Shaggy Man. A wanderer from America, he came to Oz with Dorothy on one of her adventures, and was invited to stay. His philosophy of life and wanderlust make him a fine friend of Oz.
Button-Bright, Betsy Bobbin, and Trot. These three children have all found their way to Oz from America (the latter with her boon companion, Cap'n Bill, a one-legged sailor; and Betsy Bobbin brought her mule, Hank), and have all made homes in Oz.
Scraps, the Patchwork Girl. Made from a patchwork quilt to be the servant of a magician's wife, she proved to be too independent and saucy for domesticity, so she went off on her own instead. Her lightheartedness and silly rhymes make everyone glad to see her, but her manner can be trying at times.
The Woozy. A strange animal, fond of eating honeybees, he's the only one of his kind. He is made up entirely of cubes and blocks, with a square head and rectangular body. He is also a true and loyal friend, willing to help all in need.
Sir Hokus of Pokes, the Yellow Knight of Oz. Dorothy found this gentle Medieval knight in an enchanted city, and once she rescued him he proved to be brave and loyal, rendering assistance to Ozma many times.
Kabumpo. Royal elephant of the court of Pumperdink, a small kingdom in the central Gillikin Country, Kabumpo has had his fair share of adventures in service to his country, and later to his friends in neighboring kingdoms and the Emerald City. His elegance and aloof demeanor do a poor job of hiding his loyalty and compassion.
Jinnicky, the Red Jinn. Living in his own castle far from Oz, on the seacoast of Ev, Jinnicky has nevertheless become involved in a number of Ozian affairs. He is a fast friend of Kabumpo, despite their good-natured bickering. Although encased in a red ginger jar, he is a powerful magician, who has even topped the Wizard on occasion. His hearty disposition causes all to meet him to become his friends.
Of course there are many, many other characters, some of whom only appear in one book, some in several. To meet them, start reading!
What is Dorothy's last name?
Gale. Interestingly enough, Dorothy's last name isn't given in the original novel of The Wonderful Wizard of Oz. Her last name is first mentioned in the 1902 stage version of the story Baum wrote a few years later: "My name is Dorothy Gale. I'm one of the Kansas Gales." To which the Scarecrow replies, "Well, that explains your breezy manner." In the later Oz books, Baum kept the name (he first used it in Dorothy's second appearance, in Ozma of Oz) but mercifully spared his readers the pun. Her last name was first seen in print in W. W. Denslow's "Scarecrow and the Tin-Man" comic strip in 1904, however. The last name was also used in The Movie, Return to Oz, and other adaptations of the story.
Does Dorothy have a middle name?
If she does, she's kept it a secret. I don't recall any instance of Dorothy having a middle name. However, in the 2011 television miniseries The Witches of Oz, a grown-up Dorothy does have the monogram "DEG" on her pillows. (Perhaps this Dorothy's middle name is "Emily", after Aunt Em?)
Was Dorothy named or modeled after a real child?
There were a number of women during Baum's lifetime, and even after he died, who claimed to be the inspiration for the heroine of The Wizard of Oz. But the Baum family always had a chuckle at these claims, and said it was just a name Frank liked. There's even some speculation that he'd hoped to have a daughter and name her Dorothy, but he and his wife Maud had only four sons. The family always claimed that Dorothy was named after no particular person. Baum also used the name for characters in two of his other early books. The heroine of a short story in his first published book of fiction, Mother Goose in Prose, is named Dorothy, and both Dot and Dolly, characters in Dot and Tot of Merryland, are diminutives of Dorothy.
Some research into the Baum family, however, turned up an interesting find. Baum's sister-in-law, Sophie Jewell Gage, gave birth to a daughter in July of 1898. Maud Baum, Frank's wife, doted on the child, but sadly, Dorothy Louise Gage died only four months later. Sally Roesch Wagner, biographer of Matilda Joslyn Gage, a noted suffragette and Baum's mother-in-law, speculates that naming his most famous character Dorothy was Frank's way of keeping the baby's memory alive. Wagner discovered Dorothy Gage's tombstone in a Bloomington, Illinois graveyard in 1996. The Baums also had another niece named Dorothy Louise Gage, who lived from 1883 to 1889, and who may have been living in Aberdeen at the time of her death. In the 1990 television movie The Dreamer of Oz, Dorothy is depicted as Baum's seven-year-old niece, and dies in the film. While based on the real events surrounding the first Dorothy Gage, the second one, who died in infancy, was more recent when Baum wrote The Wonderful Wizard of Oz, and was more likely the inspiration for the character's name.
What happened to Dorothy's parents? How did she come to live with Aunt Em and Uncle Henry?
It's never explained, in the main books or any other well-known source, who Dorothy's parents are, how they died, or how she came to live with her aunt and uncle — only that Dorothy is an orphan. The only comment in the books about them is in The Emerald City of Oz: "As for Uncle Henry, he thought his little niece merely a dreamer, as her dead mother had been…" Some unofficial books and other sources, however, have come up with some fanciful explanations. In 2015's The Wiz Live, Dorothy was originally from Omaha, and her parents died in an accident. Aunt Em, as her mother's older sister, was her closest relative.
How is Dorothy related to Uncle Henry and Aunt Em?
It's never been clearly stated just which of Dorothy's parents they were related to, nor which is the blood relative. Glinda of Oz does say that Uncle Henry was "...Dorothy's own uncle," and Aunt Em is referred to as his wife, which some have taken to mean that Dorothy is most closely related to Uncle Henry, and Aunt Em married into the family (this would make sense in light of Uncle Henry's comments about Dorothy's dead mother in Emerald City, if Dorothy's mother was Henry's sister — see the previous question); but this is ambiguous enough to be interpreted in more than one way — or ignored. Also, in Dorothy and the Wizard in Oz, Zeb, in speaking to Dorothy, refers to "your Uncle Henry's wife," again implying that Henry is the blood relative and Em married into the family. Some Ozmologists have even speculated that, based on their apparent ages, Uncle Henry and Aunt Em may be Dorothy's great uncle and great aunt. But their appearances have been an invention of the illustrators, not Baum himself. In the apocryphal novel Was, Dorothy's mother was Aunt Em's sister. She had died of malaria, and Dorothy's father had abandoned the family. In the novels Dorothy: This Side of the Rainbow and Looking for a Rainbow, both by Vincent Begley, Dorothy is the daughter of Irish immigrants in New York City who is sent west on one of the orphan trains after her parents died. She ends up living with, and is eventually adopted by, the Gales, whom she calls Aunt Em and Uncle Henry. This is similar to what she tells the Cowardly Lion in Gregory Maguire's A Lion Among Men, but she was in a Topeka orphanage and sent to the Gales when they asked for someone to help them on the farm. In another apocryphal novel, Halloween in Oz: Dorothy Returns, Dorothy is the daughter of Thomas Gale and Sarah Hopkins Gale, who died in a fire in their home town of Bowling Green, Kentucky. Aunt Em was Sara's older sister and only remaining relative. In The Witches of Oz (2011 television miniseries), Dorothy is Uncle Henry's aunt! She was the daughter of Frank and Maud (no last name given, but that's also the names of the author of The Wizard of Oz and his wife), but was carried to Oz in a cyclone in 1899. She stayed in Oz and never grew up, observed by her parents through a magic water globe, until she came back to farm in 1992 to protect Oz. The farm stayed in the family, and her nephew Henry and his wife Emily found her and raised her, and she forgot that her time in Oz was real. In The Wiz Live in 2015, Aunt Em was Dorothy's mother's older sister (Uncle Henry didn't appear).
What kind of storm took Dorothy to Oz?
Throughout the book, and most of the movie versions, it's called a cyclone. The trouble is, that's not what it was. It was actually a tornado. I'm not a meteorologist, but I understand that these are two different phenomena, although it's a common mistake. A tornado can also be called a twister, which has also been used in some movies (but not the book itself). Almost as soon as the book came out, the problem was pointed out (even the chief of the United States Weather Bureau got involved), and the original publishers made plans to correct the term in the next edition. They went bankrupt, however, the book went to another publisher, and the correction was never made.
What color are Dorothy's famous shoes in The Wizard of Oz?
They are silver in the book. When writing the script for The Movie, Noel Langley originally left them that color, but because it was being filmed in Technicolor, it was decided to change them to something more colorful. Script pages even exist with "silver" crossed out and "ruby" written above it. So, the shoes became ruby. Most versions of the story now use silver, but some use ruby, not knowing that they are a Hollywood invention — and still legally protected. For Return to Oz in 1985, Disney paid MGM a fee to use the ruby slippers. In Wicked, both the book and the play, the shoes are either silver or red, depending on circumstances and how the light hits them.
What is Uncle Henry and Aunt Em's last name?
Nobody knows for sure. They are never given a last name in the books. In The Movie, Miss Gulch refers to Uncle Henry as "Mr. Gale," but in Return to Oz, Dr. Worley calls Aunt Em "Mrs. Blue." Since these references come from movies, and not the books, they're considered to be apocryphal, and the question is still unanswered.
Does Dorothy have any other relatives?
Yes — sort of. In Dorothy and the Wizard in Oz, Dorothy meets up with Zeb, the closest thing she has to a living relative other than Uncle Henry and Aunt Em. Uncle Henry is visiting with Zeb's Uncle Bill, and as Zeb explains it to her, "Uncle Bill Hugson married your Uncle Henry's wife's sister; so we must be second cousins." Of course Zeb isn't really Dorothy's second cousin, he just used the term to indicate that he and Dorothy must be related somehow. Throughout the rest of the book, they just refer to each other as cousins. (It is not clear what Zeb's last name is. Although often referred to by Ozmologists as Zeb Hugson, he is not given a last name in the book itself. And since he refers to his uncle more than once as "Uncle Hugson," it's entirely possible that Hugson is not his last name.) Also of note, in Return to Oz, Aunt Em's sister Garnet is mentioned, which would mean Garnet was also Dorothy's aunt (she's still living, so she's not Dorothy's mother).
Where in Kansas did Dorothy live?
It's never made clear. In the books, the only clue given is in The Road to Oz, where it is revealed that she lives near Butterfield. Only trouble is, there is no real town named Butterfield in Kansas. (There is, however, a town named Butterfield in southwestern Missouri, not very far from the Kansas border.) Another clue Baum gave us — but not in the books — comes from some publicity material for his 1904-05 comic page, "Queer Visitors from the Marvelous Land of Oz." In a letter to her old friends, Dorothy's address is given as "Uncle Henry's Farm, Near Topeka." (The publicity material may not have been written by Baum, however.) In an installment of the "Queer Visitors" comic, Dorothy takes her friends to the (presumably nearby) Jones County Fair. Only trouble is, there is no Jones County in Kansas. Aunt Em also refers to a Topeka hotel in The Emerald City of Oz, which some Ozmologists have taken to mean that the farm was near there, but all it tells me is that Aunt Em once stayed in a hotel in Topeka. The non-FF novel The Ozmapolitan of Oz by Dick Martin mentions Dorothy and her family reading The Topeka Times when they lived in Kansas, which may strengthen the case a bit. No clue is given in The Movie, but in Return to Oz, she lives just outside of Franklin, and Dr. Worley's clinic is located in Cottonwood Falls. Both of these town really do exist in Kansas — but Cottonwood Falls is about halfway between Topeka and Wichita, in east-central Kansas, while Franklin is in the southeastern part of the state, over one hundred miles away, so they're not neighboring communities as implied in that movie. (A newspaper ad for Dr. Worley also mentions Black River Falls and the Town of Brockway, neither of which appears to actually exist, at least not in Kansas. Research has discovered a character named Dr. J. B. Worley in the 1973 book Wisconsin Death Trip by Michael Lesy and Charles van Schaik. He, too, ran a "school and sanitarium of magnetic healing," which was located in Brockaway, Wisconsin, near Black River Falls.) In the Emerald City television series, she is from Lucas, an actual small town in north central Kansas. There is a tourist attraction, Dorothy's House, in Liberal, Kansas, in the southwestern part of the state near the Oklahoma border. Some of the folks there say that Dorothy is from their town, but there is no basis for that claim. (It should be noted that many Kansans are not happy with Baum's unflattering portrayal of their state, and claim that he was actually describing South Dakota, where Baum lived for a few years before writing the book.)
How old is Dorothy?
Baum wrote Dorothy as a generic child, with few descriptors, and never gave her a specific age. She could be as young as five or as old as twelve if you go by the illustrations in different books. In the 1902 stage adaptation, she was probably quite a bit older, as some of the characters expressed a romantic interest in her. In The Movie, Judy Garland was sixteen during filming (by the time the film premiered, she had turned seventeen), but her costume included a corset to flatten her bosom so as to make her appear younger. Studio publicity of the day usually gave the character's age as twelve. An earlier film adaptation from 1925 had Dorothy celebrating her eighteenth birthday — and discovering that she was a lost princess of Oz! In The Wiz on Broadway, Stephanie Mills was in her teens (but played her a bit younger), while in the film version, Dorothy was played by Diana Ross and was twenty-four (!). Fairuza Balk was ten when she made Return to Oz, but Dorothy's age was never given. In the novel Visitors from Oz, author Martin Gardner gives her age as seventeen, but this book is considered apocryphal by many Oz scholars. In The Muppets' Wizard of Oz, Dorothy, as played by Ashanti, is probably an older teenager, as she's working at her aunt and uncle's diner but longing to move on and become a Hollywood star. Best guess on how old she is in the books? In The Lost Princess of Oz it is stated that Betsy Bobbin is a year older than Dorothy, and Trot is a year younger. Then, in The Giant Horse of Oz, Trot declares that she is ten years old. If that's the case, then Dorothy would be eleven, and since nobody ages in Oz who doesn't want to, she's probably going to remain eleven. Of course, she would have been even younger on her first visit to Oz in The Wonderful Wizard of Oz.
What breed of dog is Toto?
It depends on your source. In The Wonderful Wizard of Oz, Baum describes him as "a little black dog, with long, silky hair and small black eyes that twinkled merrily on either side of his funny, wee nose." He never said what breed he was, but Denslow drew him as looking somewhat like a Cairn terrier or a Scottie. When Toto next appears in an Oz book, John R. Neill drew him as a Boston terrier or French bulldog (Neill had a French bulldog himself at the time), even though he was well aware of Denslow's depiction. In one illustration in that book, Neill's Toto laughs at a statue of himself, which Neill drew in Denslow's style, complete with signature seahorse. As Neill drew Toto more in later books, however, he got shaggier, and ended up looking more like Denslow's depiction, a convention other Oz illustrators have pretty much stuck with. For The Movie, Scotties were initially looked at, but when Carl Spitz brought in Terry, a Cairn terrier, she got the job, and Toto became a Cairn to many. In the television series Emerald City, Toto is a police K-9 dog, so he is a German shepherd, and he gets the name Toto because it is the Munchkin word for dog. In other movies, and some newer illustrated editions of The Wizard of Oz, Toto has been depicted as other breeds. In The Muppets' Wizard of Oz, Toto wasn't even a dog; he was played by Pepe the King Prawn, so in Kansas, there was a reference to Dorothy adopting a prawn because she wasn't allowed to have a dog.
Is Toto a male dog or a female dog?
Male. But he was played by a female in The Movie.
Does Toto talk?
Not at first. When he wrote The Wonderful Wizard of Oz, L. Frank Baum hadn't created all the rules that he would later use in the Oz stories. So Toto didn't talk in that book. Baum kept Toto mute in his appearances in The Road to Oz, The Emerald City of Oz, and The Patchwork Girl of Oz as well, even though other animals from the Outside World could talk in those and other books. Finally, at the end of Tik-Tok of Oz, Baum addressed the problem at last. Dorothy confronted Toto and commanded him to talk, and Toto finally spoke for the first time. He's been speaking in the Oz books ever since, but he often prefers to stay quiet and use his native barks and growls instead. In the Russian books, however, Totoshka spoke as soon as he came to Magic Land.
What's the name of Dorothy's cow?
This seems to be a popular trivia question in radio contests. Dorothy doesn't have a pet cow in the books nor in any dramatic version of The Wizard of Oz. But in the 1902 stage production, Toto was replaced by Dorothy's pet cow Imogene, probably because it was easier to fit an actor inside a cow costume than a little black dog costume. A cow named Imogene appears in the Oz books in Eric Shanower's The Giant Garden of Oz, but other than the name and species, there is no relationship between the two characters, as Shanower's Imogene is an Ozian native who gives magic milk.
What are the names of the Wicked Witch of the East and the Wicked Witch of the West?
In the "official" Oz books, neither witch is given a name. Nor are they named in The Movie, although an early draft of the script called the Wicked Witch of the West "Gulcheria" (an obvious reference to her Kansas counterpart, Miss Gulch). Some of the unofficial Oz books have given the Wicked Witch of the West a name, but there is no consistency, she's had several — most notably "Elphaba" in Wicked: The Life and Times of the Wicked Witch of the West, and "Allidap" in a number of books from both The Wiz Kids of Oz and Buckethead Enterprises of Oz. Some books have also used Bastinda, the name Aleksandr Volkov used for his wicked witch in The Wizard of the Emerald City (Volkov's equivalent of the Wicked Witch of the East was called "Gingemma"). The non-fiction reference work The Wizard of Oz Catalog consistently claims that the Wicked Witch of the West is named Blinky, but there appears to be no basis or justification for this name (and it shouldn't be confused with Blinkie, the witch in the book The Scarecrow of Oz). In the 1910 film The Wonderful Wizard of Oz, the wicked witch is named Momba. In The Wiz, the Wicked Witch of the East was named Evvamean on stage and Evermean in the film, and her sister in the west is Evillene both on stage and screen. In the novel and play versions of Wicked, the Wicked Witch of the East is Nessarose, and she is Elphaba's sister. In the novel The Living House of Oz, the Wicked Witch of the West, who originated in a different, parallel Oz, was named Mordra. In Roger S. Baum's The Oz Odyssey, her name was Bekama. In Halloween in Oz: Dorothy Returns, the Wicked Witch of the West is named Wurstella, and the Wicked Witch of the East is Edsilla. When she appeared on the television show Once Upon a Time, the Wicked Witch of the West was named Zelena, and turned out to be the half-sister of Regina, the Evil Queen from Snow White. In the television miniseries Tin Man, the Wicked Witch of the West as named Azkadellia, and was D. G.'s long lost sister.
Are the wicked witches sisters?
It depends on what version of the story you're enjoying. While many people seem to think so, no relationship between them is ever given in the book. The first mention of their being sisters probably comes from The Movie, and it's a kinship that many people have used ever since, including in The Wiz (in the play script, all four witches, good and bad, are described as sisters, but this may be the African-American use of the word to mean fellow African-American women), Wicked, and the Magic Land books of Aleksander Volkov. In The Muppets' Wizard of Oz, all four witches are sisters — and as they're all played by Miss Piggy, it was easy to pull off. The Wicked Witch of the East and the Wicked Witch of the West were also sisters in the 1987 Cinar cartoon series The Wonderful Wizard of Oz. Two examples that further add to this: In the animated movie Journey Back to Oz, Mombi the Witch is the cousin of both witches. And in the book The Wicked Witch of Oz, written by Rachel Cosgrove Payes, Singra, the titular character, is also the cousin of both witches. But neither of these stories are seen as official by many Oz researchers. Both were written after the idea was first raised that the wicked witches are sisters.
Why does water melt the Wicked Witch of the West?
There is no explanation given in The Wizard of Oz as to why water dissolved and destroyed the Wicked Witch of the West. The only indication might be in an incident when Toto bites her: "The Witch did not bleed where she was bitten, for she was so wicked that the blood in her had dried up many years before." Many believe that she had extended her life through magical means for so long that there was actually very little of her left, and so the water was enough to finally break her down. (This was also the explanation used in the apocryphal novel A Barnstormer in Oz.) Some people have remembered that she was made of brown sugar, which is why she melted so easily — but I don't think she could be considered to be anywhere near that sweet! The book actually described her demise this way: "...Dorothy...was truly frightened to see the Witch actually melting away like brown sugar before her very eyes [emphasis mine]." Similarly, the impact of Dorothy's house landing on the Wicked Witch of the East caused her to turn to dust. Some speculate that water is dangerous for all Oz witches, as buckets of water are kept around the palace in the Emerald City in case of emergencies (as seen in The Cowardly Lion of Oz), Mombi was washed out with water in The Lost King of Oz, and Singra in The Wicked Witch of Oz took the precaution of enchanting herself so that water would not affect her. In one made-for-record original sequel to The Wizard of Oz that I am aware of (The Further Adventures of the Wizard of Oz, issued by Golden Records in the late '60s or early '70s), water even washes out the Good Witch of the North, so water may not affect just wicked witches!
Is there a Wicked Witch of the North or South?
Yes, there are. In the north, it's a pretty straightforward answer, as Mombi, first introduced in The Marvelous Land of Oz, has pretty much been give the title Wicked Witch of the North, even if she's never officially been called that or acknowledged it. But she was pretty mean, and deserves it. It's in the south that it gets complicated. In Dorothy and the Wizard in Oz, Ozma mentions that Glinda conquered the evil witch in the south, but that's all we hear of that tale. One character in The Scarecrow of Oz is Blinkie the Witch, and she's a pretty nasty character, too. So for many years, Oz fans called her the Wicked Witch of the South, and made up elaborate theories about how she was hiding out in Jinxland and the like. But while she wasn't very nice, her deeds were pretty small scale compared to the other wicked witches, and she never claimed that she was the Wicked Witch of the South. (Further complicating matters is three other witches who come to Blinkie's aid in that book.) The first character to actually be called the Wicked Witch of the South was the unnamed witch in Eric Shanower's first graphic novel, The Enchanted Apples of Oz, published in 1986. She had been defeated by a powerful, unnamed sorceress and placed in an enchanted sleep. Then in 1993, IWOC published The Wicked Witch of Oz by Rachel Cosgrove Payes. The title character is Singra, who wakes up after a one hundred year-long nap. She is also called the Wicked Witch of the South. So, which one is the real Wicked Witch of the South? We have no definitive answer. Eric Shanower, who created one witch and illustrated the other, suggests that they were rival claimants to the title, and neither was willing to acknowledge the other. It's also possible that, thanks to their enchanted sleeps, they were each the Wicked Witch of the South at different times.
What is the name of the good witch — and how do you spell it?
One of the most common misspellings I've encountered for an Oz character is the character played by Billie Burke in The Movie. She was the Good Witch of the South (later a sorceress) in the books, and Burke's character in The Movie was the Good Witch of the North, but no matter where she's from, her name is Glinda. That's G-L-I-N-D-A with an I, not G-L-E-N-D-A with an E. In The Wiz, the name was kept, but she was restored to being from the south. In Russia, the Good Witch of the South is named Stella. And in case you were really curious, in the books the Good Witch of the North, a separate character, is named Tattypoo in The Giant Horse of Oz, a name borrowed for the 2005 television production The Muppets' Wizard of Oz. Baum named the Good Witch of the North Locasta (sometimes also spelled Locusta) in the 1902 stage version of The Wizard of Oz. Some scripts for this play also give us the alternative spelling Galinda for the Good Witch of the South. In Wicked, both in the book and on stage, she starts off as Galinda, but later shortens her name to honor one of her professors who kept leaving out the a. In Russia, the Good Witch of the North (also the Witch of the Yellow Country) is Villina, and in The Wiz she is Addaperle on stage, and Miss One on film. Finally, the good witch in the 1905 play The Woggle-Bug was named Maëtta, after a good witch in Baum's book A New Wonderland/The Magical Monarch of Mo. Maëtta took the role given to Glinda in The Marvelous Land of Oz, the book on which The Woggle-Bug is based. In the novel Halloween in Oz: Dorothy Returns, the Good Witch of the North is named Boreala.
What is the origin of the name "Munchkin"?
There is no known source of the name. It just appears to be a name Baum made up. But he was the first to use the word, which has now become a part of the English language and appears in several dictionaries. Most dictionaries even cite Baum and The Wizard of Oz as the source of the word. In Russia, the characters are constantly chewing, which is how they got the name Zhevuny, or Munchers, from "munching" all the time. This is an invention of Volkov's, based on Baum's word.
What are the names of the Scarecrow, Tin Woodman, and Cowardly Lion?
Sadly, two of Dorothy's original friends on the Yellow Brick Road don't have names. The Scarecrow is just called "Scarecrow," and the Lion is just called "The Cowardly Lion." But the Tin Woodman does indeed have a name. It wasn't given in the original book, but in the 1902 stage play he was called Niccolo Chopper. This was shortened to Nick Chopper in the play. The shortened version of this name then appeared in the book The Marvelous Land of Oz, and he's been called Nick Chopper ever since. It was even used in Wicked and its sequels. The Cowardly Lion was given the nickname "Cowy" in Ruth Plumly Thompson's book The Enchanted Island of Oz, but it doesn't seem to have caught on with him, his friends, or the readers. In Russia, the Scarecrow is named Strasheela (literally, "Little Scary One"), and the Tin Woodman and the Cowardly Lion go unnamed, although the former becomes the more-apt-to-rust Iron Woodchopper, and (in the books of Sergei Sukhinov) his name when he was a flesh-and-blood person was Goode Kerly. In the 1961 television series Tales of the Wizard of Oz and 1964 television movie Return to Oz, both produced by Rankin-Bass, they are named Socrates the Scarecrow, Rusty the Tin Man, and Dandy Lion — but these names should not be taken at all seriously. In the film version of The Wiz, the Cowardly Lion is named Fleetwood Coupe de Ville — Fleet for short. In the stage musical Wicked, it turns out that the Scarecrow and Tin Woodman are enchanted versions of some of the other characters, but I won't reveal who so as to not spoil the surprise. And in his third book about Oz, A Lion Among Men, Gregory Maguire gave the Cowardly Lion the name Brrr.
What are the flying monkeys called?
Most people who ask me this question have already answered it, since they don't have an unusual or exotic tribal name. In the books, they're just called the flying monkeys or winged monkeys. In the books they aren't given individual names, but in The Movie their leader is named Nikko (see the question Who is Nikko? ). He is actually referred to as Nikko in some Movie-based play scripts. In the 1990 Wizard of Oz cartoon series, based on The Movie, the leader of the winged monkeys is called Truckel (I'm not sure exactly how that's spelled), but this could be a different monkey. In the Russian books, the leader of the Winged Monkeys is named Worra. In Wicked, the flying monkey who befriends Elphaba is named Chistery.
What's the Wizard's name?
Like so many other characters, the Wizard didn't have a name in the original novel. But in his second appearance in the Oz books, Dorothy and the Wizard in Oz, he reveals that his name is Oscar Zoroaster Phadrig Issac Norman Henkle Emmanuel Ambroise Diggs. Of course, this meant that the poor man's initials were O. Z. P. I. N. H. E. A. D. When he grew up, he shortened this to O. Z., and thus became Oz professionally. (The rest of the initials spelled "pinhead," which he felt reflected badly on his intelligence.) He worked in a circus as a magician, ventriloquist, and balloonist, and put his new name on all of his possessions, including his balloon. When an accident brought him to the land of Oz, the citizens, seeing the name of their country on the balloon, thought he was their new ruler. He's now generally called Oz or Wizard. In Russia, he is named James Goodwin. In the film version of The Wiz, he was named Herman Smith. In The Muppets' Wizard of Oz, he was named Francis Cornfine. In the novel Halloween in Oz: Dorothy Returns, the Wizard is called both Oztoz and Jeremiah M. Quincy (perhaps the latter is his real name, and Oztoz an Oz name or title he adopted).
Where is the Wizard from?
In the books, and the stage version of The Wiz, the Wizard is from Omaha, Nebraska. In The Movie, he says he's "an old Kansas man myself," and his balloon reads "State Fair Omaha." In the film version of The Wiz, he's from Atlantic City, New Jersey. In The Muppets' Wizard of Oz, he was a tour bus driver from Hollywood. In the Russian books, James Goodwin is from Kansas. In the 1902 stage play, an "ethnic" comedian was often cast as the Wizard, so depending on which performance you saw, he could have been Irish, Dutch, or German.
Was the Wizard modeled after anybody?
There has been much speculation on this by Ozmologists. Some have made a compelling argument that the Wizard could have been based on turn-of-the-century stage magician Harry Kellar. Others have made an equally compelling case for the Wizard being based on circus impresario P. T. Barnum. Still others claim that the Wizard was modeled after Washington Harrison "Professor" Donaldson, a ventriloquist, magician, tightrope walker, and balloonist who worked for Barnum — and disappeared in his balloon during a storm over Lake Michigan in 1875. Others have mentioned Civil War balloonist and engineer T. S. C. Lowe as a possible Wizard model. The Wizard has also been compared to Thomas Edison, Dr. William P. Phelon (leader of a Theosophical society of which Frank and Maud Baum were members), confidence man John A. Hamlin, and even L. Frank Baum himself. Whether Baum had any contemporary figure in mind when creating the Wizard, we will probably never know with any degree of certainty.
What's the name of the Soldier with the Green Whiskers?
This is a bit complicated. The Soldier with the Green Whiskers first appears in The Wonderful Wizard of Oz, and also takes part in the action in the next book, The Marvelous Land of Oz. He doesn't appear again until The Patchwork Girl of Oz — until one discovers that he appeared in three books without the green whiskers! In Ozma of Oz, the one private in Ozma's army is named Omby Amby. Omby Amby also has a large part in The Emerald City of Oz, and reveals that when he was a private, he once cut off his long green whiskers to disguise himself from an army of rebels. The Soldier with the Green Whiskers in The Marvelous Land of Oz even mentioned that he would do just that so he could escape. The Wizard, upon returning to Oz in Dorothy and the Wizard in Oz, also recognizes the Soldier with the Green Whiskers, even though he has shaven off his beard (this soldier's name is not given, but it is clearly the same character). So, the Soldier with the Green Whiskers is named Omby Amby, right? Maybe not! Throughout the rest of the Oz books by Baum and Thompson, he has his green whiskers again, but isn't called by any name until Ozoplaning with the Wizard of Oz, when Ruth Plumly Thompson gives him the name Wantowin Battles. Is this a new name Omby Amby is using? It's doubtful, as Thompson mentions that the soldier is from a Munchkin family named Battles. (In Thompson's defense, it's quite likely that she overlooked the connections between Omby Amby and the Soldier with the Green Whiskers that Baum made. It is subtle, and mentioned in passing, in both Dorothy and the Wizard in Oz and The Emerald City of Oz. It has also been speculated that the name was not created by Thompson, but by a Reilly and Lee editor who was finishing up Thompson's incomplete book.) John R. Neill also used the name Wantowin Battles for the character, but Jack Snow gave him back the name Omby Amby — and was, in fact, the first writer to use the name with the character when he was actually wearing green whiskers. The difference between the two names is still unexplained at this point, but many Ozmologists have chosen to overlook the name Wantowin Battles. To add to the mix, he is named Din Gior in Russia.
What's the connection between Jack Pumpkinhead and Jack Skellington from The Nightmare Before Christmas?
Many people have noted some similarities between the Oz character Jack Pumpkinhead, first introduced in The Marvelous Land of Oz in 1904, and Jack Skellington, the main character in the 1993 Tim Burton animated movie The Nightmare Before Christmas — primarily, both are named Jack and both have a pumpkin fixation (the latter's most famous line is probably "I am the Pumpkin King!"). Some have even wondered if the existence of Jack Pumpkinhead influenced Tim Burton and the creation of Jack Skellington. However, the two are not as similar as one might think. The Oz character has a wooden body and a pumpkin for a head, and is a farmer in the Winkie Country. The movie character is a living skeleton, and is the coordinator of Halloween events in Halloween Town. Jack Pumpkinhead is not generally considered to be very bright (you try being intelligent if your brains were nothing but pumpkinseeds) and is a bit rustic, while Jack Skellington is quite smart in both thought and manner. So they really aren't all that similar. Remember, jack o' lanterns carved from pumpkins predate both characters. However, in his first scene in The Nightmare Before Christmas, Jack Skellington does have a pumpkin on his head, and looks very much like Jack Pumpkinhead. Also, the director of Nightmare was Henry Sellick who, eight years earlier, had been a storyboard artist on Return to Oz, and therefore had several opportunities to draw Jack Pumpkinhead. From another perspective, similarities can also be seen between Scraps, the Patchwork Girl of the Oz books, and Sally in The Nightmare Before Christmas, so there may be another connection there, but it's also not terribly likely.
Why doesn't Polychrome recognize the Shaggy Man in Tik-Tok of Oz, even though they traveled together in The Road to Oz?
The Shaggy Man and Polychrome, the rainbow's daughter, first meet in the 1909 book, The Road to Oz, and both travel with Dorothy and are major characters. When the two characters meet again in the 1914 book, Tik-Tok of Oz, however, they don't appear to recognize each other:
"I - I've lost my bow!" wailed Polychrome.
"Take me, my dear," said Shaggy Man in a sympathetic tone, thinking she meant "beau" instead of "bow."
"I don't want you!" cried Polychrome, stamping her foot imperiously; "I want my Rainbow."
"Oh; that's different," said Shaggy. "But try to forget it. When I was young I used to cry for the Rainbow myself, but I couldn't have it. Looks as if you can't have it, either; so please don't cry."
Polychrome looked at him reproachfully.
"I don't like you," she said.
So why don't they seem to recognize each other? This stems from the origins of Tik-Tok of Oz, as the play The Tik-Tok Man of Oz a year earlier. As playgoers would most likely not be familiar with The Road to Oz, they didn't recognize each other there so they wouldn't have to stop and explain how they already knew each other.
And yet, their dialogue in Tik-Tok of Oz continues:
"No?" replied Shaggy [in response to Polychrome's previous "I don't like you" line], drawing the Love Magnet from his pocket; "not a little bit? - just a wee speck of a like?"
"Yes, yes!" said Polychrome, clasping her hands in ecstasy as she gazed at the enchanted talisman; "I love you, Shaggy Man!" [Aha, she remembers his name now.]
"Of course you do," said he calmly; "but I don't take any credit for it. It's the Love Magnet's powerful charm. But you seem quite alone and friendless, little Rainbow. Don't you want to join our party until you find your father and sisters again?"
It's subtle, but the Shaggy Man does seem to know Polychrome after all, and certainly knows about her father and sisters. It's entirely possible that Polychrome was so distraught over being left on Earth that she wasn't thinking clearly when the Shaggy Man first talked to her, and didn't really recognize him until he showed her the Love Magnet. Perhaps this initial confusion was Baum's tip of the hat to those who had seen The Tik-Tok Man of Oz, and a way to keep the bow/beau joke.
| Gale |
The 1992 film Hear My Song involves a search for which tenor? | Chapter 1. “The Earthquake” | Dorothy and the Wizard in Oz | L. Frank Baum | Lit2Go ETC
Dorothy and the Wizard in Oz
Country of Origin: United States of America
Source: Baum, F. L. (1908). Dorothy and the Wizard in Oz. Chicago: Reilly and Britton.
Readability:
Chicago
Baum, L. (1908). Chapter 1. “The Earthquake”. Dorothy and the Wizard in Oz (Lit2Go Edition). Retrieved January 17, 2017, from http://etc.usf.edu/lit2go/193/dorothy-and-the-wizard-in-oz/4095/chapter-1-the-earthquake/
Baum, L. Frank. "Chapter 1. “The Earthquake”." Dorothy and the Wizard in Oz. Lit2Go Edition. 1908. Web. <http://etc.usf.edu/lit2go/193/dorothy-and-the-wizard-in-oz/4095/chapter-1-the-earthquake/>. January 17, 2017.
L. Frank Baum, "Chapter 1. “The Earthquake”," Dorothy and the Wizard in Oz, Lit2Go Edition, (1908), accessed January 17, 2017, http://etc.usf.edu/lit2go/193/dorothy-and-the-wizard-in-oz/4095/chapter-1-the-earthquake/.
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The train from ‘Frisco was very late. It should have arrived at Hugson’s Siding at midnight, but it was already five o’clock and the gray dawn was breaking in the east when the little train slowly rumbled up to the open shed that served for the station-house. As it came to a stop the conductor called out in a loud voice:
“Hugson’s Siding!”
At once a little girl rose from her seat and walked to the door of the car, carrying a wicker suitcase in one hand and a round birdcage covered up with newspapers in the other, while a parasol was tucked under her arm. The conductor helped her off the car and then the engineer started his train again, so that it puffed and groaned and moved slowly away up the track. The reason he was so late was because all through the night there were times when the solid earth shook and trembled under him, and the engineer was afraid that at any moment the rails might spread apart and an accident happen to his passengers. So he moved the cars slowly and with caution.
The little girl stood still to watch until the train had disappeared around a curve; then she turned to see where she was.
The shed at Hugson’s Siding was bare save for an old wooden bench, and did not look very inviting. As she peered through the soft gray light not a house of any sort was visible near the station, nor was any person in sight; but after a while the child discovered a horse and buggy standing near a group of trees a short distance away. She walked toward it and found the horse tied to a tree and standing motionless, with its head hanging down almost to the ground. It was a big horse, tall and bony, with long legs and large knees and feet. She could count his ribs easily where they showed through the skin of his body, and his head was long and seemed altogether too big for him, as if it did not fit. His tail was short and scraggly, and his harness had been broken in many places and fastened together again with cords and bits of wire. The buggy seemed almost new, for it had a shiny top and side curtains. Getting around in front, so that she could look inside, the girl saw a boy curled up on the seat, fast asleep.
She set down the birdcage and poked the boy with her parasol. Presently he woke up, rose to a sitting position and rubbed his eyes briskly.
“Hello!” he said, seeing her, “are you Dorothy Gale?”
“Yes,” she answered, looking gravely at his tousled hair and blinking gray eyes. “Have you come to take me to Hugson’s Ranch?”
“Of course,” he answered. “Train in?”
“I couldn’t be here if it wasn’t,” she said.
He laughed at that, and his laugh was merry and frank. Jumping out of the buggy he put Dorothy’s suitcase under the seat and her birdcage on the floor in front.
“Canary-birds?” he asked.
“Oh no; it’s just Eureka, my kitten. I thought that was the best way to carry her.”
The boy nodded.
“Eureka’s a funny name for a cat,” he remarked.
“I named my kitten that because I found it,” she explained. “Uncle Henry says ‘Eureka’ means ‘I have found it.’”
“All right; hop in.”
She climbed into the buggy and he followed her. Then the boy picked up the reins, shook them, and said “Gid-dap!”
The horse did not stir. Dorothy thought he just wiggled one of his drooping ears, but that was all.
“Gid-dap!” called the boy, again.
The horse stood still.
“Perhaps,” said Dorothy, “if you untied him, he would go.”
The boy laughed cheerfully and jumped out.
“Guess I’m half asleep yet,” he said, untying the horse. “But Jim knows his business all right—don’t you, Jim?” patting the long nose of the animal.
Then he got into the buggy again and took the reins, and the horse at once backed away from the tree, turned slowly around, and began to trot down the sandy road which was just visible in the dim light.
“Thought that train would never come,” observed the boy. “I’ve waited at that station for five hours.”
“We had a lot of earthquakes,” said Dorothy. “Didn’t you feel the ground shake?”
“Yes; but we’re used to such things in California,” he replied. “They don’t scare us much.”
“The conductor said it was the worst quake he ever knew.”
“Did he? Then it must have happened while I was asleep,” he said thoughtfully.
“How is Uncle Henry?” she enquired, after a pause during which the horse continued to trot with long, regular strides.
“He’s pretty well. He and Uncle Hugson have been having a fine visit.”
“Is Mr. Hugson your uncle?” she asked.
“Yes. Uncle Bill Hugson married your Uncle Henry’s wife’s sister; so we must be second cousins,” said the boy, in an amused tone. “I work for Uncle Bill on his ranch, and he pays me six dollars a month and my board.”
“Isn’t that a great deal?” she asked, doubtfully.
“Why, it’s a great deal for Uncle Hugson, but not for me. I’m a splendid worker. I work as well as I sleep,” he added, with a laugh.
“What is your name?” said Dorothy, thinking she liked the boy’s manner and the cheery tone of his voice.
“Not a very pretty one,” he answered, as if a little ashamed. “My whole name is Zebediah; but folks just call me ‘Zeb.’ You’ve been to Australia, haven’t you?”
“Yes; with Uncle Henry,” she answered. “We got to San Francisco a week ago, and Uncle Henry went right on to Hugson’s Ranch for a visit while I stayed a few days in the city with some friends we had met.”
“How long will you be with us?” he asked.
“Only a day. Tomorrow Uncle Henry and I must start back for Kansas. We’ve been away for a long time, you know, and so we’re anxious to get home again.”
The boy flicked the big, boney horse with his whip and looked thoughtful. Then he started to say something to his little companion, but before he could speak the buggy began to sway dangerously from side to side and the earth seemed to rise up before them. Next minute there was a roar and a sharp crash, and at her side Dorothy saw the ground open in a wide crack and then come together again.
“Goodness!” she cried, grasping the iron rail of the seat. “What was that?”
“That was an awful big quake,” replied Zeb, with a white face. “It almost got us that time, Dorothy.”
The horse had stopped short, and stood firm as a rock. Zeb shook the reins and urged him to go, but Jim was stubborn. Then the boy cracked his whip and touched the animal’s flanks with it, and after a low moan of protest Jim stepped slowly along the road.
Neither the boy nor the girl spoke again for some minutes. There was a breath of danger in the very air, and every few moments the earth would shake violently. Jim’s ears were standing erect upon his head and every muscle of his big body was tense as he trotted toward home. He was not going very fast, but on his flanks specks of foam began to appear and at times he would tremble like a leaf.
The sky had grown darker again and the wind made strange sobbing sounds as it swept over the valley.
Suddenly there was a rending, tearing sound, and the earth split into another great crack just beneath the spot where the horse was standing. With a wild neigh of terror the animal fell bodily into the pit, drawing the buggy and its occupants after him.
Dorothy grabbed fast hold of the buggy top and the boy did the same. The sudden rush into space confused them so that they could not think.
Blackness engulfed them on every side, and in breathless silence they waited for the fall to end and crush them against jagged rocks or for the earth to close in on them again and bury them forever in its dreadful depths.
The horrible sensation of falling, the darkness and the terrifying noises, proved more than Dorothy could endure and for a few moments the little girl lost consciousness. Zeb, being a boy, did not faint, but he was badly frightened, and clung to the buggy seat with a tight grip, expecting every moment would be his last.
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In which ocean is the archipelago of Novaya Zemlya? | Novaya Zemlya | islands, Russia | Britannica.com
Novaya Zemlya
Alternative Titles: New Islands, Novaia Zemlia
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Lofoten
Novaya Zemlya, also spelled Novaia Zemlia, archipelago in northwestern Russia , lying in the Arctic Ocean and separating the Barents and Kara seas.
Novaya Zemlya (“New Land”) consists of two large islands, Severny (northern) and Yuzhny (southern), aligned for 600 miles (1,000 km) in a southwest-northeast direction, plus several smaller islands. The two major islands are separated by a narrow strait, Matochkin Shar, only about 1 to 1.5 miles (1.6 to 2.4 km) wide. The most southerly point, the island of Kusova Zemlya, is separated from Vaygach Island and the mainland by the Kara Strait.
Novaya Zemlya, a continuation of the Ural Mountains system, is for the most part mountainous, though the southern portion of Yuzhny Island is merely hilly. The mountains, which rise at most to 5,220 feet (1,590 m), consist of igneous and sedimentary materials, including limestones and slates. More than one-quarter of the land area, especially in the north, is permanently covered by ice, and most of the northern island, as well as part of the southern, lies in the zone of Arctic desert. The climate is severe, and temperature varies from 3° to -8° F (-16° to -22° C) in winter to 36° to 44° F (2° to 7° C) in summer. There are frequent fogs and strong winds. The vegetation in those portions of the islands free from ice is predominantly low-lying tundra , with much swamp, though low bushes are found in sheltered valleys. Lemmings, Arctic foxes, seals, walruses, and occasionally polar bears are found on Novaya Zemlya; a rich bird life abounds in summer. Novaya Zemlya has been known since at least medieval times, though it was not explored until the 18th and 19th centuries. Area 31,900 square miles (82,600 square km).
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| Arctic |
Which Caribbean island is only 11 kilometres off the Venezuelan coast? | Novaja Semlja | Article about Novaja Semlja by The Free Dictionary
Novaja Semlja | Article about Novaja Semlja by The Free Dictionary
http://encyclopedia2.thefreedictionary.com/Novaja+Semlja
Also found in: Dictionary , Thesaurus , Wikipedia .
Novaya Zemlya
(nô'vīə zĭmlyä`), archipelago, c.35,000 sq mi (90,650 sq km), in the Arctic Ocean between the Barents and Kara seas, NW Russia. It consists of two main islands (separated by Matochkin Strait) and many smaller ones. The mountains, rising to c.3,500 ft (1,070 m), are a continuation of the Urals. In the north the archipelago is glaciated and covered by arctic desert; the southern part is tundra. Copper, lead, zinc, and asphaltite are found there. Fishing, sealing, and trapping are the chief occupations of the small population, which lives mainly along the western coast. The islands were used for thermonuclear testing by the Russians, who still maintain a nonnuclear weapons test site there. Explored by Novgorodians in the 11th or 12th cent., the islands were sighted by explorers searching for the Northeast Passage in the 1500s. Since the mid-1800s Russians have built settlements and scientific stations there.
Novaya Zemlya
an archipelago in the Arctic Ocean, off the NE coast of Russia: consists of two large islands and many islets. Area: about 81 279 sq. km (31 382 sq. miles)
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What is the capital of the North Atlantic island of Bermuda? | Bermuda Map and Information, Map of Bermuda, Flags and Geography of Bermuda -Worldatlas.com
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Bermuda History
Bermuda is a British overseas territory located in the North Atlantic Ocean. It consists of 138 islands that form a fishhook-shaped landmass, stretching some 22 miles in length and about a mile across. Bridges and causeways connect the eight largest islands.
Spanish navigator, Juan de Bermudez (for whom the islands are named), discovered the area in 1505 and claimed it for the Spanish Empire.
In 1609 Sir George Somers, of England , set sail aboard the Sea Venture. Caught in a storm, the Sea Venture began to founder. In order to keep from sinking, the ship was driven onto the reefs east of Bermuda. All 150 crewmembers and passengers survived and are credited with the settling of Bermuda.
In 1612, an additional 60 settlers were sent to Bermuda, led by Sir Richard Moore, the first governor. They founded and built the town of St. George.
Slavery and Industry
Early in the 17th century, slavery was introduced. Most of them were laborers and domestic workers. Many were treated brutally, resulting in revolts. Finally, in 1807, slave trade was outlawed and by 1834 all slaves were freed.
As the arable land was too small for a significant agricultural industry, the focus was on the maritime, with the islands' Bermuda cedar trees used for shipbuilding. In the 18th century many of the merchant vessels built in Bermuda were used for privateering, preying on shipments from Spain and France . During the American War of Independence, the Bermudians were aggressive in their attacks on American ships.
In 1815, the capital was moved from St. George's to the port city of Hamilton, in the center of the island. Since Britain had lost its ports in the American colonies , Bermuda became a stopover point between Canada and British possessions in the Caribbean .
By the end of the 19th century, exporting of vegetables to the United States , especially the Bermuda onion, became quite profitable and provided a steady income. As the U.S. began producing more of its own crops, the agricultural industry fell, but tourism took its place.
The Furness Steamship Company in England picked Bermuda as a stop for their new ships. Wealthy Americans visited Bermuda, especially during the Prohibition Era, as they could drink on the ships and in the hotels.
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| Hamilton |
Which painter was born Jacopo Comin, later changed to Jacopo Robusti? | The World Factbook — Central Intelligence Agency
chief of state: Queen ELIZABETH II (since 6 February 1952); represented by Governor John RANKIN (since 5 December 2016)
head of government: Premier Michael DUNKLEY (since 20 May 2014)
cabinet: Cabinet nominated by the premier, appointed by the governor
elections/appointments: the monarchy is hereditary; governor appointed by the monarch; following legislative elections, the leader of the majority party or majority coalition usually appointed premier by the governor
Legislative branch:
description: bicameral Parliament consists of the Senate (11 seats; members appointed - 3 by the governor, 5 by the premier, and 3 by the opposition party; members serve 5-year terms) and the House of Assembly (36 seats; members directly elected in single-seat constituencies by simple majority vote to serve up to 5-year terms)
elections: last held on 17 December 2012 (next to be held not later than 2017)
election results: percent of vote by party - OBA 51.7%, PLP 46.1%, other 2.2%; seats by party - OBA 19, PLP 17
Judicial branch:
highest resident court(s): Court of Appeal (consists of the court president and at least 2 justices); Supreme Court (consists of the chief justice, 4 puisne judges, and 1 associate justice); note - the Judicial Committee of the Privy Council, in London, is the court of final appeal
judge selection and term of office: Court of Appeal justice appointed by the governor; justice tenure by individual appointment; Supreme Court judges nominated by the Judicial and Legal Services Commission and appointed by the governor; judge tenure based on terms of appointment
subordinate courts: commercial court (began in 2006); magistrates' courts
One Bermuda Alliance or OBA [Thad HOLLIS]
Progressive Labor Party or PLP [Marc BEAN]
Association of Bermuda Insurers and Reinsurers or ABIR [Bradley KADING]
Association of Bermuda International Companies or ABIC [George HUTCHINGS]
Bermuda Employer's Council [Keith JENSEN]
Bermuda Industrial Union or BIU [Chris Furbert]
Bermuda Public Services Union or BPSU [Kevin GRANT and Ed BALL]
Bermuda Union of Teachers [Michael CHARLES]
chief of mission: Consul General Mary Ellen KOENIG (since 27 November 2015)
consulate(s) general: Crown Hill, 16 Middle Road, Devonshire DVO3
mailing address: P. O. Box HM325, Hamilton HMBX; American Consulate General Hamilton, US Department of State, 5300 Hamilton Place, Washington, DC 20520-5300
telephone: [1] (441) 295-1342
Flag description:
red, with the flag of the UK in the upper hoist-side quadrant and the Bermudian coat of arms (a white shield with a red lion standing on a green grassy field holding a scrolled shield showing the sinking of the ship Sea Venture off Bermuda in 1609) centered on the outer half of the flag; it was the shipwreck of the vessel, filled with English colonists originally bound for Virginia, that led to the settling of Bermuda
note: the flag is unusual in that it is only British overseas territory that uses a red ensign, all others use blue
name: "Hail to Bermuda"
lyrics/music: Bette JOHNS
note: serves as a local anthem; as a territory of the United Kingdom, "God Save the Queen" is official (see United Kingdom)
Economy :: BERMUDA
Economy - overview:
Tourism accounts for about 5% of Bermuda's GDP, but a much larger share of employment. Over 80% of its visitors come from the US. The sector struggled in the wake of the global recession of 2008-09. International business, which consists primarily of rein
Bermuda's economy entered its seventh straight year of recession in 2015. Unemployment is 9%, public debt is growing and exceeds $2.3 billion, the government pension fund faces a $2.4 billion shortfall, and the economy has not attracted significant amount
note: 225 km public roads; 222 km private roads (2010)
country comparison to the world: 198
Merchant marine:
total: 139
by type: bulk carrier 22, chemical tanker 3, container 14, liquefied gas 43, passenger 27, passenger/cargo 2, petroleum tanker 19, refrigerated cargo 9
foreign-owned: 105 (France 1, Germany 14, Greece 8, Hong Kong 4, Ireland 1, Israel 3, Japan 2, Monaco 2, Nigeria 11, Norway 5, Sweden 14, UK 14, US 26)
registered in other countries: 241 (Bahamas 15, Cyprus 1, France 5, Greece 3, Hong Kong 20, Isle of Man 7, Liberia 4, Malta 15, Marshall Islands 35, Netherlands 1, Norway 24, Panama 27, Philippines 47, Saint Vincent and the Grenadines 1, Singapore 25, UK 6, US 5) (2010)
country comparison to the world: 41
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The Goddess of Protection and daughter of Ra, Bastet had the head of which creature? | Bastet - Egyptian Mythology for Smart People
Egyptian Mythology for Smart People
Bastet
Vector image of Bastet by Jeff Dahl
Bastet was an ancient Egyptian lioness or cat goddess who had both a gentle, nurturing side and a ferocious, terrifying side.
In her oldest form, Bastet was almost invariably depicted as a lioness or a woman with the head of a lioness. Fittingly for a goddess represented in the form of such a fearsome predator, this early version of Bastet had a penchant for slaughter and carnage, much like the similar leonine goddess Sekhmet .[1]
Even at that stage, however, Bastet also had a more motherly, protective aspect as well, as a mother lion would in relation to her pride and especially her cubs. Like many ancient Egyptian goddesses, she nursed the pharaoh while he was a child and defended him against his enemies throughout his life. When someone died and had to traverse the perilous paths that led to the court of Osiris in the underworld, Bastet helped to guide them. She was also something of a symbol for motherhood as such, and watched over pregnant women.[2]
These two sides of Bastet’s character were combined in her protection of those she loved, including the pharaoh, pious commoners, and Ra , the sun god (whose daughter she was said to be). Bastet was often listed amongst the members of the entourage who accompanied Ra on the ship on which he sailed through the sky every day and through the underworld every night.[3]
Over time, Bastet developed into a cat goddess or cat-headed goddess, and the gentler aspects of her personality came more to the fore. By the sixteenth century BC, her cat form had all but completely replaced her lioness form.[4]
Even with this decidedly milder temperament, the ferocious aspects of Bastet’s character remained, although apparently almost exclusively as an extension of her protective roles. For example, in her cat form, she was portrayed decapitating the chaos monster Apophis in defense of Ra’s solar ship.[5]
Bastet was quite an important goddess from the outset, and her popularity only grew over time.[6] One can imagine that this was both a cause and an effect of her disposition becoming steadily more pleasant and agreeable.
Bastet’s main cult center was the city of Bubastis or Tell Basta in the eastern Nile Delta. The Greek historian Herodotus described her temple as being particularly magnificent, and her festivals as being particularly large, elaborate, and hedonistic. Mummified cats were buried in her honor at the main sites of her worship and throughout all of Egypt.[7]
Her protective role seems to have been especially invoked around the time of the New Year, as amulets with pictures of cats and kittens were given as gifts to help the recipient through the “Demon Days” of the end of the year, which, as the name implies, were thought to be times when malevolent forces held more sway over the world than usual.[8]
If you’d like to learn more about Bastet, as well as ancient Egyptian mythology and religion more broadly, I recommend picking up one or more of the books on this list: The 10 Best Egyptian Mythology Books .
References:
[1] Wilkinson, Richard H. 2003. The Complete Gods and Goddesses of Ancient Egypt. Ch. 5.
[2] Ibid.
| Cat |
What is the name of the Scottish river spirit usually appearing as a horse? | Egyptian Bastet Goddess of Pleasure ~ Ancient Egypt Facts
Bastet the Goddess of protection, Lower Egypt, the sun , the moon and the Cats
Bastet ( Ancient Egyptian Goddess )
Bastet was on of the ancient Egyptian Goddess in 2nd Dynasty , scholar use this name today to refer to feline goddess .
Bastet Statue
Other Name : Baast , Bast, Ubasti and Baset
The Symbols : The sistrum , The lioness and The cat
Bastet's Parents : Atum and Ra
The particular Egyptian cat-headed goddess, Bastet had been strictly a solar deity till the particular arrival of Greek influence on Egyptian society, whenever she was a lunar goddess due to the actual Greeks associating her alongside their Artemis. Dating within the 2nd Dynasty (roughly 2890-2686 BCE), Bastet had been primarily portrayed as either a wild desert cat and / or as a lioness, not to mention only turned into associated with all the domesticated feline about 1000 BCE. She had been commonly paired with Sakhmet, the particular lion-headed goddess of Memphis, Wadjet, and Hathor. Bastet ended up being the "Daughter of Ra", a designation that placed her within the exact same ranks because such goddesses because Maat and Tefnut. In addition, Bastet was one of several "Eyes of Ra", the actual title of an "avenger" god whom typically is sent out specifically with lay waste to the particular enemies of Egypt and also her gods.
Bastet
The cult of Bastet ended up being centered throughout Bubastis (positioned within the delta area, near modern- day Zagazig) from at least the actual 4th Dynasty. Within the Late Period Bubastis had been the particular capital of Egypt for a dynasty, not to mention a very few kings took her identity into their royal titles. Bubastis was created famous by the actual traveler Herodotus within the 4th century BCE, whenever he described with regard to his annals among the festivals that occurs within honor of Bastet. Excavations with regard to the ruins of Tell-Basta (the particular previous Bubastis) come with yielded lots of discoveries, including a graveyard with mummified holy pets.
Because the Greeks equated Bastet alongside Diana and even Artemis and additionally Horus alongside Apollo, Bastet was adopted into the particular Osiris-Isis myth because their daughter (this particular association, but bear in mind, had been never earned previous to be able to the particular arrival of Hellenistic influence on Egypt). She is actually reported to be able to become the mother associated with the lion-headed god Mihos (whom ended up being in addition worshipped within Bubastis, along with Thoth). She is depicted the majority of commonly because a female with the head of the domesticated and / or wild cat or alternatively lion, or alternatively because a cat itself.
Related Web Search :
Ancient Egyptian Gods And Goddesses
Ancient Egyptian Gods for Kids
List Of Ancient Egyptian Gods
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Which Rolls-Royce engine was fitted into the Spitfire fighter plane? | The Rolls-Royce Spitfire XIX PS853 – Rolls-Royce
Home | About | Our story | The Rolls-Royce Heritage Trust | Articles | The Rolls-Royce Spitfire XIX PS853
The Rolls-Royce Spitfire XIX PS853
The Supermarine Spitfire is one of the best loved and widely recognised British aircraft of all time. It was designed by Reginald J Mitchell, who also designed the Supermarine S-series racing seaplanes which secured the Schneider Trophy after competition wins in 1927, 1929 and 1931.
The prototype Spitfire, K5054, first flew on 5 March 1936 powered by a Rolls-Royce Merlin, the last of Sir Henry Royce’s engine concepts before his death. Delivery of the first production Mk1 Spitfires into RAF squadron service took place from July 1938. The Spitfire and the Hawker Hurricane with their Merlin engines achieved lasting fame during the Battle of Britain in 1940.
By the time production ceased, more than 22,000 Spitfires and Seafires (naval versions of the Spitfire) were built. Merlin engine developments brought the aircraft better performance, but the last marks of Spitfire used the larger, more powerful Griffon engine. A total of 48 variants were made during the development and production of the aircraft over 10 years. They served in every combat theatre, operating as fighters, fighter-bombers, and reconnaissance aircraft as well as the Seafires which operated from aircraft carriers. It was the only allied fighter to remain in full production and front-line RAF service both prior to and after World War Two. The Spitfire also served in 28 other air forces across the world.
The Rolls-Royce Spitfire, PS853, is an unarmed, high-altitude reconnaissance aircraft, one of a batch of 79 Mk XIXs built at Supermarine, Southampton. The Mk XIX was powered by the 2,050 hp Griffon 65 or 66 and represents the pinnacle of the Spitfire’s development in terms of speed and altitude capability with a top speed of 446mph (730 km/h) and a ceiling of 42,000ft (12,800 m).
PS853 was delivered to the Central Photographic Reconnaissance Unit at RAF Benson on 13 January 1945, before moving to Belgium and Holland. The aircraft was engaged on active service with 16 Squadron up until the end of the war and participated in “Operation Crossbow” to detect V1 and V2 launch sites.
At the end of the war it remained on duty in Germany until March 1946 when it returned to the UK and was placed in storage. In 1950, PS853 was one of several Mk XIX Spitfires assigned to conduct meteorological research, known as the Temperature and Humidity of the Upper Air Masses (THUM) Flight. PS853 performed the last ever THUM sortie on 10 June 1957. Along with sister XIXs PM631 and PS915, PS853 retired into ceremonial and display duties to form the RAF’s Historic Aircraft Flight, the forerunner of today’s Battle of Britain Memorial Flight (BBMF). It spent less than a year with the HAF before being transferred to other duties. In 1963 PS853 was selected for a very special mission where it was used in combat trials with an English Electric Lightning at RAF Binbrook. After completing these trials PS853 was returned to the BBMF in 1964 where it remained until 1995.
In 1996, Rolls-Royce bought PS853 to replace the original Rolls-Royce Spitfire XIV, G-ALGT. The aircraft was re-registered as G-RRGN; the RR for obvious reasons and the GN after the drawing number prefix allocated to Griffon engine parts. The aircraft is painted as 'C' of No. 16 Photographic Reconnaissance Squadron, 2nd Tactical Air Force, being the identity PS853 wore during its wartime service.
The Rolls-Royce Spitfire, as PS853 is now popularly known, has become widely renowned as an ambassador for Rolls-Royce appearing at air displays and charity events as well as at our own corporate events. Not only does it represent the heritage of the Spitfire and the Rolls-Royce engines that powered them, it honours the pilots of all nations who flew them and the men and women who built and maintained them.
The aircraft is based in a dedicated hangar at East Midlands Airport, near Derby. It can be seen around the display circuit between April and October and during the winter months the aircraft undergoes an annual maintenance inspection programme.
In 2010, 65 years after its first delivery to RAF service, PS853 was taken out of service for its first major overhaul. The aircraft received full inspection and maintenance to all its structures and systems at the Aircraft Restoration Company and Historic Flying Limited at Duxford in Cambridgeshire. The first flight after restoration was on 9 October 2012 and PS853 was delivered back to Rolls-Royce in November 2012.
Unfortunately, the return to service was beset by an unfortunate accident on 7 January 2013, when the undercarriage was inadvertently retracted while on the runway at East Midlands. Fortunately it occurred at very low speed but left damage to the propeller, wings and fuselage. The pilot was unharmed and the aircraft was recovered with no further incident. The Spitfire was sent for repair at Duxford and returned to service some six months later. PS853’s first public display was part of a special thank you to the employees of Rolls-Royce when the Spitfire flew in formation over the Derby factories with the new Boeing 787 Dreamliner on the 8 August 2013.
PS853 Technical Details
| Merlin |
Which luxury train which linked London and Paris was withdrawn in 1972? | Merlincar
John Dodd's Hand-built Rolls-Royce Merlin Aircraft Engined Car.
The engine is the same as installed in many fighter and bomber aircraft in the Second World War, such as the Spitfire and Lancaster. etc. This one was originally fitted in a Boulton-Paul trainer, is of 27 litres capacity and was rated at over 1.000 horse-power.
The following is as in the Wikipedia report on this car:
In the 1960s, Paul Jameson put a Merlin engine (some say it actually was a Rover-built Rolls-Royce Meteor , which was a de-tuned Merlin without superchargers and with steel components replacing some aluminium ones) into a chassis he had built himself. He did not get around to building a body, and sold the car to Epsom automatic transmission specialist John Dodd, who fitted a fibreglass body based on the shape of the Ford Capri and named the machine "The Beast" . Originally it had a grille from a Rolls-Royce, but after complaints from R-R themselves he had to change it. According to Dodd's account, he once drove past a Porsche driver on the autobahn who then called Rolls Royce asking about their "new model". The Beast was once listed in the Guinness Book of Records as the world's most powerful road car . The engine came from a Boulton Paul Balliol training aircraft which would give 1,262 hp (941 kW) at 8,500 feet (2,600 m). No supercharger was fitted to the engine in car so it "only" delivered about 850 hp (630 kW). The car used a General Motors TH400 automatic transmission . The Beast is alive and well in Marbella , Spain and is still owned by Dodd. It is still taxed in the UK; a DVLA search shows the engine capacity as 27000cc.
For more on thsi: http://en.wikipedia.org/wiki/Rolls-Royce_Merlin#.22Miss_Shilling.27s_orifice.22
It is said that the drivers and passengers in many high-powered sports cars have witnessed the rear end of this "station wagon" or estate car disappearing in the the distance in front of them. John uses it for fun as it does about 1 km per litre of fuel, and the noise is "marginally legal", but is is registered for the road albeit still with an English plate.
A side-view of the John Dodd RR-Merlin engined car. It has an automatic transmission and the bodywork is mainly fibre-glass. With its long "hood", or bonnet in English, short-sighted drivers are not encouraged.
The mighty Rolls Royce Merlin engine. A 27 litre V-12 with 4 valves per cylinder, double overhead cams, originally with a superch arger (later higher-altitude versions had two in line superchargers).
This model has the supercharger removed and an American 4-barrel Holley carburettor fitted.
The engine produced over 1.000 bhp when new or 775 Kw.
The rear of the Merlin engined car, the one most usually seen by other drivers in a straight line. While the car is incredibly quick on acceleration and speed, the handling is not up to expensive sports car standards.
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Which Premiership football club started out as St Domingo? | Premier League clubs | VisitBritain
Middle East - العربية | English
Premier League clubs
The Premier League is the world’s number one football league, with amazing teams, stunning stadiums and passionate fans. Broadcast to 4.8 billion people worldwide every football club has an army of loyal followers cheering them on throughout the season from all parts of the world.
Arsenal F.C
In 1886, workers at the Woolwich Arsenal Armament factory started a team called Dial Square. They turned professional in 1891 and became known as Arsenal F.C in 1913.
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Leicester City Football Club
Also known as ‘the Foxes’, Leicester City Football Club was formed in 1884. They play at the King Power Stadium, commonly known as Filbert Way, in Leicester in the East Midlands.
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Manchester City F.C
Formed in 1880 by St Mark’s Church, Manchester City took its current name in 1894. The club’s home ground is now the magnificent Etihad Stadium, having previously played at Maine Road since 1923.
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Tottenham Hotspur F.C
Boys from Tottenham Hotspur Cricket Club formed Hotspur FC in 1882. In 1901 it became the only non-league club to win the FA Cup since the formation of the football league.
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Manchester United F.C
Formed as Newton Heath LYR in 1878, the club became Manchester United in 1902 and moved to Old Trafford in 1910. One of the most successful clubs in the history of English football, it boasts a record 20 English League titles.
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West Ham United F.C
Originally named the Thames Ironworks & Shipbuilding football team (hence its nickname, ‘the Hammers’) the club reformed as West Ham United in 1900. In 1904 it relocated to its current Boleyn Ground stadium, and to date its honours include 3 FA Cup wins.
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Liverpool Football Club
Liverpool Football Club was formed in 1892 and has to date won more European trophies than any other English team, in addition to 7 FA Cup wins and numerous other honours.
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Southampton FC
Southampton FC has been known as ‘the Saints’ since its formation in 1885 due to its history as a church football team. Its honours include 1 FA Cup win.
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Stoke City F.C
Stoke became a professional team in 1885 – and it's been wearing its distinctive red and white striped kit continuously for over 100 years.
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Watford Football Club
Watford Football Club was founded in 1881. The long established Hertfordshire team has a number of nicknames including ‘the Hornets’, ‘the Golden Boys’ and ‘the ‘Orns’. They were once owned by legendary British music star Sir Elton John, who oversaw several successful seasons under manager Graham Taylor. Both men are now Honorary Life Presidents of the club.
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Crystal Palace F.C
Founded in 1905, Crystal Palace FC was originally nicknamed ‘the Glaziers’, after the mass of glass panes used in Crystal Palace itself. It was promoted to the Barclays Premier League during the 2012-13 Football League season.
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Everton F.C
Originally called St Domingo FC – for the people of St Domingo’s Church parish – the club was renamed Everton when people from outside the parish wanted to play too. The club’s honours include 5 FA Cup wins.
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Chelsea F.C
Nicknamed ‘the Blues’ for the colour of its strip. Chelsea FC was formed in 1905 and has won a long list of honours including 4 Barclays Premier League titles and 7 FA Cups. Its home ground is Stamford Bridge.
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West Bromwich Albion F.C
The club was formed in 1878 by workers in West Bromwich, and took the name West Bromwich Albion in 1880. Its honours include 5 FA Cup wins, and its home ground is The Hawthorns.
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Swansea City A.F.C
Formed in 1912, Swansea City AFC became the first Welsh club to be promoted to the Premier League in 2010-11. Since 2005, Liberty Stadium has been the club’s home turf.
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A.F.C Bournemouth
A.F.C Bournemouth, or ‘the Cherries’ due to the bright red kit they wear when they play at home, was founded in 1890. In 2015, the Dorset team entered the top flight for the first time in their history.
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Middlesbrough F.C
One of the founding members of the Premier League, Middlesbrough’s primary victory was a League Cup win in 2004. After a number of years in the Championship, Middlesbrough were promoted back to the Premier League in 2016. Their nicknames include ‘the Boro’ and ‘Smoggies’.
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Burnley F.C
Called ‘The Clarets’ after their wine-coloured jerseys, Burnley FC were one of the founder members of the Football League in 1888. In 2016 they were promoted to the Premier League.
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Sunderland A.F.C
Sunderland was founded by school teacher James Allen in 1879. It was first called the Sunderland and District Teachers Association Football Club, but became Sunderland AFC a year later.
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Hull City F.C
Formed in 1904, Hull’s nickname ‘the Tigers’ comes from their black and amber strip. They played in the FA cup final in 2014 and were promoted back into the Premier League in 2016.
| Everton |
Band leader Glenn Miller also played which instrument? | Everton Football Club Profile
Everton Football Club Profile
Everton Football Club Profile
Everton Football Club Facts
Everton started off its existence in 1878 known as St. Domingo. This club was formed so that people from the parish of St. Domingo’s Methodist Church could play a winter sports. To allow more people to participate in the club, it was renamed Everton F. C. in 1879. Everton was a founding member of the Football League and won their first League Championship title in the 1890-1891 season.
Despite some success in the pre WWI years (they won the FA Cup in 1905-06 and the League title again in 1914-15), it was only in 1927 that Everton’s first successful period began – they won three more league titles and an FA cup in the years prior to WWII.
After poor performances after the suspension of football during WWII, they slowly recovered form, first under Harry Catterick in 1961 (League title, FA cup, and First Division win), and then under Howard Kendall who took over as manager in 1981 (one FA cup win, two League titles, and the European Cup Winner’s Cup).
The following years saw Everton almost relegated twice and it was not until the appointment of David Moyes in 2002 that the club improved their form. Under Moyes’ guidance, Everton have finished seventh, seventeenth, fourth (their highest ever Premiership finish), and eleventh in the Premier League and in 2006-07 Everton finished sixth in the league and qualified for the UEFA Cup.
Goodison Park Stadium
Everton football clubs’s original grounds were at Stanley Park in Liverpool before moving to Anfield, which was their home until 1892 when they were ousted and replaced by the newly-formed team Liverpool. They resettled at Goodison Park, which has been their home ground to this day. Stanley Park Stadium is now the new ground proposed for Liverpool F.C.
Goodison park has a maximum capacity of 40,569 all-seated. More top-flight football games have been staged at Goodison Park than any other ground in the United Kingdom and it has been one of the most progressive stadiums – it was the first English ground to have undersoil heating, two tiers on all sides, and a three-tier stand. Goodison also has the distinction of being the only stadium in the world that features a church on its grounds – St Luke the Evangelist.
In 2006, it was announced that the club and Knowsley Council were discussing the construction of a new 55,000 seater stadium in Kirkby due to the decision not to expand Goodison Park Stadium.
Supporters and Rivalries
Everton have a large and cosmopolitan fanbase with the ninth highest average attendance in England. Although most of Everton’s matchday support comes from the North West of England, Everton also has fans who travel from North Wales and Ireland and many supporters’ clubs worldwide in North America, Singapore, Thailand and Australia.
The most notable rival of Everton is Liverpool F.C., with matches contested at the Merseyside derby. This rivalry dates back to the dispute over Anfield Stadium in 1892. Everton and Liverpool contest the Merseyside Derby – notable for the record amount of red cards issued to badly behaved players.
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In which city is Cain’s brewery situated? | Cains Brewery Village
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GO-AHEAD IS GIVEN FOR CAINS� MULTIMILLION POUND BREWERY VILLAGE DEVELOPMENT
CONSTRUCTION on a new tourism, leisure and retail attraction in Liverpool will start within a year after councillors approved plans for the �150m development of Cains Brewery Village.
The first phase of the new one million square feet development, which will secure the city�s iconic beer brand and grade II listed brewery for generations to come, is expected to be complete by summer 2016.
Liverpool Mayor Joe Anderson described the project as an exciting and transformational development which would breathe new life into the city�s Baltic Quarter.
City planning councillors approved the scheme and granted listed building consent at a meeting on Nov 19th.
Cains Brewery Village bosses are now seeking development partners and operators for the hotel and independent cinema elements of the scheme, as well as an upmarket quality supermarket operator for the food retail element.
The scheme will secure and create in the region of 800 full-time jobs and attract 2.5 million visits per annum. A net additional �25m of GVA economic benefit would be delivered to the city per year.
The plans will see the restoration of the grade II listed brewery building to its former glory, described by planning officers �as an outstanding example of Victorian industrial / commercial architecture and one of the finest examples of a purpose built brewery in Britain� housing the new Cains brewery, museum and event centre with a spectacular �Sky Bar� in the roof which will offer views over the city and the river Mersey.
The building will also house a 94 room boutique hotel, courtyard bistro bar & restaurants and a large open plan retail hall for artisan food producers to make and sell their produce on site.
There will also be a designer retail market for independent fashion businesses and function rooms. The existing historic Brewery Tap pub will be restored and retained.
The plans also include a four-screen independent art-house cinema, a supermarket, health / beauty and fitness centre, up to 775 high quality homes or 2,500 student bedrooms and 500-plus car parking spaces.
The independent art-house cinema is to have treated copper panels on the outside to reflect the copper vessels traditionally used as part of the brewing process.
The new Cains brewery which will be installed will enable the business to brew a full range of international craft beer styles for consumption in the UK and export around the world. It will also be an integral part of the wider destination.
Liverpool Mayor Joe Anderson said: �The Cains Brewery Village scheme will transform one of the city�s most important historic buildings and create a new tourist destination capable of holding food, craft and cultural events which will complement the city�s existing retail and leisure offer. It will also be a perfect neighbour to the vibrant cultural community in the Baltic Quarter. We�re delighted this scheme is progressing.�
Sudarghara Dusanj, Managing Director of Cains Brewery Village, said: �We are going to create a major new tourism and leisure asset for the city which will secure the future of the Cains beer brand and the grade II listed brewery for decades to come.
�We are now seeking development partners and operators for the cinema, hotel and supermarket to help take the scheme forward. We are particularly keen to speak to upmarket quality supermarket operators who want to take advantage of what is a clear gap in the city market. �We�d like to thank the city�s planning and regeneration team for all their help in bringing this forward as well as our Baltic Triangle neighbours who have been extremely supportive and have bought into our vision.�
Louise Ellman, Labour MP for Liverpool Riverside, said: �The planning permission means we will see the restoration of one of the city�s key heritage assets and the creation of a new visitor attraction for an important part of Liverpool. It�s really good news for the city. Max Steinberg, Chief Executive of Liverpool Vision, said: �These proposals are an indication of confidence in the city and its prospects. It�s an extremely exciting scheme and we�re delighted to see it being brought forward.
�Brewery Village can be a tourist anchor at the southern end of the city centre, linking into the Marina and Waterfront and helping to create a new hub of activity for visitors.�
Adam Hall, Managing Director of Falconer Chester Hall (Architects) said: �The scheme will bring together new and old to create a genuinely atmospheric and vibrant destination, with design inspiration coming from right across the world.
�The brewery building will be restored to glories not seen for a hundred years and become a landmark which the entire city can be proud of.�
Mark Worcester, Director of TURLEY ASSOCIATES (Planning and Heritage Consultants) said: �The granting of planning permission and listed building consent reflects our very careful handling of the site�s historic and architectural significance, as well as the major positive impact it can have on the city.
�We had the support of English Heritage, which said it considered the scheme to be �a constructive way of finding a new use for some otherwise challenging, nationally significant buildings�, as well as the overwhelming majority of the public who we consulted on the plans.
The project team includes: Colliers International, FCH Architects, Turley Associates, Gateley LLP, Mazars LLP, Mott MacDonald, Amion Consulting, Muir Associates, Davis Langdon, Penny Anderson Associates, AECOM, Tushingham Moore and Paver Smith.
| Liverpool |
Which Premiership football club started out as Ardwick FC? | Plan for Liverpool Cains Brewery Village approved - BBC News
BBC News
Plan for Liverpool Cains Brewery Village approved
19 November 2013
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Image caption The Brewery Village scheme would create 800 jobs, a Cains spokesman said
Plans for the £150m transformation of a former Liverpool brewery into a major tourist venue, creating 800 jobs, have been approved.
Cains Brewery, which had produced beer in Stanhope Street for more than 150 years, was wound up in June with debts totalling more than £8m.
A separate firm, run by the owners of Cains, submitted plans to redevelop the site to Liverpool City Council.
The redevelopment is "really good news" for the city, MP Louise Ellman said.
Work on the Cains Brewery Village - housing a hotel, cinema, apartments, parking, artisan food market and spa - will start within a year, owners said.
Heritage restoration
The brewery will house a rooftop bar with views over the city, and the existing Brewery Tap pub would also be restored to produce traditional ales.
The redevelopment will attract 2.5m visitors per year, benefiting the city's economy by £25m, owner Sudarghara Dusanj said.
He added that development partners and operators for the cinema, hotel and supermarket are being sought.
They city's mayor Joe Anderson said: "The Cains Brewery Village scheme will transform one of the city's most important historic buildings and create a new tourist destination capable of holding food, craft and cultural events."
Mrs Ellman, Labour MP for Liverpool Riverside, said: "The planning permission means we will see the restoration of one of the city's key heritage assets and the creation of a new visitor attraction for an important part of Liverpool. It's really good news for the city."
Union Unite said the 38 former Cains employees made redundant without payment when the brewery went into liquidation in June have now received payouts from a Government fund.
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Band leader Benny Goodman also played which instrument? | Benny Goodman's Clarinet | Arts & Culture | Smithsonian
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Benny Goodman's Clarinet
Late in his career, jazz musician Benny Goodman favored a Parisian “licorice stick” as his instrument of choice
Goodman played the clarinet even "during the commercial breaks of the World Series," according to one of his daughters. (Bettmann / Corbis)
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April 2009
In the hierarchy of musical instruments, the clarinet tends to get short shrift—at least compared with the violin, cello or piano. But the inauguration of Barack Obama raised the instrument's profile when Anthony McGill, principal clarinetist of the Metropolitan Opera orchestra, performed with cellist Yo-Yo Ma, violinist Itzhak Perlman and pianist Gabriela Montero before a global television audience estimated at a billion viewers. (The fact that cold weather forced the musicians to finger-sync to their own recording hardly diminished the clarinet's star turn.)
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Benny Goodman's National Museum of American History clarinet was crafted in the workshops of the legendary Parisian woodwinds manufacturer Buffet Crampon in 1967. (Hugh Talman / NMAH, SI)
Goodman played the clarinet even "during the commercial breaks of the World Series," according to one of his daughters. (Bettmann / Corbis)
Under the Radar with Unmanned Aerial Vehicles
The clarinet's other notable high notes include 1771, when Mozart composed the first of his clarinet works, a divertimento, and 1920, when 11-year-old Beno Goodman first picked up the instrument in a Chicago tenement. Beno, the ninth of 12 children born to Russian-immigrant parents, would of course become Benny Goodman, and would perform some of the greatest music of the big-band or any other era.
One of Goodman's clarinets now resides within the collections of the Smithsonian National Museum of American History (NMAH), where Jazz Appreciation Month is celebrated each April and where Goodman's centenary year—he was born May 30, 1909—will be enthusiastically observed next month. In the hands of a man who was equally at home in jazz and classical music, the clarinet was—to use its affectionate nickname—one sweet licorice stick.
"Benny Goodman was the most popular clarinetist in American history," says curator John Edward Hasse. "As a clarinetist and a band leader, he played a key role in moving jazz from the margins of American society to the mainstream. He led the most influential, for a time the most popular, and perhaps the most polished of the big bands of the swing era."
Goodman's NMAH clarinet was crafted in the workshops of the legendary Parisian woodwinds manufacturer Buffet Crampon in 1967. The maestro used it during the latter part of a long career. "He was playing in smaller jazz groups by then," says Russ Connor, author of Benny Goodman: Listen to His Legacy. In the years after the big-band heyday, Connor adds, Goodman "had more time to play classical music. He was very choosy about instruments and reeds; even though he'd played Selmer clarinets and advertised for them earlier in his career, he had a natural affinity for the Buffet."
In 1990, four years after Goodman's death at age 76, his daughters Rachel Goodman Edelson and Benjie Alice Goodman Lasseau donated the instrument, along with a music stand and chair used by their father during practice sessions, to the Smithsonian. "He practiced all the time," recalls Lasseau, "and he always seemed to have a clarinet handy. He even practiced during the commercial breaks of the World Series."
Goodman performed until the end of his life. "He died of a heart attack in his New York City apartment in June 1986 while rehearsing for a Mostly Mozart concert," says Susan Satz, business manager for the Goodman estate.
Goodman's crossover genius—he brought classical training to jazz, even as he raised the stature of jazz and expanded its audience—was on brilliant display in the now-legendary Carnegie Hall concert of January 16, 1938. On that memorable night, Goodman brought his big band, including such greats as drummer Gene Krupa, trumpeter Harry James and vibraphonist Lionel Hampton, to the great Manhattan bastion of the classics. When Goodman and crew lit up the hall with hot-jazz composer Louis Prima's number "Sing, Sing, Sing," people began dancing in the aisles, a first for the venerable symphony space.
"I grew up listening to all of [Goodman's] recordings," McGill told me in a phone interview after the Obama inaugural. "His recordings of works by Aaron Copland, Morton Gould, Igor Stravinsky and others are still available, so he's still enormously influential. Goodman was such a superstar that you really have to listen."
Owen Edwards is a freelance writer and author of the book Elegant Solutions.
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| Clarinet |
Iodine is necessary for the functioning of which gland? | Benny Goodman, May 30, 1909 - June 13, 1986 - Swing Dance Club
Swing Dance Club
East Coast Swing
Benny Goodman, May 30, 1909 - June 13, 1986
Born in Chicago, Illinois in the United States, into a large, impoverished family of immigrants. Goodman experienced hard times while growing up. Encouraged by his father to learn a musical instrument, Goodman and two of his brothers took lessons; as the youngest and smallest he learned to play the clarinet. These early studies took place at the Kehelah Jacob Synagogue and later at Hull House, a settlement house founded by reformer Jane Addams. From the start, Goodman displayed an exceptional talent and he received personal tuition from James Sylvester and then the renowned classicist Franz Schoepp. Before he was in his teens, Goodman had begun performing in public and was soon playing in bands with such emerging jazz artists as Jimmy McPartland, Frank Teschemacher and Dave Tough. Goodman's precocious talent allowed him to become a member of the American Federation of Musicians at the age of 14 and that same year he played with Bix Beiderbecke. By his mid-teens Goodman was already established as a leading musician, working on numerous engagements with many bands to the detriment of his formal education.Goodman was using arrangements by leading writers of the day such as Fletcher Henderson and Lyle "Spud" Murphy, and including in his band musicians such as Bunny Berigan, trombonists Red Ballard and Jack Lacey, saxophonists Toots Mondello and Hymie Schertzer, and in the rhythm section George Van Eps and Frank Froeba, who were quickly replaced by Allen Reuss and Jess Stacy.
Goodman's brother, Harry, was on bass, and the drummer was Stan King, who was soon replaced by the more urgent and exciting Gene Krupa. The band's singer was Helen Ward, one of the most popular band singers of the day. When the Let's Dance show ended, Goodman took the band on a nation-wide tour. Prompted in part by producer John Hammond Jnr. and also by his desire for the band to develop, Goodman made many changes to the personnel, something he would continue to do throughout his career as a big band leader, and by the time the tour reached Los Angeles, in August 1935, the band was in extremely good form. Despite the success of the radio show and the band's records, the tour had met with mixed fortunes and some outright failures. However, business picked up on the west coast and on 21 August 1935 the band played a dance at the Palomar Ballroom in Los Angeles. They created a sensation and the massive success that night at the Palomar is generally credited as the time and place where the show business phenomenon which became known as the "swing era" was born.
After an extended engagement at the Palomar the band headed back east, stopping over in Chicago for another extended run, this time at the Joseph Urban Room at the Congress Hotel. Earlier, Goodman had made some trio recordings using Krupa and pianist Teddy Wilson. The records sold well and he was encouraged by Helen Oakley, later Helen Oakley Dance, to feature Wilson in the trio at the hotel. Goodman eventually was persuaded that featuring a racially mixed group in this manner was not a recipe for disaster and when the occasion passed unremarked, except for musical plaudits, he soon afterwards employed Wilson as a regular member of the featured trio. In 1936 he added Lionel Hampton to form the Benny Goodman Quartet and while this was not the first integrated group in jazz it was by far the one with the highest profile. Goodman's big band continued to attract huge and enthusiastic audiences. In the band now were leading swing era players such as Harry James, Ziggy Elman , Chris Griffin , Vernon Brown, Babe Russin and Arthur Rollini. Goodman had an especially successful date at the Paramount Theatre in New York, beginning on 3 March 1937, and his records continued to sell very well.
Picture from www.palomar.edu/kksm/dougbest/
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What was Lester Piggott’s first Derby winner? | Horse racing: Lester Piggott, king of the Derby | Sport | The Guardian
King of the Derby
Clare Balding
The great Lester Piggott was the best jockey in the world for decades. He rode his first winner aged 12, his first Derby at 18 and went on to win racing's most famous Classic nine times, a record that will surely never be beaten. Fifty years after that first Epsom success, Lester, famed for his wry sense of humour, a love of money that landed him in jail, his troubled relationships and his astute judgment of horses, talks about his long and eventful life in racing... but not in long sentences
Saturday 29 May 2004 19.30 EDT
First published on Saturday 29 May 2004 19.30 EDT
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What is the key quality that a horse must possess if it is to win the Derby? Is it impeccable breeding, stamina, a calm temperament, an ability to quicken up in a matter of strides, the preparation of the trainer, the skill of the jockey or the quality of his form leading up to the race?
All of these things matter, but, according to the man who has won more Derbys than anyone else, there is a one-word answer.
Lester Piggott thinks, but not for long, before muttering: 'Balance.'
A meeting with Lester in the run-up to the Derby is akin to being granted an audience with the Dalai Lama in an attempt to discover the meaning of life. The answer is often shorter than expected.
In Lester's case (it is impossible to refer to him as Piggott, for he supersedes the surname epithet), the answer to the eternal conundrum is, and always will be, balance.
'It doesn't matter how big the horse is, you can tell if it's going to act around Epsom,' he says.
But how do you know? Do you have to gallop them down a hill? Do you have to ride them in a race? Do you have to feel how they handle a left-hand bend? Do you? Do you?
Lester looks mildly amused. The man with all the answers but neither the will nor the capability to explain.
'You just know,' he says. 'A lot of them you can tell just by looking.'
Of course you can. Silly me.
Lester is not big on words. Nor on giving an opinion, even though he is asked for one on everything from breeding to bread by everyone he meets. His partial deafness and the speech impediment that muffles his voice have contributed to his lack of ostentation although, in truth, his character would have impeded any effort at gregariousness. It suits him just fine not to be the greatest interviewee in the world; and Lester makes himself perfectly understandable when he wants to be understood.
The reason that balance is so crucial to success in the Derby is the nature of the course. From the mile-and-a-half start, Epsom climbs to a height of 500 feet above sea level between the seven- furlong marker and the six, from where it sweeps violently downhill and left-handed into Tattenham Corner. Any horse struggling to maintain its pace or being asked to quicken feels as if its legs are being taken from underneath it. Over the next three furlongs, the course drops 90ft, but the gradient becomes more gradual with half a mile to run. As the horses enter the straight, the camber (the course slopes away from the Grandstand to the far rail) accentuates any tiring and any tendency to hang to the left. According to trainer David Elsworth, Epsom is no better than a funfair ride.
For Lester, Epsom was a problem to be solved and no one in the history of racing has cracked it more often and with more assurance than L Piggott. The old sage will be 69 this year. He is alert, polite and reserved. It is 50 years since he first won the Derby on Never Say Die, the first of an unprecedented nine victories.
His first Derby ride, in 1951 at the age of 15, was an inauspicious start. Lester was on board a talented but temperamental horse called Zucchero, who planted himself at the start and refused to go forward until the rest of the field were granted an unassailable advantage. What did the young jockey learn from his first experience of the Derby?
'Not to get left at the start.'
Three years later, and having been suspended for six months for dangerous riding along the way, he became the youngest jockey to win the race, on the 33-1 shot Never Say Die. He had picked the horse as his Derby mount when he was 100-1, purely because of his physical conformation. Even then, he could tell just by looking. As wild celebrations of Classic success go, Lester's was unimpressive. He went home to mow the lawn.
'It was a bit unexpected, really,' he says. 'The owner wasn't there and there was nothing going on. I never thought to celebrate. It was very different in those days and there was always a big race the next day, so I just got on with it.'
Looking at the photographs of Lester's Derby rides, it becomes evident that there is a pattern. At Tattenham Corner, he is nearly always in the same place: about sixth and one horse off the inside rail.
'That's the place to be, if you can be,' he explains. 'It means you can go when you like. If you don't have to make up ground coming down the hill, it helps. A lot of times you think you'd love to be there, but your horse can't do it, so there's no point trying.'
Did anyone help Lester along the way, or advise him when he arrived at his Derby-winning formula?
'No, not really,' he replies.
Right. Silly me. Again.
The modern world of sporting celebrity is anathema to men of Lester's generation and attitude. The mere idea of him being photographed lying on a fluffy rug in front of the fire or turning up at glitzy showbiz parties in a sarong is comical. His verdict on professional sportsmen and women turning into public property is abrupt and simple. 'It's not a good thing,' he says, although he does acknowledge that in today's world it comes with the job.
'Times are different now. We didn't have to do publicity, so it didn't matter.'
With experience comes sagacity and there have been few who gained experience as young as Lester. 'You have to remember that I rode my first winner at 12, so by the time I won the Derby I was a veteran. I'd been riding in races for six years.'
Despite his disapproval of over-exposure in the media, the best jockey riding today in his estimation happens to be the most famous. If Lester had a runner in the Derby, he would want only one jockey to ride it:
'Frankie.' His tone is assured. This was not some glib comment trotted out for the sake of column inches. He had thought about it before and he means it. Dettori is yet to win the Derby, but that matters not, according to the one who knows.
'It's just unfortunate that he's never won it. He will do some time. I told him to ride Shaamit [the 1996 winner trained by Piggott's son-in-law, William Haggas], but he couldn't at the time. He knew he'd made a mistake and don't forget that he could have ridden Lammtarra [winner in 1995]. He's the best at the moment. There are a few who are good, but I think he's the best.'
This unexpected flow of dialogue leads me to ask whether the judgment of a jockey in picking the right horse to ride - if he is lucky enough to be in a position to choose - is as important as his judgment in the race itself. Lester was renowned as a great judge and as a ruthless colleague. If he thought a certain horse could win a big race, he would ensure that the owner knew he was available and willing to replace its regular rider.
'It's got to come your way,' is his assessment of picking Derby rides. 'There are other horses I could have ridden, like Royal Palace [winner in 1967, the year after Piggott had left his trainer Noel Murless], but equally I would not have been on the horses I was on if I hadn't done it the way I did.'
Piggott and Murless, the most fearsome combination in British racing, parted company in 1966 after Lester chose to ride a filly for Vincent O'Brien in the Oaks rather than a filly trained by Murless. Lester argues that since he had no formal contract to ride for Murless, there could have been no breach of contract. In the newly published Lester's Derbys, he admits to being 'sad' about leaving Murless after 12 years but says: 'I never thought I was doing the wrong thing.'
The filly that had caused the ruck duly won the Oaks and in 1968 Piggott got the leg-up on Sir Ivor, the first of four Derby winners that he rode for O'Brien (the others being Nijinsky, Roberto and The Minstrel). He had, naturally, done the right thing.
Murless and O'Brien were the best trainers he ever knew. O'Brien more technical, to the point of being fastidious, but both, in Lester's view, 'exceptional'.
Ask him to rank today's trainers and he is reluctant, saying that there are too many of them to evaluate them properly (whether that means too many good ones or just too many is unclear).
'It's hard when you're not riding,' he says. 'It's hard if to say if they're any good and mean it when you don't really know.'
After about half an hour, I had worked it out - Lester does not say anything he does not mean, which leads to his sometimes saying very little. His wry sense of humour contributes to the most wonderful one-liners. For example, talking about the week before Nijinsky's Derby in 1970 that he details in the book. He had been riding in Paris on the Sunday, Sandown on Monday, then flew back to Paris on Monday evening to gallop a horse, then back to Sandown for racing on Tuesday, then to Ireland late on Tuesday night to give Nijinsky his final bit of work on Wednesday morning, then to Brighton for the afternoon, followed by Paris again on Thursday, Newbury on Friday and Newmarket on Saturday.
Lester was so tired he could barely walk and, standing on the scales, realised that he had lost half a stone and was down to 7st 12lb. Bear in mind that Lester Piggott stands at more than 5ft 7in, which is tall for a jockey, and such dramatic weight loss would have sapped his energy to a dangerous degree. Lester's summing up of the situation?
'Well, it was hot.'
Nowadays he still looks lean and hungry, despite weighing 20lb more than he did in his riding days.
'I still don't eat much,' he says. 'Once you get into that way of not eating, it's hard to change.'
Lester's favourite food is ice cream, something that would have done him well in that hot summer of 1970. Had he been a naturally lighter man, as was his great adversary Willie Carson, Lester might have won more than his 11 jockeys' championships, but records and statistics matter little to him.
'I always thought I was a jockey doing a job of work,' he says, expanding on his Epsom record. 'That's why I have never thought I was exceptional. It was unbelievable to win all those Derbys, but it was a job of work.'
The one statistic that did matter was to reach seven Derby winners, with Empery in 1976, and so set a record, beating the six victories of Jem Robinson between 1817 and 1836 and of Steve Donoghue between 1915 and 1925.
'I always thought Steve Donoghue's record was fantastic. That was special, so to break it was....' He pauses while he considers the correct adjective, 'Nice.'
Understated to the last, unlike the journalists who have written about him over the past half a century. I refer him to some of the more lyrical prose written in his honour, for instance this assessment, as chronicled by Tony Morris, after what was to be his final Derby win, on Teenoso. Lester was 'the supreme artist plying his craft from the saddle, his genius as sublime as that of a Rembrandt or a Beethoven, and his accomplishments on the same plane. In the sporting world there has been nobody to match him in his lifetime.... George Best bestrode his sphere like a colossus for a season, Garry Sobers for perhaps five, but for the best part of three decades - truly the best part for us who know - Lester has been the pre-eminent leader of his field.'
If you thought Lester might appreciate being reminded of such extensive praise, you would be wrong. He laughs out loud and says: 'Well, they can write what they want.'
Lester had laughed during that Derby as well, so easily was he travelling on Teenoso. A wonderful photo in Lester's Derbys shows Lester swinging off Teenoso as the runners make the final turn out of Tattenham Corner. He is farther forward than usual and looking sideways at Brian Rouse on board Neorion. So, what was he saying?
'Look at this, I'm only doing half-speed.'
He does not recall Rouse's response, although it probably ended with 'off'.
Teenoso galloped away on the softest ground Lester ever encountered in a Derby to win by three lengths. It could have been 30. Did he get more satisfaction out of a long winning margin or out of a hard-fought, narrow success such as those on Roberto (who won by a short head) and The Minstrel (a neck)?
'To win the Derby is always special,' he explains, 'whether you win by a nose or by ten lengths. It doesn't matter how far because a short head is as good as a mile, as long as you win.'
He is equally clear in his assessment of himself as a jockey. When was he, over his 47-year career, at his best?
'1960.'
Why?
'Because I just couldn't get beat.'
He might be taking the mickey, being deliberately precise because there is no accurate answer to the question. Then again, he has spent his lifetime not saying things unless he means them, so you have to take his word for it.
The year 1960 was when he won his first jockeys' championship and the year in which he won the Derby on St Paddy. In truth, though, he could 'get beat' and duly did in the King George VI and Queen Elizabeth Diamond Stakes on board the hot favourite, Petite Etoile. On a happier note, 1960 was the year that he married Susan Armstrong, with whom he had two daughters, Maureen (now Haggas) and Tracey. The Piggotts are still married, despite a few hiccups along the way - Lester's alliance with Anna Ludlow produced a son, Jamie, who is now 10 - but as is racing's way, everyone accepts the situation as relatively normal and gets on with it. Jamie rides a bit, but beyond that information, his father offers little more.
Lester's life now is tranquil compared to the chaos of his heyday, but he still 'gets about to different places' and goes out on the gallops occasionally. He has not ridden this year, but does not sound as if he never will again. He keeps tabs on the runners from his son-in-law's yard, as well as those from his own yard, which is leased to James Toller.
Last weekend, Toller won his first Classic with Bachelor Duke in the Irish 2,000 Guineas. The horse was carrying the colours of the late Duke of Devonshire, who died this month. Piggott had ridden many times for the Duke, notably on the brilliant mare Park Top, on whom he was narrowly beaten in the 1967 Arc de Triomphe (and still blames himself for her defeat).
'The old Duke had gone so many years without a good one,' he says. 'It was a real shame he wasn't around.'
That was as close as he was going to get to any sentimentality, but he is more expansive about the horse itself.
'I hope he goes on and improves. He might even be as good as Haafhd [who won the English 2,000 Guineas]. He looked beaten, but when Seb [Sanders] walloped him, he didn't half pick up. Now that's a good sign.'
Did Lester back Bachelor Duke? A huge smile spreads across his lined face and the answer is clear. He undoubtedly would have got better odds than the 12-1 starting price.
Which brings us neatly to the money thing. Lester has always had the reputation of a mercenary, a man for whom money is the only reason for doing anything. When talking about the Derby's place in the pecking order of importance for today's jockeys, the value of it is never far from his mind,
'There are so many big races now, but it's still the race,' he says, before adding: 'It's worth a lot of money, you know.'
He wishes it had been worth as much in his day, that is clear.
If he were riding now, would he like to ride for Aidan O'Brien and the team at Ballydoyle or for Sheikh Mohammed and Godolphin? He thinks for a moment, the various elements going through his mind - quality of horses, facilities at each training centre, the type of races that they contest, the way the horses run, the prospect of a winter in Dubai or a winter at home.
'Well it's a toss of a coin really. Money doesn't come into it....' He pauses and I think I must have got him all wrong, that the thrill of riding good horses really was worth more than the amount by which they could enhance your bank account. Then he says: 'They're both worth about the same.'
You should not be surprised. After all, this was the man whose fondness for money landed him in jail in 1985 for tax evasion. He served a little more than a year of a three-year sentence. He read the Racing Post every day and made friends with those fellow inmates who shared an interest in the sport. Occasionally he still sees some of them. For most, going to prison would be one of the most terrifying experiences of anyone's life. Stepping into an unknown environment, far away from home, surrounded by convicted criminals.
'No, it wasn't frightening,' decrees the great sage, 'just a waste of time.'
Equally a waste of time, in Lester's mind, is any great sense of guilt or regret for the mistakes he may have made along the way. 'You can't do much about it,' he says, leaving the rest of the sentence unfinished. The major downside to his prison sentence was the stripping of his OBE. There have been various campaigns over the years to persuade the powers that be to think again, but to no avail.
'It's silly, really,' Lester says, 'but they never go back. They won't give it back to me now.'
It is hard to tell how much that hurts or humiliates him, but probably rather more than he would care to admit. One message comes through loud and clear: Lester Piggott does not have time to feel remorse or sadness for the things he cannot change. He does not waste his time wondering how much he misses race-riding because 'it's gone'.
'I like to think that only at Derby time they remember me. When you finish, you're not entirely forgotten, but that's it. You have to accept it. It's over.'
With this year's Derby less than a week away, he has taken an interest in the main contenders and will 'probably' have a bet.
'I think it's difficult this year,' is his considered assessment. 'I like the favourite, Yeats. He's done everything asked of him, but a lot of good judges won't have him. Of the others, they're only there with a chance. North Light is a good horse, but he's not exceptional, but then neither are any of the others.
'Snow Ridge has a chance. The talk in Newmarket is that he's been working well. American Post didn't move great in France that day [in the French 2,000 Guineas]. I think the weather will play a part, but it's not clear right now.'
What is clear is that he knows the form of each horse, has watched them closely and maintains his renowned good judgment, but trying to persuade him to share it is like coaxing a reluctant racehorse. He is saved from being forced into a premature judgment by his mobile phone, which rings to a surprisingly funky tune. Remarkable and unpredictable to the end, Lester politely takes his leave.
| Never Say Die |
Goodluck Jonathan is president of which African country? | Espom Derby History
Espom Derby History
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Espom Derby History Epsom Derby video highlights - The top ten Derby winners
15 May 2012
The town of Epsom first became famous for its natural mineral water when a local farmer, Henry Wicker took his cattle up to a watering hole on the Downs in 1618.
The alleged healing properties of the water brought crowds from London who wanted to escape the squalor in return for the country air.
1661 saw the first recorded race meeting to be held on the Downs and the tradition continued until the summer of 1780 when one of today's greatest sporting spectacles was established.
Edward Smith Stanley, the 12th Earl of Derby, organised a race for himself and his friends to race their three-year-old fillies over one and a half miles. He named it the Oaks after his estate. The race became so successful that the following year a new race was added for colts and fillies.
The title of the race was decided after the Earl of Derby and Sir Charles Bunbury, a leading racing figure of the day and friend of the Earl's, flipped a coin. So begun the inaugural running of the 'Derby' won, incidentally, by Sir Charles Bunbury's horse Diomed.
The contest was held over a mile with the starting point in a straight line beyond the current five-furlong marker. Tattenham Corner was not introduced until 1784 when the course was extended to its current distance of a mile- and-a-half.
Since then, the race has produced some of the most remarkable stories in all of sport and has been the crowning glory for some of the greatest legends of the game, both human and equine.
Emily Davison
In 1913, for example, a young woman named Emily Davison attended the race. A keen suffragette, Emily dedicated her life to fighting the oppression of women – arguing for the right to vote and equality in law.
To gain publicity, Emily tried to grab the bridle of Anmer, King George V's horse, as it raced past her. Horrifically, she was trampled by the horse, suffering a severely fractured skull. She died without regaining consciousness. Although the suffragettes mourned her loss, they also applauded her bravery. The general public weren't so compassionate though and seemed more concerned with the fate of the horse and jockey, though neither turned out to be seriously hurt.
Emily's actions spurred many more women to act and, in 1918, parliament enfranchised women over the age of 30, eventually lowering the voting age to 21 in 1928, giving women complete political equality with men. Emily's sacrifice also had a big affect on the Derby itself – her legendary action had made the race more famous than ever.
Vincent O’Brien
Vincent O’Brien is arguably the greatest trainer of thoroughbreds there has ever been and his record is simply astonishing.
Initially he concentrated his efforts on jump racing. This led to a string of eye catching successes. These encompassed three consecutive Gold Cups (1948, 1949 and 1950), three consecutive Champion Hurdles (1949, 1950 and 1951) and three consecutive Grand Nationals (1953, 1954 and 1955). He is the only trainer ever to have sent out three consecutive winners of the Grand National, and he won a further Gold Cup in 1953.
In the late 1950's he switched his attentions to the flat and needless to say he met once again with considerable success. By the time he retired he had won sixteen English and twenty seven Irish classics, including six Derbys (Larkspur (1962), Sir Ivor (1968), Nijinsky (1970), Roberto (1972), The Minstrel (1977) and Golden Fleece (1982)).
Lester Piggott
Lester Piggott rode in the Epsom Derby on thirty-eight occasions and won the race nine times, including becoming the youngest ever to win the event in at the tender age of 18.
In his 47 years in the saddle he rode to victory 5,300 times in more than 30 countries. Aged 56, he claimed the 2,000 Guineas in 1992 on Rodrigo de Triano - his 30th British Classic win. He eventually retired in 1995 and some of his most noteable Derby's are detailed below:
ZUCCHERO (1951)
Piggott's first Derby in 1951, when he was just 15, was on a temperamental character who planted and refused to budge until the remainder of the field were almost out of sight. What did Piggott learn from this experience? "Not to get left at the start".
GAY TIME (1952)
After winning well at Salisbury just seven days before the big race, Piggott considered his mount 'a certainty', but Charlie Smirke was in no mood to be upstaged and gave his young rival a famously hard time on the track. Smirke's mount, Tulyar, held off Gay Time by three-quarters of a length and Piggott was eventually unseated after the line.
NEVER SAY DIE (1954)
The first of Piggott's nine successes in the race came aboard a 33-1 chance. The papers were in a frenzy about the youngest rider ever to win the race ever winner but, rather than stay out to celebrate, he was driven home by his parents where he to spend the evening mowing the lawn.
CREPELLO (1957)
A heavily backed favourite, Piggott's winning ride cemented his reputation with punters and the press as being the best around. As he returned to the winner's enclosure, celebrity hairdresser 'Teasy Weasy' Raymond burst through the crowds to thrust a gold watch into the hands of the jockey as a thank-you present, while the horse's owner, Victor Sassoon gave Piggott his car, a Lincoln Continental limousine.
SIR IVOR (1968)
Any regrets the rider might have had about his split with Noel Murless did not last long. Sir Ivor became the first of four winners Piggott would partner for Vincent O'Brien, eight years after his previous Derby win on St Paddy Piggott found Sir Ivor an easy ride – "it was as if he knew what he was supposed to do".
NIJINKSY (1970)
Probably Piggott's most popular and famous winning ride in the race, the outstanding Nijinksy went on to become the first horse since Bahram in 1935 to win the Triple Crown. An iconic victory in the Derby, which took his record to eight from eight, was achieved in effortless fashion from French colts Gyr and Stintino.
ROBERTO (1972)
Piggott had to be at his very strongest to force the winner home from Rheingold, who might have won but for continually bumping into his rival. Short of room for manoeuvre, it took a ride of astonishing power and determination to secure a short-head verdict in a photograph which took the judge what seemed like hours to resolve.
EMPERY (1976)
A seventh Derby win made Piggott the winning most successful rider in the history of the race, but punters could have been forgiven for being surprised by the 10-1 success over hot favourite Wollow. Piggott repeated the success on The Minstrel the following year.
TEENOSO (1983)
The last of Piggott's wins, gained in the most testing conditions many could ever remember at the track. Trainer Geoff Wragg, in his first season with a licence, was given a dream start to his career and the horse proved the win to be no fluke when winning the King George the following year.
KHAMASEEN (1994)
Having returned to the sport after serving a prison sentence for tax evasion, Piggott was a 58-year-old grandfather when he finished fifth behind Erhaab, closing a chapter in the history of the Derby as he rode in the race for the 38th and final time.
Nijinsky (1970)
Trained by the Irish genius Vincent O'Brien, he won all five of his races as a two-year-old and did not let his supporters down in the Derby, recording a stylish victory under the legendary Lester Piggott.
He landed the Irish Derby and King George VI and Queen Elizabeth Stakes, and went on to complete the Triple Crown (2000 Guineas, Derby and St Leger).
He ended his career with two defeats but they could not disguise the glory of his achievements earlier in the year.
Piggott paid him this tribute: "Nijinsky possessed more natural ability than any horse I ever rode".
Mill Reef (1971)
Mill Reef and the equally-brilliant Brigadier Gerard made 1971 a golden year for racing.
Both were outstanding champions in their own right and they remain two of the all-time greats. The "Brigadier" came out on top in the 2000 Guineas but he did not run at Epsom, leaving Mill Reef to make his own indelible mark in the history books.
The better of the pair over the Derby distance of a mile-and-a-half, Mill Reef later added the King George VI and Queen Elizabeth Stakes at Ascot and the Prix de l'Arc de Triomphe in Paris to his impressive portfolio.
Shergar (1981)
Shergar is perhaps even better known these days for his unsolved disappearance than he is for his breathtaking display at Epsom, where he scored by an unprecedented 10 lengths.
After going on to land the Irish Derby and King George VI and Queen Elizabeth Diamond Stakes, he was sensationally beaten in the St Leger and subsequently retired.
After spending just one season at the Aga Khan's stud in Ireland, he vanished during the night in February 1983 and was never seen again.
The kidnap made front-page news worldwide and before long, conspiracy theories began to circulate. Bogus ransom demands were received on more than one occasion and the kidnappers were said to have left photos of the horse in a hotel as proof that the champion stud was still alive. It was even suggested the IRA had taken the horse and shot him, but to this day, no proof exists as to what really happened.
Shergar's Derby win was named in the Observer's 100 Most Memorable Sporting Moments of the 20th Century.
Willie Carson
Five-time champion jockey Willie Carson won 17 British Classics and 11 Irish Classics in a glittering 34-year riding career.
Carson rode his first Classic winner on High Top in the 1972 2000 Guineas, the year he was crowned champion jockey for the first time and was also champion in 1973, 1978, 1980 and 1983.
Carson won the Derby for the first time on the brilliant colt Troy in the 200th running of the famous Epsom showpiece in 1979 and also won the turf's Blue Riband on Henbit (1980), Nashwan (1989) and Erhaab (1994) and rates Nashwan as the best horse he rode in his illustrious career.
He enjoyed his best season in 1990, riding 187 winners and retired from riding in 1996 at the age of 54. Carson was awarded an OBE in 1983 for services to racing.
Carson is now a very successful breeder and owns the 60-acre Minster Stud at Cirencester in Gloucestershire and was the first jockey to breed a British Classic winner, Minster Son, who he also rode, to win the 1988 St Leger in Lady Beaverbrook's silks.
Carson is fourth in the all-time list of champion flat jockeys in Britain behind Sir Gordon Richards, Lester Piggott and Pat Eddery.
The Queen
Queen Elizabeth comes to Derby Day every year, usually accompanied by Prince Philip.
As a racehourse owner, The Queen has had nine attempts to win the Epsom Derby - with a second place (Aureole, Coronation year, 1953) the best. Her last entry was thirty years ago, but this year she will be represented by race-favourite, Carlton House. Her previous attempts are detailed below:
AUREOLE (1953 - 2nd)
Aureole came closest to giving the Queen a Derby victory when runner-up to Pinza at Epsom Downs. Ridden by Harry Carr, the colt was sixth into the home straight and made headway in the final three furlongs but was unable to peg back Pinza.
LANDAU (1954 - 8th)
Landau finished a length second to Rowston Manor in the Lingfield Derby Trial but in the Derby itself, the colt led from three furlongs out until the quarter-mile mark, at which point he weakened tamely to finish eighth under Willie Snaith as Never Say Die went on to win.
ATLAS (1956 - 5th)
Sent off a 50/1 shot, Atlas made late headway at Epsom, coming home strongly under Harry Carr, to take fifth, a little over three lengths behind the victorious Lavandin.
DOUTELLE (1957 - 10th)
A winner of the Lingfield Derby Trial, Doutelle was at 100/6 chance for the Derby. But he was never in contention, trailing in tenth behind the winner Crepello under jockey Harry Carr.
MINER'S LAMP (1958 - 6th)
Miner's Lamp's won Epsom's Blue Riband Trial Stakes but was never able to challenge the front rank in the Derby and shared sixth place behind the winner, Hard Ridden.
ABOVE SUSPICION (1959 - 5th)
Sent off at 100/6 for the Derby, Above Suspicion raced towards the rear under Doug Smith before making strong progress in the home straight, running on to take fifth, three lengths behind his victorious stablemate, Parthia.
ENGLISH HARBOUR (1978 - 18th)
Ridden by Joe Mercer, English Harbour was never a factor in the Derby as he trailed home a distant 18th behind Shirley Heights, a horse he had finished fifth behind on his two-year-old debut in Newmarket's Limekiln Stakes.
MILFORD (1979 - 10th)
Sent off the 15/2 third favourite under Lester Piggott, the Royal colt weakened in the straight to finish about 15 lengths behind the triumphant Troy.
CHURCH PARADE (1981 - 5th)
Ridden by Willie Carson, Church Parade kept on at one pace under Willie Carson to take fifth, 18 lengths behind the imperious Shergar.
By the early nineteenth century there was one permanent stand for spectators, called the Prince's Stand. In 1828, the newly formed Epsom Grand Stand Association started to build a new stand which although not completed, was in use by the 1829 Derby.
Noteable events
1805 – One of the horses was brought down by a spectator.
1838 – Amato never raced before or after winning the Derby.
1844 – The original winner Running Rein was disqualified as he was actually an ineligible four-year-old horse named Maccabeus.
1881 – Iroquois became the first American-bred to win a leg of the British triple crown.
1884 – The race finished with a dead-heat between Harvester and St. Gatien.
1887 – Merry Hampton is the most recent horse to win the Derby with no previous victories.
1894 – The winner was owned by the Prime Minister at the time, the 5th Earl of Rosebery.
1901 – The first year in which a mechanical starting gate was used.
1909 – Minoru was the first Derby winner owned by a reigning monarch, King Edward VII, who had previously won twice as Prince of Wales.
1913 – The 6/4 favourite Craganour, owned by Charles B. Ismay, brother of J. Bruce Ismay of the Titanic, was controversially disqualified, and the race was awarded to the 100/1 outsider Aboyeur. Suffragette Emily Davison is struck by King George V's horse, Anmer, she dies four days later.
1916 – Fifinella, who also won the Oaks, is the most recent of six fillies to win the race. The previous five were Eleanor (1801), Blink Bonny (1857), Shotover (1882), Signorinetta (1908), Tagalie (1912).
1921 – The winner Humorist died two weeks after the race.
1927 – The first Derby to be broadcast by the BBC.
1932 – April the Fifth is the most recent winner trained at Epsom.
1946 – Airborne is the most recent of 4 grey horses to win the Derby.
1953 – Pinza was the first winner in the race for the jockey Sir Gordon Richards, after 27 unsuccessful attempts.
1989 – The runner-up Terimon is the longest-priced horse to finish placed in the Derby, at odds of 500/1.
1996 – Alex Greaves became the first (and so far only) lady jockey to ride in the race. She finished last on the filly Portuguese Lil.
1998 – The most recent filly to take part, the 1,000 Guineas winner Cape Verdi, started as 11/4 favourite but could only finish 9th.
2007 – Authorized provided jockey Frankie Dettori with his first winner in the Derby after 14 previous attempts.
2008 – Jim Bolger, the trainer of Derby winner New Approach, had left the horse entered for the race "by mistake", having not initially intended to run him.
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| i don't know |
Which French painter fractured both thigh bones in his teens leaving him deformed? | Art History and Criticism OLD | Utah Electronic High School
Art History and Criticism OLD
00.0 Start Here (Art History and Art Criticism)
Welcome to Art History and Art Criticism at EHS.
Throughout this course, you are provided facts and information about the history of art and artists since the beginning of time. You will be guided through various activities and questions to help you gain more meaning and enjoyment from the class. You will also learn how art is evaluated and appreciated. Your approach to this course will give you an opportunity to investigate new and old ideas in art and learn new art topics and techniques. You will also be able to apply your knowledge and your judgment about what you like and don't like in the art world and acquire an understanding that it is possible for one to improve his or her art skills.
I'm looking forward to working with you. As your teacher, I am here to answer your questions, so don't hesitate to ask for help. You will find my e-mail and contact information in my welcome message or at the end of my return emails.
Please get started as soon as possible. You need to stay active in the class (submitting at least two assignments each month) or you may be dropped. Plan to finish the quarter class in less than four months. Learn to pace yourself. Try to spend no more than three weeks per unit. To receive the first quarter credit, you will need to complete the first four units (assignments, quizzes and tests). There are a total of eight units in the whole semester of Art History and Art Criticism course. When both quarters are completed, you could earn one-half semester of a Fine Art credit.
To find out what materials you may need for this class, see the Required Resources.
FIRST ASSIGNMENT- SUBMIT "About Me" ASSIGNMENT
Your first assignment is the the "About Me". Submit that assignment right away. Here’s how:
Open the assignment by clicking on its name. Read the directions and use the word or notepad word processor on your computer to type your work. Then, copy and paste your assignment in the submission area. **Keep a copy of all your work. Save it on your computer so you have a copy (do this with all your assignments).**
Many of your assignments will be submitted the same way--do them on your computer, paste into the “Edit my submission” box, and then save to submit it. Some assignments may require you to upload files--follow the instructions on the assignment screen to browse to your file and upload it. You will get an e-mail message letting you know when I have scored it.
ETHICS
Remember the EHS Honor Code: "As a student of the Electronic High School, I agree to turn in my assignments in a timely manner, do my own work, not share my work with others, and treat all students, teachers, and staff with respect."
You must not copy other students’ work, or allow other students to copy yours. Do not copy and paste work from the internet or engage in any form of plagiarism (using others’ ideas, words, and/or organization without giving proper credit to the source).
SOFTWARE REQUIREMENTS:
1. You will need a browser such as Firefox or Internet Explorer which can download pictures of all sizes; a slow connection is a disadvantage.
2. You need the a FREE Power Point Viewer for presentations. (For a free download of this program complete an internet search with the words "Free Power Point Viewer" and select the Microsoft.com website.
3. You will also need a word processor such as MS Word, Text Edit or Notepad, etc. (NOT Word Perfect).
4. You will need Adobe PDF reader. (free download: go to Adobe.com and get the most current version)
5. You will also need Quicktime, Windows Media Player, Real or another media player to view any video presentations. (These should be free to download from the internet.)
Art History I
Credit: .25 Fine Art credit by USOE standards per 4 completed units*.
Description of Art History
* USOE Standard*
This is an entry-level course for the High School Visual Arts Core Curriculum. It is designed to provide an overview and appreciation of the visual arts, with an overview of studio production. This course is designed to develop higher-level thinking, art-related technology skill, art criticism, art history and the understanding of aesthetics.
The term "foundations used" refers to ideas and processes that are basic to making and understanding art. We will start by understanding that many artists have used the same concepts over time and across cultures. These concepts are referred to art elements or the symbols of art and the design principles or the rules that govern those elements.
Total points for the first quarter class work is 508 points and the final quarter test is worth 108 points. This is about 21% of your overall grade.
Total points for the class is 560 points and the final quarter test is worth 124 points. This is about 22% of your overall grade.
Make sure to take notes during the course work as during the final quarter test you CAN NOT have any note with you and is considered closed book.
grade you have at that point will not be sent to your school.
00.00 *Student supplies for Art History and Art Criticism
1st Quarter
Window Media Player or other media player
Art paper and colored medium or Computer Art Program like MS paint or Paint shop.
Unit 02
Unit 04
Computer Word Processor
Multimedia computer program such as MS Power Point, Window Movie Maker, iMovie, Pinnacle Studio or another multimedia program that allows images, text and music to create a self-running multimedia presentation.
2nd Quarter
Computer Word Processor
Unit 06
You will need Art paper and an art medium with a wide variety of different colors (such as fine point colored markers, or acyclic paints, or oil pastels, depending on what Impressionist style you would like to reproduce).
Unit 07
Computer Word Processor
For help with your coursework, it is recommended, but not required, that students have a printer to print the reading material, and a scanner, digital camera, or phone camera to take a picture of the two art projects to be photographed and sent in for grading.
$ 2.00 to $10.00 for art project supplies
Required
Students need access to a robust internet connection and a modern web browser.
This class may also require the Apple QuickTime plug-in to view media.
For students using a school-issued Chromebook, ask your technical support folks to download the QuickTime plug-in and enable the plug-in for your Chromebook.
$0.00
01.00 Unit 1 (Art History & Criticism)
Welcome to Art History and Art Criticism at EHS.
Throughout this course, you are provided facts and information about the history of art and artists since the beginning of time. You will be guided through various activities and questions to help you gain more meaning and enjoyment from the class. You will also learn how art is evaluated and appreciated. Your approach to this course will give you an opportunity to investigate new and old ideas in art and learn new art topics and techniques. You will also be able to apply your knowledge and your judgment about what you like and don't like in the art world and acquire an understanding that it is possible for one to improve his or her art skills.
I'm looking forward to working with you. As your teacher, I am here to answer your questions, so don't hesitate to ask for help. You will find my e-mail and contact information in my welcome message or at the end of my return emails.
Please get started as soon as possible. You need to stay active in the class (submitting at least two assignments each month) or you may be dropped. Plan to finish the quarter class in less than four months. Learn to pace yourself. Try to spend no more than three weeks per unit. To receive the first quarter credit, you will need to complete the first four units (assignments, quizzes and tests). There are a total of eight units in the whole semester of Art History and Art Criticism course. When both quarters are completed, you could earn one-half semester of a Fine Art credit.
To find out what materials you may need for this class, see the Required Resources.
ETHICS
Remember the EHS Honor Code: "As a student of the Electronic High School, I agree to turn in my assignments in a timely manner, do my own work, not share my work with others, and treat all students, teachers, and staff with respect."
You must not copy other students’ work, or allow other students to copy yours. Do not copy and paste work from the internet, or engage in any form of plagiarism (using others’ ideas, words, and/or organization without giving proper credit to the source).
SOFTWARE REQUIREMENTS:
1. You will need a browser such as Firefox or Internet Explorer which can download pictures of all sizes; a slow connection is a disadvantage.
2. You need the a FREE Power Point Viewer, for presentations. (For a free download of this program complete an internet search with the words Free Power Point Viewer and select Microsoft.com website.
3. You will also need a word processor such as MS Word, Text Edit or Notepad, etc. (NOT Word Perfect).
4. You will need Adobe PDF reader. (free download: go to Adobe.com and get the most current version)
5. You will also need Quicktime, Windows Media Player, Real or other media player to view any video presentations. (These should be free to download from the internet.)
Art History I
Credit: .25 Fine Art credit by USOE standards per 4 completed units*.
Description of Art History
* USOE Standard*
This is an entry-level course for the High School Visual Arts Core Curriculum. It is designed to provide an overview and appreciation of the visual arts, with an overview of studio production. This course is designed to develop higher-level thinking, art-related technology skill, art criticism, art history, and the understanding of aesthetics.
We will start by understanding that many artists have used the same concepts over time and across cultures. These concepts are referred to as art elements or the symbols of art, and the design principles or the rules that govern those elements.
GRADING
D- 60-63
No Credit 0-59
01.01 What Makes an Artist Great or a Piece of Art Valuable? (Art History and Art Criticism)
why_art.pdf
Please note.
You will be asked to view a "Why Art" Presentation at a later time in this lesson. If it does not play automatically, you will need to download Adobe Reader.
BEGIN THE LESSON HERE
What makes an artist great or a piece of art valuable? The following artists listed below might be considered great by many. If you’re not sure who these artists are, you might know them by their artwork.
Leonardo da Vinci, Vincent van Gogh, Norman Rockwell, Albrecth Durer, Rembrandt, Grant Woods and Picasso.
You can look at their art work by performing an internet search of these artists, and you will then say, "AHHH, YES, I know of these artists, too." If their names and art are not familiar, you will learn about them along your journey into the world of Art History and Art Criticism.
Why do you think an artist or art work is considered great? Is it luck, talent, genetics, or what? History ultimately becomes the judge; after many years, we can see which artists are considered great. Which artists changed the future, set the records, or influenced others? The true artists stand out after years of comparison, influence other people and other artists and accomplish great change. Their ideals and cultures also were brought to the forefront of history by their art. Most of the great artists did something to rise to the top of their field during their own era, and stayed there in subsequent eras. What did they do? They created what we consider GREAT art.
Mona Lisa
You must know "Mona Lisa". Most people have seen this picture. But do you know who painted her picture? Why is she depicted in one of the greatest works of art? If you don't know, then you will. You should learn about the WHY, the WHO and the WHAT in lessons to come--so let's get started.
Who makes the rules about which artwork is great? Well, who makes the decision on whether a Cobra GT is worth $40,000 or $150,000? The experts, of course, or the car dealers. The art dealers, like the car dealers, are those who can tell an original from a fake, the well-constructed from the shabby, and the innovative from the badly-conceived.
Visual art CAN BE JUDGED, just like literature, sports, or automobiles. How? There are sets of rules and guidelines which tell us which is good, which is bad, and which is not even art. For the most part, these rules are from tradition and common sense, and they are easy to understand, but they may be totally new to you, since most students stop studying art at the fifth grade level in America.
Does that mean you WILL like all great art when you're finished with this course? Of course not. Just like you may not like certain music, or certain sports, you will always have your own preferences, and that is what makes you an individual. So why bother learning about art? Learning about art history will make it easier for you to understand how great works of art are created--the context, the materials, the process--and maybe you will develop an understanding of why people are driven to create, sometimes against all odds. This course could also help you learn many things about other cultures; it could assist you in travel, business, and possible other ventures.
Why do people make art? Put a crayon in a toddler’s hand. Give them a paper and tell them to draw. It’s almost automatic. They begin to draw large round circles or move the lines up and down or side to side. Soon they move to another color of crayon and then to another. The child will start to make recognizable shapes or images and will even become excited about the creation. And, the child's understanding and use of the Art soon evolves. This child learns that the lines and shapes are a form of communication. Even the earliest of humans made images to speak to other humans.
It is time to visit the "Lascaux Caves" (link below) and examine the first recorded images or art in the history of man. Why do you think these cavemen drew these symbols? Why do you do art? You say you’re not an artist? If you write your name or doodle on some paper, you are creating art, even if it is because you have nothing better to do.
So what are some of the other reasons people make art? If you have not yet selected the “Why Art“ Presentation at the top of this page DO SO NOW, then come back and finish reading below*****.
Maybe you are creative, and you want to learn how to be a better artist or how other artists create. It is important to understand about other artists' styles. What makes them unique, and what might you have to change about your art to become better?
Maybe you just want credit for graduation. That's OK, too. Maybe you will find out something about yourself along your path. You might find out that the type of art you like is not fine art at all, or surprise yourself to find that you like Abstract Expressionism or Impressionism. Art can be funny, symbolic, shocking, or inspiring. It has always been controversial. After studying this course, you should be able to understand more about WHAT makes an artist great and WHAT makes an art piece valuable and WHO these artists are--and you just learned the "WHY'S".
Work Cited
http://www.glencoe.com/sec/art/studio/activities/pict.php/ar...
Explore the Lascaux Caves in France. (All the these links take you to the same place. Select one. If it doesn't work on your computer, try another).
This is the earliest artwork known to man. As you visit these cave drawings, ask yourself what you learned in the WHY ART Presentation before visiting the cave drawings site. Why do you think the cavemen drew these pictures? Were they symbols of some sort? Did they represent a form of communication or a religious ritual? I hope you enjoy this video activity because most of us will never get the chance to see these wonderful works of art in real life.
01.01 Why Is an Artist Considered Great? assignment (Art History and Art Criticism)
teacher-scored 15 points possible 30 minutes
After studying this course, you should be able to understand more about WHAT makes an artist great and WHAT makes an art piece valuable and WHO these artists are--and you just learned the "WHY'S".
In one or more paragraph, answer the question: What makes an artist great or a piece of art valuable? Show evidence in your answer that you did the reading. This is your opinion, so there is no right or wrong answer, but you must demonstrate that you did the reading.
Copy and paste the questions between the asterisks in a word processor. Using the information from your online readings, presentations and external reading, answer the questions in your own words, in complete sentences and submit your assignment.
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1. Using the information in the readings from the "Why Art" Presentation, write a couple of complete sentences discussing why do you think a particular piece of art is interesting to look at?
2. In several complete sentences, write why you think some artists are greater than others, or why some art pieces are more valuable than others?
3. From the "Why Art" Presentation, list the five reasons people make art and discuss each briefly.
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You will be asked to play the "Elements of Art" Presentation and "Principles of Design" pdf at a later time in this lesson. If they do not play automatically, you will need to download the free Acrobat Reader.
How We Study Art
I often hear people say, "Art is just a matter of how you feel about it," or "Art is an just individual taste--it can't be judged." If that is true, what do you think all those art students in high school and the universities are studying in their art course work? Are they just sitting around painting what they feel? No, they are working long hours learning about form, color, composition and many other things you are about to explore.
Most of us stop learning about art about in the fifth grade when we start to see the difference between our primitive drawings and those of the artists we admire. We don't know how to make the leap from fifth grade to where Rembrandt is, so we quit. If you stopped studying English or math in the fifth grade, would you think THAT was strange? Of course you would. And since we don't like to admit that we haven't the skill or training to see the difference in what is good or bad art, we say it is "just how you feel about it" or "It can't be judged".
For those of you who think artists are "just born that way" or that art isn't a learned process, you will soon learn that is not true. As you study the artists in the following units, you will find that, in most cases, a mentor, parent, teacher, or relative taught the child the principles of art form. Often, a child was even assigned as an apprentice under another artist. Many people think, "I don't have any artistic ability." I've found that such people didn't have anyone around to teach them how to do art; in most cases, the students who feel they do have art skills have someone in the family or a teacher who has guided them. What does this mean for you? Art can be learned. If you want to learn how to draw better, you can do it. Why, then, study the history of art if you want to just be a better artist? Art can be studied and dissected just like English, math, or science. It doesn't have to be a mystery--we can try to find out what makes some artists better than others and their paintings more important to history. We will explore that strange world of art that you may have left behind several years ago and dispel the notion that art is merely "how you feel”.
Throughout history, great art collections have been commissioned and usually belonged to those who could afford them, whether it was military, religious, or social leaders. Artists were hired by wealthy patrons like the pope, kings, queens, nobles, or wealthy families Their collections could be vast, having grown over the centuries, as in the case of the Medici family in Italy.
In the 18th and 19th centuries, there were many revolutions across Europe. With the advent of more freedom, many common people now had access to the great works of art for the first time, and new governments were eager to show off their newly-acquired collections. The Louvre in Paris, originally a palace for the king of France, became a public museum in 1793, along with many other palaces and royal buildings across Europe. New buildings were built to hold collections, but because of the architectural beauty of the formerly-royal palaces, it seemed fitting to also use them to display fine art.
In the United States, groups of people with a common interest in art also helped acquire artwork for the National Gallery of Art in Washington D.C. Artworks were obtained through gift or loan from individuals. Wealthy art patrons across the world also bought or built their own museums, such as the J. Paul Getty Museum in California. They collect art in which they had an interest, but the doors are open to the public. We also have many art galleries and art museums in the State of Utah. I hope you get a chance one day to visit them.
Today, museums have several functions that include preservation (many works of art are fragile or require special handling to survive intact), public display of art and artifacts, education about art and the cultures that produced it, and creating special exhibits and traveling exhibitions in cooperation with other museums. Sometimes art is used to raise money for restoration and repair, documentation and authentication and increasing or improving a museum's collection. Traveling exhibits are a big part of getting more people access to great pieces of art; In unit 06, you will find out what it takes to move famous artwork around the country in these traveling exhibits.
So, now you’re asking WHAT are the rules, guidelines or standards of what makes a piece famous or an artist good? Who gets to be the judge? These standards of judgment or CRITERIA can be broken down into the following.
1. What do we see? (The description of elements and subject matter).
2. How is the work organized? (Analysis of composition, the elements of art and the principles of design).
3. What media has the artist used, what is the artist's personal style, and what is the artist saying (this is often open to interpretation)?
Those who study or do art first must try to understand the key points that go into making a piece of art. They must understand the who, why, what and how. Artists must learn about the tools or the medium or media (plural) to complete a work of art. For example, in water-color painting, one can learn all about watercolor paints as a tool, but so much more goes into painting a good water color. The artist must understand the pigments, the elements of art, color, the brushes, and the kinds of papers needed for a successful result. Artists must also study design the principles and composition rules of art to create pleasing art.
What is composition? Composition is the way an artist organizes and arranges the elements of art using solid design principles. An artist must learn about how these elements and principles convey the message or purpose of his or her work. If a composition doesn’t work, no matter how good an idea or drawing is, the piece will not be very interesting.
As you look at this abstract art piece by Irene Rice Peravy, does the art work seem to be balanced? Do the colors work together? Do the lines communicate a message somehow? Is there focal point? Does there seem to be unity in this piece?
In the second edition art text book “Art Talk” by Rosalind Ragans, she tells us that "works of art can be defined by three basic properties: subject, composition and content". The subject, a person, thing or an event, can be easily identified. In recent years, artists chose nonobjective art that had no subject matter: something like this piece of art. As mentioned above, composition has to do with design principles. And, when we talk about "content," we mean the message the work is trying to communicate, such as a theme, idea or emotion. As artists use these properties, their art can record history, feelings and ideas. Their art can even cross language barriers. How is this done?
Artists use symbols--a symbol is something that stand for or represent something else to communicate ideas and content. Arts’ basic visual symbols are known as the "elements of art." Any art can contain one or more of these elements. The elements of art are line, color, shape, form, space, value and texture. These elements, such as line and color, have qualities that help communicate the message the artist is trying to convey. For example, a cool color, such as blue, can give the viewer a feeling of cold or loneliness. A horizontal line can show a calm or peaceful feeling.
It is now time to spend some time viewing the presentation on the ELEMENTS of ART. DON'T SKIP THIS STEP. Plan on taking notes. Select the Presentation called the "Elements of Art," and then come BACK to the next paragraph below.
PRINCIPLES of DESIGN are the rules that govern how artists organize the elements of art. These principles include balance, movement, proportion, variety, emphasis, harmony, rhythm and unity. It is now time to spend some time viewing and studying the PRINCIPLES OF DESIGN document to learn more about the RULES that govern the elements. DON'T SKIP THIS STEP. Then when you are done with both items, proceed with the rest of the unit's information.
There are many different purposes for drawing. Your perception of an art piece, the act of looking at something carefully and thinking deeply about what is seen, requires study and observation. However, the average viewer spends only about three seconds looking at a piece of art. You will be asked to spend a little bit more time looking at art work in this course. You will get a chance to be an artist and an art critic and learn the organized system for studying a work, art criticism and the standards. You will get a chance to understand the philosophy of the study of beauty and art known as aesthetics. You will also learn about the standards of judgment or the criteria for evaluating a work of art.
These links below will connect you to a few of the art museums in our nation and one in the State of Utah. Two were mentioned in this unit. I hope you take an opportunity to visit them and see what wonderful things they have. Just think, one doesn't even have to leave the comforts of his or her home to take a tour of these museums.
National Gallery of Art
01.02 How We Study Art assignment (Art History and Art Criticism)
teacher-scored 25 points possible 30 minutes
Copy and paste the questions between the asterisk into a word processor program. From your online readings, answer the questions in your own words in complete sentences, and submit the assignment (worth up to 25 points).
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1. List the seven elements of art.
2. In a couple of sentences, describe two out of the six elements of art and how they can create a meaning or have some type of emotional quality. Give an example of one, such as "A picture or painting that is created with a lot of horizontal lines or is painted on a piece of paper that is horizontal gives the viewer a feeling of peace or at rest."
3. List the eight principles of design.
4. Define medium. In a couple of sentences give an example of four media that an artist can use to create art with.
5. What is the standard of judgment called?
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01.03 Standards of Judgement (Art History and Art Criticism)
Standards of Judgment
You learned in the earlier lesson that a criterion ("criteria" is plural) is a "Standard of Judgment" Whose standards of judgments criteria are used to determine if you like a work of art or not? IT IS YOUR STANDARD. However, you might not have the expertise to write up a review in a local newspaper about a new artist's work or select a piece of art to hang in a museum then try and explain why you like a certain piece of art. Therefore, those who study art must learn about the ways that a piece of work is judged.
Have you ever gone to a movie that a friend recommended only to find out that it was a very bad movie? They were acting like a movie critic but probably did not have the expertise to do so. When you look at art in this way and tell someone your opinion, you too are beginning to act like a critic. You may not have been able to explain your standards of judgment to them, but you know if you liked it or not. After learning about the steps to judge work, you may find that you look at art or judge the merits of an artist's work in a new way, and this will help you appreciate what your art teacher must do to grade a piece of your artwork, or what judges must go through when they have to judge a winning piece for an art contest.
Rosland Regan explains in “Art Talks” that critiquing artwork does not have to be negative. It is also somewhat like playing detective. You can assume the artist has a secret message hidden within the work. To find that hidden message, however, you must first learn the steps to judging work. She continues to tell us that the four-step system will help you find the hidden message in art.
The first step:
(Description) What do I see? What is the size of the work? What is the subject? What is the medium or media,and is it neatly arranged using good composition?
The second step:
(Analysis) THIS IS WHERE THE ARTIST CREATES THE SECRET MESSAGE, MOOD OR IDEA, BY THE WAY the elements and principles are organized. How has the artist used the empty negative space relationship to the figure ground? Is the work balanced? Does it have variety, a focal point or unity?
The third step:
What is the artist saying?(In Interpretation you will EXPLAIN or tell the meaning or mood of work) This is the most difficult step as this is where you are trying to find out that the artist is daring to be different. There are some clues in the elements of art. For instance, a color or line can express a feeling. (see the line, color, balance, elements of art for this meaning).
The fourth and final step:
You will decide whether or not the art is successful. Can you determine the degree of artistic merit? (This is called Judgment) This is the time to give your opinion. However, this is also an aesthetic question. Aesthetic qualities are discussed most often by literal, design or express qualities. Some think literal qualities are more important than expressive qualities; others might think that design qualities are more important than either one of those.
3-D Art: by Blair Buswell - famous Utah artist
The literal qualities and design qualities (how well the work is organized)and the expressive qualities (such as ideas and mood). Some artists and art critics debate the importance of each, but we will get into those later. In the next lesson of this unit, you will be asked to create art, paying attention to criteria that will help you understand how the work will be judged or graded. Before you do this piece of art, you will get to be the judge of a 3-D art or sculpture completed by Utah's own Blair Buswell. (You might know his work if you follow football. He has done many busts of some hall of fame football players.) For additional information on Blair you can access his own website.
Blair Buswell " Breeze" Art work to be evaluated
http://www.blairbuswell.com/
Blair Buswell is a well-known sculptor from Utah. Select the three external links. They will help you answer the questions for the assignment on this lesson. Watch the following steps that artists like Mr. Buswell must go through to create a sculpture.
01.03 You Be the Judge (Standards of Judgement) assignment (Art History and Art Criticism)
teacher-scored 10 points possible 25 minutes
Blair Buswell is a well known 3-D artist from Utah. Use the three website and the video from "You Tube" to find the answers to the questions below.
Copy and paste the questions between the asterisk in a word processor. From your online readings, answer the questions below in your own words in complete sentences. Then submit your assignment in the assignment section. Submit your assignment titled 01.3.01 "You Be the Judge".
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1. In a couple of sentences, what is the final product or medium or media is that Blair Buswell uses and outline the steps he must complete to get the final piece completed.
2. Explained what the subject matter is and size of art work titled "Breeze". (You will find this sculpture at the bottom of one of the webpages.
3. What are 3 elements of art and 2 design principles that Buswell has used to create the largest and latest sculpture.
4. Describe one of the smallest pieces that Blair Buswell had made and then describe one of the largest art works he has recently completed?
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01.03.02 Create a Work of Art -assignment (Art History and Art Criticism)
teacher-scored 25 points possible 45 minutes
You now get to be the artist. Your objective will be to create five drawings. Select five of the following feelings from the word bank below.
anger -- happiness -- sadness -- excitement -- worry -- peace -- fear -- love
I. Using one or more of the elements of art, such as line, color, shape, form, space, texture and value, communicate the expressive feelings from above.
II. Use either of the following media (tools): a computer art program like MS Paint or Photoshop, or just some good old art drawing paper. The drawing(s)for each feeling that you render for this assignment should not be put on paper that is any smaller than 5x7". Another choice could be to put them all on one piece of paper but not any larger than 9x12. Keep the images separated somehow if you put them on one piece of paper. You can use color material such as paints, colored pencils, cut-up colored paper, or chalk. (Your art work could even be a mixture of media).
III. As you will need to send a copy of this art work to me for grading, do not use crayon--it will not show up on a scanner nor will it take a good digital image.
IV. This assignment should take you about 30-60 minutes to complete. After completing your work, submit it for grading and explain the media that you used and what problems that you had in creating this work of art. (Please note: This piece will be discounted five points if a recognizable subject matter is seen--keep it on the abstract side)
Sign and date your work.
V. Ways to submit the art activity to the instructor for grading.
Scan or take a digital picture of your art work and upload it as a jpeg file, or insert the jpeg pictures into a word document and upload the word doc or a pdf. Submit "You Be the Artist". The instructor will use the grading criteria/rubric below. It will be the instructor's STANDARDS Of JUDGEMENT for this art project.
IV. This assignment could take you about 30-60 minutes to complete. After completing your work explain the media that you used and what problems that you encountered while completing this assignment. Place your drawings into an electronic format by scanning or taking a digital image of it. (Please note. This piece will discounted five points if a recognizable subject matter is seen--keep it on the abstract side)
Sign and date your work.
Scan or take a digital picture of your art work and upload it as a jpeg file or insert the jpeg pictures into a word document. Save the word doc. as a pdf. Submit the assignment. The instructor will use a grading criteria/rubric. This will be the instructor's "STANDARDS OF JUDGEMENT" for this art project.
You can view the examples of EHS Art History student Lauren Carlson's and Sarah Durstler's (permission granted) colored pencil art work for this assignment.
01.04 Unit One Test (Art History and Art Criticism)
teacher-scored 25 points possible 120 minutes
In the next step, complete the unit test. It is a multiple choice test from your reading material and presentations from unit 01.
02.00 Art of the Earliest Times (Art History and Art Criticism)
Prehistoric, Mesopotamian, Egyptian and Asian Art
By studying the art of these periods, we can find out a lot about the civilization of cultures of the ancient world. This study of cultures and various periods of art might feel more like a history or social studies class. So, why study them in an art class? The American Historical Society states on their website, "History should be studied because it is essential to individuals and to society, and because it harbors beauty."
02.01 Prehistoric Art (Art History and Art Criticism)
Prehistoric Art
What is a culture? A culture is comprised of the ideas, beliefs and customs of a given society. Any art created before writing or record-keeping was during what was called Paleolithic Era.
This era is also referred to as the Old Stone Age, so-named because of the stone tools humans used during this period. Paleolithic art is that which was created between the years 40,000 B.C.E to approximately 12,000 B.C.E, when people lived in hunter-gatherer nomadic tribes prior to the development of agriculture. Most of the earliest forms of prehistoric art were found in caves. You saw some of these drawings in Unit One. Even today, as you look at the art on cave walls, in the tombs of Egypt, on papyrus, or in sculpture, you can understand something about early man's way of life. Throughout the history of the world, art has an given us a vast treasure chest of images that show us these symbols of ideas, religion and culture.
Some of the earliest recorded Prehistoric art found was in the Altamira Caves of Spain by an amateur archaeologist; they were dated to about 15,000 B.C.E. These paintings of sleeping, galloping and resting animals beg the questions, What were the Stone Age cave dwellers doing? What were the purposes to these paintings? Most of these works of art are found deep inside caves away from entrances and daylight. Anthropologists theorize that the paintings' placement deep inside the earth represents the ancient belief that all things came from womb of the earth. The cave men used natural sources of pigments for the cave art. For reds, browns, and golds, they mixed ground up earth mineral in animal fat, vegetable juice and eggs. For black they used charcoal from burned firewood.
The paintings' location has led experts to think they were not created merely as decoration but as part of the hunting ritual. No one really knows for sure, but they are great finds, don’t you think? These ancient people depended on animals for every part of their existence. Were they letting other cave men know about the hunt? Or perhaps they were boasting about their hunting prowess. The art found in these caves and other early man sites shows that humans was not only skilled in painting, but in sculptures and crafts. They also taught themselves how to spin fibers, weave and make pottery for practical functions. As their skills developed further, they began to decorate their art.
From the Upper Paleolithic through the Mesolithic, cave paintings and portable art like figurines and beads predominated, with decorative workings seen on items of function. Man worked flint, wood, bone, horn and ivory to make the weapons he needed for his nomadic life. Other cave and wall paintings appeared at Lascaux and in the caves of the Vézère valley in France. Les Combarelles and Font-de-Gaume at Eyzies-de-Tayac in Dordogne offer fine examples of this sophisticated art which was to last until the Neolithic period. Other, more recent discoveries, such as the Chauvet-Pont-d'Arc cave in Ardèche (1994) have revealed extremely beautiful rock paintings.
Stonehenge
"Neolithic" refers to the New Stone Age, and reflects the use of stone tools with some use of metals, with people settling into permanent communities, developing agriculture and domesticating animals. In the Neolithic Era, evidence of early pottery appeared, as did sculpture. The Neolithic saw attempts at architecture, such as the construction of megaliths at Stonehenge near Wiltshire, England--one of the most famous ancient sites in the world.
"Megalithic"/describes structures made of large stones, utilizing an interlocking system without the use of mortar or cement. Stonehenge is composed of earthworks surrounding a circular setting of large standing stones and sits at the center of a cluster of other monuments, including several hundred burial mounds. Some scholars believe that the circle of stone is a calendar. The megaliths demonstrated the post and lintel system, an approach to building in which a crossbeam is placed above two uprights. What is a mystery is how the stones, which weigh 50 tons, were set in place. The stones we see today represent Stonehenge in ruin. Many of the original stones have fallen or been removed by previous generations for home construction or road repair. Copy and paste the following external link to see a short video on Stonehenge.
If it does not open, do a internet search for "Video on Stonehenge National Geographic Channel." There are many other impressive videos on You Tube about these man-made structures.
The Bronze Age of a culture is the period when the most advanced metalworkers (at least in systematic and widespread use) in that culture utilized bronze. This could either have been based on the local smelting of copper and tin from ores, or trading for bronze from production areas elsewhere. Many, though not all, bronze age cultures flourished in prehistory. In Great Britain,the Bronze Age is considered to have been the period from around 2100 B.C.E to 750 B.C.E.
The advent of metalworking in the Bronze Age brought another increase in media used for art, an increase in stylistic diversity, and the creation of objects that did not have any obvious function other than art. It also saw the development in some areas of artisans, a class of people specializing in the production of art, as well as the development of writing systems. By the Iron Age, civilizations with writing had risen from Ancient Egypt to Ancient China. Many indigenous peoples from around the world continued to produce artistic works distinctive to their geographic areas and cultures. Some cultures, notably the Maya civilization, independently developed writing during the time they flourished (3,000 B.C.E. to 900 A.D.), examples of which were lost when Spanish invaders destroyed their libraries (early 1500's). These cultures are generally considered prehistoric, especially if their writing systems have not been deciphered.
The next period and culture of art we will visit is the Ancient River Valleys of Egypt and Mesopotamia, a land known as the Fertile Crescent, through which flow the Tigris and Euphrates rivers. Mesopotamia was more of a culture than a religion. Today the land is shared by Syria and Iraq. Mesopotamia is often referred to as Babylonia. Its inhabitants' writing was called cuneiform. This area saw some of the earliest experiments in agriculture and irrigation, the invention of writing, the birth of mathematics and the development of urban life. Mesopotamia is a Greek term meaning 'between the rivers'.
STRIDING LION.
This colorful striding lion, its mouth opened in a threatening roar, once decorated a side of the "Processional Way" in ancient Babylon (the Biblical city of Babel). The Processional Way led out of the city through a massive gate named for the Mesopotamian goddess of love and war, Ishtar, whose symbol was the lion. Each year, during the celebration of the great New Year Festival, the images of the city's deities were carried out through the Ishtar Gate and along the Processional Way past some 120 lions, such as the one above, to a special festival house north of the city. (Institute, University of Chicago).
Work Cited
(1)http://www.students.sbc.edu/matyseksnyder04/Prehistoric_Art.html
(3)http://www.metmuseum.org/works_of_art/collection_database/egyptian_art/a_block_from_the_sanctuary_in_the_temple_of_mentuhotep/objectview_zoom.aspx?page=1&sort=5&sortdir=asc&keyword=&fp=1&dd1=10&dd2=31&vw=1&collID=31&OID=100005053&vT=1
02.01 Prehistoric Art -Assignment (Art History and Art Criticism)
teacher-scored 25 points possible 30 minutes
Copy and paste the questions between the asterisk in a word processor. From your online readings, answer the questions in your own words in complete sentences. Submit your assignment (Worth up to 25 points).
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1. In a sentence or two, explain what a culture is.
2. In a sentence or two, explain what Neolithic means.
3. In a sentence or two, explain what Paleolithic means.
4. What is the famous, large stone monument found in England called? Explain its construction. What is the construction term called?
5. In a sentence or two, explain where Mesopotamia is, and what its name means.
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02.02 Egyptain Art (Art History and Art Criticism)
Egyptian Art
Egyptain Pyramids
Let’s move on to Egyptian art. Egypt developed around 3000 BC. The art was influenced mainly by religion. The Egyptians were ruled by a pharaoh, and in the eyes of the people, the pharaoh was not merely a king but a god. The Egyptians believe there was life after death, and after death the pharaoh was believed to return to be with other gods. There is little doubt that ancient Egypt’s greatest achievements were in the architecture in the great pyramids.
Thousands upon thousands worked year after year to build the pyramids. Today, the pyramids still remain a great wonder. The pyramids of Egypt are of such large scale that tourists who visit them are overwhelmed by their size. These pyramids were designed to be large to express the eternal strength of Egypt. Wall paintings inside a pyramid depict the royalty of the pharaohs in very large scale. His servants, however, are very small in scale to emphasize their low status. When figures are arranged in a work of art where scale indicated importance, it is called hierarchical proportion. We can learn a great deal about the stylized painting of scenes and figures inside the tombs because they likely represent ancient Egyptian life.
Abstract art today departs from representing accuracy by exaggerating or simplifying the forms suggested by the world. Abstract artists sometimes create a style, but they do not have to follow the rules. Stylized art also departs from realism by exaggerating or simplifying forms, but, as its name suggests, it follows a preset STYLE.
Wall Painting Inside Pyramids
Parts of the stylized figures painted on the pyramids are painted as they would appear from the side; the head, arms and legs arms are three such parts. Other parts of the body appear as they would if we seeing people head-on. The eye and shoulders demonstrate this. You’ll also notice that the one eye that shows is always painted on the side of the face.
The Egyptians wanted to show only the most important parts of the body, and they wanted to show those parts in the most attractive way. Art painted the eye on the side of the face so it could be shown looking straight out. Feet don’t look like feet from straight on, so the Egyptians painted them from the side. All these angles are natural positions. These painted views of the figures show the strict rules that artists of ancient Egypt had to follow. The rule was to show every part from its most visible angle. Egyptian art is considered very stylized for a specific reason. Religion dictated that an artist had to show certain features and objects in a certain way, to make sure they arrived in the afterlife correctly. The wolf-like kneeling figure is called the Anubis. He was known as a god of the underworld that would protect the spirits of the dead.
Egyptian Stele
It was also customary to decorate the tombs of rich or important people with painted relief sculpture. This is called a stele or stela. This stele is a carved upright stone slab used as a monument. Each frame shows a different part of a person’s life as did the tombs, and the characters that mean some letter or word that decorated the tombs were called hieroglyphics.
These Egyptian Stele (stē'lē) are like the tombstones we use to mark graves and commemorate our dead. A stele is a stone slab that honored the life and death of a person. It was usually oblong, set up in a vertical position and decorated with carved hieroglyphics and paint. Wealthy Egyptians, especially officials and priests, often had stele placed near their tombs. Inscriptions on stelae (plural) usually included the deceased person's name, symbols of their rank or position, their good deeds, and a funerary prayer. Other cultures made funerary stelae. Those in Greece were made of marble, and those of Athens are among the most beautiful monuments of classical art. Likenesses of the dead were sculptured in relief and painted upon them. Very ancient Stelae are found in ruins in Mexico and Central America of the Mayan culture, and in China. Though the paint is usually worn off, the shallow carvings (bas-relief) on stone can still tell stories of the ancient peoples and the gods they worshiped.
Could Egyptian artists paint realistically? Yes, there are examples of paintings and sculptures that are realistic, but artists that worked in the tombs of the Pharaohs were trained to paint by very these strict stylistic rules.
Work Cited
All copyrights belong to their respective owners.
Images and text owned by other copyright holders are used here under the guidelines of the Fair Use provisions of United States copyright law. These images and text are used here only for the education of high school art students, and are not intended to generate income for the school, its employees or its students. Attributions for copyrighted work have been made in each case, and a link where possible.
02.02 Egyptian Art Assignment (Art History and Art Criticism)
teacher-scored 20 points possible 30 minutes
Copy and paste the questions between the asterisk into a word processor. From your online readings, answer the questions in your own words, in complete sentences and submit your assignment (Worth up to 20 points).
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1. Explain in a sentence or two how the ancient Egyptians artists showed the human body in their works, and what this art is called.
2. In a sentence or two, explain the importance of a Egyptian stele.
3. What were the characters called that Egyptians used to represent letters or words?.
4. In a sentence or two, explain who Anubis was.
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02.03 The Art of Asia (Art History and Art Criticism)
The Art of Asia is different than European Art. The Art of Asian was based on different philosophies and beliefs in Hinduism and Buddhism with an emphasis in relationship people and influences on nature. Nature seemed to be common theme in their art.
Like Egypt, the ancient civilization of China, India, and Mesopotamia each developed in a river valley. Yet, despite similarities, each civilization had it own culture and ways of making art. The first Egyptian pyramids were built around 2600 B.C.E. Around that time, another civilization was emerging a continent away in the Yellow River valley. This civilization, China, still exists today. It boasts the oldest continuous culture in the history of the world.
From the earliest Stone Age art to the Ming Dynasty in 1500 A.D., Chinese artists took up the same themes over and over again. Ancient China and its rich history were divided up into dynasties until just recently. A dynasty means a period of time during which a single family provided a succession or rulers. The dynasties were named for the ruling families.
The history of Chinese art is also broken up into dynasties. The first of these dynasties was called the Shang. The last of these dynasties was the Ch’ing. The single greatest achievement of early Chinese artists was their working in bronze. India had a huge influences on Chinese art, when the Chinese invaded this country. China adopted the Buddhist religion during the Han Dynasty lasting from 206 B.C.E. to 220 A.D. Chinese art stressed a oneness with nature.
Chinese artists were interested in swirling brushwork lines. They were also interested in nature: animals, trees, flowers, rocks, water. They wanted to express the relationship between people and nature. Chinese artists found that long periods of meditation enabled them to perceive the beauty of an object or a scene. This made them better able to capture the beauty of the subject in their paintings. Chinese paintings were made on scrolls which are long illustrated parchments or silk and usually hung on a wall. They are meant to be read like a book. Sculptures in Chinese were produced for religious purposes.
The earliest form of art we know from China was pottery--
clay pitchers and bowls. Most of the best, early pottery comes from a place called Ban'po and it is named after that place. Sung dynasty porcelain objects were made of fine-grained white clay porcelain called kaolin. Work in porcelain reached its highest point during the Ming dynasty. Today tombs full of clay sculptures are being discovered. Japan also adopted Buddhism as a its major religion. Until the end of the ninth century, Japanese artists copied the art styles of China in other Asian countries. Then Japanese artists began to develop a style uniquely their own. Many different subjects are shown in Japanese painting and printmaking and woodblock print.
A fairly recent find in 1974 by workers digging a well are the Terra Cotta Ceramic Army.
Terrra Cotta Ceramic ArmyThese funerary figures are from the Qin dynasty(221-206 B.C.E.). The faces of the warriors are wonderful, and resemble a cartoon characters. Qin is pronounced CH'IN, and is where the name CHINA originates. This place is HUGE. Some of the sculptures are thought to be the images of real people and are life-size.
Each dynasty belief was that horses
(and camels) represented the military preparedness of the country, and during these dynasty the country claimed over 700,000 horses. Displaying a ceramic figure of a horse indicated support for the emperor. The Tang emperors supported trade and new ideas. In this atmosphere, literature and the visual arts flourished, especially ceramics and painting.
A form of Chinese Art is the actual lettering of their language. Instead of a pen, pencil, charcoal or chalk, the Chinese use the medium of brush and ink to create a form of writing called calligraphy
(which means beautiful handwriting), so that each letter is as much a painting as it is writing. As in Europe, only the Chinese nobility, monks and theologians were taught to read and write, or had the time to engage in learning. Like the Europeans, they wrote out long religious works and illustrated them, though they used silk or paper scrolls instead of heavy bound manuscripts.
Calligraphy being the forming of letters, and brush painting being the creation of pictures, historically they tended to go together. Although they could appear separately, calligraphy being placed as a work of art by itself on a wall, screen or a scroll, Chinese brush painting usually had calligraphy within the composition. Subject matter in China was not limited to religion, though. The beauty of nature, both in still-life and landscape, women, court life, and animals were acceptable subject matter.
An important pottery in China is Ming Dynasty Porcelain (porcelain is a very stiff clay, also considered very strong. It is still used today and must be fired at a very high temperature), but it actually developed in the previous Yuan dynasty and became extremely popular in Europe. Ming porcelain was made out of many colors, but the most popular by far to contemporary collectors are the blue and white pieces.
When Portugal established a trade route to Europe, ships used pottery and porcelain for ballast(weight in the bottom of the ship). These porcelain pieces were very heavy and traders, to protect the ware from breaking, would use hay or rice straw for packing when they shipped them. Europeans would pay high prices for any and all qualities of these ceramics. Then, the Europeans finally figured out how to make porcelain themselves. Hundreds of years ago, the Chinese were copying images of windmills, flags and animals they had never seen for export back to Europe and America. The Chinese call these decorated ceramic pieces "Foreign Ware" which are still being manufactured and exported. Most Chinese, however, prefer to decorate the ceramic ware with patterns of dragon, carp, butterflies and other traditional plants and animals to bring luck and long life to its owner. The blue and white ware has been copied so often and so well, spawning a huge market in counterfeits, that it takes an expert to know the difference between the real thing and a copy.
Sung Dynasty paintings, influenced by Taoism and Confucianism, often show tiny people dwarfed by nature. Artists became concerned with economy of line: one simple line makes us see the whole cliff, or flowers, or birds. They began to draw just one flower, or one bird. The Mongol invasions brought a new energy and enthusiasm to painting, but under the Ming Dynasty, artists began to explore still-life painting, and to reconsider and revive the styles of the past.
Most people in ancient China could not afford to live in fancy houses. They lived in small houses made of mud-brick, with only one room and a dirt floor, just the way most people in the Roman Empire or West Asia or Africa lived, and the way most people in the world still live today. In Northern China, the doors of these houses usually faced south, to keep out the cold north wind.
Rich people had fancier houses, and people also built ornate temples and palaces. All ancient Chinese architecture was built according to strict rules of design that made Chinese buildings follow the ideas of Taoism or other Chinese philosophies. The first design idea was that buildings should be long and low rather than tall--they should seem almost to be hugging you. The roof would be held up by columns, and not by the walls. The roof should seem to be floating over the ground. The second design idea was symmetry: both sides of the building should be the same and balanced, just as Taoism emphasized balance. Even as early as the Shang Dynasty, about 1500 BC, Chinese buildings looked pretty much like this, with curved tile roofs and long rows of pillars. The palaces of the Chou Dynasty, and then the Chin Dynasty, continued in this same style.
The biggest change in Chinese architecture came during the Han Dynasty, in the second century B.C.E, when the new religion of Buddhism first came to China from India. Many Chinese and Japanese Buddhists began to build pagodas
(a tower several stories high with roofs curving slight upward on the edges) to keep sacred things in. At first these pagodas were related to Indian buildings called stupas.
When Buddhism became more important in China in the sixth century A.D. during the Three Kingdoms period, architects began to build special Buddhist temples. But under the Sui Dynasty, in the early seventh century A.D., the ideas of symmetry and balance that were important in Taoism became more important again. At the same time, people continued to want Buddhist pagodas. Under the Tang dynasty, architects designed even more ornate Buddhist pagodas with eight sides. One famous eight-sided stone pagoda is the White Pagoda at Chengde.
White Pagoda
Under the Sung dynasty, about the year 1000 A.D., people wanted their pagodas to be tall and thin with high spires. To make them fancier, they had complicated wooden lattices all around them. While the Mongol Yuan dynasty ruled China, about 1200-1300 A.D., they built great palaces at Beijing with many huge halls. The great architectural accomplishment of the Ming dynasty in the 1400's was to build the Forbidden City, a huge palace where the emperors lived. But the Forbidden City's buildings still follow pretty much the same architectural rules as the palaces of the Shang Dynasty three thousand years ago.
Chinese clothing was unique and very decorative. People in China generally wore tunics (like long t-shirts). These were called kimonos. These kimonos have unusual sleeves that extend down to the waist or farther. The patterns tend to be more geometric. Women wore long kimonos down to the ground, with belts, and men wore shorter ones down to their knees. Sometimes they wore jackets over their tunics. In the winter, when it was cold, people wore padded jackets over their tunics, and sometimes pants under them. In early China, poor people made their clothes of hemp or ramie. Rich people wore silk.
Kimono Most people in China, both men and women, wore their hair long. People said that you got your hair from your parents and so it was disrespectful to cut it. During the Sui Dynasty, in the sixth century A.D., the emperor decided that all poor people had to wear blue or black clothes, and only rich people could wear colors.
In the Sung Dynasty, about 1100 A.D., a fashion started at the emperor's court for women to bind their feet. Women thought that to be beautiful, they needed little tiny feet, only about three inches long. They got these tiny feet by wrapping tight bandages around the feet of little girls when they were about five or six years old. Clothing was seen as a status symbol for many dynasties, and was the mark of an individual’s position in society. For example, the fur of a black fox and the color yellow were reserved for high level officials and members of the imperial family. The Emperor’s gowns were loaded with artful ornaments and hidden symbolism for good luck, and a dragon’s image dominated each imperial costume. As an important element of Confucianism, it symbolized the emperor’s power.
A Dragon Robe contained nine dragons, one on each shoulder, another on the back, and one covering the breast of the top, and one on the bottom garment. The last four dragons decorated the bottom of the imperial robes. The dragon robe was not simply meant to be an ornament for the Emperor, it was also supposed to bring good luck to the people. Apart from the dragons, eleven other symbols for good luck were featured. Another symbol on the emperor’s robes was a red bat which is a homophone of the character meaning “a veritable deluge of good luck”. Undergarments featured the oceans and mountain ranges of the world, because in Chinese tradition the emperor was regarded as the “son of heaven” who rules the whole world.
Work Cited
All copyrights belong to their respective owners.
Images and text owned by other copyright holders are used here under the guidelines of the Fair Use provisions of United States copyright law. These images and text are used here only for the education of high school art students, and are not intended to generate income for the school, its employees or its students. Attributions for copyrighted work have been made in each case, and a link where possible.
gotheborg.com/webshop/index.php?cat_id=3
02.03 The Art of Asia Assignment (Art History and Art Criticism)
teacher-scored 40 points possible 30 minutes
Copy and paste the questions below in a word document. Using the information from your online reading material, answer the following questions. Copy and paste the questions and answers in your own words and in a correct sentence and submit your assignment (Worth up to 40 points)
1. Explain what elements seem to be the theme of Buddhism and its influences on Chinese art.
2. Explain where the blue and white pots came from and what were made of.
3. Who were buying the ceramic pieces from China and what were they called? What subject matter did the Chinese paint on exported pots, but what did they prefer to use for their own pieces?
4. Describe a pagoda and its function.
03.00 Greek and Roman Art (Art History and Art Criticism)
The beginnings of Western Art:
The Greeks and Romans settled around the Aegean Sea. If you don't know where the Aegean Sea is located, do a Google map search.
What we consider classical western art was inspired by the ancient Greeks and Romans. Greek philosophies influenced the evolution of the ideas, government, art, architecture and civilization of the western world. The idea of beauty in western society was first cultivated by the Greeks.
03.01 Art of Greece (Art History and Art Criticism)
What do you already know about the ancient Greeks and Romans? You might say that you know them from their life-like sculptures, or their huge outdoor structures like the Parthenon, built to honor the mythological goddess Athena; inside was her huge ivory and gold statue. The Parthenon stands along other temples on a sacred hill known as the Acropolis which means "high city."
PanthenonThe most characteristic feature in the architecture are decoration of the temple is the ionic frieze running around the exterior walls. The temples built in ancient Greece originally were covered in bright colors, called ENCAUSTIC paint, which had a wax base. These have worn off, leaving the marble and stone bare. The Parthenon, made of concrete, a mixture of powdered minerals and small stones, is said to be perfectly proportioned and was built with the improved post and lintel system like the Pyramids and Stonehedge.
The Greeks were always looking for perfect proportions: the size relationship between one part and another. The vertical columns of this structure have negative spaces between the columns to reflect a sense of harmony and rhythm. The symmetrical balance has the same number of columns on each of the opposing sides of the building. What is the importance of proportions to the function of structures and products in creating art objects? The Parthenon and other Greek architecture have influenced more architecture than we can list here--just think of the White House, and most state capitol buildings, including Utah's.
Alexander the Great ruled Greece from 366 to 323 B.C.E. and built the largest empire in the world. He conquered regions of Persian and India. He created mints that made his own coins to remind people of their powerful ruler and his conquests. The ancient coinage with which he paid his soldiers who fought in foreign lands still exists today. Thus, Alexander's portraits spread around the world. The practice of placing political leaders' portraits on money originated in Greece and continues today.
A Greek mathematician named Euclid determined what he considered to be the perfect ratio, or relationship of one part to another. He called this the ratio the Golden Section or the Golden Mean: a line divided into two parts so the smaller line has the same proportion or ratio to the larger line as the larger line has to the whole line. With this ratio, the ancient Greeks felt that they had found the ideal proportions. This relationship of parts was used in their sculpture, architecture and pottery. We are finding that some of their studies of ideal beauty are still relevant today, and though the idea of beauty has been shaped by millions of years of evolution. It can be studied by artists, philosophers, and mathematicians. In other words, the Greeks had it right when it came to BEAUTY - it can be MEASURED & JUDGED against an IDEAL. Our ideas about beauty are influenced by Greek sculpture and architecture, but our image of them is partially flawed.
The most important innovation in Greek sculpture was probably Contrapposto. Contrapposto (con-truh-pos-toh) is an Italian term meaning "counterpoise", but it was developed by Greek artists. Contrapposto is the position of a human figure in painting or sculpture in which the hips and legs are turned in a different direction from that of the shoulders and head; the twisting of a figure on its own vertical axis.
The style of Egyptian sculpture is very stiff compared to the more natural style of contrapposto. It is especially a way of sculpting a human figure in a natural pose with the weight of one leg, the shoulder, and hips counterbalancing each other. Thus it is sometimes called "weight shift." This technique was developed late in the ancient Greek period. According to the classical Greek sculptor Polykleitos in the fourth century B.C., it is one of the most important characteristics of his figurative works and those of his successors. Stone, marble or metal could now be sculpted to look like a natural figure in motion, walking or moving, creating a more natural and beautiful sculpture.
Ancient Greece(ArtHistory1)
Ancient Greece(ArtHistory1)
Ancient Greece(ArtHistory1)
After the fall of Rome, the use of contrapposto was forgotten; medieval sculpture (left) went back to a very stiff, unnatural pose, covered with drapery. This was fine with early Christians, but in the Renaissance, Greek sculpture and literature about man, beauty, and art were once again discovered, translated, and discussed by the foremost philosophers and artists of the time.
Classical contrapposto was revived in the Renaissance by the Italian artists Donatello (right) and Leonardo da Vince, followed by Michelangelo, Raphael and other artists of the High Renaissance. This was one of the major achievements of the Italian Renaissance, although later in Mannerism it became distorted and greatly over-used.
Greek vases varied in sizes yet had standard forms which were always used, though the painting on them was complex. The Greek Vase or amphora, a twin handled vase, was used for carrying and storing water, oil, wine or a funerary vase. The funeral amphora served as a grave marker.
Although the Greek empire was defeated by the Romans in 146 B.C., their art influence continued in the Roman art and culture. At its peak, the city had a population of over one million people. The Romans were interested in engineering, law and government rather than art. The Romans developed beautiful interior decoration, excellent roads and realistic ideas rather than idealized portraits like the Egyptians. Rome’s greatest contributions were in the field of architecture.
03.01 Greek and Roman Art -assignment (Art History and Art Criticism)
teacher-scored 35 points possible 35 minutes
Copy and paste the questions between the asterisk into a word processor. From the online readings, answer the questions in your own words in complete sentences submit your answers (Worth up to 35 points)
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1. In a sentence or two, explain what an amphora is.
2. In at least a sentence, explain what a frieze is.
3. In a sentence or two, identify the contributions of the ancient Greeks and Romans to the history of art. Also, in a sentence or two, explain why proportions were important.
4. In a sentence, explain what concrete is and what its purpose was during this time period.
5. In a sentence or two, explain what is an acropolis and what does it mean?
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03.02 Byzantine Art and Middle Ages(Art History and Art Criticism)
Byzantine Art and Middle Ages
In the eastern part of the Roman Empire, a new style of art developed. This style thrived around the city of Constantinople (now Istanbul). Byzantine art is the term commonly used to describe the artistic products of the Byzantine Empire from about the fourth century until the Fall of Constantinople in 1453. Byzantine art was very rich with colors, and yet the figures were flat and still. They showed very little perspective (the illusion of depth and distance). The work blended the Greek, Roman and Asian styles and had a very religious theme. (1)
During the fifth and sixth centuries, mosaics, the art of creating images with an assemblage of small pieces of colored glass, stone, or other materials, were the dominant art form until the 14th century. Mosaics were decorative art used in the an aspect of interior decoration, showing subject matter of cultural and spiritual significance in many holy places such as cathedrals. These mosaics normally were comprised of small cubic pieces of colored stone or glass, known as tesserae, and were used to create a patterns or pictures.
Mosaic
The Hagia Sophia is acknowledged universally as one of the great buildings of the world and one of the greatest surviving examples of Byzantine architecture. It is rich with mosaics and marble pillars. Unfortunately, nothing remains of the original Hagia Sophia, which was built in the fourth century by Constantine the Great.
Constantine was the first Christian emperor and the founder of the city of Constantinople, which he called "the New Rome." The Hagia Sophia was one of several great churches he built in important cities throughout his empire. Following the destruction of Constantine's church, a second was built by his son Constantius and the emperor Theodosius the Great. This second church was burned down during riots of 532, though fragments of it have been excavated and can be seen today. It is now a museum in Istanbul, Turkey.(2)
Famous in particular for its massive dome, it is considered a very good example of Byzantine architecture and is said to have "changed the history of architecture."(3) It was the largest cathedral in the world for nearly a thousand years. It was designed by Isidore of Miletus, a physicist, and Anthemius of Tralles, a mathematician.
Hagia Sophia
The church contained a large collection of holy relics and featured, among other things, a 49-foot silver iconostasis which is a screen on which icons are mounted, and is used in Eastern Orthodox churches to separate the area around the altar from the main part of the church. When Constantinople was conquered by the Turks, it was converted into a mosque. The bells, altars, iconostasis, and sacrificial vessels were removed and many of the mosaics were eventually plastered over and replaced by Islamic motifs.
The Middle Ages can be split into three periods, Byzantine, Romanesque, and Gothic. The Middle Ages are so- named this because they fell between the two most famous periods of art in western civilization, the Classical period and the Renaissance. The Middle Ages are also commonly referred to as the Medieval Period. Another name for this period was The Dark Ages. The Middle Ages are identified as the period from the fifth to the 15th-16th centuries, or roughly 400 to 1500 A.D., from the fall of Rome (NOT the Roman Empire, just Rome) until the Renaissance. The Renaissance was anything but dark. Sculptures and painting were used to express revolutionary and free ideas of the time. Architecture found expression in magnificent churches, stained glass and sculptures.(5)
After the fall of Rome, the practice of Christianity became widely accepted. The Catholic Church stood as the single most important influence in western Europe. The art and architecture is divided into two periods. The Romanesque and the Gothic. In the Romanesque period, war was common. Land was power. Buildings were built for the rich to protect themselves. Castles also had high walls, moats and drawbridges.
The style of architecture of the churches was named for Rome and featured massive, solid, and heavy walls, wide use of Roman arches and many sculptural decorations.
Since the common man was unable to read, the Catholic Church reminded people to lead good lives by commissioning sculptures and illustrated hand-painted books depicting the good works of the saints and punishments of the devil. For one-thousand years, these were the dominant art form. (6)
The Gothic style of architecture around the 12th century featured churches that soared upward into the sky. More people moved from the country side into the towns. Workers such as stone carvers and carpenters organized into unions and apprentices learned their craft from the masters in the guilds. A wealthy new middle class, city pride and religious faith led to the building of huge cathedrals. Two architectural developments, the pointed arch and the flying buttress, were new innovations created by this spate of building.
Stained Glass Window
Architects of this period used stained glass windows which changed the light that entered the churches. Gothic sculpture and painting took on less stylized and more realistic qualities. Religious scenes were painted on church altar pieces with egg tempera paint and gold leaf.
Work Cited
Art Talks, Second Edition, Glencoe, Ragans, Rosalind, page 49
www.en.wikipedia.org/wiki/Hagia_Sophia
Understanding Art. [145] Mittler and Ragans, Glencoe,
www.simple.wikipedia.org/wiki/Gothic_architecture
03.02 Byzantine Art and Middle Ages Activity(Art History and Art Criticisim)
teacher-scored 42 points possible 40 minutes
Answer the following questions below. Submit your answers by making a copy, paste the following questions into a word processor program and submit your answers on what you have just learned from the readings above.
1. Why is this period called the Middle Ages?
2. Select the website at the Stained Glass Museum, connecting to the "The Brief History of Stained Glass". Explain what the purpose of stained glass was in a cathedral, then summarize how stained glass is made. Give a short description of the methods and materials used in the manufacture of stained glass since the twelfth century.
3. What is a mosaic?
4. Where is Hagia Sophia and what was it used for?
5. Using the websites below, explain the difference between the Gothic cathedrals and the Romanesque cathedrals.
What are flying buttresses and and pointed arches?
Stained Glass Museum
04.00 Renaissance (Art History and Art Criticism)
Renaissance OVERVIEW:
Time period: French for 'rebirth', or Rinascimento in Italian, was a cultural movement that encompassed the revival of learning based on classical sources, the rise of courtly and papal patronage, the development of perspective in painting, and advancements in science. The Renaissance is identified as the period from the 14th to the 17th centuries. When you have completed this Unit, your final objective will be to select a Renaissance Artist and complete a self-running Multimedia presentation on this artist and and be identify the techniques he used in Renaissance paintings. Identify his style of art and the contribution he made to the art world.
04.01. Early Renaissance (Art History and Art Criticism)
Up until this point you might not really remember any artists' names or be able to associate an artist's name with a piece of art work. What you might be able to remember is the ruler of the artist's country because this ruler will get the credit. During the Renaissance period of art, you will learn many of the artists' names and their works. You will be given a set of questions that you will need to know for the final quarter test as in the other units. When you're finished with those questions, you will pick one of the artists during this period and make a power point, movie or other multimedia presentation and submit it. The following websites are good sources for this project, and you’re welcome to visit them any time. You will be directed to these websites along with instructions for submitting your final project and the rubric I will use for grading.
It was a cultural movement that encompassed the revival of learning based on classical sources from the philosophy and art of ancient Greek and Roman empires. The Renaissance is the name give to the period of awakening at the end of the Middle Ages: the rise of courtly and papal patronage, the discovery of new continents, the development of perspective in painting, and advancements art and in science. The Renaissance can be identified as the period from the 14th-17th centuries.
The Renaissance can be split into four sections, but these are not linear. The Northern Renaissance is roughly the same time as the Early Renaissance in southern Europe. The four sections are 1) the Early Renaissance, 2) the Italian Renaissance, also called the High Renaissance, 3) the Northern Renaissance, and 4) the Late Renaissance, also called Mannerism. The Early Renaissance was heavily affected by “The Black Death,” which left Europeans with no jobs, lack of income, and a healthy dose of doubt about whether the Christian Church was able to protect them. After all, monks, bishops and aristocrats were affected by the plague, just like anyone else. This led to more belief in human abilities (humanism), and decreased the belief in the ultimate power of the church. The discovery of the glass lens in the north, the camera obscure, oil painting media (a break from fresco), and discoveries in perspective would change painting forever.
One of the most powerful families in Italy was the Medici family, who were great patrons of the arts. They commissioned artists and the great thinkers of the time to create works that launched the Renaissance. The center of the artistic revolution was in Florence, a powerful city-state north of Rome. The Early Renaissance was launched in Florence by artists who wanted to make a complete break with the Late Gothic style.
Artists in this period are Leonardo da Vinci, (who left 120 notebooks filled with observation drawings and notes on subjects that ranged from human anatomy to plans for machines)(1), Michelangelo Buonarroti (the artist who painted scenes on the ceiling of the Sistine Chapel), Raphael and Filippo Brunelleschi, to name just a few famous artists. "This group of Early Renaissance artists studied the ruins of classical buildings and ancient works of sculpture to unlock the secrets of their harmonious style. They believed that once the classical ideals were rescued from obscurity, new works could be fashioned that captured the spirit of ancient art and architecture without slavishly copying it." (etsu.edu, retrieved April 29, 2007). During the Middle Ages, artists were common men and worked for the church. During the Renaissance, artists mingled with the kings and were free to revel in new ideas.
Realistic-looking sculptures and paintings were created by these artists. Filippo Brunelleschi developed a technique called linear perspective, a graphic system that creates the illusion of depth and volume of a flat surface by using converging lines. Perspective provided a set of rules that enabled artists to show how figures and objects are arranged in space or the picture plane. The rules of perspective made the placing of the position of objects, and the depiction of their mass, measurable and exact. This gave an exciting illusion of reality to works of art. Artist all over the world today still used linear perspective. Elements that help create this illusion along with the placement (or position) on the two dimensional surface use sharp detail in the foreground and less detail in the back-ground. Larger objects are always placed lower in the picture plane. Overlapping is another way objects take on perspective with duller and grey colors in the background with brighter colors closets to the viewer.
Leonardo da Vinci’s most famous work is a portrait of Mona Lisa.
Mona Lisa This picture was created using dark values and lights, and with the subtle blending, it was hard to tell where one area started and the other began. He was recognized as a great artist, and artists from all over flocked to Florence in hope of learning from him.(2)
Works cited:
04.02 Northern Renaissance (Art History and Art Criticism)
Northern Renaissance
While the Early Renaissance was taking place in Italy, the Netherlands had their own Renaissance. As they didn't have classical ruins like Rome to rediscover, they turned to nature. Rather than Heroic nudes, they preferred prosperous merchants and the first Genre paintings (peasants in everyday settings) were created. Also called Holland and Flanders or the "Low Countries", because they are so close to sea level, the Netherlands became the wealthiest part of Northern Europe by the end of the 15th century, mainly because of a major port at Bruges and thriving trade. The nobles and rich traders were able to commission artists, creating a class of highly-skilled painters and musicians who were admired and sought after throughout the continent. This led to frequent exchanges between the Netherlands and Northern Italy. (Harvested Wikipedia, May 07, 2007).
The art of the Northern Renaissance continued to make use of several Gothic techniques and features. One of these was symbolism. This is the use of an image to stand for a quality or an idea. A dog, for example, was a symbol of loyalty; a lily could mean purity(3). The invention of oil painting, a mixture of pigment, linseed oil and turpentine, took place in the Netherlands. The creation of this mixture is often attributed to Hubert van Eyck, the older brother of the famous painter, Jan van Eyck.
This mixture for oil painting is very slow drying, so it allowed artists to work more slowly and add details. Colors could be mixed right on the canvas. The newly-invented glass lens may have been used by many of the artists to achieve a higher degree of realism. Artists and scientists of the time traveled freely between the major cities, exchanging new ideas and seeing the latest achievements in art and architecture. The Northern Renaissance includes Germany, whose artists were influenced by the Netherlands and the Italian Renaissance. German painters produced great Renaissance art in the early 16th century, at the same time as the Italian Renaissance in the south.
Some of the main artists of the Northern Renaissance are Jan van Eyck (Flemish, c. 1385-1441), Hieronymus Bosch, (Dutch, c.1450-1516),Pieter Bruegel (Netherlandish, c. 1525?-1569) Hans Holbein the Younger (German, c. 1497/98-1543) and Albrecht Dürer (German, c. 1471-1528).
Jan van Eyck (Flemish, c. 1385-1441) This may be a self portrait of van Eyck, and is the earliest known painting in which the sitter looked directly at the viewer, predating the Mona Lisa by 70 years. As mentioned above, Jan van Eyck's brother, Hubert van Eyck, is credited with inventing oil paints, which replaced tempera paints. Oil paints were painted on wood panels until the late 1500's, when canvas made larger, lighter surfaces available. Oil paints were an improvement over tempera for several reasons. Tempera uses egg yolk as a binder, which goes bad quickly. It also dries quickly, and is usually applied in transparent layers, rather than blending the colors together directly.
Oil paints dry slowly, allowing the artist more time to blend colors together, and the artist could still use transparent layers. This blending allowed artists to use more detail, creating more realistic images. Artists mixed their own paints at this time, and they were stored in pig bladders or small jars. All painting was done indoors, as paints could not be transported easily, and some colors were very expensive.
Possible Self Portrait
The Arnolfini Marriage
The most famous of van Eyck's paintings is The Arnolfini Marriage, 1434. (The National Gallery, London, UK) Painted a year after Man in a Red Turban, it is oil paints on an oak panel. Giovanni Arnolfini was a merchant from Lucca in Tuscany, who had settled in Bruges and was a friend of Jan van Eyck. Van Eyck even left his signature on the wall above the mirror: Jan van Eyck was here 1434.
There is a lot of symbolism in this painting, including the small dog (meaning fidelity) and the cast-off shoes (meaning holy ground). The small medallions set into the frame of the convex mirror at the back of the room show tiny scenes from the Passion of Christ and represent the Lord's promise of salvation for the figures reflected on the mirror’s convex surface; the mirror itself represents the eye of the Christian God observing the vows of the wedding.
A spotless mirror on the back wall was itself an established symbol of Mary, referring to the Holy Virgin’s immaculate conception and purity. Notice the detail of the convex mirror. The mirror reflects two figures in the doorway, one of whom may be the painter himself. In Panofsky's opinion, the figures are shown to prove that the two witnesses required to make a wedding legal were present. - Wikipedia, Harvested May 10, 2007. Jan van Eyck http://www.abcgallery.com/E/eyck/eyck.html The Arnolfini Marriage http://www.abcgallery.com/E/eyck/eyck2.html Convex mirror http://en.wikipedia.org/wiki/Convex_mirror
http://en.wikipedia.org/wiki/Arnolfini_Portrait#_note-Panofsky
Hieronymus Bosch, (Dutch, c.1450-1516) (pronounced Hy-ron-i-mus Bosh) Bosch created many scenes of the downfall of man, from the Garden of Eden (left) to the Garden of Earthly Delights (center), from which this triptych gets its name, to his vision of Hell (right). Though this was created as a triptych (three panels which fold to close, leaving the outside panels to protect the main painting), this was most likely not created for a church, as most triptychs were, but for a wealthy family. Bosch's nightmarish worlds inspired many Surrealist painters, such as Salvador Dali, in the 20th century,
Pieter Bruegel the Elder Breugel
Pieter Bruegel, the Elder Bruegel (pronounced Broy-gull) was born nine years after Bosch's death, but he was inspired by Bosch’s dark view of mankind. Bruegal painted images of peasants and common people in scenes of everyday life (Genre painting). Until now, paintings of peasants were not considered high art, but Bruegel adds a new dimension to these scenes. They often were moralistic stories of gluttony, drunkenness, or wanton behavior, approached with a satirical eye, while others are warm, touching portraits of peasant life.
Each character is interesting, and the story flows from one to the next, from the boy licking his finger to the musician and the guests to the man spilling one bowl while he reaches for another. The characters in each painting are real people, and Genre painting became an acceptable art form.
Hans Holbein the Younger (German, c. 1497/98-1543) Holbein is best known as the court painter to Henry VIII, and is considered one of the best portraitists in history. His most famous painting, however, is the French Ambassadors, partly for the curious skull painted in the lower section. It is distorted so as to appear to the viewer only from the lower left side. To get an idea of the incredible skill of this Northern Renaissance painter:
Henry VIII
Self Portrait Durer
Called the "Leonardo of the North" for the diversity of his interests, Albert Durerwas fascinated with nature and did accurate botanical studies of plants. What assured Durer's reputation as the greatest artist of the Northern Renaissance was his graphic work. Durer was the first to use printmaking as a major medium for art. - The Annotated Mona Lisa, Strickland, 1992.
04.03 Mannerism (Art History and Art Criticism)
A movement in Italian art from about 1520 to 1600 is called Mannerism. It was developed out of the Renaissance in which artists depicted classical ideals, nature and realism. Each portion of a Renaissance painting was composed with great precision, with an emphasis was on harmony and balance. Late Renaissance and Mannerist (1520-1600) works are more chaotic in composition and often have crowded compositions and high contrast, which is a signpost of the Baroque age to follow. The elongated figures in exaggerated poses, unpredictable lighting and unrealistic colors cause tension in the painting, unlike the calm, composed characters of Raphael or Holbein.
Mannerism gave way to the a period of art called Baroque. Leading Mannerists artists include Pontormo, (Italian, c.1494-1557)Rosso, to and El Greco. El Greco is considered the most important of these artists.
REFORMATION
1517 - Martin Luther posts his "95 Theses" on the door of the Wittenberg Cathedral
1520-Luther is excommunicated and begins a "protest" movement against the Catholic church later called "Protestantism.”
--among his concerns was the increasing distance of the lay person from understanding of the Bible and the Mass. Luther maintained that the lay person was no longer playing an active role in the Church and was increasingly removed from understanding the Scriptures because of increasing mystery and ritual. Luther saw visual forms as playing a role in this process of increasing obfuscation.
--Luther advocated hymns as a better way to communicate hard-to-understand mysteries of the Church and made music an integral part of Protestant Church services.
COUNTER REFORMATION
1541-Michelangelo's Last Judgment of Christ is unveiled in the Sistine Chapel.
Take a virtural tour of the Sistine Chapel.
Christ is shown as a young man and the scene is dominated by nude figures. Many criticized the work as an example of the licentiousness that has pervaded the church.
1545-The Council of Trent convenes to discuss and consider Luther's Theses.
1563- The Council of Trent finishes its work and makes art an integral part of the process of helping the layperson to understand the Scriptures. Mannerism is connected to the “problematic period” between 1494 and 1526:
Jacopo Carucci (May 24, 1494 — January 2, 1557), usually known as Jacopo da Pontormo, or simply Pontormo, after the town in which he was born, was an early Italian Mannerist painter and portraitist. He was famous for his use of contorted poses, distorted perspective and peculiar, markedly unnatural colors, which appear to mirror his restless, neurotic temperament. A painter's son, the young Jacopo was immersed in High Renaissance values as an apprentice to Leonardo da Vinci and others in Florence. The emotionalism of his altarpiece in the church of San Michele Visdomini in 1518, however, signaled a dramatic departure from his masters' balance and tranquility. Hallmarks of his mature Mannerist style were already present: psychic energy over physicality, beautiful linear rhythms, restless movement, ambiguous space, vivid colors. For Pontormo, the work of art was ornament. (4)
Pontormo painted only in and around Florence, supported by Medici patronage. A short trip to Rome, largely to see Michelangelo's work, influenced his later style. Haunted faces and elongated bodies are characteristic of his work. Unlike most of his Florentine contemporaries, Pontormo also studied northern European artists, particularly Albrecht Dürer. Under the profound influence of his friend Michelangelo, Pontormo, primarily a religious painter, developed more sculptural form and disciplined his emotionalism.
During his last ten years, he became increasingly reclusive and disturbed. In his painting, “Joseph in Egypt”, National Gallery, London, notice the crisp lines, exaggerated colors, and chaotic composition. Tension is created by spots of bright colors, jagged lines, and contrast. Your eye does not flow smoothly from one figure to another, and the focal point is hidden in shadow, making us work to find out what is happening. Tempera paint dries very quickly, leaving artists little time to refine imperfectly applied paint. Pontormo created a white ostrich feather using a few quick and assured brushstrokes.
Rosso Fiorentino (the Red Florentine) (c. 1494 – 1557) Giovanni Battista di Jacopo Rosso was an a key person who helped promote the expressive style that is often called Early or Florentine Mannerism. Born in Florence with the red hair that gave him his nickname, Rosso first trained in the studio of Andrea del Sarto alongside his contemporary, Pontormo. In late 1523, Rosso moved to Rome, where he was exposed to the works of Michelangelo, Raphael, and other Renaissance artists, resulting in the realignment of his artistic style.
At the end of 1523, Rosso moved to Rome, where his exposure to Michelangelo's Sistine ceiling, the late art of Raphael, and the work of Parmigianino resulted in a radical realignment of his style, characterized by its highly-charged emotionalism. Fleeing Rome after the Sacking of 1527, Rosso went to France where he secured a position at the court of Francis I in 1530, remaining there until his death.
Under the spell of Italian culture after Rossco's success in the Italian wars, François I (king of France) was keen to have Italian artists at his court. He first invited Leonardo da Vinci and then, in 1530, called Rosso from Florence to the palace. Rosso worked on the decoration of the palace, creating an original, complex work whose high point is the gallery of François I, in a mingling of sculpture, stuccowork and painting. He also brought to France a new view of the human figure, with its roots in Florentine Mannerism: the elongated bodies, expressive forms, angular creases, and bright colors that are to be found in the Louvre.
Greco, El (1541-1614). Cretan-born painter, sculptor, and architect who settled in Spain and is regarded as the first great genius of the Spanish School. He was known as El Greco (the Greek), but his real name was Domenikos Theotocopoulos; and this was how he signed his paintings throughout his life, always in Greek characters, and sometimes followed by Kres (Cretan).
Little is known of his youth, and only a few works survive by him in the Byzantine tradition of icon painting, notably the recently discovered Dormition of the Virgin (Church of the Koimesis tis Theotokou, Syros). In 1566, he is referred to in a Cretan document as a master painter; soon afterwards he went to Venice (Crete was then a Venetian possession), then in 1570 moved to Rome. The miniaturist Giulio Clovio, whom he met there, described him as a pupil of Titian, but of all the Venetian painters Tintoretto influenced him most, and Michelangelo's impact on his development was also important.
In 1520’s the system of the government in the Roman Catholic Church with the head of the church being the pope was also in disarray. The "Sacred Roman Emperor", Charles the 5th, wanted to divorce his wife Catherine of Aragon. The Pope, a strong traditional supporter of the Aragon family, forbade him the divorce, thus Charles sent an army of 30,000 soldiers into Italy to take control of Rome. This move put the Pope in jeopardy; no foreign army had ever invaded the Holy City. The army's commander lost control of the troops and they started a "sack" lasting several weeks. It was the "Sack of Rome": the soldiers took everything of value, destroyed the rest and killed many innocent people.
By the summer of 1527, it was all over; everyone was shocked, and there was a massive change of attitudes; everything changed, including artists and their art. Italians felt that this "sack" must have been a punishment by God, because the Pope did not allow the King to divorce. -(harvest from angelfire.com). And so ends the Renaissance period.
Make sure you know the following vocabulary words for the final quarter test:
-Renaissance
04.03 Self Running Multimedia Project about Renaissance Artist (Art History and Art Criticism)
teacher-scored 100 points possible 120 minutes
Unit 04.03.01
Assignment Multimedia Project Objective:
After selecting ONE of the following Renaissance artists,
Leonardo da Vinci,, Michelangelo Buonarroti, Raphael, Filippo Brunelleschi, Jan van Eyck, Hieronymus Bosch, Pieter Bruegel, Hans Holbein the Younger, Albrecht Dürer, Pontormo, Rosso, or El Greco,
the student will create a self-running one to three minute multimedia presentation, using either Microsoft PowerPoint, Movie Maker, iMovie, Pinnacle Studio or another movie editing program, and present an informative research presentation that demonstrates an understanding of the artist's work, identifies an example of the artist's techniques and identifies the major innovations of artist.
The presentation should clearly support evidence of understanding the topic, while employing a variety of transitions, sound where appropriate, and images while observing copyright laws. Be creative, and hold audience attention in the specified time frame.
Additional help: students may ask for Step-by-Step instructions for each multimedia computer editing program and use Freeplaymusic.com or Soundzabound at UEN for sound presentation if needed by contacting the instructor. Use the rubric/grading criteria for grading criteria.
05.00 Baroque - Rococo - Romanticism (Art History and Art Criticism)
This quarter is a continuation of the first quarter of Art History and Art Criticism.
Rococo -Romanticism
You will now learn about Art History in the 17th Century.
Diversity was a mark of the Baroque Art Age. In Unit 05 you will be introduced to a variety of Baroque artists throughout the European continent during the 17th century. These artists came from the countries of Italy, Holland, England, Spain, France and Flanders. You will also learn about the different styles that these artists developed. These styles are the major innovations of the Baroque period. Two of these styles are Classicism and Naturalism and were more popular in France and England. Rococo is the most extravagant style of the Baroque period, and is called a "Child of Baroque." Those who created this type of art used curves and lots of decoration. Another style that will be discussed during this unit is called Romanticism.
05.01 The Baroque Age (Art History and Art Criticism)
During the seventeenth century, the Baroque age had a couple of major movements or styles. In the Classicism movement or style, you will meet these artists: Caracci, van Dyke and Rubens. In the Naturalism movement or style, you will be introduced to Caravaggio, Velasquez and Rembrandt. Vermeer rekindled the Classical forms and proportions in reaction to Mannerism.
During the Baroque age, art schools were formed for the first time. Before this time, artists were taught under the the apprentice system. Classicist artists rejected the ideas of Dynamism and Naturalism, the mark of the Baroque period, as being melodramatic or vulgar. The term Baroque is really a negative term, meaning the opposite of Classical and/or Renaissance. The Renaissance period emphasized harmony, balance, and the proportional balance of separate entities. Each part of a painting, sculpture or architectural project was in search of the perfect part. The Baroque age focused on diagonals and curved lines, excess drama, and passion.
Because of the Counter Reformation or the Protestant Reformation (the movement away from the Catholic Church), art was an important part of these religious feelings. Artists were called upon to create works that would renew religious spirit. A sense of flowing movement was one feature of a new art style of the day, Baroque, stimulated by the Counter-Reformation. The Catholic church wanted painting, architecture, and sculpture to revitalize the spirituality of the masses who now had a choice of Christian churches.
Baroque is an art style that emphasizes movement, contrast and variety. This art seemed to burst with energy and strong emotions, emphasizing one idea or focal point, minus the pretty or refined style of Rococo. It also shows people as they really are--natural--not idealized or prettier than the average human. In Baroque paintings, figures turn, twist and spiral into space. The artists refined perspective to the point where they could make figures seem to move off the canvas toward the viewer. They opened up space in the distance toward infinity. In addition to all this movement, dramatic lighting effects created dark mysterious shadows and brightly-lit areas. (2)
Naturalism: In Catholic Italy, the church encouraged religious imagery. The Council of Trent in 1563 sanctioned the creation of popular visual art to convey the meaning of the scriptures to laymen. Italian Michelangelo Merisi da Caravaggio's models were from the common people, directly from real life. Caravaggio's art work is considered Naturalism. This art refers to the depiction of realistic objects in a natural setting. It does not use idealism, but uses vagrants, drama, lights and darks, illuminating real characters with wrinkles and flaws, creating a highly naturalistic style. Dramatic gestures invited viewers into the drama created in the painting.
Michelangelo Merisi da Caravaggio. Caravaggio’s key contributions to the field of art were the use of light in a daring new way and his ability and skill as a storyteller in the picture. Caravaggio often stated that nature was his only teacher, but he obviously studied and assimilated the style of the High Renaissance masters, especially that of Michelangelo. Caravaggio's impact on the art of his century was considerable. He was one of the first to paint people as ordinary-looking. He was destined to turn a large part of European art away from the ideal viewpoint of the Renaissance to the concept that simple reality was of primary importance.
Merisi da Caravaggio
He also influenced artists of Spanish and Spanish-controlled Flanders at the time. One of the artists he influenced was Diego Velasquez. Velasquez's works, however,do not have such dramatic movement as Caravaggio's. Caravaggio and Velasquez were knighted for their works; this raised the status of artist to that of nobility. The status of artist has changed considerably in western art since the medieval age, when artists were common laborers. Velasquez and other Spanish artists influenced Spanish art.
Daniel in the Lions Den
A Flemish artist, Peter Paul Reuben,/strong> was able to capture action and feelings in the new style. Flanders is a lowland whose altitude is scarcely above that of the sea. (Today, Flanders belongs, for the most part, to Belgium). Wars and political marriages caused Flanders to pass from French to Spanish rule in 1526. Both countries were Roman Catholic, and Flanders was, therefore, under strict Catholic rule. At this time people started to rebel against the Catholic church.
Peter Paul Reuben
Those who rebelled were called iconoclasts. These iconoclasts began to destroy religious images around the country. [iconoclasm originally meant one who destroys sacred religious images (or icons), also known as "image breakers."] It was the iconoclasm of 1566 that demolished statues and paintings depicting saints in Flanders. This led to religious war between Catholics and Protestants. Iconoclasm resulted not only in the destruction of Catholic art, but also cost the lives of many priests. One cathedral, eight churches, twenty-five cloisters, ten hospitals and seven chapels were destroyed.
Eighty Year’s War
In 1568, parts of the low countries started a rebellion against the King of Spain. Because Spain was also at war with England, the war dragged on for 80 years. In 1585, Antwerp fell, ending the war for the Southern Netherlands (Flanders & Belgium). The loss of the southern low countries caused rich Protestant merchants of Flanders cities to flee to the north. Many migrated to Amsterdam, which quickly transformed into one of the most important ports in the world. The United Provinces (Holland, and the Netherlands proper) fought on until 1648.
Although art in Flanders remained at a relatively impressive level, Flanders experienced a loss of its economic and intellectual powers under Spanish, Austrian, and French rule, with heavy taxation and rigid political control compounding the effects of industrial stagnation and war.
Marchesa Balbi
Another Flemish artist, Antony van Dyck became the leading court painter in England. He is most famous for his portraits of Charles I of England and the king’s family and court. His painting has a relaxed elegance that was to be the dominant influence on English portrait-painting for the next 150 years. He also painted biblical and mythological subjects, displayed outstanding facility as a draftsman, and was an important innovator in water color and etchings.
The seventh of twelve children born to a wealthy silk merchant in Belgium, van Dyck began to paint at an early age. By the age of nineteen, he had become a teacher in Antwerp. Soon afterward, he collaborated and trained with the famous Rubens. Van Dyck was the greatest and most independent of Rubens' many famous pupils and assistants. He soon acquired all the outstanding skills of Rubens in rendering the texture and surface of things, whether it was silk or human flesh, but he differed widely from his master in temperament and mood.
Van Dyck was not a healthy man, and in his paintings a slow and slightly melancholic mood often prevails. No wonder that a painter who could bring out these qualities in his portraits with such perfection was so eagerly sought after by society. In fact, van Dyck was so overburdened with commissions for portraits that he, like his master Rubens, was unable to cope with them all himself. He had a number of assistants, who painted the costumes of his sitters arranged on dummies, and he did not always paint even the whole of the head.
Considered one of van Dyck’s best works, "Marchesa Balbi" was commissioned by a member of a large Genoese family with banking and commercial interests in Antwerp. In this work van Dyck took advantage of the austerity of Genoese attire. No matter how sumptuous the fabrics, adults were permitted to wear only black and white. In a showy display of lighting, van Dyck defined the Marchesa's stark outfit with a cascade of gold embroidery that glistens in the shadows. Beneath these striking tones and textures, van Dyck elegantly elongated her anatomy. Her skirt and lace ruff disguise legs and a neck half again as long as any conceivably normal proportions. Unlike the Mannerists, however, van Dyck has not elongated the entire figure, creating a more realistic style.
In his early twenties, van Dyck went to Italy, where he studied the paintings of Titian, Paolo and Veronese and worked as a successful portrait painter for the Italian nobility. Indeed, not only was van Dyck profoundly influenced by the style of Titian, but inventories also reveal that he later owned no fewer than nineteen paintings by Titian, as well as his own copies of several others.
Dutch artist Rembrandt Harmenszoon van Rijn(1606-1669) was known as the master of chiaroscuro, the arrangement of lights and darks. The son of a miller, he came from a family with modest means, but his family made sure he had a good education. He wanted to be known only by his first name. Rembrandt had a sad personal life, losing his wife and child its birth, but he remained a master artist.
The painting, popularly called The Syndics, Rembrandt's largest portrait commission during his late years, is an ideal solution of the principal problem of painting a portrait group. Equal importance has been given to each of the five officials. Their servant, wearing a skull cap, is in the center, yet the whole is united by clever and effective psychological and formal means. The subtle composition, the glowing coloristic harmonies, and above all the sympathetic interpretation and profound psychological grasp of the personalities of the six men is masterful. The total impression is of delicately-adjusted harmony and tranquility.
Rembrandt brilliantly exploits horizontals--a classical rather than a Baroque device--for the unification of the group. Three horizontals run through the picture at almost equal intervals: the edge of the table and the arm of the chair at the left mark the lowest one; the middle one is established by the prevailing level of the heads; and the upper one runs along the edge of the wainscoting. But here again, Rembrandt avoids all formal rigidity. These repeated horizontals are broken by sharp deviations on all three levels. The sharpest is in the group itself, in the strong curve of the head on the left. With a kind of strong effect, this movement is echoed by the slight rise in the upper horizontal on that side.
While this style of composition is similar to the relief-like manner of grouping favored by artists who worked in the classical tradition, there is an increased effect of space and atmosphere by Rembrandt's use of chiaroscuro and color. The harmonies are definitely on the warm side. A flaming red in the rug on the table, which is the most outstanding accent, is interwoven with golden tints. The Golden browns that appear in the background, in the panels of the wall, and within these warmly-colored surroundings, contrast the strong blacks and whites in the men's costumes, creating a noble and harmonious effect.
The traditional interpretation of the painting is that the men shown seated on a platform before the assembly of the Drapers' Guild, are giving to the assembly--unseen by the viewer--an account of the year's business. The official seated near the center of the picture makes a gesture with his right hand which most seventeenth-century observers understood immediately: demonstrating evidence. Harvested from http://www.wga.hu/frames-e.html?/bio/r/rembran/biograph.html in July 2010.
The Syndics
During the Naturalism movement, including artists such as Caravaggio, Rembrandt, and Vermeer, the Protestant Dutch in 1580 shook off Catholicism, and dismissed Catholic imagery as pompous and vulgar. During the Eighty Years' War, Holland became the center of the rebellion and as a result was the cultural, political and economic center of the United Provinces in the 1600’s. This was known as the Dutch Golden Age, during which Holland was the wealthiest nation in the world. From the great ports of Holland, merchants sailed to and from destinations all over Europe, and European merchants gathered to trade in the warehouses of Amsterdam and other trading cities of Holland.
Holland became predominantly Protestant, but with a large Catholic minority. Protestants urged reading the Bible, as opposed to the Catholic Church, which emphasized visual images, with priests as interpreters, to explain the concepts to laymen. Artists in Protestant areas were not employed to do spiritual art, so they turned to portraits, landscapes, and still lifes for a thriving and growing middle class. Wealthy businessmen and trade guilds hired artists to paint for their homes.
In Holland, the middle class invested in their homes, because seventy-five percent of the population lived in cities, while southern Europe was mostly agrarian. This meant Dutch merchants invested in trade, ships, furniture, art, and other commodities, instead of land. The average Dutch home had ten original paintings, and trade guilds commissioned group portraits, almost exclusive to Holland at this time.
(There will no project or activity at this point - Go to unit 05.2.0)
Work Cited
All copyrights belong to their respective owners.
Images and text owned by other copyright holders are used here under the guidelines of the Fair Use provisions of United States copyright law. These images and text are used here only for the education of high school art students, and are not intended to generate income for the school, its employees or its students. Attributions for copyrighted work have been made in each case, and a link where possible.
Works Cited
Themes and Foundation of Art
Understanding Art page 178
PICTURE nga.gov/fcgi-bin/timage_f?object=56&image=0&c=gg4243
PICTURE wga.hu/frames-e.html?/bio/r/rembran/biograph.html
Picture thomas-gainsborough.org/Portrait-of-Jonat
05.02 Rococo and Romaticism (Art History and Art Criticism)
Rococo is the eighteenth century art style which placed emphasis on portraying the carefree life of the upper class rather than on grand heroes or religious figures. Love and romance were considered to be better subject matter rather than historical or religious subjects. The style was characterized by a free, graceful movement, a playful use of line and delicate colors.
Le Mezzetin
Jean-Antoine Watteau (French, 1684-1721) is often referred to as the greatest of the Rococo painters. The Rococo is sometimes considered a final phase of the Baroque period.(4)
During the 18th century, there was a developing interest in and great acceptance of nature. Not only the earth, the trees, and flowers, but also the acceptance of simple human urges and instincts increased. Mankind was now seen as the most interesting aspect of nature: good, beautiful, ugly or harsh, these attributes were all accepted in concert with the notion that the things of nature could not be bad. This was the perfect time for Jean Antoine Watteau to come upon the scene, for he indeed felt a sympathy and affinity toward mankind.
Watteau was born in 1684. Not much is known about Watteau's family except that his father was a tile maker who was prone to drinking and brawling. Watteau showed artistic ability at a young age. His early drawings were of the local townspeople, shop keepers, and street clowns in Valenciennes. Like other young artists, Jean Antoine went to Paris in 1702 with the hope of entering a studio where he could refine his art. He worked as a second-rate painter before becoming acquainted with Claude Gillot. Gillot was a set designer for the stage, and it was Gillot who exposed Watteau to the Commedia Dell'arte. These theatrical themes appear throughout Watteau's oeuvre: an example is Le Mezzetin (1718) which can be viewed at New York's Metropolitan Museum.
Another Rococo artist was Thomas Gainsborough, who was born in Sudbury, Suffolk, England. His father was a weaver. When Thomas was thirteen, his father was impressed with his penciling ability and let him go to London to study art in 1740. He concentrated on painting portraits for a living. He studied under Flemish artist van Dyck and was eventually able to attract high society patrons who could pay better.
He painted the portraits of King George III and his wife, which gave him influence with the Royal Academy and made him one of the favorite painters. Gainsborough painted more from his observation of nature than from any application of formal rules; however,he wished he could paint nature instead of portraits.(6)
You might be more familiar with this picture Blue Boy.
Blue Boy: Portrait of Jonathan Buttal
Romanticism
Liberty
Eugene Delacroix was one of the greatest and most influential Romantic painters of this time. The term, Romanticism, defines an intellectual movement that flourished in the 18th and 19th century in Europe. It embraced literature, art and philosophy. Romanticism manifested in art by seeking to portray nationalism and the power of individual perception. Delacroix came to be known for his flamboyant canvases on historical and literary subjects that displayed this romanticism.
In 1830 he was inspired by the French Revolution to produce the Masterpiece “Liberty Guiding the People" which commemorates the July Revolution. It shows a woman personifying Liberty holding a a colored flag of the French Revolution and leading the people forward over bodies of the dead. (Harvested July,2010 from artexpertswebsite.com)
Johannes, Jan or Johan Vermeer was a Dutch Baroque painter who specialized in very beautiful and delicate work of domestic interior scenes of middle class life. Vermeer was a moderately successful plain-genre painter in his lifetime. He seemed never to have been particularly wealthy, leaving his wife and children in debt at his death, perhaps because he produced relatively few paintings.
You will notice the darks and lights of the portrait. Vermeer worked slowly and with great care, using bright colors and sometimes expensive pigments, with a preference for cornflower blue and yellow. He is particularly renowned for his masterly treatment and use of light in his work.
Recognized during his lifetime in Delft and The Hague, his modest celebrity gave way to obscurity after his death; he was barely mentioned in a major source book of 17th century Dutch painting and was thus omitted from subsequent surveys of Dutch art for nearly two centuries. In the 19th century, Vermeer art was rediscovered although only thirty-four paintings are universally attributed to him today. Since that time, Vermeer's reputation has grown, and he is now acknowledged as one of the greatest painters of the Dutch Golden Age (harvested July, 2010 from the intern http://en.wikipedia.org/wiki/Johannes_Vermeer )
Art historians often discussed the sparkling, pearly highlights in Vermeer's paintings and feel that his art has been linked to his probable use of a camera obscure, a primitive lens which would produce halation, the spreading of light beyond its proper boundaries in a developed photographic image, and even more noticeably, exaggerated perspective. Vermeer's interest in optics is also attested in this work by the accurately-observed mirror reflections.
Works Cited
All copyrights belong to their respective owners.
Images and text owned by other copyright holders are used here under the guidelines of the Fair Use provisions of United States copyright law. These images and text are used here only for the education of high school art students, and are not intended to generate income for the school, its employees or its students. Attributions for copyrighted work have been made in each case, and a link where possible.
Themes and Foundations of Art
Understanding Art
05.02 The Baroque Art - Rococo and Romanticism - assignment (Art History and Art Criticism)
teacher-scored 50 points possible 45 minutes
Copy and paste the questions between the asterisk in a word processor. From your online readings, answer the questions in your own words in complete sentences then submit your assignment. *********************************************************************************************************************
1. In a couple of sentences, explain what Baroque means.
2. Explain in a couple of sentences what Naturalism refers to.
3. In a sentence explain what is an Iconoclast.
4. In a sentence explain what chiaroscuro means.
5. Explain three important things that occurred during the Baroque age.
6. Explain in a couple of sentences what Caravaggio's contribution to the field of art was.
7. Explain how the Flemish artist van Dyke painted his portraits.
8. What is Rembrandt called the master of?
9. What does the Rococo style place an emphasis on?
10.Define Romanticism.
**********************************************************************************************************************
06.00 Impressionsim (Art History and Art Criticism Q2)
At the turn of the 19th century, the world saw the industrial and democratic revolution. Changes that challenged the status-quot were every-where. Art styles developed and changed because artists rebelled against the traditionalism of earlier art. Then, the invention of film and photography had a great influence on paintings during the 1800’s and the 1900’s. The invention of cameras. that could produce accurate pictures and portraits of the real world, created the perception that there was no point in painters doing the same thing. Different Art Movements began.
06.01. Neo-Classicism and Realism ( Art History and Art Criticism Q2)
Francisco Goya.pdf
The French Revolution
The French Revolution saw the abandonment of the Rococo style art and the art of the Greeks and Romans. This period was called Neo-Classicism, or New Classic.
One of the influential artists of the Neo-Classicism period was Elizabeth Vigee Lebrun. At the age of 15, she was supporting her family through portrait paintings. By the age of 20, she had become a favorite portrait artist of the Parisian aristocracy, and by 25 she worked for Queen Marie Antoinette. Her career was interrupted by the French Revolution, and she fled to Italy after the king and queen of France died at the guillotine.
Another group of artists felt that all subjects should be painted as they were really seen. These artists rejected Neo-classicism and the drama of Romanticism. These artists were considered to be realist artists (who paint or sculpt familiar scenes as they actually appear). These artists believed that the only suitable subjects were peasants and factory workers.
Artist Francis Goya was one of these artist. He recorded the ugly truth of war during the Spain Revolutionary war.(1) Goya’s style evolved during his work as an artist during the Rococo period. He was appointed court painter to Charles IV in 1789. After he saw the destruction of the war, his art gleaned images from his imagination and dreams. These works were difficult to interpret, but opened doors for other artists to free themselves from tradition and rely on their personal vision. (Read the PDF file on Goya)
Work Cited
All copyrights belong to their respective owners.
Images and text owned by other copyright holders are used here under the guidelines of the Fair Use provisions of United States copyright law. These images and text are used here only for the education of high school art students, and are not intended to generate income for the school, its employees or its students. Attributions for copyrighted work have been made in each case, and a link where possible.
06.02. Impressionism (Art History and Art Criticism)Q2
Manet.pdf
A custom common in Paris and London during the 1800’s was the yearly art show. The "Salon" was an annual exhibition of art that was a major social event. An artist’s reputation often depended upon whether or not his or her work was selected for showing at this Salon. During the Salon, art movements formed based upon the works of groups of artists who banded together to create a single style. The trend of Impressionism began when the painters, Monet, Cezzane, Dega and Renoir brought their works together in an independent exhibition in Paris in 1874. There, Monet's painting, "Impressionist Sunrise" inspired the Impressionist ideal that "Sunrise refers to all the painters as Impressionists." The name, "impressionist" stuck and from then on was used to identify paintings done in this style.
Impressionism
In the 1850s, as a result of the opening of Japan to Western trading vessels, Japanese art, in which including Japanese woodblock prints, were brought to Paris. These prints greatly influenced the impressionists. Impressionists were inspired by the Japanese artists and the use of solid colors within stylized outlines and by their emphasis on the surface pattern of the print rather than the illusion of space. The Impressionist artists were interested in the world outside the studio and did much of their painting outdoors. Impressionism captured everyday subjects and emphasized the momentary effects of sunlight on the their subject matters. It is a type of art that attempted to capture the rapidly-changing effects of light on objects. Scientific discoveries about light and color further inspired the Impressionists to emphasize the effects of sunlight in their paintings. Often, artist broke up solid forms and blurred edges by painting canvas in small dabs of pure color. (2) Artists that will be studied in this period are Manet, Monet and Renoir.
Edouard Manet
People were so shocked by his paintings that he was not allowed to show them in the Salons (the official exhibits of the French Royal Academy). Some of the paintings may not seem very shocking today, but in 1863 they caused a scandal. People said his painting were rude and badly painted. (Visit the PDF file for image by Manet.
Claude Monet (France 1840-1926)
Monet was still in his teens when he was persuaded to join an outdoor painting expedition. Of this experience Monet later wrote, "It was as if a veil had suddenly been torn from my eyes. I understood. I grasped what painting was capable of being." At least in part as a result of this experience, Monet spent his artistic career painting from nature, nearly always painting outdoors. He is sometimes called the "Father of Impressionism," but his career ranged from the traditional to innovative as an early master of abstraction in the 1920's. Always concerned with the effects of light, he realized that it was constantly changing. In many of his paintings, he tries to capture the light that is reflecting off the water. Visit this PDF file for images of Monet.
August Renoir
Renoir was the most productive of the Impressionist artists. He explored using the Impressionist style with portraits. He was attracted to the eyes of his subject and often made them his focal point and in focus while everything else is blurred. When you look at his paintings look first at the colors, are they warm or cool, distinct or blended, primary or secondary the quick brush strokes and pure color next to each other capture the effect of the sunlight.
Read the PDF file below for picture and information on Renoir and read about the women of the Impressionism movement such as Rosa Bonheur and Mary Cassett.
Attributions for copyrighted work have been made in each case, and a link is provided where possible
06.03. Post-Impressionism (Art History and Art Criticism) Q2
Georges Seurat.docx
Artists like Vincent van Gogh started as impressionists but became frustrated and wanted to produce art that had meaning, feeling and ideas. The Post-Impressionists agreed that there were problems with Impressionism. Their solution to the problems were varied. Some agreed that art should be carefully designed and that composition should not be forgotten. Others claimed that feeling and emotions should be emphasized, but that content deserved its rightful place. Still others championed design, mood and both composition and content as important features. Artists who fall under the Post Impressionist period and will be studied in this unit are Paul Cezanne, George Seurat and Paul Gauguin.
Many artists like the thick panting technique of impasto. What is impasto? Impasto is an art term used to describe thickly-textured paint that is almost three-dimensional in appearance. Impasto has been around for a long time, but Vincent Van Gogh used it for its expressive qualities. Before Van Gogh, artists would build up layers of paint to add realism to their work, making objects appear more three-dimensional. But Van Gogh was different. He used impasto to give weight to his brilliant colors, add movement to his skies, and infuse emotion into his landscapes. He could have painted with the exact same colors without the impasto, but what do you thing would have happened? There would have been no movement or feeling in the painting. In fact, there would have been no Van Gogh. He felt that he reproduced what the eye saw. He painted to capture his own deep feeling about a subject. He expressed these feelings with twisted lines and forms, intense colors and rich texture.
If you’re an artist, impasto’s is not too tricky to do yourself. Load up your brush or painter’s knife with more paint than you’d normally need. Then, instead of dyeing or scrubbing the canvas with color, just let the paint squish onto the canvas and set there. You don’t want to fiddle with any one spot too much, otherwise you’ll lose that three-dimensional quality by overworking the paint.
Van Gogh
Van Gogh was a self-taught artist. Born in Groot-Zundert, Holland in 1853, he was the son of a Dutch Protestant Minister and his religious up- bringing influenced his life. He tried different careers, such as an assistant to an art dealer and a minister. His brother Theo introduced him to Impressionist Art. His art was typified by bold color, and his brush stokes began to resemble many single active lines of color. Only one art work was sold during his lifetime. He was troubled with seizures and depression, and his death at the age of thirty seven left the world sixteen-hundred remarkable works of art. (You may visit the following web page for images and work of Vincent Van Gogh)
http://www.vincentvangoghart.net
Paul Gauguin
Gauguin also used color and shapes in new and exciting ways. He created artwork that could be enjoyed for its decorative appearance. In most of Gauguin's other works, he would used arbitrary color, colors chosen to communicate different feeling. He was somewhat of a rebel. He took painting lessons and enjoyed painting so much that he started to paint as an amateur. Then, he resigned from a successful business firm to paint full-time. His family suffered financially as a result, and his art never sold well enough during his life time to support them. His attitude about color was as adventurous as his willingness to change careers mid-life. (4) You can visit the following web site for art work and information about Paul Gauguin.
http://www.paul-gauguin.net/biography.html
Cezanne
When we get to Cubism and the works of Picasso, you will see why Cezanne is considered the father of Cubism, and is one of Picasso's heroes. Notice how he flattened the space in his still lifes and in the eyes of his portraits. Cezanne's work was too radical even for the Impressionists. He objected to the loss of composition arising from the blurring of shapes. He solution was to paint with loose patches of color. These he joined together like pieces of puzzles to create solid-looking forms. A good website for information on Paul Cezanne is
http://www.artic.edu/artexplorer/search.php?tab=2&resource=468
Seurat
Seurat felt that the impressionist attempt to show the blurring effect of sunlight on forms was misguided. Seurat's solution was to use a technique in which he painted small, carefully-placed dots of color to create form. The technique is called Pointillism. He is regarded as having a pivotal role in developing modern art. He was interested in transferring the perfect combination of light and color as seen in nature to the canvas. He set himself a goal to developing what he called a formula for optical painting. To Seurat, beauty truly did lie in the eye of the beholder. In Pointillism, he counted on the human eye to blend the dots into a unified image. In this way, his painting resembled optical illusions. During his short life, he produced more than 500 drawings and paintings.
Toulouse Lautrec
Lautrec was one of the most interesting characters of Post-Impressionism period. Most of his scenes are set in the Moulin Rouge, or Red Light District of Paris. These posters were created by lithograph. Lithography is print-making technique.
Henri Matisse
At the beginning of 20th century, a group of young French painters expressed emotion by creating works that exploded with brilliant colors, bold distortion and loose brush strokes. They were called the Fauves. This is French, meaning wild beast. They continued the expressive ideas of Van Gogh and Gauguin. The leader of the this group was Henri Matisse. He was concerned with expressing feeling and felt that his work had one purpose--to give pleasure.(3) Some might have been called Henri the master of color. He caught the world’s attention in the early 1900’s with this bold style of painting. Toward the end of his life, Matisse’s health failed, and he was unable to paint. He turned to making paper collages, or "painting with scissors," as he called it. Like his earlier work, these collages were veritable circuses of shape and color.
Some artists tried to communicate strong emotions in their painting which stressed personal feeling rather than composition. This art style was called Expressionism, and most of the artists who painted in this style were German. During this period, Germans were experiencing terrible economic and social conditions before and after World War I. The emotions represented in this artwork ranged from fear and anger to deep concerns with death. Kathee Kollwitz was one of these artists was concerned with poverty and war. She produced many moving images of mothers grieving for dead children.
Redon.
His paintings are like a dream or a vision, which is why they are somewhat hazy and indistinct in some areas. Redon's work represented an exploration of his internal feelings and psyche. Although his work seems filled with strange beings and grotesque dichotomies, his aim was to represent pictorially the ghosts of his own mind. (wikipedia)
06.04 Symbolism (Art History and Art Criticism)
Henri Rousseau
Rousseau was best-known for his bold pictures of the jungle, teaming with flora and fauna. Yet, this painter of exotic locales never left France, notwithstanding stories to the contrary. His paintings were instead the mental concoctions of a city dweller, shaped by visits to the botanical gardens, the zoo, and colonial expositions, as well as images of distant lands seen in books and magazines. A counterpoint to his pictures of a tranquil and familiar Paris, these images of seductive and terrifying faraway places reflected the desires and fears of new modern world.
Rousseau was an artist from an earlier era: he died in 1910, long before the Surrealist painters championed his art. A self-taught artist, Rousseau was unable to paint full-time until his retirement in 1893. Although Rousseau's greatest wish was to paint in an academic style, and he believed that the pictures he painted were absolutely real and convincing, the art world loved his intense stylization, direct vision, and fantastical images. Poor all his life, Rousseau was buried as a pauper.
Make sure you know the following vocabulary words and something about the following artists during this period for the unit quiz and quarter final test.
-realism
06.04.01 Project for Expressive Artist Style (Art History and Art Criticism)
teacher-scored 100 points possible 100 minutes
Complete JUST ONE of the art objectives from below after reading through unit 06.
Art pointillist project: Using George Seurat's style of art, use a pencil to sketch a small still life picture or small simple landscape, no smaller than 5x7 or no larger than 8x10, on a piece of white art paper. Then, using a variety of acrylic paints colors and using the end of pencil eraser or a small paint brush, apply each color by lightly dipping the eraser or paint brush into the paint, then dab it onto the sketch for a layering effect. Let the paint dry, then add other dots. Step back from the work periodically to see how the colors blend. Use this technique to fill the entire drawing. Refer to the rubric as to how the instructor will grade this assignment
OR
Art Expressionism Project: using Henri Matisse style of art, use a glue stick, patterned paper such as wall paper samples or scrap-book paper, cardboard or foam core board, catalogs, magazine, and scissors, cut and glue two contrasting pieces of pattered paper to the board side by side. Cut a floor shape, lining up a corner where the walls meet. Glue into place. From the catalogs and magazines, cut pictures of windows, furniture, people, and decorations choosing items of similar scale. Arrange the images in the room and glue them down on the board. Refer to the the rubric and submit for grading.
07.00 Art at the Turn of the 19th and 20th Century (Art History and Art Criticism)
At the turn of the 19th Century, most of the western world had entered the machine age. This was a time when machines began to make work more productive and life more pleasant. These machines captured artist imagination and also made it possible for artists to spend more time creating art. You will be introduced to artists who are considered Impressionists, Cubists, Surrealists, Realists, African American Folk Artists, Native American Artists, American Regionalists, Modern Artists and others.
You will be asked to select an artist in each of the periods and report your what you have learned about that artist. There will be no tests in this unit, but you will need to know what these art periods and movements mean for the final quarter test, so don't skip any of the reading.
07.01 American Post-Impressionism (Art History and Art Criticism)
Post impressionist- mary and winslow.pdf
By the late 1880's, many artists felt that Impressionism, while beautiful, also had its limits. They wanted to get away from what they considered to be the mere recording of what one could see at a particular instant. As a result, many different styles developed in the late nineteenth century. The term Post-impressionism, which you should know for the 2nd quarter final test, refers to a movement that placed new emphasis on the importance of subject and the formal ways in which a subject was represented. T
wo American Post Impressionist artists were Mary Cassatt and Winslow Homer.
Select one of these artists and complete the the reporter-guided questionaire.
07.01 Post-Impressionism - assignment(Art History and Art Criticism)
teacher-scored 25 points possible 40 minutes
Objective: Select one of the artists of American Post Impressionist Art. Complete the questionnaire in statement form and in correct sentence structure with correct facts. Remember that people speak differently than they write--make the answers sound like what the artist might say, not like an encyclopedia entry. Do NOT copy and paste information from your research sources (that would be plagiarism). Re-write the information from the artist's point of view (in his/her words, as you imagine them speaking). Have the artist speak at more length about their work rather than the minimum, basic answers to the questions. Give reasons, examples or explanations in order to fully demonstrate your knowledge about the artist.
Submit your questions and answers. You may copy and paste the questions below into a word document, but do not copy your artist statement from the internet or other booka. Re-word the artist’s statement. However, if you feel the artist has a quote that you need to share, make sure to give credit to the book or website after the artist statement. Make sure to include your full name on the assignment and the name of the artist that you are doing your report on. Also include an image of one of the artist's paintings/works that you like and why (or the url for the image).
Imagine you are a reporter and could ask these questions of the artist:
1. Reporter: When were you born, where did you live, what were some other key events in your life that might have influenced you?
Artist possible statement: (For example, you might start out with My name is . . . and I was born. . .)
2. Reporter: How did you get started in the field of art? What things discouraged or encouraged you?
Artist possible statement:
3. Reporter: What do you feel were your most important contributions to the visual arts? (A piece of art, a style, or possibly a technique)
Artist possible statement:
4. Reporter: What would your advice be to someone entering the field of the arts?
Artist possible statement:
5. Reporter: During your lifetime, what success or recognition did you receive? Why do you think that was?
Artist possible statement:
6. Reporter: This is one of your works that I like:
(Paste in image, or list url of website where image can be seen.)
07.02 Cubism (Art History and Art Criticism)
cubism-picasso.pdf
Cubism is art in which the subject matter is rendered using geometric forms. (Remember this term for the 2nd quarter final test. Cubism is used to describe an art movement credited to Pablo Picasso.
His approach to art was influenced by the geometric forms in African masks. The word cubism was invented by the art critic Louis Vauxcelles during a review of Georges Braque’s painting at an exhibition.
Cubism developed during the twentieth century in three stages. The first stage was devoted almost entirely to landscapes and was inspired by Cezanne’s painting. Then in the second stage, or the analytic Period, outdoor scenes were abandoned, and artists started to work strictly in studios as they fragmented still life with objects such as pitchers, glasses and such. The palettes had a limited brown and grey color range. The third period was the most experimental and influential. This was called the Synthetic Period. Included were letters, imitation wood, wallpaper, and newspaper paintings. Combined with the fractured images, these objects formed what is known as the collage technique. Cubist compositions showed the subjects from many different angles or viewpoints all at the same time. This is known as simultaneity, the viewing of many of subject surfaces at once. (Themes and Foundations of Art by Katz, Lankford and Plank page 498)
Cubists led the way for other modern artists. The art world would never be the same.
07.02 Cubism -assignment (Art History and Art Criticism)
teacher-scored 70 points possible 70 minutes
Objective: Read the PDF Document on Cubism and do a report on the artist Pablo Picasso and the art period of Cubism. Complete the questionnaire below in statement form and in correct sentence structure with correct facts. Copy and paste the questions between the asterisk into a word processor. From your online readings, answer the questions in your own words in complete sentences, but do not copy your artist's statement from the internet or other book unless you show quotation marks, using properly cited information.
Remember that people speak differently than they write--make the answers sound like what the artist might say, not an encyclopedia entry. Do NOT copy and paste information from your research sources (that would be plagiarism). Re-write the information from the artist's point of view (in his/her words, as you imagine them speaking). However, if you feel the artist has a quote that you need to share, make sure to give credit to the book or website after the artist statement. Have the artist talk at more length about their work rather than the minimum, basic answers to the questions. Give reasons, examples or explanations to show your knowledge of the artist. Also include an image of one of the artist's paintings/works that you like and why (or the url for the image). For, the questionnaire below, imagine that you are a reporter and could ask these questions of the artist:
**********************************************************************************************
1. Explain about the three periods of Cubism
2. Reporter: When were you born, where did you live? What were some other key events in your life that might have influenced you?
Artist possible statement: (For example, you might start out: I was born...)
3 Reporter: How did you get started in the field of art? What things discouraged or encouraged you?
Artist possible statement:
4. Reporter: What do you feel were your most important contributions to the visual arts? (A piece of art, a style, or possibly a technique)
Artist possible statement:
5. Reporter: What would your advice be to someone entering the field of the arts?
Artist possible statement:
6. Reporter: During your lifetime, what success or recognition did you receive? Why do you think that was?
Artist possible statement:
7. Reporter: This is one of your works that I like:
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dada_surrealiism.pdf
At the end of World War I, instead of experiencing the prosperity and peace that everyone had hoped for, Europe was in a state of turmoil. The unrest prompted a group of artists to express their feelings about the plight of the European nations through nonsensical approaches to making art. This movement, known as Dada, combined ordinary objects to create thought-provoking images. When it ended as quickly as it began and a movement called Surrealism exploded in which artists like MC Escher and Salvador Dali
Dalicombined naturally-unrelated events, images, objects or situations in a dreamlike scene. (Themes and Foundations of Art by Katz, Lankford and Plank. page 510)
Video by Walt Disney and Salidor Dali
http://www.youtube.com/embed/1dIznsAdTOE?wmode=transparent&r...
Watch the following Video by Walt Disney and Salvador Dali. As you watch, think to yourself, What do the two men have in common? What so you think there differences are? I'm sure many of the animators today might have gotten their inspiration from these two men without realizing it?
07.03 Surrealism - assignment (Art History and Art Criticism)
teacher-scored 30 points possible 30 minutes
Objective: Select from one of the artists from this Surrealist period found in the PDF document. Complete the questionnaire in statement form and in correct sentence structure with correct facts. Submit your questions and answers. Copy and paste the questions between the asterisk into a word processor. From your online readings, answer the questions in your own words in complete sentences, but do not copy your artist statement from the internet or other book. Re-word the artist’s statement. However, if you feel the artist has a quote that you need to share, make sure to give credit to the book or website after the artist statement.
*******************************************************************************************************************************
Make sure to include your full name and the name of the artist that you selected to report on.
You are a reporter are asking these questions of the artist:
1. Reporter: Where were you born, where did you live, and what were some other key events in your life that might have influenced you and your art style? Example statement: (I was born in Boston, Mass in 1847.)
Artist possible statement:
2. Reporter: How did you get started in the field of art? What things discouraged or encouraged you?
Artist possible statement:
3. Reporter: What do you feel were your most important contributions to the visual arts? (A piece of art, a style, or possibly a technique)
Artist possible statement:
4. Reporter: What would your advice be to someone entering the field of the arts?
Artist possible statement:
5. Reporter: During your lifetime, what success or recognition did you receive? Why do you think that was?
Artist possible statement:
6. Reporter: This is one of your works that I like:
(Paste in image, or list url of website where image can be seen.)
*********************************************************************************************************************************
Norman Rockwell.pdf
At about the turn of the century, some critics called for the artists to return to a more literal representation of images in art. The resulting form, Art Regionalism, realistically depicted the American way of life in the part of country in which the artist lived. One of these American regionalist artists was Grant Wood.
An American illustrator and painter and a realist artist who painted realistic scenes was Norman Rockwell.
This realist movement in mid-to-late 19th century art, was an attempt to create objective representations of the external world based on the impartial observation of contemporary life.
Realism was consciously democratic, including in its subject-matter and audience activities and social classes previously considered unworthy of representation in high art. The most coherent development of Realism was in French painting, manifested in the work of Gustave Courbet, who used the word réalisme as the title for a manifesto that accompanied an exhibition of his works in 1855. Though its influence extended into the 20th century, its later incarnations are usually labeled "social realism."(retrieved from website on July 29, 2010 http://www.artnet.com/library/07/0709/T070996.ASP )
After selecting ONE artist PDF profile, complete a report using the provided reporter questions submit it for grading
07.04 American Regionalism and Illustrator/Realism-assignment (Art History and Art Criticism)
teacher-scored 60 points possible 60 minutes
Objective: Select from ONE of the artists from American Regionalism (Grant Wood) or Realist Illustrators (Norman Rockwell) and complete the questionnaire below in statement form and in correct sentence structure with correct facts. Copy and paste the questions between the asterisk into a word processor. From your online readings, answer the questions in your own words in complete sentences, but do not copy your artist statement from the internet or other book. Re-word the artist’s statement. However, if you feel the artist has a quote that you need to share, make sure to give credit to the book or website after the artist statement.
********************************************************************************************************************************
Make sure to include your full name and the name of the artist that you selected to report on.
You are a reporter and will ask these questions of the artist:
1. Reporter: Where were you born, where did you live, and what were some other key events in your life that might have influenced you and your art style? Example statement: (I was born in Boston, Mass in 1847.)
Artist possible statement:
2. Reporter: How did you get started in the field of art? What things discouraged or encouraged you?
Artist possible statement:
3. Reporter: What do you feel were your most important contributions to the visual arts? (A piece of art, a style, or possibly a technique)
Artist possible statement:
4. Reporter: What would your advice be to someone entering the field of the arts?
Artist possible statement:
5. Reporter: During your lifetime, what success or recognition did you receive? Why do you think that was?
Artist possible statement:
6. Reporter: This is one of your works that I like:
(Paste in image, or list url of website where image can be seen.)
*********************************************************************************************************************************
African American_ Native American.pdf
These two topics might seem like totally different styles. However, the artists that you will learn about in this section have taken information about their culture and developed their art to help others understand their cultures. The first artist that you will learn about is Faith Ringgold. She grew up in New York City, New York in Harlem. The Harlem Renaissance was a time when African-Americans created art that illustrated African- American themes about life.
The second artist that you could chose is Maria Martinez, a Native American Artist. Each artist created art that showed their heritage or art that their ancestors created.
See the information in the PDF and complete the reporter questions and submit for grading.
07.05 African American Folk Artist and Native American Art - assignment (Art History and Art Criticism)
teacher-scored 50 points possible 50 minutes
Objective: Select ONE of the artists from either African American Folk Art or Native American Art. Complete the questionnaire below in statement form and in correct sentence structure with correct facts. Do not copy your artist statement from the internet or other books. Copy and paste the questions between the asterisk into a word processor. From your online readings, answer the questions in your own words in complete sentences, and correct facts. If you feel the artist has a quote that you need to share, make sure to give credit to the book or website after the artist statement.
*****************************************************************************************************************************
Make sure to include your full name and the name of the artist that you selected to report on.
If you were a reporter, you could ask these questions of the artist:
1. Reporter: Where were you born, where did you live, and what were some other key events in your life that might have influenced you and your art style? Example statement: (I was born in Boston, Mass in 1847.)
Artist possible statement:
2. Reporter: How did you get started in the field of art? What things discouraged or encouraged you?
Artist possible statement:
3. Reporter: What do you feel were your most important contributions to the visual arts? (A piece of art, a style, or possibly a technique)
Artist possible statement:
4. Reporter: What would your advice be to someone entering the field of the arts?
Artist possible statement:
5. Reporter: During your lifetime, what success or recognition did you receive? Why do you think that was?
Artist possible statement:
6. Reporter: This is one of your works that I like:
(Paste in image, or list url of website where image can be seen.)
******************************************************************************************************************************
Modern Movement.pdf
Modern Art is a term used to describe the work of nineteenth and twentieth-century artists who explored new means of creative expression other than the traditional methods of the past. Modern Art is not a specific movement, but rather artists' approach to making art during the late nineteenth and twentieth centuries that spanned many movements. There are different ways in which artists declare feelings or moods through art. As mentioned before, the camera altered the way artists viewed realistic images. Henri Matisse, a French artist, once said, "The painter need no longer concern himself with paltry details. Photography does it much better and more quickly." Prior to the nineteenth century, art was commissioned by wealthy aristocrats, churches, royalty or government officials. Artists had to accommodate the wishes of the period in terns of subject matter, techniques, size and color of the art work.
Toward the end of the nineteenth century, art dealers began to make art available to the public for purchase. Suddenly there was a demand for a variety of art. Artists now had the freedom to experiment with media and methods of making art while still earning a living. Experimentation often led to abstraction. The word abstract is used in two ways. If the word is used as an adjective, then it means art whose subject matter has been invented, distorted, or rearranged--there may or may not be recognizable image. As you study some abstract art in a book or a museum, you may think, "What is that?" Some people may feel that representational art is good art, but we must remember that even through a representational work of art may look real, it, too, still provides only an illusion of reality. (credits Themes and Foundations of Art- Katz, Lankford, Plank page 514)
Modern Movement - This term applied to the architecture of simple geometrical forms and plain undecorated surfaces, free of historical styles, that developed mainly in Europe in the late 19th century and the early 20th prior to World War II. The origin of the term is especially associated with Nikolaus Pevsner, whose book Pioneers of the Modern Movement (1936) traced the sources of the movement from William Morris to Walter Gropius. Pevsner capitalized the words and asserted that the Modern Movement had resulted in ‘the recognized accepted style of our age’. After 1932, the term INTERNATIONAL STYLE was widely used synonymously with Modern Movement to describe such work of this period, which is also encompassed within the more popular global term Modernism (harvested July 2010 http://www.artnet.com/library/05/0587/T058792.ASP )
The following art movements are part of Modern Art, and you should know their terms for final test.
American Abstractionism - is the reduction of objects to their main features.
Abstract Expressionism - is a product of Expressionism.
Pop Art- a reflection of popular culture, media and advertising images.
Postmodernism- refers to artworks and ideas that are rich and diverse in terms of meanings, materials, cultural traditions, and historical references. Post modern artists often work collaboratively.
Modernism- refers to art and ideas that stress individuality, originality, universal meaning and art for art's sake.
After selecting two different movements of Modern Art and using the PDF profile and accompanying websites, use the artist report to answer the questions as to what you have learned and submit it for grading.
07.06 Project for Modern Art Movement (Art History and Art Criticism)
teacher-scored 30 points possible 30 minutes
Objective:
Select from ONE of the artists from one of the Modern Period Styles. Complete the questionnaire in statement form and in correct sentence structure with correct facts. Submit your questions and answers. Copy and paste the questions between the asterisk in a word processor. From your online readings, answer the questions in your own words in complete sentences, but do not copy your artist statement from the internet or other book. Re-word the artist’s statement. However, if you feel the artist has a quote that you need to share, make sure to give credit to the book or website after the artist statement.
****************************************************************************************************************************
Make sure to include your full name and the name of the artist that you selected to report on.
If you were a reporter and could ask these questions of the artist:
1. Reporter: Where were you born, where did you live, and what were some other key events in your life that might have influenced you and your art style? Example statement: (I was born in Boston, Mass in 1847.)
Artist possible statement:
2. Reporter: How did you get started in the field of art? What things discouraged or encouraged you?
Artist possible statement:
3. Reporter: What do you feel were your most important contributions to the visual arts? (A piece of art, a style, or possibly a technique)
Artist possible statement:
4. Reporter: What would your advice be to someone entering the field of the arts?
Artist possible statement:
5. Reporter: During your lifetime, what success or recognition did you receive? Why do you think that was?
Artist possible statement:
6. Reporter: This is one of your works that I like:
(Paste in image, or list url of website where image can be seen.)
******************************************************************************************************************************
07.06.02 Art Project for Modern Art (second assignment) (Art History and Art Criticism)Q2
teacher-scored 30 points possible 30 minutes
Objective: Select from another artist from one of the Modern Period Styles. Complete the questionnaire in statement form and in correct sentence structure with correct facts. Submit your questions and answers. Copy and paste the questions between the asterisk in a word processor. From your online readings, answer the questions in your own words in complete sentences, do not copy your artist statement from the internet or other book. Re-word the artist’s statement. If you feel the artist has a quote that you need to share, make sure to give credit to the book or website after the artist statement.
******************************************************************************************************************************
Make sure to include your full name and the name of the artist that you selected to report on.
If you were a reporter and could ask these questions of the artist:
1. Reporter: Where were you born, where did you live, and what were some other key events in your life that might have influenced you and your art style? Example statement might begin: (I was born in Boston, Mass in 1847.)
Artist possible statement:
2. Reporter: How did you get started in the field of art? What things discouraged or encouraged you?
Artist possible statement:
3. Reporter: What do you feel were your most important contributions to the visual arts? (A piece of art, a style, or possibly a technique)
Artist possible statement:
4. Reporter: What would your advice be to someone entering the field of the arts?
Artist possible statement:
5. Reporter: During your lifetime, what success or recognition did you receive? Why do you think that was?
Artist possible statement:
6. Reporter: This is one of your works that I like:
(Paste in image, or list url of website where image can be seen.)
******************************************************************************************************************************
08.00 Art - A through Z (Art History and Art Criticism)Q2
You worked so hard in the last unit there will be no projects for this unit. However, there are a few things that you still need to know before you can take the second quarter test. First, you need to know that if you have not satisfied with your current grade, you can redo any of the assignments for a better score. Second, there will also be a practice test for this quarter. It will be worth no points, but it is highly recommended that you take the practice test. You can retake it three times before you schedule the final quarter test with your proctor. You need to pass the final quarter test with 60% or better to receive credit for the class.
Art A through Z is information you will need to know about art careers, media and any cultures that we have not discussed in precious units. It is also a selection of art terms that we might have missed. Last, it provides you with terms that you need to know for the final quarter test .
08.01 Careers in Art (Art History and Art Criticism)
Careers in Art
There are many possibilities from which to choose for a career in art. Every year, more challenging and rewarding positions in the art world become available. People who can perform art and design jobs are needed in schools, museums, galleries, and small and large businesses and corporations.
In the distant past, a young person who wanted to be an artist would have to pay a master artist for permission to work as an apprentice in the master studio. There, apprentices learned as they observed and assisted the master. Today, students can develop their skills by taking courses in high schools, trade schools and colleges.
You might be interested in a career in art as you consider your future. You might have some talent and an interest in an art-related career. Today, the business world needs the skills of art specialists in many areas, including company reports, publication and advertising. There are careers in publishing, design and illustrations. There are also careers available for film and video graphic designers. Photographers and photojournalist are visual reporters and story tellers who are very much in demand. Other careers in the field of Photography include fashion, producing fine-art and video for television and film. There is also a need for building and landscape architects and interior designers. You could even choose a field in the entertainment world such as animation, special effects design, art direction or the performing arts such as dance or theater. Of course, there are the traditional art fields such as art education, art therapist, fine artist and those who have created a craft for either art's sake or for function.
If you think a career in art is in your future, ask yourself the following questions:
Do you find yourself noticing things that your friends may miss, such as the color of autumn leaves or the shapes of clouds? Are you curious? Do you like to solve problems? Do you keep an open mind about new and unusual forms of art? Do you like to draw or make things with your hands? Do you like to experiment with new materials and techniques? Do you get lost in art projects and lose track of time? When a work of art turns out wrong, are you willing to throw it out and start over again? Do you keep at a project unit it is finished? f you decide you want a career in art, practice what you like best, study the great artists and their styles, and ask your teacher for advice. If you really want a career in art, it will be there for you. If not, you have not lost anything from learning about the history or art and how others judge it. (Art Talks, Regan, pages 71-81)
08.02. Art Terms - Mediums- Other Cultures (Art History and Art Criticism)
Art Terms
The world or art has spanned over many centuries, over many counties and continents. You have only touched a small percent of them during this course. Learn the following art terms then finish the course with an modern artist who understands how the imagination is used to create art.
Apprentice – someone who works closely with an experienced artist in order to learn the techniques of that person’s trade.
Art of Africa – The huge continent of Africa has a population of millions, but is divided into one thousand culture groups. There are hundreds of ancient Neolithic rock paintings that depict humans, animal and nonobjective symbolic design. However, most of the African art you see in museums today has been made within the last century. The older wooden or fabric pieces have been destroyed by the damp climate and insects. The arts of Africa were and still are interwoven into the religious and everyday live of the African people. Sculpture is regarded as one of Africa’s greatest contributions to the world’s culture heritage. It inspired the development of Cubism in Europe. ( Art Talk, Regan, pg 57)
Art Historian – the people who assemble accounts of how, why and when people around the world have created art.
Art of Native Americans – Any culture before the Europeans arrived is considered Pre-Colombian (prior to Columbus). Each had its unique language, traditions, ritual and art forms.
Art theory – attempts to explain why certain objects or events are called art; attempts to identify important features or characteristics shared by a work of art.
Curator - a caretaker of a portion of a museum collection.
Fluxus Movement - art movement in which the artist presented live events involving music, literary reading and spontaneous art- main artist Nam June Piak.
Folk Art - artistic work by individuals who have not been trained as artists.
Formal Academies - a group of learned members that establishes very strict rules about what the subject of a work of art may be and how it may be created.
Graffiti Art - art that consists of images and words applied to subway walls and trains, buildings and public fixtures.
Installation Art - a work of art that is built temporarily or permanently into a museum or gallery space; main artists are Lucus Samara and Sandy Skoglund.
Kinetic Art - a type of sculpture that moves; main artists were George Warren Rickey and Len Lye.
Photo-realism - an art movement in which the artist painted with such precision and detail that their work resembled photography of the image. – Main artist Chuck Close.
Radiocarbon dating - a scientific process used to determine the age of an object by the object’s radio carbon content.
Social Realists - a group of artists who dealt with themes such as poverty, oppression and social injustice.
Super-realism - an artist style with the intent to produce works so realistic that the viewer is unable to distinguish between illusion and reality.
Imagination
Watch the following video on Imagination and Installation Art.
08.03 Review (Art History and Art Criticism)Q2
Terms from Unit 07
Cubism is art in which the subject matter is rendered using geometric forms.
The movement known as Dada combined ordinary objects together to create through-provoking images. When it ended, a movement called Surrealist began. In Surrealism, the artist combines naturally unrelated events, images objects or situations in a dreamlike scene.
Art Regionalism realistically depicted the American way of life in the part of country in which he or she lived.
The Realist movement in mid- to late 19th-century art was made to create objective representations of the external world based on the impartial observation of contemporary life.
Modern Art is a term used to describe the work of nineteenth and twentieth-century artists who explored new means of creative expression other than traditional methods of the past.
American Abstractionism is the reduction of objects to their main features.
Abstract Expressionism is a product of Expressionism.
Postmodernism refers to artworks and ideas that are rich and diverse in terms of meanings, materials, cultural traditions, and historical references. Post modern artists often work collaboratively.
First called kinetic art because some of the art actually moved and the rest appeared to move because of the way the designs play tricks on our vision, Op Art is concerned with illusion, perception and the physical and psychological effects of color. Thus, Op Art overlaps such movements as Color Field Painting and light sculptures.
Pop Art celebrates everyday life, the popular culture in which ordinary people derived most of their visual pleasure from television, magazines or comics. Pop artists used the language of the masses: comic strips, beer bottles, soup cans, Coke bottles, road signs and popular figures, all everyday items. Pop Art is a reflection of popular culture and media and advertising images.
Terms from Unit 06
Impressionism captured everyday subjects and emphasized the momentary effects of sunlight on the subject matters.
Impasto is an art term used to describe thickly textured paint that is almost three-dimensional in appearance.
Very small carefully placed dots of color to create form is called Pointillism.
Fauvismis French, meaning wild beast.
Terms from Unit 05
Baroque is an art style emphasizing movement, contrast and variety.
Naturalism refers to the depiction of realistic objects in a natural setting. It does not use idealism, but uses vagrants, drama, lights and dark's illuminating real characters with wrinkles and flaws, creating a highly naturalistic style. Dramatic gestures invited viewers into the drama created in the painting.
Iconoclasm resulted in the destruction of Catholic Art.
Chiaroscuro is the arrangement of lights and darks.
Rococo is the eighteenth century art style which placed emphasis on portraying the carefree life of the high class rather than on grand heroes or religious figures.
Romanticism was an intellectual movement that flourished in the 18th and 19th century in Europe. It embraced literature, art and philosophy. Romanticism manifested in art by seeking to portray Nationalism and the power of individual perception and emotion.
You have now complete all the online reading for this unit and this quarter of Art History and Art Criticism at EHS.
Go to Unit 08 and take the practice test.
You could be tested on the following
Explain about style of Naturalism - Explain about the period in Art History known as Romanticism -What is an Art Historian? -What is an apprentice? - What does formal academy mean? -What is an Art theory? - What is Impressionism? -What is Henri Rousseau know for? - What is Chiaroscuro? - What did Expressionist try and communicate in that art? - What artist are considered Post Impressionist? - What does fauvism mean? - Explain about the artist Paul Gauguin? What does Impasto mean? - What is Edouard Monet know for? - What does Realism mean?- What does Rococo mean? -What does Romanticism mean? - Who was the father of chiaroscuro? - What artist is famous for pointillist? - What does iconoclasm mean? -
What is Op Art ? - Explain about Baroque? - What is cubism?- What artists are considered regionalism and what does it depict? - What art artist who dealt with themes such a poverty, oppression and social injustice called? - What does surrealism or Dad mean?- What is foreshortening? -
What does Modern Artist do in their art and what time period do we associate them with? -
When you are ready to take the final quarter test, go to the "Ready".
| Henri de Toulouse-Lautrec |
At which Grand prix circuit was Ayrton Senna killed in 1994? | Art History and Criticism OLD | Utah Electronic High School
Art History and Criticism OLD
00.0 Start Here (Art History and Art Criticism)
Welcome to Art History and Art Criticism at EHS.
Throughout this course, you are provided facts and information about the history of art and artists since the beginning of time. You will be guided through various activities and questions to help you gain more meaning and enjoyment from the class. You will also learn how art is evaluated and appreciated. Your approach to this course will give you an opportunity to investigate new and old ideas in art and learn new art topics and techniques. You will also be able to apply your knowledge and your judgment about what you like and don't like in the art world and acquire an understanding that it is possible for one to improve his or her art skills.
I'm looking forward to working with you. As your teacher, I am here to answer your questions, so don't hesitate to ask for help. You will find my e-mail and contact information in my welcome message or at the end of my return emails.
Please get started as soon as possible. You need to stay active in the class (submitting at least two assignments each month) or you may be dropped. Plan to finish the quarter class in less than four months. Learn to pace yourself. Try to spend no more than three weeks per unit. To receive the first quarter credit, you will need to complete the first four units (assignments, quizzes and tests). There are a total of eight units in the whole semester of Art History and Art Criticism course. When both quarters are completed, you could earn one-half semester of a Fine Art credit.
To find out what materials you may need for this class, see the Required Resources.
FIRST ASSIGNMENT- SUBMIT "About Me" ASSIGNMENT
Your first assignment is the the "About Me". Submit that assignment right away. Here’s how:
Open the assignment by clicking on its name. Read the directions and use the word or notepad word processor on your computer to type your work. Then, copy and paste your assignment in the submission area. **Keep a copy of all your work. Save it on your computer so you have a copy (do this with all your assignments).**
Many of your assignments will be submitted the same way--do them on your computer, paste into the “Edit my submission” box, and then save to submit it. Some assignments may require you to upload files--follow the instructions on the assignment screen to browse to your file and upload it. You will get an e-mail message letting you know when I have scored it.
ETHICS
Remember the EHS Honor Code: "As a student of the Electronic High School, I agree to turn in my assignments in a timely manner, do my own work, not share my work with others, and treat all students, teachers, and staff with respect."
You must not copy other students’ work, or allow other students to copy yours. Do not copy and paste work from the internet or engage in any form of plagiarism (using others’ ideas, words, and/or organization without giving proper credit to the source).
SOFTWARE REQUIREMENTS:
1. You will need a browser such as Firefox or Internet Explorer which can download pictures of all sizes; a slow connection is a disadvantage.
2. You need the a FREE Power Point Viewer for presentations. (For a free download of this program complete an internet search with the words "Free Power Point Viewer" and select the Microsoft.com website.
3. You will also need a word processor such as MS Word, Text Edit or Notepad, etc. (NOT Word Perfect).
4. You will need Adobe PDF reader. (free download: go to Adobe.com and get the most current version)
5. You will also need Quicktime, Windows Media Player, Real or another media player to view any video presentations. (These should be free to download from the internet.)
Art History I
Credit: .25 Fine Art credit by USOE standards per 4 completed units*.
Description of Art History
* USOE Standard*
This is an entry-level course for the High School Visual Arts Core Curriculum. It is designed to provide an overview and appreciation of the visual arts, with an overview of studio production. This course is designed to develop higher-level thinking, art-related technology skill, art criticism, art history and the understanding of aesthetics.
The term "foundations used" refers to ideas and processes that are basic to making and understanding art. We will start by understanding that many artists have used the same concepts over time and across cultures. These concepts are referred to art elements or the symbols of art and the design principles or the rules that govern those elements.
Total points for the first quarter class work is 508 points and the final quarter test is worth 108 points. This is about 21% of your overall grade.
Total points for the class is 560 points and the final quarter test is worth 124 points. This is about 22% of your overall grade.
Make sure to take notes during the course work as during the final quarter test you CAN NOT have any note with you and is considered closed book.
grade you have at that point will not be sent to your school.
00.00 *Student supplies for Art History and Art Criticism
1st Quarter
Window Media Player or other media player
Art paper and colored medium or Computer Art Program like MS paint or Paint shop.
Unit 02
Unit 04
Computer Word Processor
Multimedia computer program such as MS Power Point, Window Movie Maker, iMovie, Pinnacle Studio or another multimedia program that allows images, text and music to create a self-running multimedia presentation.
2nd Quarter
Computer Word Processor
Unit 06
You will need Art paper and an art medium with a wide variety of different colors (such as fine point colored markers, or acyclic paints, or oil pastels, depending on what Impressionist style you would like to reproduce).
Unit 07
Computer Word Processor
For help with your coursework, it is recommended, but not required, that students have a printer to print the reading material, and a scanner, digital camera, or phone camera to take a picture of the two art projects to be photographed and sent in for grading.
$ 2.00 to $10.00 for art project supplies
Required
Students need access to a robust internet connection and a modern web browser.
This class may also require the Apple QuickTime plug-in to view media.
For students using a school-issued Chromebook, ask your technical support folks to download the QuickTime plug-in and enable the plug-in for your Chromebook.
$0.00
01.00 Unit 1 (Art History & Criticism)
Welcome to Art History and Art Criticism at EHS.
Throughout this course, you are provided facts and information about the history of art and artists since the beginning of time. You will be guided through various activities and questions to help you gain more meaning and enjoyment from the class. You will also learn how art is evaluated and appreciated. Your approach to this course will give you an opportunity to investigate new and old ideas in art and learn new art topics and techniques. You will also be able to apply your knowledge and your judgment about what you like and don't like in the art world and acquire an understanding that it is possible for one to improve his or her art skills.
I'm looking forward to working with you. As your teacher, I am here to answer your questions, so don't hesitate to ask for help. You will find my e-mail and contact information in my welcome message or at the end of my return emails.
Please get started as soon as possible. You need to stay active in the class (submitting at least two assignments each month) or you may be dropped. Plan to finish the quarter class in less than four months. Learn to pace yourself. Try to spend no more than three weeks per unit. To receive the first quarter credit, you will need to complete the first four units (assignments, quizzes and tests). There are a total of eight units in the whole semester of Art History and Art Criticism course. When both quarters are completed, you could earn one-half semester of a Fine Art credit.
To find out what materials you may need for this class, see the Required Resources.
ETHICS
Remember the EHS Honor Code: "As a student of the Electronic High School, I agree to turn in my assignments in a timely manner, do my own work, not share my work with others, and treat all students, teachers, and staff with respect."
You must not copy other students’ work, or allow other students to copy yours. Do not copy and paste work from the internet, or engage in any form of plagiarism (using others’ ideas, words, and/or organization without giving proper credit to the source).
SOFTWARE REQUIREMENTS:
1. You will need a browser such as Firefox or Internet Explorer which can download pictures of all sizes; a slow connection is a disadvantage.
2. You need the a FREE Power Point Viewer, for presentations. (For a free download of this program complete an internet search with the words Free Power Point Viewer and select Microsoft.com website.
3. You will also need a word processor such as MS Word, Text Edit or Notepad, etc. (NOT Word Perfect).
4. You will need Adobe PDF reader. (free download: go to Adobe.com and get the most current version)
5. You will also need Quicktime, Windows Media Player, Real or other media player to view any video presentations. (These should be free to download from the internet.)
Art History I
Credit: .25 Fine Art credit by USOE standards per 4 completed units*.
Description of Art History
* USOE Standard*
This is an entry-level course for the High School Visual Arts Core Curriculum. It is designed to provide an overview and appreciation of the visual arts, with an overview of studio production. This course is designed to develop higher-level thinking, art-related technology skill, art criticism, art history, and the understanding of aesthetics.
We will start by understanding that many artists have used the same concepts over time and across cultures. These concepts are referred to as art elements or the symbols of art, and the design principles or the rules that govern those elements.
GRADING
D- 60-63
No Credit 0-59
01.01 What Makes an Artist Great or a Piece of Art Valuable? (Art History and Art Criticism)
why_art.pdf
Please note.
You will be asked to view a "Why Art" Presentation at a later time in this lesson. If it does not play automatically, you will need to download Adobe Reader.
BEGIN THE LESSON HERE
What makes an artist great or a piece of art valuable? The following artists listed below might be considered great by many. If you’re not sure who these artists are, you might know them by their artwork.
Leonardo da Vinci, Vincent van Gogh, Norman Rockwell, Albrecth Durer, Rembrandt, Grant Woods and Picasso.
You can look at their art work by performing an internet search of these artists, and you will then say, "AHHH, YES, I know of these artists, too." If their names and art are not familiar, you will learn about them along your journey into the world of Art History and Art Criticism.
Why do you think an artist or art work is considered great? Is it luck, talent, genetics, or what? History ultimately becomes the judge; after many years, we can see which artists are considered great. Which artists changed the future, set the records, or influenced others? The true artists stand out after years of comparison, influence other people and other artists and accomplish great change. Their ideals and cultures also were brought to the forefront of history by their art. Most of the great artists did something to rise to the top of their field during their own era, and stayed there in subsequent eras. What did they do? They created what we consider GREAT art.
Mona Lisa
You must know "Mona Lisa". Most people have seen this picture. But do you know who painted her picture? Why is she depicted in one of the greatest works of art? If you don't know, then you will. You should learn about the WHY, the WHO and the WHAT in lessons to come--so let's get started.
Who makes the rules about which artwork is great? Well, who makes the decision on whether a Cobra GT is worth $40,000 or $150,000? The experts, of course, or the car dealers. The art dealers, like the car dealers, are those who can tell an original from a fake, the well-constructed from the shabby, and the innovative from the badly-conceived.
Visual art CAN BE JUDGED, just like literature, sports, or automobiles. How? There are sets of rules and guidelines which tell us which is good, which is bad, and which is not even art. For the most part, these rules are from tradition and common sense, and they are easy to understand, but they may be totally new to you, since most students stop studying art at the fifth grade level in America.
Does that mean you WILL like all great art when you're finished with this course? Of course not. Just like you may not like certain music, or certain sports, you will always have your own preferences, and that is what makes you an individual. So why bother learning about art? Learning about art history will make it easier for you to understand how great works of art are created--the context, the materials, the process--and maybe you will develop an understanding of why people are driven to create, sometimes against all odds. This course could also help you learn many things about other cultures; it could assist you in travel, business, and possible other ventures.
Why do people make art? Put a crayon in a toddler’s hand. Give them a paper and tell them to draw. It’s almost automatic. They begin to draw large round circles or move the lines up and down or side to side. Soon they move to another color of crayon and then to another. The child will start to make recognizable shapes or images and will even become excited about the creation. And, the child's understanding and use of the Art soon evolves. This child learns that the lines and shapes are a form of communication. Even the earliest of humans made images to speak to other humans.
It is time to visit the "Lascaux Caves" (link below) and examine the first recorded images or art in the history of man. Why do you think these cavemen drew these symbols? Why do you do art? You say you’re not an artist? If you write your name or doodle on some paper, you are creating art, even if it is because you have nothing better to do.
So what are some of the other reasons people make art? If you have not yet selected the “Why Art“ Presentation at the top of this page DO SO NOW, then come back and finish reading below*****.
Maybe you are creative, and you want to learn how to be a better artist or how other artists create. It is important to understand about other artists' styles. What makes them unique, and what might you have to change about your art to become better?
Maybe you just want credit for graduation. That's OK, too. Maybe you will find out something about yourself along your path. You might find out that the type of art you like is not fine art at all, or surprise yourself to find that you like Abstract Expressionism or Impressionism. Art can be funny, symbolic, shocking, or inspiring. It has always been controversial. After studying this course, you should be able to understand more about WHAT makes an artist great and WHAT makes an art piece valuable and WHO these artists are--and you just learned the "WHY'S".
Work Cited
http://www.glencoe.com/sec/art/studio/activities/pict.php/ar...
Explore the Lascaux Caves in France. (All the these links take you to the same place. Select one. If it doesn't work on your computer, try another).
This is the earliest artwork known to man. As you visit these cave drawings, ask yourself what you learned in the WHY ART Presentation before visiting the cave drawings site. Why do you think the cavemen drew these pictures? Were they symbols of some sort? Did they represent a form of communication or a religious ritual? I hope you enjoy this video activity because most of us will never get the chance to see these wonderful works of art in real life.
01.01 Why Is an Artist Considered Great? assignment (Art History and Art Criticism)
teacher-scored 15 points possible 30 minutes
After studying this course, you should be able to understand more about WHAT makes an artist great and WHAT makes an art piece valuable and WHO these artists are--and you just learned the "WHY'S".
In one or more paragraph, answer the question: What makes an artist great or a piece of art valuable? Show evidence in your answer that you did the reading. This is your opinion, so there is no right or wrong answer, but you must demonstrate that you did the reading.
Copy and paste the questions between the asterisks in a word processor. Using the information from your online readings, presentations and external reading, answer the questions in your own words, in complete sentences and submit your assignment.
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1. Using the information in the readings from the "Why Art" Presentation, write a couple of complete sentences discussing why do you think a particular piece of art is interesting to look at?
2. In several complete sentences, write why you think some artists are greater than others, or why some art pieces are more valuable than others?
3. From the "Why Art" Presentation, list the five reasons people make art and discuss each briefly.
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You will be asked to play the "Elements of Art" Presentation and "Principles of Design" pdf at a later time in this lesson. If they do not play automatically, you will need to download the free Acrobat Reader.
How We Study Art
I often hear people say, "Art is just a matter of how you feel about it," or "Art is an just individual taste--it can't be judged." If that is true, what do you think all those art students in high school and the universities are studying in their art course work? Are they just sitting around painting what they feel? No, they are working long hours learning about form, color, composition and many other things you are about to explore.
Most of us stop learning about art about in the fifth grade when we start to see the difference between our primitive drawings and those of the artists we admire. We don't know how to make the leap from fifth grade to where Rembrandt is, so we quit. If you stopped studying English or math in the fifth grade, would you think THAT was strange? Of course you would. And since we don't like to admit that we haven't the skill or training to see the difference in what is good or bad art, we say it is "just how you feel about it" or "It can't be judged".
For those of you who think artists are "just born that way" or that art isn't a learned process, you will soon learn that is not true. As you study the artists in the following units, you will find that, in most cases, a mentor, parent, teacher, or relative taught the child the principles of art form. Often, a child was even assigned as an apprentice under another artist. Many people think, "I don't have any artistic ability." I've found that such people didn't have anyone around to teach them how to do art; in most cases, the students who feel they do have art skills have someone in the family or a teacher who has guided them. What does this mean for you? Art can be learned. If you want to learn how to draw better, you can do it. Why, then, study the history of art if you want to just be a better artist? Art can be studied and dissected just like English, math, or science. It doesn't have to be a mystery--we can try to find out what makes some artists better than others and their paintings more important to history. We will explore that strange world of art that you may have left behind several years ago and dispel the notion that art is merely "how you feel”.
Throughout history, great art collections have been commissioned and usually belonged to those who could afford them, whether it was military, religious, or social leaders. Artists were hired by wealthy patrons like the pope, kings, queens, nobles, or wealthy families Their collections could be vast, having grown over the centuries, as in the case of the Medici family in Italy.
In the 18th and 19th centuries, there were many revolutions across Europe. With the advent of more freedom, many common people now had access to the great works of art for the first time, and new governments were eager to show off their newly-acquired collections. The Louvre in Paris, originally a palace for the king of France, became a public museum in 1793, along with many other palaces and royal buildings across Europe. New buildings were built to hold collections, but because of the architectural beauty of the formerly-royal palaces, it seemed fitting to also use them to display fine art.
In the United States, groups of people with a common interest in art also helped acquire artwork for the National Gallery of Art in Washington D.C. Artworks were obtained through gift or loan from individuals. Wealthy art patrons across the world also bought or built their own museums, such as the J. Paul Getty Museum in California. They collect art in which they had an interest, but the doors are open to the public. We also have many art galleries and art museums in the State of Utah. I hope you get a chance one day to visit them.
Today, museums have several functions that include preservation (many works of art are fragile or require special handling to survive intact), public display of art and artifacts, education about art and the cultures that produced it, and creating special exhibits and traveling exhibitions in cooperation with other museums. Sometimes art is used to raise money for restoration and repair, documentation and authentication and increasing or improving a museum's collection. Traveling exhibits are a big part of getting more people access to great pieces of art; In unit 06, you will find out what it takes to move famous artwork around the country in these traveling exhibits.
So, now you’re asking WHAT are the rules, guidelines or standards of what makes a piece famous or an artist good? Who gets to be the judge? These standards of judgment or CRITERIA can be broken down into the following.
1. What do we see? (The description of elements and subject matter).
2. How is the work organized? (Analysis of composition, the elements of art and the principles of design).
3. What media has the artist used, what is the artist's personal style, and what is the artist saying (this is often open to interpretation)?
Those who study or do art first must try to understand the key points that go into making a piece of art. They must understand the who, why, what and how. Artists must learn about the tools or the medium or media (plural) to complete a work of art. For example, in water-color painting, one can learn all about watercolor paints as a tool, but so much more goes into painting a good water color. The artist must understand the pigments, the elements of art, color, the brushes, and the kinds of papers needed for a successful result. Artists must also study design the principles and composition rules of art to create pleasing art.
What is composition? Composition is the way an artist organizes and arranges the elements of art using solid design principles. An artist must learn about how these elements and principles convey the message or purpose of his or her work. If a composition doesn’t work, no matter how good an idea or drawing is, the piece will not be very interesting.
As you look at this abstract art piece by Irene Rice Peravy, does the art work seem to be balanced? Do the colors work together? Do the lines communicate a message somehow? Is there focal point? Does there seem to be unity in this piece?
In the second edition art text book “Art Talk” by Rosalind Ragans, she tells us that "works of art can be defined by three basic properties: subject, composition and content". The subject, a person, thing or an event, can be easily identified. In recent years, artists chose nonobjective art that had no subject matter: something like this piece of art. As mentioned above, composition has to do with design principles. And, when we talk about "content," we mean the message the work is trying to communicate, such as a theme, idea or emotion. As artists use these properties, their art can record history, feelings and ideas. Their art can even cross language barriers. How is this done?
Artists use symbols--a symbol is something that stand for or represent something else to communicate ideas and content. Arts’ basic visual symbols are known as the "elements of art." Any art can contain one or more of these elements. The elements of art are line, color, shape, form, space, value and texture. These elements, such as line and color, have qualities that help communicate the message the artist is trying to convey. For example, a cool color, such as blue, can give the viewer a feeling of cold or loneliness. A horizontal line can show a calm or peaceful feeling.
It is now time to spend some time viewing the presentation on the ELEMENTS of ART. DON'T SKIP THIS STEP. Plan on taking notes. Select the Presentation called the "Elements of Art," and then come BACK to the next paragraph below.
PRINCIPLES of DESIGN are the rules that govern how artists organize the elements of art. These principles include balance, movement, proportion, variety, emphasis, harmony, rhythm and unity. It is now time to spend some time viewing and studying the PRINCIPLES OF DESIGN document to learn more about the RULES that govern the elements. DON'T SKIP THIS STEP. Then when you are done with both items, proceed with the rest of the unit's information.
There are many different purposes for drawing. Your perception of an art piece, the act of looking at something carefully and thinking deeply about what is seen, requires study and observation. However, the average viewer spends only about three seconds looking at a piece of art. You will be asked to spend a little bit more time looking at art work in this course. You will get a chance to be an artist and an art critic and learn the organized system for studying a work, art criticism and the standards. You will get a chance to understand the philosophy of the study of beauty and art known as aesthetics. You will also learn about the standards of judgment or the criteria for evaluating a work of art.
These links below will connect you to a few of the art museums in our nation and one in the State of Utah. Two were mentioned in this unit. I hope you take an opportunity to visit them and see what wonderful things they have. Just think, one doesn't even have to leave the comforts of his or her home to take a tour of these museums.
National Gallery of Art
01.02 How We Study Art assignment (Art History and Art Criticism)
teacher-scored 25 points possible 30 minutes
Copy and paste the questions between the asterisk into a word processor program. From your online readings, answer the questions in your own words in complete sentences, and submit the assignment (worth up to 25 points).
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1. List the seven elements of art.
2. In a couple of sentences, describe two out of the six elements of art and how they can create a meaning or have some type of emotional quality. Give an example of one, such as "A picture or painting that is created with a lot of horizontal lines or is painted on a piece of paper that is horizontal gives the viewer a feeling of peace or at rest."
3. List the eight principles of design.
4. Define medium. In a couple of sentences give an example of four media that an artist can use to create art with.
5. What is the standard of judgment called?
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01.03 Standards of Judgement (Art History and Art Criticism)
Standards of Judgment
You learned in the earlier lesson that a criterion ("criteria" is plural) is a "Standard of Judgment" Whose standards of judgments criteria are used to determine if you like a work of art or not? IT IS YOUR STANDARD. However, you might not have the expertise to write up a review in a local newspaper about a new artist's work or select a piece of art to hang in a museum then try and explain why you like a certain piece of art. Therefore, those who study art must learn about the ways that a piece of work is judged.
Have you ever gone to a movie that a friend recommended only to find out that it was a very bad movie? They were acting like a movie critic but probably did not have the expertise to do so. When you look at art in this way and tell someone your opinion, you too are beginning to act like a critic. You may not have been able to explain your standards of judgment to them, but you know if you liked it or not. After learning about the steps to judge work, you may find that you look at art or judge the merits of an artist's work in a new way, and this will help you appreciate what your art teacher must do to grade a piece of your artwork, or what judges must go through when they have to judge a winning piece for an art contest.
Rosland Regan explains in “Art Talks” that critiquing artwork does not have to be negative. It is also somewhat like playing detective. You can assume the artist has a secret message hidden within the work. To find that hidden message, however, you must first learn the steps to judging work. She continues to tell us that the four-step system will help you find the hidden message in art.
The first step:
(Description) What do I see? What is the size of the work? What is the subject? What is the medium or media,and is it neatly arranged using good composition?
The second step:
(Analysis) THIS IS WHERE THE ARTIST CREATES THE SECRET MESSAGE, MOOD OR IDEA, BY THE WAY the elements and principles are organized. How has the artist used the empty negative space relationship to the figure ground? Is the work balanced? Does it have variety, a focal point or unity?
The third step:
What is the artist saying?(In Interpretation you will EXPLAIN or tell the meaning or mood of work) This is the most difficult step as this is where you are trying to find out that the artist is daring to be different. There are some clues in the elements of art. For instance, a color or line can express a feeling. (see the line, color, balance, elements of art for this meaning).
The fourth and final step:
You will decide whether or not the art is successful. Can you determine the degree of artistic merit? (This is called Judgment) This is the time to give your opinion. However, this is also an aesthetic question. Aesthetic qualities are discussed most often by literal, design or express qualities. Some think literal qualities are more important than expressive qualities; others might think that design qualities are more important than either one of those.
3-D Art: by Blair Buswell - famous Utah artist
The literal qualities and design qualities (how well the work is organized)and the expressive qualities (such as ideas and mood). Some artists and art critics debate the importance of each, but we will get into those later. In the next lesson of this unit, you will be asked to create art, paying attention to criteria that will help you understand how the work will be judged or graded. Before you do this piece of art, you will get to be the judge of a 3-D art or sculpture completed by Utah's own Blair Buswell. (You might know his work if you follow football. He has done many busts of some hall of fame football players.) For additional information on Blair you can access his own website.
Blair Buswell " Breeze" Art work to be evaluated
http://www.blairbuswell.com/
Blair Buswell is a well-known sculptor from Utah. Select the three external links. They will help you answer the questions for the assignment on this lesson. Watch the following steps that artists like Mr. Buswell must go through to create a sculpture.
01.03 You Be the Judge (Standards of Judgement) assignment (Art History and Art Criticism)
teacher-scored 10 points possible 25 minutes
Blair Buswell is a well known 3-D artist from Utah. Use the three website and the video from "You Tube" to find the answers to the questions below.
Copy and paste the questions between the asterisk in a word processor. From your online readings, answer the questions below in your own words in complete sentences. Then submit your assignment in the assignment section. Submit your assignment titled 01.3.01 "You Be the Judge".
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1. In a couple of sentences, what is the final product or medium or media is that Blair Buswell uses and outline the steps he must complete to get the final piece completed.
2. Explained what the subject matter is and size of art work titled "Breeze". (You will find this sculpture at the bottom of one of the webpages.
3. What are 3 elements of art and 2 design principles that Buswell has used to create the largest and latest sculpture.
4. Describe one of the smallest pieces that Blair Buswell had made and then describe one of the largest art works he has recently completed?
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01.03.02 Create a Work of Art -assignment (Art History and Art Criticism)
teacher-scored 25 points possible 45 minutes
You now get to be the artist. Your objective will be to create five drawings. Select five of the following feelings from the word bank below.
anger -- happiness -- sadness -- excitement -- worry -- peace -- fear -- love
I. Using one or more of the elements of art, such as line, color, shape, form, space, texture and value, communicate the expressive feelings from above.
II. Use either of the following media (tools): a computer art program like MS Paint or Photoshop, or just some good old art drawing paper. The drawing(s)for each feeling that you render for this assignment should not be put on paper that is any smaller than 5x7". Another choice could be to put them all on one piece of paper but not any larger than 9x12. Keep the images separated somehow if you put them on one piece of paper. You can use color material such as paints, colored pencils, cut-up colored paper, or chalk. (Your art work could even be a mixture of media).
III. As you will need to send a copy of this art work to me for grading, do not use crayon--it will not show up on a scanner nor will it take a good digital image.
IV. This assignment should take you about 30-60 minutes to complete. After completing your work, submit it for grading and explain the media that you used and what problems that you had in creating this work of art. (Please note: This piece will be discounted five points if a recognizable subject matter is seen--keep it on the abstract side)
Sign and date your work.
V. Ways to submit the art activity to the instructor for grading.
Scan or take a digital picture of your art work and upload it as a jpeg file, or insert the jpeg pictures into a word document and upload the word doc or a pdf. Submit "You Be the Artist". The instructor will use the grading criteria/rubric below. It will be the instructor's STANDARDS Of JUDGEMENT for this art project.
IV. This assignment could take you about 30-60 minutes to complete. After completing your work explain the media that you used and what problems that you encountered while completing this assignment. Place your drawings into an electronic format by scanning or taking a digital image of it. (Please note. This piece will discounted five points if a recognizable subject matter is seen--keep it on the abstract side)
Sign and date your work.
Scan or take a digital picture of your art work and upload it as a jpeg file or insert the jpeg pictures into a word document. Save the word doc. as a pdf. Submit the assignment. The instructor will use a grading criteria/rubric. This will be the instructor's "STANDARDS OF JUDGEMENT" for this art project.
You can view the examples of EHS Art History student Lauren Carlson's and Sarah Durstler's (permission granted) colored pencil art work for this assignment.
01.04 Unit One Test (Art History and Art Criticism)
teacher-scored 25 points possible 120 minutes
In the next step, complete the unit test. It is a multiple choice test from your reading material and presentations from unit 01.
02.00 Art of the Earliest Times (Art History and Art Criticism)
Prehistoric, Mesopotamian, Egyptian and Asian Art
By studying the art of these periods, we can find out a lot about the civilization of cultures of the ancient world. This study of cultures and various periods of art might feel more like a history or social studies class. So, why study them in an art class? The American Historical Society states on their website, "History should be studied because it is essential to individuals and to society, and because it harbors beauty."
02.01 Prehistoric Art (Art History and Art Criticism)
Prehistoric Art
What is a culture? A culture is comprised of the ideas, beliefs and customs of a given society. Any art created before writing or record-keeping was during what was called Paleolithic Era.
This era is also referred to as the Old Stone Age, so-named because of the stone tools humans used during this period. Paleolithic art is that which was created between the years 40,000 B.C.E to approximately 12,000 B.C.E, when people lived in hunter-gatherer nomadic tribes prior to the development of agriculture. Most of the earliest forms of prehistoric art were found in caves. You saw some of these drawings in Unit One. Even today, as you look at the art on cave walls, in the tombs of Egypt, on papyrus, or in sculpture, you can understand something about early man's way of life. Throughout the history of the world, art has an given us a vast treasure chest of images that show us these symbols of ideas, religion and culture.
Some of the earliest recorded Prehistoric art found was in the Altamira Caves of Spain by an amateur archaeologist; they were dated to about 15,000 B.C.E. These paintings of sleeping, galloping and resting animals beg the questions, What were the Stone Age cave dwellers doing? What were the purposes to these paintings? Most of these works of art are found deep inside caves away from entrances and daylight. Anthropologists theorize that the paintings' placement deep inside the earth represents the ancient belief that all things came from womb of the earth. The cave men used natural sources of pigments for the cave art. For reds, browns, and golds, they mixed ground up earth mineral in animal fat, vegetable juice and eggs. For black they used charcoal from burned firewood.
The paintings' location has led experts to think they were not created merely as decoration but as part of the hunting ritual. No one really knows for sure, but they are great finds, don’t you think? These ancient people depended on animals for every part of their existence. Were they letting other cave men know about the hunt? Or perhaps they were boasting about their hunting prowess. The art found in these caves and other early man sites shows that humans was not only skilled in painting, but in sculptures and crafts. They also taught themselves how to spin fibers, weave and make pottery for practical functions. As their skills developed further, they began to decorate their art.
From the Upper Paleolithic through the Mesolithic, cave paintings and portable art like figurines and beads predominated, with decorative workings seen on items of function. Man worked flint, wood, bone, horn and ivory to make the weapons he needed for his nomadic life. Other cave and wall paintings appeared at Lascaux and in the caves of the Vézère valley in France. Les Combarelles and Font-de-Gaume at Eyzies-de-Tayac in Dordogne offer fine examples of this sophisticated art which was to last until the Neolithic period. Other, more recent discoveries, such as the Chauvet-Pont-d'Arc cave in Ardèche (1994) have revealed extremely beautiful rock paintings.
Stonehenge
"Neolithic" refers to the New Stone Age, and reflects the use of stone tools with some use of metals, with people settling into permanent communities, developing agriculture and domesticating animals. In the Neolithic Era, evidence of early pottery appeared, as did sculpture. The Neolithic saw attempts at architecture, such as the construction of megaliths at Stonehenge near Wiltshire, England--one of the most famous ancient sites in the world.
"Megalithic"/describes structures made of large stones, utilizing an interlocking system without the use of mortar or cement. Stonehenge is composed of earthworks surrounding a circular setting of large standing stones and sits at the center of a cluster of other monuments, including several hundred burial mounds. Some scholars believe that the circle of stone is a calendar. The megaliths demonstrated the post and lintel system, an approach to building in which a crossbeam is placed above two uprights. What is a mystery is how the stones, which weigh 50 tons, were set in place. The stones we see today represent Stonehenge in ruin. Many of the original stones have fallen or been removed by previous generations for home construction or road repair. Copy and paste the following external link to see a short video on Stonehenge.
If it does not open, do a internet search for "Video on Stonehenge National Geographic Channel." There are many other impressive videos on You Tube about these man-made structures.
The Bronze Age of a culture is the period when the most advanced metalworkers (at least in systematic and widespread use) in that culture utilized bronze. This could either have been based on the local smelting of copper and tin from ores, or trading for bronze from production areas elsewhere. Many, though not all, bronze age cultures flourished in prehistory. In Great Britain,the Bronze Age is considered to have been the period from around 2100 B.C.E to 750 B.C.E.
The advent of metalworking in the Bronze Age brought another increase in media used for art, an increase in stylistic diversity, and the creation of objects that did not have any obvious function other than art. It also saw the development in some areas of artisans, a class of people specializing in the production of art, as well as the development of writing systems. By the Iron Age, civilizations with writing had risen from Ancient Egypt to Ancient China. Many indigenous peoples from around the world continued to produce artistic works distinctive to their geographic areas and cultures. Some cultures, notably the Maya civilization, independently developed writing during the time they flourished (3,000 B.C.E. to 900 A.D.), examples of which were lost when Spanish invaders destroyed their libraries (early 1500's). These cultures are generally considered prehistoric, especially if their writing systems have not been deciphered.
The next period and culture of art we will visit is the Ancient River Valleys of Egypt and Mesopotamia, a land known as the Fertile Crescent, through which flow the Tigris and Euphrates rivers. Mesopotamia was more of a culture than a religion. Today the land is shared by Syria and Iraq. Mesopotamia is often referred to as Babylonia. Its inhabitants' writing was called cuneiform. This area saw some of the earliest experiments in agriculture and irrigation, the invention of writing, the birth of mathematics and the development of urban life. Mesopotamia is a Greek term meaning 'between the rivers'.
STRIDING LION.
This colorful striding lion, its mouth opened in a threatening roar, once decorated a side of the "Processional Way" in ancient Babylon (the Biblical city of Babel). The Processional Way led out of the city through a massive gate named for the Mesopotamian goddess of love and war, Ishtar, whose symbol was the lion. Each year, during the celebration of the great New Year Festival, the images of the city's deities were carried out through the Ishtar Gate and along the Processional Way past some 120 lions, such as the one above, to a special festival house north of the city. (Institute, University of Chicago).
Work Cited
(1)http://www.students.sbc.edu/matyseksnyder04/Prehistoric_Art.html
(3)http://www.metmuseum.org/works_of_art/collection_database/egyptian_art/a_block_from_the_sanctuary_in_the_temple_of_mentuhotep/objectview_zoom.aspx?page=1&sort=5&sortdir=asc&keyword=&fp=1&dd1=10&dd2=31&vw=1&collID=31&OID=100005053&vT=1
02.01 Prehistoric Art -Assignment (Art History and Art Criticism)
teacher-scored 25 points possible 30 minutes
Copy and paste the questions between the asterisk in a word processor. From your online readings, answer the questions in your own words in complete sentences. Submit your assignment (Worth up to 25 points).
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1. In a sentence or two, explain what a culture is.
2. In a sentence or two, explain what Neolithic means.
3. In a sentence or two, explain what Paleolithic means.
4. What is the famous, large stone monument found in England called? Explain its construction. What is the construction term called?
5. In a sentence or two, explain where Mesopotamia is, and what its name means.
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02.02 Egyptain Art (Art History and Art Criticism)
Egyptian Art
Egyptain Pyramids
Let’s move on to Egyptian art. Egypt developed around 3000 BC. The art was influenced mainly by religion. The Egyptians were ruled by a pharaoh, and in the eyes of the people, the pharaoh was not merely a king but a god. The Egyptians believe there was life after death, and after death the pharaoh was believed to return to be with other gods. There is little doubt that ancient Egypt’s greatest achievements were in the architecture in the great pyramids.
Thousands upon thousands worked year after year to build the pyramids. Today, the pyramids still remain a great wonder. The pyramids of Egypt are of such large scale that tourists who visit them are overwhelmed by their size. These pyramids were designed to be large to express the eternal strength of Egypt. Wall paintings inside a pyramid depict the royalty of the pharaohs in very large scale. His servants, however, are very small in scale to emphasize their low status. When figures are arranged in a work of art where scale indicated importance, it is called hierarchical proportion. We can learn a great deal about the stylized painting of scenes and figures inside the tombs because they likely represent ancient Egyptian life.
Abstract art today departs from representing accuracy by exaggerating or simplifying the forms suggested by the world. Abstract artists sometimes create a style, but they do not have to follow the rules. Stylized art also departs from realism by exaggerating or simplifying forms, but, as its name suggests, it follows a preset STYLE.
Wall Painting Inside Pyramids
Parts of the stylized figures painted on the pyramids are painted as they would appear from the side; the head, arms and legs arms are three such parts. Other parts of the body appear as they would if we seeing people head-on. The eye and shoulders demonstrate this. You’ll also notice that the one eye that shows is always painted on the side of the face.
The Egyptians wanted to show only the most important parts of the body, and they wanted to show those parts in the most attractive way. Art painted the eye on the side of the face so it could be shown looking straight out. Feet don’t look like feet from straight on, so the Egyptians painted them from the side. All these angles are natural positions. These painted views of the figures show the strict rules that artists of ancient Egypt had to follow. The rule was to show every part from its most visible angle. Egyptian art is considered very stylized for a specific reason. Religion dictated that an artist had to show certain features and objects in a certain way, to make sure they arrived in the afterlife correctly. The wolf-like kneeling figure is called the Anubis. He was known as a god of the underworld that would protect the spirits of the dead.
Egyptian Stele
It was also customary to decorate the tombs of rich or important people with painted relief sculpture. This is called a stele or stela. This stele is a carved upright stone slab used as a monument. Each frame shows a different part of a person’s life as did the tombs, and the characters that mean some letter or word that decorated the tombs were called hieroglyphics.
These Egyptian Stele (stē'lē) are like the tombstones we use to mark graves and commemorate our dead. A stele is a stone slab that honored the life and death of a person. It was usually oblong, set up in a vertical position and decorated with carved hieroglyphics and paint. Wealthy Egyptians, especially officials and priests, often had stele placed near their tombs. Inscriptions on stelae (plural) usually included the deceased person's name, symbols of their rank or position, their good deeds, and a funerary prayer. Other cultures made funerary stelae. Those in Greece were made of marble, and those of Athens are among the most beautiful monuments of classical art. Likenesses of the dead were sculptured in relief and painted upon them. Very ancient Stelae are found in ruins in Mexico and Central America of the Mayan culture, and in China. Though the paint is usually worn off, the shallow carvings (bas-relief) on stone can still tell stories of the ancient peoples and the gods they worshiped.
Could Egyptian artists paint realistically? Yes, there are examples of paintings and sculptures that are realistic, but artists that worked in the tombs of the Pharaohs were trained to paint by very these strict stylistic rules.
Work Cited
All copyrights belong to their respective owners.
Images and text owned by other copyright holders are used here under the guidelines of the Fair Use provisions of United States copyright law. These images and text are used here only for the education of high school art students, and are not intended to generate income for the school, its employees or its students. Attributions for copyrighted work have been made in each case, and a link where possible.
02.02 Egyptian Art Assignment (Art History and Art Criticism)
teacher-scored 20 points possible 30 minutes
Copy and paste the questions between the asterisk into a word processor. From your online readings, answer the questions in your own words, in complete sentences and submit your assignment (Worth up to 20 points).
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1. Explain in a sentence or two how the ancient Egyptians artists showed the human body in their works, and what this art is called.
2. In a sentence or two, explain the importance of a Egyptian stele.
3. What were the characters called that Egyptians used to represent letters or words?.
4. In a sentence or two, explain who Anubis was.
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02.03 The Art of Asia (Art History and Art Criticism)
The Art of Asia is different than European Art. The Art of Asian was based on different philosophies and beliefs in Hinduism and Buddhism with an emphasis in relationship people and influences on nature. Nature seemed to be common theme in their art.
Like Egypt, the ancient civilization of China, India, and Mesopotamia each developed in a river valley. Yet, despite similarities, each civilization had it own culture and ways of making art. The first Egyptian pyramids were built around 2600 B.C.E. Around that time, another civilization was emerging a continent away in the Yellow River valley. This civilization, China, still exists today. It boasts the oldest continuous culture in the history of the world.
From the earliest Stone Age art to the Ming Dynasty in 1500 A.D., Chinese artists took up the same themes over and over again. Ancient China and its rich history were divided up into dynasties until just recently. A dynasty means a period of time during which a single family provided a succession or rulers. The dynasties were named for the ruling families.
The history of Chinese art is also broken up into dynasties. The first of these dynasties was called the Shang. The last of these dynasties was the Ch’ing. The single greatest achievement of early Chinese artists was their working in bronze. India had a huge influences on Chinese art, when the Chinese invaded this country. China adopted the Buddhist religion during the Han Dynasty lasting from 206 B.C.E. to 220 A.D. Chinese art stressed a oneness with nature.
Chinese artists were interested in swirling brushwork lines. They were also interested in nature: animals, trees, flowers, rocks, water. They wanted to express the relationship between people and nature. Chinese artists found that long periods of meditation enabled them to perceive the beauty of an object or a scene. This made them better able to capture the beauty of the subject in their paintings. Chinese paintings were made on scrolls which are long illustrated parchments or silk and usually hung on a wall. They are meant to be read like a book. Sculptures in Chinese were produced for religious purposes.
The earliest form of art we know from China was pottery--
clay pitchers and bowls. Most of the best, early pottery comes from a place called Ban'po and it is named after that place. Sung dynasty porcelain objects were made of fine-grained white clay porcelain called kaolin. Work in porcelain reached its highest point during the Ming dynasty. Today tombs full of clay sculptures are being discovered. Japan also adopted Buddhism as a its major religion. Until the end of the ninth century, Japanese artists copied the art styles of China in other Asian countries. Then Japanese artists began to develop a style uniquely their own. Many different subjects are shown in Japanese painting and printmaking and woodblock print.
A fairly recent find in 1974 by workers digging a well are the Terra Cotta Ceramic Army.
Terrra Cotta Ceramic ArmyThese funerary figures are from the Qin dynasty(221-206 B.C.E.). The faces of the warriors are wonderful, and resemble a cartoon characters. Qin is pronounced CH'IN, and is where the name CHINA originates. This place is HUGE. Some of the sculptures are thought to be the images of real people and are life-size.
Each dynasty belief was that horses
(and camels) represented the military preparedness of the country, and during these dynasty the country claimed over 700,000 horses. Displaying a ceramic figure of a horse indicated support for the emperor. The Tang emperors supported trade and new ideas. In this atmosphere, literature and the visual arts flourished, especially ceramics and painting.
A form of Chinese Art is the actual lettering of their language. Instead of a pen, pencil, charcoal or chalk, the Chinese use the medium of brush and ink to create a form of writing called calligraphy
(which means beautiful handwriting), so that each letter is as much a painting as it is writing. As in Europe, only the Chinese nobility, monks and theologians were taught to read and write, or had the time to engage in learning. Like the Europeans, they wrote out long religious works and illustrated them, though they used silk or paper scrolls instead of heavy bound manuscripts.
Calligraphy being the forming of letters, and brush painting being the creation of pictures, historically they tended to go together. Although they could appear separately, calligraphy being placed as a work of art by itself on a wall, screen or a scroll, Chinese brush painting usually had calligraphy within the composition. Subject matter in China was not limited to religion, though. The beauty of nature, both in still-life and landscape, women, court life, and animals were acceptable subject matter.
An important pottery in China is Ming Dynasty Porcelain (porcelain is a very stiff clay, also considered very strong. It is still used today and must be fired at a very high temperature), but it actually developed in the previous Yuan dynasty and became extremely popular in Europe. Ming porcelain was made out of many colors, but the most popular by far to contemporary collectors are the blue and white pieces.
When Portugal established a trade route to Europe, ships used pottery and porcelain for ballast(weight in the bottom of the ship). These porcelain pieces were very heavy and traders, to protect the ware from breaking, would use hay or rice straw for packing when they shipped them. Europeans would pay high prices for any and all qualities of these ceramics. Then, the Europeans finally figured out how to make porcelain themselves. Hundreds of years ago, the Chinese were copying images of windmills, flags and animals they had never seen for export back to Europe and America. The Chinese call these decorated ceramic pieces "Foreign Ware" which are still being manufactured and exported. Most Chinese, however, prefer to decorate the ceramic ware with patterns of dragon, carp, butterflies and other traditional plants and animals to bring luck and long life to its owner. The blue and white ware has been copied so often and so well, spawning a huge market in counterfeits, that it takes an expert to know the difference between the real thing and a copy.
Sung Dynasty paintings, influenced by Taoism and Confucianism, often show tiny people dwarfed by nature. Artists became concerned with economy of line: one simple line makes us see the whole cliff, or flowers, or birds. They began to draw just one flower, or one bird. The Mongol invasions brought a new energy and enthusiasm to painting, but under the Ming Dynasty, artists began to explore still-life painting, and to reconsider and revive the styles of the past.
Most people in ancient China could not afford to live in fancy houses. They lived in small houses made of mud-brick, with only one room and a dirt floor, just the way most people in the Roman Empire or West Asia or Africa lived, and the way most people in the world still live today. In Northern China, the doors of these houses usually faced south, to keep out the cold north wind.
Rich people had fancier houses, and people also built ornate temples and palaces. All ancient Chinese architecture was built according to strict rules of design that made Chinese buildings follow the ideas of Taoism or other Chinese philosophies. The first design idea was that buildings should be long and low rather than tall--they should seem almost to be hugging you. The roof would be held up by columns, and not by the walls. The roof should seem to be floating over the ground. The second design idea was symmetry: both sides of the building should be the same and balanced, just as Taoism emphasized balance. Even as early as the Shang Dynasty, about 1500 BC, Chinese buildings looked pretty much like this, with curved tile roofs and long rows of pillars. The palaces of the Chou Dynasty, and then the Chin Dynasty, continued in this same style.
The biggest change in Chinese architecture came during the Han Dynasty, in the second century B.C.E, when the new religion of Buddhism first came to China from India. Many Chinese and Japanese Buddhists began to build pagodas
(a tower several stories high with roofs curving slight upward on the edges) to keep sacred things in. At first these pagodas were related to Indian buildings called stupas.
When Buddhism became more important in China in the sixth century A.D. during the Three Kingdoms period, architects began to build special Buddhist temples. But under the Sui Dynasty, in the early seventh century A.D., the ideas of symmetry and balance that were important in Taoism became more important again. At the same time, people continued to want Buddhist pagodas. Under the Tang dynasty, architects designed even more ornate Buddhist pagodas with eight sides. One famous eight-sided stone pagoda is the White Pagoda at Chengde.
White Pagoda
Under the Sung dynasty, about the year 1000 A.D., people wanted their pagodas to be tall and thin with high spires. To make them fancier, they had complicated wooden lattices all around them. While the Mongol Yuan dynasty ruled China, about 1200-1300 A.D., they built great palaces at Beijing with many huge halls. The great architectural accomplishment of the Ming dynasty in the 1400's was to build the Forbidden City, a huge palace where the emperors lived. But the Forbidden City's buildings still follow pretty much the same architectural rules as the palaces of the Shang Dynasty three thousand years ago.
Chinese clothing was unique and very decorative. People in China generally wore tunics (like long t-shirts). These were called kimonos. These kimonos have unusual sleeves that extend down to the waist or farther. The patterns tend to be more geometric. Women wore long kimonos down to the ground, with belts, and men wore shorter ones down to their knees. Sometimes they wore jackets over their tunics. In the winter, when it was cold, people wore padded jackets over their tunics, and sometimes pants under them. In early China, poor people made their clothes of hemp or ramie. Rich people wore silk.
Kimono Most people in China, both men and women, wore their hair long. People said that you got your hair from your parents and so it was disrespectful to cut it. During the Sui Dynasty, in the sixth century A.D., the emperor decided that all poor people had to wear blue or black clothes, and only rich people could wear colors.
In the Sung Dynasty, about 1100 A.D., a fashion started at the emperor's court for women to bind their feet. Women thought that to be beautiful, they needed little tiny feet, only about three inches long. They got these tiny feet by wrapping tight bandages around the feet of little girls when they were about five or six years old. Clothing was seen as a status symbol for many dynasties, and was the mark of an individual’s position in society. For example, the fur of a black fox and the color yellow were reserved for high level officials and members of the imperial family. The Emperor’s gowns were loaded with artful ornaments and hidden symbolism for good luck, and a dragon’s image dominated each imperial costume. As an important element of Confucianism, it symbolized the emperor’s power.
A Dragon Robe contained nine dragons, one on each shoulder, another on the back, and one covering the breast of the top, and one on the bottom garment. The last four dragons decorated the bottom of the imperial robes. The dragon robe was not simply meant to be an ornament for the Emperor, it was also supposed to bring good luck to the people. Apart from the dragons, eleven other symbols for good luck were featured. Another symbol on the emperor’s robes was a red bat which is a homophone of the character meaning “a veritable deluge of good luck”. Undergarments featured the oceans and mountain ranges of the world, because in Chinese tradition the emperor was regarded as the “son of heaven” who rules the whole world.
Work Cited
All copyrights belong to their respective owners.
Images and text owned by other copyright holders are used here under the guidelines of the Fair Use provisions of United States copyright law. These images and text are used here only for the education of high school art students, and are not intended to generate income for the school, its employees or its students. Attributions for copyrighted work have been made in each case, and a link where possible.
gotheborg.com/webshop/index.php?cat_id=3
02.03 The Art of Asia Assignment (Art History and Art Criticism)
teacher-scored 40 points possible 30 minutes
Copy and paste the questions below in a word document. Using the information from your online reading material, answer the following questions. Copy and paste the questions and answers in your own words and in a correct sentence and submit your assignment (Worth up to 40 points)
1. Explain what elements seem to be the theme of Buddhism and its influences on Chinese art.
2. Explain where the blue and white pots came from and what were made of.
3. Who were buying the ceramic pieces from China and what were they called? What subject matter did the Chinese paint on exported pots, but what did they prefer to use for their own pieces?
4. Describe a pagoda and its function.
03.00 Greek and Roman Art (Art History and Art Criticism)
The beginnings of Western Art:
The Greeks and Romans settled around the Aegean Sea. If you don't know where the Aegean Sea is located, do a Google map search.
What we consider classical western art was inspired by the ancient Greeks and Romans. Greek philosophies influenced the evolution of the ideas, government, art, architecture and civilization of the western world. The idea of beauty in western society was first cultivated by the Greeks.
03.01 Art of Greece (Art History and Art Criticism)
What do you already know about the ancient Greeks and Romans? You might say that you know them from their life-like sculptures, or their huge outdoor structures like the Parthenon, built to honor the mythological goddess Athena; inside was her huge ivory and gold statue. The Parthenon stands along other temples on a sacred hill known as the Acropolis which means "high city."
PanthenonThe most characteristic feature in the architecture are decoration of the temple is the ionic frieze running around the exterior walls. The temples built in ancient Greece originally were covered in bright colors, called ENCAUSTIC paint, which had a wax base. These have worn off, leaving the marble and stone bare. The Parthenon, made of concrete, a mixture of powdered minerals and small stones, is said to be perfectly proportioned and was built with the improved post and lintel system like the Pyramids and Stonehedge.
The Greeks were always looking for perfect proportions: the size relationship between one part and another. The vertical columns of this structure have negative spaces between the columns to reflect a sense of harmony and rhythm. The symmetrical balance has the same number of columns on each of the opposing sides of the building. What is the importance of proportions to the function of structures and products in creating art objects? The Parthenon and other Greek architecture have influenced more architecture than we can list here--just think of the White House, and most state capitol buildings, including Utah's.
Alexander the Great ruled Greece from 366 to 323 B.C.E. and built the largest empire in the world. He conquered regions of Persian and India. He created mints that made his own coins to remind people of their powerful ruler and his conquests. The ancient coinage with which he paid his soldiers who fought in foreign lands still exists today. Thus, Alexander's portraits spread around the world. The practice of placing political leaders' portraits on money originated in Greece and continues today.
A Greek mathematician named Euclid determined what he considered to be the perfect ratio, or relationship of one part to another. He called this the ratio the Golden Section or the Golden Mean: a line divided into two parts so the smaller line has the same proportion or ratio to the larger line as the larger line has to the whole line. With this ratio, the ancient Greeks felt that they had found the ideal proportions. This relationship of parts was used in their sculpture, architecture and pottery. We are finding that some of their studies of ideal beauty are still relevant today, and though the idea of beauty has been shaped by millions of years of evolution. It can be studied by artists, philosophers, and mathematicians. In other words, the Greeks had it right when it came to BEAUTY - it can be MEASURED & JUDGED against an IDEAL. Our ideas about beauty are influenced by Greek sculpture and architecture, but our image of them is partially flawed.
The most important innovation in Greek sculpture was probably Contrapposto. Contrapposto (con-truh-pos-toh) is an Italian term meaning "counterpoise", but it was developed by Greek artists. Contrapposto is the position of a human figure in painting or sculpture in which the hips and legs are turned in a different direction from that of the shoulders and head; the twisting of a figure on its own vertical axis.
The style of Egyptian sculpture is very stiff compared to the more natural style of contrapposto. It is especially a way of sculpting a human figure in a natural pose with the weight of one leg, the shoulder, and hips counterbalancing each other. Thus it is sometimes called "weight shift." This technique was developed late in the ancient Greek period. According to the classical Greek sculptor Polykleitos in the fourth century B.C., it is one of the most important characteristics of his figurative works and those of his successors. Stone, marble or metal could now be sculpted to look like a natural figure in motion, walking or moving, creating a more natural and beautiful sculpture.
Ancient Greece(ArtHistory1)
Ancient Greece(ArtHistory1)
Ancient Greece(ArtHistory1)
After the fall of Rome, the use of contrapposto was forgotten; medieval sculpture (left) went back to a very stiff, unnatural pose, covered with drapery. This was fine with early Christians, but in the Renaissance, Greek sculpture and literature about man, beauty, and art were once again discovered, translated, and discussed by the foremost philosophers and artists of the time.
Classical contrapposto was revived in the Renaissance by the Italian artists Donatello (right) and Leonardo da Vince, followed by Michelangelo, Raphael and other artists of the High Renaissance. This was one of the major achievements of the Italian Renaissance, although later in Mannerism it became distorted and greatly over-used.
Greek vases varied in sizes yet had standard forms which were always used, though the painting on them was complex. The Greek Vase or amphora, a twin handled vase, was used for carrying and storing water, oil, wine or a funerary vase. The funeral amphora served as a grave marker.
Although the Greek empire was defeated by the Romans in 146 B.C., their art influence continued in the Roman art and culture. At its peak, the city had a population of over one million people. The Romans were interested in engineering, law and government rather than art. The Romans developed beautiful interior decoration, excellent roads and realistic ideas rather than idealized portraits like the Egyptians. Rome’s greatest contributions were in the field of architecture.
03.01 Greek and Roman Art -assignment (Art History and Art Criticism)
teacher-scored 35 points possible 35 minutes
Copy and paste the questions between the asterisk into a word processor. From the online readings, answer the questions in your own words in complete sentences submit your answers (Worth up to 35 points)
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1. In a sentence or two, explain what an amphora is.
2. In at least a sentence, explain what a frieze is.
3. In a sentence or two, identify the contributions of the ancient Greeks and Romans to the history of art. Also, in a sentence or two, explain why proportions were important.
4. In a sentence, explain what concrete is and what its purpose was during this time period.
5. In a sentence or two, explain what is an acropolis and what does it mean?
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03.02 Byzantine Art and Middle Ages(Art History and Art Criticism)
Byzantine Art and Middle Ages
In the eastern part of the Roman Empire, a new style of art developed. This style thrived around the city of Constantinople (now Istanbul). Byzantine art is the term commonly used to describe the artistic products of the Byzantine Empire from about the fourth century until the Fall of Constantinople in 1453. Byzantine art was very rich with colors, and yet the figures were flat and still. They showed very little perspective (the illusion of depth and distance). The work blended the Greek, Roman and Asian styles and had a very religious theme. (1)
During the fifth and sixth centuries, mosaics, the art of creating images with an assemblage of small pieces of colored glass, stone, or other materials, were the dominant art form until the 14th century. Mosaics were decorative art used in the an aspect of interior decoration, showing subject matter of cultural and spiritual significance in many holy places such as cathedrals. These mosaics normally were comprised of small cubic pieces of colored stone or glass, known as tesserae, and were used to create a patterns or pictures.
Mosaic
The Hagia Sophia is acknowledged universally as one of the great buildings of the world and one of the greatest surviving examples of Byzantine architecture. It is rich with mosaics and marble pillars. Unfortunately, nothing remains of the original Hagia Sophia, which was built in the fourth century by Constantine the Great.
Constantine was the first Christian emperor and the founder of the city of Constantinople, which he called "the New Rome." The Hagia Sophia was one of several great churches he built in important cities throughout his empire. Following the destruction of Constantine's church, a second was built by his son Constantius and the emperor Theodosius the Great. This second church was burned down during riots of 532, though fragments of it have been excavated and can be seen today. It is now a museum in Istanbul, Turkey.(2)
Famous in particular for its massive dome, it is considered a very good example of Byzantine architecture and is said to have "changed the history of architecture."(3) It was the largest cathedral in the world for nearly a thousand years. It was designed by Isidore of Miletus, a physicist, and Anthemius of Tralles, a mathematician.
Hagia Sophia
The church contained a large collection of holy relics and featured, among other things, a 49-foot silver iconostasis which is a screen on which icons are mounted, and is used in Eastern Orthodox churches to separate the area around the altar from the main part of the church. When Constantinople was conquered by the Turks, it was converted into a mosque. The bells, altars, iconostasis, and sacrificial vessels were removed and many of the mosaics were eventually plastered over and replaced by Islamic motifs.
The Middle Ages can be split into three periods, Byzantine, Romanesque, and Gothic. The Middle Ages are so- named this because they fell between the two most famous periods of art in western civilization, the Classical period and the Renaissance. The Middle Ages are also commonly referred to as the Medieval Period. Another name for this period was The Dark Ages. The Middle Ages are identified as the period from the fifth to the 15th-16th centuries, or roughly 400 to 1500 A.D., from the fall of Rome (NOT the Roman Empire, just Rome) until the Renaissance. The Renaissance was anything but dark. Sculptures and painting were used to express revolutionary and free ideas of the time. Architecture found expression in magnificent churches, stained glass and sculptures.(5)
After the fall of Rome, the practice of Christianity became widely accepted. The Catholic Church stood as the single most important influence in western Europe. The art and architecture is divided into two periods. The Romanesque and the Gothic. In the Romanesque period, war was common. Land was power. Buildings were built for the rich to protect themselves. Castles also had high walls, moats and drawbridges.
The style of architecture of the churches was named for Rome and featured massive, solid, and heavy walls, wide use of Roman arches and many sculptural decorations.
Since the common man was unable to read, the Catholic Church reminded people to lead good lives by commissioning sculptures and illustrated hand-painted books depicting the good works of the saints and punishments of the devil. For one-thousand years, these were the dominant art form. (6)
The Gothic style of architecture around the 12th century featured churches that soared upward into the sky. More people moved from the country side into the towns. Workers such as stone carvers and carpenters organized into unions and apprentices learned their craft from the masters in the guilds. A wealthy new middle class, city pride and religious faith led to the building of huge cathedrals. Two architectural developments, the pointed arch and the flying buttress, were new innovations created by this spate of building.
Stained Glass Window
Architects of this period used stained glass windows which changed the light that entered the churches. Gothic sculpture and painting took on less stylized and more realistic qualities. Religious scenes were painted on church altar pieces with egg tempera paint and gold leaf.
Work Cited
Art Talks, Second Edition, Glencoe, Ragans, Rosalind, page 49
www.en.wikipedia.org/wiki/Hagia_Sophia
Understanding Art. [145] Mittler and Ragans, Glencoe,
www.simple.wikipedia.org/wiki/Gothic_architecture
03.02 Byzantine Art and Middle Ages Activity(Art History and Art Criticisim)
teacher-scored 42 points possible 40 minutes
Answer the following questions below. Submit your answers by making a copy, paste the following questions into a word processor program and submit your answers on what you have just learned from the readings above.
1. Why is this period called the Middle Ages?
2. Select the website at the Stained Glass Museum, connecting to the "The Brief History of Stained Glass". Explain what the purpose of stained glass was in a cathedral, then summarize how stained glass is made. Give a short description of the methods and materials used in the manufacture of stained glass since the twelfth century.
3. What is a mosaic?
4. Where is Hagia Sophia and what was it used for?
5. Using the websites below, explain the difference between the Gothic cathedrals and the Romanesque cathedrals.
What are flying buttresses and and pointed arches?
Stained Glass Museum
04.00 Renaissance (Art History and Art Criticism)
Renaissance OVERVIEW:
Time period: French for 'rebirth', or Rinascimento in Italian, was a cultural movement that encompassed the revival of learning based on classical sources, the rise of courtly and papal patronage, the development of perspective in painting, and advancements in science. The Renaissance is identified as the period from the 14th to the 17th centuries. When you have completed this Unit, your final objective will be to select a Renaissance Artist and complete a self-running Multimedia presentation on this artist and and be identify the techniques he used in Renaissance paintings. Identify his style of art and the contribution he made to the art world.
04.01. Early Renaissance (Art History and Art Criticism)
Up until this point you might not really remember any artists' names or be able to associate an artist's name with a piece of art work. What you might be able to remember is the ruler of the artist's country because this ruler will get the credit. During the Renaissance period of art, you will learn many of the artists' names and their works. You will be given a set of questions that you will need to know for the final quarter test as in the other units. When you're finished with those questions, you will pick one of the artists during this period and make a power point, movie or other multimedia presentation and submit it. The following websites are good sources for this project, and you’re welcome to visit them any time. You will be directed to these websites along with instructions for submitting your final project and the rubric I will use for grading.
It was a cultural movement that encompassed the revival of learning based on classical sources from the philosophy and art of ancient Greek and Roman empires. The Renaissance is the name give to the period of awakening at the end of the Middle Ages: the rise of courtly and papal patronage, the discovery of new continents, the development of perspective in painting, and advancements art and in science. The Renaissance can be identified as the period from the 14th-17th centuries.
The Renaissance can be split into four sections, but these are not linear. The Northern Renaissance is roughly the same time as the Early Renaissance in southern Europe. The four sections are 1) the Early Renaissance, 2) the Italian Renaissance, also called the High Renaissance, 3) the Northern Renaissance, and 4) the Late Renaissance, also called Mannerism. The Early Renaissance was heavily affected by “The Black Death,” which left Europeans with no jobs, lack of income, and a healthy dose of doubt about whether the Christian Church was able to protect them. After all, monks, bishops and aristocrats were affected by the plague, just like anyone else. This led to more belief in human abilities (humanism), and decreased the belief in the ultimate power of the church. The discovery of the glass lens in the north, the camera obscure, oil painting media (a break from fresco), and discoveries in perspective would change painting forever.
One of the most powerful families in Italy was the Medici family, who were great patrons of the arts. They commissioned artists and the great thinkers of the time to create works that launched the Renaissance. The center of the artistic revolution was in Florence, a powerful city-state north of Rome. The Early Renaissance was launched in Florence by artists who wanted to make a complete break with the Late Gothic style.
Artists in this period are Leonardo da Vinci, (who left 120 notebooks filled with observation drawings and notes on subjects that ranged from human anatomy to plans for machines)(1), Michelangelo Buonarroti (the artist who painted scenes on the ceiling of the Sistine Chapel), Raphael and Filippo Brunelleschi, to name just a few famous artists. "This group of Early Renaissance artists studied the ruins of classical buildings and ancient works of sculpture to unlock the secrets of their harmonious style. They believed that once the classical ideals were rescued from obscurity, new works could be fashioned that captured the spirit of ancient art and architecture without slavishly copying it." (etsu.edu, retrieved April 29, 2007). During the Middle Ages, artists were common men and worked for the church. During the Renaissance, artists mingled with the kings and were free to revel in new ideas.
Realistic-looking sculptures and paintings were created by these artists. Filippo Brunelleschi developed a technique called linear perspective, a graphic system that creates the illusion of depth and volume of a flat surface by using converging lines. Perspective provided a set of rules that enabled artists to show how figures and objects are arranged in space or the picture plane. The rules of perspective made the placing of the position of objects, and the depiction of their mass, measurable and exact. This gave an exciting illusion of reality to works of art. Artist all over the world today still used linear perspective. Elements that help create this illusion along with the placement (or position) on the two dimensional surface use sharp detail in the foreground and less detail in the back-ground. Larger objects are always placed lower in the picture plane. Overlapping is another way objects take on perspective with duller and grey colors in the background with brighter colors closets to the viewer.
Leonardo da Vinci’s most famous work is a portrait of Mona Lisa.
Mona Lisa This picture was created using dark values and lights, and with the subtle blending, it was hard to tell where one area started and the other began. He was recognized as a great artist, and artists from all over flocked to Florence in hope of learning from him.(2)
Works cited:
04.02 Northern Renaissance (Art History and Art Criticism)
Northern Renaissance
While the Early Renaissance was taking place in Italy, the Netherlands had their own Renaissance. As they didn't have classical ruins like Rome to rediscover, they turned to nature. Rather than Heroic nudes, they preferred prosperous merchants and the first Genre paintings (peasants in everyday settings) were created. Also called Holland and Flanders or the "Low Countries", because they are so close to sea level, the Netherlands became the wealthiest part of Northern Europe by the end of the 15th century, mainly because of a major port at Bruges and thriving trade. The nobles and rich traders were able to commission artists, creating a class of highly-skilled painters and musicians who were admired and sought after throughout the continent. This led to frequent exchanges between the Netherlands and Northern Italy. (Harvested Wikipedia, May 07, 2007).
The art of the Northern Renaissance continued to make use of several Gothic techniques and features. One of these was symbolism. This is the use of an image to stand for a quality or an idea. A dog, for example, was a symbol of loyalty; a lily could mean purity(3). The invention of oil painting, a mixture of pigment, linseed oil and turpentine, took place in the Netherlands. The creation of this mixture is often attributed to Hubert van Eyck, the older brother of the famous painter, Jan van Eyck.
This mixture for oil painting is very slow drying, so it allowed artists to work more slowly and add details. Colors could be mixed right on the canvas. The newly-invented glass lens may have been used by many of the artists to achieve a higher degree of realism. Artists and scientists of the time traveled freely between the major cities, exchanging new ideas and seeing the latest achievements in art and architecture. The Northern Renaissance includes Germany, whose artists were influenced by the Netherlands and the Italian Renaissance. German painters produced great Renaissance art in the early 16th century, at the same time as the Italian Renaissance in the south.
Some of the main artists of the Northern Renaissance are Jan van Eyck (Flemish, c. 1385-1441), Hieronymus Bosch, (Dutch, c.1450-1516),Pieter Bruegel (Netherlandish, c. 1525?-1569) Hans Holbein the Younger (German, c. 1497/98-1543) and Albrecht Dürer (German, c. 1471-1528).
Jan van Eyck (Flemish, c. 1385-1441) This may be a self portrait of van Eyck, and is the earliest known painting in which the sitter looked directly at the viewer, predating the Mona Lisa by 70 years. As mentioned above, Jan van Eyck's brother, Hubert van Eyck, is credited with inventing oil paints, which replaced tempera paints. Oil paints were painted on wood panels until the late 1500's, when canvas made larger, lighter surfaces available. Oil paints were an improvement over tempera for several reasons. Tempera uses egg yolk as a binder, which goes bad quickly. It also dries quickly, and is usually applied in transparent layers, rather than blending the colors together directly.
Oil paints dry slowly, allowing the artist more time to blend colors together, and the artist could still use transparent layers. This blending allowed artists to use more detail, creating more realistic images. Artists mixed their own paints at this time, and they were stored in pig bladders or small jars. All painting was done indoors, as paints could not be transported easily, and some colors were very expensive.
Possible Self Portrait
The Arnolfini Marriage
The most famous of van Eyck's paintings is The Arnolfini Marriage, 1434. (The National Gallery, London, UK) Painted a year after Man in a Red Turban, it is oil paints on an oak panel. Giovanni Arnolfini was a merchant from Lucca in Tuscany, who had settled in Bruges and was a friend of Jan van Eyck. Van Eyck even left his signature on the wall above the mirror: Jan van Eyck was here 1434.
There is a lot of symbolism in this painting, including the small dog (meaning fidelity) and the cast-off shoes (meaning holy ground). The small medallions set into the frame of the convex mirror at the back of the room show tiny scenes from the Passion of Christ and represent the Lord's promise of salvation for the figures reflected on the mirror’s convex surface; the mirror itself represents the eye of the Christian God observing the vows of the wedding.
A spotless mirror on the back wall was itself an established symbol of Mary, referring to the Holy Virgin’s immaculate conception and purity. Notice the detail of the convex mirror. The mirror reflects two figures in the doorway, one of whom may be the painter himself. In Panofsky's opinion, the figures are shown to prove that the two witnesses required to make a wedding legal were present. - Wikipedia, Harvested May 10, 2007. Jan van Eyck http://www.abcgallery.com/E/eyck/eyck.html The Arnolfini Marriage http://www.abcgallery.com/E/eyck/eyck2.html Convex mirror http://en.wikipedia.org/wiki/Convex_mirror
http://en.wikipedia.org/wiki/Arnolfini_Portrait#_note-Panofsky
Hieronymus Bosch, (Dutch, c.1450-1516) (pronounced Hy-ron-i-mus Bosh) Bosch created many scenes of the downfall of man, from the Garden of Eden (left) to the Garden of Earthly Delights (center), from which this triptych gets its name, to his vision of Hell (right). Though this was created as a triptych (three panels which fold to close, leaving the outside panels to protect the main painting), this was most likely not created for a church, as most triptychs were, but for a wealthy family. Bosch's nightmarish worlds inspired many Surrealist painters, such as Salvador Dali, in the 20th century,
Pieter Bruegel the Elder Breugel
Pieter Bruegel, the Elder Bruegel (pronounced Broy-gull) was born nine years after Bosch's death, but he was inspired by Bosch’s dark view of mankind. Bruegal painted images of peasants and common people in scenes of everyday life (Genre painting). Until now, paintings of peasants were not considered high art, but Bruegel adds a new dimension to these scenes. They often were moralistic stories of gluttony, drunkenness, or wanton behavior, approached with a satirical eye, while others are warm, touching portraits of peasant life.
Each character is interesting, and the story flows from one to the next, from the boy licking his finger to the musician and the guests to the man spilling one bowl while he reaches for another. The characters in each painting are real people, and Genre painting became an acceptable art form.
Hans Holbein the Younger (German, c. 1497/98-1543) Holbein is best known as the court painter to Henry VIII, and is considered one of the best portraitists in history. His most famous painting, however, is the French Ambassadors, partly for the curious skull painted in the lower section. It is distorted so as to appear to the viewer only from the lower left side. To get an idea of the incredible skill of this Northern Renaissance painter:
Henry VIII
Self Portrait Durer
Called the "Leonardo of the North" for the diversity of his interests, Albert Durerwas fascinated with nature and did accurate botanical studies of plants. What assured Durer's reputation as the greatest artist of the Northern Renaissance was his graphic work. Durer was the first to use printmaking as a major medium for art. - The Annotated Mona Lisa, Strickland, 1992.
04.03 Mannerism (Art History and Art Criticism)
A movement in Italian art from about 1520 to 1600 is called Mannerism. It was developed out of the Renaissance in which artists depicted classical ideals, nature and realism. Each portion of a Renaissance painting was composed with great precision, with an emphasis was on harmony and balance. Late Renaissance and Mannerist (1520-1600) works are more chaotic in composition and often have crowded compositions and high contrast, which is a signpost of the Baroque age to follow. The elongated figures in exaggerated poses, unpredictable lighting and unrealistic colors cause tension in the painting, unlike the calm, composed characters of Raphael or Holbein.
Mannerism gave way to the a period of art called Baroque. Leading Mannerists artists include Pontormo, (Italian, c.1494-1557)Rosso, to and El Greco. El Greco is considered the most important of these artists.
REFORMATION
1517 - Martin Luther posts his "95 Theses" on the door of the Wittenberg Cathedral
1520-Luther is excommunicated and begins a "protest" movement against the Catholic church later called "Protestantism.”
--among his concerns was the increasing distance of the lay person from understanding of the Bible and the Mass. Luther maintained that the lay person was no longer playing an active role in the Church and was increasingly removed from understanding the Scriptures because of increasing mystery and ritual. Luther saw visual forms as playing a role in this process of increasing obfuscation.
--Luther advocated hymns as a better way to communicate hard-to-understand mysteries of the Church and made music an integral part of Protestant Church services.
COUNTER REFORMATION
1541-Michelangelo's Last Judgment of Christ is unveiled in the Sistine Chapel.
Take a virtural tour of the Sistine Chapel.
Christ is shown as a young man and the scene is dominated by nude figures. Many criticized the work as an example of the licentiousness that has pervaded the church.
1545-The Council of Trent convenes to discuss and consider Luther's Theses.
1563- The Council of Trent finishes its work and makes art an integral part of the process of helping the layperson to understand the Scriptures. Mannerism is connected to the “problematic period” between 1494 and 1526:
Jacopo Carucci (May 24, 1494 — January 2, 1557), usually known as Jacopo da Pontormo, or simply Pontormo, after the town in which he was born, was an early Italian Mannerist painter and portraitist. He was famous for his use of contorted poses, distorted perspective and peculiar, markedly unnatural colors, which appear to mirror his restless, neurotic temperament. A painter's son, the young Jacopo was immersed in High Renaissance values as an apprentice to Leonardo da Vinci and others in Florence. The emotionalism of his altarpiece in the church of San Michele Visdomini in 1518, however, signaled a dramatic departure from his masters' balance and tranquility. Hallmarks of his mature Mannerist style were already present: psychic energy over physicality, beautiful linear rhythms, restless movement, ambiguous space, vivid colors. For Pontormo, the work of art was ornament. (4)
Pontormo painted only in and around Florence, supported by Medici patronage. A short trip to Rome, largely to see Michelangelo's work, influenced his later style. Haunted faces and elongated bodies are characteristic of his work. Unlike most of his Florentine contemporaries, Pontormo also studied northern European artists, particularly Albrecht Dürer. Under the profound influence of his friend Michelangelo, Pontormo, primarily a religious painter, developed more sculptural form and disciplined his emotionalism.
During his last ten years, he became increasingly reclusive and disturbed. In his painting, “Joseph in Egypt”, National Gallery, London, notice the crisp lines, exaggerated colors, and chaotic composition. Tension is created by spots of bright colors, jagged lines, and contrast. Your eye does not flow smoothly from one figure to another, and the focal point is hidden in shadow, making us work to find out what is happening. Tempera paint dries very quickly, leaving artists little time to refine imperfectly applied paint. Pontormo created a white ostrich feather using a few quick and assured brushstrokes.
Rosso Fiorentino (the Red Florentine) (c. 1494 – 1557) Giovanni Battista di Jacopo Rosso was an a key person who helped promote the expressive style that is often called Early or Florentine Mannerism. Born in Florence with the red hair that gave him his nickname, Rosso first trained in the studio of Andrea del Sarto alongside his contemporary, Pontormo. In late 1523, Rosso moved to Rome, where he was exposed to the works of Michelangelo, Raphael, and other Renaissance artists, resulting in the realignment of his artistic style.
At the end of 1523, Rosso moved to Rome, where his exposure to Michelangelo's Sistine ceiling, the late art of Raphael, and the work of Parmigianino resulted in a radical realignment of his style, characterized by its highly-charged emotionalism. Fleeing Rome after the Sacking of 1527, Rosso went to France where he secured a position at the court of Francis I in 1530, remaining there until his death.
Under the spell of Italian culture after Rossco's success in the Italian wars, François I (king of France) was keen to have Italian artists at his court. He first invited Leonardo da Vinci and then, in 1530, called Rosso from Florence to the palace. Rosso worked on the decoration of the palace, creating an original, complex work whose high point is the gallery of François I, in a mingling of sculpture, stuccowork and painting. He also brought to France a new view of the human figure, with its roots in Florentine Mannerism: the elongated bodies, expressive forms, angular creases, and bright colors that are to be found in the Louvre.
Greco, El (1541-1614). Cretan-born painter, sculptor, and architect who settled in Spain and is regarded as the first great genius of the Spanish School. He was known as El Greco (the Greek), but his real name was Domenikos Theotocopoulos; and this was how he signed his paintings throughout his life, always in Greek characters, and sometimes followed by Kres (Cretan).
Little is known of his youth, and only a few works survive by him in the Byzantine tradition of icon painting, notably the recently discovered Dormition of the Virgin (Church of the Koimesis tis Theotokou, Syros). In 1566, he is referred to in a Cretan document as a master painter; soon afterwards he went to Venice (Crete was then a Venetian possession), then in 1570 moved to Rome. The miniaturist Giulio Clovio, whom he met there, described him as a pupil of Titian, but of all the Venetian painters Tintoretto influenced him most, and Michelangelo's impact on his development was also important.
In 1520’s the system of the government in the Roman Catholic Church with the head of the church being the pope was also in disarray. The "Sacred Roman Emperor", Charles the 5th, wanted to divorce his wife Catherine of Aragon. The Pope, a strong traditional supporter of the Aragon family, forbade him the divorce, thus Charles sent an army of 30,000 soldiers into Italy to take control of Rome. This move put the Pope in jeopardy; no foreign army had ever invaded the Holy City. The army's commander lost control of the troops and they started a "sack" lasting several weeks. It was the "Sack of Rome": the soldiers took everything of value, destroyed the rest and killed many innocent people.
By the summer of 1527, it was all over; everyone was shocked, and there was a massive change of attitudes; everything changed, including artists and their art. Italians felt that this "sack" must have been a punishment by God, because the Pope did not allow the King to divorce. -(harvest from angelfire.com). And so ends the Renaissance period.
Make sure you know the following vocabulary words for the final quarter test:
-Renaissance
04.03 Self Running Multimedia Project about Renaissance Artist (Art History and Art Criticism)
teacher-scored 100 points possible 120 minutes
Unit 04.03.01
Assignment Multimedia Project Objective:
After selecting ONE of the following Renaissance artists,
Leonardo da Vinci,, Michelangelo Buonarroti, Raphael, Filippo Brunelleschi, Jan van Eyck, Hieronymus Bosch, Pieter Bruegel, Hans Holbein the Younger, Albrecht Dürer, Pontormo, Rosso, or El Greco,
the student will create a self-running one to three minute multimedia presentation, using either Microsoft PowerPoint, Movie Maker, iMovie, Pinnacle Studio or another movie editing program, and present an informative research presentation that demonstrates an understanding of the artist's work, identifies an example of the artist's techniques and identifies the major innovations of artist.
The presentation should clearly support evidence of understanding the topic, while employing a variety of transitions, sound where appropriate, and images while observing copyright laws. Be creative, and hold audience attention in the specified time frame.
Additional help: students may ask for Step-by-Step instructions for each multimedia computer editing program and use Freeplaymusic.com or Soundzabound at UEN for sound presentation if needed by contacting the instructor. Use the rubric/grading criteria for grading criteria.
05.00 Baroque - Rococo - Romanticism (Art History and Art Criticism)
This quarter is a continuation of the first quarter of Art History and Art Criticism.
Rococo -Romanticism
You will now learn about Art History in the 17th Century.
Diversity was a mark of the Baroque Art Age. In Unit 05 you will be introduced to a variety of Baroque artists throughout the European continent during the 17th century. These artists came from the countries of Italy, Holland, England, Spain, France and Flanders. You will also learn about the different styles that these artists developed. These styles are the major innovations of the Baroque period. Two of these styles are Classicism and Naturalism and were more popular in France and England. Rococo is the most extravagant style of the Baroque period, and is called a "Child of Baroque." Those who created this type of art used curves and lots of decoration. Another style that will be discussed during this unit is called Romanticism.
05.01 The Baroque Age (Art History and Art Criticism)
During the seventeenth century, the Baroque age had a couple of major movements or styles. In the Classicism movement or style, you will meet these artists: Caracci, van Dyke and Rubens. In the Naturalism movement or style, you will be introduced to Caravaggio, Velasquez and Rembrandt. Vermeer rekindled the Classical forms and proportions in reaction to Mannerism.
During the Baroque age, art schools were formed for the first time. Before this time, artists were taught under the the apprentice system. Classicist artists rejected the ideas of Dynamism and Naturalism, the mark of the Baroque period, as being melodramatic or vulgar. The term Baroque is really a negative term, meaning the opposite of Classical and/or Renaissance. The Renaissance period emphasized harmony, balance, and the proportional balance of separate entities. Each part of a painting, sculpture or architectural project was in search of the perfect part. The Baroque age focused on diagonals and curved lines, excess drama, and passion.
Because of the Counter Reformation or the Protestant Reformation (the movement away from the Catholic Church), art was an important part of these religious feelings. Artists were called upon to create works that would renew religious spirit. A sense of flowing movement was one feature of a new art style of the day, Baroque, stimulated by the Counter-Reformation. The Catholic church wanted painting, architecture, and sculpture to revitalize the spirituality of the masses who now had a choice of Christian churches.
Baroque is an art style that emphasizes movement, contrast and variety. This art seemed to burst with energy and strong emotions, emphasizing one idea or focal point, minus the pretty or refined style of Rococo. It also shows people as they really are--natural--not idealized or prettier than the average human. In Baroque paintings, figures turn, twist and spiral into space. The artists refined perspective to the point where they could make figures seem to move off the canvas toward the viewer. They opened up space in the distance toward infinity. In addition to all this movement, dramatic lighting effects created dark mysterious shadows and brightly-lit areas. (2)
Naturalism: In Catholic Italy, the church encouraged religious imagery. The Council of Trent in 1563 sanctioned the creation of popular visual art to convey the meaning of the scriptures to laymen. Italian Michelangelo Merisi da Caravaggio's models were from the common people, directly from real life. Caravaggio's art work is considered Naturalism. This art refers to the depiction of realistic objects in a natural setting. It does not use idealism, but uses vagrants, drama, lights and darks, illuminating real characters with wrinkles and flaws, creating a highly naturalistic style. Dramatic gestures invited viewers into the drama created in the painting.
Michelangelo Merisi da Caravaggio. Caravaggio’s key contributions to the field of art were the use of light in a daring new way and his ability and skill as a storyteller in the picture. Caravaggio often stated that nature was his only teacher, but he obviously studied and assimilated the style of the High Renaissance masters, especially that of Michelangelo. Caravaggio's impact on the art of his century was considerable. He was one of the first to paint people as ordinary-looking. He was destined to turn a large part of European art away from the ideal viewpoint of the Renaissance to the concept that simple reality was of primary importance.
Merisi da Caravaggio
He also influenced artists of Spanish and Spanish-controlled Flanders at the time. One of the artists he influenced was Diego Velasquez. Velasquez's works, however,do not have such dramatic movement as Caravaggio's. Caravaggio and Velasquez were knighted for their works; this raised the status of artist to that of nobility. The status of artist has changed considerably in western art since the medieval age, when artists were common laborers. Velasquez and other Spanish artists influenced Spanish art.
Daniel in the Lions Den
A Flemish artist, Peter Paul Reuben,/strong> was able to capture action and feelings in the new style. Flanders is a lowland whose altitude is scarcely above that of the sea. (Today, Flanders belongs, for the most part, to Belgium). Wars and political marriages caused Flanders to pass from French to Spanish rule in 1526. Both countries were Roman Catholic, and Flanders was, therefore, under strict Catholic rule. At this time people started to rebel against the Catholic church.
Peter Paul Reuben
Those who rebelled were called iconoclasts. These iconoclasts began to destroy religious images around the country. [iconoclasm originally meant one who destroys sacred religious images (or icons), also known as "image breakers."] It was the iconoclasm of 1566 that demolished statues and paintings depicting saints in Flanders. This led to religious war between Catholics and Protestants. Iconoclasm resulted not only in the destruction of Catholic art, but also cost the lives of many priests. One cathedral, eight churches, twenty-five cloisters, ten hospitals and seven chapels were destroyed.
Eighty Year’s War
In 1568, parts of the low countries started a rebellion against the King of Spain. Because Spain was also at war with England, the war dragged on for 80 years. In 1585, Antwerp fell, ending the war for the Southern Netherlands (Flanders & Belgium). The loss of the southern low countries caused rich Protestant merchants of Flanders cities to flee to the north. Many migrated to Amsterdam, which quickly transformed into one of the most important ports in the world. The United Provinces (Holland, and the Netherlands proper) fought on until 1648.
Although art in Flanders remained at a relatively impressive level, Flanders experienced a loss of its economic and intellectual powers under Spanish, Austrian, and French rule, with heavy taxation and rigid political control compounding the effects of industrial stagnation and war.
Marchesa Balbi
Another Flemish artist, Antony van Dyck became the leading court painter in England. He is most famous for his portraits of Charles I of England and the king’s family and court. His painting has a relaxed elegance that was to be the dominant influence on English portrait-painting for the next 150 years. He also painted biblical and mythological subjects, displayed outstanding facility as a draftsman, and was an important innovator in water color and etchings.
The seventh of twelve children born to a wealthy silk merchant in Belgium, van Dyck began to paint at an early age. By the age of nineteen, he had become a teacher in Antwerp. Soon afterward, he collaborated and trained with the famous Rubens. Van Dyck was the greatest and most independent of Rubens' many famous pupils and assistants. He soon acquired all the outstanding skills of Rubens in rendering the texture and surface of things, whether it was silk or human flesh, but he differed widely from his master in temperament and mood.
Van Dyck was not a healthy man, and in his paintings a slow and slightly melancholic mood often prevails. No wonder that a painter who could bring out these qualities in his portraits with such perfection was so eagerly sought after by society. In fact, van Dyck was so overburdened with commissions for portraits that he, like his master Rubens, was unable to cope with them all himself. He had a number of assistants, who painted the costumes of his sitters arranged on dummies, and he did not always paint even the whole of the head.
Considered one of van Dyck’s best works, "Marchesa Balbi" was commissioned by a member of a large Genoese family with banking and commercial interests in Antwerp. In this work van Dyck took advantage of the austerity of Genoese attire. No matter how sumptuous the fabrics, adults were permitted to wear only black and white. In a showy display of lighting, van Dyck defined the Marchesa's stark outfit with a cascade of gold embroidery that glistens in the shadows. Beneath these striking tones and textures, van Dyck elegantly elongated her anatomy. Her skirt and lace ruff disguise legs and a neck half again as long as any conceivably normal proportions. Unlike the Mannerists, however, van Dyck has not elongated the entire figure, creating a more realistic style.
In his early twenties, van Dyck went to Italy, where he studied the paintings of Titian, Paolo and Veronese and worked as a successful portrait painter for the Italian nobility. Indeed, not only was van Dyck profoundly influenced by the style of Titian, but inventories also reveal that he later owned no fewer than nineteen paintings by Titian, as well as his own copies of several others.
Dutch artist Rembrandt Harmenszoon van Rijn(1606-1669) was known as the master of chiaroscuro, the arrangement of lights and darks. The son of a miller, he came from a family with modest means, but his family made sure he had a good education. He wanted to be known only by his first name. Rembrandt had a sad personal life, losing his wife and child its birth, but he remained a master artist.
The painting, popularly called The Syndics, Rembrandt's largest portrait commission during his late years, is an ideal solution of the principal problem of painting a portrait group. Equal importance has been given to each of the five officials. Their servant, wearing a skull cap, is in the center, yet the whole is united by clever and effective psychological and formal means. The subtle composition, the glowing coloristic harmonies, and above all the sympathetic interpretation and profound psychological grasp of the personalities of the six men is masterful. The total impression is of delicately-adjusted harmony and tranquility.
Rembrandt brilliantly exploits horizontals--a classical rather than a Baroque device--for the unification of the group. Three horizontals run through the picture at almost equal intervals: the edge of the table and the arm of the chair at the left mark the lowest one; the middle one is established by the prevailing level of the heads; and the upper one runs along the edge of the wainscoting. But here again, Rembrandt avoids all formal rigidity. These repeated horizontals are broken by sharp deviations on all three levels. The sharpest is in the group itself, in the strong curve of the head on the left. With a kind of strong effect, this movement is echoed by the slight rise in the upper horizontal on that side.
While this style of composition is similar to the relief-like manner of grouping favored by artists who worked in the classical tradition, there is an increased effect of space and atmosphere by Rembrandt's use of chiaroscuro and color. The harmonies are definitely on the warm side. A flaming red in the rug on the table, which is the most outstanding accent, is interwoven with golden tints. The Golden browns that appear in the background, in the panels of the wall, and within these warmly-colored surroundings, contrast the strong blacks and whites in the men's costumes, creating a noble and harmonious effect.
The traditional interpretation of the painting is that the men shown seated on a platform before the assembly of the Drapers' Guild, are giving to the assembly--unseen by the viewer--an account of the year's business. The official seated near the center of the picture makes a gesture with his right hand which most seventeenth-century observers understood immediately: demonstrating evidence. Harvested from http://www.wga.hu/frames-e.html?/bio/r/rembran/biograph.html in July 2010.
The Syndics
During the Naturalism movement, including artists such as Caravaggio, Rembrandt, and Vermeer, the Protestant Dutch in 1580 shook off Catholicism, and dismissed Catholic imagery as pompous and vulgar. During the Eighty Years' War, Holland became the center of the rebellion and as a result was the cultural, political and economic center of the United Provinces in the 1600’s. This was known as the Dutch Golden Age, during which Holland was the wealthiest nation in the world. From the great ports of Holland, merchants sailed to and from destinations all over Europe, and European merchants gathered to trade in the warehouses of Amsterdam and other trading cities of Holland.
Holland became predominantly Protestant, but with a large Catholic minority. Protestants urged reading the Bible, as opposed to the Catholic Church, which emphasized visual images, with priests as interpreters, to explain the concepts to laymen. Artists in Protestant areas were not employed to do spiritual art, so they turned to portraits, landscapes, and still lifes for a thriving and growing middle class. Wealthy businessmen and trade guilds hired artists to paint for their homes.
In Holland, the middle class invested in their homes, because seventy-five percent of the population lived in cities, while southern Europe was mostly agrarian. This meant Dutch merchants invested in trade, ships, furniture, art, and other commodities, instead of land. The average Dutch home had ten original paintings, and trade guilds commissioned group portraits, almost exclusive to Holland at this time.
(There will no project or activity at this point - Go to unit 05.2.0)
Work Cited
All copyrights belong to their respective owners.
Images and text owned by other copyright holders are used here under the guidelines of the Fair Use provisions of United States copyright law. These images and text are used here only for the education of high school art students, and are not intended to generate income for the school, its employees or its students. Attributions for copyrighted work have been made in each case, and a link where possible.
Works Cited
Themes and Foundation of Art
Understanding Art page 178
PICTURE nga.gov/fcgi-bin/timage_f?object=56&image=0&c=gg4243
PICTURE wga.hu/frames-e.html?/bio/r/rembran/biograph.html
Picture thomas-gainsborough.org/Portrait-of-Jonat
05.02 Rococo and Romaticism (Art History and Art Criticism)
Rococo is the eighteenth century art style which placed emphasis on portraying the carefree life of the upper class rather than on grand heroes or religious figures. Love and romance were considered to be better subject matter rather than historical or religious subjects. The style was characterized by a free, graceful movement, a playful use of line and delicate colors.
Le Mezzetin
Jean-Antoine Watteau (French, 1684-1721) is often referred to as the greatest of the Rococo painters. The Rococo is sometimes considered a final phase of the Baroque period.(4)
During the 18th century, there was a developing interest in and great acceptance of nature. Not only the earth, the trees, and flowers, but also the acceptance of simple human urges and instincts increased. Mankind was now seen as the most interesting aspect of nature: good, beautiful, ugly or harsh, these attributes were all accepted in concert with the notion that the things of nature could not be bad. This was the perfect time for Jean Antoine Watteau to come upon the scene, for he indeed felt a sympathy and affinity toward mankind.
Watteau was born in 1684. Not much is known about Watteau's family except that his father was a tile maker who was prone to drinking and brawling. Watteau showed artistic ability at a young age. His early drawings were of the local townspeople, shop keepers, and street clowns in Valenciennes. Like other young artists, Jean Antoine went to Paris in 1702 with the hope of entering a studio where he could refine his art. He worked as a second-rate painter before becoming acquainted with Claude Gillot. Gillot was a set designer for the stage, and it was Gillot who exposed Watteau to the Commedia Dell'arte. These theatrical themes appear throughout Watteau's oeuvre: an example is Le Mezzetin (1718) which can be viewed at New York's Metropolitan Museum.
Another Rococo artist was Thomas Gainsborough, who was born in Sudbury, Suffolk, England. His father was a weaver. When Thomas was thirteen, his father was impressed with his penciling ability and let him go to London to study art in 1740. He concentrated on painting portraits for a living. He studied under Flemish artist van Dyck and was eventually able to attract high society patrons who could pay better.
He painted the portraits of King George III and his wife, which gave him influence with the Royal Academy and made him one of the favorite painters. Gainsborough painted more from his observation of nature than from any application of formal rules; however,he wished he could paint nature instead of portraits.(6)
You might be more familiar with this picture Blue Boy.
Blue Boy: Portrait of Jonathan Buttal
Romanticism
Liberty
Eugene Delacroix was one of the greatest and most influential Romantic painters of this time. The term, Romanticism, defines an intellectual movement that flourished in the 18th and 19th century in Europe. It embraced literature, art and philosophy. Romanticism manifested in art by seeking to portray nationalism and the power of individual perception. Delacroix came to be known for his flamboyant canvases on historical and literary subjects that displayed this romanticism.
In 1830 he was inspired by the French Revolution to produce the Masterpiece “Liberty Guiding the People" which commemorates the July Revolution. It shows a woman personifying Liberty holding a a colored flag of the French Revolution and leading the people forward over bodies of the dead. (Harvested July,2010 from artexpertswebsite.com)
Johannes, Jan or Johan Vermeer was a Dutch Baroque painter who specialized in very beautiful and delicate work of domestic interior scenes of middle class life. Vermeer was a moderately successful plain-genre painter in his lifetime. He seemed never to have been particularly wealthy, leaving his wife and children in debt at his death, perhaps because he produced relatively few paintings.
You will notice the darks and lights of the portrait. Vermeer worked slowly and with great care, using bright colors and sometimes expensive pigments, with a preference for cornflower blue and yellow. He is particularly renowned for his masterly treatment and use of light in his work.
Recognized during his lifetime in Delft and The Hague, his modest celebrity gave way to obscurity after his death; he was barely mentioned in a major source book of 17th century Dutch painting and was thus omitted from subsequent surveys of Dutch art for nearly two centuries. In the 19th century, Vermeer art was rediscovered although only thirty-four paintings are universally attributed to him today. Since that time, Vermeer's reputation has grown, and he is now acknowledged as one of the greatest painters of the Dutch Golden Age (harvested July, 2010 from the intern http://en.wikipedia.org/wiki/Johannes_Vermeer )
Art historians often discussed the sparkling, pearly highlights in Vermeer's paintings and feel that his art has been linked to his probable use of a camera obscure, a primitive lens which would produce halation, the spreading of light beyond its proper boundaries in a developed photographic image, and even more noticeably, exaggerated perspective. Vermeer's interest in optics is also attested in this work by the accurately-observed mirror reflections.
Works Cited
All copyrights belong to their respective owners.
Images and text owned by other copyright holders are used here under the guidelines of the Fair Use provisions of United States copyright law. These images and text are used here only for the education of high school art students, and are not intended to generate income for the school, its employees or its students. Attributions for copyrighted work have been made in each case, and a link where possible.
Themes and Foundations of Art
Understanding Art
05.02 The Baroque Art - Rococo and Romanticism - assignment (Art History and Art Criticism)
teacher-scored 50 points possible 45 minutes
Copy and paste the questions between the asterisk in a word processor. From your online readings, answer the questions in your own words in complete sentences then submit your assignment. *********************************************************************************************************************
1. In a couple of sentences, explain what Baroque means.
2. Explain in a couple of sentences what Naturalism refers to.
3. In a sentence explain what is an Iconoclast.
4. In a sentence explain what chiaroscuro means.
5. Explain three important things that occurred during the Baroque age.
6. Explain in a couple of sentences what Caravaggio's contribution to the field of art was.
7. Explain how the Flemish artist van Dyke painted his portraits.
8. What is Rembrandt called the master of?
9. What does the Rococo style place an emphasis on?
10.Define Romanticism.
**********************************************************************************************************************
06.00 Impressionsim (Art History and Art Criticism Q2)
At the turn of the 19th century, the world saw the industrial and democratic revolution. Changes that challenged the status-quot were every-where. Art styles developed and changed because artists rebelled against the traditionalism of earlier art. Then, the invention of film and photography had a great influence on paintings during the 1800’s and the 1900’s. The invention of cameras. that could produce accurate pictures and portraits of the real world, created the perception that there was no point in painters doing the same thing. Different Art Movements began.
06.01. Neo-Classicism and Realism ( Art History and Art Criticism Q2)
Francisco Goya.pdf
The French Revolution
The French Revolution saw the abandonment of the Rococo style art and the art of the Greeks and Romans. This period was called Neo-Classicism, or New Classic.
One of the influential artists of the Neo-Classicism period was Elizabeth Vigee Lebrun. At the age of 15, she was supporting her family through portrait paintings. By the age of 20, she had become a favorite portrait artist of the Parisian aristocracy, and by 25 she worked for Queen Marie Antoinette. Her career was interrupted by the French Revolution, and she fled to Italy after the king and queen of France died at the guillotine.
Another group of artists felt that all subjects should be painted as they were really seen. These artists rejected Neo-classicism and the drama of Romanticism. These artists were considered to be realist artists (who paint or sculpt familiar scenes as they actually appear). These artists believed that the only suitable subjects were peasants and factory workers.
Artist Francis Goya was one of these artist. He recorded the ugly truth of war during the Spain Revolutionary war.(1) Goya’s style evolved during his work as an artist during the Rococo period. He was appointed court painter to Charles IV in 1789. After he saw the destruction of the war, his art gleaned images from his imagination and dreams. These works were difficult to interpret, but opened doors for other artists to free themselves from tradition and rely on their personal vision. (Read the PDF file on Goya)
Work Cited
All copyrights belong to their respective owners.
Images and text owned by other copyright holders are used here under the guidelines of the Fair Use provisions of United States copyright law. These images and text are used here only for the education of high school art students, and are not intended to generate income for the school, its employees or its students. Attributions for copyrighted work have been made in each case, and a link where possible.
06.02. Impressionism (Art History and Art Criticism)Q2
Manet.pdf
A custom common in Paris and London during the 1800’s was the yearly art show. The "Salon" was an annual exhibition of art that was a major social event. An artist’s reputation often depended upon whether or not his or her work was selected for showing at this Salon. During the Salon, art movements formed based upon the works of groups of artists who banded together to create a single style. The trend of Impressionism began when the painters, Monet, Cezzane, Dega and Renoir brought their works together in an independent exhibition in Paris in 1874. There, Monet's painting, "Impressionist Sunrise" inspired the Impressionist ideal that "Sunrise refers to all the painters as Impressionists." The name, "impressionist" stuck and from then on was used to identify paintings done in this style.
Impressionism
In the 1850s, as a result of the opening of Japan to Western trading vessels, Japanese art, in which including Japanese woodblock prints, were brought to Paris. These prints greatly influenced the impressionists. Impressionists were inspired by the Japanese artists and the use of solid colors within stylized outlines and by their emphasis on the surface pattern of the print rather than the illusion of space. The Impressionist artists were interested in the world outside the studio and did much of their painting outdoors. Impressionism captured everyday subjects and emphasized the momentary effects of sunlight on the their subject matters. It is a type of art that attempted to capture the rapidly-changing effects of light on objects. Scientific discoveries about light and color further inspired the Impressionists to emphasize the effects of sunlight in their paintings. Often, artist broke up solid forms and blurred edges by painting canvas in small dabs of pure color. (2) Artists that will be studied in this period are Manet, Monet and Renoir.
Edouard Manet
People were so shocked by his paintings that he was not allowed to show them in the Salons (the official exhibits of the French Royal Academy). Some of the paintings may not seem very shocking today, but in 1863 they caused a scandal. People said his painting were rude and badly painted. (Visit the PDF file for image by Manet.
Claude Monet (France 1840-1926)
Monet was still in his teens when he was persuaded to join an outdoor painting expedition. Of this experience Monet later wrote, "It was as if a veil had suddenly been torn from my eyes. I understood. I grasped what painting was capable of being." At least in part as a result of this experience, Monet spent his artistic career painting from nature, nearly always painting outdoors. He is sometimes called the "Father of Impressionism," but his career ranged from the traditional to innovative as an early master of abstraction in the 1920's. Always concerned with the effects of light, he realized that it was constantly changing. In many of his paintings, he tries to capture the light that is reflecting off the water. Visit this PDF file for images of Monet.
August Renoir
Renoir was the most productive of the Impressionist artists. He explored using the Impressionist style with portraits. He was attracted to the eyes of his subject and often made them his focal point and in focus while everything else is blurred. When you look at his paintings look first at the colors, are they warm or cool, distinct or blended, primary or secondary the quick brush strokes and pure color next to each other capture the effect of the sunlight.
Read the PDF file below for picture and information on Renoir and read about the women of the Impressionism movement such as Rosa Bonheur and Mary Cassett.
Attributions for copyrighted work have been made in each case, and a link is provided where possible
06.03. Post-Impressionism (Art History and Art Criticism) Q2
Georges Seurat.docx
Artists like Vincent van Gogh started as impressionists but became frustrated and wanted to produce art that had meaning, feeling and ideas. The Post-Impressionists agreed that there were problems with Impressionism. Their solution to the problems were varied. Some agreed that art should be carefully designed and that composition should not be forgotten. Others claimed that feeling and emotions should be emphasized, but that content deserved its rightful place. Still others championed design, mood and both composition and content as important features. Artists who fall under the Post Impressionist period and will be studied in this unit are Paul Cezanne, George Seurat and Paul Gauguin.
Many artists like the thick panting technique of impasto. What is impasto? Impasto is an art term used to describe thickly-textured paint that is almost three-dimensional in appearance. Impasto has been around for a long time, but Vincent Van Gogh used it for its expressive qualities. Before Van Gogh, artists would build up layers of paint to add realism to their work, making objects appear more three-dimensional. But Van Gogh was different. He used impasto to give weight to his brilliant colors, add movement to his skies, and infuse emotion into his landscapes. He could have painted with the exact same colors without the impasto, but what do you thing would have happened? There would have been no movement or feeling in the painting. In fact, there would have been no Van Gogh. He felt that he reproduced what the eye saw. He painted to capture his own deep feeling about a subject. He expressed these feelings with twisted lines and forms, intense colors and rich texture.
If you’re an artist, impasto’s is not too tricky to do yourself. Load up your brush or painter’s knife with more paint than you’d normally need. Then, instead of dyeing or scrubbing the canvas with color, just let the paint squish onto the canvas and set there. You don’t want to fiddle with any one spot too much, otherwise you’ll lose that three-dimensional quality by overworking the paint.
Van Gogh
Van Gogh was a self-taught artist. Born in Groot-Zundert, Holland in 1853, he was the son of a Dutch Protestant Minister and his religious up- bringing influenced his life. He tried different careers, such as an assistant to an art dealer and a minister. His brother Theo introduced him to Impressionist Art. His art was typified by bold color, and his brush stokes began to resemble many single active lines of color. Only one art work was sold during his lifetime. He was troubled with seizures and depression, and his death at the age of thirty seven left the world sixteen-hundred remarkable works of art. (You may visit the following web page for images and work of Vincent Van Gogh)
http://www.vincentvangoghart.net
Paul Gauguin
Gauguin also used color and shapes in new and exciting ways. He created artwork that could be enjoyed for its decorative appearance. In most of Gauguin's other works, he would used arbitrary color, colors chosen to communicate different feeling. He was somewhat of a rebel. He took painting lessons and enjoyed painting so much that he started to paint as an amateur. Then, he resigned from a successful business firm to paint full-time. His family suffered financially as a result, and his art never sold well enough during his life time to support them. His attitude about color was as adventurous as his willingness to change careers mid-life. (4) You can visit the following web site for art work and information about Paul Gauguin.
http://www.paul-gauguin.net/biography.html
Cezanne
When we get to Cubism and the works of Picasso, you will see why Cezanne is considered the father of Cubism, and is one of Picasso's heroes. Notice how he flattened the space in his still lifes and in the eyes of his portraits. Cezanne's work was too radical even for the Impressionists. He objected to the loss of composition arising from the blurring of shapes. He solution was to paint with loose patches of color. These he joined together like pieces of puzzles to create solid-looking forms. A good website for information on Paul Cezanne is
http://www.artic.edu/artexplorer/search.php?tab=2&resource=468
Seurat
Seurat felt that the impressionist attempt to show the blurring effect of sunlight on forms was misguided. Seurat's solution was to use a technique in which he painted small, carefully-placed dots of color to create form. The technique is called Pointillism. He is regarded as having a pivotal role in developing modern art. He was interested in transferring the perfect combination of light and color as seen in nature to the canvas. He set himself a goal to developing what he called a formula for optical painting. To Seurat, beauty truly did lie in the eye of the beholder. In Pointillism, he counted on the human eye to blend the dots into a unified image. In this way, his painting resembled optical illusions. During his short life, he produced more than 500 drawings and paintings.
Toulouse Lautrec
Lautrec was one of the most interesting characters of Post-Impressionism period. Most of his scenes are set in the Moulin Rouge, or Red Light District of Paris. These posters were created by lithograph. Lithography is print-making technique.
Henri Matisse
At the beginning of 20th century, a group of young French painters expressed emotion by creating works that exploded with brilliant colors, bold distortion and loose brush strokes. They were called the Fauves. This is French, meaning wild beast. They continued the expressive ideas of Van Gogh and Gauguin. The leader of the this group was Henri Matisse. He was concerned with expressing feeling and felt that his work had one purpose--to give pleasure.(3) Some might have been called Henri the master of color. He caught the world’s attention in the early 1900’s with this bold style of painting. Toward the end of his life, Matisse’s health failed, and he was unable to paint. He turned to making paper collages, or "painting with scissors," as he called it. Like his earlier work, these collages were veritable circuses of shape and color.
Some artists tried to communicate strong emotions in their painting which stressed personal feeling rather than composition. This art style was called Expressionism, and most of the artists who painted in this style were German. During this period, Germans were experiencing terrible economic and social conditions before and after World War I. The emotions represented in this artwork ranged from fear and anger to deep concerns with death. Kathee Kollwitz was one of these artists was concerned with poverty and war. She produced many moving images of mothers grieving for dead children.
Redon.
His paintings are like a dream or a vision, which is why they are somewhat hazy and indistinct in some areas. Redon's work represented an exploration of his internal feelings and psyche. Although his work seems filled with strange beings and grotesque dichotomies, his aim was to represent pictorially the ghosts of his own mind. (wikipedia)
06.04 Symbolism (Art History and Art Criticism)
Henri Rousseau
Rousseau was best-known for his bold pictures of the jungle, teaming with flora and fauna. Yet, this painter of exotic locales never left France, notwithstanding stories to the contrary. His paintings were instead the mental concoctions of a city dweller, shaped by visits to the botanical gardens, the zoo, and colonial expositions, as well as images of distant lands seen in books and magazines. A counterpoint to his pictures of a tranquil and familiar Paris, these images of seductive and terrifying faraway places reflected the desires and fears of new modern world.
Rousseau was an artist from an earlier era: he died in 1910, long before the Surrealist painters championed his art. A self-taught artist, Rousseau was unable to paint full-time until his retirement in 1893. Although Rousseau's greatest wish was to paint in an academic style, and he believed that the pictures he painted were absolutely real and convincing, the art world loved his intense stylization, direct vision, and fantastical images. Poor all his life, Rousseau was buried as a pauper.
Make sure you know the following vocabulary words and something about the following artists during this period for the unit quiz and quarter final test.
-realism
06.04.01 Project for Expressive Artist Style (Art History and Art Criticism)
teacher-scored 100 points possible 100 minutes
Complete JUST ONE of the art objectives from below after reading through unit 06.
Art pointillist project: Using George Seurat's style of art, use a pencil to sketch a small still life picture or small simple landscape, no smaller than 5x7 or no larger than 8x10, on a piece of white art paper. Then, using a variety of acrylic paints colors and using the end of pencil eraser or a small paint brush, apply each color by lightly dipping the eraser or paint brush into the paint, then dab it onto the sketch for a layering effect. Let the paint dry, then add other dots. Step back from the work periodically to see how the colors blend. Use this technique to fill the entire drawing. Refer to the rubric as to how the instructor will grade this assignment
OR
Art Expressionism Project: using Henri Matisse style of art, use a glue stick, patterned paper such as wall paper samples or scrap-book paper, cardboard or foam core board, catalogs, magazine, and scissors, cut and glue two contrasting pieces of pattered paper to the board side by side. Cut a floor shape, lining up a corner where the walls meet. Glue into place. From the catalogs and magazines, cut pictures of windows, furniture, people, and decorations choosing items of similar scale. Arrange the images in the room and glue them down on the board. Refer to the the rubric and submit for grading.
07.00 Art at the Turn of the 19th and 20th Century (Art History and Art Criticism)
At the turn of the 19th Century, most of the western world had entered the machine age. This was a time when machines began to make work more productive and life more pleasant. These machines captured artist imagination and also made it possible for artists to spend more time creating art. You will be introduced to artists who are considered Impressionists, Cubists, Surrealists, Realists, African American Folk Artists, Native American Artists, American Regionalists, Modern Artists and others.
You will be asked to select an artist in each of the periods and report your what you have learned about that artist. There will be no tests in this unit, but you will need to know what these art periods and movements mean for the final quarter test, so don't skip any of the reading.
07.01 American Post-Impressionism (Art History and Art Criticism)
Post impressionist- mary and winslow.pdf
By the late 1880's, many artists felt that Impressionism, while beautiful, also had its limits. They wanted to get away from what they considered to be the mere recording of what one could see at a particular instant. As a result, many different styles developed in the late nineteenth century. The term Post-impressionism, which you should know for the 2nd quarter final test, refers to a movement that placed new emphasis on the importance of subject and the formal ways in which a subject was represented. T
wo American Post Impressionist artists were Mary Cassatt and Winslow Homer.
Select one of these artists and complete the the reporter-guided questionaire.
07.01 Post-Impressionism - assignment(Art History and Art Criticism)
teacher-scored 25 points possible 40 minutes
Objective: Select one of the artists of American Post Impressionist Art. Complete the questionnaire in statement form and in correct sentence structure with correct facts. Remember that people speak differently than they write--make the answers sound like what the artist might say, not like an encyclopedia entry. Do NOT copy and paste information from your research sources (that would be plagiarism). Re-write the information from the artist's point of view (in his/her words, as you imagine them speaking). Have the artist speak at more length about their work rather than the minimum, basic answers to the questions. Give reasons, examples or explanations in order to fully demonstrate your knowledge about the artist.
Submit your questions and answers. You may copy and paste the questions below into a word document, but do not copy your artist statement from the internet or other booka. Re-word the artist’s statement. However, if you feel the artist has a quote that you need to share, make sure to give credit to the book or website after the artist statement. Make sure to include your full name on the assignment and the name of the artist that you are doing your report on. Also include an image of one of the artist's paintings/works that you like and why (or the url for the image).
Imagine you are a reporter and could ask these questions of the artist:
1. Reporter: When were you born, where did you live, what were some other key events in your life that might have influenced you?
Artist possible statement: (For example, you might start out with My name is . . . and I was born. . .)
2. Reporter: How did you get started in the field of art? What things discouraged or encouraged you?
Artist possible statement:
3. Reporter: What do you feel were your most important contributions to the visual arts? (A piece of art, a style, or possibly a technique)
Artist possible statement:
4. Reporter: What would your advice be to someone entering the field of the arts?
Artist possible statement:
5. Reporter: During your lifetime, what success or recognition did you receive? Why do you think that was?
Artist possible statement:
6. Reporter: This is one of your works that I like:
(Paste in image, or list url of website where image can be seen.)
07.02 Cubism (Art History and Art Criticism)
cubism-picasso.pdf
Cubism is art in which the subject matter is rendered using geometric forms. (Remember this term for the 2nd quarter final test. Cubism is used to describe an art movement credited to Pablo Picasso.
His approach to art was influenced by the geometric forms in African masks. The word cubism was invented by the art critic Louis Vauxcelles during a review of Georges Braque’s painting at an exhibition.
Cubism developed during the twentieth century in three stages. The first stage was devoted almost entirely to landscapes and was inspired by Cezanne’s painting. Then in the second stage, or the analytic Period, outdoor scenes were abandoned, and artists started to work strictly in studios as they fragmented still life with objects such as pitchers, glasses and such. The palettes had a limited brown and grey color range. The third period was the most experimental and influential. This was called the Synthetic Period. Included were letters, imitation wood, wallpaper, and newspaper paintings. Combined with the fractured images, these objects formed what is known as the collage technique. Cubist compositions showed the subjects from many different angles or viewpoints all at the same time. This is known as simultaneity, the viewing of many of subject surfaces at once. (Themes and Foundations of Art by Katz, Lankford and Plank page 498)
Cubists led the way for other modern artists. The art world would never be the same.
07.02 Cubism -assignment (Art History and Art Criticism)
teacher-scored 70 points possible 70 minutes
Objective: Read the PDF Document on Cubism and do a report on the artist Pablo Picasso and the art period of Cubism. Complete the questionnaire below in statement form and in correct sentence structure with correct facts. Copy and paste the questions between the asterisk into a word processor. From your online readings, answer the questions in your own words in complete sentences, but do not copy your artist's statement from the internet or other book unless you show quotation marks, using properly cited information.
Remember that people speak differently than they write--make the answers sound like what the artist might say, not an encyclopedia entry. Do NOT copy and paste information from your research sources (that would be plagiarism). Re-write the information from the artist's point of view (in his/her words, as you imagine them speaking). However, if you feel the artist has a quote that you need to share, make sure to give credit to the book or website after the artist statement. Have the artist talk at more length about their work rather than the minimum, basic answers to the questions. Give reasons, examples or explanations to show your knowledge of the artist. Also include an image of one of the artist's paintings/works that you like and why (or the url for the image). For, the questionnaire below, imagine that you are a reporter and could ask these questions of the artist:
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1. Explain about the three periods of Cubism
2. Reporter: When were you born, where did you live? What were some other key events in your life that might have influenced you?
Artist possible statement: (For example, you might start out: I was born...)
3 Reporter: How did you get started in the field of art? What things discouraged or encouraged you?
Artist possible statement:
4. Reporter: What do you feel were your most important contributions to the visual arts? (A piece of art, a style, or possibly a technique)
Artist possible statement:
5. Reporter: What would your advice be to someone entering the field of the arts?
Artist possible statement:
6. Reporter: During your lifetime, what success or recognition did you receive? Why do you think that was?
Artist possible statement:
7. Reporter: This is one of your works that I like:
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dada_surrealiism.pdf
At the end of World War I, instead of experiencing the prosperity and peace that everyone had hoped for, Europe was in a state of turmoil. The unrest prompted a group of artists to express their feelings about the plight of the European nations through nonsensical approaches to making art. This movement, known as Dada, combined ordinary objects to create thought-provoking images. When it ended as quickly as it began and a movement called Surrealism exploded in which artists like MC Escher and Salvador Dali
Dalicombined naturally-unrelated events, images, objects or situations in a dreamlike scene. (Themes and Foundations of Art by Katz, Lankford and Plank. page 510)
Video by Walt Disney and Salidor Dali
http://www.youtube.com/embed/1dIznsAdTOE?wmode=transparent&r...
Watch the following Video by Walt Disney and Salvador Dali. As you watch, think to yourself, What do the two men have in common? What so you think there differences are? I'm sure many of the animators today might have gotten their inspiration from these two men without realizing it?
07.03 Surrealism - assignment (Art History and Art Criticism)
teacher-scored 30 points possible 30 minutes
Objective: Select from one of the artists from this Surrealist period found in the PDF document. Complete the questionnaire in statement form and in correct sentence structure with correct facts. Submit your questions and answers. Copy and paste the questions between the asterisk into a word processor. From your online readings, answer the questions in your own words in complete sentences, but do not copy your artist statement from the internet or other book. Re-word the artist’s statement. However, if you feel the artist has a quote that you need to share, make sure to give credit to the book or website after the artist statement.
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Make sure to include your full name and the name of the artist that you selected to report on.
You are a reporter are asking these questions of the artist:
1. Reporter: Where were you born, where did you live, and what were some other key events in your life that might have influenced you and your art style? Example statement: (I was born in Boston, Mass in 1847.)
Artist possible statement:
2. Reporter: How did you get started in the field of art? What things discouraged or encouraged you?
Artist possible statement:
3. Reporter: What do you feel were your most important contributions to the visual arts? (A piece of art, a style, or possibly a technique)
Artist possible statement:
4. Reporter: What would your advice be to someone entering the field of the arts?
Artist possible statement:
5. Reporter: During your lifetime, what success or recognition did you receive? Why do you think that was?
Artist possible statement:
6. Reporter: This is one of your works that I like:
(Paste in image, or list url of website where image can be seen.)
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Norman Rockwell.pdf
At about the turn of the century, some critics called for the artists to return to a more literal representation of images in art. The resulting form, Art Regionalism, realistically depicted the American way of life in the part of country in which the artist lived. One of these American regionalist artists was Grant Wood.
An American illustrator and painter and a realist artist who painted realistic scenes was Norman Rockwell.
This realist movement in mid-to-late 19th century art, was an attempt to create objective representations of the external world based on the impartial observation of contemporary life.
Realism was consciously democratic, including in its subject-matter and audience activities and social classes previously considered unworthy of representation in high art. The most coherent development of Realism was in French painting, manifested in the work of Gustave Courbet, who used the word réalisme as the title for a manifesto that accompanied an exhibition of his works in 1855. Though its influence extended into the 20th century, its later incarnations are usually labeled "social realism."(retrieved from website on July 29, 2010 http://www.artnet.com/library/07/0709/T070996.ASP )
After selecting ONE artist PDF profile, complete a report using the provided reporter questions submit it for grading
07.04 American Regionalism and Illustrator/Realism-assignment (Art History and Art Criticism)
teacher-scored 60 points possible 60 minutes
Objective: Select from ONE of the artists from American Regionalism (Grant Wood) or Realist Illustrators (Norman Rockwell) and complete the questionnaire below in statement form and in correct sentence structure with correct facts. Copy and paste the questions between the asterisk into a word processor. From your online readings, answer the questions in your own words in complete sentences, but do not copy your artist statement from the internet or other book. Re-word the artist’s statement. However, if you feel the artist has a quote that you need to share, make sure to give credit to the book or website after the artist statement.
********************************************************************************************************************************
Make sure to include your full name and the name of the artist that you selected to report on.
You are a reporter and will ask these questions of the artist:
1. Reporter: Where were you born, where did you live, and what were some other key events in your life that might have influenced you and your art style? Example statement: (I was born in Boston, Mass in 1847.)
Artist possible statement:
2. Reporter: How did you get started in the field of art? What things discouraged or encouraged you?
Artist possible statement:
3. Reporter: What do you feel were your most important contributions to the visual arts? (A piece of art, a style, or possibly a technique)
Artist possible statement:
4. Reporter: What would your advice be to someone entering the field of the arts?
Artist possible statement:
5. Reporter: During your lifetime, what success or recognition did you receive? Why do you think that was?
Artist possible statement:
6. Reporter: This is one of your works that I like:
(Paste in image, or list url of website where image can be seen.)
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African American_ Native American.pdf
These two topics might seem like totally different styles. However, the artists that you will learn about in this section have taken information about their culture and developed their art to help others understand their cultures. The first artist that you will learn about is Faith Ringgold. She grew up in New York City, New York in Harlem. The Harlem Renaissance was a time when African-Americans created art that illustrated African- American themes about life.
The second artist that you could chose is Maria Martinez, a Native American Artist. Each artist created art that showed their heritage or art that their ancestors created.
See the information in the PDF and complete the reporter questions and submit for grading.
07.05 African American Folk Artist and Native American Art - assignment (Art History and Art Criticism)
teacher-scored 50 points possible 50 minutes
Objective: Select ONE of the artists from either African American Folk Art or Native American Art. Complete the questionnaire below in statement form and in correct sentence structure with correct facts. Do not copy your artist statement from the internet or other books. Copy and paste the questions between the asterisk into a word processor. From your online readings, answer the questions in your own words in complete sentences, and correct facts. If you feel the artist has a quote that you need to share, make sure to give credit to the book or website after the artist statement.
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Make sure to include your full name and the name of the artist that you selected to report on.
If you were a reporter, you could ask these questions of the artist:
1. Reporter: Where were you born, where did you live, and what were some other key events in your life that might have influenced you and your art style? Example statement: (I was born in Boston, Mass in 1847.)
Artist possible statement:
2. Reporter: How did you get started in the field of art? What things discouraged or encouraged you?
Artist possible statement:
3. Reporter: What do you feel were your most important contributions to the visual arts? (A piece of art, a style, or possibly a technique)
Artist possible statement:
4. Reporter: What would your advice be to someone entering the field of the arts?
Artist possible statement:
5. Reporter: During your lifetime, what success or recognition did you receive? Why do you think that was?
Artist possible statement:
6. Reporter: This is one of your works that I like:
(Paste in image, or list url of website where image can be seen.)
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Modern Movement.pdf
Modern Art is a term used to describe the work of nineteenth and twentieth-century artists who explored new means of creative expression other than the traditional methods of the past. Modern Art is not a specific movement, but rather artists' approach to making art during the late nineteenth and twentieth centuries that spanned many movements. There are different ways in which artists declare feelings or moods through art. As mentioned before, the camera altered the way artists viewed realistic images. Henri Matisse, a French artist, once said, "The painter need no longer concern himself with paltry details. Photography does it much better and more quickly." Prior to the nineteenth century, art was commissioned by wealthy aristocrats, churches, royalty or government officials. Artists had to accommodate the wishes of the period in terns of subject matter, techniques, size and color of the art work.
Toward the end of the nineteenth century, art dealers began to make art available to the public for purchase. Suddenly there was a demand for a variety of art. Artists now had the freedom to experiment with media and methods of making art while still earning a living. Experimentation often led to abstraction. The word abstract is used in two ways. If the word is used as an adjective, then it means art whose subject matter has been invented, distorted, or rearranged--there may or may not be recognizable image. As you study some abstract art in a book or a museum, you may think, "What is that?" Some people may feel that representational art is good art, but we must remember that even through a representational work of art may look real, it, too, still provides only an illusion of reality. (credits Themes and Foundations of Art- Katz, Lankford, Plank page 514)
Modern Movement - This term applied to the architecture of simple geometrical forms and plain undecorated surfaces, free of historical styles, that developed mainly in Europe in the late 19th century and the early 20th prior to World War II. The origin of the term is especially associated with Nikolaus Pevsner, whose book Pioneers of the Modern Movement (1936) traced the sources of the movement from William Morris to Walter Gropius. Pevsner capitalized the words and asserted that the Modern Movement had resulted in ‘the recognized accepted style of our age’. After 1932, the term INTERNATIONAL STYLE was widely used synonymously with Modern Movement to describe such work of this period, which is also encompassed within the more popular global term Modernism (harvested July 2010 http://www.artnet.com/library/05/0587/T058792.ASP )
The following art movements are part of Modern Art, and you should know their terms for final test.
American Abstractionism - is the reduction of objects to their main features.
Abstract Expressionism - is a product of Expressionism.
Pop Art- a reflection of popular culture, media and advertising images.
Postmodernism- refers to artworks and ideas that are rich and diverse in terms of meanings, materials, cultural traditions, and historical references. Post modern artists often work collaboratively.
Modernism- refers to art and ideas that stress individuality, originality, universal meaning and art for art's sake.
After selecting two different movements of Modern Art and using the PDF profile and accompanying websites, use the artist report to answer the questions as to what you have learned and submit it for grading.
07.06 Project for Modern Art Movement (Art History and Art Criticism)
teacher-scored 30 points possible 30 minutes
Objective:
Select from ONE of the artists from one of the Modern Period Styles. Complete the questionnaire in statement form and in correct sentence structure with correct facts. Submit your questions and answers. Copy and paste the questions between the asterisk in a word processor. From your online readings, answer the questions in your own words in complete sentences, but do not copy your artist statement from the internet or other book. Re-word the artist’s statement. However, if you feel the artist has a quote that you need to share, make sure to give credit to the book or website after the artist statement.
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Make sure to include your full name and the name of the artist that you selected to report on.
If you were a reporter and could ask these questions of the artist:
1. Reporter: Where were you born, where did you live, and what were some other key events in your life that might have influenced you and your art style? Example statement: (I was born in Boston, Mass in 1847.)
Artist possible statement:
2. Reporter: How did you get started in the field of art? What things discouraged or encouraged you?
Artist possible statement:
3. Reporter: What do you feel were your most important contributions to the visual arts? (A piece of art, a style, or possibly a technique)
Artist possible statement:
4. Reporter: What would your advice be to someone entering the field of the arts?
Artist possible statement:
5. Reporter: During your lifetime, what success or recognition did you receive? Why do you think that was?
Artist possible statement:
6. Reporter: This is one of your works that I like:
(Paste in image, or list url of website where image can be seen.)
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07.06.02 Art Project for Modern Art (second assignment) (Art History and Art Criticism)Q2
teacher-scored 30 points possible 30 minutes
Objective: Select from another artist from one of the Modern Period Styles. Complete the questionnaire in statement form and in correct sentence structure with correct facts. Submit your questions and answers. Copy and paste the questions between the asterisk in a word processor. From your online readings, answer the questions in your own words in complete sentences, do not copy your artist statement from the internet or other book. Re-word the artist’s statement. If you feel the artist has a quote that you need to share, make sure to give credit to the book or website after the artist statement.
******************************************************************************************************************************
Make sure to include your full name and the name of the artist that you selected to report on.
If you were a reporter and could ask these questions of the artist:
1. Reporter: Where were you born, where did you live, and what were some other key events in your life that might have influenced you and your art style? Example statement might begin: (I was born in Boston, Mass in 1847.)
Artist possible statement:
2. Reporter: How did you get started in the field of art? What things discouraged or encouraged you?
Artist possible statement:
3. Reporter: What do you feel were your most important contributions to the visual arts? (A piece of art, a style, or possibly a technique)
Artist possible statement:
4. Reporter: What would your advice be to someone entering the field of the arts?
Artist possible statement:
5. Reporter: During your lifetime, what success or recognition did you receive? Why do you think that was?
Artist possible statement:
6. Reporter: This is one of your works that I like:
(Paste in image, or list url of website where image can be seen.)
******************************************************************************************************************************
08.00 Art - A through Z (Art History and Art Criticism)Q2
You worked so hard in the last unit there will be no projects for this unit. However, there are a few things that you still need to know before you can take the second quarter test. First, you need to know that if you have not satisfied with your current grade, you can redo any of the assignments for a better score. Second, there will also be a practice test for this quarter. It will be worth no points, but it is highly recommended that you take the practice test. You can retake it three times before you schedule the final quarter test with your proctor. You need to pass the final quarter test with 60% or better to receive credit for the class.
Art A through Z is information you will need to know about art careers, media and any cultures that we have not discussed in precious units. It is also a selection of art terms that we might have missed. Last, it provides you with terms that you need to know for the final quarter test .
08.01 Careers in Art (Art History and Art Criticism)
Careers in Art
There are many possibilities from which to choose for a career in art. Every year, more challenging and rewarding positions in the art world become available. People who can perform art and design jobs are needed in schools, museums, galleries, and small and large businesses and corporations.
In the distant past, a young person who wanted to be an artist would have to pay a master artist for permission to work as an apprentice in the master studio. There, apprentices learned as they observed and assisted the master. Today, students can develop their skills by taking courses in high schools, trade schools and colleges.
You might be interested in a career in art as you consider your future. You might have some talent and an interest in an art-related career. Today, the business world needs the skills of art specialists in many areas, including company reports, publication and advertising. There are careers in publishing, design and illustrations. There are also careers available for film and video graphic designers. Photographers and photojournalist are visual reporters and story tellers who are very much in demand. Other careers in the field of Photography include fashion, producing fine-art and video for television and film. There is also a need for building and landscape architects and interior designers. You could even choose a field in the entertainment world such as animation, special effects design, art direction or the performing arts such as dance or theater. Of course, there are the traditional art fields such as art education, art therapist, fine artist and those who have created a craft for either art's sake or for function.
If you think a career in art is in your future, ask yourself the following questions:
Do you find yourself noticing things that your friends may miss, such as the color of autumn leaves or the shapes of clouds? Are you curious? Do you like to solve problems? Do you keep an open mind about new and unusual forms of art? Do you like to draw or make things with your hands? Do you like to experiment with new materials and techniques? Do you get lost in art projects and lose track of time? When a work of art turns out wrong, are you willing to throw it out and start over again? Do you keep at a project unit it is finished? f you decide you want a career in art, practice what you like best, study the great artists and their styles, and ask your teacher for advice. If you really want a career in art, it will be there for you. If not, you have not lost anything from learning about the history or art and how others judge it. (Art Talks, Regan, pages 71-81)
08.02. Art Terms - Mediums- Other Cultures (Art History and Art Criticism)
Art Terms
The world or art has spanned over many centuries, over many counties and continents. You have only touched a small percent of them during this course. Learn the following art terms then finish the course with an modern artist who understands how the imagination is used to create art.
Apprentice – someone who works closely with an experienced artist in order to learn the techniques of that person’s trade.
Art of Africa – The huge continent of Africa has a population of millions, but is divided into one thousand culture groups. There are hundreds of ancient Neolithic rock paintings that depict humans, animal and nonobjective symbolic design. However, most of the African art you see in museums today has been made within the last century. The older wooden or fabric pieces have been destroyed by the damp climate and insects. The arts of Africa were and still are interwoven into the religious and everyday live of the African people. Sculpture is regarded as one of Africa’s greatest contributions to the world’s culture heritage. It inspired the development of Cubism in Europe. ( Art Talk, Regan, pg 57)
Art Historian – the people who assemble accounts of how, why and when people around the world have created art.
Art of Native Americans – Any culture before the Europeans arrived is considered Pre-Colombian (prior to Columbus). Each had its unique language, traditions, ritual and art forms.
Art theory – attempts to explain why certain objects or events are called art; attempts to identify important features or characteristics shared by a work of art.
Curator - a caretaker of a portion of a museum collection.
Fluxus Movement - art movement in which the artist presented live events involving music, literary reading and spontaneous art- main artist Nam June Piak.
Folk Art - artistic work by individuals who have not been trained as artists.
Formal Academies - a group of learned members that establishes very strict rules about what the subject of a work of art may be and how it may be created.
Graffiti Art - art that consists of images and words applied to subway walls and trains, buildings and public fixtures.
Installation Art - a work of art that is built temporarily or permanently into a museum or gallery space; main artists are Lucus Samara and Sandy Skoglund.
Kinetic Art - a type of sculpture that moves; main artists were George Warren Rickey and Len Lye.
Photo-realism - an art movement in which the artist painted with such precision and detail that their work resembled photography of the image. – Main artist Chuck Close.
Radiocarbon dating - a scientific process used to determine the age of an object by the object’s radio carbon content.
Social Realists - a group of artists who dealt with themes such as poverty, oppression and social injustice.
Super-realism - an artist style with the intent to produce works so realistic that the viewer is unable to distinguish between illusion and reality.
Imagination
Watch the following video on Imagination and Installation Art.
08.03 Review (Art History and Art Criticism)Q2
Terms from Unit 07
Cubism is art in which the subject matter is rendered using geometric forms.
The movement known as Dada combined ordinary objects together to create through-provoking images. When it ended, a movement called Surrealist began. In Surrealism, the artist combines naturally unrelated events, images objects or situations in a dreamlike scene.
Art Regionalism realistically depicted the American way of life in the part of country in which he or she lived.
The Realist movement in mid- to late 19th-century art was made to create objective representations of the external world based on the impartial observation of contemporary life.
Modern Art is a term used to describe the work of nineteenth and twentieth-century artists who explored new means of creative expression other than traditional methods of the past.
American Abstractionism is the reduction of objects to their main features.
Abstract Expressionism is a product of Expressionism.
Postmodernism refers to artworks and ideas that are rich and diverse in terms of meanings, materials, cultural traditions, and historical references. Post modern artists often work collaboratively.
First called kinetic art because some of the art actually moved and the rest appeared to move because of the way the designs play tricks on our vision, Op Art is concerned with illusion, perception and the physical and psychological effects of color. Thus, Op Art overlaps such movements as Color Field Painting and light sculptures.
Pop Art celebrates everyday life, the popular culture in which ordinary people derived most of their visual pleasure from television, magazines or comics. Pop artists used the language of the masses: comic strips, beer bottles, soup cans, Coke bottles, road signs and popular figures, all everyday items. Pop Art is a reflection of popular culture and media and advertising images.
Terms from Unit 06
Impressionism captured everyday subjects and emphasized the momentary effects of sunlight on the subject matters.
Impasto is an art term used to describe thickly textured paint that is almost three-dimensional in appearance.
Very small carefully placed dots of color to create form is called Pointillism.
Fauvismis French, meaning wild beast.
Terms from Unit 05
Baroque is an art style emphasizing movement, contrast and variety.
Naturalism refers to the depiction of realistic objects in a natural setting. It does not use idealism, but uses vagrants, drama, lights and dark's illuminating real characters with wrinkles and flaws, creating a highly naturalistic style. Dramatic gestures invited viewers into the drama created in the painting.
Iconoclasm resulted in the destruction of Catholic Art.
Chiaroscuro is the arrangement of lights and darks.
Rococo is the eighteenth century art style which placed emphasis on portraying the carefree life of the high class rather than on grand heroes or religious figures.
Romanticism was an intellectual movement that flourished in the 18th and 19th century in Europe. It embraced literature, art and philosophy. Romanticism manifested in art by seeking to portray Nationalism and the power of individual perception and emotion.
You have now complete all the online reading for this unit and this quarter of Art History and Art Criticism at EHS.
Go to Unit 08 and take the practice test.
You could be tested on the following
Explain about style of Naturalism - Explain about the period in Art History known as Romanticism -What is an Art Historian? -What is an apprentice? - What does formal academy mean? -What is an Art theory? - What is Impressionism? -What is Henri Rousseau know for? - What is Chiaroscuro? - What did Expressionist try and communicate in that art? - What artist are considered Post Impressionist? - What does fauvism mean? - Explain about the artist Paul Gauguin? What does Impasto mean? - What is Edouard Monet know for? - What does Realism mean?- What does Rococo mean? -What does Romanticism mean? - Who was the father of chiaroscuro? - What artist is famous for pointillist? - What does iconoclasm mean? -
What is Op Art ? - Explain about Baroque? - What is cubism?- What artists are considered regionalism and what does it depict? - What art artist who dealt with themes such a poverty, oppression and social injustice called? - What does surrealism or Dad mean?- What is foreshortening? -
What does Modern Artist do in their art and what time period do we associate them with? -
When you are ready to take the final quarter test, go to the "Ready".
| i don't know |
Where on your body might you suffer from a whitlow? | Anxiety in Your Brain: What Happens When Anxiety Attacks?
0
By Dr. Mercola
Anxiety is a natural, normal response to potential threats, which puts your body into a heightened state of awareness.
When felt appropriately, anxiety is beneficial and can keep you out of harm's way… the anxiety you may feel while hiking near a steep drop-off, for instance, will cause you to be more careful and purposeful in your movements.
For an estimated 40 million US adults, however, anxiety may occur even when there's no real threat, causing unnecessary stress and emotional pain. While many believe anxiety and stress to be the same, persistent anxiety actually evokes quite a different experience in your brain.
Anxiety in Your Brain: What Happens When Anxiety Attacks?
Anxiety does evoke the same "fight or flight" response that stress does, which means, like stress, anxiety will trigger a flood of stress hormones like cortisol designed to enhance your speed, reflexes, heart rate, and circulation. However, stress can occur with feelings of anger, sadness, or even happiness and excitement.
Anxiety, on the other hand, virtually always involves a sense of fear, dread, or apprehension. And while stress may occur due to an external source (like an argument with your spouse), anxiety tends to be a more internal response.
Further, brief anxiety may coincide with a stressful event (such as speaking in public), but an anxiety disorder will persist for months even when there's no clear reason to be anxious. While the exact causes for anxiety disorders are unknown, your brain is actively involved.
The National Institute of Mental Health explains: 1
"Several parts of the brain are key actors in the production of fear and anxiety… scientists have discovered that the amygdala and the hippocampus play significant roles in most anxiety disorders.
The amygdala is an almond-shaped structure deep in the brain that is believed to be a communications hub between the parts of the brain that process incoming sensory signals and the parts that interpret these signals. It can alert the rest of the brain that a threat is present and trigger a fear or anxiety response.
The emotional memories stored in the central part of the amygdala may play a role in anxiety disorders involving very distinct fears, such as fears of dogs, spiders, or flying. The hippocampus is the part of the brain that encodes threatening events into memories."
Your Brain May Become Wired for Anxiety
It's thought that anxiety disorders may result from a combination of nature (your genetics) and nurture (your environment). For instance, if you grow up in an environment with frequent yelling or abuse.
It might make you prone to looking out for potential threats, even when they're no longer there. In a sense, your brain becomes "wired" for anxiety, such that any potentially undesirable event or emotion becomes cause for alarm. 2
Worse yet, some people are so used to feelings of anxiety that they don't realize there's a problem and simply suffer in silence. As anxious feelings intensify, it can lead to social isolation, physical symptoms, and related mental health problems, like depression.
Despite this, it's estimated that only one-third of people with anxiety disorders receive treatment, 3 which is highly recommended if you're struggling with anxiety -- but keep in mind "treatment" doesn't necessarily mean drugs.
Unfortunately, most people who suffer with anxiety either do nothing or resort to pharmaceutical drugs – many of which are ineffective and capable of destroying your health and sanity further. Commonly prescribed drugs include benzodiazepine drugs like Ativan, Xanax, and Valium.
They exert a calming effect by boosting the action of a neurotransmitter called gamma-aminobutyric acid (GABA) in the same way as opioids (heroin) and cannabinoids (cannabis) do. This in turn activates the gratification hormone, dopamine, in your brain.
Since the identical brain "reward pathways" are used by both types of drugs, they can be equally addictive and also may cause side effects like memory loss, hip fractures, impaired thinking, and dizziness.
Ironically, the symptoms of withdrawal from many of these anxiety medications include extreme states of anxiety – some of which are far worse than the original symptoms that justified treatment in the first place.
If You're Wired for Anxiety, Try EFT
Energy psychology techniques, such as the Emotional Freedom Technique (EFT) , can be very effective by helping you to actually reprogram your body's reactions to the unavoidable stressors of everyday life.
This includes both real and imagined stressors, which can be significant sources of anxiety. EFT was developed in the 1990s by Gary Craig, a Stanford engineer specializing in healing and self-improvement. It's akin to acupuncture, which is based on the concept that a vital energy flows through your body along invisible pathways known as meridians. EFT stimulates different energy meridian points in your body by tapping them with your fingertips, while simultaneously using custom-made verbal affirmations.
This can be done by yourself or under the supervision of a qualified therapist, either in person or via online video services, like Skype, FaceTime, or Google Hangouts. By doing so, you help your body eliminate emotional "scarring" and reprogram the way your body responds to emotional stressors.
Since these stressors are usually connected to physical problems, many people's diseases and other symptoms can improve or disappear as well. If you have a severe problem, it is typically best to consult directly with an EFT professional, otherwise you might not get the relief you need.
In the following video, EFT therapist Julie Schiffman discusses EFT for stress and anxiety relief. Please keep in mind that while anyone can learn to do EFT at home, self-treatment for serious issues like persistent anxiety is dangerous and NOT recommended.
It is dangerous because it will allow you to falsely conclude that EFT does not work when nothing could be further from the truth. For serious or complex issue you need someone to guide you through the process, as it typically takes years of training to develop the skill to tap on and relieve deep-seated, significant issues.
The Major Contributor to Anxiety That Hardly Anyone Knows
Increasingly, scientific evidence shows that nourishing your gut flora with the friendly bacteria known as probiotics is extremely important for proper brain function, and that includes psychological well-being and mood control. It may sound odd that bacteria in your gut could impact emotions such as anxiety, but that is exactly what the research bears testimony to. The probiotic known as Bifidobacterium longum NCC3001, for instance, has been shown to normalize anxiety-like behavior in mice with infectious colitis. 4
In a very real sense, you have two brains, one inside your skull and one in your gut (the so-called "enteric nervous system"), and each needs its own vital nourishment. Your gut and brain actually work in tandem, each influencing the other. This is why your intestinal health can have such a profound influence on your mental health, and vice versa; as well as the reason why your diet is so closely linked to your mental health.
Prior research has also shown that the probiotic Lactobacillus rhamnosus had a marked effect on GABA (an inhibitory neurotransmitter that is significantly involved in regulating many physiological and psychological processes) levels in certain brain regions and lowered the stress-induced hormone corticosterone, resulting in reduced anxiety- and depression -related behavior. 5
So optimizing your gut flora with beneficial bacteria is a highly useful strategy. This is done by eliminating sugars and processed foods and eating plenty of non-starchy vegetables, avoiding processed vegetable oils, and using healthful fats. Additionally, using plenty of fermented vegetables or a high-potency probiotic would be useful to reestablish a healthy gut flora.
Your Diet Plays an Important Role in Your Mental Health
If you suffer from anxiety, it would be wise to look into nourishing your gut flora, and the best way to do this is to regularly consume traditionally fermented foods, which are naturally rich in beneficial bacteria. Pasteurized versions will NOT have the same benefits, as the pasteurization process destroys many, if not all of the naturally-occurring probiotics. So you will need to seek out traditionally fermented, unpasteurized foods like fermented vegetables, or make them yourself.
If you do not eat these types of foods regularly, then a high-quality probiotic supplement can help fill in the gap and give your gut the healthy bacteria it needs. This is the first part of the equation. The second part of the equation to optimizing your gut flora lies in avoiding the many factors that can throw your bacteria equilibrium way off balance, such as eating sugar, refined grains and other processed foods or taking antibiotics.
Additionally, your diet should include a high-quality source of animal-based omega-3 fats, like krill oil. The omega-3 fats EPA and DHA play an important role in your emotional well-being, and research has shown a dramatic 20 percent reduction in anxiety among med students taking omega-3s. 6
Exercise Is Frequently Helpful if You Have Anxiety
Some psychologists swear by exercise as a primary form of treatment for depression , anxiety, and other mood disorders. Research has shown again and again that patients who follow regular exercise regimens see improvement in their mood -- improvements comparable to that of those treated with medication.
The results really are impressive when you consider that exercise is virtually free and can provide you with numerous other health benefits , too. The benefits to your mood occur whether the exercise is voluntary or forced, so even if you feel you have to exercise, say for health reasons, there's a good chance you'll still benefit.
In addition to the creation of new neurons, including those that release the calming neurotransmitter GABA, exercise boosts levels of potent brain chemicals like serotonin, dopamine, and norepinephrine, which may help buffer some of the effects of stress . Many avid exercisers also feel a sense of euphoria after a workout, sometimes known as the "runner's high." It can be quite addictive, in a good way, once you experience just how good it feels to get your heart rate up and your body moving.
If you struggle with anxiety, you really can't go wrong with starting a comprehensive exercise program – virtually any physical activity is likely to have positive effects, especially if it's challenging enough. That said, Duke University researchers recently published a review of more than 100 studies that found yoga appears to be particularly beneficial for mental health, 7 although I also recommend high-intensity interval training like Peak Fitness and resistance training as well, in addition to flexibility and core-building exercises like yoga or Foundation Training .
Anxiety Can Be Crippling But You Can Still Take Control of Your Health
Anxiety disorders can be debilitating and in some cases require professional guidance, counseling and treatment. Two conventional treatments of anxiety disorders that have proven to be effective for many are psychotherapy and behavioral therapy. Behavioral therapy is defined as targeting the issue through breathing exercises and small increments of exposure to what is causing your anxiety. Cognitive behavioral therapy on the other hand, is designed to help you deal more effectively with situations that fill you with anxiety.
By using the above-mentioned strategies, however, including exercise, EFT and dietary changes , you can often teach your body how to maintain an alert yet relaxed state, which will help strengthen your inherent coping mechanisms when faced with stressful situations that trigger your anxiety symptoms. Please do seek professional help if you need it, but also don't underestimate your own ability to make positive, oftentimes life-changing, decisions to help you take back control of your health.
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| Finger |
Which is the USA’s City of Brotherly Love? | Herpetic Whitlow - Pictures, Symptoms, Causes, Treatment, Prevention | Diseases Pictures
Diseases Pictures
By surekha
Herpes simplex virus 2 is the main reason for causing painful infection on the fingers which is called as herpetic whitlow. Both HSV 1 and HSV 2 are responsible for causing this infectious disease on hands. There would be considerable pain with swelling of fingers and predominantly it affects index finger and thumb. It would start as low grade fever prior to the infection of fingers. The chance of getting infection is more in workers who work in atmosphere prone to waste materials or genital secretions. The infection spreads if anyone comes into direct contact with affected person. Since HSV virus easily infects people who does not follow hygiene in toilet training children are prone to get this infection easily.
Symptoms :
The disease is characterized by reddish spots or lesions on the fingers. The index finger or the thumb is mostly affected with infection. There would be severe pain with inflammation of the fingers. The fingers become tender and edematous and look swollen. It would be difficult to carry on daily routine in using the fingers for writing or holding anything. You can observe the group of lesions or bumps present in the fingers which is filled with pus like fluid. The drainage is mostly clear but sometimes cloudy containing traces of blood in it. The infection will easily spread to other parts of the fingers and hands. Lesions are rarely formed in mouth and genital area.
The virus will begin its attack anywhere from 2-20 days of entering the body. Extreme tiredness and reduced physical sensation in the finger is the major sign of this disease. Blisters will be formed at the end of 7-10 days and the lymph nodes below the armpit become unusually tender.
Who are at risk?
People who are frequently in contact with HSV type of virus at workplace are at constant risk of getting herpetic whitlow. Group of individuals working as doctors, nurses and in beauty salons belong to this category. If a woman engages sexually with her partner having infection on his genitals then she has increased chance of getting the same infection. Since the infection often spread through fingers, it is necessary to educate children to wash their hands after using toilet and before eating food.
Causes :
Herpes simplex virus is the major cause for this disease. People who are exposed to virus in workplace and those who are following poor hygiene in toilet are prone to get this infection. Individuals who are affected with herpes lesions and herpes labialis are at the risk of getting herpetic whitlow due to auto-inoculation. People affected with autoimmune disorders like HIV, cancer etc have increased chance of getting infected.
Diagnoses :
The doctor can identify the infection by looking at the lesions on the fingers. Further he may ask you about the history of workplace or your habit of using public toilets. He would collect few drops of liquid from the lesions and perform viral culture test or Tzanck test for identifying the virus.
Treatment :
Treatment is given initially for removing the symptoms of inflammation and pain on the fingers. Acyclovir is prescribed either orally or as topical cream which can provide great relief to reduce the symptoms.
High dosage of this medicine can also reduce the risk of getting infected again. Valacyclovir or Famciclovir are also given for treating herpetic whitlow. The purpose of taking this drug is to prevent inoculation of spreading this infection orally or transmitting the infection to others. These drugs are effective in preventing complications and decrease the rate of transmission. Very often the same drugs are used for treating HSV 1 and 2. Apart from antiviral medicines the infected person will be given Ibuprofen for tolerating pain.
After complete recovery, the virus may still remain dormant on the person and move to peripheral ganglia. It may recur second time but the symptoms are not that severe and the infection will settle in few days.
Pictures of Herpetic Whitlow :
Images, Pics, Pictures and Photos of Herpetic Whitlow
Prevention :
Do not share towels and use public toilets. To avoid spreading, cover the infected blisters with dry plaster. Doctors and nurses who treat HIV patients should wear rubber gloves. Beauty therapists should avoid treating individuals with herpes infection.
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| i don't know |
Who played Oliver Barrett IV in the film Love Story? | Love Story (1970) - IMDb
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A boy and a girl from different backgrounds fall in love regardless of their upbringing - and then tragedy strikes.
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Won 1 Oscar. Another 9 wins & 16 nominations. See more awards »
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Storyline
Harvard Law student Oliver Barrett IV and music student Jennifer Cavilleri share a chemistry they cannot deny - and a love they cannot ignore. Despite their opposite backgrounds, the young couple put their hearts on the line for each other. When they marry, Oliver's wealthy father threatens to disown him. Jenny tries to reconcile the Barrett men, but to no avail. Oliver and Jenny continue to build their life together. Relying only on each other, they believe love can fix anything. But fate has other plans. Soon, what began as a brutally honest friendship becomes the love story of their lives. Written by Anonymous
Love means never having to say you're sorry
Genres:
Rated PG for language and a love scene | See all certifications »
Parents Guide:
16 December 1970 (USA) See more »
Also Known As:
Historia de amor See more »
Filming Locations:
Did You Know?
Trivia
To prepare for their roles, Ryan O'Neal learned to ice skate and Ali MacGraw learned to play the harpsichord. See more »
Goofs
During the Cornell/Harvard hockey match, before Oliver enters the penalty box, his hockey jersey is almost spotless. After he sits down and takes off his helmet, a large blood smear appears on his jersey near his shoulder. See more »
Quotes
[first lines]
Oliver Barrett IV : What can you say about a twenty-five-year-old girl who died? That she was beautiful and brilliant? That she loved Mozart and Bach, the Beatles, and me?
See more »
Crazy Credits
Unusually, for a movie released in the early 1970s, there were no opening credits after the title has been shown. See more »
Connections
A beautiful and emotional romance
19 January 2006 | by rebeljenn
(Bath, England) – See all my reviews
'Love Story' is not your typical romance film, although it is a story about a boy and girl from different backgrounds who fall in love. Jenny is an intellectual music major with a passion to travel, and Oliver's parents are well-to-do, and he enjoys sports. It seems like an unlikely match, but the two of them hit it off and travel through the perils of relationships. It is a touching story, and the direction and coordination of some of the scenes is amazing. (Particularly the scene with Oliver sitting outside in the playing field and narrating the story is a classic moment in this film, and it is possibly one of the most memorable scenes in film history.) If you have never seen this film, you should. Anyone who has ever been in a relationship can relate to it, but if you are a sensitive person and cry in nearly every film you have ever been to, keep a full box of tissues handy.
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| Ryan O'Neal |
Hedra Carlson played by Jennifer Jason Leigh? | Attitude Adjustment: How Harvard Views ‘Love Story’ - The New York Times
The New York Times
Movies |The Disease: Fatal. The Treatment: Mockery
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The Disease: Fatal. The Treatment: Mockery
By THOMAS VINCIGUERRA
Ryan O’Neal and Ali MacGraw in “Love Story.” Credit Everett Collection
“WHAT can you say about a 25-year-old girl who died?”
That she was ugly!
“That she was beautiful and brilliant?”
No, that she was ugly!
You won’t hear those reactions to the infamous opening narration of “Love Story” on any DVD commentary track. But later this month, when Harvard undergraduates present the movie in a cherished annual ritual, they’ll be chanting those lines — and plenty of others just as barbed.
It’s been 40 years since “Love Story” was released. In that time, millions have wept over the star-crossed romance of the rich Harvard jock Oliver Barrett IV (played by Ryan O’Neal) and the poor Radcliffe bohemian Jennifer Cavalleri ( Ali MacGraw ), who succumbs to an unnamed disease in one of the most beautiful demises in cinematic history. The death in January of Erich Segal , the Harvard-educated classicist who wrote both the screenplay and the original best-selling novel, has tinged his brainchild’s ruby anniversary with particular poignance.
But even as fans celebrate the current “Love Story” milestone, many others deride the film, released at the height of Vietnam and the counterculture, as maudlin, old-fashioned and just plain schlocky. The film critic Judith Crist, in a recent interview, called it “utterly loathsome.” (What she wrote at the time can’t be repeated in a family newspaper.)
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Nowhere is “Love Story” more pummeled than at Harvard, the site of Oliver and Jenny’s gooey courtship. Every year the Crimson Key Society, a student organization that conducts campus tours and otherwise promotes college spirit, runs “Love Story” strictly for laughs for first-year students during their orientation. This year’s two screenings take place on Aug. 30.
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“We’re looking to entertain the freshmen and help them feel comfortable in this new place,” said Maya Simon, the co-chairwoman of the Crimson Key Alumni Association.
That involves Crimson Key’s nearly 100 members sitting in the rear of the auditorium of the Science Center building and jeering the proceedings in the manner of a midnight viewing of “The Rocky Horror Picture Show.” Just before Ms. MacGraw utters the deathless catchphrase “Love means never having to say you’re sorry,” Crimson Key members loudly implore her, “Don’t say it!” At the conclusion, when Mr. O’Neal repeats her bathetic utterance, they shout, “Plagiarist!” And so it goes. At one point, Oliver enters Jenny’s dorm, learns from a receptionist that she is in the “downstairs phone booth,” and asks, “Where is that?”
“Downstairs, stupid!”
“Everybody’s fair game,” said Alix Olian, the current secretary of Crimson Key. “If you’re in the movie, you get made fun of.”
Hence Ray Milland, who portrayed Oliver’s humorless, overbearing father, invariably elicits hisses. Upon being denied a scholarship to Harvard Law School, Oliver sarcastically tells the dean, “You’ve been very generous with your time.”
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A screening of “Love Story” at Harvard. Credit Amelia Muller
“But not your wallet!”
“That’s too funny,” said Russell Nype, 90, who played the dean, in a telephone interview from Kennebunkport, Me. “It’s wonderful to be booed at Harvard.”
Crimson Key’s hallowed tradition apparently began in the late 1970s, just as “Rocky Horror” was setting the standard for cult-flick audience participation. At first, the ritual involved mere laughing and hooting. There were few, if any, punch lines.
“They didn’t have anything like that at all,” said Andrea Jane Keirstead, a teacher in Farmington, Me., who saw “Love Story” during the 1978 freshman week. “My biggest memory is of the film self-destructing at the end. Seriously, it appeared to melt. I’m pretty sure we cheered when it happened because we thought we’d be the last class to see it.”
Over the years, though, the rite has become so institutionalized that Crimson Key students now rehearse their routine several times before opening night. They engage in various bits of nonverbal business, including distributing tissues when Jenny is on her deathbed.
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Members also come dressed in ’70s fashions or even as particular characters. Two of them wear tennis whites so they can ascend the stage and ape the movements of Oliver and his college roommate as they play squash. When, at the conclusion, Mr. O’Neal plunks himself down at what was then Wollman Rink in Central Park, devastated by Jenny’s ascension to the angels, his doppelgänger mounts the stage to do the same.
Most freshmen have no idea what they are in for. Among Crimson Key’s thousands of unsuspecting victims was Laurel Holland, class of 2006, who arrived at Harvard fresh from Walla Walla, Wash. “My sense of irony was not fully developed,” she recalled. “I went in to enjoy the film. Throughout the first half, I kept turning around and telling the upperclassmen to shut up, not realizing that Crimson Key was sponsoring the movie.”
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Crimson Key regards its presentation as a bonding experience. “Most people have a soft spot for ‘Love Story,’ ” said Eeke de Milliano, the group’s president. “It is sentimental hogwash, but the freshmen are, I think, secretly proud to see their university on the screen.”
That sentiment eluded Raymond Vasvari, a Cleveland-based lawyer who underwent his “Love Story” indoctrination in 1983. “What struck me was the collective uncertainty of what it all meant,” he said. “You take all these people from different socioeconomic backgrounds who are suddenly stamped with the Harvard imprimatur and marched into this big, brutalist, antiseptic space with 1,600 other geeks to watch this girl die. And you’re sitting around watching people’s reactions to you. I suppose I was supposed to be made effete by the experience. Was Ryan O’Neal supposed to be my role model?”
He added: “I left because it was so sickeningly sweet. I can’t believe that suicide rates in the Yard didn’t skyrocket.”
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Crimson Key members in 2005 with Lawrence Summers, then Harvard’s president. Credit Dane Skillrud
The event is not entirely derisive. At various points, Crimson Key uses a laser pointer to spotlight campus landmarks and the fleeting appearance of Tommy Lee Jones (class of ’69), usually generating cheers and applause. “It was an aspect of the complicated relationship that people have with the Harvard mystique — you want to embrace it, but not too seriously,” said Kermit Roosevelt, class of 1993, who now teaches law at the University of Pennsylvania. “You want to be ironic about it.”
Brian Malone, class of 1996, now a graduate student in literature at the University of California, Santa Cruz, said he remembered the screening “as the highlight of freshman week.”
“The irreverence was so appealing to me,” he continued. “The experience instilled in me a certain condescension toward middlebrow taste.”
Not all Harvard alumni appreciate that attitude. The playwright Jenny Lyn Bader, who had her “Love Story” trial by fire in the 1980s, found it “fun and hilarious” at the time. Later, her view changed. “I think it sent a disturbing message,” she said. “There was a feeling that one needed to make fun of Harvard, and be dismissive of human emotion, and that we should establish that during Week 1 — that too much tenderness would not fly in this cerebral atmosphere. It was mean-spirited.”
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Ms. Bader acknowledged that her opinion is colored by personal experience. “I was one of many people admitted that year who was named Jenny,” she said.
Indeed, the single biggest source of jokes is undoubtedly Ms. MacGraw’s alter ego, Jenny Cavalleri. Howls of disgust greet her when, during the blizzard scene, she falls on her back and spreads her arms and legs to make a “snow angel.” And her assertion that her class in “Renaissance polyphony” is “nothing sexual” elicits a chorus of “Neither are you!” Crimson Key makes no apology for mocking an abrasive character who constantly puts down the love of her life as a “preppie” and punctuates her speech with a vulgar barnyard epithet. “She’s quite mean, and we just latch onto that,” said Peter Giordano, who helped organize the screening in 2003. “Even though she does have some redeeming features, we don’t let go of her.”
Ms. MacGraw has long been aware of Crimson Key’s snarkiness but considers it “very entertaining.”
“Of course they are going to pick on Jenny — or is it on the actress playing her?” the 72-year-old actress asked in an e-mail. “I have had decades in which to wonder how on earth I managed to say ‘Love means never having to say you’re sorry’ without once asking our wonderful director, Arthur Hiller, what exactly it meant.”
Not long ago, Crimson Key considered conducting a similar rite of passage with “Oliver’s Story,” the forgettable 1978 sequel to the original. The idea went nowhere.
“We couldn’t think of any lines,” said Erin Sprague, co-chairwoman of the Crimson Key Alumni Association, “because it was so bad.”
A version of this article appears in print on August 22, 2010, on Page AR6 of the New York edition with the headline: The Disease: Fatal. The Treatment: Mockery. Order Reprints | Today's Paper | Subscribe
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Which famous Scotsman died aged 37 in 1796? | Robert Burns Biography - Childhood, Life Achievements & Timeline
Writers
Robert Burns Biography
Robert Burns was a famous Scottish poet and lyricist, who was also known as the national poet of Scotland. Read more about his life and works in the following article.
Quick Facts
Elizabeth Paton Burns
Image Credit http://www.smithartgalleryandmuseum.co.uk/collections/art/portraits/robert-burns
Robert Burns was a famous Scottish poet and lyricist. Also known as Rabbie Burns, or Scotland's favorite son, Burns is often credited as the national poet of Scotland and is the best known Scottish language poet till date. Burns is also considered as the pioneer of the Romantic Movement. He is also known to inspire the founders of both liberalism and socialism. During 19th and 20th centuries, celebration of his life and works became a national charismatic cult, his influence being clearly visible in Scottish literature. In a voting run by Scottish television channel STV in 2009, Burns was voted as the greatest Scot. Apart from creating original compositions, Burns also collected Scottish folk songs, revised and adapted them. His song, âAuld Lang Syneâ is often sung at Hogmanay and other song, âScots Wha Haeâ served for long as the unofficial national anthem of Scotland. His other notable poems include, âA Red, Red Roseâ; âA Man's A Man for A' Thatâ; âTo a Louseâ; âTo a Mouseâ; âThe Battle of Sherramuirâ; âTam o' Shanterâ, and âAe Fond Kissâ.
Robert Burns Childhood & Early Life
Robert Burns was born on 25th January, 1759 in Alloway, Ayrshire, Scotland. His father, William Burnes was a self educated tenant farmer who married a local girl, Agnes Broun. Robert Burns was the eldest of seven children to the couple. When Robert was seven years old, his father sold their house and took tenancy of the 70-acre Mount Oliphant farm, southeast of Alloway. Robert’s childhood days went in poverty and hardship, which led to his weak constitution. He received very limited regular schooling and was mainly taught by his father. Burns learned reading, writing, arithmetic, geography, and history from his father. From 1765 to 1768, he and his brother Gilbert were taught by John Murdoch. John taught them Latin, French, and mathematics. For next few years, he studied at home only. During the summer of 1772, Burns was sent to Dalrymple Parish School. At the young age of 15, Robert was the main laborer at Mount Oliphant. In the summer of 1775, he was sent to Kirkoswald to finish his education. In 1777, his father shifted his family from Mount Oliphant farm to the 130-acre farm at Lochlea, near Tarbolton. In 1779, he joined a country dancing school and the following year, formed the Tarbolton Bachelors' Club with his brother Gilbert. In 1781, Burns went to Irvine, North Ayrshire to learn to become a flax-dresser. But shortly after the flax shop caught fire in New Year celebrations, Robert had to return to Lochlea. His father died in 1784.
Later Life & Works
Robert and Gilbert tried hard to retain on the farm, but post its failure, they moved to the farm at Mossgiel, near Mauchline. At the age of 22, Robert was initiated into masonic Lodge St David Tarbolton. When this lodge became inactive, he joined the Lodge St James Tarbolton Kilwinning number 135. During the time period 1784-85, Robert Burns was heavily involved in lodge business, attending meetings, passing and raising brethren and usually running the lodge. Burns was in financial crisis and took an offer from a friend to work in Jamaica, at a salary of £30 per annum. However, he lacked the necessary funds required for traveling to West Indies. Acting upon the advice given by his friend, Gavin Hamilton, Burns sent proposals for publishing his “Scotch Poems” to John Wilson, a local printer in Kilmarnock. On 31st July 1786, John published Robert’s works under the title, “Poems, Chiefly in the Scottish dialect”. This book included his notable poems like “The Twa Dogs”, “Address to the Deil”, “Halloween”, “The Cotter's Saturday Night”, “To a Mouse”, “Epitaph for James Smith” and “To a Mountain Daisy”. The immediate success of the book made him famous across the country. In November 1786, Burns set out for Edinburgh where he sold the rights of his book to William Creech. Burns was famous in the city and was guest at many aristocratic gatherings.
During his stay in the city, Burns made many close friends. These friends included the influential Lord Glencairn, and Frances Anna Dunlop. For a brief time period, Burns was involved with Agnes 'Nancy' McLehose, with whom he exchanged passionate letters. In Edinburgh, he also befriended James Johnson who was a struggling music engraver. Burns returned to Ayrshire on February 18, 1788 and hired the farm of Ellisland near Dumfries. In 1789, he was appointed duties in Customs and Excise. After working as an exciseman, Burns found it hard to go back to farming and as such, gave it up in 1791. Meanwhile, Burns continued creating significant literary works. In 1790, he wrote “Tam O' Shanter”. As a lyricist, Burns made important contributions to Scottish music. When he was requested to write lyrics for The Melodies of Scotland, he made his contribution of over 100 songs. His also made remarkable contributions to George Thomson's “A Select Collection of Original Scottish Airs for the Voice” and James Johnson's “The Scots Musical Museum”. He also collected and preserved old Scottish folk songs, some of which he revised, adapted and expanded. One of these known collections was “The Merry Muses of Caledonia”. Some of his famous adapted folk songs are “Auld Lang Syne”, “A Red, Red Rose” and “The Battle of Sherramuir”.
Personal Life
Burns had his first child, Elizabeth Paton Burns with his mother’s servant Elizabeth Paton, while he was in relationship with Jean Armour, who became pregnant with his twins in March 1786. Burns was ready to marry Jean but her father was against the marriage. They, eventually, got married in 1788. The couple had nine children, out of which only three survived infancy. Meanwhile, he also fell in love with Mary Campbell, whom he had met in the church while living Tarbolton. She later sailed home to her parents in Campbeltown.
Death
Robert Burns died on July 21, 1796 in Dumfries at the age of 37. At first, he was buried in the far corner of St. Michael's Churchyard in Dumfries. He was finally moved to its final resting place in the same cemetery, the Burns Mausoleum in September 1815.
Literary Style & Influence
Robert Burns’s poetry had the elements of classical, biblical, and English literature, as well as the Scottish Makar tradition. He was skilled in writing in both Scots language and Scottish English dialect. The themes of his poetry generally included, republicanism, radicalism, Scottish patriotism, anticlericalism, class inequalities, gender roles, poverty and sexuality. Burns is often considered as proto-Romantic poet, who influenced William Wordsworth, Samuel Taylor Coleridge, and Percy Bysshe Shelley.
Legacy
In Russia, Burns became popular as “people’s poet”. He was also regarded as the symbol of ordinary Russian people. In 1956, Soviet Union brought out commemorative stamps in his honor. Burns is pictured on the £5 banknote (since 1971) of the Clydesdale Bank, which is one of the Scottish banks with the right to issue banknotes. In 2009, the Royal Mint issued a commemorative two pound coin featuring a quote from “Auld Lang Syne”. Many Burns club have been founded worldwide. The first known Burns club, The Mother Club, was founded in Greenock in 1801 by merchants born in Ayrshire. His birthplace in Alloway has now become a public museum, known as Burns Cottage, whereas his house in Dumfries is operated as the Robert Burns House. The Robert Burns Centre in Dumfries displays more exhibits about his life and works. Ellisland Farm in Auldgirth, where he lived from 1788 to 1791, is now a museum and working farm. Additionally, there are many organizations honoring him, which include the Robert Burns Fellowship of the University of Otago in New Zealand, and the Burns Club Atlanta in the United States. There are also many towns named after him such as Burns, New York, and Burns, Oregon. Also, there is a statue of Robert Burns in the Octagon in Dunedin, New Zealand. Culturally, Scotland celebrates Burns Night, effectively a second national day, 25th January every year with Burns suppers around the world. It is more widely observed than the official national day, St. Andrew's Day.
ROBERT BURNS TIMELINE
Was born in Alloway, Ayrshire, Scotland.
1772:
Was sent to Dalrymple Parish School.
1775:
Was sent to Kirkoswald to finish his education.
1777:
His father shifted his family from Mount Oliphant farm to the 130-acre farm at Lochlea.
1779:
Joined a country dancing school.
1781:
Went to Irvine, North Ayrshire to learn to become a flax-dresser.
1784:
His father died.
1786:
His poems were published under the title, Poems, Chiefly in the Scottish dialect, set out for Edinburgh to sell the rights of his book.
1788:
Returned to Ayrshire and hired the farm of Ellisland near Dumfries, married Jean Armour.
1789:
Was appointed duties in Customs and Excise.
1790:
Wrote his famous poem, Tam O' Shanter.
1796:
| Robert Burns |
Which Scottish region has the highest population? | The Death of Robert Burns
The Death and Legacy of Robert Burns
Robert Burns only lived to the age of 37. The cause of his death remains uncertain, but alcohol abuse has been suggested as a contributing factor for almost two hundred years. There are some clues as to what might have befallen him, and what did not.
There is no doubt that Robert Burns passed away July 21, 1796, in the Scottish town of Dumfries. The image above portrays the room where he died. The events leading to his final illness probably began several years before.
The 2008 book “Robert Burns the Patriot Bard” by Patrick Scott Hogg claims that Burns had a serious illness in the autumn of 1791. It was so bad that the doctor came to visit him 5 times in 8 days. The symptoms were said to include painful joints and fever. The physician prescribed emetics and laxatives, and Burns recovered. While there are numerous potential causes for those symptoms, one that stands out is rheumatic fever. It is a condition which follows a common Streptococcal infection. The body’s natural defensive antibodies are believed to attack not only the Strep germs, but parts of the body itself. They can cause inflammation and damage to the joints and the heart valves among other tissues. The disease is prone to recur with repeated Strep infections.
Four years later, in the autumn of 1795, Burns had a very difficult time. One of his darling daughters, Elizabeth Riddell Burns, died at age two. The poet was unable to visit her in her final illness and this guilt added to his grief. He wrote to his long-time correspondent Mrs. Francis Dunlop,
“I have lately drunk deep of the cup of affliction. The autumn robbed me of my only daughter1 and darling child, and that at a distance too, and so rapidly, as to put it out of my power to pay the last duties to her.”
Robert Burns also had a tooth extracted in 1795. It would have likely been done for an abscess. It’s a minor problem today, but was a much more serious issue then. Dental infections could be dangerous in the pre-antibiotic area. There was also one additional risk. Dental manipulation can introduce live bacteria into the blood. While the germs are easily cleared away by an intact immune system, the bacteria can persist if the host immunity is weakened for any reason, or there is a particular anatomical abnormality. An abnormal heart valve is one site that can be colonized by circulating bacteria. Rheumatic fever can damage heart valves. Hence, Burns may have been vulnerable to this complication2.
It was recorded that there was also a food shortage in the area that year. Given that he was not a wealthy man, Burns might have had trouble keeping food on the table. This may have weakened his ability to resist infections.
The diagnosis of acute rheumatic fever is hinted at by Burns’ letter to Mrs. Dunlop
“I had scarcely begun to recover from that shock, when I became myself the victim of a most severe rheumatic fever, and long the die spun doubtful; until after many weeks of a sick bed, it seems to have turned up life, and I am beginning to crawl across my room”.
It is noted that the poet was indeed extremely ill. He was bedridden for weeks and was barely able to crawl about his room as he rallied.
Robert Chambers was a Scottish author and geologist. He wrote a biography of Burns in 1834 which was largely taken from the writings of Dr. James Currie, who will be described later. Chambers wrote of an extraordinary incident that supposedly took place in January 1796.
“… Burns tarried to a late hour at a jovial party in the Globe Tavern. Before returning home, he unluckily remained for some time in the open air, and, overpowered by the effects of the liquor he had drunk, fell asleep. … a fatal chill penetrated his bones; he reached home with the seeds of a rheumatic fever already in possession of his weakened frame”
While the Globe Tavern was very close to Burns’ home, this still seems highly unlikely expedition for a man so ill. Moreover, the poet was in financial distress because his wages were reduced by his long absence from work. It does not add up that he would be out carousing when he was sick and broke.
Dr. William Maxwell3 (1760 — 1834) was a good friend of Robert Burns and he took an active role in trying to treat him.
Maxwell described Burns as suffering from “Flying Gout”4. This is not currently recognized as a diagnosis5. What Maxwell may have been decribing was what would be called “migratory arthritis” today. It is a cardinal symptom of rheumatic fever.
One approach that was popular at the time was the use of medical bathing. Also called balneology, or hydrotherapy, it claimed that exposure to mineral waters might treat certain diseases. In the 16th and 17th centuries mineral springs became popular among royalty and the well to do. People would “take the waters” for relaxation. Shortly after, physicians began to set up shop at the spas. They began recommending specific water treatments including baths, steam, douches and drinking6.
The book “Dissertation on the Use of Seawater in Diseases of the Glands” published in 1750 by Dr. Richard Russell, was a popular reference for decades. It may well have influenced Dr. Maxwell, who recommended that Robert Burns try the springs at Brow.
This well was a few miles Southeast of Dumfries, near an arm of the Irish Sea called the Solway Firth. On July 4 of 1796 Burns travelled to the Brow Well to drink the iron containing spring water and wade in the cold waters of the Solway Firth. He wrote in a letter to his colleague Alexander Cunningham
“Alas! My friend, I fear the voice of the Bard will soon be heard among you no more! For these eight or ten months I have been ailing, sometimes bed-fast & sometimes not; but these last three months I have been tortured with an excruciating rheumatism which has reduced me to nearly the last stage. You actually would not know me if you saw me. Pale, emaciated, & so feeble as occasionally to need help from my chair — my spirits fled! Fled! — but I can no more on the subject — only the medical folks tell me that my last & only chance is bathing & country quarters & riding.”
After a few days at the Brow Well Burns was so weak he did not have the strength to ride a horse. He had to borrow a carriage to get home.
Allan Cunningham (1784-1842) was a man of letters and music. His father was a friend of Burns and he was a friend of Sir Walter Scott. He wrote 3 books about Burns and the following are selections of his description of the final days.
“Though Burns now knew he was dying, his good humour was unruffled, and his wit never forsook him. When he looked up and saw Dr. Maxwell at his bed-side, - "Alas!" he said, "what has brought you here? I am but a poor crow and not worth plucking."
“His household presented a melancholy spectacle: the Poet dying; his wife in hourly expectation of being confined: four helpless children wandering from room to room, gazing on their miserable parents and but too little of food or cordial kind to pacify the whole or soothe the sick”.
“A tremor … pervaded his frame; his tongue, though often refreshed, became parched; and his mind, when not roused by conversation, sunk into delirium. On the second and third day after his return from the Brow, the fever increased and his strength diminished.”
In a lucid moment, Burns made a gift to Maxwell of his pistols.
“On the fourth day, when his attendant, James Maclure held a cordial to his lips, he swallowed it eagerly - rose almost wholly up - spread out his hands - sprang forward nigh the whole length of the bed - fell on his face and expired.”
Burns had a large funeral complete with military honours on July 26. Of the family, only his brother Gilbert attended. Dr. Maxwell was busy delivering Jean Armour of another child. She honoured the physician by naming her son Maxwell.
The poet was buried originally in a corner of the St. Michael's Churchyard cemetery. The remains were moved to a mausoleum in 1815. Along the way a lock of the poet’s hair was collected.
Dr. James Currie (1756-1805) was Burns’ first biographer. He was well known for his stance to abolish slavery in the British Empire and his efforts to improve conditions for the poor. Like Maxwell, he was a proponent of hydropathy. He also published the first scientific study with the thermometer in the English language.
Currie was also a staunch proponent of temperance. This orientation is clear in his book “Medical Reports on the Effects of Water, Cold and Warm, as a Remedy in Fever and Febrile Diseases, whether applied to the Surface of the Body, or used as a Drink, with observations on the Nature of Fever and on the Effects of Opium, Alcohol and Inanition”
Currie is said to have been a reformed alcoholic himself. It would appear that he decided to make an example of Burns. Currie wrote extensively of the poet’s drinking in his biography.
“Perpetually stimulated by alcohol in one or other of its various forms... in his moments of thought he reflected with the deepest regret on his fatal progress, clearly foreseeing the goal towards which he was hastening, without the strength of mind necessary to stop, or even to slacken the course. His temper became more irritable and gloomy; he fled from himself into society, often of the lowest kind.”
Currie even suggested that Burns contracted venereal disease from those low companions.
“He who suffers the pollution of inebriation, how shall he escape other pollution? But let us refrain from the mention of errors over which delicacy and humanity draw the veil”
It was Currie who related the questionable story of Burns falling down drunk and sleeping outside in January of 1796, which Cunningham repeated. Numerous other authors since have dutifully attributed Burns’ death to the effects of alcohol. Burns had certainly made himself unpopular for some of his libertine behaviour and revolutionary political views. There was likely no shortage of people willing to propagate the idea that he was ruined by drink.
It is clear that Burns liked alcohol and was inebriated on numerous occasions. However, it is false to suggest that his drinking contributed to his demise. The symptoms strongly suggest he had terminal heart failure from bacterial endocarditis, as a complication of rheumatic fever.
In 1844 Dr. John Thomson claimed that Burns died as a result of mercury poisoning. He alleged that Dr. Maxwell had administered this treatment. However, a group of modern forsenic physicians and medical physicists got permission to test that lock of Burns’ hair. In a 1971 article in Lancet Dr. J Lenihan et al announced that the amount of mercury was far below the level seen in mercury poisoning, putting that theory to rest.
Notes
1. It is interesting that Burns refers to the Elizabeth Riddell Burns as his “only daughter”. At that point he had several daughters, including another one already named Elizabeth. That girl was a result of his affair with Elizabeth Paton. Paton’s daughter was his first child, and was the subject of Burn’s poem “To a Bastart Wean”. It appears when he refers to Elizabeth Riddell Burns as his only daughter he was confining himself to his legitimate progeny.
2. In Burns' circumstances the bacteria released by the dental extraction could have persisted and grown on a heart valve damaged by rheumatic fever. This can cause heart failure, fevers, and septic emboli. The latter is the result of bits of the infected tissue breaking away and travelling downstream in the blood where they can cause tissue damage.
The image above shows the inside of a human heart, which has been opened to show growths on the valves (at the top of the string like structures). Symptoms can include weakness, rapid heartbeat and loss of appetite.
The patient with endocarditis and valvular dysfunction can die of heart failure. This is usually associated with fluid accumulation in the tissues, and one report had it that Burns suffered from this (“the dropsy”).
3. Burns and Dr. Maxwell shared many political sympathies. Both supported the ideals of the French Revolution. Maxwell’s politics were undoubtedly influenced by his medical studies in France. He had sufficient stature in Paris that he played a part in the execution party for King Louis XVI. It was reported that he dipped his handkerchief in the king’s blood after he was guillotined.
4. The term “gout” comes from the Latin word “gutta” which meant “drop”. It was used to describe any acute arthritis. The ancient humoural theory of medicine, which still held sway at the time, believed that such arthritic complaints were caused by a drop of poison in the joint. The “Flying” likely meant that the inflammation was moving from one joint to another.
5. It must be appreciated that the medical knowledge of the later 18th century was quite primitive. Not only were there no antibiotics, it was not even appreciated that germs caused disease. Vitamins, aspirin, morphine and the immune system were unknown. The stethoscope would not be invented for another 20 years. The biggest technological breakthrough of the age was the adoption of the thermometer to measure body temperature. With so little knowledge of physiology and pathology, doctors could do little medically.
6. While the Greeks and Romans held bathing in high esteem, this was not the case among Europeans during the Middle Ages. Bathing was regarded as unhealthy and even sinful. Some held that evil humours might enter the body through the pores of the skin, and a good coating of dirt was considered a healthy defense. The Catholic Church discouraged bathing, perhaps because of the fact that public bath houses in Roman times were often locations for sexual liaisons. St. Jerome, the author of the Latin Vulgate version of the Bible, warned against washing the body in case it inflamed the carnal passions. St. Theresa of Rome was said to have boasted she had never bathed a day in her life (although she only lived 13 years before being martyred).
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Which detective of novels and TV has the aristocratic title The Earl of Asherton? | BEST SERIES of Crime Novels | MarkJonesBooks
Home » Book reviews » BEST SERIES of Crime Novels
BEST SERIES of Crime Novels
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In no certain order …
1. “Travis McGee” by John D. MacDonald. 21 books all with a color in the title (The Deep Blue Good-bye; Darker Than Amber; The Green Ripper, etc …)
Travis McGee, works as a “salvage consultant” in Ft. Lauderdale and has all the best qualities of Magnum, Rockford, Bond, and Robin Hood, with the addition of yen philosophizing and rueful self-awareness. Must be read in consecutive order.
2. “Burke” by Andrew Vachss. 18 books.
Vachss (rhymes with “tax”) is a lawyer who only represents children and youths and writes the darkest, most unrelenting series of books about crime and revenge. Main character Burke is one of the “children of the secret” – abused children who were victimized without ever experiencing justice, much less love and protection. To say the least, the adult Burke is a deeply conflicted character. Must be read in order.
3. “Sherlock Holmes” by Sir Arthur Conan Doyle. 4 novels and 5 collections of short stories.
What can you say? The all-time greatest, most famous detective in the world and his constant companion, Dr. Watson. No matter how edgy and steampunkish Hollywood makes the movies, these are still some of the greatest crime stories every written.
4. “Thorn” by James P. Hall. 14 books.
Thorn lives in the Florida Keys and makes his living tying lures for fly fishing. He also helps people out of sticky situations on occasion. There’s quite a bit of Travis McGee in
Thorn, and a little bit of Burke also. You don’t have to read these books in order, but I highly recommend reading the first one (Under Cover of Daylight) so you will understand why Thorn is the way he is.
5. “Repairman Jack” by F. Paul Wilson. 10 books.
Andrew Vachss calls Repairman Jack “righteous!” An apt description. Jack is a loner who lives off the public grid (no SSN, no official identity) and makes his living “fixing” extreme situations. Some may argue that since Jack’s adventures feature touches of the paranormal and science-fiction, horror and fantasy, this should not be listed in a “Crime Novel” series. I disagree, just for sheer enjoyment and the crime-ridden, violent world that Jack lives in. Must be read in order.
6. “Joe Kurtz” by Dan Simmons. 3 books
Hard Case, Hard Freeze, Hard As Nails are hard-boiled crime noir at its best. Simmons is one of my all-time favorite writers. In addition to these great novels, he has also written my two favorite horror novels (Carrion Comfort and Children of the Night), a sci-fi classic (Hyperion) and a great Hemingway historical novel (The Crook Factory). It helps to read them in order.
7. “Parker” by Richard Stark (Donald E. Westlake). 24 books.
Parker may be the meanest, nastiest character on this list. Very few redeeming qualities. These books are almost nihilistic. Highly recommend you read these in order – some of the books began the second after the previous book ends.
8. “Justin & Cuddy” by Michael Malone. 3 books
Uncivil Seasons, Time’s Witness, First Lady. Great literate mysteries set in small town North Carolina. Uncivil Seasons is one of the best mysteries I’ve ever read. Period. Read in order.
9. “Lew Archer” by Ross MacDonald. 18 books.
William Goldman calls these the “the finest series of detective novels ever written by an American.” MacDonald is the primary heir to Dashiell Hammett and Raymond Chandler but his writing built on the pithy style of his predecessors by adding psychological depth and insights into the motivations of his characters. Archer often unearthed the family secrets of his clients and of the criminals who victimized them. Lost or wayward sons and daughters were a theme common to many of the novels. Macdonald was one of the first to deftly combine the two sides of the mystery genre, the “whodunit” and the psychological thriller. Jonathon Kellerman is the modern heir of MacDonald’s noir.
10. “87th Precinct” by Ed McBain. 56 books.
ABSOLUTELY THE BEST! It is impossible to rate this series too high. It is the most consistently entertaining police procedural novels written about day-to-day cops, the inspiration for “Hill Street Blues” and all the other more realistic, gritty cops show that followed through the 1980s, 90s and beyond. Steve Carella, Meyer Meyer, Bert Kling, Ollie Weeks, Cotton Hawes, and Andy Parker are just a few of the memorable characters we have come to know and love who work out of the 8-7. And of course, the Blind Man, one of the greatest, coolest criminals to grace crime pages. McBain died in 2005 so alas, there will be no more 8-7 books.
11. “Harry Bosch” (18 books) and “The Lincoln Lawyer” series (5 books) by Michael Connelly.
Connelly is perhaps the best crime fiction writer of the last decade. Harry Bosch is an LA police detective. The books, dark and often violent, explore Bosch’s psyche as he investigate murders and crime in L.A. Harry’s illegitimate half-brother Michael Haller is called the “Lincoln lawyer,” since he is an unconventional defense lawyer who works out of the back seat of a Lincoln automobile. The “Lincoln” books are endlessly entertaining.
12. “Inspector Lynley” by Elizabeth George. 19 books
Brilliant! Detective Inspector Thomas “Tommy” Lynley, 8th Earl of Asherton and Detective Sergeant Barbara Havers are with New Scotland Yard. The dynamic between the accomplished and aristocratic Lynley and the street smart, foul-mouthed, uncouth Havers is only the first brilliant part of these books. Their cases are psychological compelling, filled with comic characters (Havers in particular) and range across the whole of Great Britain.
13. “Crazy Florida” by Carl Hiassen. 13 novels.
The most fun set of books on this list … by far! While strictly not a series, all of the Hiassen’s ‘crazy Florida” novels can all be lumped together. There are about a dozen
recurring characters (not in all the books) and enough thematic similarities that connect the novels.Tourist Season, Double Whammy, Skin Tight, Stormy Weather, Skinny Dip, etc .. are all comic caper masterpieces. Embrace the insanity!
14. “Kenzie and Gennaro” by Dennis Lehane. 6 books.
Two private investigators in Boston, Patrick Kenzie and Angela Gennaro, who take cases that are gruesome, sad, and plain horrifying. Gritty, dark and confronting challenging moral questions, this is a compelling series, by a writer more famous for his stand alone novels, Mystic River and Shutter Island.
15. “William Monk” by Anne Perry, 21 books
Quite possible the best crime fiction of the last 20 years. At the beginning of the series Monk is a London police inspector in the 1850s. The first book in the series opens with Monk injured in a carriage accident with a spotty memory of himself and his life. Over the next several novels, not only does Monk investigate crimes, he is also investigating himself, trying to understand what kind of person he is (was) and learning he does not want to be that person.
After the accident he met Hester Latterly, a Crimean War nurse and they became close. Only Latterly knew about Monk’s memory issues. In the second book, A Dangerous Mourning, Monk was fired from the police force for insubordination and became a private investigator. Lady Callandra Daviott (Hester’s best friend) financed his private investigations. Sir Oliver Rathbone was his love rival (he too wanted to marry Hester) and judicial adviser in his case.
In “Dark Assassin,” Monk joined the Thames River Police to pay a debt to a friend who died on a previous case. Although he finds the shift from street policing to river policing difficult, he earns the respect of his men and continues on in this position.
16. “Spenser” by Robert B. Parker. 35 books.
I almost didn’t include Spenser here, but I had to. This is an infuriating series … the first 14 books are as good as PI fiction gets … and the rest are hit-and-miss. Hawk is one of the great characters in crime fiction. But then you also have Susan Silverman – Spenser’s main squeeze. The more important Susan Silverman becomes to the story the more annoying the book is. I keep hoping Susan gets killed and we get back the old, tougher Spenser, not the Oprah-fied Spenser we currently have. During the latter books Hawk became nothing more than a walk-on one-note character; it’s as if Parker was scared to explore the darker dynamics of Hawk and his world.
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| The Inspector Lynley Mysteries |
Helen Clark became the first woman Prime Minister of which country in 1999? | "The Inspector Lynley Mysteries" A Great Deliverance (TV Episode 2001) - IMDb
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After a farmer is found decapitated, aristocratic Detective Inspector Lynley is assigned to the case with a resentful new partner, D.S. Barbara Havers.
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Title: A Great Deliverance (12 Mar 2001)
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Storyline
When a farmer, William Tey, is hacked to death with an ax in his barn, Scotland Yard assigns Detective Inspector Thomas Lynley and Detective Sergeant Barbara Havers to the case. Lynley is the 8th Earl of Asherton and is a graduate of Eton and Oxford; he is on the fast track in the police service. Havers has a working class background and feels that she is discriminated against. Despite the differences in their background - very often, the two simply don't understand one another - they make a good team. As for the murder, there are several possible suspects. Tey's wife had left him many years before and one of his daughters ran away and would have nothing to do with him. A nephew will now inherit his farm, providing a good motive. Throughout the investigation, Lynley has to deal with former colleagues who would like nothing better than to bring him down. Written by garykmcd
12 March 2001 (UK) See more »
Filming Locations:
Did You Know?
Trivia
Inspector Lynley's distinctive blue sports car in the early series is a Jensen Interceptor Mk II. In later series, Lynley's brown car is a 1968 Bristol 410, an extremely exclusive make of vehicle built in England. Only 79 410 were ever built. See more »
Goofs
During the final interrogation scene Lynley removes the earpiece, but at the end of the scene it's back in. See more »
Quotes
The first Inspector Lynley mystery
22 May 2012 | by blanche-2
(United States) – See all my reviews
"A Great Deliverance" from 2001 turns out to be the first Inspector Lynley mystery, adapted from the series of books by Elizabeth George. I haven't read them, but from looking over the reviews here, fans of the novels seem quite happy.
Nathaniel Parker is Thomas Lynley, the eighth earl of Asherton, who is a police inspector, and when we first meet him here, he's best man at his old girlfriend's and best friend's wedding and attempting to keep a stiff upper lip. He's called into a community with a troubled police force to look into a murder investigation in which a man was decapitated, and the man's daughter was found at the scene catatonic. DS Barbara Havers (Sharon Small) is assigned as his partner, and it's an odd coupling. She's a working class woman who puts no emphasis on her appearance, and she's living a high-pressured life caring for her demented mother. Added to this, her blunt mouth has gotten her into trouble, and if she can't make a go with Parker, this may be it for her and the force. She's extremely resentful of the aristocratic Parker before even meeting him.
This unholy alliance travels to the murder site and, in the midst of trying to solve the murder, try to work out their relationship. The question is, which is more difficult? Good mystery, gorgeous scenery, and excellent acting make this series a winner. I actually saw a later one before this one. Parker and Small are excellent together, and Parker is movie-star handsome and easily believed as an earl. Small, as the scrappy, intense Havers, does a wonderful job.
Can't wait to see more of this series.
4 of 4 people found this review helpful. Was this review helpful to you?
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| i don't know |
What word do citizen’s band radio enthusiasts use for the police? | CB SLANG
CB SLANG AND TECHNICAL TERMS
1962-1998
(from the book "Woody's World Of CB")
The list below represents just about every CB-ism you'll run across. Please keep in mind that if you jump on the air with a sentence full of slang words and phrases below you'll sound like an idiot. These are words that you'll run across throughout a variety of conversations, and it's helpful to know what they mean.
My best advice I can give you is:
1). Listen well before you speak, many parts of the country differ on their protocols and terminology.
2). Always be polite
3). Minimize the "Slang". When you talk to someone on the radio, use it like you would a telephone with one added restraint - don't use profanity. It doesn't take a BIG man to swear, it's takes a BIG man to convey his thoughts and feelings WITHOUT swearing.
(For help with SSB communications - refer to my SSB section)
A
ALERT -Affiliated League of Emergency Radio Teams
All the good numbers -Best wishes.
Alligator-Tread from the tire of an 18 wheeler on the road
Alligator Station -All mouth and no ears. A person who likes to talk just to hear himself.
Amigo -Friend
Ankle biter- Small child or annoying teenager
Antenna Farm- Base station with many antennas strung up in the air
Antler Alley -Deer crossing
Appliance Operator -Non technical person who knows how to turn the rig on, and thats about all.
AM -Amplitude Modulation
Ancient Mariner -AM, or someone who uses AM
Astrodome City- Houston Texas (see Space City)
B
Baby Bear- Cop in training, or rookie
Backdoor -Vehicle behind the one who is ahead of it.
Backdoor closed- Rear of convoy covered for police
Back em up -Slow down
Back off the hammer -Slow down
Backslide- Return trip
Bad scene- A crowded channel
Ballet Dancer -A antenna that really sways
Barefoot Using an unmodified CB transmitter
Bar city -Forrest City, AK
Base Station -Radio installed at a fixed location, house, etc.
Bay City -San Francisco
Bit on the seat of the britches -Got tagged for a speeding ticket
Blackn White- Cop
Blackn White Cber -Cop with CB in his car
Black Ice -A patch of iced over blacktop road.
Bleeding/Bleedover -Strong signals from a station on another channel, interfering with your reception
Blessed Event -A new CB rig
Blew my doors off -Pass by me with great speed, sometimes referenced to loud or strong signal
Blowin Smoke -Loud signal
Boast Toastie -A CB expert
Boat Anchor -Either an old tube rig or a radio that is unrepairable.
Bodacious- Awesome
Boy Scouts -The State Police
Box -Tractor Trailer
Break -Request to use the channel, while other stations are using the frequency
Variations: Breaker, Breaker-Broke, Breakity-Break, Break For
Breaking Up- Audio cutting in and out
Breaker-Breaker -Same as break. Also the title of Chuck Norriss first mainstream movie.
Breaking the ol needle- Strong signal
Bring it back -Answer back
Bring yourself on it- Request to move into the right lane
Brown paper bag -Unmarked Police car
Brush your teeth and comb your hair-Radar trap ahead
BTO- Big Time Operator
Bubble gum machine- Flashing lights on top of car
Bucket Mouth- Loudmouth, or someone who uses a lot of profanity.
Bucket of bolts -Eighteen wheeler
Buckeye State -Ohio
Bug Out -To leave a channel
Bumper Lane- Passing lane
Button Pusher -Another Cber who is trying to breakup your communication with another station by keying his microphone, playing sounds, etc.
C
Cactus Patch- Phoenix Arizona; Roswell New Mexico
Camera -Police radar
Can- Shell of a CB set, or tunable coil in CB set
Candy Man -FCC
Cartel- A group hogging a channel
Casa- House
Catch ya on the flip-flop- Ill talk to you on my return trip
CB -Radio
Cell Block- Location of the base station
Chain Gang -Members of a CB club
Channel 25 -The telephone
Charlie -The FCC (see Uncle Charlie)
Chew n choke -Restaurant
Checking My Eyelinds For Pin Holes -Tired or sleepy.
Check the seatcovers -Look at that passenger (usually a woman)
Chicken Coup- Weigh station
Chicken Coup is Clean -Weigh station is closed.
Chicken Inspector -Weigh station inspector
Circle City -Indianapolis Indiana
Chopped Top- A short antenna
Choo-Choo town-Chattanooga
Christmas Tree -18-wheeler with an excess of running lights
Chrome Dome- Mobile unit with a roof antenna
Cigar City -Tampa
Citizens Band- The radio service used by CBers. Also the name of a popular 70s movie.
City Kitty- City police
Clarifier -Found on SSB rigs, this control varies the receiver frequency to help tune the other station in (called "delta-tune" on AM rigs). Because sideband is so sensitive, it is a common practice to "open" the transmit side of a clarifier so that the Transmit and Receive frequencies are tied together.
Clean Cat- An unmodified rig
Clean Shot -Road ahead is free of obstructions, construction, and police
Clean as a hounds tooth -Same as clean shot
Cleaner channel- Quieter channel ("Lets find a cleaner channel to talk on")
Clear- Final transmission "This is 505 and Im clear"
Clear after you -You are ending transmission after the other person finishes signing off
Clear as a spring day -Same as "Clean Shot"
Coffee Bean- Waiter or waitress
Coffee Break -Informal gathering of CBers
Coke stop- Restroom
Cold Rig- 18-wheeler pulling a refrigerated trailer
Collect Call -Call for a specific Cber
Colorado Kool Aid -Beer
Come again -Repeat your last transmission
Come Back- Answer my call
Comic Book -Truckers log book
Coming in Loudn Proud- Loud and clear signal
Container -Chassis and shell of a CB rig
Concrete Blonde -Hooker
Convoy- 2 or more vehicles traveling the same route. This term was made popular, then over-used by the entertainment industry via songs and movies.
Cooking -Driving
Cooking Good -Reached desired speed.
Copy -Receiving a message: "Do you copy?"
Copying the mail- Listening to traffic on a given channel. Also referred to as "Reading the mail"
Corn Binder- International Truck
Cotton picker- Non-profane profanity. Replaces any variety of four letter words.
County Mountie- County police / Sheriffs Dept.
Covered Up -Transmission was blocked by interference or high noise level
Cow Town- Fort Worth
Cradle Baby -CBer who is afraid to ask someone to stand by
Cub Scouts -Sheriffs men
Cup of Mud -Cup of coffee
Curly Locks- Coils in a CB rig
Cut Out -To leave a channel
Cut Some Zs -Get some sleep
Cut The Coax -Turn off the radio
CW -Morse Code
Ding-a-ling -Goofy or bad operator. Also referred to as a LID
Dirty Side-Eastern Seaboard
Dixie Cup- Female operator with southern accent
Dog Biscuits -DBs
Doing the Five-Five- Traveling at 55mph
Doin it to it- Full speed
Doing our thing in the lefthand lane- Full speed in the passing lane
Do it to me -Answer back
Do you copy?- Do you understand?
Dome- Houston
Dont Tense -Take it easy
Dont Feed The Bears- Dont get any tickets
Donald Duck -Sideband station
Double key- Two stations talking at the same time.
Double L- Telephone call. Also referred to as "Landline"
Double Nickel -55mph
Double Nickel Highway -Interstate #55
Double Seven- No, or "Negative contact"
Down n Out- Signing off / ending transmission
Downn gone- Signing off
Down and on the side -Through talking but listening.
Drag Your Feet-Wait a few seconds before transmitting to see if there is a "Breaker"
Dream Weaver- Sleepy driver who is all over the road.
Dress For Sale -Hooker
Dressed for the ball -You have your "Ears ON", listening to the road conditions
Drop Out -Fading signal
Drop Stop Destination -where freight will be dropped off.
Drop the Hammer -Go as fast as you can
Drop the hammer down -Same as above
Dropped a carrier -Keyed the microphone to prevent someone else to talk
Dropped it off the shoulder- Ran off the side of the highway
Duck Plucker -Obscene term
Dusted yer britches- Keyed up at the same time.
Dusted my britches -Passed me
Dusted Your Ears- Transmission interrupted.
DX -Long Distance
Eager beaver -Anxious young woman
Ears- Receiver / Radio
Ears ON -CB radio turned ON
Eastbound -Vehicle moving in the eastern direction
Easy chair- Middle CB vehicle in a line of three or more.
Eighteen wheeler -Tractor trailer truck
Eighteen legged Pogo Stick -18 wheeler
Eights -Love and kisses
Eights and other good numbers -Love and kisses, and best wishes
Eighty-eights -Love and kisses
Eighty-eights around the house - Good luck and best wishes to you and yours.
Equalizer - High-gain antenna, high-power transmitter, and sometimes "radar detector"
Eatum-up Roadside diner
Everybody must be walking the dog- All channels are busy.
Evil Knievel -Motorcycle cop
Fake brake- Driver with his foot on the brake
Fat load- Overweight truck load
FCC -Federal Communications Commision
Feed The Bears -Paying a speeding fine or ticket
Feed the ponies- Loose at the racetrack
Fender bender -Traffic accident
Fifth wheel -Trailer hitch on tractor trailer trucks
Fifty Dollar Lane -Passing lane
Fingers -A channel-hopping CBer
First Sargent -Wife
Flag waver -Highway repair crew
Flaps down -Slow down
Flatbed -Track trailer with flatbed.
Flight Man- Weigh station worker on wheels.
Flip flop -Return trip
Flip-Flopping Bears -Police reversing direction
Flipper -Return trip
Flop box -Motel, or room in truck stop
FM- Frequency Modulation
Fog Lifter -Interesting CBer
Follow the stripes home- Have a safe trip
Footwarmer- Linear amplifier
Forty weight -Coffee sometimes Beer.
Forty fours - Childern; kisses
Four - Shortened version of 10-4
Four Wheeler - Car
Four lane parking lot - Interstate highway
Four legged go-go dancers - Pigs
Four Roger - OK/ 10-4/ Four / Roger
Four Ten - OK/ 10-4 / Four / Four Roger / Roger
Fox - Sexy lady
Fox hunt - FCC hunting for illegal operators
Fox jaws - Female with nice voice, but not necessarily a body to match
Free Ride - Prostitute
Freight Box - Trailer for big rig
Friendly Candy Company - FCC
Front Door - The lead car/truck in a convoy
Fugitive - CBer operating on a different channel than favorite
Full of vitamins - Running full bore
Full Bore - Traveling at full speed
Full Throttle - Traveling at full speed
Funny Candy Company - FCC
Funny channels - Channels that are outside the legal 11meter band.
G
Gallon - 1000 watts of power
Garbage - Too much small talk on a channel
Gas Jockey - Gas station attendant
Gateway City - St.Louis Missouri
Geological Survey - CBer who looks under his set
Get horizontal - Lie down to sleep
Get Trucking - Make some distance.
Getting out - Putting out a good signal
Ghost Town - Casper, Wyoming
Give me a shout - Call for me on the radio
Glory Card - Class D License
Glory Roll - CBer who gets his name in S9
Go Breaker - Invitation to break
Go Ahead - Answer back.
Go Back to him - Talk to him.
Go Juice - Truck fuel
Go to channel 41 - In the 23ch days a joke to get someone off the airwaves.
Going Horizontal - Lying down;sleeping; or switching antenna polarization
Going like a raped ape - Moving fast
Gone - Leaving the airwaves or channel
Gone 10-7 - permanently Dead, deceased.
Goodies - Extra accessories for a CB rig
Good Buddy - At one time it meant "Friend" or "buddy", today it means "Homosexual"
Goon Squad - Channel Hoggers
Got a copy? - Can you hear me?
Got my shoes on - Switched the linear ON
Got your ears on? - Are you on this frequency
Got my eyeballs peeled - Im looking hard
Got my foot in it - Accelerating.
Go to 100 - Restroom stop.
Grab Bag - Illegal hamming on CB
Grass Median - strip along the highway
Green light - You have the go ahead.
Green Stamps - Money
Green Stamp Collector - Police with radar
Green Stamp lane - Passing lane
Green Stamp Road - Toll road.
Grease monkey - Mechanic
Greasy Spoon - Bad place to eat
Ground Clouds - Fog
Hang it in your ear - Response to a foolish remark
Hand - Truck driver
Handle - Moniker/ Name i.e.- "Whats the handle on that end?"
Happy Number - An "S" meter reading
Hanker - Getting a "notion" to do something. A "Want".
Have a nice one - Have a good trip, weekend, day, etc.
Hay Shaker - Trailer transporting a mobile home
Heading for a hole - Giving someone advance notice you are going into a low spot for communications.
Heavenly Body - Peterbilt semi
Hell bent for leather - Traveling really fast.
Heres looking at you - Another way to sign off
Henchmen - A group of CBers
Hiding in the grass - Police on a median strip
Hiding in the bushes, sitting under the leaves - Hidden police car.
Highball - Go nonstop to your destination at a rapid pace.
High Rise - A large bridge or overpass.
Hippie Chippie - Female hitchhiker.
Hit the cobblestones - Hit the road.
Hog - Harley Davidson
Holler - Give me a call.
Holler in a short - Ill call you back shortly.
Home Twenty - Home location
Hot Stuff - Cup of coffee
Hot Lanta - Atlanta, Georgia
Hotwater City - Hot Springs, Arkansas
Hound Men - Policemen looking for CBers using rigs while mobile
How am I hitting you? - How do you receive me?
How tall are you? - How tall is your truck?
H Town - Hopkinsville, Kentucky
Hung Up - CBer who cant leave set
Hundred mile coffee - Strong coffee
I
Im gone - Leaving the airwaves, or frequency.
Ice Box - Refrigerated trailer.
Ice Box - International Crystals first CB rig
Idiot Box - TV set
Indian - Neighbor who has TVI from you
In a short - Real soon.
In a short-short - Real soon
In the mud - Noise or other signals on the channel.
In the Pokey with Smokey - Arrested.
Indians TVI from CB transmissions
Invitations -Traffic citations, tickets.
Jack - CB term for brother or friend.
Jack Rabbit - Police of any kind
Jam - Deliberately interfere with another station.
Japanese toy - CB
Jaw Jacking - Talking, Jaw boning.
Jewelry - Lights on a rig.
Jimmy - GMC truck.
Jingle - To contact a CBer via the telephone.
Johnny Law - Cop
J Trail - CB Jamboree season
Juke Joint - Small, inexpensive eating or drinking place.
Jump Down - Switching to a lower channel.
Jump Up - Switching to a higher channel.
K
Keep em Between the Ditches - Have a safe trip
Keep the bugs off your glass and the trouble off your
- CB Sign-off.
Keep the whites on your noise and the reds on your tail - Stay on the road. Drive carefully and have a good trip.
Keep the shiny side up and the greasy side down - Drive safely.
Keep the wheels spinning - Drive safely.
Keep your eyes and ears open and your black stack smokin - Be alert and make good time.
Keep your noise between the ditches and smokey out of your britches - Drive carefully, lookout for speedtraps.
Keep your rubber down and your metal up Drive carefully and have a good trip.
Kenny Whopper - Kenworth tractor equipment.
Keyboard - Controls of a CB set
Keying the mike - Activating the microphone without speaking. Same as "Dead Key".
Keydown - RF power contest. Operators travel from all parts of the country to attend keydown events. Their trucks/vans put out well over 10kw (10,000 watts) and use expensive amplifiers and many alternators! The object of the game is to see who is "Top Dog", or more powerfull than the others.
Kicker - Linear amplifier.
Kitty Cat - Catepilar powered tractor.
Knock the stack out - Accelerate.
Knuckle Buster - Fight.
Kojak with a Kodak - Cop with radar.
K.W. - Kenworth tractor equipment.
Lady Bear - Female police officer
Lady Breaker - Female CB operator asking for a break.
Lame - Broken down vehicle
Land Yacht - Mobile home or camper.
Lane Flipper - Car or truck that keeps changing lanes.
Lane Lover - Someone who wont budge out of a particular lane.
Latrine Lips - One who has a dirty mouth.
Lay an eye out - Take a look at this
Let the channel roll - Telling other CBers to break in and use the channel.
Legal Beagle - One who always follows the rules
Lettuce - money
LID - CBer with poor operating skills. The Term LID originated in Amateur radio and the CW mode. It meant "Poor Fist".
Lights green, bring on the machine - Road is clear of police and obstructions.
Lil Ol modulator - CB Set
Line - Freight line company.
Mardi Gras Town - New Orleans, Louisiana
Mare - Woman
Mashing the mike - Same as "Deadkey"
Mayday - Distress call.
Mate - Good buddy or friend.
Meatwagon - Ambulance.
Mercy! - Exclamation. "Mercy sakes alive", "Mercy sakes".
Mercy Sakes - See above.
Mike Fright - Shy person, afraid to talk on the radio.
Mikey Mouse - Temporary, non professional fix to a situation.
Mile High - Denver, Colorado
Mile Marker - Milepost on interstate highways.
Mile Post - Same as Mile marker.
Mini Skirt - Woman, girl
Mobile - CB radio station in a car or truck.
Mobile Eyeball - Checking out another truck while passing it.
Mobile - Forrest Logging truck
Mobile Mattress - 4 wheeler pulling a camper.
Modulate - Talk
Modulating - Talking
Modulation - Audio portion of your signal.
Modulation Booster - Microphone pre-amp/compressor either external or internal to the microphone or radio. External devices between the mike and rig are called Modulators.
Modulator - Some refer to it as a linear. Its actually a device to boost the transmit audio.
Money Bus - Armored truck.
Monitor - To listen, i.e.- "I monitor channel 16"
Monster Lane - Speed lane
Moth Ball - Annual CB Convention
Motor Boat - Rapid fluttering signal.
Motor City - Detroit
Motorcycle Mama - Woman riding on a motorcycle.
Mouth Piece - Lawyer
Mr. Clean - Overtly cautious driver.
Muck Truck - Cement truck.
On the by - Listening, not talking.
On the standby - Monitoring but not talking.
On the side - Standing by, available for a call, listening on frequency.
O.M. (old man) - A CBer
On a [insert city name] Turn - i.e.- "Im on an Alamo turn" (Ill make my return from San Antonio).
One eyed monster - TV Set
One foot on the floor, one hanging out the door, and she just wont do no more - Full speed.
Open Season - Cops are everywhere
Other Half - The wife, or husband. Boyfriend or girlfriend.
Out - Through transmitting.
Over - Your turn to transmit.
Over and out - Closing the transmission.
Over modulation - Talking too loud; audio is distorted or otherwise unreadible.
OW - Old woman.
P
PA - Public Address. This feature isnt used a lot nowadays except as a switch for internal, illegal modifications.
Pack it in - Ending transmission
Pair of sevens - No contact or answer.
Panic in the streets - Area being monitored by the FCC
Papa Bear - State trooper with CB.
Paper hanger - Police giving ticket.
Paperwork - Speeding ticket
Part 15 - Relates to the section of FCC rules which pertain to unlicensed stations
Part 95 - FCC Rules and Regulations.
Pass the numbers - Best wishes
Patch City - Town
Peanut butter in his ears - Is not listening.
Pedal against the middle - drive fast
Pedaling in the middle - Straddling both lanes.
Peeling Off - Getting of the freeway.
PEP - Peak Envelope Power; most often refers to SSB output.
Petro Refinery - Truck hauling gas or oil.
PF Flyers - Truck wheels.
Pill (s) - Reference to transistor finals in linear amplifiers. The greater number of "pills", the larger the amplifier is.
Plain Wrapper - Unmarked police car
Play Dead - Stand by
Penman - CBer to-be who has filed for license
Pedal to the metal -Running flat out, in excess of the speed limit
Peel your eyeballs - Be on the lookout.
Peter Rabbit - Used in the Western US for "Smokey"
Phone Patch - A device which hooks a base unit to the telephone.
Pickem up - Pickup truck
Picture taking machine - Radar
Piece of paper - Speeding ticket.
Pigeon - someone caught speeding.
Pigeon Plucker - Police ticketing speeders.
Pig Pen - Another name for weigh station / chicken coop
Pink Panther - Unmarking police vehicle; one with CB
Pink QSL Card - Warning ticket.
Pinning the needle - Strong signal being received.
Pipe Line - Specific Channel
Pit Stop - Gas stop; Restroom stop; just about any kind of stop.
Play Dead - Stand by
PLL Phase-Lock-Loop. The digital circuitry which determines your frequencies. One chip does it all compared to the "olden" days where a separate transmit and receive crystal was required for each channel.
Polack kids - Cattle
Polack school bus - Cattle truck
Pole Cat - Black and white patrol car; sometimes refers to sneaky person.
Politz-eye - The police
Porcupine - Car with a lot of antennas on it.
Porky Bear - Cops
PTT Switch - Push-to-talk switch on microphone
Professional Beaver - Hooker
Pull in for a short - Quick stop.
Pull the big one - Signing off for good
Pull the hammer back - Slow down police ahead.
Pull the plug - To signoff the air and turn the radio OFF.
Pushing a truck - Driving a rig.
Put an eyeball on him - Saw him.
Put it on the floor and looking for some more - Full speed.
Put the word on the base - Mobile unit to a base unit with phone patch.
Put your foot on the floor and let the motor toter - Accelerate.
Q
Q-bird - An intermittent tone generator
QSL Card - Personalized postcard sent to confirm a conversation.
QSL - Term used on SSB for "Roger"; i.e.- "QSL on that". While the Q signals were originally used on CW in the Amateur Radio Service, and often are the butt of complaints, they have found their way into CBs society, and live with them we must.
QSK - Another Ham term, reformatted for CB. Means "Break"
QRM - Noise or interference
QSY - Change or changing channels/frequency.
QRT - Off the air; Signing OFF.
QRX - To wait, or standby.
QSB - Noise
QSO - Pronounced "Que-Sew", meaning "conversation" or "communication".
QSY - Move to a different channel or frequency.
QTH - Location
Quck trip around the horn - Scanning the 40channel band.
R
Radar Alley - Ohio Turnpike
Radio - "Rig" or CB transceiver.
Radio Check - Meter reading, Signal report, statement of the quality of the signal. Often mis-used, and a joke on channel 19. Too many people use this as an excuse to start a conversation.
Radio Runt - Child or young person breaking in on a channel.
Rain Locker - Shower room
Raise - To try and contact someone
Rake the leaves - Last vehicle in a CB convoy
Ratchet-Jaw - Non-stop talker
REACT - Radio Emergency Associated Citizens Teams.
Read - To receive; or "hear" ("How do you read me?")
Rebound - Return trip.
Red Lighted - Police with someone pulled over.
Redneck radio - Someone who talks on the CB using only slang terms.
REST - Radio Emergency Safety Teams
Rest-em-up - Roadside rest stop
RF - Radio Frequency
RF Gain - This control, found on many CB radios, comes in handy when you have a station close by, which is overloading your radios "Front-end". It de-sensitizes the incoming signal.
Rig - Radio
Rig Rip - off Stolen CB
Riot Squad - Neighbors who have TVI
River City - Memphis Tennessee in the Southeast; Paducah, Kentucky in the midwest.
Road Jockey - Driver of tractor trailer.
Road Ranger - Smokey
Rock City - Little Rock, Arkansas.
Rockin chair - car in the middle of a convoy
Rodeo Town - Cheyenne, Wyoming
Roger Dodger - Same as "Roger"
Roller Skate - A car
Rolling Bears - Cops on the move.
Rolling Ranch - Cattle truck
Rolling Refinery - Truck hauling gas or oil.
Rookie Rig - Newbie CBer
Rubber City - Akron, Ohio
Running Barefoot - Using a radio at the legal output no extra "help"
Run interference - CB-less car speeding along past you.
Running on rags - Driving a vehicle with little to no tread on the tires.
Running Shotgun - Driving partner
Running together - CBers traveling in the same direction, keeping in contact with each other.
S
Sailboat fuel - Running on empty
Salt mines - Place of employment.
Salt Shaker - Highway department Salt truck
San Quentin Jailbait - Under age female hitch hiker.
Sandbox Dump - truck hauling dirt or stones
Savages - CBers who hog the channel
Scale house - Weigh station
School twenty - Location of school.
Scrub brush - Street cleaning truck
Seatcover - Attractive female occupant in a car
Set of Dials - A CB rig
Seven-thirds - Best regards
Seventy-Thirds - Sign-off meaning "Best wishes"
Shake the bushes - Lead CBer looking for radar traps or other police.
Shakey City - Los Angeles
Shaking the windows - Clear reception of signal.
Shim - To illegally soup up a transmitter
Shoot the breeze - Casual conversation.
Shout - Calling someone on the CB
Short-short - Soon.
Shot an eyeball on it - Saw it.
Shovelling coal - Accelerating.
Show-off lane - Passing lane.
Skates - Tires
Skip - Atmospheric conditions that cause signals to travel much farther than they normally would. Typically signals are line-of-sight, but when the ionosphere is "charged" by the sun, signals that would normally pass through it are now reflected back to Earth, or "Skip" a large distance. Hams refer to this as a "Band opening".
Skipland - Distant stations
Skippers - CBers who talk a long distance.
Skip Talkn - Someone who has been talking a long distance.
Sidedoor - Passing lane.
Sidewinder - Someone talking on sideband.
Sin City - Cincinnati, Ohio (Midwest); Las Vegas, Nevada (West)
Sitting in the saddle - Middle CB vehicle in a line of three or more vehicles
Six wheeler - Small truck.
Slaughter house - Channel 11
Slammer - Jail.
"S" Meter - The meter on your radio which indicated incoming signal strength. Usually calibrated in "S" units (1 "S" unit = 1DB). S units are also referred to as "Pounds".
Slave Drivers - CBers who take control of a channel
Slider - VFO, sometimes referred to clarifier
Smile and comb your hair - Radar trap up ahead.
Smokey - State Police
Smokey report - Police location report.
Smokey Beaver - Woman police officer.
Smokey Dozing - Police in a stopped car.
Smokeys thick - Police are everywhere.
Smokey with a camera - Cop with radar
Smokey with ears - Cop with CB in car.
SNAFU - Foul up
Sneakers - Linear amp i.e.- "Do you have your sneakers on?"
Sneaky Snake - Hidden patrol car
Snooperscope - An illegally high antenna
Solid-state - Electronic device that doesnt use tubes.
Someone spilled honey on the road - State troopers ahead everywhere.
Somebody stepped on you - Another station transmitted at the same time and was stronger
Sonnet - A CBer who advertises products over the air
Souped Up - A rig modified to run illegally high power.
Sounding Choice - Clear, strong signal.
Sport City - Shreveport, Louisiana
Splashed - Getting bleedover from another channel
Splashover - Same thing as splashed
Splatter - Same thing as splashover
Spreading the greens - Cops giving out tickets.
Spud town - Boise Idaho
Squelch - Control on radio which silences the speaker until a signal of a certain strength breaks through it.
SSB - Single-Sideband
State Bear - State Trooper.
Stepped on - Reception squashed by bleedover or another strong signal. "Come on back, you got stepped on"
Stepped all over you - Similar to "Stepped On"
Stop to get groceries - Stop and eat.
Straight Shot - Road is clear of police and other obstructions.
Stroller - CBer with a walkie-talkie
Struggle - Trying to "Break" a channel
Sucker - A CB rig on the service bench
Suds - Beer
Superdome city - New Orleans, Louisiana
Suppository - Negative.
Sunbeam - A CBer who livens the channel with witticisms.
Sweet thing - Female CB operator.
SWR - Standing Wave Ratio. An incorrect impedance match can cause some of the transmitted signal to "reflect" back to the transmitter, which can reduce your signal, and possibly damage the Finals section of your transmitter. While a good match (1:1) is desirable, anything under 2:1 is safe. In my opinion, if you have two identical stations, at the same location, with one station having an SWR reading of 1.2:1 and another at 1.7:1, a receiving station at the other end, wont see a noticeable difference between the two signals. Sometimes referred to in the plural sense (SWRS) which makes about as much sense as "We" (see WE in the "W" section).
T
Taco Town - Corpus Christi, Texas
Taking pictures - Police radar
Taking pictures each way - Two-way radar
Tanker - Truck hauling liquid
Tennessee Valley Indians - TV Interference
Tearjerker - A CBer who always cries the blues
10-1 Receiving poorly
Ten-ten - well do it again Signoff.
The dirty side - New York City
Thread - Wires in a CB rig.
Threes and eights - Signoff- Best wishes.
Thin - A very weak signal
Thin Man - CBer with a weak carrier
Ticker Tape - The FCC rules
Ticks - FCC rules
Tighten up on the rubber band - Accelerate
Tighten your seat, were running heavey - We are accelerating.
Tijuana Taxi - Police car; Wrecker; Taxi
Tinsel City - Hollywood California
Toenails are scratching - Full speed.
Toenails in the radiator - Full speed
Toenails on the front bumper - Full speed.
Toilet mouth - Foul mouth. Someone who uses obscene language.
Tooled-up - A souped up rig
Top Twenty - National CB Jamboree held 3 days each year in a different city.
Trading Stamps - Money.
Transceiver - Combination of Transmitter and Receiver in one box.
Treetop Tall Strong, - Loud signal
Trick babe - Prostitute
Tricky Dicks - San Clemente, California
Truck em easy - Drive safely
Truck em up stop - Truck Stop
T-R Switch - Transmit Receive switch found on older radios.
T Town - Texarkana
Turkey Call - An intermittent tone generator
Turning around my house - Rotating my antenna for better reception.
Turn Over - Stop
Turn Twenty - Location of exit or turn.
TVI - Television Interference.
Twelves - I have company present.
Twenty - Location.
Two Stool beaver - Very fat woman.
Twin huskies - Dual antennas
Twin Pets - A CBer who has 2 sets from the same manufacturer
Two miles of ditches for every mile of road - Drive safely, keep in the middle.
Tx - Transmit
U.C.B.T.A. - United CB Truckers Association
Ungowa Bwana - O.K.
Uncle Charlie - FCC
Uppers and Lowers - Indicates that the radio will go above channel 40 and below channel 1
USB - Upper Sideband
USCRC - United States Citizens Radio Council
Use the Jake - Slow down
V
Valve -Tube
V.F.O. - Variable Frequency Oscillator, sometimes called a "Slider".
VOX - Voice operated relay. Allows the operator to transmit with the sound of his voice, rather than using a microphone push-to-talk switch.
W
Wall-to-wall - Very strong signal. Often used in conjunction with "Treetop Tall"
Walkie-talkie - Portable, battery operated, handheld transceiver.
Walking in here blowing smoke - Clear signal.
Walking on you - Covering up your signal i.e.- "Try it again, the other guy is walking on you".
Walking the dog - Clear reception
Wallpaper - QSL cards
Wall-to-wall bears - Police are everywhere.
Wall-to-wall and treetop tall - Strong, clear signal the loudest.
Wall-to-wall and ten feet tall - Strong clear signal
Warden - The wife, the FCC
Walked on - Same as "Stepped On"
Watch the pavement - Drive safely
Watch your donkey - Police are coming up behind you.
Water hole - Truck stop
Watt - RF power rating. "My rig puts out 5 watts".
Way is bueno - The road ahead is clear.
Wear your bumper out - Following too close.
Welfare station - CB setup bought with welfare money.
Were c lear - Signoff
Were down - Signoff
Were down, out, and on the side - Through transmitting but listening.
Were listening - Monitoring the channel
We - While "We" normally means two or more, in most cases when you hear someone say "we" on the radio, he is referring to himself only. This strange use of the word "we" is not confined to the CB band spectrum only. Many hams use (or mis-use) this as well.
Wearing socks - Has linear amplifier.
Were trying - Trying t
| Bear |
In the USA an FBI agent is often called a G-Man – for what does the G stand? | CB Radio or Citizens' band radio Information All About
Scope
The Citizens' Band radio service in the United States is one of several personal radio services regulated by the FCC. These services began in 1945 to permit citizens a short-distance radio band for personal communication (e.g. radio controlled models, family communications, individual businesses). Originally CB was located in the 460-470 MHz UHF band. There were two classes of CB, A and B. Class B radios had simpler technical requirements but were limited to a smaller range of frequencies.
At the time, the technology wasn't advanced enough to make a UHF radio practical for the average consumer. So, in 1958 the Class D CB service was opened at 27 MHz and this is what is popularly known as CB. Previously, this was a government band (primary allocation to US Forest service, military, etc.) with a secondary allocation for the amateur radio service.
Most of the 460-470 MHz band was reassigned for business and public safety uses, but Class A CB is the ancestor of the present General Mobile Radio Service GMRS. Class B, in the same vein, is a more distant ancestor of the Family Radio Service. The Multi-Use Radio Service is another two-way radio service, in the VHF high band. An unsuccessful petition was made in 1973 to create a Class E CB service at 220 MHz, but this was opposed by amateur radio organizations and others. There are several other classes of personal radio services for specialized purposes such as remote control devices.
While parts of this article are specific to the United States, several countries have similar radio services. While they may be known by other names, they often use similar frequencies (26 to 28 MHz), and have similar uses. Licenses may or may not be required but eligibility is generally simple.
On the other hand, some foreign personal radio services, such as the European PMR446 and the Australian UHF CB are more similar to the American FRS or GMRS services than the CB service, and so are not covered in this article.
History
In the 1960s the service was popular for small trade businesses (e.g. electricians, plumbers, carpenters) and transportation services (e.g. taxi and trucking firms). "10 codes" originally used in the public service (e.g. police, fire, ambulance) and land mobile service were used for short acknowledgements. With the advancement of solid state technology (transistors replacing tubes) in the 1970s, the weight, size and cost of the radios decreased. US truckers were at the head of the boom. Many CB clubs were formed and a special CB slang language evolved. The prominent use of CB radios in mid- and late-1970s films (see list below), television shows such as The Dukes of Hazzard (debuted 1979), and in popular novelty songs such as C.W. McCall's "Convoy" (1976) helped to establish the radios as a nationwide craze in America from the mid-1970s to the early 1980s.
Originally CB did require a license and the use of a call sign but when the CB craze was at its peak, many people ignored this requirement and used made up nicknames or "handles". The use of handles instead of call signs is related to the common practice of using the radios to warn other drivers of speed traps during the time when the United States dropped the national speed limit to 55 mph (90 km/h) beginning in 1974 in response to the 1973 hike in oil prices. The FCC recommended the use of ten-codes and these were used, often in a shortened form, but also many slang terms were developed.
The low cost and simple operation of CB equipment gave access to a communications medium that was previously only available to specialists. The "boom" in CB usage in the 1970s and in Britain in the early 1980s bears several similarities to the advent of the Internet in the 1990s. The many restrictions on the authorized use of CB radio led to widespread disregard of the regulations, most notably in antenna height, distance restriction for communications, licensing and the use of call signs, and allowable transmitter power. Eventually the license requirement was dropped entirely.
Originally, there were only 23 CB channels in the U.S.; 40-channel radios did not come along until 1977. In the 1960s, channels 1-8 and 15-22 were reserved for "intrastation" communications among units under the same license, while the other channels (9-14 and 23) could be used for "interstation" calls to other licenses.
In the early 1970s, channel 9 became reserved for emergency use. Channel 10 was used for highway communications, and channel 11 was used as a general calling channel. Later, channel 19 became the preferred highway channel in most areas, as it did not have the adjacent-channel interference problems with channel 9.
Until the late 1970s when synthesized radios appeared, CB radios were controlled by plug-in quartz crystals. Almost all were AM only, though there were a few single sideband sets in the early days.
In 1973, various groups petitioned the FCC for an allocation of frequencies near 220 MHz for a new "Class E" Citizen's Band service. This was opposed by amateur radio organizations as well as other government agencies and commercial users who desired this allocation for their own usage. While the "Class E" initiative was not successful early on, the Reagan Administration�s sponsored some of these requirements for the development of the Family Radio Service, General Mobile Radio Service and Multi-Use Radio Service. These services fulfilled a majority of the requirements (e.g. eliminate some of the interference and skip that existed on the shortwave frequencies) proposed by the petitioners in 1973. Today these radios are quiet, affordable and readily accessible.
Throughout the 1970s and early 1980s a phenomenon was developing over the CB radio. Similar to the Internet chat rooms a quarter century later, the CB allowed people to get to know one another in a quasi-anonymous manner. Many movies and stories about CBers and the culture on-the-air developed.
In Britain, some people were using CB radio illegally in the 1970s, a craze which suddenly peaked in 1980, leading to legalisation on 2 November 1981. However, in the summer of 1981 the British government were still saying that CB would never be legalised on 27 MHz. The government wanted a uhf frequency around 860 MHz named 'Open Channel' instead. Eventually 40 channels at 27 MHz, plus 20 channels on 934 MHz were legalised. Both allocations used frequencies unique to the UK; the 934 MHz allocation was later withdrawn in 1998. CB's inventor Al Gross made the first legal British CB call, from Trafalgar Square, London. CB was so popular in the UK by 1982 that it was featured in a Coronation Street storyline - fame indeed!
In more recent years CB has lost much of its original appeal due to the advancement of technologies and changing values. Some of this rapid development includes: mobile phones, the Internet, and Family Radio Service. The changing radio wave propagation for long-distance communications, due to the 11 year Sunspot cycle is always a factor for these frequencies.
Australia
In Australia, Citizens Band radio had its beginnings in the 1960s when small numbers of American branded 1-watt �walkie-talkies� started to become available from a handful of outlets. In those days, households were required to hold licenses to operate a TV set, but no such licenses were available to the general public for the use of 27 MHz band radios.
By the early 1970s CB radio began to gather pace as bigger and better transceivers appeared on the market. Designed for in-car installation, these units began to be sold from well recognized and specialist retail outlets. As the popularity of CB radio grew in cities such as Melbourne and Sydney, the 27.240 MHz calling frequency became congested at times and users were forced to find other less popular channels to have conversations and to organize an �eyeball� (meeting).
By 1974, the transceiver of choice was the American designed Midland 23-channel, 5-watt transceiver with upper and lower single sideband (SSB). The Lafayette and Tandy/Realistic brands were also popular. These higher-powered units, when coupled with high-gain antennas and linear amplifiers, often sent out spurious RF emissions which attracted unwanted attentions. The Federal Postmaster-General (PMG Department) was solely responsible for Australian radio spectrum management and radio licensing since the end of World War 2. For the 27 MHz/11-metre band however, the only persons who could legally operate transceivers were licensed radio amateurs who had passed a technical examination, and most had nothing but contempt for the persons operating illegally on the 11-metre band. A small team of radio inspectors began covert surveillance of the �radio pirates� (as they were known) using the 27 MHz band in major Australian cities. They built a database of regular, or nuisance users, particularly those using the higher-powered transceivers, or those boasting of the use of home made linear amplifiers. Radio inspectors, most of who were licensed radio amateurs, had extraordinary powers in those days and it was not uncommon to hear of or meet CB operators who had been on the receiving end of a visit from overly zealous inspectors with a search warrant. Such visits often resulted in the forced entry of houses and rooms, a confiscation of all equipment, (illegal or otherwise), and a summons to appear in court for various breaches of the �wireless telegraphy� laws and regulations in force at the time. Running battles and cat and mouse-like games developed as radio pirates tried to keep one step ahead of inspectors. Some pirates developed elaborate hiding places in their homes or cars for their equipment. Various State polices forces were mainly ignorant of the illegality of the use of CB radios since it was a Federal jurisdiction issue. CB radios or giveaway antennas were however viewed suspiciously by some individual police who saw them as a means to warn other drivers of speed traps established by the police. Unsure of the legal position, they usually took no further action if they found a CB radio fitted in a car.
By the mid-seventies, a number of CB clubs had developed around Australia including the KT (Kangaroo Territory) Club, the GL Club and Delta Whisky Club, all of whom assigned call-sign numbers to radio pirates interested in �joining� the club. The exchange of QSL cards become popular (like with the licensed radio amateurs), and if atmospheric and sunspot activity was suitable, long-distance �skip� communications could be achieved between pirates thousands of kilometres apart. As the popularity of CB continued to grow, pressure began to be applied to the Federal Government to permit the legal use of the 27 MHz band
The GL Club in the Gippsland region in the State of Victoria was particularly active with representations being made to locally based Federal politicians. In February 1975 an informal but widely CB-advertised convention was held in a hall on the outskirts of the town of Morwell, and a newly formed lobby group known as the Australian Citizens Radio Movement began life. Its primary aim was to get CB radio legalized.
On 1 July 1977, after more than two years of relentless pressure from public lobby groups, interstate truck drivers, rural fire brigades and volunteer emergency service units, the Federal Government finally legalized CB radio on 27 MHz with an initial allocation of 18 channels. Not surprisingly, the radio inspectors who had so zealously attempted to protect the airways prior to this time imposed industrial bans because they opposed the new laws. Hence the initial flood of license applications were slow in being processed. In 1980 a total of 40 channels was approved for 27 MHz band and it was aligned with the 40 channels used in the USA. From the outset, the Government attempted to regulate CB radio with license fees and call-signs etc, but some years later abandoned this approach.
After peaking in the 1970s and early 1980s, the use of 27 MHz CB in Australia has fallen dramatically in the last decade. The later introduction of UHF CB Radio and the proliferation of cheap, compact handheld and portable transceivers have been a part of the reason. But other emerging technologies such as e-mail, IRC chat, mobile phones/SMS, and the Internet have played a role by providing people with many choices of communication.
Over the years there have been repeated attempts by the Federal Department of Communications to close down the 27 MHz band. To date, these attempts have failed in the face of opposition.
CB Radio today
CB is still a popular hobby in many countries though its utility as a method of communication among the general public has diminished, due to developments such as mobile phones and Internet chat rooms and IM. CB radio is still a near-universal method of communication among semi truck drivers in America and also remains very popular in rural areas with farmers and hunters, plus sometimes even acting as a sort of "party line" phone system in deep-rural areas too far in the boonies to have phone lines.
Commercial drivers use CB to communicate to other truck drivers directions, traffic problems, and other things of importance. Channel 19 is the most commonly used for this purpose, to the point that some radios even have a dedicated button to bring up channel 19. In some areas of the U.S., different channels are customarily used on highways running North-South versus East-West, and sometimes even for specific roads. Other channels regionally used for this purpose include 10, 17, and 21.
Legitimate, short-range use of CB radio is sometimes made difficult by uncooperative users or illegal high-power transmitters, which are capable of being heard hundreds of miles away. In the United States, the vast number of users and the low financing of the regulatory body mean that the regulations are only actively enforced against the most severe interfering stations, which makes legitimate operations on the Citizen's band unreliable. Other services, such as Multi-Use Radio Service in the VHF band or FRS and GMRS in the UHF band, exist now to provide the reliable short-range communication service originally envisioned for the Citizen's Band.
The maximum legal CB power output level is four watts for AM and 12 watts (peak envelope power or "PEP") for single side band, as measured at the antenna connection on the back of the radio. More powerful external linear amplifiers are commonly and illegally used.
Citizens' Band radios in the United States use frequencies near 27 MHz. During periods of peak sunspot activity, even low-powered transmitters can sometimes be heard for hundreds or even thousands of miles. This "skip" activity, in which signals which bounce off the ionosphere, contributes to interference on CB frequencies. Working "skip" is illegal in the United States, since it contradicts the short-range intended use of the service, though the regulation is widely ignored.
Many radio hobbyists operate illegitimately in the so-called "free band", (which is often referred to as 11 meters, similar to how hams refer to their bands by the approximate wavelengths) using either Citizens' Band equipment that has been modified for extended frequency range and higher power, or else amateur radio equipment operated outside the assigned amateur 10 meter band. Such operations are not part of the legally authorized Citizen's Band service and should not be called "CB". Out-of-band operations may interfere with licensed, public safety, commercial, or military users of these frequencies. Illegal transmitters may not meet good engineering practice for harmonic distortion or "splatter", and resulting interference to licensed radio spectrum users will often attract the attention of regulating authorities.
In its heyday in the 1970s, you were likely to find CB Channel 9 monitored by parties who could relay messages to the authorities, or even directly monitored by the authorities themselves. However, with the popularity of cellular phones, support for Channel 9 as an emergency channel has largely vanished. If you are in dire need of help on the road and your only communications tool is a CB radio, you are much more likely to find help on Channel 19.
CB Usage in the United States
In the United States Citizens' Band (CB) radio service is intended to be a private two-way voice communication service for use in personal and business activities of the general public. Its communications range is from one to five miles. The Citizens' Band radio services are described in part 95 of the Federal Communications Commission's (FCC) and is defined as a personal radio service.
Eligibility
There are no age, citizenship or license requirements to operate a CB radio in the United States. You may operate on any of the authorized 40 CB channels, however channel 9 is used only for emergency communications or for traveler assistance. Usage of all channels is on a shared basis. Foreign governments and their representatives are not eligible to operate a citizens' band radio station within the United States.
You may operate your station anywhere within the United States, its territories and possessions. You may also operate your US station anywhere in the world except within the territorial limits of areas where radio services are regulated by another agency; such as the United States Department of Defense or of any foreign government.
You must use an FCC certified transmitter. No modifications are allowed to your equipment. Equipment output power is limited to 4 watts for AM transmitters and 12 watts PEP (peak envelope power) for single sideband (SSB) transmitters. There are no restrictions on size or type of antennas, except the antenna must not be more than 20 feet above the highest point of the structure it is mounted to and may not be more than 60 feet above the ground.
Channel Assignments
To simplify selection of an operating frequency, the Citizens' Band radio spectrum is divided into 40 numbered radio frequency channels from 26.965 to 27.405 MHz, with channels generally spaced 10 kHz apart. Channel numbers are not strictly sequential with frequency; there are gaps for frequencies used by radio-controlled devices.
Furthermore, there is a gap between Channel 22 and Channel 23 (which was later filled by Channels 24 and 25) for historical reasons. Before CB was in existence, there was an Amateur 11-meter band from 26.96 to 27.23 MHz, and a frequency for radio-controlled devices at 27.255 MHz. The 11-meter band became CB Channels 1 to 22, and the radio control frequency was shared with Channel 23.
The frequencies for the 40 North American/CEPT channels are as follows:
Channel Frequency Channel 01 26.965 MHz Channel 02 26.975 MHz Channel 03 26.985 MHz Channel 04 27.005 MHz Channel 05 27.015 MHz Channel 06 27.025 MHz Channel 07 27.035 MHz Channel 08 27.055 MHz Channel 09 27.065 MHz (emergency channel) Channel 10 27.075 MHz Channel 11 27.085 MHz Channel 12 27.105 MHz Channel 13 27.115 MHz Channel 14 27.125 MHz Channel 15 27.135 MHz Channel 16 27.155 MHz Channel 17 27.165 MHz Channel 18 27.175 MHz Channel 19 27.185 MHz (unofficial highway channel) Channel 20 27.205 MHz Channel 21 27.215 MHz Channel 22 27.225 MHz Channel 23 27.255 MHz (Note frequencies not in ascending order} Channel 24 27.235 MHz Channel 25 27.245 MHz Channel 26 27.265 MHz Channel 27 27.275 MHz Channel 28 27.285 MHz Channel 29 27.295 MHz Channel 30 27.305 MHz Channel 31 27.315 MHz Channel 32 27.325 MHz Channel 33 27.335 MHz Channel 34 27.345 MHz Channel 35 27.355 MHz Channel 36 27.365 MHz Channel 37 27.375 MHz Channel 38 27.385 MHz (lsb, national calling frequency) Channel 39 27.395 MHz Channel 40 27.405 MHz
The frequency allocation list is supplied by the FCC (Federal Communications Commission) from Part 95 - Subpart D - Rules for CB Service Citizens Band (CB) Radio Service.
Remote Control
| i don't know |
In population terms, what is the largest city in China? | China: Twenty Largest Cities
By Amanda Briney
Updated October 02, 2016.
China is the world's largest country based on population with a total of 1,330,141,295 people. It is also the world's third largest country in terms of area as it covers 3,705,407 square miles (9,596,961 sq km). China is divided into 23 provinces , five autonomous regions and four direct-controlled municipalities . In addition, there are over 100 cities in China that have a population greater than one million people.
The following is a list of the twenty most populous cities in China arranged from largest to smallest. All numbers are based on the metropolitan area population or in some cases, the sub-provincial city amount. The years of the population estimate have been included for reference. All numbers were obtained from the city pages on Wikipedia.org . Those cities with an asterisk (*) are direct-controlled municipalities.
1) Beijing : 22,000,000 (2010 estimate)*
2) Shanghai : 19,210,000 (2009 estimate)*
3) Chongqing : 14,749,200 (2009 estimate)*
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Note: This is the urban population for Chongqing. Some estimates state that the city has a population of 30 million - this larger number is representative of both the urban and rural population. This information was obtained from the Chongqing Municipal Government. 404.
4) Tianjin: 12,281,600 (2009 estimate)*
5) Chengdu: 11,000,670 (2009 estimate)
6) Guangzhou: 10,182,000 (2008 estimate)
7) Harbin: 9,873,743 (date unknown)
8) Wuhan: 9,700,000 (2007 estimate)
9) Shenzhen: 8,912,300 (2009 estimate)
10) Xi'an: 8,252,000 (2000 estimate)
11) Hangzhou: 8,100,000 (2009 estimate)
12) Nanjing: 7,713,100 (2009 estimate)
13) Shenyang: 7,760,000 (2008 estimate)
14) Qingdao: 7,579,900 (2007 estimate)
15) Zhengzhou: 7,356,000 (2007 estimate)
16) Dongguan: 6,445,700 (2008 estimate)
17) Dalian: 6,170,000 (2009 estimate)
18) Jinan: 6,036,500 (2009 estimate)
19) Hefei: 4,914,300 (2009 estimate)
20) Nanchang: 4,850,000 (date unknown)
| Shanghai |
Which country had a parliament called the Duma? | Shanghai Population 2016 - World Population Review
World Population Review
24,484,000
Shanghai Population 2016
Shanghai is China's most populous city and the largest city proper in the entire world. It's both a major financial center and a global city and sits at the mouth of the Yangtze River in the Yangtze River Delta of East China. Known as the Pearl of the Orient and the Paris of the East, Shanghai's population in 2016 is estimated to be just over 24 million, which means it has surpassed the entire population of nearby Taiwan.
The population of Shanghai is estimated to be 24.15 million in 2016, which actually declined 0.4% year over year. The city ranks first in China and 5th in the world in terms of population, and it has an average population density of 2,059 people per square kilometer, although this number increases to 3,854 people per square kilometer in urban areas.
The city has a total area of 6,340.5 square kilometers (2,448 sq mi) and it is mostly flat, except for a few hills in the southwest region, and the average elevation is just 4 meters. Shanghai also has an extensive network of rivers, canals, lakes and streams, all of which combine to create the perfect setting for a large population.
Shanghai has been one of the fastest developing cities in the world for the last twenty years, with double-digit growth nearly every year since 1992, with the exception of the global recession of 2008-2009.
Shanghai Demographics
According to the 2010 Census, Shanghai's population was 89.3% (20.6 million) urban and 10.7% (2.5 million) rural. More than 39% of Shanghai's residents are long-term migrants, a number that has tripled in ten years. Migrants are primarily from Anhui (29%), Jiangsu (16.8%), Henan (8.7%) and Sichuan (7.0%), while almost 80% are from rural areas. Interestingly, they have made up the largest percentage of the city's growth, as Shanghai's natural growth rate has been negative since 1993 because of low fertility rates.
Like most of China, the vast majority (98.8%) of Shanghai's residents are of Han Chinese ethnicity, with only 1.2% belonging to minority groups. Still, the number of minorities in Shanghai has grown by an astounding 165.5% since 2000, which is faster than the overall population growth.
Shanghai also has over 150,000 officially registered foreigners, including approximately 31,500 Japanese, 21,000 Americans, and 20,700 Koreans. These numbers are based on official figures, so the real number of foreign citizens in the city is probably much higher.
Shanghai has one of the highest life expectancies in the world, and the highest in mainland China, at 83 years.
Shanghai Population Growth
While some would believe that Shanghai has hit its peak population, this is far from the truth. It's projected that Shanghai, along with Beijing, will have a population of more than 50 million by 2050, which is double the current level because of fast-paced urbanization in the region and strong economic growth.
China has become known around the world for its famous one-child policy, which has helped to keep the population in check. On the other hand, this also contributed to a shrinking workforce in the area as well as a rapidly aging population. Migrants from the rural areas of the country turned to Shanghai, giving the city the growth it was after. The migration to the area will fuel growth for decades to come, as Shanghai itself has had a negative natural growth rate for twenty years due to low fertility rates. The one-child policy came to an end in the country in early 2016, but Shanghai has implemented a five-year plan to curb growth to 25 million.
China is also testing reforms to its hokou system, which will offer incentives to migrants moving to urban areas in the cities, providing them the same benefits as local residents.
The city still has a lot of demographic problems to overcome. This includes a very low fertility rate, an imbalance in the gender ratio (113 boys:100 girls) and an increasing age, which may become a burden as the city grows further.
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What is the white knee-length pleated skirt worn by men as traditional dress in Greece? | Fustanella | Define Fustanella at Dictionary.com
fustanella
[fuhs-tuh-nel-uh, foo-stuh-] /ˌfʌs təˈnɛl ə, ˌfu stə-/
Spell
noun
1.
a short stiff skirt, usually pleated, made of white cotton or linen, worn by men in some parts of the Balkans.
Origin of fustanella
1840-50; < Italian < Modern Greek phoustanélla, diminutive of phoustáni woman's dress < Italian fustagno fustian
Dictionary.com Unabridged
Examples from the Web for fustanella
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Historical Examples
He cannot work because he wears the fustanella, and it is said that he wears the fustanella in order to be unable to work.
British Dictionary definitions for fustanella
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a white knee-length pleated skirt worn by men in Greece and Albania
Word Origin
C19: from Italian, from Modern Greek phoustani, probably from Italian fustagnofustian
Collins English Dictionary - Complete & Unabridged 2012 Digital Edition
© William Collins Sons & Co. Ltd. 1979, 1986 © HarperCollins
Publishers 1998, 2000, 2003, 2005, 2006, 2007, 2009, 2012
| Fustanella |
In which county is the Forest of Dean? | Fustanella | Define Fustanella at Dictionary.com
fustanella
[fuhs-tuh-nel-uh, foo-stuh-] /ˌfʌs təˈnɛl ə, ˌfu stə-/
Spell
noun
1.
a short stiff skirt, usually pleated, made of white cotton or linen, worn by men in some parts of the Balkans.
Origin of fustanella
1840-50; < Italian < Modern Greek phoustanélla, diminutive of phoustáni woman's dress < Italian fustagno fustian
Dictionary.com Unabridged
Examples from the Web for fustanella
Expand
Historical Examples
He cannot work because he wears the fustanella, and it is said that he wears the fustanella in order to be unable to work.
British Dictionary definitions for fustanella
Expand
a white knee-length pleated skirt worn by men in Greece and Albania
Word Origin
C19: from Italian, from Modern Greek phoustani, probably from Italian fustagnofustian
Collins English Dictionary - Complete & Unabridged 2012 Digital Edition
© William Collins Sons & Co. Ltd. 1979, 1986 © HarperCollins
Publishers 1998, 2000, 2003, 2005, 2006, 2007, 2009, 2012
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What was Gulliver’s first name? | SparkNotes: Gulliver’s Travels: Character List
Gulliver’s Travels
Plot Overview
Analysis of Major Characters
Gulliver - The narrator and protagonist of the story. Although Lemuel Gulliver’s vivid and detailed style of narration makes it clear that he is intelligent and well educated, his perceptions are naïve and gullible. He has virtually no emotional life, or at least no awareness of it, and his comments are strictly factual. Indeed, sometimes his obsession with the facts of navigation, for example, becomes unbearable for us, as his fictional editor, Richard Sympson, makes clear when he explains having had to cut out nearly half of Gulliver’s verbiage. Gulliver never thinks that the absurdities he encounters are funny and never makes the satiric connections between the lands he visits and his own home. Gulliver’s naïveté makes the satire possible, as we pick up on things that Gulliver does not notice.
Read an in-depth analysis of Gulliver.
The emperor - The ruler of Lilliput. Like all Lilliputians, the emperor is fewer than six inches tall. His power and majesty impress Gulliver deeply, but to us he appears both laughable and sinister. Because of his tiny size, his belief that he can control Gulliver seems silly, but his willingness to execute his subjects for minor reasons of politics or honor gives him a frightening aspect. He is proud of possessing the tallest trees and biggest palace in the kingdom, but he is also quite hospitable, spending a fortune on his captive’s food. The emperor is both a satire of the autocratic ruler and a strangely serious portrait of political power.
The farmer - Gulliver’s first master in Brobdingnag. The farmer speaks to Gulliver, showing that he is willing to believe that the relatively tiny Gulliver may be as rational as he himself is, and treats him with gentleness. However, the farmer puts Gulliver on display around Brobdingnag, which clearly shows that he would rather profit from his discovery than converse with him as an equal. His exploitation of Gulliver as a laborer, which nearly starves Gulliver to death, seems less cruel than simpleminded. Generally, the farmer represents the average Brobdingnagian of no great gifts or intelligence, wielding an extraordinary power over Gulliver simply by virtue of his immense size.
Glumdalclitch - The farmer’s nine-year-old daughter, who is forty feet tall. Glumdalclitch becomes Gulliver’s friend and nursemaid, hanging him to sleep safely in her closet at night and teaching him the Brobdingnagian language by day. She is skilled at sewing and makes Gulliver several sets of new clothes, taking delight in dressing him. When the queen discovers that no one at court is suited to care for Gulliver, she invites Glumdalclitch to live at court as his sole babysitter, a function she performs with great seriousness and attentiveness. To Glumdalclitch, Gulliver is basically a living doll, symbolizing the general status Gulliver has in Brobdingnag.
The queen - The queen of Brobdingnag, who is so delighted by Gulliver’s beauty and charms that she agrees to buy him from the farmer for 1,000 pieces of gold. Gulliver appreciates her kindness after the hardships he suffers at the farmer’s and shows his usual fawning love for royalty by kissing the tip of her little finger when presented before her. She possesses, in Gulliver’s words, “infinite” wit and humor, though this description may entail a bit of Gulliver’s characteristic flattery of superiors. The queen seems genuinely considerate, asking Gulliver whether he would consent to live at court instead of simply taking him in as a pet and inquiring into the reasons for his cold good-byes with the farmer. She is by no means a hero, but simply a pleasant, powerful person.
The king - The king of Brobdingnag, who, in contrast to the emperor of Lilliput, seems to be a true intellectual, well versed in political science among other disciplines. While his wife has an intimate, friendly relationship with the diminutive visitor, the king’s relation to Gulliver is limited to serious discussions about the history and institutions of Gulliver’s native land. He is thus a figure of rational thought who somewhat prefigures the Houyhnhnms in Book IV.
Lord Munodi - A lord of Lagado, capital of the underdeveloped land beneath Laputa, who hosts Gulliver and gives him a tour of the country on Gulliver’s third voyage. Munodi is a rare example of practical-minded intelligence both in Lagado, where the applied sciences are wildly impractical, and in Laputa, where no one even considers practicality a virtue. He fell from grace with the ruling elite by counseling a commonsense approach to agriculture and land management in Lagado, an approach that was rejected even though it proved successful when applied to his own flourishing estate. Lord Munodi serves as a reality check for Gulliver on his third voyage, an objective-minded contrast to the theoretical delusions of the other inhabitants of Laputa and Lagado.
Read an in-depth analysis of Lord Munodi.
Yahoos - Unkempt humanlike beasts who live in servitude to the Houyhnhnms. Yahoos seem to belong to various ethnic groups, since there are blond Yahoos as well as dark-haired and redheaded ones. The men are characterized by their hairy bodies, and the women by their low-hanging breasts. They are naked, filthy, and extremely primitive in their eating habits. Yahoos are not capable of government, and thus they are kept as servants to the Houyhnhnms, pulling their carriages and performing manual tasks. They repel Gulliver with their lascivious sexual appetites, especially when an eleven-year-old Yahoo girl attempts to rape Gulliver as he is bathing naked. Yet despite Gulliver’s revulsion for these disgusting creatures, he ends his writings referring to himself as a Yahoo, just as the Houyhnhnms do as they regretfully evict him from their realm. Thus, “Yahoo” becomes another term for human, at least in the semideranged and self-loathing mind of Gulliver at the end of his fourth journey.
Houyhnhnms - Rational horses who maintain a simple, peaceful society governed by reason and truthfulness—they do not even have a word for “lie” in their language. Houyhnhnms are like ordinary horses, except that they are highly intelligent and deeply wise. They live in a sort of socialist republic, with the needs of the community put before individual desires. They are the masters of the Yahoos, the savage humanlike creatures in Houyhnhnmland. In all, the Houyhnhnms have the greatest impact on Gulliver throughout all his four voyages. He is grieved to leave them, not relieved as he is in leaving the other three lands, and back in England he relates better with his horses than with his human family. The Houyhnhnms thus are a measure of the extent to which Gulliver has become a misanthrope, or “human-hater”; he is certainly, at the end, a horse lover.
Gulliver’s Houyhnhnm master - The Houyhnhnm who first discovers Gulliver and takes him into his own home. Wary of Gulliver’s Yahoolike appearance at first, the master is hesitant to make contact with him, but Gulliver’s ability to mimic the Houyhnhnm’s own words persuades the master to protect Gulliver. The master’s domestic cleanliness, propriety, and tranquil reasonableness of speech have an extraordinary impact on Gulliver. It is through this horse that Gulliver is led to reevaluate the differences between humans and beasts and to question humanity’s claims to rationality.
Don Pedro de Mendez - The Portuguese captain who takes Gulliver back to Europe after he is forced to leave the land of the Houyhnhnms. Don Pedro is naturally benevolent and generous, offering the half-crazed Gulliver his own best suit of clothes to replace the tatters he is wearing. But Gulliver meets his generosity with repulsion, as he cannot bear the company of Yahoos. By the end of the voyage, Don Pedro has won over Gulliver to the extent that he is able to have a conversation with him, but the captain’s overall Yahoolike nature in Gulliver’s eyes alienates him from Gulliver to the very end.
Read an in-depth analysis of Don Pedro de Mendez.
Brobdingnagians - Giants whom Gulliver meets on his second voyage. Brobdingnagians are basically a reasonable and kindly people governed by a sense of justice. Even the farmer who abuses Gulliver at the beginning is gentle with him, and politely takes the trouble to say good-bye to him upon leaving him. The farmer’s daughter, Glumdalclitch, gives Gulliver perhaps the most kindhearted treatment he receives on any of his voyages. The Brobdingnagians do not exploit him for personal or political reasons, as the Lilliputians do, and his life there is one of satisfaction and quietude. But the Brobdingnagians do treat Gulliver as a plaything. When he tries to speak seriously with the king of Brobdingnag about England, the king dismisses the English as odious vermin, showing that deep discussion is not possible for Gulliver here.
Lilliputians and Blefuscudians - Two races of miniature people whom Gulliver meets on his first voyage. Lilliputians and Blefuscudians are prone to conspiracies and jealousies, and while they treat Gulliver well enough materially, they are quick to take advantage of him in political intrigues of various sorts. The two races have been in a longstanding war with each over the interpretation of a reference in their common holy scripture to the proper way to eat eggs. Gulliver helps the Lilliputians defeat the Blefuscudian navy, but he eventually leaves Lilliput and receives a warm welcome in the court of Blefuscu, by which Swift satirizes the arbitrariness of international relations.
Laputans - Absentminded intellectuals who live on the floating island of Laputa, encountered by Gulliver on his third voyage. The Laputans are parodies of theoreticians, who have scant regard for any practical results of their own research. They are so inwardly absorbed in their own thoughts that they must be shaken out of their meditations by special servants called flappers, who shake rattles in their ears. During Gulliver’s stay among them, they do not mistreat him, but are generally unpleasant and dismiss him as intellectually deficient. They do not care about down-to-earth things like the dilapidation of their own houses, but worry intensely about abstract matters like the trajectories of comets and the course of the sun. They are dependent in their own material needs on the land below them, called Lagado, above which they hover by virtue of a magnetic field, and from which they periodically raise up food supplies. In the larger context of Gulliver’s journeys, the Laputans are a parody of the excesses of theoretical pursuits and the uselessness of purely abstract knowledge.
Mary Burton Gulliver - Gulliver’s wife, whose perfunctory mention in the first paragraphs of Gulliver’s Travels demonstrates how unsentimental and unemotional Gulliver is. He makes no reference to any affection for his wife, either here or later in his travels when he is far away from her, and his detachment is so cool as to raise questions about his ability to form human attachments. When he returns to England, she is merely one part of his former existence, and he records no emotion even as she hugs him wildly. The most important facts about her in Gulliver’s mind are her social origin and the income she generates.
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Who are the base and deformed humanoids he meets in the land of the Houyhnhnms? | SparkNotes: Gulliver’s Travels: Analysis of Major Characters
Analysis of Major Characters
Themes, Motifs & Symbols
Lemuel Gulliver
Although Gulliver is a bold adventurer who visits a multitude of strange lands, it is difficult to regard him as truly heroic. Even well before his slide into misanthropy at the end of the book, he simply does not show the stuff of which grand heroes are made. He is not cowardly—on the contrary, he undergoes the unnerving experiences of nearly being devoured by a giant rat, taken captive by pirates, shipwrecked on faraway shores, sexually assaulted by an eleven-year-old girl, and shot in the face with poison arrows. Additionally, the isolation from humanity that he endures for sixteen years must be hard to bear, though Gulliver rarely talks about such matters. Yet despite the courage Gulliver shows throughout his voyages, his character lacks basic greatness. This impression could be due to the fact that he rarely shows his feelings, reveals his soul, or experiences great passions of any sort. But other literary adventurers, like Odysseus in Homer’s Odyssey, seem heroic without being particularly open about their emotions.
What seems most lacking in Gulliver is not courage or feelings, but drive. One modern critic has described Gulliver as possessing the smallest will in all of Western literature: he is simply devoid of a sense of mission, a goal that would make his wandering into a quest. Odysseus’s goal is to get home again, Aeneas’s goal in Virgil’s Aeneid is to found Rome, but Gulliver’s goal on his sea voyage is uncertain. He says that he needs to make some money after the failure of his business, but he rarely mentions finances throughout the work and indeed almost never even mentions home. He has no awareness of any greatness in what he is doing or what he is working toward. In short, he has no aspirations. When he leaves home on his travels for the first time, he gives no impression that he regards himself as undertaking a great endeavor or embarking on a thrilling new challenge.
We may also note Gulliver’s lack of ingenuity and savvy. Other great travelers, such as Odysseus, get themselves out of dangerous situations by exercising their wit and ability to trick others. Gulliver seems too dull for any battles of wit and too unimaginative to think up tricks, and thus he ends up being passive in most of the situations in which he finds himself. He is held captive several times throughout his voyages, but he is never once released through his own stratagems, relying instead on chance factors for his liberation. Once presented with a way out, he works hard to escape, as when he repairs the boat he finds that delivers him from Blefuscu, but he is never actively ingenious in attaining freedom. This example summarizes quite well Gulliver’s intelligence, which is factual and practical rather than imaginative or introspective.
Gulliver is gullible, as his name suggests. For example, he misses the obvious ways in which the Lilliputians exploit him. While he is quite adept at navigational calculations and the humdrum details of seafaring, he is far less able to reflect on himself or his nation in any profoundly critical way. Traveling to such different countries and returning to England in between each voyage, he seems poised to make some great anthropological speculations about cultural differences around the world, about how societies are similar despite their variations or different despite their similarities. But, frustratingly, Gulliver gives us nothing of the sort. He provides us only with literal facts and narrative events, never with any generalizing or philosophizing. He is a self-hating, self-proclaimed Yahoo at the end, announcing his misanthropy quite loudly, but even this attitude is difficult to accept as the moral of the story. Gulliver is not a figure with whom we identify but, rather, part of the array of personalities and behaviors about which we must make judgments.
The Queen of Brobdingnag
The Brobdingnagian queen is hardly a well-developed character in this novel, but she is important in one sense: she is one of the very few females in Gulliver’s Travels who is given much notice. Gulliver’s own wife is scarcely even mentioned, even at what one would expect to be the touching moment of homecoming at the end of the fourth voyage. Gulliver seems little more than indifferent to his wife. The farmer’s daughter in Brobdingnag wins some of Gulliver’s attention but chiefly because she cares for him so tenderly. Gulliver is courteous to the empress of Lilliput but presumably mainly because she is royalty. The queen of Brobdingnag, however, arouses some deeper feelings in Gulliver that go beyond her royal status. He compliments her effusively, as he does no other female personage in the work, calling her infinitely witty and humorous. He describes in proud detail the manner in which he is permitted to kiss the tip of her little finger. For her part, the queen seems earnest in her concern about Gulliver’s welfare. When her court dwarf insults him, she gives the dwarf away to another household as punishment. The interaction between Gulliver and the queen hints that Gulliver is indeed capable of emotional connections.
Lord Munodi
Lord Munodi is a minor character, but he plays the important role of showing the possibility of individual dissent within a brainwashed community. While the inhabitants of Lagado pursue their attempts to extract sunbeams from cucumbers and to eliminate all verbs and adjectives from their language, Munodi is a rare example of practical intelligence. Having tried unsuccessfully to convince his fellows of their misguided public policies, he has given up and is content to practice what he preaches on his own estates. In his kindness to strangers, Munodi is also a counterexample to the contemptuous treatment that the other Laputians and Lagadans show Gulliver. He takes his guest on a tour of the kingdom, explains the advantages of his own estates without boasting, and is, in general, a figure of great common sense and humanity amid theoretical delusions and impractical fantasizing. As a figure isolated from his community, Munodi is similar to Gulliver, though Gulliver is unaware of his alienation while Munodi suffers acutely from his. Indeed, in Munodi we glimpse what Gulliver could be if he were wiser: a figure able to think critically about life and society.
Don Pedro de Mendez
Don Pedro is a minor character in terms of plot, but he plays an important symbolic role at the end of the novel. He treats the half-deranged Gulliver with great patience, even tenderness, when he allows him to travel on his ship as far as Lisbon, offering to give him his own finest suit of clothes to replace the seaman’s tatters, and giving him twenty pounds for his journey home to England. Don Pedro never judges Gulliver, despite Gulliver’s abominably antisocial behavior on the trip back. Ironically, though Don Pedro shows the same kind of generosity and understanding that Gulliver’s Houyhnhnm master earlier shows him, Gulliver still considers Don Pedro a repulsive Yahoo. Were Gulliver able to escape his own delusions, he might be able to see the Houyhnhnm-like reasonableness and kindness in Don Pedro’s behavior. Don Pedro is thus the touchstone through which we see that Gulliver is no longer a reliable and objective commentator on the reality he sees but, rather, a skewed observer of a reality colored by private delusions.
Mary Burton Gulliver
Gulliver’s wife is mentioned only briefly at the beginning of the novel and appears only for an instant at the conclusion. Gulliver never thinks about Mary on his travels and never feels guilty about his lack of attention to her. A dozen far more trivial characters get much greater attention than she receives. She is, in this respect, the opposite of Odysseus’s wife Penelope in the Odyssey, who is never far from her husband’s thoughts and is the final destination of his journey. Mary’s neglected presence in Gulliver’s narrative gives her a certain claim to importance. It suggests that despite Gulliver’s curiosity about new lands and exotic races, he is virtually indifferent to those people closest to him. His lack of interest in his wife bespeaks his underdeveloped inner life. Gulliver is a man of skill and knowledge in certain practical matters, but he is disadvantaged in self-reflection, personal interactions, and perhaps overall wisdom.
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Which state on the Pacific seaboard lies between California and Washington? | Pacific County -- Thumbnail History - HistoryLink.org
Pacific County -- Thumbnail History
By Virginia Story and the HistoryLink.org Staff
Posted 10/26/2006
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Pacific County, named after the Pacific Ocean, is perched at the southwestern corner of Washington state. The ocean forms its western border and the north shore of the Columbia River and Wahkiakum County form its southern border. Grays Harbor County lies to the north and Lewis County to the east. A distinctive geographical feature is the 30-mile-long Long Beach Peninsula, which meets the ocean on its western side and shelters Willapa Bay on its eastern side. In 1851 Pacific County was the third county created in what would become Washington Territory. The economic base of the area's indigenous Chinook and Lower Chehalis peoples as well as of early-arriving settlers was oystering, especially in Shoalwater (later Willapa) Bay, and fishing. Soon lumber became a predominant early industry, followed by cranberry farming, dairy farming, and later, vacationing and tourism. Pacific County's area is nearly 1,000 square miles and the 2005 population was about 21,000 people. The county's four incorporated cities are Raymond, South Bend, Long Beach, and Ilwaco. Of the 39 Washington counties, Pacific County ranks 28th in population and 30th in land area.
Geography
Pacific County lies within two geographic subregions of Washington state known as Coastal Plains and the Coast Range. The coastal area consists of a sandy plain characterized by "shallow bays, tidal flats, delta fans and low headlands" that lie between the ocean and the foothills of the Coast Range (Pacific County Agriculture). Long Beach peninsula has one of the longest continuous ocean beaches on the on the Pacific Coast. It is one-to-three miles wide and 30 miles long. The interior side of the peninsula contained bogs, shallow ponds, and lakes.
Inland from the coast, the foothills were heavily forested with western hemlock, Douglas fir, Sitka spruce, western red cedar, and Pacific silver fir. The main hardwood trees are red alder and bigleaf maple. The climate is mild and damp but too cool and cloudy for most crops.
First Peoples
The Chinook Indians were original inhabitants of the lower Columbia River including the future Pacific County. There were more than 40 Chinook settlments in Pacific County, at the mouths of the Nemah, Naselle, Willapa, and Bone rivers, and at Nahcotta, Oysterville, Goose Point, Bruceport, Tokeland, and Grayland. The site of one of their main villages became Chinook.
Along with the Lower Chehalis, the Chinook wintered along Shoalwater Bay. They spoke the Chinook language and traded (mostly fur, fish, and slaves) over thousands of miles with many different peoples. They were master navigators of sea-going canoes, and salmon and oysters formed the core of their economic base. Reflecting their long experience as traders, their name was given to the Chinook Jargon, a trade lingo that included terms from Chinook, English, French, and Nootka.
The Chinook and the Chehalis were eventually decimated by introduced diseases. Many of their descendants, by accepting 80-acre allotments on the much larger Quinault Reservation, attained the privilege of Quinault treaty rights.
The Shoalwater Indian Reservation, consisting of 334.5 acres, was established by an executive order signed by President Andrew Johnson on September 22, 1866. Pacific County's only reservation, it occupies 333 acres on the north shore of Willapa Bay, on the site of an ancient Chinook village. The non-treaty Indians of Shoalwater Bay made their living by fishing, crabbing, and oystering, selling their surplus to canneries much the same as non-Indians. Members of the present-day Shoalwater Bay Tribe are descended from Chinook, Chehalis, and other area tribes. The tribe has 237 enrolled members and a resident service population of 1,148. The tribal center at Tokeland serves both the tribe and the surrounding community.
Today about 1,600 Chinook tribal members live at Bay Center on Willapa Bay and in South Bend -- both ancient village sites. The tribe has headquarters in Chinook, and is actively seeking federal recognition.
Exploration
Pacific County's location on the Pacific Ocean and on the northern shore of the estuary of the Columbia meant that for early explorers arriving by sea, its bays and forested hills often became their first glimpse of the future state of Washington. Bruno Heceta, aboard the Spanish frigate Santiago, mapped the entrance to the Columbia River in 1775. Thirteen years later, in 1788, the British trader John Meares (1756?-1809), aboard the Felice Adventurer, traded with Indians off what is now called Willapa Bay. He did not actually find the river he was looking for and in his disappointment renamed Cape San Roque as Cape Disappointment and Assumption Bay as Deception Bay.
In 1792, British Royal Navy Captain George Vancouver viewed Cape Disappointment as a “conspicuous point” not worthy of investigation, and passed on by. On May 11, 1792, Captain Robert Gray of Boston aboard the Columbia Rediviva sailed into the Columbia River as the first European to do so. Here he encountered Chinook Indians in cedar dugouts with furs and fresh salmon to trade.
The Lewis and Clark expedition first viewed the Pacific Ocean from the sandy beach of the Long Beach Peninsula on November 15, 1805 (after mistakenly thinking a few days before that the rough waves of the Columbia were ocean waves). They arrived at the Chinook’s summer fishing village and stayed 18 days exploring the area. Considering the rain and fog, the party voted to winter on the other side of the river. Thus the future Pacific County was the site of the first election by Americans in the West and the first to include a Native American and a woman (Sacagawea, the Shoshone wife of of one of the expedition's hunters) and an African American (York, Captain Clark's African slave).
At Astoria, across the wide river mouth from the future Pacific County, the American John Jacob Astor established a fur-trading post in 1811, which was by 1813 owned by the Canadian (British) North West Company, and by 1821 by the British Hudson's Bay Company. Extensive trading and familial relationships developed between the Chinook and these British fur traders.
Under Lieutenant Charles Wilkes, the U.S. Exploring Expedition arrived in the summer of 1841. One of the expedition's vessels, the Peacock, sailed the into the mouth of the Columbia on a survey mission, grounded on a sand spit, and was lost, giving its name to Peacock Spit. The crew was saved by nearby Hudson's Bay Co. fur traders and by missionaries. Among those who jumped ship was James DeSaule, the Peacock's black Peruvian cook. He became one of the first non-Indians to settle in the region.
Graveyard of the Pacific
The many shipwrecks at the mouth of the Columbia -- around 2,000 since 1792 -- have given rise to the name "graveyard of the Pacific." It was back and forth over this treacherous estuary that skilled Indian navigators guided their canoes, causing Captain William Clark of the Lewis and Clark Expedition to note their remarkable navigational skills “thro emence waves & Swells” ("18 Days in Pacific County").
More than one early settler in the area arrived by shipwreck. In 1829 the Isabella, bound for the Hudson's Bay Company's Fort Vancouver, wrecked on a shoal. Thus arrived Englishman James A. Scarborough (1805-1855), who in 1843 settled at Chinook Point on the Columbia River. He married a Chinook woman, Ann Elizabeth, and filed a Donation Land Claim for all of Chinook Point and most of Scarboro Hill. He occupied the property until his death in 1855. The land ultimately became Fort Columbia, part of the U.S. Army’s defense of the mouth of the Columbia River. It is now Fort Columbia State Park.
In 1845 a marker was made by cutting off the tops of three fir trees on the crest of the headland, to be used as a navigational aid. In 1856 a lighthouse was built on Cape Disappointment. It was visible 21 miles out to sea, and had a fog bell. The U.S. Army mounted smooth-bore cannon at Fort Cape Disappointment in 1862 (or 1864). Renamed Fort Canby in 1875, the facility continued to serve in defense of the Columbia River until World War II. It is now part of Cape Disappointment State Park.
The U.S. Army Corps of Engineers began dredging the mouth of the Columbia in the 1870s, and still dredges up four to five million cubic yards of sand every year. In 1980, the U.S. Coast Guard opened its National Motor Lifeboat School at Ilwaco. Today, the Coast Guard's related Station Cape Disappointment responds to 300 or 400 maritime calls for assistance each year.
The Confluence Project, unveiled in 2006 at Cape Disappointment State Park, is a $15 million monumental public-art project to commemorate stops by Lewis and Clark in Washington and Oregon. Designed by artist Maya Lin, the project offers lessons in history, celebrates indigenous cultures, and rehabilitates parts of the natural environment.
Formation and Settlement
From 1818 to 1846, the Pacific Northwest, called Oregon, was jointly occupied by Great Britain, represented mostly by Hudson's Bay Co. fur trappers, and by the United States. The first two counties in the future Washington state were created in 1845 by the Provisional Government for Oregon Territory, a body consisting of both British and American settlers. These were Clark (originally named Vancouver) and Lewis. In 1846 Great Britain ceded to the United States the Pacific Northwest below the 49th parallel and in 1848 Congress created Oregon Territory (including Washington and Idaho). The Oregon Territorial Legislature created Pacific County out of the southwestern corner of Lewis County in 1851. Pacific County was thus the third county formed in what would become Washington Territory, and the first formed by the Oregon Territorial Legislature. In 1853 Congress created Washington Territory, comprising Pacific, Lewis, and Clark (renamed Clarke) counties. Pacific County's boundaries were adjusted in 1860, 1867, 1873, 1879, and finally in 1925.
Settlement in the future Pacific County was framed first by nearby Hudson's Bay Co. fur trappers, and after 1848, by the California Gold Rush. This last caused San Francisco to boom and opened a large market for both lumber and oysters. Pacific County, accessible to San Francisco by sea, had both in abundance.
The promotional activities of Elijah White, who hoped to found a great port city on the Columbia, resulted in the new town of Pacific City, located just south of present-day Ilwaco. On February 26, 1852, a federal executive order set aside 640 acres at Pacific City for a military reservation and required residents to leave. By 1858 all that was left of Pacific City was a couple of houses and a sawmill.
Washington Hall, who had surveyed Pacific City for Elijah White, promoted his own town, Chinookville, beginning in April 1850. Despite the Chinooks' resentment of his appropriation of the site of their principal village, settlers elected Hall county commissioner and Chinookville became Pacific County's first county seat. Hall sold lots until July 1855, at this time deeding his worldly goods to his two children, whose mother was a Native American woman to whom Hall was not married. This protected him from challenges to his claims. He continued for five years to sell lots on behalf of his children, sometimes for cash and sometimes for goods such as shingles and salmon, before disappearing in the direction of Idaho.
Shellfish and Fish
During the 1850s, schooners began arriving in Shoalwater Bay, mostly from San Francisco, looking for oysters. One of these was the Robert Bruce. On December 11, 1851, the ship’s cook doped the crew and set the ship on fire. Bill McCarty, who was cutting timbers at Hawk’s Point, along with the Indians he was working with, carried the men ashore. The Robert Bruce burned to the water line. The stranded men, who in any case had come with the idea of starting an oyster business, settled on the bay, forming what became Bruceport. These “Bruce boys” entered the oyster trade and soon bought two schooners of their own.
In 1854, Chief Nahcati invited R. H. Espy, who had been cutting timber for the San Francisco market, and L. A. Clark, a New York tailor who'd achieved a modest success in the California gold rush, to the site of future Oysterville on the Long Beach Peninsula. There they filed Donation Land Claims and set up an oyster business, shipping canoeloads of oysters to Bruceport for shipment south. Soon vessels from San Francisco were arriving at Oysterville.
Oysterville founders also included the brothers John and Thomas Crellin, who also arrived in 1854. Enmity ensued between the two new oystering groups but this ended when John Morgan, one of the Bruce boys, married Sophia Crellin, sister of John and Thomas. The two companies joined forces and by 1863 were called Crellin & Company. From 1855 to 1892, the county seat was located in Oysterville.
The oyster trade brought one of Washington's earliest chroniclers to the Territory for the first time. James G. Swan (1818-1900) came to the future Pacific County at the invitation of his friend, oysterman Charles J. W. Russell. Swan lived on Willapa Bay from 1852 to 1855, observing the first pioneer settlement grow and getting to know the Chinook and Chehalis inhabitants, including Chief Comcomly's sister as well as Toke, the leader for whom Toke Point and Tokeland are named, and Toke's wife Suis. In 1857 Swan described Indian and pioneer life on the bay in The Northwest Coast, Or, Three Years' Residence in Washington Territory, one of the earliest books about life in Washington.
Native oysters fed San Francisco during the Gold Rush (1848-1864). After they were depleted, first eastern oysters (1893-1920) and then Pacific or Japanese oysters (1920s-1950s) were brought in and farmed. Finally, laboratories in the United States began to grow oyster spat (a minute oyster larva attached to a solid object, usually a piece of oyster shell), making imports no longer necessary. One out of every six oysters consumed in the United States is grown and harvested in Willapa Bay, the “Oyster Capital of the World.”
From the handful of companies farming the bay more than a century ago to the estimated 350 independent growers in Willapa today (many of them Japanese-Americans), Willapa Bay is thought to be the largest farmed shellfish producer in the United States.
Fishing and canning, too, have been essential to the economy. Salmon was one of the first items traded to early explorers. In 1853, Patrick J. McGowan, an Irishman, purchased 320 acres of an old mission grant and founded the town of McGowan on the north shore of the Columbia. Here he established the first salmon-packing company in the state.
Cranberries
Chinook Indians had long harvested the wild cranberries that grew in bogs, and as early as 1847 the berries were exported to San Francisco. In 1880, Anthony Chabot, a native of Quebec who had grown wealthy from engineering ventures in San Francisco, became interested in growing cranberries commercially. In 1881 he bought 1,600 acres of government land and planted 35 acres of cranberries at Seaview, near present-day Long Beach. He brought in several hundred thousand vines from Massachusetts, and production reached 7,500 barrels. Labor was provided by Indians and by Chinese. But eventually pests and mildew brought in with the non-native vines attacked the crop, labor problems developed, and the Chabot bog went to weeds.
Meanwhile another pioneer, Chris Hanson, had planted two acres of cranberries. For a time he was the only producer on the Long Beach peninsula. Between 1909 and 1916 cranberry growing increased there to 600 acres.
About 1912, a grower named Ed Benn introduced cranberries in the Tokeland and Grayland districts of northern Pacific County. Finnish settlers expanded the bog area.
In 1923 the State College of Washington (later Washington State University) established the Cranberry-Blueberry Experiment Station at Long Beach not far from Chabot's original bog to provide technical assistance to growers. Researcher D. J. Crowley worked out sprays to control pests, and overhead sprinkling to protect from winter frost and summer scald. WSU closed its Cranberry Research Station in 1992. Growers formed the Pacific Coast Cranberry Research Association in order to buy the station. They farm the former WSU bogs while WSU continues to support technical personnel.
In the 1930s growers associated with Ocean Spray, a co-op owned by cranberry farmers, to process and market their crops. Growers also affiliated with a national marketing association, the National Cranberry Growers Association. By 1957 the Washington cranberry industry was thriving. Today virtually all the cranberries harvested in the state, about 1.5 million pounds annually, are grown in the Willapa Basin.
Lumber
More than 90 percent of the Willapa uplands were forested. Approximately 3 percent of the present stands are undisturbed old growth with the majority of the remainder being managed timberlands. Mechanization of logging with steam locomotives and steam donkeys beginning in the 1890s made logging another mainstay of the county’s economy.
In 1892 the sawmill town of South Bend, located on the Willapa River, was named the county seat. The choice was so contentious that, in 1893, South Bend residents forcibly removed county records from Oysterville. Things remained calm for a number of years, until Raymond, an industrial town north of South Bend, took an interest in becoming county seat. To show Raymond how serious it was about keeping the county seat, South Bend built a new courthouse. Designed by C. Lewis Wilson and Co. in Chehalis, was nicknamed "the gilded palace of extravagance," which it was at the time.
Following World War I, the forest-products industry went into a long slow decline. Timber prices dropped in the 1920s and housing construction almost ceased in the 1930s. As the supply of old-growth timber from private lands declined, mills closed. Improvements in highway and rail transport made it possible to ship logs to large, distant mills, creating more pressure on local mills. A building boom in Asia beginning in the 1960s meant that Japanese mills could out-bid local mills for logs, leaving many local workers idle. Although timber sales from state and federal lands provided some jobs, the timber industry became a shadow of its former self.
In the 1980s Weyerhaeuser remodeled its Raymond plant, closed it, and reopened it with worker concessions. In 2001 the plant earned international recognition for its environmental management.
Dairy Farming
Dairy farms were established on stump farms in the hills after the trees were logged. In 1950 there were 150 dairy farms in the county. In 1964 the number of farms had fallen to only 40, but milk production had increased. In 2002 Pacific County had 341 farms with an average size of 152 acres.
Railroads and Roads
Lewis Loomis (d. 1913) owned the Ilwaco Navigation Company and the Shoalwater Bay Transportation Company. In 1888 he built a narrow-gauge railroad from Ilwaco to Nahcotta. Eventually it became part of the Oregon Railroad and Navigation Company, and then a branch of the Union Pacific Railroad. The railroad took its final run on September 10, 1930.
The age of the auto arrived, and the Olympic Loop Highway (U.S. 101) that passes through Raymond and traces the shore of Willapa Bay, was completed in August 1931. The road made the beaches and products of Pacific County more accessible to the rest of the state. Thirty years later, in 1966, the completion of the Astoria-Megler Bridge spanning the Columbia River and connecting Oregon to Washington had a large impact on Pacific County.
Cities and Towns
The four incorporated cities of Pacific County are Raymond, South Bend, Long Beach, and Ilwaco. Tokeland is a quiet seaside village, the center of the Shoalwater Indian Reservation. Bay Center, located on the Goose Point Peninsula of Willapa Bay, is a center of fish farming. Its canneries prepare Dungeness crab, salmon, Pacific oysters, and Manila clams.
Raymond
Raymond, located on the Willapa River, was started in 1904 and quickly became a center of logging, an industrial mill town. A land company offering free waterfront tracts attracted some 20 manufacturing plants over the next few years. Its business section was originally built on stilts above the tidelands and sloughs of the site. Sawmills proliferated and German, Polish, Greek, and Finnish immigrants arrived to work in them. By 1905, 400 citizens lived in Raymond. The town, named after leading citizen and first postmaster Leslie V. Raymond, incorporated in 1907 and by 1920 had a population of 4,000. During World War I Raymond became a center of shipbuilding.
A notable Raymond firm is the Dennis Company, which started out as a shingle mill and in 1905, as prices dropped due to competition, merged with another mill, becoming the Raymond Shingle Manufacturing Company. This enterprise was blown to bits in a mill explosion later that year and the family turned to hauling firewood gathered from mill leftovers gathered from several companies. The transportation and sales business expanded into hauling coal, then blacksmithing, then moving pianos and furniture. The firm acquired a warehouse and began selling and delivering block ice. By 1925 it was selling and delivering ice, coal, wood, brick, lime, and cement. The Dennis family purchased forestlands and opened an alder mill to build (and deliver) furniture.
Possessing a transportation infrastructure, it was natural, when Prohibition was repealed in 1933, to go into delivery of beer and soda pop, which led to bottling and producing Dennis Quality Beverages such as Red Rock Cola. Eventually all this diverse activity led to opening a retail store in Raymond during the 1940s. Other activities included manufacturing cement, building houses, selling hardware and plumbing supplies, and operating a long-distance trucking business. The firm opened a feed store and a Honda shop, and went into the clothing business, starting with sweatshirts. Today it operates the original store and corporate offices in Raymond, as well as satellite stores in Aberdeen, Elma, Long Beach, and Montesano, plus a concrete plant in Ilwaco. The Dennis Company employs 100 people.
In 2006 Raymond is home to nearly 3,000 people. Manufacturing still provides about 14 percent of the employment. Health, education, and social services provide another 17 percent, as does arts, entertainment, recreation, accommodations, and food services.
South Bend
South Bend, down the Willapa River from Raymond, was founded in 1869. It was a lumber and sawmill town. In 1889, men associated with the Northern Pacific Railroad bought land there and within five years the town boomed from 150 souls to 3,500. The town went from boom to bust and back to boom several times, with fishing, oystering, canning, and the lumber business providing its economic base. In 1892 it became county seat and in 1910 erected the grand county courthouse, which was placed on the National Register of Historic Places in 1977.
Today South Bend is a community of docks, fishing boats, crab-processing plants, and other enterprises and is home to the county historical museum. As county seat, South Bend houses numerous Pacific County government functions.
Long Beach
Tourists began arriving at the long beach that gives Long Beach its name in the late nineteenth century, attracted to what historian Lucile McDonald calls “Washington’s Cape Cod.” Long Beach, located on the southern part of the peninsula, triples in population each July and August. Tourists are mainly sport fishermen and fisherwomen and beach aficionados who surf, swim, eat oysters, shop, and fly kites (Long Beach is home of the annual Washington State International Kite Festival held the third week in August). In the 1990s Long Beach built a 2,300-foot-long dunes boardwalk, a network of wetland trails, and an interpretive center.
Long Beach was the approximate location of Anthony Chabot's pioneering cranberry operation. WSU's cranberry and blueberry experiment station was established here in 1923.
Long Beach has a population of about 2,300 residents. Hotels, motels, and bed-and-breakfast establishments, as well as gift shops, galleries, and restaurants serving visitors form an important part of the economy.
Ilwaco
Ilwaco, located at the southern end of the Long Beach peninsula, is a traditional fishing port. The town was also a center of logging and cranberry growing. The first non-Indian arrivals appeared in the 1840s, and included the American John Pickernell, who came from Champeog, Oregon, after French Canadian and American settlers there had disagreed over political organization. Another early arrival was James DeSaule, the black Peruvian cook on board the Wilkes Expedition's Peacock. DeSaule jumped ship when the vessel went down and eventually moved to Ilwaco and ran a freight service between Astoria (across the Columbia) and Cathlamet.
Ilwaco was originally named Unity in celebration of the end of the Civil War, but was always called Ilwaco, after Elowahko Jim, a son-in-law of the Chinook Chief Comcomly. A plat for the town was filed in 1876 under the name Ilwaco.
A Great Lakes method of trapping salmon led to a population boom to 300 after 1882. This involved traps made of tarred rope webs installed on permanent pilings and gave rise to conflict with gillnet fishers who found their fishing grounds preempted. The latter set nets afire, terrorized night watchmen, and in other ways tried to regain their fishing rights. The "gillnet wars" lasted from 1882 until 1910.
Ilwaco incorporated in 1890, and became a city nearly a century later, on July 13, 1987. It has a history museum, an 800-slip marina, a library, bookstore, coffeehouses and restaurants, an antiques store, and other businesses. The population of about 1,000 swells to 3,000 during the summer months when people come for swimming, boating, fishing, and other recreation.
This essay made possible by:
The State of Washington
Washington State Department of Archaeology and Historic Preservation
Oyster sloop, Shoalwater Bay, 1890
Courtesy UW Special Collections (Freshwater and Marine Image Bank)
Pacific County, Washington
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Which state has the lowest population? | So You Want to Live on the Coast - Coastal Living
Lifestyle » So You Want to Live in » So You Want to Live on the Coast
So You Want to Live on the Coast
Where can you buy a home for $150,000? $1 million-plus? We have 16 appealing and surprising options to consider.
Text by Bill and Kay Scheller
Kindra Clineff
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Living on the coast does't have to be just a dream. Though only a few of us can afford a mansion on Maui, simpler homes on other coasts may well be within financial reach.
This year, our guide to living on the coast lists a few of the options available at several price points. We've found communities where you can buy a home for less than $325,000, and others for upwards of $1.3 million. Each has easy access to open water and abundant opportunities to live the coastal lifestyle. Come join us for a fantasy home-buying tour through some of the finest coastal towns in North America.
Less than $325,00
Population: 1,652
Median home cost: $125,000
Henry David Thoreau once said that you could stand on Cape Cod and put all America behind you. That's not true; if you really want to position yourself farther east than your fellow citizens, head to remote Lubec, Maine. Perched on a hill at the end of a jagged peninsula, the town overlooks Passamaquoddy Bay at the easternmost point in the contiguous United States.
It?s hard to turn away from saltwater views in Lubec, which includes nearly 100 miles of rugged New England shoreline. Hiking trails thread through the region's best-preserved peat bog at Quoddy Head State Park. Back roads both inland and along the shore make ideal bicycling routes, and most folks own boats. Those who would rather have someone else do the piloting can take advantage of whale-watching excursions―these waters are feeding grounds for minke, right, and humpback whales―that leave from nearby Campobello.
On a more prosaic note, Lubec was once the sardine capital of the nation. One legacy of that busy past is a good supply of older housing stock within the town center and along the shores of outlying necks to the north and south. Property facing open ocean comes at a premium because homes on smaller bays and inlets front tidal flats for part of each day. The famous Bay of Fundy tides attack and retreat across a tremendous amount of acreage, with a rise and fall at West Quoddy Head of nearly 16 feet.
While sardines are part of Lubec's past, the townspeople are working hard to reinvent the community. History buffs can cross the bridge to New Brunswick and visit the cottage where Franklin D. Roosevelt and his family spent summers. The Roosevelts were connoisseurs of good scenery and good sailing, still prime attractions here today.
Insider Tip
"Come as you are, no audition, no requirements" is the motto at Bruce Potterton's 16-year-old music program, SummerKeys, which runs for 10 weeks each summer. Adults of all skill levels are invited to attend weeklong sessions, and instructors perform free concerts at the Lubec Congregational Christian Church every Wednesday evening while the school is in session.
Crystal Beach, Texas
Population: 1,600
Median home cost: $153,500
Crystal Beach calls itself one of the nation's most affordable oceanfront communities. And it has plenty to offer bargain-hunters. Straddling the 27-mile-long Bolivar Peninsula separating Galveston Bay from the Gulf of Mexico, the beach got its name from the local sand, which sparkles like crystal. This largest of five peninsular communities benefits both from proximity to Galveston Island―accessible via a free ferry that crosses the bay―and from tight state restrictions on land use, which have left most of the narrow spit undeveloped. Behind those crystalline beaches lie marshes, ponds, wetlands, coastal prairies, and High Island's Audubon bird sanctuaries.
Despite the land-use strictures, developers have been busy in Crystal Beach. Newer housing tends to be at the higher end of the price scale, but the availability of older homes helps keep average prices down. Even many of the reasonably priced properties that are not right on the water offer beach views thanks to large lots and a lack of high-rise condominium buildings. Crystal Beach is primarily a resort community, with tourism the major contributor to the local economy. An estimated 80 percent of property owners are summer weekenders, and year-round residents have the place pretty much to themselves from September to mid-May. One seasonal drawback is Zoo Beach, which attracts summertime crowds of both families and partyers. On the plus side, the calm, warm Gulf waters that lap the peninsula's beaches make them great for small children. The ferry provides an easy commute to downtown Galveston Island. From there, it's a 50-mile run to Houston. But many folks head down to the landing not to make the crossing, but to perch themselves on the jetty and net crabs.
New Bern, North Carolina
Population: 23,098
Median home cost: $174,300
New Bern isn't all that new. It's the second-oldest town in North Carolina, founded in 1710 by a Swiss adventurer. Fast-forward 300 years and the town is new again. New Bern had all the makings of another Colonial Williamsburg (abundant history, important buildings in need of restoration), but lacked an angel on the order of John D. Rockefeller Jr. Enter a group of locals who organized in the 1970s to revitalize downtown. The centerpiece of new New Bern is stately Georgian Tryon Palace, a reconstruction of the Colonial administrative center and governor's residence. The palace anchors a downtown now alive with restaurants, galleries, and shops. Several historic districts encompass neighborhoods dating to the 18th century, with more than 150 historic landmarks and a wealth of Colonial, Georgian, Federal, Greek Revival, and Victorian architecture. One site holds a special place in the history of carbonation: At 256 Middle Street a pharmacist named Caleb Bradham concocted something he called "Brad's Drink"―later renamed Pepsi-Cola.
New Bern lies just north of the 160,000-acre Croatan National Forest. It would be easy enough to get lost in the woods, which extend south almost all the way to the barrier islands along the Atlantic Coast. The city's two rivers, which converge downtown at the Union Point Park Complex, also offer a great range of outdoor activities, including boating, fishing, and crabbing.
In addition to trophy architecture, New Bern and its surroundings boast new developments such as Grantham Place, an Arts and Crafts community, and Carolina Colours.
Insider Tip
New Bern's Chamber of Commerce offers the following assessment of some of the area's housing options: The downtown Historic District has both small cottages and large multilevel homes on the water (prices range from $70,000 to $750,000). Fairfield Harbour community has two golf courses and a full-service marina (home prices range from $80,000 to $350,000). The Ghent district is a family-oriented neighborhood with homes ranging from $60,000 to $275,000.
Ocean Shores, Washington
Population: 3,270
Median home cost: $190,000
You'll never see a deal like this again: In 1960, developers bought a scenic finger of land on the central Washington coast and started selling lots for $595. In just a few years, the town of Ocean Shores had 23 miles of canals (many homes have frontage on these waterways), a championship golf course, and a part-time population of Hollywood types who came for the seclusion afforded by this 6,000-acre retreat, called Washington's "richest little city."
A 1980s recession brought that boom to a halt, though, and it took a decade for builders to get back on track. Prices have since stayed reasonable, and what was once the "richest" is now one of the Northwest's most affordable little cities, with more than 200 homes priced below $400,000 at the end of 2007.
New Ocean Shores residents enjoy the same seacoast splendor that lured those adventurous souls with $595 to burn a half-century ago. Miles of sandy beaches encourage horseback riding, clamming, and prospecting for agates, as well as spotting more than 200 species of birds?including brown pelicans and peregrine falcons drawn to nearby Grays Harbor National Wildlife Refuge. Ocean City State Park offers a chance to observe seals and their pups. Head north on Route 101 for a scenic loop around the mountains and rain forests of the Olympic Peninsula.
On the outskirts lies lively Ocean Shores, tucked behind a gateway of stone pillars that has become a community trademark. The town may no longer be a Hollywood hangout, but it's saved from somnolence by the Quinault Beach Resort and Casino and a downtown cluster of small hotels, shops, and restaurants catering to summer and autumn tourists.
Harbor Springs, Michigan
Population: 1,568
Median home cost: $316,500
Harbor Springs has been a resort town since … well, not quite since Jesuit missionaries stopped over in the 1600s. But at least since the railroad arrived in 1882, bringing summer rusticators to the hotels that then graced this spot on the shores of Lake Michigan's Little Traverse Bay. Visitors who stayed built a New England-style town where numbers still swell during the summer season―in fact, Harbor Springs is known as "the Naples of the North" because many of its residents are snowbirds who depart for Naples, Florida, when temperatures plummet.
But Harbor Springs isn't a roll-up-the-sidewalks summer resort. Well-heeled residents have made a serenely livable place out of this dot on the map just 30 miles southwest of the Straits of Mackinac. There?s an airport nearby served by Northwest Airlines, a wealth of restaurants and galleries, and The Little Traverse Wheelway―a 26-mile-long, part-paved, part-boardwalk recreation path that runs along Lake Michigan through Petoskey and into Charlevoix. Cyclists like to take to the local roads; one popular option is the Tunnel of Trees scenic route along the high bluffs overlooking the lake. Additional recreational highlights include two swimming beaches in town, lake cruises on an antique motor launch, the dunes of Petoskey State Park, and the Thorne Swift Nature Preserve. And while it may not be recreation per se, the Odawa Casino Resort is also in the vicinity.
Harbor Springs benefits from a seasonal phenomenon that's purely a gift of longitude. In the summer, the sun doesn't go down until after 9 p.m., because the town sits on the western limit of the Eastern Time Zone. Residents who have bought into one of the tasteful condo developments at water's edge near the town pier have a front-row seat. Now there's something worth staying up late for: sunset over the prettiest part of Lake Michigan.
$325,000 to $500,000
Population: 1,000
Median home cost: $349,000
For most travelers on the Chesapeake Bay Bridge-Tunnel, Cape Charles merely marks the northern terminus at the tip of the Delmarva Peninsula. For the more nautically savvy, it's also the name of a historic lighthouse guarding the entrance to Chesapeake Bay. Far fewer folks know there is a town called Cape Charles, just off Route 13 on the bay side of the peninsula.
Cape Charles once bustled as a railroad and ferry town, docking steamers and transferring railcars across the bay to Norfolk. The community tucked in for a long nap in the 1950s, and recently awoke to find that its 7-block downtown and charming store of Victorian and early-20th-century homes (you'll find 11 Sears, Roebuck and Co. mail-order kit houses from the 1920s) have substantial allure for both natives and transplants―known locally as "come heres." A town treasure, the historic Palace Theatre, has been restored and now presents musicals and plays. Just steps away, residents enjoy a free nightly production of a different sort: spectacular sunsets over Chesapeake Bay and the Virginia mainland beyond, with prime viewing at the town's public beach. But Cape Charles remains a working town. Watermen still haul in the Chesapeake's famous harvests of fish, blue crabs, and scallops. The bay is one of America's premier sailing grounds, and the ocean side of the Delmarva has its own attractions for boaters. The Virginia Seaside Water Trail extends 100 miles from the mouth of the Chesapeake north to Chincoteague Island, near the Maryland border, meandering through the tranquil bays that separate the peninsula from a chain of barrier islands. One popular stop along the trail is Wreck Island Natural Area Preserve, an unspoiled patch of dunes and salt marshes accessible only by watercraft and prime for surf fishing in early autumn. It isn't necessary to take to the water, though, to enjoy Cape Charles' natural surroundings―south of town, Kiptopeke State Park offers hiking trails, a fishing pier, and a beach; the Eastern Shore of Virginia National Wildlife Refuge is adjacent.
Insider Tip
Cape Charles' local pride is embodied in the Stage Door Gallery, staffed entirely by volunteers. It showcases the works of Eastern Shore artists and exhibits everything from stained glass to bird carvings to oil paintings.
Todos Santos, Baja California South, Mexico
Population: 4,078
Median home cost: $350,000
It's long way from a dusty collection of sugar mills to official status as a "magical town," but Todos Santos has made the transition. Located on the Pacific side of the Baja Peninsula, roughly 50 miles from Cabo San Lucas, Todos Santos was founded as a mission town in 1723 and hit its sugar stride around 1850. The last sugar mill closed more than 40 years ago, and today it's the arts scene that makes life sweet. The "magic"part has to do with the government's designation of the town as a Pueblo Magico, one of 33 such communities in Mexico. Raising a town to this status helps emphasize its traditions and customs, and encourages appropriate development.
Todos Santos' cachet as an arts town dates to the 1987 arrival of painter/sculptor Charles C. Stewart. More artists (and about a dozen galleries) followed, along with American and Canadian expatriates. Newcomers have helped drive development, but the town's master plan and the ongoing restoration of historic buildings have kept growth from getting tacky and out of hand. Anyone who has an irresistible urge to visit a big-box store will have to head down to Cabo.
Official or not, Todos Santos' setting is magical. The town stands between the Sierra de la Laguna mountains and the Pacific, and the old sugar fields have been replaced by ranches, vegetable farms, and papaya and mango orchards. Residents can choose from five beaches in and around the town, four of which offer terrific surfing. At Playa Punta Lobos, beachgoers enjoy watching local fishermen return with their catch in the early afternoon. Another gift of the Pacific: a salubrious summer climate, with temperatures around 10 degrees cooler than at other Baja locations.
Would-be expats should be aware that Mexican law forbids foreign ownership of real estate within some 30 miles of the nation's coasts. The legal work-around is called a fideicomiso, where a local bank holds the title in trust and the "buyer" is beneficiary, with the right to sell the property and benefit from the proceeds.
Insider Tip
Mexico has responded to its growing population of immigrant retirees by granting them senior benefits. The Instituto Nacional de las Personas Adultas Mayores (INAPAM) can provide you with a card that offers discounts on medical and transportation services (including airfare); restaurants, museums, and entertainment; construction materials; even dry cleaning. (You must have a valid residence visa.)
Naples, Florida
Population: 21,162
Median home cost: $380,000 (can reach much higher)
Naples represents such a slew of superlatives―Golf Capital of the World, Number One Small Art Town in America, home to one of the top 20 beaches in the nation―that it's reasonable to wonder if it can possibly live up to its billing. But residents have nearly 90 championship golf courses in and around town, no fewer than 134 art galleries, a philharmonic orchestra, and 10 miles of snowy white sand rimming the crescent bay that reminded early planners of Italy. And if all that isn't enough, consider the fact that hundreds of America's most-discerning and hype-proof business barons―many of them Fortune 500 CEOs―have taken up residence in this Gulf-side gem.
But Naples isn't all exclusive enclaves―in fact, most communities here aren't gated, and home prices are as varied as the highly individual neighborhoods that make up the municipal area. There's a lively downtown, Old Naples, where replicated Georgian and French Colonial styles dominate. The big draw here is the Fifth Avenue and Third Street South shopping districts, with antiques emporia, high-fashion boutiques, and fine-art galleries. Other shopping districts range from the waterfront Tin City, specializing in antiques and local crafts, to The Village on Venetian Bay, where the Italian theme continues, this time with an Adriatic motif. Nor is recreation in and around town simply a matter of tee times with the rich and famous. Naples offers proximity to Everglades National Park, Big Cypress National Preserve, the Florida Panther and Ten Thousand Islands National Wildlife refuges, Picayune Strand State Forest, and great fishing in mangrove estuaries as well as offshore. Close at hand is the Audubon Corkscrew Swamp Sanctuary, with 11,000 pristine acres threaded by a 2¼-mile-long boardwalk. Unspoiled natural surroundings are such an integral part of Naples' outskirts that renowned nature photographer Clyde Butcher maintains a studio in the Everglades, where the Big Cypress Gallery retails his black-and-white prints. A city of superlatives? It's surprising that even more "bests" and "mosts" haven't been bestowed on Naples.
Newburyport, Massachusetts
Population: 17,465
Median home cost: $385,500
Newburyport, Massachusetts, an old port city at the mouth of the Merrimack River, has enjoyed three golden eras. The first came during the post-Revolutionary period of the 1790s, when wealthy merchants and sea captains began to build elegant Federal mansions lining High Street and lesser thoroughfares in the city's south end. Newburyport's next stab at maritime glory came in the 1830s, when ships laden with Far Eastern goods sailed into the harbor. But for more than a century afterward, despite some local manufacturing, the little city sank into economic obscurity so dismal that hardly anyone could afford to tear anything down. That set the stage for Newburyport's great revival, beginning in the early 1970s, when adventurous types from Boston and beyond began snapping up and restoring antique commercial and residential stock at bargain-basement prices.
For close to 40 years now, Newburyport has been one of the great success stories of the New England coast. Its first generation of restorer-entrepreneurs has since sold to succeeding waves of folks who are more than happy to commute to high-tech jobs along Route 128, and even 40 miles south to Boston, especially now that passenger rail service has been revived. Not that Newburyport is a period-piece bedroom community. Its compact downtown, still centered around those redbrick 1811 commercial blocks of Market Square, contains shops, taverns, and trendy restaurants. The waterfront, with its boardwalk promenade, harbors a mix of pleasure craft and working fishing vessels.
Natural splendor surrounds Newburyport's doorstep. Much of the terrain to the west and south consists of pristine salt marshes protected by strict Massachusetts law, and Plum Island lies across a narrow causeway. That barrier island's northern extreme is dense with year-round and vacation homes, but most of it holds the Parker River National Wildlife Refuge, a realm of dunes, maritime forest, and gorgeous ocean beach, which is rarely crowded because of the refuge's limited parking. Northwest of town, Maudslay State Park's hiking and cross-country skiing trails lace through a lovely wooded property along the banks of the Merrimack.
Over the past few years, the town's overheated housing market has cooled, but no one expects another 100-year hibernation. All in all, Newburyport is a great place to wait for your ship to come in.
Gibsons, British Columbia
Population: 3,931
Median home cost: $400,000
British Columbia's Sunshine Coast is an anomaly in a region famous for drizzle. This 110-mile stretch along the mainland side of the Strait of Georgia―the scenic inside passage―is blessed with good weather. Gibsons lies at the southern end of this deeply indented coastline, just a 40-minute ferry ride from Vancouver across Howe Sound. Gibsons is a split-level community. Lower Gibsons recalls its origins as a fishing village, with a fleet of trollers and gill netters that served the hungry piers of Vancouver. Commercial boats still fish from the town wharf (you can often buy fresh seafood dockside), but they now share space with picturesque shops, caf?s, and restaurants. The Landing was the setting for the Canadian Broadcasting Corporation's 1971 to 1990 TV program "The Beachcombers," which put the town on the map―at least for Canadians. Molly's Reach, which served as the show's sound stage, has since been converted to a café. A walkway that begins in this quaint neighborhood follows the shoreline from Armours Beach, popular with swimmers and windsurfers, to the marina.
Upper Gibsons isn't quite so quaint. Perched in a hillier portion of town farther from the water, it offers supermarkets, shopping malls, and fast food. But no place in Gibsons, no matter how functional, is far from the outdoor splendors that have made the Sunshine Coast attractive to Canadians from as far away as the Atlantic Provinces. This corner of British Columbia is the country's equivalent of Southern California―or at least what Southern California has long represented to Americans. Places for soaking up the coast?s famous sunshine and lovely scenery include Secret Beach, a pebbly strand at the bottom of a long flight of steps; Soames Hill, with great mountain and water vistas; and many miles of footpaths and bike trails. Opportunities for wildlife-viewing abound―the Strait is home to seals, sea lions, and orcas, and birders can spot migrant as well as resident bald eagles.
Folks in this southwestern corner of British Columbia obviously place a premium on the Sunshine Coast. On that ferry across Howe Sound, you only pay a fare heading to Gibsons. The trip back to Vancouver is free.
Insider Tip
No trip to Gibsons would be complete without a visit to shop the "Gumboot Nation" of Roberts Creek, named after the favored footwear of British Columbia fishermen. Be sure to visit the gallery of the world-renowned Inside Passage School of Fine Woodworking, have an ice cream at Roberts Creek General Store or a cold beer at Royal Canadian Legion Branch #219, and take home a souvenir from Elements Local Arts & Eco-Ware. The Gumboot Garden Restaurant serves delicious Thai chicken.
$500,000 to $1 million
Population: 1,600
Median home cost: $582,500
A few miles can make a big difference. Seaside, Oregon, just south of the point where the Columbia River meets the Pacific, has honky-tonk, Saturday-night-at-the-beach ambience―but nine miles down the coast, Cannon Beach shows an entirely different face to the world. It?s popular with Portlanders, who make the 80-mile drive for quiet weekend sojourns, and with folks from farther away, who take up full-time residence. They're drawn to the compact, arts-oriented village, where planners have zoned out big chain stores to protect a community surrounded by some of the Oregon coast's most spectacular scenic wonders. The sandy shoreline south to Tillamook Bay and north to Seaside and beyond is lined with state parks, beaches, and recreation sites, many linked by foot trails.
The coast's most outstanding feature looms just offshore. Haystack Rock, a basalt pile that rises 235 feet, ranks as the world's third-largest freestanding coastal monolith. Puffins, guillemots, oystercatchers, cormorants, and many other species nest on the rock and, with the help of binoculars, are easily visible from shore.
Cannon Beach, with its bistros, bookstores, and galleries, has the look of a New England coastal village?not surprising, because so many Pacific Northwest settlers came from that part of the country. They've created a cozy, inviting little nook on the continent's western doorstep.
Insider Tip
Those seeking a romantic, secluded spot should head to the town beach's north end (Chapman Beach) or south end (Silver Point). Tourists tend to congregate close to town, in the middle, where there are facilities. Parking is permitted on side streets, and the beaches are close by.
Duxbury, Massachusetts
Population: 14,578
Median home cost: $630,000
Of all the upscale communities that line Cape Cod Bay south of Boston, Duxbury may be the poshest. Of course, the town has been working at it for a long time.
You might even call it America's first bedroom community. Within a decade of landing at Plymouth Rock in 1620, several of Massachusetts' first permanent English settlers had left Plymouth and moved a few miles up the coast to what became Duxbury.
Today, Duxbury is all about preservation, because there is a lot to protect. The treasures include North Hill Marsh, a 117-acre Massachusetts Audubon Society preserve of woodlands, wetlands, trails, and a lovely secluded pond. Duxbury's beaches are probably the best on the South Shore. The Outer Beach on Saquish Neck attracts swimmers, while Bayside Beach and the calm, enclosed waters of Duxbury Bay draw birders, clammers, and kayakers.
The town was once a leading New England shipbuilding center. Later, summer hotels supported the local economy, and today cranberries are a prominent industry―the bogs are especially picturesque in autumn. The town's lovingly tended housing stock includes splendid examples of Georgian, Federal, and later-19th-century styles, as well as newer homes that derive inspiration from Duxbury's past.
But ever since Route 3 connected Boston to Duxbury in 1963, it has become a bedroom community for affluent commuters who make the 33-mile run to the city each day. And the luckiest live in houses that were already old when much of Beantown was still young.
Mendocino, California
Population: 2,223
Median home cost: $800,000
It?s hard to imagine, when you look around Mendocino and check its real estate offerings today, that 30 years ago this gorgeously situated little community was a counterculture haven. Mendocino, Caspar, Littleriver―all were towns where refugees from the overripe atmosphere of hip San Francisco or "back East" came to live a free and easy life with the Pacific at their doorstep and the big woods out back.
Perched on headlands overlooking the ocean, this town was just too pretty to stay undiscovered for long. Mendocino started out as a utilitarian enough place in the mid-1800s, when it served as a depot for the forests of redwood timber harvested inland―in fact, much of the lumber used to build San Francisco during the boom years following the Gold Rush, and the great earthquake and fire of 1906, came from nearby forests. Fortunately, a lot of lumber stayed right here and was used to build a town with a core that is now a National Historic Preservation District. If any of the homes and commercial structures on and around Main Street look familiar, it might be because the hit 1980s and '90s TV series "Murder, She Wrote" was filmed here.
The Mendocino lifestyle centers as much on leisure hours as on work. But leisure is decidedly active: This is a terrific place for biking, hiking, kayaking, and the popular fall and winter wild-mushroom harvest. Natural areas in the immediate vicinity include three state parks―Van Damme, Russian Gulch, and Mendocino Headlands; Jug Handle State Reserve; and Caspar Headlands State Beach. The 50,000-acre Jackson State Demonstration Forest attracts mountain bikers.
The hippies certainly knew what they were on to. And, if the occasional prosperous-looking fellow with a gray ponytail is any indication, some are on to it still.
Insider Tip
The Highlight Gallery on Main Street exhibits works by artisans from throughout Northern California, and features furniture made by craftspeople who graduated from the Fine Woodworking Program started at Fort Bragg's College of the Redwoods.
Ono Island, Alabama
Population: 1,000
Median home cost: $1 million
As recently as the 1960s, Ono Island was considered a semiwilderness best left to ospreys and live oaks. The 6-mile-long island, barely a half-mile wide, lies near Alabama's southeast corner between Old River and Bayou Saint John, separated from the Gulf of Mexico by the dunes of a barrier beach. Things stayed sleepy here until the late 1980s, when a developer got serious about turning the island into the plush private enclave it has become.
Cross the bridge from nearby Orange Beach (with permission) and you'll enter a gated realm where the roads are closed to the public and common areas belong to the Ono Island Property Owners Association. The island has 1,425 residential lots, roughly 70 percent of which are developed. They're grouped into 31 subdivisions, each with its own covenants. Most of the less-pricey options are in the interior, but on a narrow island, "interior" is a relative term. More-expensive properties hug the 5 miles of man-made canals that open onto the Intracoastal Waterway on the north side of the island, facing Bayou Saint John. Choice lots on the south side look across Old River to Perdido Key, which protects Ono Island from Gulf storms. By design, the island has no businesses except the Ono Realty office, but the services of Orange Beach and Gulf Shores are only a short drive to the west. Pensacola, Florida, is roughly 25 miles distant, and Mobile is 55 miles away. There are no schools, which isn't a problem when the average age of residents ranges between 50 and 60. But there has been a recent influx of younger buyers, who are attracted to the island's security.
Development of Ono Island has largely preserved the natural surroundings. The live oaks and the ospreys are still here, and Perdido Key Wildlife Reserve and the Gulf Islands National Seashore are nearby. It's all enough to give backwaters a good name.
$1 million-plus
Population: 4,200
Median home cost: $1.2 million
People don't usually associate New Jersey with gingerbread―except for the distinctive architecture of Cape May. Back in the 19th century, when it was one of America's first seashore playgrounds, this small city at the very southern tip of the Garden State had mansions and hotels designed, it seemed, to keep the jigsaw and paint businesses afloat for years. By the early 1800s, the "Queen of the Seaside Resorts" was served by steamboats from Philadelphia, and developers had begun building grand hotels. During the 1860s, the summer crowd began to construct their own cottages.
But over the years, most summer sojourners sought out bigger, gaudier destinations along the Jersey Shore, leaving Cape May's core a 19th-century time capsule. A coastal storm in 1962 devastated the town, but a resurgence began in the '70s, when Cape May City joined the National Register of Historic Places. That attracted preservation-minded folks determined to restore the charming housing stock. Their efforts spawned a wealth of bed-and-breakfasts, although several traditional hotels, most notably the 1870s Chalfonte, still draw clients. On a more modern note, the revival of interest in Cape May has led to its designation by the New York Times as the "restaurant capital of New Jersey."
"Cape May" refers not only to the city proper, but also to the entire 15-mile finger of land that extends south into Delaware Bay. Consequently, there's a lot more real estate in the area than one might first imagine, and it isn?t necessary to rattle around in a huge Victorian to enjoy the local atmosphere. The Atlantic side of the peninsula is a good deal livelier; head just a few miles up the coast from the city and you're in Wildwood, with its brightly lit boardwalk, rides, and string of midcentury motels from the Buck Rogers school of architecture. Explore the Delaware Bay side, though, and things quiet down. Its beaches are a prime spring stopover for shorebirds.
The city of Cape May is dynamic enough without having to go the roller-coaster route. The Mid-Atlantic Center for the Arts, established in 1970 to save the grandest of the old Victorian homes, runs a year-round schedule of events including craft and antiques shows and a food and wine festival. There's also professional equity theater at the Robert Shackleton Playhouse of Cape May Stage. A ferry (80 minutes, one-way) connects the cape with Lewes, Delaware, and the resorts of the Delmarva Peninsula. Atlantic City is less than an hour's drive up the coast, and Philadelphia is roughly 95 miles away.
That's by car, not steamboat.
Insider Tip
Locals love George's Place, at the corner of Beach Avenue and Perry Street, for good, unpretentious food. The Greek owners do terrific ethnic salads and baklava, but also excel at crab cakes. A recent bill for a party of four: about $50.
La Jolla, California
Population: 42,000
Median home cost: $1.8 million
Nestled on a promontory on the north side of San Diego, La Jolla shines with spectacular views, an average year-round temperature of 70 degrees, immaculate, palm-lined streets, Spanish Colonial architecture, a university campus, bio-tech and software industries, and outdoor recreation opportunities galore. Perfection comes at a cost, though, and some of the sumptuous homes and estates within gated communities command stratospheric prices. Whether a property looks like it came with a deed to the Pacific Ocean or is situated more modestly on an inland street, real estate here spends virtually no time on the market.
La Jolla avoids the inland freeway tangle, lying between I-5 and the ocean. Cultural amenities include the Museum of Contemporary Art San Diego and The Stuart Collection, as well as the numerous museums, theaters, and music venues that dot downtown San Diego proper. But given this town's wonderful weather, the outdoors is the big draw. At the 6,000-acre San Diego-La Jolla Underwater Park, boating is limited, and snorkelers and scuba divers enjoy visibility that's often 30 feet or more. Atop the cliffs overlooking clothing-optional Black's Beach at Torrey Pines, there's a gliderport catering to hang gliders, paragliders, and scale-plane pilots. Take a glider's-eye view of La Jolla and it will look irresistible. You might even pick out a house from up there.
| i don't know |
Which state borders on four Great Lakes – all except Ontario? | The Only State... Quiz
Extra Trivia
...whose current State Capitol building predates the revolution?
The Maryland State House, built in 1772, has a unique wooden dome which was constructed without nails.
...to produce two US Presidents whose sons also became Presidents?
Coincidentally, both sons shared their Father's names--John Quincy Adams and George Walker Bush.
...to host a Confederate President's inauguration?
Jefferson Davis took his oath of office at the Alabama State Capitol building in 1861.
...whose official state seal is not circular?
Connecticut's seal, depicting three grapevines and the state motto, is oval-shaped.
...to have two Federal Reserve Banks?
The Federal bank in Kansas City covers the Great Plains region, while the bank in St. Louis covers part of the Central US.
...in which the Northern half is in a different time zone than the Southern half?
Northern Idaho is on Pacific Time, while Southern Idaho is on Mountain Time.
...to have multiple native sons immortalized atop Mount Rushmore?
George Washington and Thomas Jefferson were both born in Virginia, as were six other Presidents.
...that has 'parishes' instead of counties?
Louisiana's unique use of the word 'parish' is a holdover from its days as a French Colony.
...with a community-owned major league professional sports team?
The NFL's Green Bay Packers are owned by a large group of stockholders mostly residing in Wisconsin.
...whose median age is under 30 years old?
The Mormon Church's encouragement of large families may explain why Utah's median age is only 28.8 years.
...to lie entirely above 1,000 meters elevation?
Colorado's lowest point, at the border with Kansas, is higher than Pennsylvania's tallest summit.
...where prostitution is legal?
However, not all counties have legalized it--including the counties Las Vegas and Reno are in.
...with a state capital of over a million people?
The next biggest state capital, Indianapolis, has half a million fewer citizens.
...to be named after an American?
Perhaps only George Washington had the gravitas to merit such an honor; a state of Franklin was attempted but failed to be approved.
...whose three largest cities begin with the same letter?
The largest city in Ohio is Columbus, followed by Cleveland and then Cincinnati.
...to host three modern Olympic Games?
Besides the two Summer Olympics in Los Angeles, California hosted the 1960 Winter Olympics in Squaw Valley.
...never to cast an electoral vote for Ronald Reagan?
Minnesota was the only state to spurn the GOP in 1984, remaining loyal to Minnesotan Walter Mondale.
...whose name has no letters in common with that of its capital?
This may not be the most interesting 'Only' stat about South Dakota, but it's the only one I could find...
...to border the Canadian province of New Brunswick?
Maine has one border with New Hampshire, but is otherwise surrounded by Canadian provinces.
...with a modern city founded by European colonists prior to 1600?
St. Augustine, founded in 1565, was originally the capital of Spanish Florida.
...to have a Unicameral Legislature?
Nebraska's legislature, nicknamed 'The Unicameral' by residents, is also uniquely unaffiliated with any political party.
...whose legal right to statehood was brought before the Supreme Court?
Virginia v. West Virginia, in which Virgina strove to regain counties that had seceded during the Civil War, was decided in favor of the Defendant.
...to have territory in the Eastern Hemisphere?
This means that Alaska is technically the northernmost, westernmost, and easternmost State.
...to have a state-owned bank?
The Bank of North Dakota was founded in 1919, and receives funds from state agencies.
...whose official State Motto is in Spanish?
Montana's state motto is 'Oro y Plata,' or 'Gold and Silver,' in tribute to the state's mining industry.
Exceptional Quality
...to border more than two Great Lakes?
In fact, Michigan borders four Great Lakes--all except for Lake Ontario.
...with an automobile on its commemorative State Quarter?
The auto, an 'Indycar,' is a reference to the famed Indianapolis Motor Speedway.
...with a state-wide ban on the carrying of concealed firearms?
The only other holdout, Wisconsin, lifted its ban in 2011.
...to include a noncontiguous parcel of land completely surrounded by two other states?
Due to a surveying error, the 'Kentucky Bend' of the Mississippi is bound by Missouri on three sides and Tennessee on a fourth.
...whose two biggest cities have lent their names to a Tony-winning musical and an Oscar-winning film, respectively?
'Nashville' won an Oscar for Best Original Song in 1976; 'Memphis' won a Tony for Best Musical in 2010.
...to have a higher population density than Puerto Rico?
The most densely populated state, New Jersey's 1,189 residents/square mile beats out Puerto Rico's 1,163.
...in which diamonds are mined?
Crater of Diamonds State Park is also the world's only diamond-bearing site open to the public.
...whose postal abbreviation consists of two vowels?
Iowa is also the only state whose name begins with two vowels.
...to be represented by an African-American Senator prior to the 20th Century?
Before 1967, Mississippi's Hiram Revels (1870) and Blanche Bruce (1875) were the only two black US Senators in history.
...to have divorce laws written into its Constitution?
The original South Carolina consitution prohibited divorce altogether, but has since been amended.
...named after a German-born monarch?
Georgia was named after Britain's King George II, who was born in Hanover, Germany.
...that allows residents to vote from outer space?
The reasoning behind this 1997 law makes sense when you consider that most Astronauts live and work in Houston.
...to have a lighthouse that stands over 60 meters high?
The Cape Hatteras Lighthouse, 63 meters tall (200 feet), is located on the state's easternmost island.
...to be admitted to the Union under a President Roosevelt?
Oklahoma joined the Union in 1907, during Theodore Roosevelt's second term; none were admitted under FDR.
...to have a county where a plurality of citizens report their primary ancestry as Polish?
Nearly one fourth of Luzerne County, in the state's Northeast region, identifies as Polish-American.
...to contain more than one Ivy League school?
Columbia University is located in New York City, while Cornell is in Ithaca
...without commercial air service?
| Michigan |
When Perseus slew the Medusa what sprang up out of her blood? | What are the names of the five Great Lakes? | Reference.com
What are the names of the five Great Lakes?
A:
Quick Answer
The names of the five Great Lakes are Lake Superior, Lake Michigan, Lake Huron, Lake Erie and Lake Ontario. The Great Lakes are the largest surface freshwater systems on Earth and contain roughly 21 percent of the world water supply.
Full Answer
The Great Lakes are on the border of the United States and Canada. These lakes contain approximately 84 percent of North America's surface water and are the home to more than 3,500 species of plants and animals. Lake Superior is the largest of the five lakes by volume, and it is also the deepest and the coldest. The smallest and shallowest lake is Lake Erie. Lake Michigan is the only Great Lake that is entirely in the United States, and it is also the second largest Great Lake by volume. Together, these lakes span more than 750 miles and provide water for a variety of uses, including consumption, power and transportation, according to the Environmental Protection Agency.
The Great Lakes are very popular for boating, fishing and other water activities. The lakes are also very sensitive to pollutants. According to the Environmental Protection Agency, the pollutants that enter any of the Great Lakes are generally retained and become more concentrated over time. Common sources of pollution include waste from cities, industrial discharge, farm chemicals and pollution that enters directly from the atmosphere.
| i don't know |
Who did Evan Davies replace in a long-running TV programme this summer? | Best moments of Evan Davis on Radio 4's Today programme - Telegraph
BBC
Best moments of Evan Davis on Radio 4's Today programme
As the BBC broadcaster presents his final Radio 4 show before moving to Newsnight, we take a look back at some of his finest moments
Former Today programme presenter Evan Davis: "I just think [drug taking] is something gay people have to watch out for" Photo: Rex Features
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This morning Evan Davis presented his final show on Radio 4’s Today programme before moving Newsnight, where he will replace Jeremy Paxman as the anchor of the BBC Two's flagship current affairs show.
His final show featured a list of Mr Davis' "golden rules" for Today presenters, which included "if you lose interest in an item, find a way to amuse yourself" and "if something has gone wrong, just carry on".
He praised the "stoic and heroic" work of his team, and recalled some of his most "fantastic" experiences such as interviewing from the Dalai Lama to Jay Z.
Mr Davis concluded the show with an accidental slip of the tongue when he told listeners to "have a great night" which he quickly corrected to "day".
He joined the Today programme in April 2008 after six-and-a-half years as the BBC's economics editor.
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As Mr Davis presents his final show, we take a look back at some of his best moments.
Downing Street complaint
Mr Davis became embroiled in a row with Chancellor George Osborne in December 2012 following a post-autumn statement interview.
He provoked an official complaint from Downing Street after a 13-minute interview with George Osborne, where he was accused of adopting an “unacceptably hostile” tone.
Conservative MPs rounded on Mr Davis on Twitter for giving Mr Osborne a tougher time than his Labour opposite.
Not knowing which sex Lady Gaga is
Mr Davis said: "Women's singing is doing very well at the moment. If you look at the UK top ten, four single females are in there...plus Lady Gaga".
This episode prompted one of his golden rules for Today presenters: "Get a grip on popular culture and know what sex Lady Gaga is."
Calling the Today programme a "shambles"
When a guest on the show told Mr Davis he was downstairs but could not get up into the studio, the presenter said, live on air: "For goodness sake, this programme is such a shambles sometimes."
Being mistaken for a relation of David Davis
An American guest once asked Mr Davis: "I had dinner last night with David Davis, are you any relation?"
A fiery interview with Lord Young
Mr Davis sparked controversy back in October 2010 when he was accused of promoting the legalisation of cannabis.
During an interview with Lord Young, Mr Davis seized on Lord Young’s remark that: “Frankly, if I want to do something stupid and break my leg or neck, that’s up to me.”
When Lord Young asked: “Haven’t you ever been skiing?” the presenter replied: “So if I want to smoke cannabis, that’s up to me as well, presumably? What principle distinguishes between me doing something dangerous that can break my neck and having a spliff?”
Greenwald interview fallout
The fallout between Guardian reporter Glenn Greenwald and Mr Davis, after a heated interview on the Today programme about the ethics of spying disclosures, spilled onto Twitter.
Commenting on the interview, Mr Greenwald said: "I love and favour adversarial interviews: but when you're only aggressive w/govt critics, not natl security officials, that's shoddy journalism".
This was in November 2013, as Britain's top spy chiefs prepared to be grilled by MPs over the NSA and GCHQ spying furore, sparked by Greenwald's reports.
Too many "old blokes"
| Jeremy Paxman |
In which comedy does Frances de la Tour play a secret drinking headmistress? | Robinson tipped to replace Naughtie - BT
Robinson tipped to replace Naughtie
The BBC's political editor Nick Robinson is reportedly being lined up to replace James Naughtie at the helm of the Today Programme after the veteran broadcaster said he was leaving the show in January.
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The BBC's political editor Nick Robinson is reportedly being lined up to replace James Naughtie at the helm of the Today Programme after the veteran broadcaster said he was leaving the show in January.
A replacement for Naughtie is expected to be named later this year with Robinson, who recently returned to work after treatment for lung cancer, reported to be his successor.
Other names in the frame include the show's former presenter Evan Davies who left last year to replace Jeremy Paxman on Newsnight.
Today's editor Jamie Angus said it would be "strange to contemplate" the programme without Naughtie who has spent 21 years on the flagship early morning show.
Naughtie will work as a special correspondent for Radio 4 and as BBC News books editor when he leaves the show, but his literary duties will see him return to Today every Saturday morning with a regular book review slot.
He first joined the show in 1994 following the death of Brian Redhead and has interviewed US presidents and every prime minister from Margaret Thatcher onwards.
He hit the headlines five years ago when he made an embarrassing verbal slip over the name of then culture secretary Jeremy Hunt and accidentally replaced the first letter of his surname with a "C".
BBC director-general Tony Hall paid tribute to the broadcaster he said had been "the emotional heart" of the show.
Naughtie, who will cover the Holyrood elections in Scotland as well as presidential elections in France and the United States in his new role, said he was "thrilled" with the move.
He said: "It was exciting to discover that the BBC and I had the same idea about what I should do next. I'm thrilled to be moving from one dream job to another, and working with the programmes across Radio 4 - including Today - that I love and have known for so long. I can't think of a more invigorating challenge. And after 21 years, I can turn off that 3am alarm at last".
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What do the Chinese call ‘lively or quick little fellows’? | • Exhibition Hall A | Chindogu
• Exhibition Hall A
Pop Sticks™
Finally, a better way.
If you’ve ever tried to consume a bowl of chinese noodles with a knife and fork, you know that there’s no there substitute for traditional asian eating implements. The problem is that these “quick little fellows” have been on the market for close to 5000 years and the manufacturers still haven’t bothered to put out an update. They slip to the bottom of the dishwasher, they’re not child friendly, and in a number of ways (back-handed reference to Pat Morita in the Karate Kid aside) they’re downright buggy. Now, and not a millennium too soon, there’s Chop Sticks 2.0, or as we like to call them Pop Sticks™. Easily constructed from such common household items as clothespins, Elmer’s glue, and Chop Sticks 1.0, Pop Sticks™ solve an array of problems present in earlier versions. They stay together, they provide more gripping power, and you don’t have to give a whole long lecture with charts, graphs and workshops when the in-laws from Idaho come over for dinner.
Zen Litter Box™
Let’s Cats Truly “Go in Peace.”
The Zen Litter Box™ provides the answer to two common household dilemnas in one fell scoop, as it were. It gives tense and un-enlightened kitties a better way to act out their disdain for the material world than attacking the legs of your furniture, and it turns an unpleasant pet amenity into a garden of inner peace. After all, why should the prospect of attaining nirvana be reserved solely for humans? Ever watched a cat doing its business? They sure look like they’re meditating. The Zen Litter Box™ transforms those kitty facilities into your pet’s personal sanctuarity of tranquility, as gratifying for us to look at as it is for them to experience. Now, the next time your cat craves “fulfillment”, she may find it in more ways than one.
“Unuseless” Invention #19:
Honest Husband Hat™
Peace of Mind for Solicitous Spouses
The senses don’t shut off just because you’re in a relationship. If boyfriends, girlfriends, husbands, and other miscellaneous partners didn’t instinctively notice members of the opposite sex, they probably wouldn’t be paired up in the first place. But now here’s a way to help that special someone retain focus and tune out unneeeded distractions. With a picture of his (or her) mate clipped in place, the Honest Husband Hat™ assures that the wearer won’t break promises he made as soon as he’s out the door. (Just in case, however, photos can be easilly switched and the Hat used in the next relationship as well…and even the one after that.)
“Unuseless” Invention #189:
AC Free Charger™
Lets new batteries breathe life into old ones
Now you can recharge batteries on the go and without taxing the household current. The AC Free Charger™ will pump power back into almost any old dry cell battery, provided you’ve got time to wait…and also 12 newer batteries to draw from. The reason this particular item isn’t likely to succeed in the practical market place is obvious: your one lucky battery is now going to live longer, but you’re shortening the lives of twelve other poor dry cell souls in the process (unless, of course, you’re willing to spring for 144 more, but that’s another discussion). Still, in the education realm, this gadget may prove quite useful in teaching young ones an important lesson before they advance to the carrying of plastic in their wallets–there’s no such thing in life as a free charge.
“Unuseless” Invention #177:
Auto Pussy Petter™
No time to pet the cat? Here’s a let-it-get-its-own-pet set.
Ever noticed that when a cat craves affection, it’ll rub up against basically anything—your leg, the table, the wall–until you finally provide that pat on the head it craves? Well, we noticed. And then we began to look for a way to harness that energy (because, after all, how much fun can being pet by a wall be?) The Auto Pussy Petter™ exploits one of nature’s own furry perpetual motion machines. By walking under the cushioned prosthetic hand, now Toodles can pat her own head and scratch her own back. Best of all, use of the Pussy Petter™ needn’t be taught–cats instinctively get the idea. One drawback: this gadget is best kept indoors, lest your pets figure out they don’t really need you.
| Chopsticks |
‘Frappe’ is a term meaning served on a bed of ………..what? | • Exhibition Hall A | Chindogu
• Exhibition Hall A
Pop Sticks™
Finally, a better way.
If you’ve ever tried to consume a bowl of chinese noodles with a knife and fork, you know that there’s no there substitute for traditional asian eating implements. The problem is that these “quick little fellows” have been on the market for close to 5000 years and the manufacturers still haven’t bothered to put out an update. They slip to the bottom of the dishwasher, they’re not child friendly, and in a number of ways (back-handed reference to Pat Morita in the Karate Kid aside) they’re downright buggy. Now, and not a millennium too soon, there’s Chop Sticks 2.0, or as we like to call them Pop Sticks™. Easily constructed from such common household items as clothespins, Elmer’s glue, and Chop Sticks 1.0, Pop Sticks™ solve an array of problems present in earlier versions. They stay together, they provide more gripping power, and you don’t have to give a whole long lecture with charts, graphs and workshops when the in-laws from Idaho come over for dinner.
Zen Litter Box™
Let’s Cats Truly “Go in Peace.”
The Zen Litter Box™ provides the answer to two common household dilemnas in one fell scoop, as it were. It gives tense and un-enlightened kitties a better way to act out their disdain for the material world than attacking the legs of your furniture, and it turns an unpleasant pet amenity into a garden of inner peace. After all, why should the prospect of attaining nirvana be reserved solely for humans? Ever watched a cat doing its business? They sure look like they’re meditating. The Zen Litter Box™ transforms those kitty facilities into your pet’s personal sanctuarity of tranquility, as gratifying for us to look at as it is for them to experience. Now, the next time your cat craves “fulfillment”, she may find it in more ways than one.
“Unuseless” Invention #19:
Honest Husband Hat™
Peace of Mind for Solicitous Spouses
The senses don’t shut off just because you’re in a relationship. If boyfriends, girlfriends, husbands, and other miscellaneous partners didn’t instinctively notice members of the opposite sex, they probably wouldn’t be paired up in the first place. But now here’s a way to help that special someone retain focus and tune out unneeeded distractions. With a picture of his (or her) mate clipped in place, the Honest Husband Hat™ assures that the wearer won’t break promises he made as soon as he’s out the door. (Just in case, however, photos can be easilly switched and the Hat used in the next relationship as well…and even the one after that.)
“Unuseless” Invention #189:
AC Free Charger™
Lets new batteries breathe life into old ones
Now you can recharge batteries on the go and without taxing the household current. The AC Free Charger™ will pump power back into almost any old dry cell battery, provided you’ve got time to wait…and also 12 newer batteries to draw from. The reason this particular item isn’t likely to succeed in the practical market place is obvious: your one lucky battery is now going to live longer, but you’re shortening the lives of twelve other poor dry cell souls in the process (unless, of course, you’re willing to spring for 144 more, but that’s another discussion). Still, in the education realm, this gadget may prove quite useful in teaching young ones an important lesson before they advance to the carrying of plastic in their wallets–there’s no such thing in life as a free charge.
“Unuseless” Invention #177:
Auto Pussy Petter™
No time to pet the cat? Here’s a let-it-get-its-own-pet set.
Ever noticed that when a cat craves affection, it’ll rub up against basically anything—your leg, the table, the wall–until you finally provide that pat on the head it craves? Well, we noticed. And then we began to look for a way to harness that energy (because, after all, how much fun can being pet by a wall be?) The Auto Pussy Petter™ exploits one of nature’s own furry perpetual motion machines. By walking under the cushioned prosthetic hand, now Toodles can pat her own head and scratch her own back. Best of all, use of the Pussy Petter™ needn’t be taught–cats instinctively get the idea. One drawback: this gadget is best kept indoors, lest your pets figure out they don’t really need you.
| i don't know |
On which Japanese island did the Americans take control of vital Pacific airfields in 1945? | World War 2 Timelines 1939-1945 - Pacific Islands 1945 - Worldwar-2.net
Australian troops land at Saposa to engage Japanese forces at Waitavolo.
09/01/1945
U.S. troops land at Lingayen Gulf on Luzon. 100,000 men are ashore in a single day, which is the largest Pacific operation so far.
11/01/1945
U.S. troops establish a firm hold on the Luzon beachhead.
15/01/1945
U.S. troops now hold 45 miles of the Lingayen Gulf coast.
19/01/1945
USAAF B29 bombers destroy the Kawasaki aircraft works near Kobe, in Japan.
24/01/1945
U.S. troops capture Clark Field, the main Japanese airbase on Luzon.
U.S. troops land unopposed to the Southwest of Manila.
05/02/1945
MacArthur orders a containment in the northern Philippines, as the main effort is directed to the capture of Manila. The Australians land on the Japanese stronghold of New Britain, East of New Guinea.
13/02/1945
U.S. troops capture the last Japanese naval base and airfield on Luzon.
15/02/1945
Japanese forces are now trapped in the Manila rectangle, which is just 5,000yds by 2,000yds.
16/02/1945
U.S. forces begin the intensive bombardment of Iwo Jima, 600 miles South of Japan. U.S. paratroops land on Corregidor Island, a Japanese stronghold in Manila Bay.
17/02/1945
U.S. troops capture the whole of the Bataan Peninsula, which commands Manila Bay in Philippines.
19/02/1945
After a heavy bombardment, 30,000 US Marines land on Iwo Jima, but suffer 2,420 casualties on the first day.
23/02/1945
US paratroops spring 2,146 detainees from a Japanese camp South of Manila in surprise attack, during which 243 Japanese are killed for loss of just two U.S. killed and two injured. U.S. Marines storm Mt. Suribachi on Iwo Jima and raise the U.S. flag.
24/02/1945
U.S. Marines capture a second airfield on Iwo Jima.
26/02/1945
U.S. Marines land on Verde Island, to the Southeast of Manila.
28/02/1945
U.S. Marines take Motoyama on Iwo Jima after a bloody battle. Corregidor is reported as clear of Japanese troops.
The fighting ends in Manila.
09/03/1945
In an attempt to break the Japanese morale and wear away resistance to surrender, the USAAF begins the firebombing of Japans major city's with a raid by 334 B-29 Superfortress bombers on Tokyo, saturating the city's crowded downtown residential district. 16 and a half acres of Tokyo are burnt out and 100,000 people killed in a single night. The attacks by the USAAF continue against Tokyo for 10 days, before switching to Nagoya, Osaka and Kobe.
14/03/1945
U.S. troops begin mopping up on Iwo Jima and launch heavy attacks in the North of the island.
15/03/1945
U.S. troops report slow progress on Luzon in the Philippines.
24/03/1945
U.S. Marines seize islands off coast of Okinawa in Pacific.
26/03/1945
The last organised Japanese troops on Iwo Jima make a suicide attack. Total U.S. killed on Iwo Jima is 6,891, with more than 20,000 Japanese being killed and only 216 captured.
01/04/1945
The U.S. Tenth Army, with 1,457 ships in support, invades Okinawa which is 325 miles from Japan. 60,000 troops land unopposed and establish an 8-mile bridgehead.
03/04/1945
MacArthur is appointed as C-in-C of land forces in the Pacific.
05/04/1945
A U.S. military government is established on Okinawa. Soviet Foreign Minister Molotov summons Japanese Ambassador Sato to inform him of the Soviet Union’s intention to renounce the 1941 neutrality pact between the two countries, thus signaling the failure of Japan’s increasingly strenuous efforts to ensure ongoing Soviet neutrality as the war’s tide turned against Japan.
07/04/1945
The first land-based U.S. fighters from Iwo Jima overfly Japan.
16/04/1945
U.S. landings begin on Le Island and three airfields are taken.
19/04/1945
U.S. troops encounter very stiff resistance by the Japanese at ‘Bloody Ridge’ on Ie Island.
21/04/1945
U.S. troops take ‘Bloody Ridge’ on Okinawa.
22/04/1945
The U.S. campaign in the central Philippines officially ends with the capture of Cebu Island.
30/04/1945
The Mexican Air Force's 201 Squadron arrives at Manila. In operations from 4 June, 1945 to the end of the war, the 201 flies 96 combat missions, mostly in support of ground troops. The 201 will be the only Mexican unit to see overseas combat in the country's history.
The Australians land on Tarakan Island off Borneo.
11/05/1945
In a new offensive, the U.S. Tenth Army reaches the suburbs of Naha, the capital of Okinawa. Wewak is captured by the 6th Australian Division.
12/05/1945
Very heavy fighting continues on Okinawa, with 125 Japanese aircraft being reported as shot down.
13/05/1945
U.S. troops capture Del Monte air base on Mindanao. The Australians clear the Wewak peninsula in New Guinea.
14/05/1945
USAAF B29's firebomb Nagoya, the heaviest raid on the Japanese homeland so far, with 3,500 tons of bombs being dropped, which destroys the Mitsubishi works.
15/05/1945
The U.S. Tenth Army is now within 2,000 yds of Naha docks.
16/05/1945
Heavy fighting continues on Okinawa, as the U.S. 77th Division takes ‘Chocolate Drop Hill’.
21/05/1945
The Japanese begin the evacuation of Shuri, on Okinawa. Their losses so far are estimated at 48,000 killed out of a garrison of 85,000.
22/05/1945
Sugar Loaf Hill’ on Okinawa is finally taken by U.S. troops after changing hands 11 times in the last few days.
23/05/1945
The heaviest air raid so far on the Japanese homeland, see USAAF bombers drop 4,500 tons of incendiaries on Tokyo. 21% of the city is now burnt out, but the firebombing continues for next four days.
24/05/1945
Japanese paratroops drop on the US airbases on both Okinawa and Ie.
25/05/1945
The U.S. Joint Chiefs complete the plan for Operation 'Olympic', which sets the date to invade the Japanese mainland as no later that the 1st November 1945.
27/05/1945
The U.S. Sixth Army takes Santa Fe on Luzon.
30/05/1945
A White Paper on full employment is tabled to the Australian Parliament.
31/05/1945
Osaka is totally burnt out by U.S. incendiaries.
01/06/1945
U.S. troops make new landings on Okinawa as forces from the East and West coasts link up South of Shuri.
04/06/1945
U.S. troops land on the Oriko peninsula of Okinawa.
06/06/1945
Naha airbase on Okinawa is now being used to hit Japan.
09/06/1945
The Japanese on the Oroku peninsula are reported as trapped. Tokyo radio says that 4.93m Japanese have been displaced by the bombing in the last three months.
10/06/1945
The Australian 9th Division makes two landings in Brunei Bay, Borneo.
13/06/1945
U.S. and Australian troops enter Brunei, in Borneo.
18/06/1945
The USAAF begins the fireblitzing of 58 smaller Japanese cities.
19/06/1945
The Australians are now in control of both sides of the Brunei Bay entrance.
20/06/1945
Australians troops land at Lutong on Sarawak and gain 25 miles to the Seria oilfields.
21/06/1945
Organised resistance on Okinawa ends after 82 days of the bloodiest fighting in the Pacific, during which 98,654 Japanese have been killed and 6,922 captured. U.S. loses were 6,990 killed and 29,598 wounded.
27/06/1945
The U.S. Sixth Army reaches Aparri, effectively ending the campaign on Luzon.
28/06/1945
The Japanese casualty figures on Luzon are 113,593 killed and U.S. loses are just 3,793.
01/07/1945
The Australian 7th Division lands at Balikpapan on South East coast of Borneo after a 15-day bombardment.
05/07/1945
MacArthur announces the liberation of the whole of the Philippines, although sporadic fighting continues until after the Japanese surrender. U.S. losses total 11,921 dead and 42,970 injured or captured. The Australian Prime Minister, John Curtin, dies.
12/07/1945
Further allied landings are reported on Borneo. The Australians capture Maradi in the west of the island.
13/07/1945
Chifley is elected leader of Labour Party and becomes Prime Minister of Australia.
15/07/1945
The Australians take Prince Alexander Range in Borneo after an eight-week struggle.
25/07/1945
A Proclamation to the Japanese people is issued by UK, U.S and China from Potsdam, which warns of devastation from the ‘final blows’ and calls for Japans unconditional surrender.
30/07/1945
The Japanese reject the Potsdam ultimatum, so the Joint Chiefs order the plans for Japanese surrender to be drawn up.
06/08/1945
U.S. B-29 "Enola Gay" drops a 3 metre long atomic bomb "Little Boy" on Hiroshima, Japan, killing an estimated 140,000 people in the first use of a nuclear weapon in warfare and wiping out 10 square kms. The U.S. First Army arrives on Luzon to prepare for final assault on Japan.
09/08/1945
U.S. B-29 "Bocks Car" drops atomic bomb "Fat Man" on Nagasaki, Japan. Two-thirds of the city of 250,000 inhabitants is destroyed and 113,000 people die.
13/08/1945
Surrender documents are sent to MacArthur in Philippines.
14/08/1945
The Japanese Cabinet decide at a morning meeting in Imperial Palace to surrender to allies. An 8.10 pm reply to the allied ultimatum is handed to the Swiss Foreign Minister by the Japanese Minister in Berne. Truman calls a Press Conference at midnight to announce the 'Unconditional Surrender' of Japan. USAAF B29's launch the last air raid of the war against Kumagaya.
15/08/1945
The Japanese Government resigns and the war minister commits suicide. MacArthur becomes the Supreme Commander for Allied Powers in the Pacific.
19/08/1945
16 Japanese surrender envoys arrive on Ie and are taken to Manila for a 5 and a half hour discussion with MacArthur and his staff. Japanese troops on Java receive the cease-fire order.
20/08/1945
Further negotiations in Manila. The Japanese leave at 1pm. MacArthur says that U.S. troops will land on the Japanese mainland within 10 days of signing the surrender.
21/08/1945
The Japanese announce that the first U.S. landings will be on the 26th August. A non-fraternisation rule with the Japanese is to be enforced by the U.S.
22/08/1945
MacArthur says the surrender will be signed in the Tokyo area on the 31st August.
23/08/1945
The Japanese official casualty figures from air raids including A-bombs are 260,000 killed, 412,000 injured, 9.2 million homeless, along with 44 cities being completely wiped out.
24/08/1945
The Japanese news agency says that all Japanese troops are to be out of the U.S. landing area by tomorrow.
25/08/1945
Tokyo radio reports large numbers of people committing Hari-kiri in front of the Imperial Palace.
29/08/1945
U.S. Marines and troops of 11th Airborne Division land in Tokyo Bay.
30/08/1945
U.S. occupation of Japan begins, 11th Airborne Division lands at Atsugi airfield and 4th Marine Regiment lands at Kurihama naval base at Yokosuka and report ‘obsequious bows and smiles’ from soldiers and civilians.
31/08/1945
As U.S. troops release POW's, many reports of systematic degradation are heard. Tokyo is reported as 85% bomb damaged, although this is not as bad as Berlin. Japanese garrison at Marcus Island surrenders to the Americans.
The formal Japanese surrender takes place aboard the USS Missouri in Tokyo Bay.
04/09/1945
Emperor Hirohito asks his people to co-operate in setting up a peaceful state.
06/09/1945
Japanese forces in Southwest Pacific surrender aboard HMS Glory.
08/09/1945
The first American troops enter Tokyo itself.
11/09/1945
Forty prominent Japanese are arrested for war crimes. Tojo, who ordered the raid on Pearl Harbour attempts suicide.
12/09/1945
Mountbatten accepts the surrender of all Japanese troops in Southeast Asia.
| Iwo Jima |
What is the name of the Jewish candlestick with special religious meaning? | Island Hopping
Blog
Island Hopping
After the Battle of Midway , the United States launched a counter-offensive strike known as "island-hopping," establishing a line of overlapping island bases, as well as air control. The idea was to capture certain key islands, one after another, until Japan came within range of American bombers. Led by General Douglas MacArthur , Commander of the Allied forces in the Southwest Pacific, and Admiral Chester W. Nimitz, Commander-in-Chief of the Pacific Fleet, the first stage of the offensive began with the Navy under Nimitz, and Marine landings on Guadalcanal and nearby islands in the Solomons.
From that point on, Nimitz and MacArthur engaged in "island-hopping" amphibious drives that bypassed strongly-held islands to strike at the enemy's weak points. In an effort to liberate the people of the Philippine Islands, MacArthur pushed along the New Guinea coast with Australian allies, while Nimitz crossed the central Pacific by way of the Gilberts, Marshalls, Marianas, Carolines, and Palaus. Both campaigns would entail seemingly endless, bloody battles ultimately leading to the unconditional surrender of the Japanese.
Preparing for U.S. counterattack
Admiral William "Bull" Halsey, commander of the U.S. Third Fleet, flew to MacArthur's headquarters in Brisbane, Australia, where they discussed campaign strategy. MacArthur's headquarters issued plans on April 26th that laid out a two-pronged offensive, code-named CARTWHEEL, which would corner the Japanese at Rabaul Island. One prong MacArthur would advance along the northern shores of New Guinea and into the Bismarck Archipelago. The second prong Halsey would drive northwest from Guadalcanal and control the remainder of the Solomon Islands.
Buna
By November 1942 the Japanese had established a jungle fortress around Buna and Gona. Inexperienced with guerilla warfare, weather-beaten, sick, and short on artillery and rations, the Australians and Americans could not dislodge the dug-in Japanese. General MacArthur sent Lt. General Robert Eichelberger to lead the Buna campaign.
On December 9, 1942, the Allies stormed Gona and captured it during the last week of January 1943. MacArthur then turned his attention to the key Japanese airfield at Lae and control of the coastline facing New Britain. After a series of land and sea attacks, the Allies landed in New Britain at the end of 1943.
Solomon Islands
Guadalcanal
To make the first Buna Allied offensive in the Pacific more effective, the Americans readied a separate attack from a different direction. That decision brought American forces into the Solomon Islands and U.S. Army infantry onto the island of Guadalcanal.
On the morning of August 7th, 1942, the First Marine Division followed heavy naval preparatory shelling, and landed on the north beaches east of the Tenaru River. In a three-month struggle marked by disease (diarrhea, malaria, dysentery, skin fungus), and many casualties, the marines took an airfield and established a beachhead roughly six miles wide and three miles deep.
During the last weeks of 1942 and the first weeks of 1943, the Americans strengthened their foothold on Guadalcanal by reorganizing and bringing in fresh troops, the Second Marine Division and the 25th Infantry Division. The Japanese held off five American battalions for a month, which delayed the advance west long enough for the defenders to evacuate 13,000 men from the island. Allied forces quickly constructed landing strips the first series of island hopping had begun.
New Georgia
Admiral Halsey landed troops on New Georgia, while MacArthur's troops moved to Nassau Bay, New Guinea.
The New Georgia offensive, code-named TOENAILS, was a learning experience for Allied forces in the region. Shallow reefs surrounded those islands, making it difficult to navigate large watercraft through narrow rock channels. Also, Japanese soldiers in pillboxes, and deeply dug in, were nasty obstacles to overcome during the New Georgia Campaign.
Heavy rains reduced visibility almost completely, and high winds and rough seas wreaked havoc with the landing operation. Amphibious vehicles had to follow the sound of breaking waves to find the shore. In the ensuing chaos, six landing craft became lodged on the coral reef, while others discharged troops at the wrong site and then had to reload. Over the next four days, marines and Solomon Island soldiers, supported by 105-mm howitzers from the 152d Field Artillery Battalion, rooted out the Japanese from Wickham Anchorage.
On August 5th, 1943, the capture of Munda airfield was assured, giving the Allies a huge vantage point. However, it was only one phase of the New Georgia campaign. Japanese were still on New Georgia, as well as on other surrounding islands. Those islands had to be taken or neutralized before the Americans could continue island-hopping up the Solomons chain.
While firing their remaining artillery, Japanese forces desperately attacked through the ravines and gullies of northern New Georgia. A pounding barrage of counter mortar fire by the 129th mounted tank-infantry rained down on the the Japanese, devastating them in front of the American line. After suffering terribly (more than 5,000 killed), the remaining Japanese troops left behind their wounded and retreated off the island. With the highest number of non-combatant U.S. casualties (jungle disease) in the island-hopping campaign, the New Georgia mission became a costly success. The next few weeks brought sporadic fighting as XIV Corps pursued the beaten Japanese. During those operations the First Battalion, 24th Infantry Regiment, became the first black American infantry unit to engage in combat during the war. The 25th Regimental Combat Team of the 93d Division also joined in the final operations of CARTWHEEL.
Bougainville
On November 1, 1943, the Allies attacked, going ashore at Empress Augusta Bay. The 60,000 elite Japanese troops, concentrated in the southern half of the island, did not want a repeat of Guadalcanal. Although the western part of Bougainville was left relatively undefended by the Japanese, the Allies concentrated on attacking from the sea and the sky.
The Japanese responded with naval and air vessels from Rabaul, but were pummeled and sustained heavy casualties. Four days later, on November 5th, Admiral Halsey dispatched a carrier air strike against Rabaul, thus knocking down many Japanese planes and forcing the naval forces to flee to the open ocean. The battle for Bougainville proved to be the site of some of the fiercest battles during World War II .
In November 1944, command of all island operations passed from General Griswold to Lt. Gen. Sir Stanley Savige of the Australian Army, and by mid-December Australian forces had relieved all American units.
In the Solomons, most of the Japanese soldiers who escaped fought again another day.
Gilbert Islands
Near the close of 1943, a thrust at the Gilbert Islands from the Central Pacific, in which Tarawa , Makin, and Apamama were seized, paved the way for the assault on the Marshall Islands on January 31, 1944.
Previous raids by bombers of a U.S. Navy task force had brought the Gilberts under fire in January 1942. The following August, "devil dogs" (marines) spent an active night there demolishing installations and most of the small Japanese barracks.
Landings at Makin and Tarawa, 105 miles away, were planned to begin simultaneously by two separate landing forces from Task Force 54, Rear Admiral Richmond K. Turner commanding. A complement of six fleet carriers, five light carriers, six battleships, six cruisers, and 21 destroyers were deployed; 7,000 troops of the 27th Infantry Division also were deployed. At 8:30 a.m., November 20th, 1943, the first landing craft were to touch the beach at each atoll*.
While the 27th Division Landing Team, with attached units, took Makin on the 20th of November, the Second Marine Division was to assault Tarawa , leaving one of its combat teams in reserve for the support of one or both operations. If that reserve remained uncommitted, it was later to occupy Apamama. LVTs (Landing Vehicle, Tracked), popularly called "alligators," were ordered to move at once to the flanks and there establish positions defending the beaches.
After four days of relatively low resistance, Makin was secured. However, Tarawa was a different story. Betio, the primary island of Tarawa atoll, is only two miles long and 600 yards wide, but it had the only airstrip in the islands and was vigorously defended by highly trained Japanese troops.
Machine gun positions, concrete bunkers and pillboxes (Japanese foxholes), mines, and eight-inch coastal gun emplacements, told a story of formidable Japanese defenses. Admiral Keiji Shibasaki (Japanese commander on Betio) boasted that a million men could not take Tarawa in a hundred years. Shibaski soon realized his under-estimation of Allied capabilities mostly by way of America's relatively new invention, the flame thrower.
Banzai ! After two hours of heavy bombing, and before dawn on November 20th, 1943, the first wave of marines stormed the Tarawa atoll. "Bloody Tarawa," as it soon was known, required 76 hours before a final "Banzai" (suicide) rush of the Japanese signaled the end. While the Americans inched inland, the 4,500 Japanese defiant defenders were slowly crushed. Only 17 Japanese troops, of the original 4,500, made it out alive. One thousand of the 5,600 Americans that rushed the beaches of Tarawa gave their lives 3,000 of them were wounded.
MacArthur pushes for the Philippines
Meanwhile, American forces in the Southwest Pacific were approaching Mindanao, southernmost of the Philippine Islands, by advances through New Guinea in which Japanese armies were neu�tralized and isolated on New Ireland and New Britain.
The capture of Wakde on the northeastern coast of New Guinea in May 1944 was followed by the seizure of Biak and Noemfoor. During the summer, a Japanese army attempting to break out from Wewak in Australian New Guinea was chastened. The invasion of Morotai in September placed American forces within 300 miles of Mindanao.
Marshall Islands
Near the close of 1943, a thrust at the Gilbert Islands from the Central Pacific, in which Tarawa, Makin, and Apamama were seized, paved the way for the assault on the Marshalls on 31 January 1944. American forces gained control of Kwajalein, Majuro, and Eniwetok, and their fleet and air arms moved forward.
At the same time, American carriers attacked Truk heavily, and that formidable enemy naval base in the Carolines was thenceforth immobilized. Saipan , Tinian, and Guam in the Marianas fell to American arms in summer 1944. The capture of the Marianas, and later Iwo Jima , provided fixed bases for B-29 Superfortress air attacks against Japan and surrounding islands.
With the first Battle of the Philippine Sea, the U.S. Navy administered a crushing defeat of the Japanese fleet that tried to interfere with the American push westward. In September and October, the Americans occupied Ulithi in the western Carolines for use as an anchorage and advanced fleet base, and took Angaur and Peleliu in the Palau Islands, situated close to the Philippines.
Aleutian Islands
Fighting in the Aleutians was known as the " Thousand-Mile War ," the approximate distance between American bases on the Alaska coast, Dutch Harbor, and the westernmost Aleutian Islands. Attu and Kiska became a U.S. military priority because of a 57-mile gap that the Japanese feared the United States would use to attack their homeland so the Japanese attacked first. Furthermore, the islands had important military value for the enemy because, if successfully held, they would more easily managed to take territory farther down the coast.
A Canadian and American force of 100,000 troops was deployed to push the Japanese from America's northwestern-most territory. In May 1943, after nearly two weeks of bloodshed under frostbitten climatic conditions, across some of the globe's most forbidding terrain, the 2,000 Attu-based Japanese were uprooted by the American Seventh Infantry Division.
Iwo Jima and Okinawa
Iwo Jima
The volcanic island of Iwo Jima was a crucial location for the island-hopping campaign to succeed. The island's proximity would make it possible for B-29 raids halfway from Marianas Island to mainland Japan. Three airstrips, which the Japanese had been using for their Kamikaze ** attacks, also made Iwo Jima a primary target. With the island captured, the Kamikazes would have to operate from Okinawa or Kyushu.
On February 19th, 1945, the U.S. Marine Corps' legendary Third, Fourth and Fifth divisions landed on Iwo Jima at 8:59 a.m. That came after 10 weeks of relentless bombing from carrier-based planes and medium bombers. The preliminary bombardment was the heaviest up to that point in the war. A total of 70,000 U.S. Marines charged the sandy beaches of Iwo Jima, against an opposing force of 27,000 Japanese.
The beaches were eerily quiet as the Higgins boats landed ashore and the marines began to offload. The minimal resistance, however, proved to be only a bluff to draw the exposed marines onto the beaches. It was then that 27,000 determined Japanese defenders, led by General Tadamichi Kuribayashi, opened up from a vast underground network of caves and tunnels. The relentless pre-invasion bombardment from naval and air forces had done little damage. While literally inching their way across the island, the marines were able to secure Iwo Jima after 36 days of brutal combat.
But victory came at a heavy price. At the battle's conclusion, 6,281 Americans and more than 20,000 Japanese were killed. Twenty-two marines and five sailors received the Congressional Medal of Honor for their actions on Iwo Jima the most bestowed for any campaign. Admiral Nimitz remarked, "Among the Americans who served on Iwo Island, uncommon valor was a common virtue."
Okinawa
Code-named Operation ICEBURG, the invasion of Okinawa began on April 1st, 1945, when 60,000 troops (two marine and two army divisions) landed with little opposition.
The day began and ended with the heaviest concentration of naval gunfire ever used to support an amphibious landing. Strategically, positions off the invasion beaches were occupied by 10 older American battleships, including several Pearl Harbor survivors the USS Tennessee, Maryland, and West Virginia; as well as nine cruisers, 23 destroyers and destroyer escorts, and 117 rocket gunboats. Together they fired 3,800 tons of shells at Okinawa during the first 24 hours.
The initial charge by U.S. troops was met by little opposition. However, the 100,000-plus Japanese who were dug into caves and tunnels on the high ground away from the beaches in an attempt to withstand the Allies' superior sea and air power.
The battle proceeded in four phases: One, the advance to the eastern coast April first through the fourth; Two, the clearing of the northern part of the island April fifth through the 18th; Three, the occupation of the outlying islands April 10th through June 26; and Four, the main battle against the dug-in elements of the 32nd Army April sixth through the 21st of June.
Although the first three phases encountered only mild opposition, the final phase proved extremely difficult because the Japanese were deep underground and naval gunfire support was ineffective.
The battle of Okinawa proved to be the bloodiest battle of the Pacific War. Thirty-four allied ships and other craft of all types were sunk, mostly by Kamikazes , and 368 ships and craft were damaged. The fleet lost 763 aircraft. The total American casualties in the operation numbered more than 12,000 killed (including nearly 5,000 navy and almost 8,000 marine and army) and 36,000 wounded.
A-bomb
On July 2, 1945, while the Sixth Marine Division rested, trained, and prepared for the expected invasion of mainland Japan, the first atomic bomb was tested in New Mexico . An alternative to invasion was now a definite possibility. The morning of August 6, 1945, an atomic bomb exploded over Hiroshima . Three days later, Nagasaki suffered a similar fate. No mainland invasion would take place; the fighting was over.
*an island consisting of a circular coral reef surrounding a lagoon.
**Japanese Special Attack Group of suicide dive-bombing pilots that flew modified Mitubishi A6M fighter planes.
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What do Americans call a love-bite? | Urban Dictionary: love bite
love bite
A small cluster of split veins on the neck from sucking. Given by lovers during sex or make out s. Can cause the receiving person to moan.
The person who is going to give the love bite sucks on the neck until a golf ball-ish sized mark appears on the neck. Losers use their vacuum cleaners to give themselves love bites. Some people see love bites as a mark that the person carrying the mark is either a slut or the person carrying the mark's girlfriend is a slut. But it simply shows that you are in a strong and healthy relationship.
1. Robbie started off by kissing Kim's neck, then gave her a love bite.
2. I'm so sad. *sobs* I'm gonna go give myself a lovebite with the vacuum cleaner.
| Hickey |
Who replaced Michael Gove as Education Minister last summer? | Jacob & Renesmee - Love Bite (trailer) - YouTube
Jacob & Renesmee - Love Bite (trailer)
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Published on Oct 24, 2012
HD and headphones please♥ FANMADE
This is my 3rd post breaking dawn J/R fantrailer.
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Which tradesman performed most of the runaway marriages in Gretna Green? | Gretna Green – Runaway Marriages | SCOTTISH TOURIST
Gretna Green – Runaway Marriages
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Gretna Green – Runaway Marriages – is one of the world’s most popular wedding destinations, hosting over 5,000 weddings each year – one of every six Scottish weddings.
It has usually been assumed that Gretna’s famous “runaway marriages” began in 1754 when Lord Hardwicke’s Marriage Act came into force in England.
Under the Act, if a parent of a minor (i.e., a person under the age of 21) objected, they could prevent the marriage going ahead. The Act tightened up the requirements for marrying in England and Wales but did not apply in Scotland, where it was possible for boys to marry at 14 and girls at 12 with or without parental consent. It was, however, only in the 1770s, with the construction of a toll road passing through the thitherto obscure village of Graitney, that Gretna Green became the first easily reachable village over the Scottish border. The Old Blacksmith’s Shop, built around 1712, and Gretna Hall Blacksmith’s Shop (1710) became, in popular folklore at least, the focal tourist points for the marriage trade. The Old Blacksmith’s opened to the public as a visitor attraction as early as 1887.
Gretna Green Anvil
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The local blacksmith and his anvil have become the lasting symbols of Gretna Green weddings. Scottish law allowed for “irregular marriages”, meaning that if a declaration was made before two witnesses, almost anybody had the authority to conduct the marriage ceremony. The blacksmiths in Gretna became known as “anvil priests”, culminating with Richard Rennison, who performed 5,147 ceremonies.
| Blacksmith |
Which TV programme saw Assumpta electrocuted in the cellar? | Gretna Green Weddings - Romantic Gretna Green Wedding Venue.
History
Gretna Green weddings became popular in 1754 when Lord Hardwicke intorduced an Act of Parliament which stated firstly that any marriages performed in a church would have to be recorded in the parish records which both bride and groom have to sign, secondly that weddings carried out in places or at times which were deemed illegal in the 1604 canons were
not legal ceremonies, thirdly that only weddings performed in a church would be deemed legal and finally that both bride and groom must be at least 21 years of age to marry without parental consent.
This law was introduced to prevent the thousands of marriages which were taking place illegally around the country, causing outcry as these ceremonies were never properly recorded and led to many disputes where landowner's daughters had married against their father's wishes. To be married in this way all that the bride and groom had to do was appear before a parson and two witnesses declaring their wish to be married. Irregular marriages were most common around Fleet prison in London where there were 50 marriage houses.
Over the years couples would runaway to one of the Gretna Green wedding venues for a marriage over the anvil. The ceremonies were performed by the local blacksmith who was at the heart of the community. When angry fathers appeared before the ceremony was complete the young couple would be ushered into the next room where they would climb into bed and the father would then think he was too late to prevent the ceremony and ride off in disgust, after a suitable wait proceedings would then recommence.
1857 brought another change in the law when Lord Brougham's bill stated that the bride and groom must take up residence for a 3 week "cooling off" period prior to the wedding, while this reduced the number of Gretna Green weddings the more determined came anyway and sought temporary work on the local farms.
The next change in the law occurred in 1977 when the 3 week cooling off period was abolished and a new system was brought in whereby couples must give a minimum of 14 days written notice to Gretna Registry Office of their wedding.
Anvil weddings started becoming popular again in 1994 when Ministers began to conduct ceremonies over the anvil for many couples.
In 2002 the law changed yet again allowing Registrars to come out of the office and perform a civil wedding ceremony over a Gretna Green anvil. The first civil ceremony in Scotland to take place outside a Registration Office took place here at the Mill Forge.
So why not join with the runaways who have had their weddings in Gretna Green and elope for your special day.
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What do the initials u.c. mean to a printer? | Purdue OWL: APA Formatting and Style Guide
APA Formatting and Style Guide
This page is brought to you by the OWL at Purdue (https://owl.english.purdue.edu/). When printing this page, you must include the entire legal notice at bottom.
APA Abbreviations
Summary:
APA (American Psychological Association) style is most commonly used to cite sources within the social sciences. This resource, revised according to the 6th edition, second printing of the APA manual, offers examples for the general format of APA research papers, in-text citations, endnotes/footnotes, and the reference page. For more information, please consult the Publication Manual of the American Psychological Association, (6th ed., 2nd printing).
Contributors:Joshua M. Paiz, Elizabeth Angeli, Jodi Wagner, Elena Lawrick, Kristen Moore, Michael Anderson, Lars Soderlund, Allen Brizee, Russell Keck
Last Edited: 2014-02-25 10:54:35
In APA, abbreviations should be limited to instances when a) the abbreviation is standard and will not interfere with the reader’s understanding and b) if space and repetition can be greatly avoided through abbreviation.
There are a few common trends in abbreviating that you should follow when using APA, though there are always exceptions to these rules. When abbreviating a term, use the full term the first time you use it, followed immediately by the abbreviation in parentheses.
According to the American Psychological Association (APA), abbreviations are best used only when they allow for clear communication with the audience.
Exceptions: Standard abbreviations like units of measurement and states do not need to be written out. APA also allows abbreviations that appear as words in Meriam-Webster’s Collegiate Dictionary to be used without explanation (IQ, REM, AIDS, HIV).
Do not use periods or spaces in abbreviations of all capital letters, unless it is a proper name or refers to participants using identity-concealing labels:
MA, CD, HTML, APA
P. D. James, J. R. R. Tolkien, E. B. White or F.I.M., S.W.F.
Exceptions: Use a period when abbreviating the United States as an adjective (U.S. Marines or U.S. Senator)
Use a period if the abbreviation is Latin abbreviation or a reference abbreviation:
etc., e.g., a.m. or Vol. 7, p. 12, 4th ed.
Do not use periods when abbreviating measurements:
cd, ft, lb, mi, min
Exceptions: Use a period when abbreviating inch (in.) to avoid confusion.
Units of measurement and statistical abbreviations should only be abbreviated when accompanied by numerical values:
7 mg, 12 mi, M = 7.5
measured in milligrams, several miles after the exit, the means were determined
Only certain units of time should be abbreviated.
Do not abbreviate:
| Letter case |
Which Australian service was founded by the Rev. John Flynn? | Purdue OWL: APA Formatting and Style Guide
APA Formatting and Style Guide
This page is brought to you by the OWL at Purdue (https://owl.english.purdue.edu/). When printing this page, you must include the entire legal notice at bottom.
APA Abbreviations
Summary:
APA (American Psychological Association) style is most commonly used to cite sources within the social sciences. This resource, revised according to the 6th edition, second printing of the APA manual, offers examples for the general format of APA research papers, in-text citations, endnotes/footnotes, and the reference page. For more information, please consult the Publication Manual of the American Psychological Association, (6th ed., 2nd printing).
Contributors:Joshua M. Paiz, Elizabeth Angeli, Jodi Wagner, Elena Lawrick, Kristen Moore, Michael Anderson, Lars Soderlund, Allen Brizee, Russell Keck
Last Edited: 2014-02-25 10:54:35
In APA, abbreviations should be limited to instances when a) the abbreviation is standard and will not interfere with the reader’s understanding and b) if space and repetition can be greatly avoided through abbreviation.
There are a few common trends in abbreviating that you should follow when using APA, though there are always exceptions to these rules. When abbreviating a term, use the full term the first time you use it, followed immediately by the abbreviation in parentheses.
According to the American Psychological Association (APA), abbreviations are best used only when they allow for clear communication with the audience.
Exceptions: Standard abbreviations like units of measurement and states do not need to be written out. APA also allows abbreviations that appear as words in Meriam-Webster’s Collegiate Dictionary to be used without explanation (IQ, REM, AIDS, HIV).
Do not use periods or spaces in abbreviations of all capital letters, unless it is a proper name or refers to participants using identity-concealing labels:
MA, CD, HTML, APA
P. D. James, J. R. R. Tolkien, E. B. White or F.I.M., S.W.F.
Exceptions: Use a period when abbreviating the United States as an adjective (U.S. Marines or U.S. Senator)
Use a period if the abbreviation is Latin abbreviation or a reference abbreviation:
etc., e.g., a.m. or Vol. 7, p. 12, 4th ed.
Do not use periods when abbreviating measurements:
cd, ft, lb, mi, min
Exceptions: Use a period when abbreviating inch (in.) to avoid confusion.
Units of measurement and statistical abbreviations should only be abbreviated when accompanied by numerical values:
7 mg, 12 mi, M = 7.5
measured in milligrams, several miles after the exit, the means were determined
Only certain units of time should be abbreviated.
Do not abbreviate:
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Which Belgian sportsman was nicknamed ‘The Cannibal’? | Eddy Merckx: "The Cannibal"
Eddy Merckx: "The Cannibal"
Eddy Merckx
Baron Edouard Louis Joseph Merckx is without doubt Belgium's most famous sportsman. He is among the top 100 greatest sportsmen of all time.
The baron, alias Eddy Merckx was born in Meensel-Kiezegem, at the end of the Second World War , in June 1945, in a small town east of Leuven. During his career, he earned the nickname "the cannibal" due to his ferocious appetite for victories.
His childhood in Brussels
His father, Jules Merckx, was a joiner. He moved to Woluwe-Saint-Pierre and became a grocer in the Brussels suburb. Eddy, therefore, grew up in Woluwe.
Little Eddy got his first bike aged 4. A lover of sport, he played basketball, tennis and football. Then at 12, he bought his first racing bike with the tips he earned working in his father's shop. In fact, it was his father, a great cycling fan , who took him to six-day races and the finishing line of Paris-Bruxelles. Young Eddy's hero was Belgian cyclist Stan Ockers, who was World Champion in 1955.
Eddy Merckx's cycling career began in 1961, as a debutant. He registered his first victory at his 14th race, winning Petit-Enghien and the following year, 1962, he won his first title: Champion de Belgique des débutants (Belgian Debutant Champion) in Libramont . Three years later, he was crowned amateur World Champion. He turned professional later that year.
The Cannibal
Nothing could stop the champion anymore. It was the start of the long series of 525 victories and successes for the Belgian champion. His insatiable appetite for victory earned him the nicknames "Cannibal" or "Ogre of Tervuren ". His honours undoubtedly contributed to his presence in a list of the 100 greatest sportsmen and women of all time and his lasting notoriety.
The most memorable images of Eddy may be of him finishing the Tour de France on the Champs-Elysées in Paris in the yellow jersey, but he had numerous race wins in our regions. He competed in Liège-Bastogne-Liège 1à times between 1966 and 1977, winning 5 times. He took part in the Flèche wallonne 8 times, winning 3 times. He also raced in the Flèche Brabançonne, the Belgian Road Championships, the Tour du Condroz , Paris-Bruxelles (which has since become the Brussels Cycling Classic ) and the Tour of Belgium . Corwds were enthusiastic and came in great numbers to cheer on "their" champion.
Eddy Merckx's career is international. For a long time he held the record number of Tour de France victories: 5 consecutive victories between 1969 and 1974. He also won the Giro d'Italia 5 times, the Vuelta a España once and he was World Road Champion 3 times (1967, 1971, 1974). In 1972, he beat the World Hour Record in Mexico City.
His long career was not continuous, nor was it without failures or injuries and in 1978, Eddy Merckx retired from competitive cycling, but not the world of bikes altogether.
Merckx and bikes after his professional career
Eddy Merckx stayed in the world of cycling once his professional career had finished. Today he's still riding bikes for pleasure, notably since 2013, with the creation of the " Gran Fondo Eddy Merckx ", a classic cyclotourism trek. It is a 155km route, led off by Eddy Merckx himself, in the magnificent setting of the . From 1980 to 2004, he organised the "Grand prix Eddy Merckx" a time trial race, first individual, then in pairs, which took place in August around Brussels and gathered some of the discipline's best riders.
In 1980, Eddy Merckx the professional cyclist became Eddy Merckx the entrepreneur. He built bikes that bore his name and stood out for their quality. In 2014, he left the company, but remained involved in terms of research and development.
Merci Eddy
If you take in Brussels , you'll find the Eddy Merckx station (since 2003), in Woluwé, where Eddy grew up. The bike exhibited is the one on which he beat the World Hour Record in 1972. The showcase shows photographs of the champion during his exploit. The record can only be validated if the person attempting to beat it uses the same bike. The centre scolaire Eddy Merckx (school) also lies in Woluwé.
In 1996, he was given the title of Baron by King Albert II of Belgium.
In 2000, while celebrating its centenary, the Union Cycliste Internationale (UCI) awarded him the prize of " Rider of the Century". He was also elected "sportif belge du siècle" (Belgian Sports Personality of the Century) by the Belgian Olympic and Interfederal Commitee and the Blegian Professional Sports Journalists Association.
They are but some of the numerous titles which have been bestowed upon him.
| Eddy Merckx |
The droppings of which British mammal are called ‘spraints’? | PUNCH | The Cannibal
The Cannibal
Monday - Saturday: 11 a.m. - 11:30 p.m.
Sunday: 11 a.m. - 10:30 p.m.
212.686.5480 | Website
The Cannibal houses a butcher and a beer bar under one roof. Situated next to its sister restaurant, the Belgian-themed Resto, Cannibal’s cozy bar, eight-seat “meat counter” and outdoor patio lie beyond an arched tunnel lined with beer fridges from which bottles can be purchased to-go. The owner, a cycling freak, named the bar after Eddy Merckx, a Belgian Grand Tour cyclist who rode in the 1960s and ’70s and was nicknamed, you guessed it, “The Cannibal.”
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outdoor / patio
What to drink
With a list of over 450 beers from around the world, either by bottle or the seven-line draft system, Cannibal is beer (and meat) central. But they also offer a small, tightly curated list of wines by the glass as well as digestifs.
Neighborhood
Midtown East →
ProTip
Should you be so bold (and have 45 minutes to wait for preparation), The Cannibal serves a half pig’s head for two, with Russian dressing, rye and melted gruyère. Also, check out their new second location at Gotham West Market.
What to drink
With a list of over 450 beers from around the world, either by bottle or the seven-line draft system, Cannibal is beer (and meat) central. But they also offer a small, tightly curated list of wines by the glass as well as digestifs.
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Leatherback and loggerhead are varieties of which creature? | 1000+ images about Sea Turtles. on Pinterest | Olives, Ocean photos and The turtles
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Kemp’s Ridley Sea Turtle The smallest of the world’s sea turtles, Kemp’s ridleys are also the most endangered. In 1947, 42,000 of these turtles were filmed nesting on a single beach near Rancho Nuevo, Mexico. That film also captured people digging up the nests to collect the eggs, which number more than 100 per nest; the eggs are eaten as an aphrodisiac.In the United States, all six sea turtle species are listed as threatened or endangered.Kemp’s ridleys have been killed after getting…
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| Turtle |
What is the term for cud-chewing animals? | Species of Sea Turtles Found in Florida
Species of Sea Turtles Found in Florida
Read the Sea Turtle Sea Stats Publication Online
LOGGERHEAD (Caretta caretta)
The most common sea turtle in Florida, the loggerhead is named for its massive, block-like head. Loggerheads are among the larger sea turtles; adults weigh an average of 275 pounds and have a shell length of about 3 feet. Its carapace, which is a ruddy brown on top and creamy yellow underneath, is very broad near the front of the turtle and tapers toward the rear. Each of its flippers has two claws. As is true for all sea turtles, the adult male has a long tail, whereas the female's tail is short; however, a juvenile's cannot be determined externally.
The powerful jaws of the loggerhead allow it to easily crush the clams, crabs, and other armored animals it eats. A slow swimmer compared to other sea turtles, the loggerhead occasionally falls prey to sharks, and individuals missing flippers or chunks of their shell are not an uncommon sight. However, the loggerhead compensates for its lack of speed with stamina; for example, a loggerhead that had been tagged at Melbourne Beach was captured off the coast of Cuba 11 days later.
GREEN TURTLE (Chelonia mydas)
Green turtles, named for their green body fat, were valued by European settlers in the New World for their meat, hide, eggs, and "calipee" (the fat attached to the lower shell that formed the basis of the popular green turtle soup). Merchants learned that the turtles could be kept alive by turning them on their backs in a shaded area. This discovery made it possible to ship fresh turtles to overseas markets. By 1878, 15,000 green turtles a year were shipped from Florida and the Caribbean to England. At one time, Key West was a major processing center for the trade. The turtles were kept in water-filled pens known as "kraals," or corrals. These corrals now serve a more benign role as a tourist attraction.
A more streamlined-looking turtle than the bulky loggerhead, the green turtle weighs an average of 350 pounds and has a small head for its body size. Its oval-shaped upper shell averages 3.3 feet in length and is olive-brown with darker streaks running through it; its lower shell, or plastron, is yellow.
Green turtles are found during the day in shallow flats and seagrass meadows and return every evening to their usual sleeping quarters-scattered rock ledges, oyster bars, and coral reefs. Adult green turtles are unique among sea turtles in that they are largely vegetarians, consuming primarily seagrasses and algae. Approximately 100 to 1,000 green turtles nest on Florida's beaches each year from June through late September.
LEATHERBACK (Dermochelys coriacea)
The leatherback is a fascinating and unique animal, even among sea turtles. It is larger, dives deeper, travels farther, and tolerates colder waters than any other sea turtle. Most leatherbacks average 6 feet in length and weigh from 500 to 1,500 pounds, but the largest leatherback on record was nearly 10 feet long and weighed more than 2,000 pounds.
Leatherbacks look distinctively different from other sea turtles. Instead of a shell covered with scales or shields, leatherbacks are covered with a firm, leathery skin and have seven ridges running lengthwise down their backs. They are usually black with white, pink, and blue splotches and have no claws on their flippers. Leatherbacks eat soft-bodied animals such as jellyfish, and their throat cavity and scissor-like jaws are lined with stiff spines that aid in swallowing this soft and slippery prey. Young leatherbacks in captivity can consume twice their weight in jellyfish daily.
True denizens of the deep, leatherbacks are capable of descending more than 3,000 feet and of traveling more than 3,000 miles from their nesting beach. They are found throughout the Atlantic, Pacific, and Indian oceans, as far north as Alaska and Labrador. Researchers have found that leatherbacks are able to regulate their body temperature so that they can survive in cold waters. The leatherback is found in Florida's coastal waters, and a small number (from 30 to 60 a year) nest in the state.
KEMP'S RIDLEY (Lepidochelys kempi)
The Kemp's ridley is the rarest sea turtle in the world and is the most endangered. It has only one major nesting beach, an area called Rancho Nuevo on the Gulf coast of Mexico. The location of this nesting beach was itself a mystery to scientists until the discovery of a film made in 1947 by a Mexican engineer showing 40,000 Kemp's ridleys crawling ashore in broad daylight to lay eggs. Sadly, an "arribada" (from the Spanish word for arrival) of such awe-inspiring splendor can now be seen only on film. Fewer than 1,000 nesting females remain in the world.
Kemp's ridleys are small, weighing only 85 to 100 pounds and measuring 2 to 2.5 feet in carapace length, but they are tough and tenacious. Their principal diet is crabs and other crustaceans.
During the 1980s, many eggs were removed from the beach at Rancho Nuevo and incubated in containers. The hatchlings that emerged from these eggs were then raised for almost a year in a National Marine Fisheries Service facility in Galveston, Texas. Upon release, it was hoped that these "headstarted" turtles had a better chance of survival than they would have had as hatchlings. Unfortunately, there were many problems with this program. When it was discovered that the sex of turtle hatchlings was influenced by temperature, project workers realized that the artificial egg incubators were producing only male turtles. They also discovered that many of the "headstarted" turtles did not behave like their wild counterparts after release. Many scientists worried that these "headstarted" turtles would never become reproducing adults. Although two "headstarted" turtles have finally been known to nest, headstarting is generally considered to be an inappropriate conservation technique for marine turtles.
HAWKSBILL (Eretmochelys imbricata)
The hawksbill is a small, agile turtle whose beautiful tortoise-colored shell is its greatest liability. The shell is still used in some European and Asian countries to make jewelry, hair decorations and other ornaments, even though international trade in hawksbill products has been banned in much of the world.
Hawksbills weigh from 100 to 200 pounds as adults and are approximately 30 inches in shell length. Its carapace is shaded with black and brown markings on a background of amber. The shields of this kaleidoscopic armor overlap, and the rear of the carapace is serrated. Its body is oval-shaped, its head is narrow, and its raptor-like jaws give the hawksbill its name. These jaws are perfectly adapted for collecting its preferred food, sponges. Although sponges are composed of tiny glasslike needles, this potentially dangerous diet apparently causes the turtle no harm.
Hawksbills are the most tropical of the sea turtles and are usually found in lagoons, reefs, bays, and estuaries of the Atlantic, Pacific, and Indian oceans. They are frequently spotted by divers off the Florida Keys, and a few nests are documented annually from the Keys to Canaveral National Seashore.
Unless noted otherwise, all photographs are credited to the Florida Fish and Wildlife Conservation Commission (FWC), Florida Sea Turtle Salvage and Stranding Network (FLSTSSN).
FWC Facts:
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The X and Y axes on a graph are called the abscissa and ………what? | Psych. Statistics: Graphing
I. Background
A two-dimensional graph has two axes called the X-axis or abscissa and the Y-axis or ordinate. Example:
Conventions or Rules
The intersection of X and Y is zero (which is not typically written on the graph).
While the abscissa portrays the score values or categories, the ordinate depicts quantities like: frequency, proportion, percent, cumulative frequency, cumulative proportion, and cumulative percent.
The axes go from low to high. This is relevant to rank and metric data.
Both axes of the graph are given verbal labels and the total graph is given a clear concise title.
The 3/4 high rule is typically used when constructing a graph. That is, the ratio of the ordinate to the abscissa should be about 3:4. Actually, anything in the range of 2:3 to 3:5 is fine.
Frequency polygons get both ends tied down to the axis, while cumulative frequency polygons get the lower end tied down.
Each graph gets its own page. Center the whole graph (titles, labels, & all) and fill the page with it (the example below gives a good idea of the layout of the page).
General Steps in Constructing a Graph (using graph paper)
Determine the number of boxes in both the horozontal and vertical dimensions of the graph paper.
Determine the Range of your data, since it will determine the length of the X-axis. If it is a bar graph (discussed in more detail below), you will need to figure out how many bars you need, how thick you want them, and how much space you want in between the bars.
Multiply the determined length of the X-axis by 3/4 to determine the approximate length of the Y axis. Now divide the length of each axis by the number of boxes available for it on the page to determine the number of units each box of graph paper represents. For example, if an axis needs to be 90 units and there are only 30 boxes available, then each box must represent three units for that axis.
Center the whole graph (titles, labels, & all) and fill the page with it. Centering means that the top and bottom margins of the page should be equal in size (and should be at least an inch), as should the left and right margins. In order to do this, you will need to figure in some boxes for the axis labels and graph title when doing your centering. Here is an example on graph paper:
II. Types of Graphs
There are a number of types of graphic representations of data. For now, however, you should be familiar with three of the more basic types.
Bar Graphs
Are used with qualitative (or non-metric) data.
Example 1 Nominal Data: Frequency of Therapy Seeking in Folks of Different Occupations (note this graph is in presentation style) [ Spreadsheet1 ]
Example 2 - Ordinal Data: Grades on an Exam (note this graph is in journal publication style) [ Spreadsheet2 ]
Example 3 - Ordinal Data: Percent of Married Women Having Orgasm During Intercourse with Their Husbands [ Spreadsheet3 ]
Histograms
Used with metric data that is typically in a grouped format. Rectangles are used for each group, with the width spanning from the lower to upper exact limits of the interval (midpoints are labeled). The height of the rectangle is determined by the measure used for the Y-axis. Example:
Expected Scores for PSY300 on Exam 1 [ Spreadsheet ]
Frequency Polygons
Also used with metric data. Are especially good at showing the form or shape of the distribution. It is often the method of choice when two or more distributions are to be compared.
Example 1 - Expected Scores for PSY300 on Exam 1 [ Spreadsheet ]
Note that with this type of graph, we usually "tie it down". In other words, we include an interval below the lowest as well as above the highest. Since these intervals have zero values, the polygon is thus anchored to the x axis. Note that when using cumulative frequency, proportion, or percent, you would only tie down the lower end of the polygon.
Overall Example - Two ways of presenting the same data. [ Spreadsheet ]
Thus, graphs can be constructed in a manner that gives a false impression. The moral of the story is that the statistical test (i.e., inferential statistics) determines which differences are worth paying attention to and not the graph.
Example Graph for a Factorial Design [ Spreadsheet ]
This graph is from the data in the table we used when discussing the factorial design (simple 2x2 between groups) used by Weil et al., 1968 . Note that this graph requires a key which helps explain the groups used.
III. Some Common Forms of Distributions
Normal, Bell-Shaped, or Gaussian Curve
Is theoretical (in reality it would be more jagged).
Is bilaterally symetrical (a vertical mirror image).
Tails are asymptotic to the x-axis (they come closer & closer, but will never touch).
+ Skewed
Modes can be unequal (so can have minor and major modes).
Can also have a trimodal distribution (one with 3 modes).
Ojive (S-shaped)
| Ordinate |
What is next in this series of Fibonacci numbers – 3, 7, 10, 17, 27, 44, 71 ……? | DRAWING GRAPHS
Drawing Graphs
A graph is a picture that show the overall pattern in data. Graphs can summarize a lot of information quickly and concisely. By far the most common kind of graph has two axes, the horizontal, called the X-axis or abscissa, and the vertical called the Y-axis or ordinate. These are called Cartesian coordinates, for Rene Descartes, the French philosopher and mathematician who introduced them in the early 17 th century. Each point on the graph is defined by two numbers: a value on the x-axis and a value on the y- axis.
Table 1 shows the data used to make the graph in Figure 1.
NUMBER OF DONORS OUT OF 100 (= %) WITH EACH BLOOD TYPE
34
O+
O-
To understand how to read a graph, it is helpful to understand how to make one. The following gives the steps to make the graph in Figure 1.
Draw a horizontal line or axis (called the X axis or abscissa), and make equally spaced marks on it which you label with each position.
At the left end of the X axis, draw a vertical line or axis (called the Y-axis or ordinate) for the variable "frequency" or "per cent"
Make a scale on it that covers the range that this variable shows.
In these data the number of donors ranged from 1 (AB-) to 39 (O+), so the scale on the vertical axis runs from 0 to 40.
Above each blood group on the horizontal axis, mark a horizontal line. Put the line so it matches the place on the Y axis that gives the percentage (number out of 100) of people with that blood group (34 for A+, 6 for A-, 9 for B+, etc.). (Get these numbers from the table.)
Draw a vertical bar from the X axis above each blood group to its horizontal mark. The height of each bar represents the frequency of the blood group labeled below it.
Click HERE to run an animated summary of these steps.
Figure 2 below is also a frequency distribution of test scores for a class of 180 people . Instead of making bars below each point, it connects the lines to create a line graph. Test scores are plotted on the x-axis and number of students on the y-axis. The dot above each test score matches the number (frequency) of people earning that score. The dots above neighboring scores are connected with straight lines.
The maximum score on the test is 38. Because no one got a score below 14, the horizontal scale starts at 13. (The break to the left of 13 reminds you that the scale doesn't go to zero.) The most frequent score (the mode) is 28. Twenty-one people got it, so the vertical scale goes to 25, a round number above the maximum frequency of 21.
From this graph you can read off the number of people (frequency) that got each test score, and you can see the relations between the frequencies of different scores. For example, you can see that 5 people had a score of 21, and that 29 people had scores of less than 22.
Q1. Match the following values with the alternative they fit best.
26, the 90th score from the bottom and also from the top
all scores that are 31 and above
20
A. number of students with the score that is closest to the mean
B. median
C. number of students with scores equal or greater than 1 standard deviation above the mean
D. the score that exactly 15 student had.
Plotting Dependent Variable against Independent Variable
Another kind of graph plots an independent variable on the X (horizontal) axis against a dependent variable on the Y (vertical) axis. Figure 3 below shows the mean running speed for a group of hungry laboratory rats trained to run down a runway to find food. Running speed (the dependent variable, because it is something the rats do) is plotted as a function of (against) the number of trials. The number of trials is the independent variable because being put in the runway is a stimulus that acts on the rat and because it is under the experimenter's control. There are three different kinds of trials: acquisition (~learning), with food at the end of the runway; extinction (sort of like forgetting), with no food , and reacquisition, with food again, after a 2-hour pause.
(For a more detailed explanation of this graph, click HERE Q2. Match the statement with the running speed it equals from the preceding graph.
1.2 ft/sec
A. running speed at asymptote (~ maximum)
B. size of the difference in running speed labeled spontaneous recovery
C. running speed on trial 16
D.running speed on the last trial of period labeled extinction
Graphs of Correlations
Correlations can also be illustrated with graphs. This kind of graph is called a scatter plot. Recall that in a correlation, each person has two scores: For example, a correlation describes the relation of grade point average and SAT score for a sample (selected group) of people, each of whom have both scores. So each person can be represented as a point on a graph with one coordinate (say the x-axis) showing SAT and the other (say the y-axis) showing GPA.
The graph below shows data from a class I taught BC (before computers), in which I gave nine "pop quizzes" during the semester.
The vertical y-axis shows the total points for the semester; the horizontal x-axis shows the number if quizzes a person in the class attended (as measured by handing in a quiz paper). Each X represents these two scores for a person in that class
The graph shows the relation between these two variables: most X's are scattered around the diagonal from the lower left (few quizzes attended, lower total score) to the upper right (many quizzes attended, higher total score). The upper left and lower right corners have few X's)
This relation can be described by the correlation coefficient r. For these data r equals +0.494. This is a fairly high correlation as correlations in psychology usually go, and it is "statistically significant" (= reliable) (see next exercise, E09_19c). The scatter plot shows that, on the average, the more quizzes attended (the measure of class attendance), the higher the student's total points for the semester. Therefore, it shows an upward trend from left to right, and the correlation coefficient, r, is positive. Note that the +0.494 correlation can be changed to a -0.494 simply by changing how you put the numbers on one axis. In the scatter plot below, the x-axis is plotted as Number of Quizzes Missed (instead of Number of Quizzes Attended), and the scatter plot is flipped from left to right. So it shows a negative correlation with a downward, rather than an upward, trend.
Q3. It would be nice to believe that the correlation between class attendance and class grade shows that class attendance contributes to getting better grades. However, there are alternative explanations for this positive correlation. (One alternative that many people would expect in this question is: "Other variables may be involved". It is NOT included, because it is ALWAYS true. So it is not an acceptable answer.) Which of the following are possible alternative explanations? [Hint: see exercise asgn1n, if you cannot figure out the answer.]
A. better students are more likely to come to class and to get higher scores
B. more interested students are more likely both to come to class and to get higher scores.
C. more self-disciplined students are more likely both to come to class and to do get higher scores.
D. A, B, and C are all possible alternative explanations
For the answers to the three questions, click HERE .
To return to the exercise, click on the Back button in the upper left corner of the browser window.
Copyright © 1999 by Gabriel P. Frommer
| i don't know |
Who has appeared as a team captain on 8 Out of 10 Cats since its inception in 2005? | Dave Spikey | Biography
CONTACT
Biography
"A comic who walks a tightrope between the comedy of the everyday and the surreal, pausing occasionally to place a foot down firmly on either side"
Guardian
Multi award-winning Dave Spikey is one of the most sought-after comedy talents in the UK today. With a career spanning two decades, he has numerous TV appearances to his name as a stand-up comedian, presenter and actor - and behind the screens, as an acclaimed comedy writer.
Dave's journey into this business we call show began in 1990. After winning the 'North West Comedian of the Year' Award, he became a regular on the club circuit and once famously supported Jack Dee, Max Boyce, Cannon & Ball and Eddie Izzard all in the space of one week. Early in his career he followed in the footsteps of Jeremy Beadle and Ted Robbins presenting ITV's legendary game show Chain Letters - whilst continuing to hold down his day job as Chief Biomedical Scientist in Haematology at the Royal Bolton Hospital.
In 1996, TV comedy history was made when Dave met fellow Boltonian Peter Kay. Sharing a similar style and approach to comedy and writing, they went on to form a formidable partnership; collaborating on Mad for the A6; a Granada special, and then on The Services for Ch 4's Comedy Lab. Shortly after they co-wrote Ch 4's hit series That Peter Kay Thing, which was awarded 'Best New TV Comedy' at the prestigious British Comedy Awards in 2000.
Inspired by this success Dave finally took the plunge and gave up the day job. Within twelve months he'd fulfilled his dream of writing a comedy series by co-writing and co-starring in Ch 4's critically acclaimed Phoenix Nights alongside writing partners Peter Kay and Neil Fitzmaurice. Together they wrote and starred in two series of the cult TV show with Dave playing 'the compere without compare', Jerry St Clair. A modern comedy masterpiece, and recognised as one of the greatest sitcoms of current times, Phoenix Nights broadcast in the same year as The Office, and sparked a north-south divide not witnessed since the Blur v Oasis rivalry in the 90's; culminating with the 2002 British Comedy Awards when the two classic sitcoms went head to head.
In this truly stellar year, Dave received his second British Comedy Award with Phoenix Nights scooping the 'People's Choice Award' and Dave further earning a nomination for 'Best Comedy Newcomer' for his inimitable portrayal of Jerry 'The Saint' St Clair. As Phoenix Nights mania continued to sweep the nation, it also won the 'Situation Comedy & Comedy Drama' Award at the RTS Programme Awards, and was nominated for a prestigious Bafta Award, and 'Best Comedy' in the Broadcast Awards.
Following this phenomenal success, Dave's profile rocketed and in 2003 he embarked on his debut national tour - ironically entitled the 'Overnight Success Tour'. Garnering rave reviews and performing to sell-out audiences, Dave quickly established his reputation as a first class live performer picking up a 'Performance of the Year' Award (Manchester Evening News Theatre Awards) and 'Best Comedy Performance' Award (Leicester Mercury Awards). The hit show was recorded by Universal and released on DVD in 2003 quickly achieving the 'Gold Retail Performance' Award selling in excess of 75,000 copies.
Truly cementing his place as one of Britain's most cherished comedy talents, in 2004, Dave appeared as a guest on the legendary Parkinson, alongside megastar Paul McCartney. He also performed before Her Majesty at The Royal Variety Performance in a star-studded line-up including Dame Shirley Bassey; allowing him to fulfil two lifelong ambitions within one momentous week!
In 2005, Dave joined a host of luminaries including Jonathan Ross and Lee Evans at London's Apollo Theatre in Comic Aid; a televised gala also released on DVD, in aid of the Asian Tsunami. He embarked on his second nationwide tour later that year with a brand new show 'Living the Dream', to further critical acclaim and sell out audiences with extra dates added due to overwhelming public demand. This show was also released on DVD and is also now available as a box set featuring both of the live shows.
Moving forward as a solo writer, Dave wrote and co-starred in ITV's primetime comedy drama Dead Man Weds. The six-part series, set in the offices of a sleepy rural newspaper starred Dave as a washed-up former Fleet St Journalist alongside an all star cast including Johnny Vegas, Tim Healy and Michael Brandon. Broadcast in 2005 in competition with US hit comedy Desperate Housewives, the series received tremendous critical acclaim, with the Sunday Mirror describing it as "laugh-out-loud brilliant and already on the way to becoming ITV's finest sitcom". Q magazine claimed it was "contemporary mainstream comedy at its best...just plain funny" and the Telegraph summed up the series as "an excuse for lots of good gags - and for Spikey to achieve the same tricky combination he did in Phoenix Nights: being simultaneously affectionate and unsparing about Northern working-class life."
Dave went on to write and appear in Magnolia; a comedy drama for BBC 1 following the misfortunes of a motley team of ex-cons struggling to keep their painting and decorating business afloat, and starring Ralph Ineson and Mark Benton. Despite it being a one-off as part of the BBC's Friday night output, the Mirror stated "this sparkling comedy has make-me-into-a-series written all over it...electric...wonderful humour...genuine laugh-out-loud moments" and the Independent concurred stating that it "felt much more like a sample of something larger...it would be a pity not to see more".
Throughout 2005 & 2006 Dave was a regular on our screens starring as team captain alongside Jimmy Carr and Sean Lock on Ch 4's hugely popular panel show 8 Out of 10 Cats. The show earned a nomination for 'Most Popular Quiz' at the National TV Awards in 2006 but having enjoyed four series at the helm, Dave took the decision to move on this year to allow him to focus on other TV projects. In 2006, recognising his appeal as a warm, charismatic and versatile TV personality, Dave was selected to present the new series of classic game show Bullseye for Challenge. Despite his reservations at filling such legendary shoes, he proved to be a natural in the role with the Times describing him as "perfect pitch...a worthy inheritor of the Bowen mantle". This year he has appeared as a celebrity judge on BBC 1's primetime Saturday night talent series When Will I Be Famous? and also joined Angus Deaton and David Mitchell on BBC 1's new improvised panel show Would I Lie To You?.
Despite an increasingly busy schedule, Dave actively supports a number of worthy charities. He recently braved the infamous black chair as a contestant on BBC 1's Celebrity Mastermind - achieving the highest score ever in the history of the show and raising valuable funds for his chosen charity, Animals Asia, in the meantime. He will be travelling to Asia later this year as part of his ongoing work with the charity, to rescue a bear named in his honour. A devout vegetarian and animal lover, he is also proud patron of 'Pet Rehome', and has staged a number of live events for their benefit; as well as providing a sanctuary at his home to all manner of rescue animals over the years.
Putting his humour to further good use, Dave is currently supporting cancer research, having donated his services to script and voice the current 'smoke free' national radio campaign alongside Rob Brydon. Closer to home, he recently voiced a series of audio signs for Bolton Council; his dulcet tones can be heard on talking signs around the town centre; using his unique humour as part of their initiative to combat crime. A local hero, he has since been honoured in his home town with his very own star in Bolton's 'Walk of Fame'!.
As a recognisable TV face, and an esteemed live performer, Dave remains highly sought after in the world of CORPORATE ENTERTAINMENT. With over 25 years experience in the NHS, he is particularly suited to events within the medical field but with the rare gift of being universal and appealing to all types of audiences, he's the ideal choice for any corporate event. An accomplished awards host, he has recently hosted prestigious events including the Sodexo Awards , NW Critical Care Conference , Butlins Star Awards , Office Depot Awards , iSOFT , Southern Cross Awards , Manchester Theatre Awards, the North West Comedy Awards and the RTS Awards.
A prolific writer, Dave is now busy developing several original ideas for TV. Footballers Lives is a comedy drama based around a Sunday football team. The legendary Shane Meadows directed a teaser last year and a script has since been commissioned. Another comedy drama entitled Sour Grapes is based around a group of friends who accidentally buy a french vineyard. Both projects are currently in development with the BBC so watch this space.
In 2008 -2009 Dave toured his immensely successful 'The Best Medicine' Tour in over 100 venues Nationwide and released the DVD of the tour and had his first book published , "He Took my Kidney , Then Broke my Heart". He is currently working on his 2011 Stand-Up tour "Words Don't Come Easy" , is writing his Autobiography "My Life - Under The Microscope" and a comedy drama "The Best of Times" about a girl with Leukaemia searching for a Bone Marrow Donor . After one successful series of co-presenting the "TV BOOK CLUB" for More4/Ch4 he starts filming the second series "The SUMMER READ" in June 2010.
Exclusive Representation
Kath Todd at Felix Knight Ltd. [email protected] t:07525 204254
| Sean Lock |
Which World cup team are known as the Albiceleste? | Dave Spikey | Biography
CONTACT
Biography
"A comic who walks a tightrope between the comedy of the everyday and the surreal, pausing occasionally to place a foot down firmly on either side"
Guardian
Multi award-winning Dave Spikey is one of the most sought-after comedy talents in the UK today. With a career spanning two decades, he has numerous TV appearances to his name as a stand-up comedian, presenter and actor - and behind the screens, as an acclaimed comedy writer.
Dave's journey into this business we call show began in 1990. After winning the 'North West Comedian of the Year' Award, he became a regular on the club circuit and once famously supported Jack Dee, Max Boyce, Cannon & Ball and Eddie Izzard all in the space of one week. Early in his career he followed in the footsteps of Jeremy Beadle and Ted Robbins presenting ITV's legendary game show Chain Letters - whilst continuing to hold down his day job as Chief Biomedical Scientist in Haematology at the Royal Bolton Hospital.
In 1996, TV comedy history was made when Dave met fellow Boltonian Peter Kay. Sharing a similar style and approach to comedy and writing, they went on to form a formidable partnership; collaborating on Mad for the A6; a Granada special, and then on The Services for Ch 4's Comedy Lab. Shortly after they co-wrote Ch 4's hit series That Peter Kay Thing, which was awarded 'Best New TV Comedy' at the prestigious British Comedy Awards in 2000.
Inspired by this success Dave finally took the plunge and gave up the day job. Within twelve months he'd fulfilled his dream of writing a comedy series by co-writing and co-starring in Ch 4's critically acclaimed Phoenix Nights alongside writing partners Peter Kay and Neil Fitzmaurice. Together they wrote and starred in two series of the cult TV show with Dave playing 'the compere without compare', Jerry St Clair. A modern comedy masterpiece, and recognised as one of the greatest sitcoms of current times, Phoenix Nights broadcast in the same year as The Office, and sparked a north-south divide not witnessed since the Blur v Oasis rivalry in the 90's; culminating with the 2002 British Comedy Awards when the two classic sitcoms went head to head.
In this truly stellar year, Dave received his second British Comedy Award with Phoenix Nights scooping the 'People's Choice Award' and Dave further earning a nomination for 'Best Comedy Newcomer' for his inimitable portrayal of Jerry 'The Saint' St Clair. As Phoenix Nights mania continued to sweep the nation, it also won the 'Situation Comedy & Comedy Drama' Award at the RTS Programme Awards, and was nominated for a prestigious Bafta Award, and 'Best Comedy' in the Broadcast Awards.
Following this phenomenal success, Dave's profile rocketed and in 2003 he embarked on his debut national tour - ironically entitled the 'Overnight Success Tour'. Garnering rave reviews and performing to sell-out audiences, Dave quickly established his reputation as a first class live performer picking up a 'Performance of the Year' Award (Manchester Evening News Theatre Awards) and 'Best Comedy Performance' Award (Leicester Mercury Awards). The hit show was recorded by Universal and released on DVD in 2003 quickly achieving the 'Gold Retail Performance' Award selling in excess of 75,000 copies.
Truly cementing his place as one of Britain's most cherished comedy talents, in 2004, Dave appeared as a guest on the legendary Parkinson, alongside megastar Paul McCartney. He also performed before Her Majesty at The Royal Variety Performance in a star-studded line-up including Dame Shirley Bassey; allowing him to fulfil two lifelong ambitions within one momentous week!
In 2005, Dave joined a host of luminaries including Jonathan Ross and Lee Evans at London's Apollo Theatre in Comic Aid; a televised gala also released on DVD, in aid of the Asian Tsunami. He embarked on his second nationwide tour later that year with a brand new show 'Living the Dream', to further critical acclaim and sell out audiences with extra dates added due to overwhelming public demand. This show was also released on DVD and is also now available as a box set featuring both of the live shows.
Moving forward as a solo writer, Dave wrote and co-starred in ITV's primetime comedy drama Dead Man Weds. The six-part series, set in the offices of a sleepy rural newspaper starred Dave as a washed-up former Fleet St Journalist alongside an all star cast including Johnny Vegas, Tim Healy and Michael Brandon. Broadcast in 2005 in competition with US hit comedy Desperate Housewives, the series received tremendous critical acclaim, with the Sunday Mirror describing it as "laugh-out-loud brilliant and already on the way to becoming ITV's finest sitcom". Q magazine claimed it was "contemporary mainstream comedy at its best...just plain funny" and the Telegraph summed up the series as "an excuse for lots of good gags - and for Spikey to achieve the same tricky combination he did in Phoenix Nights: being simultaneously affectionate and unsparing about Northern working-class life."
Dave went on to write and appear in Magnolia; a comedy drama for BBC 1 following the misfortunes of a motley team of ex-cons struggling to keep their painting and decorating business afloat, and starring Ralph Ineson and Mark Benton. Despite it being a one-off as part of the BBC's Friday night output, the Mirror stated "this sparkling comedy has make-me-into-a-series written all over it...electric...wonderful humour...genuine laugh-out-loud moments" and the Independent concurred stating that it "felt much more like a sample of something larger...it would be a pity not to see more".
Throughout 2005 & 2006 Dave was a regular on our screens starring as team captain alongside Jimmy Carr and Sean Lock on Ch 4's hugely popular panel show 8 Out of 10 Cats. The show earned a nomination for 'Most Popular Quiz' at the National TV Awards in 2006 but having enjoyed four series at the helm, Dave took the decision to move on this year to allow him to focus on other TV projects. In 2006, recognising his appeal as a warm, charismatic and versatile TV personality, Dave was selected to present the new series of classic game show Bullseye for Challenge. Despite his reservations at filling such legendary shoes, he proved to be a natural in the role with the Times describing him as "perfect pitch...a worthy inheritor of the Bowen mantle". This year he has appeared as a celebrity judge on BBC 1's primetime Saturday night talent series When Will I Be Famous? and also joined Angus Deaton and David Mitchell on BBC 1's new improvised panel show Would I Lie To You?.
Despite an increasingly busy schedule, Dave actively supports a number of worthy charities. He recently braved the infamous black chair as a contestant on BBC 1's Celebrity Mastermind - achieving the highest score ever in the history of the show and raising valuable funds for his chosen charity, Animals Asia, in the meantime. He will be travelling to Asia later this year as part of his ongoing work with the charity, to rescue a bear named in his honour. A devout vegetarian and animal lover, he is also proud patron of 'Pet Rehome', and has staged a number of live events for their benefit; as well as providing a sanctuary at his home to all manner of rescue animals over the years.
Putting his humour to further good use, Dave is currently supporting cancer research, having donated his services to script and voice the current 'smoke free' national radio campaign alongside Rob Brydon. Closer to home, he recently voiced a series of audio signs for Bolton Council; his dulcet tones can be heard on talking signs around the town centre; using his unique humour as part of their initiative to combat crime. A local hero, he has since been honoured in his home town with his very own star in Bolton's 'Walk of Fame'!.
As a recognisable TV face, and an esteemed live performer, Dave remains highly sought after in the world of CORPORATE ENTERTAINMENT. With over 25 years experience in the NHS, he is particularly suited to events within the medical field but with the rare gift of being universal and appealing to all types of audiences, he's the ideal choice for any corporate event. An accomplished awards host, he has recently hosted prestigious events including the Sodexo Awards , NW Critical Care Conference , Butlins Star Awards , Office Depot Awards , iSOFT , Southern Cross Awards , Manchester Theatre Awards, the North West Comedy Awards and the RTS Awards.
A prolific writer, Dave is now busy developing several original ideas for TV. Footballers Lives is a comedy drama based around a Sunday football team. The legendary Shane Meadows directed a teaser last year and a script has since been commissioned. Another comedy drama entitled Sour Grapes is based around a group of friends who accidentally buy a french vineyard. Both projects are currently in development with the BBC so watch this space.
In 2008 -2009 Dave toured his immensely successful 'The Best Medicine' Tour in over 100 venues Nationwide and released the DVD of the tour and had his first book published , "He Took my Kidney , Then Broke my Heart". He is currently working on his 2011 Stand-Up tour "Words Don't Come Easy" , is writing his Autobiography "My Life - Under The Microscope" and a comedy drama "The Best of Times" about a girl with Leukaemia searching for a Bone Marrow Donor . After one successful series of co-presenting the "TV BOOK CLUB" for More4/Ch4 he starts filming the second series "The SUMMER READ" in June 2010.
Exclusive Representation
Kath Todd at Felix Knight Ltd. [email protected] t:07525 204254
| i don't know |
Which player top-scored and won the Golden Boot? | Lionel Messi wins Golden Ball award after World Cup final vs Germany, but did Argentina star deserve it? | Daily Mail Online
Lionel Messi wins the Golden Ball award despite losing World Cup final to Germany... but did fading Argentina star deserve it?
Germany defeated Argentina 1-0 in extra-time to win the World Cup final
Lionel Messi won the Golden Ball award for player of the 2014 tournament
Manuel Neuer was handed the Golden Glove award for best goalkeeper
James Rodriguez won the Golden Boot for scoring most goals with six
Messi failed to score after group stages so it was a surprise to many many, including Rio Ferdinand and Alan Hansen, he won award for best player
| James Rodríguez |
When women were first given the vote in 1918 how old did they have to be to receive it? | Lionel Messi wins Golden Ball award after World Cup final vs Germany, but did Argentina star deserve it? | Daily Mail Online
Lionel Messi wins the Golden Ball award despite losing World Cup final to Germany... but did fading Argentina star deserve it?
Germany defeated Argentina 1-0 in extra-time to win the World Cup final
Lionel Messi won the Golden Ball award for player of the 2014 tournament
Manuel Neuer was handed the Golden Glove award for best goalkeeper
James Rodriguez won the Golden Boot for scoring most goals with six
Messi failed to score after group stages so it was a surprise to many many, including Rio Ferdinand and Alan Hansen, he won award for best player
| i don't know |
Who wrote the feminist work Fear of Flying? | Why Erica Jong decided to take on mortality in 'Fear of Dying' - LA Times
Why Erica Jong decided to take on mortality in 'Fear of Dying'
Erica Jong
Carolyn Cole / Los Angeles Times
Author Erica Jong, who wrote the 1973 bestseller "Fear of Flying," has a new book, "Fear of Dying."
Author Erica Jong, who wrote the 1973 bestseller "Fear of Flying," has a new book, "Fear of Dying." (Carolyn Cole / Los Angeles Times)
Irene Lacher
More than four decades have passed since Isadora Wing fantasized in "Fear of Flying" about zipless adventures, spotlighting women's sexuality and helping to further the sexual revolution. And her prolific creator — novelist, poet and feminist Erica Jong — has other things on her mind these days, as evidenced by her new novel, "Fear of Dying." Jong's latest work of fiction follows her 60-year-old protagonist, Vanessa Wonderman, as she navigates the way stations of her parents' deaths, her grandchild's birth and late-in-life sexuality. Jong talked about the book by phone from her home on New York's Upper East Side.
When did you start thinking about mortality a lot?
I always thought about it. The only subjects of poetry are love and death. If you think like a poet, you always think of mortality. As somebody who loved Keats, I was very aware of mortality, but I think as a novelist, I started to be really aware as my parents were failing, and I used some of that material about my own parents, although Vanessa's parents are not exactly my parents. But you see them weakening and weakening and weakening. So that's really a life-changing moment.
Does your personal experience have anything to do with the 10-year gap between novels?
Absolutely. Partly it was because my father was dying and I was very, very close to him. And my mother was dying, although she lived much longer than my father — my father died at 93, she died at 101 — and my daughter had three children in that period. So life interrupted. And I wanted very much to be near my grandchildren and be there for [daughter] Molly [Jong-Fast], who's an only child, and she and I are very close.
Author-poet Erica Jong dishes on her landmark novel, its film adaptation, feminism today and the loss of romance and dating. (Irene Lacher)
The other reason was I couldn't find a voice for the book. Everybody wanted me to write the last Isadora book, and Isadora just had too much baggage. And it was only when I was almost finished with the book that I introduced her as a minor character who was best friends with my major character.
In the book, you rail against writers being typecast, but doesn't the title invite typecasting?
The working title of the book was "Happily Married Woman." And the first chapter was called "Fear of Dying." Around the time I submitted the book, I changed the title to "Happily Married Woman: Fear of Dying" because I realized that a theme that went through the book was mortality — becoming very aware of your mortality when your parents are failing, having a husband who nearly dies, having a daughter giving birth. And it was only when my publisher said we love this title that it became the main title.
(Dave Lewis)
There are sex scenes, so people who typecast you will not be disappointed.
I think the sex scenes are comical for the most part. At the end of the book, there is a kind of love story that emerges. But Isadora comes into the picture and says, "Look, you're not looking for sex, you're looking for connection." And Vanessa realizes that she's very connected to [her husband] Asher, and that they're very close and that all these crazy men with fetishes are not going to satisfy the longing for connection.
Vanessa says, "I had needed sex so much, I didn't realize it was different from love." And also, "we make sense mean more than it should." Is that a critique of your early work?
I don't think so.... I was never into casual sex. I always had long-term relationships that were pretty monogamous until things fell apart. I think people made me the advocate of casual sex, but I really wasn't in my own life.
Your character raises the question of whether it's possible to feel passion at any age. What are your thoughts on that?
I don't think people realize that sexuality is present throughout our lives. It may not be exactly as it was when we were younger, but we have this longing to connect with our bodies as well as our minds. And I think people would be so much happier if they realized it's not always the same form, but it continues through our lives.
Nonetheless, I don't think there's that much literature out there about 60-year-old women wanting sex.
I think that's important, actually. I remember a clever editor once said to me, "There's never been a bestseller about a woman over 40," and I said, "Well then, we've got to write it."
Vanessa also says, "How did my generation get feminism so wrong?" Do you think you had it wrong?
No, I think my feminism was very humanistic. In fact I was considered a bad feminist long before Roxane Gay used the term because I used to say you can't tell women they can't be close to their fathers, their brothers, their lovers. It wasn't popular in the '70s. Now younger feminists think I was prescient, but I don't think you can just throw out men completely. We may not have to marry them. We may not have to submerge ourselves in them, but I like them. They're interesting and they're different from us. I don't think they should dominate society. In fact, I really feel that women, as in Native American cultures, should be the deciders of war and peace. I really believe in grandmother power.
| Erica Jong |
Who is Prince Myshkin in a Dostoevsky novel? | Project MUSE - The Flight of Lilith: Modern Jewish American Feminist Literature
Modern Jewish American Feminist Literature
Ann R. Shapiro (bio)
Judaism and Second Wave Feminism: An Overview
Second wave feminism, the movement which began in the 1960s and gained full momentum in the 1970s, reiterated many of the goals of the first wave of the last half of the nineteenth century. While first wave feminists organized around suffrage, the broader goal was equality. The first wave was dominated by educated Protestant women mainly from New York State and New England, but the second wave was remarkably Jewish. Historians often date the beginning of what was then called "women's liberation" to Betty Friedan's Feminist Mystique (1963). By 1972 Ms.: the New Magazine for Women was launched with an editorial staff that was half Jewish, including Gloria Steinem and Letty Cottin Pogrebin. Historian Gerda Lerner, according to the New York Times, is a "godmother of women's history" ( Lee B7 ). Bella Abzug emerged in national politics, while radical feminism was dominated by Robin Morgan, Shulamith Firestone, Andrea Dworkin, and other Jewish women.
Feminist critic Susan Gubar came to acknowledge the significance of her own Jewish origins and those of the leading feminist critics and scholars who emerged in the 1970s in her essay, "Eating the Bread of Affliction" (1994), where she categorically states, "Jewish experience has profoundly shaped the evolution of feminist thinking in our times" (4). The women cited in her essay could be a who's who of feminism: Adrienne Rich, Carolyn Heilbrun, Florence Howe, Annette Kolodny, Alicia Ostriker, Nancy K. Miller, Judith Gardiner, Nina Auerbach, Naomi Weisstein, Lillian Robinson, Elizabeth Abel, Rachel Brownstein, Rachel Adler, Judith Plaskow, Blance Weissen Cook, Natalie Zemon Davis, Estelle Friedman, Linda Gordon, Linda Kerber, Ruth Rosen, Susan Suleiman, and Marianne Hirsch. A notable and probably inadvertent omission is Ellen Moers, whose Literary Women (1976) was surely groundbreaking in literary criticism. Indeed it is hard to imagine a feminist movement without the [End Page 68] contributions of Jewish American women. Most of these women regarded themselves as secular Jews and initially did not connect their feminism with Judaism.
In an effort to understand the predominance of Jewish feminists, Gubar speculates:
Clearly those of us who grew up Jewish during the postwar years inherited a distrust of public authority and a reliance on private bonds that anticipate the feminist imperative to integrate (male) institutions and authority and to valorize (feminine) networks of reciprocity. Just as important, we had been served up a monitory lesson about conformity and acquiescence: living through debates over the immorality of "blaming the victim," some of us nevertheless harbored suspicions about a generation of adults blind to the writing on the wall because they had integrated successfully in mainstream European culture.
(79)
She adds "devotion to the text and to education" as well as "strong commitment to each individual's social responsibility" as other possible explanations for the preponderance of Jewish feminists (82-3).
Gubar quotes several Jewish feminist literary scholars, who offer their own tentative explanations for the link between Judaism and feminism. Carolyn Heilbrun states, "Having been a Jew had made me an outsider. It had permitted me to be a feminist." Commenting on her suspicions of the world and the academy in particular, Annette Kolodny confesses, "Somewhere lurking in my responses to everyone I meet is the unarticulated question 'Would you hide me?'" Nina Auerbach adds, "the Holocaust and the blacklist were twin specters….official authority has always looked stupid and menacing." Lillian Robinson claims that she came from "a freethinking family" in which she learned "to treat the very idea of a sacred text skeptically, which is a pretty good beginning for someone seeking to expand and enrich the literary canon." Nancy K. Miller concludes somewhat cryptically, "being both Jewish and a feminist is a crucial, even constitutive piece of my self-consciousness as a writer" (82). All of these speculations seem reasonable, none definitive.
Lilith
For Gubar the recognition of Jewish identity evolved. Initially she writes that she had embraced Lilith as prototype, declaring, "Like the rebel Lilith, defiantly inhabiting a liminal zone outside the Jewish community…many schools in the socalled second wave feminism felt themselves embittered, hopeless about receiving spiritual sustenance suited to our desires. …[W]e could only forget, deny, distance ourselves from our Jewish backgrounds"(76). She describes the pain of sitting through a seder where the Haggadah refers to sons, but not daughters, and a male God whose "celebrants in the present function as an exclusive men's club" (71). Until she experienced a second seder, which celebrated the four daughters and introduced Miriam, the savior of Moses, Gubar thought of herself as a "Jewish feminist" but not a "feminist Jew" (71). [End Page 69]
Gubar sees Lilith as daemonic and therefore "excluded from the human community" (Madwoman 33), but many Jewish feminists have taken a different view, celebrating Lilith as the symbol of the independent woman. While there are multiple sources for the Lilith myth, most contemporary interpretations rely on the first extended representation of Lilith in the medieval text Alphabet of Ben Sira 23. There we learn that Lilith was the first wife of Adam, who was created equally with him. When she refused to be submissive and lie beneath him, he attempted to force her compliance, and so she flew away. God instructs Adam to persuade Lilith to return, but Lilith is recalcitrant. Kabbalistic interpretations, written several hundred years later, add that after fleeing the Garden, Lilith kills pregnant women, injures newborns, and excites men in their sleep, taking their semen to manufacture demon children of her own. According to the Columbia Encyclopedia, "Lilith is the symbol of sensual lust" (1582). The Web site for Lilith, the Jewish feminist magazine founded in 1976, explains the name with a brief quote from the Alphabet of Ben Sira 23 that states simply, "Lilith said, 'we are equal because we are created from the same earth'" (Lilith.org). The rest of the Lilith story is ignored. Judith Plaskow in a 1972 essay on Lilith wrote a new midrash, where she not only eliminated Lilith's daemonic aspects, but reimagined the story so that Eve finally met Lilith on the other side of the garden wall, where they talked and cried "till the bond of sisterhood grew between them" (30). Aviva Cantor laments that the Lilith myth was "contaminated with male bias," and suggests: "What is intrinsic to Lilith, what is the most central aspect of her character is her struggle for independence, her courage in taking risks, her commitment to the equality of woman and man based on their creation as equals by God" (49-50).
The multiple interpretations of Lilith suggest a paradigm, if not a definition, for second wave feminist literature, especially in the 1970s, where Jewish women writers in particular either described the flight from an oppressive patriarchal marriage, where the sensual protagonist expresses her rebellion by taking a real or imagined lover, or a reconciliation and reaffirmation in sisterhood, as suggested in Plaskow's midrash. Key examples of these two early Jewish feminist responses, which may be considered prototypical of the Jewish feminist novel, are Erica Jong's Fear of Flying (1973) and E. M. Broner's Weave of Women (1978) .
Fear of Flying
In her new book, A Jury of Her Peers: American Women Writers from Anne Bradstreet to Annie Proulx (2009), Elaine Showalter states, "All the feminist critics looking at the 1970s agree that Erica Jong's Fear of Flying (1973) , which…defied the restrictions on women's verbal range, sexual candor, and narrative voice, was a key book of the decade" (443-4). The lustful heroine was, of course not unique to Jong. Other Jewish feminists including Alix Kates Shulman in Memoirs of an Ex-Prom Queen (1972) and Anne Roiphe in Up the Sandbox (1970) also defied expectations for nice Jewish girls by creating protagonists who reveled in sexual adventures, but only Fear of Flying sold a reputed 18 million copies and, therefore, both reflected and engaged a [End Page 70] generation. One wishes that Showalter would have named some of those feminist critics and detailed what they said and why, but assuming that Fear of Flying is a key work of the period, what does it tell us? That it marked a feminist breakthrough, as suggested by Showalter, is undeniable, but I would also argue that it is in several ways a Jewish bildungsroman where Isadora Wing not only obsesses about her Jewish identity, but also embodies key aspects of the Lilith prototype, emblematic of the Jewish feminist novel. The novel is not only about Isadora's defiance, metaphorically expressed as flying, but about her fear. In the novel's opening pages, she confesses the panic she experiences in an airplane, but throughout she also expresses her fear of anti-Semitism and her fear of becoming a lonely outcast like Lilith.
Her fear of anti-Semitism surfaces as soon as her plane lands in Vienna, where she is accompanying her psychoanalyst husband to a conference: "Welcome back! Welcome Back! At least those of you who survived Auschwitz, Belsen, the London Blitz and the co-optation of America. Wilkommen!" She remembers that Freud fled Vienna because of the Nazi threat and not only had his name been banned but "analysts were expelled (if they were lucky) or gassed (if they were not)" (6). In a chapter recounting her life in Heidelberg, Jong begins with an epigraph by Rudolph Hess acknowledging that people living nearby knew about the exterminations (56). This is followed by a poem, "The 8:29 to Frankfurt," which poignantly sums up her feelings about the train conductor in Germany: "But I am not so dumb/I know where the tracks end/and the train rolls on/into silence. I know the station won't be marked/My hair's as Aryan/as anything/My name is heather. My passport eyes/bluer than Bavarian skies/But he can see the Star of David/in my navel" (57). Isadora White Wing (née Weiss) adds, "I began to feel intensely Jewish and internally paranoid (are they perhaps the same?) the moment I set foot in Germany" (61). Otherwise she insists she was a "pantheist" (67), granddaughter of a Marxist living in an assimilated home, where there were always a Christmas tree and Easter eggs (60). Soon after the publication of Fear of Flying, Jong explained to an interviewer, "The German experience was complicated because it made me suddenly realize I was Jewish. I had been raised as an atheist by cosmopolitan parents who didn't care about religion, and living in Germany gave me a sense of being Jewish and being potentially a victim" (Templin 14). Two years later in an interview with Playboy, she declared that her goal in Fear of Flying was "to be honest about everything" including "being Jewish in Germany" (Templin 41).
Although fear of anti-Semitism is a critical issue in the novel, feminism is its core, and for Jong feminism and Judaism are often related. Reflecting on the issue more than twenty years after she wrote Fear of Flying, Jong declared, "The problem of sexism is great for all women, but for Jewish women it is perhaps even greater because of that pervasive anti-Semitism that masquerades as class snobbery." Citing as examples, Woody Allen, Philip Roth, Lionel Trilling, and her mother's Russian grandfather, she warns that Jewish men "project all their self-loathing onto Jewish women [because] we remind them of their strong mothers." Of Trilling she adds, "Like my mother's Russian grandfather, Lionel Trilling—then playing God at Columbia—did not pay attention to girls" (Fear of Fifty 78-9). [End Page 71]
In Fear of Flying, Jong's description of the feminist dilemma is not confined to the suffering inflicted upon women by Jewish men, but rather by all men, especially husbands. Isadora's image of "the good woman" is "a kind of Jewish Griselda" who "sits quietly on the upper balcony of the synagogue while the men recite prayers about the inferiority of women" (231). Unwilling to be Griselda, Isadora prefers to be Lilith, the sensuous, bad woman, who takes flight from patriarchal marriage, but in this satiric novel Isadora's flight lasts only two and a half weeks, her lover is impotent most of the time, and she flies back to her husband, albeit unsure of what she will do next, understanding only that she must work, and no man, neither her husband Bennett, nor her lover, Adrian Goodlove, will give her life purpose or solve the infinite mystery of human existence.
Fear of Flying broke new ground in women's fiction in its use of four-letter words and its unabashedly lustful heroine, but its inconclusive final chapter is entitled "A 19th-Century Ending." If, as Elaine Showalter insists, feminist critics agree that it "was a key book of the decade," its feminist appeal is in Isadora's yearning to free herself from conventional expectations for women rather than her success in fulfilling her aspirations. Although much of the book is about Isadora's flight from patriarchal assumptions about women culminating in her fleeing her husband, it is also about her fear of loneliness in an unchartered limbo. Lilith, after all, has been conceived both as liberated woman and ostracized female monster, and Isadora sees herself alternately as one or the other.
Isadora's feminism seems like a primer of second wave feminism. Early in the novel she wonders, "What did it mean to be a woman anyway?" (52-3). She rejects the presumably expert advice of her male psychoanalyst, the choices of her mother and sisters, the lives of women she observes, the institution of marriage, and the images of women in both male and female novels. She decides, "What I really wanted was to give birth to myself…." (51). The problem is that there is no precedent—no past to guide her.
Isadora's first flight is from her psychoanalyst, who sees "Women's Lib as a neurotic problem." Before walking out of his office forever, she screams at him, "I also don't think you understand a thing about women.…Don't you see that men have always defined femininity as a means of keeping women in line?" (20) Her own family provide no better clue to understanding. An aspiring artist, her mother gave up painting when her own father mocked her efforts and painted over her canvasses. Her three sisters, all married with children, are equally distressing role models, who confirm her own hopelessness about marriage. She reflects, "The virtues of marriage were mostly negative virtues. Being unmarried in a man's world was such a hassle that anything had to be better" (86). What she wants is "total mutuality," but instead she describes "how men sit there glued to the paper while you clear the table….they pretend to be all thumbs when you ask them to mix the frozen orange juice….they bring friends home and expect you to wait on them and yet feel entitled to sulk and go off into another room if you bring friends home" (87).
Isadora's first marriage ends in divorce when Brian becomes seriously mentally [End Page 72] ill. She explains that she married him because she wanted to leave home and did not know what to do after graduating college. He, on the other hand, insisted on marriage because he "wanted to own my soul. He was afraid I'd fly away. So he gave me an ultimatum" (212). When she briefly leaves her second husband for Adrian Goodlove, she announces, "I was flying" (188), but she soon confesses, "I entered a world in which the rules we lived by were his rules—although he pretended there were no rules" (193). Even the prospect of motherhood fails to justify marriage because it means "having babies for men. Babies who get their names. Babies who lock you by means of love to a man you have to please and serve on pain of abandonment" (52).
Finding no answers to what it means to be a woman in life, Isadora looks to literature, but here too she is frustrated. She laments, "I learned about women from men," and what she learned was her own inferiority (168). Women writers were no help either: "Where was the female Chaucer? One lusty lady who had juice and joy, love and talent too.…Almost all women we admire were spinsters and suicides" (109-110). She decides "No lady writers' subjects for me. I was going to have battle and bullfights and jungle safaris" (129), but she confesses that she knows nothing about any of it.
The irony of Isadora's efforts at sexual liberation is that she never feels liberated. She realizes, "What a disproportionate sense of guilt I had over all my petty sexual transgressions. Why had I been cursed with such a hypertrophied superego? Was it being Jewish?" (268). The question bring us full circle.
In the novel, like the Jewish feminist critics, quoted by Gubar, Jong/Isadora explicitly defines her Jewish identity in reaction to anti-Semitism. But I would argue that her rebellion against traditional expectations of women, although not unique to Jewish women, grows in part out of her perception of herself as an outsider. Commenting on the predicament of the Jewish woman writer, Jong states she is "twice marginalized, twice discriminated against. She is discriminated against both as a woman and as a Jew" (Fear of Fifty 80).
Jong, like Gubar and others of her generation, eventually found her way back to Judaism by stages. In 1994, in an essay, "How I Got to Be Jewish," Jong reiterates themes already developed in Fear of Flying, insisting, "Jews are made by the existence of anti-Semitism…" Always an outsider, the Jew "is a person who is safe nowhere" (101). A few years after this in her attempt to define her own Jewish identity, Jong began doing research at YIVO for a new book about Jewish female roots that became Inventing Memory: A Novel of Mothers and Daughters (1997). Finally ready to climb over the wall to bond with other women as Plaskow's Lilith did, Jong was no longer obsessed by the Holocaust nor defined by a man, as she attempted to understand herself as a Jewish woman. After leaving her husband, Sara, Jong's new alter ego, secures a job at the Council on Jewish History researching her own Jewish heritage through stories about her female ancestors from 1905 to the present. Near the end of the novel Sara decides that Jews must not allow the Holocaust to define them, complaining, "It's as if we spend all our time arguing with Hitler" (295). Instead [End Page 73] she wants to create an exhibition that shows that Jews are not victims but survivors. The family saga that Sara discovers culminates with a letter from her once atheistic mother apologizing for never having had her daughter study to be a bat mitzvah and proclaiming the "great wisdom in our traditions" (247). In the afterword to the novel, Jong ponders the leadership of Jewish women in America and concludes, "It was their Jewishness and femaleness that led them to empathize with the oppressed" (302). There is no trace of the lustful Lilith here. Sara/Jong finds herself by exploring her connection with a century of Jewish women's history.
The Bonding of Lilith and Eve
Other Jewish feminist writers have explored similar terrain in seeking to reconcile Judaism and feminism through fictitious accounts of Jewish women as central participants in the Jewish tradition. If the stories that men told about Jews in the Bible, the Haggadah, the Talmud, as well as history were about men, women could invent new stories that placed women in the center. After all, storytelling has always been an integral part of Judaism. Therefore E. M. Broner creates new female ritual in The Weave of Women; Norma Rosen writes new midrash in Biblical Women Unbound; Anita Diamant in The Red Tent retells the story of Dinah in Genesis; Maggie Anton suggests in Rashi's Daughters that women were instrumental in writing the Talmud; and Geraldine Brooks uses historical fiction to underscore women's roles in her saga of the Sarajevo Haggadah.
Some Jewish feminist writers wrote novels in which heroines escape patriarchal restrictions in imagined female worlds, including Marge Piercy in Woman at the Edge of Time and He, She and It and Kim Chernin in The Flame Bearers. E. M. Broner's A Weave of Women , however, provides the most useful prototype of the genre here because it is uniquely Jewish, drawing on Jewish ritual and situated in Jerusalem, the city that embodies Jewish hope for the future.
The idea that women could bond in new communities through shared rituals began for Broner in 1975 in Israel when she and her friend Nomi Nimrod were working on the Women's Haggadah, where the patriarchal God became the Shekinah, the four sons, the four daughters and the rabbis "wise women" (The Telling 1). In 1976, the first women's seder took place in New York, where participants included Phyllis Chesler, Letty Cottin Pogrebin, Gloria Steinem, Aviva Cantor, and Andrea Dworkin. The so-called "Seder Sisters" would eventually also include Bella Abzug and Grace Paley. The feminist seder has since, of course, gone through many incarnations as more and more women wrote haggadot and came together to celebrate Miriam along with Moses.
A Weave of Women
Broner's community of women in Jerusalem is all-inclusive. The women represent different faiths and different nationalities; they include "wayward girls," an unmarried mother, a woman seeking a divorce, a social worker, a singer, a playwright, a [End Page 74] scientist, and an actress. While there are men in their lives, the men are peripheral. The women find comfort with each other and are bound together by the rituals they create to mark the important events in their lives. The women themselves tell their story in their own voices because Broner believes, "There is no chief story teller of women's history—we make history together" ( "Of Holy Writing" 269 ).
While Broner is well versed in Jewish tradition and remains an active participant in a Conservative synagogue, her imagined world is outside the known realms of religion and politics. After the stone house, which is the center of the women's communal life, is destroyed to make way for a male yeshiva, the women establish Havurat Shula, "a women's government in exile" (289) because the laws themselves reject women's needs. Vered's lover, a married man, who finally left Vered and returned to his wife, is a member of the Knesset, who "now upholds the dignity of the family, the honor of womankind, the protection of children and of the innocent…." He takes a position against birth control and abortion; phases out the Home for Wayward Girls; and chairs the Male Gynecological Conference whose motto is "Women, leave your bodies in our hands" (152).
Although Broner uses Jewish tradition as a framework for the lives of the Daughters of Jerusalem, seeking protection in their stone house, there is no more solace in Judaism for women than in politics. After Deedee is stoned for seducing a Talmudic scholar with whom she had consensual sex, "[t]he women pray that they be restored to their own Temple, that they no longer be captive, for there is no God of women…." (258). Without the protection of either the state or any religion, the women have only each other, and in creating a new community they attempt to live and love in a society, which above all protects women from abusive men and draws on Jewish ritual. Where traditional Judaism serves men, the women in the stone house invent new rituals to correct the evils of all patriarchal institutions that define women's lives from birth to death.
At the center of all the rituals is a desire to liberate women from subservient roles, especially in marriage. It is as if the women were still fighting Lilith's battle for equality with Adam—a battle that not only was launched again by Betty Friedan in 1963 at the beginning of the second wave, but was also key to first wave feminism in the nineteenth century. 1 Feminists of each generation understood that traditional marriage had to be redefined if women were to achieve equality.
In Broner's world the unmarried Simha gives birth to her child surrounded by chanting women who braid her hair and bring flowers and herbs in the absence of the kibbutznik father, who marries Simha only at the end of the novel after they have shared suffering. But even after marriage Simha will live only half the year with her husband and the other half with the daughters of Jerusalem in the stone house. The kibbutznik, observing his baby nursing, reflects "There is no need for a father as there was no need for a husband…." (7). The nuclear family is thus displaced.
When the baby girl reaches eight days, she is ready for a ceremony that converts the brit milah to a female ceremony called a hymenotomy where her hymen is pierced so that female virginity and the husband's possession of his wife will no [End Page 75] longer be presumed. Instead, Dahlia prays, "May she not be delivered intact to her bridegroom or judged by her hymen but by the energies of her life" (25). All of the women are sexually free, asserting ownership of their own bodies. While they seek partners to love, they have little interest in marriage.
In contrast, the married women in the novel suffer abuse from husbands who are protected by Jewish law. Mickey/Mihal's request to the Rabbinical Council for a divorce from her abusive husband is repeatedly denied even though she is brutally beaten each time she returns to him. Eventually she declares a desire for "a new ceremony" where under the bridal huppah, the husband will say, "I will never hurt you. I will never punish you. If I shout at you, may my tongue be struck dumb. If I strike at you, may my arms become numb. I will not smash the glass underfoot for fear slivers will enter your heart" (260). The Orthodox husband of Hepzibah is more subtle in his abuse. According to Terry, he terrorizes his wife and daughter in his efforts to control their lives, causing the daughter to become anorexic and attempting to smother his wife's talents as a writer and administrator.
Throughout, expectations of female domesticity are challenged. Terry, for example "found that to love men a lot was to love herself less for they were pleased to let her bathe, comb, wash and feed them. They were pleased to let her shop for them and place their clothes in the cleaners. It gave them pleasure if she typed for them, wrote letters to their mothers and raised their children" (150). When the government threatens to close the Home for Jewish Wayward Girls, the name is briefly changed to the Home for Jewish Future Homemakers, and immediately contributions pour in for stoves, washing machines, and other equipment. "The wayward girls look at the equipment, at the cookbooks, domestic machinery and count the months until they are drafted into the army" (43). Although roles in marriage are never delineated, the underlying idea is that marriage, if chosen, must be egalitarian. In the marriage ceremony at the end of the book, Simha and the kibbutznik each stamp on a glass wrapped in white damask napkins to suggest their equal roles.
Despite her attempts to incorporate Jewish ritual so that women can be full participants, Broner remains at war with the traditional Judaism. The women do not view the ending of the Purim story as happy because even though Haman is defeated Esther remains "a woman sandwiched between two men" [Mordecai and Xerxes 2 ], and she is unable to make choices: "They were made for her" (129). Even more troublesome are Orthodox views. When the Daughters of Jerusalem go to the Wall to sing, they are beaten by angry men, who remind them, "It is forbidden for a woman's voice to be raised in song" (64). The wayward girls, Shula and Rina, remember their mothers slapping them at their first menses in keeping with a tradition. They immediately perceive, "No one hit the boys in the family. Slaps, pursuit, curses were for the girls" (199).
Neither Erica Jong nor Esther Broner, in their desires to assert their independence from patriarchal dominance, provides conclusive endings to their novels. The world their characters imagine is still unsafe for women, and the conclusions are simply new versions of the marriage plot. In the final chapter of Fear of Flying, [End Page 76] Isadora awaits the return of her husband, while in A Weave of Women two of the Daughters of Jerusalem get married. Although Adam had been challenged, he had not been replaced either through individual rebellion or a community of women. It would remain for future generations to seek other ways of reconciling Judaism and feminism.
New Directions
During the 1970s it appeared that God was still on Adam's side. Women were angry, but nothing much had changed. Change, of course, did come with women admitted in equal numbers to the hallowed halls of formerly all male universities and soon moving into all professions and political life. If women were rewriting the Haggadah in the 1970s, by the 1980s they were challenging thousands of years of an entire tradition as women in all branches of Judaism except the Orthodox became rabbis and cantors. No longer bobbing their noses or changing their names to become assimilated, many Jews were exploring their roots and returning to Jewish traditions. Jewish identity had become much more than a the reaction to anti-Semitism as once described by Erica Jong and Susan Gubar and her cohorts. A new generation and some older Jewish feminists as well were telling many different stories. Lois Rubin guardedly suggests, "It took many years (and much work in improving women's position in Judaism) until some feminists of Jewish background made peace with Judaism and came to see it as compatible in some respects with feminism" (20-1). Not only Judaism, but feminism was being redefined in an increasingly multiethnic America. Jewish women's literature changed accordingly so that it reflected a feminist Judaism more than a Jewish feminism.
A new generation of writers, including Rebecca Goldstein, Allegra Goodman, and Pearl Abraham were raised in Orthodox homes and are mining that experience in novels. In answer to the question "Where should Jewish American writing move?" Allegra Goodman asserted, "Jewish American writers must recapture the spiritual and the religious dimension of Judaism" ( Halio & Siegal 273 ). Cynthia Ozick, of course, had already been deeply engaged in doing just this, but she continued to protest classification as either a woman writer or a Jewish American writer, though clearly her writing reflects both perspectives.
While the spiritual and religious dimension of Judaism is undeniably significant to many young Jewish women writers, they have been breaking new ground in a variety of ways. The 1990s saw at least two novels that attempted to reclaim a history of the Jewish woman by inventing multi-generational sagas of mothers and daughters, Rebecca Goldstein's Mazel (1995) and, as described above, Erica Jong's Inventing Memory (1997) . While Neil Simon and Woody Allen had explored mainly male Jewish lives in comedy for non-Jewish as well as Jewish audiences, Wendy Wasserstein was the first major American woman playwright to adapt the genre and put the assimilated Jewish woman on stage for a general audience. Moreover, in an increasingly multicultural America, Gish Jen in Mona in the Promised Land [End Page 77] showed that one does not have to be born Jewish to recreate authentic Jewish cultural experience.
Despite the burgeoning of women in Jewish American literature, however, there is still insufficient recognition of their achievement both past and present. The Norton Anthology, Jewish American Literature (2001), lists only twenty-nine selections by women out of a total of 139. Elaine Showalter declared, "when the twentieth century ended for Americans, women's writing as a separate literary tradition, as a definition rather than description, had reached the end of its usefulness." But she added that women are still being omitted from accounts of American literary history and that "no history of American literature that excludes their voices can be complete" (512). The remaining task for Jewish feminists is to make sure that women's literature is included in the Jewish American canon. There must be room for both Lilith and Eve in Adam's world.
Ann R. Shapiro
Ann R. Shapiro
Ann Shapiro is Distinguished Teaching Professor at Farmingdale State College, SUNY. Her books include Unlikely Heroines: Nineteenth-Century American Women Writers and the Woman Question and Jewish American Women Writers: a Bio-Bibliographical and Critical Sourcebook, winner of the Association of Jewish Libraries Bibliography Award.
Notes
1. In 1853 Elizabeth Cady Stanton wrote to Susan B. Anthony, "The right idea of marriage is at the foundation of all reforms" (Letter). Suffragist Laura Bullard added, "The solemn and profound question of marriage…is of more vital concern to woman's welfare, reaches down to a deeper depth in woman's heart and more thoroughly constitutes the core of the woman's movement than any such superficial and fragmentary question as woman's suffrage" (Revolution). Stanton eventually took the logical next step and advocated "Free Love" (qtd. in Smith 152).
2. Many modern sources including the New King James Version indicate that Esther's husband Ahasuerus and Xerxes the great are one and the same. The name "Xerxes" is used here because Broner identifies Esther's husband as Xerxes.
Works Cited
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| i don't know |
What building is located at 32 London Bridge Street? | The Shard: 32 London Bridge Street, London, England, SE1
Your Thoughts
There are 101 comments.
people are forgetting this building wasn't built for Londoners or the British it was built for foreign investors on foreign money. They don't want it to look like a traditional London building that tourists flock to see because of its history. they want it to look like every other skyscraper in the world to attract the wealthy.
nikki j - Friday, April 3rd, 2015 @ 1:25pm
I have fallen in love - with a building. I cannot get it out of my mind, it is so magnificent, so elegant, so clever. And it suits London perfectly. Thank you.
Charlotte - Tuesday, August 5th, 2014 @ 12:23pm
What a wondrous structure this is with much internal work to be completed. I look forward to seeing the opening of the restaurant(s) to be opened on the floors 31-33.
Mike Higham - Friday, March 8th, 2013 @ 4:37pm
The Shard is so perfect for London. The historical side of London is enhanced by contrast with this stunning, modern beauty. Can't wait to visit!
Liz - Sunday, February 3rd, 2013 @ 8:38pm
It looks very impressive but you would not get me up there and I would not be too keen to get within falling distance should some nutter decide that he wanted to impress Allah!
Gordon Eden - Sunday, February 3rd, 2013 @ 9:01am
Looks good to me. The one critiscm I'd make, and it applies to all such buildings, Swiss-Re et al. They're all: look at me, each uping the ante on novelty, none really complement the environment in which they site, none do anything to complete or add to surrounding buildings. The area they're in starts to look like a junk yard, just a collection of unrelated shapes that look like some kid has randomly strewn an assortment of mis-shapes across the landscape.
Roger M - Wednesday, April 18th, 2012 @ 9:56am
Dull, dull, dull... I survey buildings old and new for problems, many via roped access, so have an unusual view of how these things work (or not). I was surveying a building next door to the Shard last week, and from close up it's uninspiring, where is the thought or invention? Mr Piano has hit a bum note this time. If they'd built it upside down, now that would have been something...
Stonetapper Baz - Sunday, February 12th, 2012 @ 3:23pm
The project is cool, the location is cool. I was pleasantly amazed when I saw it, for the first time, in July 2010. Without tall towers and/or skyscrapers a metropolis is just a huge, flat, decrepit, sad, village. London is, definitely, my preferred metropolis of whole Europe.
Moreno - Saturday, December 3rd, 2011 @ 12:56pm
All the one-star ratings must be the typical mind-numbingly conservative Brits. London needs to change and become more modern; the gherkin was a world of good and a modern icon, the Shard is the next step. An analogy is Jaguar cars: until recently they hadn't changed stylistically for decades and were losing money, now they are the epitome of modern and making massive profits. People need to let London adapt to the reality that it is the 21st, not 19th, century.However, it's position on the lower-rise South bank is slightly odd at the moment, but hopefully it may spark future development around it, because being a lone skyscraper it seems even bigger and more looming than it actually is, not helping to lighten the controversy about it's size!
James - Monday, September 19th, 2011 @ 9:01pm
I don't understand why people are so opposed to this building. As skyscrapers go, it really isn't a monstrosity as so many seem to think it is. It's quite a modest building when comparing it to the likes of others that are being constructed at this time across the world. It clearly isn't a building that's 'trying to be futuristic', it's a building of its time.It's much less intrusive than a building with a common square/rectangular shape (Canada One for instance). I think it looks incredible and is a much needed addition to London's skyline.
J Bacon - Friday, May 27th, 2011 @ 2:33pm
Just another architect, showing how clever he is, or how clever he thinks he is, more like, displaying his fallic symbol.It is really an insult to the skyline of London, and should be only in place in somewhere like the USA.
Paul Spinks - Saturday, April 16th, 2011 @ 7:30pm
In my opinion, It is very ugly and unsophisticated, and an insult to the skyline of London
Martin Roche - Friday, December 25th, 2009 @ 4:33am
Great looking tower for the world's greatest city!
andrew - Thursday, December 17th, 2009 @ 1:59pm
I think this building is going to be the best thing that has happened in London - "A true beacon of Light" I pass this site every morning and am amazed at it's progress. I have been taking pictures � I�m sure these will be priceless � I am proud to be a Londoner..
Abel.De Souza - Saturday, December 12th, 2009 @ 4:15pm
People who are saying that this does not look right for London clearly don't know London very well. This is located in the financial district - where I work - and is appropriate for that area. All London high-rises are located in these business areas such as The City and Canary Wharf where they are in context of their environment. London is not a city like many of its smaller European neighbours that one smallish centralised 'city centre' - it is sprawling with many different areas. The West End for example - the more touristy traditional part of London (Knightsbridge, Buckingham Palace etc) - practically has no tall buildings and none in the City or Canary Wharf can be seen from there. This building is in keeping with the requirements and architecture of this primarily business area and I for one think it�s great that we can have a city that has amazing historical architecture in the most part but buildings such as this where appropriate in the business districts which, for people who clearly do not know London, are separate. There is no reason we cannot do both.
Matt - Friday, December 4th, 2009 @ 3:17pm
This is a fantastic building,and will start to rise above ground in the next couple of months.Those who oppose this oppose the future,evolution etc....and/or are jealous!
Jon - Sunday, October 11th, 2009 @ 11:08am
I think thi design is an extrodinary asset to the london skyline it will certainly bring london up to date with other major cities for once londons becoming modern BRILLIANT!
Tom - Monday, October 5th, 2009 @ 3:50pm
This will be a new symbol for London's Skyline. A Dynamic skyscraper for a futuristic city.
Brent Kampert - Tuesday, September 1st, 2009 @ 5:29pm
As someone who visits London only occasionally, I think it currently has one of the most amazing skylines. The mix of old and new is stunning and I think the Shard of Glass will be a spectacular addition.
Lynda Bullock - Sunday, August 9th, 2009 @ 10:10am
As someone who has worked on Borough High Road, next to such great attractions as London Bridge, Borough Market and the Theatre land alongside the river, one has to say that this is a complete nightmare and god knows how they got planning permission for it. The shadow that it casts across these historic places is horrendous and personally I would like to see this building axed.
Daniel - Tuesday, May 5th, 2009 @ 9:37am
This building boggles the mind. I love it. We need something similar in Tokyo.
Seiichi Mano - Wednesday, April 8th, 2009 @ 1:29pm
The tower looks amazaing and it is a shame more stunning towers have not sprung up in other parts of london - it is ridiculous to limit the height on skyscrapers - we should be leading the way = buildings like this provide a positive message to the world
Imraan - Thursday, March 19th, 2009 @ 7:49pm
Go for it London. I think it's fab! Just what we need and a few more as well to bring us in line with the other world class cities like New York. I love my Country but not it's politics and Government but they have got it right if they build this tower...definitely give my thumbs up to this sleek baby.
Suzanne Tomlinson - Wednesday, December 24th, 2008 @ 6:20pm
the structyure is ok, but why is it on the southbank, it looks abit odd just randomly placed, i think it should have some smaller, varied, skyscrapers around it otherwise it just looks ridiculous.
tom - Monday, November 10th, 2008 @ 11:49am
It is a mindblowing architect it just look wonder full i must say as we say in punjabi "chak te fatte"
himanshu - Sunday, September 14th, 2008 @ 9:58am
it'a lovely and a beauty full arcitect and it has alovely look
navi - Saturday, September 13th, 2008 @ 3:18am
Amazing! More skyscrapers like these are needed to evolve London's skyline and prove that we can do classic architecture as well as these modern wonders!Keep them coming! And keep making them taller! We're the financial capital of the world after all, LET'S SHOW IT!
Beth - Saturday, July 26th, 2008 @ 2:12pm
It is time to move on London needs such a building so the world will know that London has a modern side to it!
E.Erhuero - Friday, July 4th, 2008 @ 10:41am
London requires more 12/14 level groundscrapers. not a building such as the shard. this is London remember not a fancy foriegn city.
martin - Sunday, June 1st, 2008 @ 11:22am
I love this building. A 21st Century icon, which will be a wonderful landmark for London and even the UK. With 40 towers proposed, Approved or Under Construction in Canary Wharf, and about a dozen around the City of London underway or approved, London will be absolutely fantastic come 2012 and beyond!
David - Saturday, May 31st, 2008 @ 10:47am
London needs more high rise near transport hubs including lots of residential space. There are several other landmark buildings all being stalled for one reason or another. I must admit, this and the other buildings planned for City make Canary WHarf look a bit bland and unimaginative,all the best...
sivaraman.c - Monday, May 26th, 2008 @ 2:10am
London has great architecture from every era. I think it should have one for this era, for future generations to admire. There need more improvement.
Biswa Raj - Saturday, March 22nd, 2008 @ 4:42am
London is a famous international city.Its the 21 century london needs a proper skyline like american cities do filled with skyscrapers to make it much more exciting like New York
jamie rigby - Friday, March 14th, 2008 @ 9:18am
I do actually quite like this tower.. but it's not suited for London. We need to preserve and create traditional architecture, instead of further scarring London with 'futuristic' 'innovative'buildings. Haven't we learn from the 60s and 70s that basically all modern buildings are a mistake? Either build it in Canary Wharf, or not at all- CLASSICAL/TRADTIONAL architecture is the way!
Chris Walker - Thursday, March 13th, 2008 @ 4:40am
I love the design, and the idea of building a London Skyline. But a building should be an extension of its environment. So this building should be in Canary wharf. It would look fitting next to other tall skyscrapers, but it looks out of place on its own. But I do like the design, and I appreciate what they are trying to do. Perhaps we could get more buildings like this outside of London, in cities such as Leeds, Birmingham, and Manchester.
Joseph - Thursday, February 28th, 2008 @ 3:58pm
A really nice building. but look at the energy crisis in all of this. london is a great city with lots of history. we dont need another fantastic city turned into another new york or shanghai using tons of energy just to waste it. overall i like the building but i hope that we dont have to have lots of building like this in london because afterall london is extremely historic and deserves its rights to keep its most precious memories!
Jake - Thursday, January 17th, 2008 @ 5:27am
Oh my dear! The Gurkin is ugly already! London is a poor looking town and doesn't need more child like architecture. To bad England and London don't have more confidence in them self than these projects show.
Jesper Björnstedt-Qvarsell - Monday, December 31st, 2007 @ 9:18am
England doesn't need to look futuristic to attract the appreciation of others around the world. It is a nice building... but its just like every other skyscraper out there. The competition will never end and pretty soon cities will lose its unique attributes. This is not what England should strive for.
Luzia Santos - Tuesday, December 11th, 2007 @ 10:49am
an amazing idea defiantly going to attract more people to come to london
connor weller banks - Friday, December 7th, 2007 @ 7:27am
It an amazing peice of artwork and it is so beautiful at night when the lights hit it
tashia - Tuesday, December 4th, 2007 @ 10:38am
Think, it's not bad - much better then some dull 1950-70 blocks in the City and Southwark. If you really want to unblock the St Paul's, just clear the space between the cathedral and the river. Nothing to do with the powerful spire on the other side.
Mikhail - Monday, December 3rd, 2007 @ 10:05pm
am adeel from pakistan and this is your very beautifull tower and buldings i prayer for god.god bless your country tower bulldings and all people.
Muhammad adeel - Monday, November 12th, 2007 @ 11:06am
Really great building! But it would look better at City of London, not Southwark!
oksana - Sunday, October 28th, 2007 @ 3:58pm
from era to era london always will make great architects
Jake - Monday, August 27th, 2007 @ 10:35pm
I quite like this, at the moment London is lacking in tall structures/ skyscrapers and we have let the rest of the world surpass us! Its ashame it wasn't any taller!
JasonA - Wednesday, July 25th, 2007 @ 5:09pm
It looks ok if you were standing in an American city. Cities with tall buildings of glass and steel are just boring to me. Everyone just gets used to them and never, after a while stare at them in awe like the beautiful masterpieces London already has. London desrves better. This building in 50 years will look just like the nightmares the Architects of the 60's and 70's produced. Just awful.
Stephen Fletcher - Monday, July 23rd, 2007 @ 6:14am
it reminds me of what everyone in 1954 thought the future might look like... its an absolute outdated vision of the future.
Travis - Monday, June 25th, 2007 @ 8:09am
I think the design is brilliant and that there should be more buildings like this in London and other major cities
Wytze Wolthuizen - Friday, June 22nd, 2007 @ 6:04am
Good job London! This is the 21st century. London has always been one of world's greatest cities. It is important to keep up with the fast changing world. Great design. You should have kept the 87 floors.
kaisari - Thursday, May 24th, 2007 @ 10:22pm
whaoh!!!this is a great piece of architectural edifice from a genius.watch out! this is amidst the best in 100years to come.thanks for thinking the unusual out for this generation and generations to come, to cherish and admire.
opeyemi ojo - Thursday, May 10th, 2007 @ 11:54am
This is an atrocious, hideous subversion of the London skyline. Building new things simply to look futuristic is a perverse way to impose ugliness in the name of progress. London does not need this montrosity.
Allen - Wednesday, May 9th, 2007 @ 2:30am
It's a shame it can't be a bit taller but everything else is spot on. People keep banging on about our heritage but isn't our future also our future heritage. Just hurry up and build it and more of the same please.
Michael Chambers - Monday, May 7th, 2007 @ 9:07am
Its about time London started building supertall structures like this. I think its much better looking than the gherkin.i love the angular lines but i think they could of done a much better job.
jake - Saturday, April 21st, 2007 @ 9:09am
the london bridge tower is a showcase for for progress in architecture and humanity. we all like progress in our lives and those who are against do not understand the need for improvements in the present way we live. The planning of the tower is ingenious and breathtaking and gives me confidence that humans can do the right thing to improve their quality of lives if do put on their thinking caps. I hope this tower is completed sooner than latter.
TEMITOPE - Sunday, April 8th, 2007 @ 11:39pm
The iconic images of new york, tokyo, sydney, chicago and now chinese cities and london looked dull - yes great vibe in the streets but as a statement it was low rise and dull. this is our generation and we need to mark our time on the planet with statements. Like many others - come-on lets create inspiring, soaring monuments to a great world city. It will be for future generations to demolish or keep as historic monumnets. i think it will be the latter and our city needs room - up is the only place
russell - Saturday, March 10th, 2007 @ 9:43am
I am very interested in skyscrapers and i often research the plans they have for London (the greatest city in the world) and thety have about 20 planned this one being the tallest of them. I think this is exctly what London needs, an amazing skyline. It's Brilliant!!
Adam Crawley - Saturday, February 17th, 2007 @ 3:15pm
This is an ugly monstrosity that decades that will undoubtedly become a scar on the face of London, and an eyesore to the British public along with Bishopsgate
jakob - Monday, February 12th, 2007 @ 1:37am
It looks futuristic, and beautiful. It;s more like the next generation tower, rather than today's structure.
Jamaica Miller - Monday, February 5th, 2007 @ 11:20pm
Love it. A great addition to a great city.
NickW - Monday, January 29th, 2007 @ 4:50pm
This is a perfect addition to the great city that is London! It will be an extra special icon for the 2012 olympic games. St Pauls cathedral? Pah.
James - Wednesday, December 20th, 2006 @ 11:58am
5 Stars. We need more building of the future but which work with people because they are after all meant for people.
Delvinos - Wednesday, December 20th, 2006 @ 9:40am
This will be a great asset to London. About time London created a building to capture everyone's eyes.Londoners and tourist. I can't wait when it's been built.So that i can go to the top and see the London beautiful skyline especially from such a height. I am sure it will be amazing.London it's time to reach to the HEAVENS.Huntley Scott
huntley scott - Sunday, December 17th, 2006 @ 12:10pm
A beautiful shard of glass for a gem of a city. Well done London!
LDN - Tuesday, November 28th, 2006 @ 10:22pm
Disheartened to see such a ugly, antipathetic shape. The style indictates an obsession with international capital, de-humanising and self congratulatory.Sad really.
Mich - Wednesday, November 22nd, 2006 @ 3:15pm
Its a monster,a greedy piece of speculative development that will damage Londons skyline for ever, completely out of scale and at odds with this cities unique character and its mixed low/mid rise street and square focused urban development.
J Attwood - Wednesday, November 1st, 2006 @ 5:54pm
Finally, a bit more modern design has been presented to Britain, this building along with the other great works of architecture among London will be one of the finest.
STROBE - Friday, September 22nd, 2006 @ 4:54am
like everyone else ABOUT TIME ok so our heritage is important but so is our future.if we dont build now london will have no future
andrew - Wednesday, September 20th, 2006 @ 2:28pm
At long last. If there are any people who want pointless little 10 story-or-less rectangles, go live in a shanty town or anywhere other than the Megalopolis of London. This city was the greatest of them all, but (in my opinion) it is now an international embarrassment that puts Great Britain to shame. Thankfully this and other buildings, including Canary Wharf and others on their way, may put London, and the country, back on the map that we ourselves drew up. But this is not enough, its just a beginning. These buildings belong in clusters and all tall buildings should be built together in The City or Canary Wharf. This is not Uganda, this is a G4 country and the second financial centre of the World. Well done Ken Livingstone.
An Enlightened Prince Charles - Tuesday, September 19th, 2006 @ 3:56pm
about bloody time:)i think most of london is still stuck between the victorian to 80s era.the future is now, and these new buildings that are going up just give you a uplifting feeling when you see them.remember,when st pauls was built (hi tec in its time)they said it was too large and blocked out a lot of things.BUT IT IS STILL HERE??
vince. - Monday, August 14th, 2006 @ 10:29pm
I cant believe how long it is taking to even start construction on this building, build it now! London needs density, to increase walking and decrease journey times. London needs more high rise near transport hubs including lots of residential space. There are several other landmark buildings all being stalled for one reason or another. I must admit, this and the other buildings planned for City make Canary WHarf look a bit bland and unimaginative.
mark - Tuesday, August 8th, 2006 @ 5:12am
love it! just love it! london needs more like it!
colin hopper - Wednesday, May 17th, 2006 @ 3:58pm
I think this building is fantastic. It would be better if it were a little taller but everything else about it is perfect.It is sleek and graceful and gives london the greatest city in the world (in my opinion)a new facelift.London has so much to offer but never had a good skyline,although canary wharf and all the new projects are fab.Now london can compete in the skyline competition.GO GO LONDON.
shannon frankling (male) - Saturday, May 13th, 2006 @ 3:04pm
A city is living breathing thing thats needs to grow or it will stagnate. This will be a sign to all that london is alive and vibrant. the design is fantastic and will be a wonderful addition to the london skyline
patrick guthrie - Tuesday, May 9th, 2006 @ 12:45pm
Britain must shed their international conservative image and move forward. London is one of the worlds foremost financial centres and it is time we began to show it. This building is the perfect vehicle to display London's wealth and international importance. BUILD IT NOW!
Geoff ashden - Saturday, April 8th, 2006 @ 5:49am
A modern icon for a beautiful historic city.
Brett Haase - Wednesday, March 29th, 2006 @ 7:12pm
Beautiful! I would love to see it in the future. The design is simple, clean, modern, yet complementary to the overall scheme of the city. Its time London took its place along with Shanghai and New York. It needs a distinct modern tower, a new look into the future.
Erratic Market Banger - Saturday, January 14th, 2006 @ 10:49pm
***** Wonderful building and unique addition to the London that need to move forward without listening to those old thinkers who they want our city to stay behind all others.
S Plicio - Saturday, January 7th, 2006 @ 6:51am
Beautiful
Rui Salgueiro Sousa - Wednesday, January 4th, 2006 @ 6:39pm
We dont need heritage, we need to move onto the future. How could a country try to lead the 21 century whilst keeping their old memories, and britain too much memories, that no needs anymore. Look at china they dont go on about history, all there stuff hitech gadgetry and all that sort of stuff. alright be proud and all that, i think all that needs to be kept in text books not in our faces any more.
Lee - Sunday, December 25th, 2005 @ 2:24pm
THIS IS RUBBISH. Why can�t we give it a negative rate? When will they stop destroying London and its skyline? This is an anti-ecological, non-sustainable building. When the energy crisis will come, and it will come for sure, I hope someone oblige Ken Livingstone and Renzo Piano to climb by foot all the building stairs steps.
Antonio Maria Braga - Sunday, December 4th, 2005 @ 10:37am
A great idea..the design is one of great quality and architectural elements..and i admire renzo piano!!
Rita - Saturday, November 12th, 2005 @ 8:03am
at last,we have a modern wonderful building coming to the old smoke
william - Monday, October 31st, 2005 @ 6:26pm
finally a building to take us into the 21st century and out of the 20th. forget the past and invest in the future of london. when st pauls cathedral was built there was an outcry. they said it was to big and would dwarf all around it. but they lived with it, so why cant we live with what we are building today?.
vince - Sunday, October 16th, 2005 @ 9:52pm
What a brilliant tower!!!!!!!! Finally london can compete with the big boys. Its just typicall that nieve people are complaining about it.
sathesh alagappan - Friday, October 7th, 2005 @ 11:13am
georgeous,fascinating,sexy and superb piece of architecture
wilson - Monday, July 25th, 2005 @ 11:57pm
What a fantastic tower! Can't wait to hear more about the designs and see it when it is actually completed... HOPEFULLY! London is changing a great deal. I was in London about 7years ago... i mean canary wharf was nothing but one tower, and the city of London was quite unappealing! I visited London just 2 months ago and i was utterly amazed! Projects underway everywhere! New buildings completed and canary wharf looking fantastic, new, international and soo beautiful! I mean the Labour party cant be that bad, how London is looking the way it is today... astonishing! I hope to visit London more regularly! A spectacular city! Greatest in the world! I think skyscrapers are a symbol of wealth, prosperity, class and power! REACH FOR THE SKIES LONDON! :)
S. P - Thursday, May 26th, 2005 @ 8:32am
This is an excellent design. I think it will be a great asset to London. But, if it never gets built, we would be very happy to take this design and exchange it with the design for the "Freedom Tower" at the World Trade Center site!
Jason King - Friday, May 13th, 2005 @ 7:33am
I have no doubt whatsoever that this will be a fantastic addition to London's skyline.
Will Fox - Wednesday, May 4th, 2005 @ 10:29am
It brings us Architects so much pleasure when ground is gained in advancing our built environment...what catches me on this one is the buildings camouflage that embraces the skies..becoming a part of the mysterious.Lets gain towards the irregular and put new ides in the sky...
Wankumbu Sikombe - Friday, April 8th, 2005 @ 7:46am
London has great architecture from every era. I think it should have one for this era, for future generations to admire.
Graham - Saturday, March 26th, 2005 @ 7:44pm
it's so fantastic.so beautiful,this is modern building and a great architecture.
retno - Saturday, March 26th, 2005 @ 9:22am
What a fantastic idea! It will revive the centre of London - we are yet to have such a modern & iconic structure, which can be globally showcased, recognised and adored! This is our Sydney Opera House, our Empire State Building, our Sears Tower ... bring it on! London is already one of, if not THE most admired cities in the world and the 'Shard of Glass' can only add yet another 'weapon' to our armoury of beauty, status, pride and style - would our Great British Capital deserve any less? SO GET BUILDING!!
Tom Kinsley - Tuesday, March 1st, 2005 @ 12:29pm
This add a new dimension of excitement to London's architectural landscape. The design is graceful and tapers respectfully to dominate London's skyline. It's really beautiful. I think when completed, it will not only be tolerated but embraced.
kwabena Oppong-Peprah - Monday, February 21st, 2005 @ 1:41pm
Just what London needs. I love the new gherkin (Swiss Re tower). London as a whole is changing in it's opinion to modernity in all types of architecture. From galleries, museums and office towers. I think it's time to give Prince Charles the finger and tell him to shut up about his bloody hate for modern architecture. No one cares anymore! This tower should be built, if not for London, then to aggravate Charles and English Heritage.
Jamie - Thursday, February 3rd, 2005 @ 10:45am
I'm in the middle on the design of this building. I feel there is nothing wrong with the overall idea of building big, London is after all, a very special unique city. Cities like New York and Toronto are relatively new in the scheme of urban planning and building, therefor the opportunity for building tall (and often) is increased. Because London 's street grid derives from a varied historic past, a tall building may be a hinderance to pedestrian and vehicular travel. One thing I have always appreciated about European design is the opportunity to showcase modern edgy architecture surrounded by ancient lived buildings. This design is beautiful - too bad such a design couldnt be found for NYC.
Kevin - Sunday, December 26th, 2004 @ 11:37pm
Excellent!! It's about time London had something like this. It is well overdue. I love tall buildings and have been to both the USA & Canada. The skyscrapers over there are awe inspiring & when you come back to London (which is where I live), after seeing the huge skylines I think "hugh!". I know of 3 other tall buildings due to be built in the city & another at Canary Wharf but I feel we still need more of these types of buildings in London. If London is , as I am lead to believe, the financial capital of the world then why don't we have the skyscrapers to reflect that? All this hogwash about oh!, you won't be able to see St Pauls Catherdal etc. is complete and utter rubbish. This is now the 21st century, it's time to move on. Magnificent though St Pauls Cathedral is it will remain there forever and if pepople want to see it then they can as it will outlive all of us. St Pauls does not have to dominate the skyline forever. Wake up and smell the coffee.......London, oh how old and graceful you be - it's time to move on!! Eddie Merry
eddie merry - Friday, October 8th, 2004 @ 4:40am
Name:
| The Shard |
The Iditarod from Anchorage to Nome, Alaska is a race for what? | London Visitor's Guide - The Shard
The Shard London Bridge
The Shard London Bridge - Description:
The Shard London Bridge (also known as the Shard of Glass) is a skyscraper next to London Bridge Station in Southwark. It is to the south of London Bridge which crosses the River Thames from the City of London to the north to what has been deemed for centuries to be the somewhat bohemian areas of Southwark to the south. Click on Southbank for more information on the district.
The Shard has 87 floors and at 310 metres (1016 feet) is the tallest building in the European Union. In the photograph you can see it slightly undressed.
The building was formally opened on 5 July 2012 and a spectacular laser display was advertised to mark the event. Unfortunately this proved to be a bit of a damp squib - if bands like Yes in the 1980s could light up the entire hemisphere of the visible sky with amazing matrixes of laser light, why could this multi-million pound development only illuminate a few Victorian streets in Southwark with a zap or two? There may be two explanations for this -
Bands like Yes and Hawkwind played with lasers and provided mega impressive displays. They could do this because they were not playing underneath one of the most heavily used air corridors in the world. Under an air corridor any laser pointing up is potentially hazardous to the safety of incoming airplanes (it has the potential to blind the pilot(s)) and is consequentially potentially hazardous to the many properties under the corridor. Secondly, at a music venue the audience is concentrated in one location which makes it easier to illuminate their entire sky.
A recording of the display is here:
Hmm, not sure how long I'm going to keep this on my site - it comes up with a bunch of adverts at the end.
The public viewing galleries are not due to open until February 2013, however tickets are now on sale on this official website: www.theviewfromtheshard.com . The latest official information regarding the viewing galleries is:
"The View from The Shard is a unique encounter with The Shard and London. Arrive at the cloudscape, 244m (800ft) above the Earth in high speed 'kaleidoscopic' lifts and enjoy a 360 degree view for up to 60km (40 miles) over one of the greatest cities in the world. Our 'digital telescopes' enable you to experience London unfurled beneath you like never before."
Tickets for adults cost £25.
The Shard London Bridge - Layout:
Lobby: (floors 0 and 1)
Office space: (floors 2 - 28) - according to the Financial Times (5 July 2012) the going rate is £50-£55 per square foot
Floors 29 - 30 service floors
Restaurants (floors 31 - 33) these are at 121 metres
The 195 bedroom five star Shangri-La Hotel (floors 34 - 52)
A spa (floor 52) This is a part of the hotel and will have panoramic views over London
Luxury residences (floors 53 - 65 (186 metres to 224 metres)) - some of these will take up an entire floor and are likely to cost up to £50 million. The Financial Times has reported that these will not be marketed for a few years as the developer wants "the brand of the building to be established first"
Service Floors (floors 66-67)
Viewing galleries (floors 68 - 72 with the highest being at 244 metres)
Floors 73 - 74 service floors
Floors 75 to 87 are within the spire. They will not be occupied but used to radiate away the heat generated by the building.
Unusually for a tall building in London many of the floors will be open to the public. These include the viewing galleries and of couse the restaurants. Each use of the tower - hotel, restuarants, appartments, viewing galleries and offices - will have its own separate entrance. The entrance to the viewing galleries is on Joiner Street.
The Shard London Bridge - History:
The Shard was designed by Italian architect Renzo Piano who is said to have been inspired by sailing ships on the Thames (hmm - big ships) and the spires of London's churches (they are nowhere near that tall!).
The history of the building dates from the purchase in 1998 of the site - formerly the location of a building called Southwark Towers - by a property developer called Irvine Sellar. In 2000 Mr Sellar, in the hope of gaining planning permission for a major development in this sensitive location, travelled to Berlin to meet architect Renzo Piano for lunch and advice.
Renzo Piano is acclaimed in some circles for architectural feats such as the Pompidou Centre in Paris and the Lloyds building in London. Both of these buildings have key services on the outside which makes them look different, however this approach to building design exposes the critical services of the buildings to the weather and makes them costly to maintain. Perhaps interesting to look at - but raises the question of what it is for apart from the glitz? Maybe it was this sort of fairground architecture that Mr Sellar was looking for to convince the planning authorities of the case for an immense building on the London Bridge site.
Mr Sellar apparently met architect Renzo Piazo in a restaurant in Berlin to discuss the design of a tall building. It has been widely reported that Mr Piano at this meeting first dismissed tall buildings as "statements of arrogance" but immediately relenting (what a pussy cat), turned the menu over and sketched an outline for the Shard. This scenario raises three questions:
Who, in their right mind, would fly to Berlin to discuss the design of a tall building with an architect before settling with the architect that they would be interested in taking on the commission. Lovely story guys - but please pull the other one!
If you are to meet with an architect to discuss the design of a building with a construction cost of £450 million, would you really arrange to meet in a restaurant where the architect could simply flip over the menu and draw on the blank reverse side? I think not. Any establishment worthy of the name of "restaurant" nowadays (and then) has classy bound menus. That's especially true in Berlin where they take a pride in doing such things properly.
Wouldn't the serving staff have something to say about the menu being written on?
The Shard London Bridge - Height Relative To Other Buildings:
The Shard - 310 metres;
St Pauls Cathedral - 111 metres.
The Shard London Bridge - Construction:
The Shard is built around an extremely strong concrete core which houses all of the key services including escape routes and 44 lifts including dedicated lifts for firefighters. The office floors are serviced by double decker elevators to increase the efficieny of the use of the lift shafts. In case of emergencies there are three sets of stairs and these are supplemented by high capacity evacuation lifts, this approach is common in cities such as Hong Kong.
The core is designed to withstand the massive lateral forces exerted by the wind. Even with the central core the Shard is intended to move by up to 20 inches in high winds. The design utilises a steel frame for the lower office floors and a post tensioned concrete frame using steel tendons made tense with hydraulic jacks for the higher hotel and residential floor plates. The steel allows for long column-free spans in the office areas and the concrete of the upper floors helps to soundproof the living areas. The upermost levels are steel and a "hat truss" system is utilised which stabilises the building by binding the building's perimeter columns together.
The Shard London Bridge - Sustainability:
To increase energy efficiency the temperature regulation of the building is aided by the design: the outer layer is triple glazed with sun shielding located between an inner double glazed sheet with controlable louvre windows and an outer single glazed sheet. An intelligent blind control system tracks the position and intensity of the sun and moves the shielding into place when and where necessary. The sides of the elevational planes of the outer layer of glass do not meet resulting in non-mechanical ventilation and the top 15 floors in the pinacle are used to dump any excess heat. The building is clad with a special white low iron content reflective glass intended to enhance the building's crystalline appearence.
The Shard utilises a Combined Heat and Power (CHP) generator which burns gas on-site to generate both heat and power. CHP can be extremely efficient when both heat and power are required at the same time. This is because CHP eliminates the losses associated with the transmission of electricity from a remote power station and in addition, the heat generated which would normally be a waste product in a power station, can be put to good use in the building. The Shard is also served by two dedicated 20kV high voltage electrical cables from Bankside substation.
The Shard London Bridge - Associated Infrastructure:
At ground level agreements (under Section 106 of the Town and Country Planning Act) have been forged between the developer and the London Borough of Southwark to fund regeneration in the area. The concourse of London Bridge Station is being upgraded and linked to the Shard under a new glass roof. Retail units in the ground floor of the Shard will face out onto the concourse. The development also includes a new public piazza and a bus station.
The Shard London Bridge - Base Jumping:
Base jumpers have successfully leaped from the structure at least 4 times having bypassed the security measures put in place by the developers.
Check out the video here (sorry about the advertisement logo in the corner):
The Shard London Bridge - The Controversy:
The Shard London Bridge was originally known as London Bridge Tower, however its detractors (which included English Heritage) shot themselves in the foot - they dismissed it as a "shard of glass" and the name stuck.
The Shard is a highly controversial structure mainly because of its proximity to so many listed buildings and ancient monuments, and its height relative to the surrounding buildings. It was opposed by English Heritage and local authorities (although not by Southark where the building is located - Southwark stands to gain substantially by hosting such an iconic building which will generate substantial rewards in what are called Section 106 planning agreements, these include regeneration of the concourse of London Bridge Station and the construction of a new piazza outside the building).
John Prescott (who was Deputy Prime Minister in 2002 when the planning decision was made) called in the planning application and it was approved by Mr Prescott after a planning enquiry. UNESCO is reconsidering the status of the Tower of London as a World Heritage Site because of the tall buildings around it and the Shard may be the final nail (or sliver of glass) in the coffin (see picture below).
There are also issues about whether the local infrastructure will be able to cope with the massive increase in footfall that the building will generate - for example many of the pavements in the area are very narrow and congestion is already a problem at peak times.
Love it or leave it you can't get away from it!
The Shard London Bridge - Website:
The Shard London Bridge - Getting There:
Address: The Shard, 32 London Bridge Street SE1 9RL
Nearest Underground Station: London Bridge (2 minute walk)
(click on station name to find other places to visit nearby)
| i don't know |
Which catastrophe was caused by phytophtora infestans? | Phytophthora infestans, cause of late blight of potato and the Irish potato Famine, Tom Volk's Fungus of the Month for March 2001, alternate page
Tom Volk's Fungus of the Month for March 2001
This month's fungus is Phytophthora infestans, cause of late blight of potato and the Irish potato Famine
For the rest of my pages on fungi, please click http://TomVolkFungi.net
This is the alternate version of the Fungus of the month for March 2001 that lacks the QuickTime video of swimming zoospores.
The Oomycota are now placed in the kingdom Stramenopila, which you may have never heard of. This kingdom was erected to include the Oomycota, the brown algae (giant kelps), the diatoms the yellow-green algae, and the golden-brown algae. Some researchers place everything that's not a plant, animal, fungus, or bacterium in a "dumping ground" kingdom called the Protista. It's likely the Protista will be split into a few dozen kingdoms in the coming years. The slime molds are another group that's put in the Protista.
Most mycologists still include these non-fungal groups in their mycology courses, and researchers who work on these groups form a significant part of any Mycology or Plant Pathology meeting. Ecologically, many of these organisms behave like fungi, especially those that are plant pathogens. We're glad to still have them in our mycology fold.
Phytophthora infestans (pronounced fy-TOF-thor-uh in-FEST-ans) is a rather common pathogen of potatoes wherever they are grown, but it is usually not a problem unless the weather is unusually cool and wet. The water is necessary for the spores to swim to infect the leaves of the potatoes; the tubers and roots of the potato are more resistant to the pathogen. The name, meaning "infesting plant destroyer" is especially appropriate, because under the right conditions and with the correct susceptibility genes in the host, Phytophthora can kill off a field of potatoes in just a few days!
Phytophthora infestans is so virulent in wet weather because it produces enormous numbers of swimming spores called zoospores in zoosporangia, shown to the left. The red structures are the sporangiophores poking out of the stomata of an infected potato leaf. The oval-shaped sporangia have fallen off, although a few are still visible in the field of view. The zoosporangia crack open and release dozens of zoospores, as shown in the above video. These zoospores have two flagella; a whiplash flagellum faces the back and pushes the spore through the water and a tinsel flagellum points forward and pulls the spores through the water. The flagella are shown on the scanning electron micrograph above and to the right. I'm sorry I don't know the source of this picture; it was given to me in a set of slides by Dr. Bill Whittingham, with whom I was first a TA in Mycology in 1981.
A bit of history of the Irish Potato Famine
Late blight of potato is an example par excellence of the impact that a "fungal" disease has had on the political, economic and social atmosphere of several nations.
Although this disease is best known as being responsible for the Irish potato famine in the 1840's we have to go back 3.5 centuries to look at a some of the history of the potato.
Before 1500, the potato was unknown except in a few regions of Central and South America, where its native habitat was in mountainous regions. It was cultivated by the Incas in the Andes Mountains and served as a main food staple. There were (and still are) many varieties, none of which resemble the modern Irish potato. The other varieties are not just big bags of starch, but are smaller and very tasty.
Spanish seamen carried the potato to Europe, where it was a curiosity in private horticultural gardens for two centuries. It was not often eaten because gardeners knew it was in the same family (Solanaceae) as deadly nightshade. In fact all parts of the potato plants, except the tubers, are poisonous to people. The tubers may become poisonous on exposure to light when they begin to turn green. Sometime after 1800, Europeans found the potato tuber (really an underground stem anatomically) was edible, and it was quickly adapted as a staple crop-the climate and soil in Europe was similar to that of the Andes and thus ideal for cultivation. The potato was especially attractive to Irish peasants. Why should this be so?
Most of the land in Ireland was owned as large estates by absentee English landlords, who made long-term leases to English middlemen. They, in turn, subdivided the estates into small parcels and rented them at high rates to Irish tenants (often to the same people whose families had historically owned the land). Although the Irish peasants were poor, they could pay the high rent in the form of produce, grains, and sometimes pigs. Thus the main problem for tenants was to have a crop to sustain the family for almost a year while growing conditions were adverse. The potato provided the perfect solution. It gave a good yield and satisfied their hunger-- because of its bulk, stomachs were distended from 8-14 pounds (4- 6 kg) of potatoes per person per day!! Think about a 10 pound bag of potatoes; that's a lot of potatoes! This was virtually all the peasants had to eat during the winter months--the average family consumed up to a ton of potatoes per month.
The potato did well for the Irish, for the population of Ireland exploded from 4.5 million in 1800 to about 8 million in 1845. This is particularly amazing because most of the population was dependent on the potato for their nutrition for 10 months of the year. But then came the late blight of potato.
People noticed localized outbreaks of the disease during the early 1800's, although they didn't know the cause. There was always a background level of the disease, but it didn't become a problem until 1845. An ominous warning appeared in the Gardener's Chronicle and Agricultural Gazette: "A fatal malady has broken out amongst the potato crop. On all sides we hear of destruction. In Belgium the fields are said to have been completely desolated." The disease struck down plants like a hard frost in summer. It was said to spread faster than cholera does in humans. It reduced the foliage to a putrid mass in a few days, and the tubers were affected to various degrees in a similar way, although they did not rot as rapidly.
One amateur mycologist, the Rev. M.J. Berkeley, noticed the mycelium on the leaves and proposed that it was a fungal disease. This was not widely accepted-- scientific thinking at the time dictated that a fungus couldn't be the cause of a disease, so it must be a secondary invader. Of course Rev. Berkeley was right.
In September 1845, the journal announced that the disease had become established in Ireland. The weather was unusually cool and wet that year allowing easy distribution of the zoospores of the pathogen. With the tremendous destruction it wrought, famine was inevitable, and (according to some sources) the English realized this. To stave off starvation, they considered importing cereal grains such as wheat, barley, and corn, but at the time the English had Corn Laws (for those of you on this side of the pond, grains in England were called corn, while what we call corn here is called maize in Britain). The Corn Laws imposed a high tariff on imported grains, but not corn (maize), so they couldn't import enough wheat or barley to sell cheaply to the peasants.
The winter of 1845 was disastrous. The stored potatoes were rotting because they had been harvested too early. So desperate were they that many of the stored seed potatoes were eaten, and many rotted. Thus the following year was critical. According to some reports, the English tried importing maize to ward off starvation for the Irish. However, the Irish refused to eat the corn-- it was not as filling as the potato, and they considered it chicken feed. As the growing season of 1846 progressed, those that had salvaged seed potatoes were optimistic, since the new plants seemed very healthy. It seems their prayers had been answered. BUT---.
In July 1846 the disease struck again; there was a cool, wet period, just like the year before, allowing the Phytophthora's zoospores to multiply and spread. From that time on the disease was there to stay. In some years (warm and dry), the disease was localized; in wet years, the disease became epidemic. The corn laws were repealed, but it was too late.
Between 1845 and 1860 over a million Irish people died as a consequence of the blight; another 1.5 million emigrated, mostly to the east coast of the United States, where many became New York or Boston policemen (some shown to the right in the 2000 St. Patrick's Day parade in NYC) or workers on the transcontinental railroad (remember that the Irish laid track from the east and the Chinese from the west.) Nearly 150 years later, the Irish population has still not recovered from the disaster caused by the late blight of potato.
Only in the past 25 years or so has there been increased fervent study of the history of the potato famine. Many would like to have forgotten the whole thing, but many Irish feel it is important to confront the sociological and political reasons for the famine, which is still responsible for some of the tension and animosity toward the English in Ireland today. There are many web pages on the subject, and rather than list them all, I recommend you do a web search for "late blight of potato" or "Irish potato famine" and you'll find dozens of sites, many of which deal with the controversial role of the English in the famine. There is certainly no consensus on historical details, and 150 years has really muddied the waters.
Interestingly, after many decades of its not being much of a problem, late blight of potato is a re-emerging disease, especially in the United States. The disease had been brought under control by the use of chemical pesticides (fungicides) and other agricultural control practices. Phytophthora was not able to quickly develop resistance because it was primarily reproducing only asexually, through mitosis. This was because there was only one mating type present in North America. However about 15 years ago, the second mating type of Phytophthora (which happens to be a more virulent pathogen) was first noticed in Wisconsin, and had probably by that time already spread throughout much of North America. The presence of the second mating type allows sexual reproduction (meiosis), which allows for quicker recombination of genes. This in turn leads to quicker development of resistance to pesticides. Late Blight is a much bigger problem today than anyone ever anticipated. Other members of the potato family (Solanaceae), such as tomatoes and eggplant are also affected by late blight, although usually to lesser degrees.
I hope you enjoyed hearing the story of this month's fungus. One of the lessons you should get from this is that planting of genetically identical plants throughout the fields is a very bad agricultural practice. When a pathogen gets into the fields it can destroy the crop much more easily if the plants are all genetically identical. We must conserve the genetic diversity of crop plants, much of which lies in the wild relatives of cultivated plants. Plant breeders and plant pathologists still have much work to do.
Another lesson you should learn is that diseases have had a great impact on history. This is but one example. There are LOTS of fungi, and each one has an interesting story.
For more information about fungi that produce swimming zoospores, please see Zoosporic Fungi Online from the University of Georgia.
If you have anything to add, or if you have corrections or comments, please write to me at [email protected]
This page and other pages are © Copyright 2001 by Thomas J. Volk, University of Wisconsin-La Crosse.
| Potato famine |
Which rock legend was born on the island of Zanzibar? | Late Blight of Potatoes and Tomatoes Fact sheet
Figure 16. Tomato plants completely defoliated by late blight
Control
Use of integrated management practices is necessary for successful suppression of potato or tomato late blight. In the absence of sexual reproduction P. infestans requires a living host to survive between seasons. Therefore, sanitation (elimination or exclusion of infected plant parts from a farm) is important in the overall management strategy. Ideally, no infected potatoes should be present in the vicinity of the crop. Volunteer plants that might be infected should be destroyed. Cull potatoes should be frozen, crushed, fed to livestock, or buried under at least 2 feet of soil. Only tubers that are free of P. infestans should be planted. The "Certified" grade for seed potatoes allows up to 1 percent late blight infection. Growers should request information from the seed potato producer as to whether late blight was observed during field or harvest inspections.
After planting, additional precautions will reduce the chances of successful inoculations and can suppress development and reproduction of the pathogen. Using resistant cultivars (Figure 17) will reduce the chances of infection and slow the pathogen growth rate if some infections develop. Early in the season, the lowest labeled rate of protectant fungicide will provide protection and thus prevent a rapid epidemic. Fungicide should be applied either at an appropriate regular interval for the production area or adjusted on the basis of weather. Several forecasting systems that identify favorable weather conditions are available (e.g., Blitecast, Tomcast) and can be used to adjust the intensity of scouting as well as the frequency of fungicide applications. Hilling of potatoes increases the amount of soil between tubers and the soil surface and thus helps protect tubers from sporangia that land on the soil surface.
Scouting. Regular inspections of growing crops are important to the overall management of late blight. Because topography and crop growth can influence the microclimate encountered by the pathogen, late blight may be detectable earlier in some areas than in others. It is likely to appear first in wet areas (low spots in the field, areas adjacent to woods and hedgerows, dense crops, or areas adjacent to other features that might shade crops), especially when the macroclimate has been less than optimal for pathogen development.
Protectant fungicides are often needed from mid- to late season when plants are growing actively and have a dense canopy. Applications should be repeated regularly to replace fungicide that has been washed or abraded away and to protect foliage produced since the last application. It is during this time that the more effective fungicides are needed. (Consult current Cooperative Extension recommendations for specific information.) Applications should be more frequent during weather that is favorable to late blight (wet with moderate temperatures) than in unfavorable weather (dry foliage and very cool [<50°F] or very hot temperatures).
Applying fungicides. Protectant fungicides are most effective if applied more frequently at low labeled dosages than less frequently at high dosages. This is partly because more frequent applications ensure better coverage. Coverage can be poor when applications are made using very low volumes of water (less than 15 to 20 gallons/acre). Some application systems such as electrostatic sprayers can achieve good coverage with very low volumes of water (5 gallons/acre), but most systems that produce large droplets and small volumes will achieve poorer coverage than those that use smaller droplets and larger volumes of water.
Treating a crop exposed to inoculum. Fungicides that have systemic activity (penetrate into plant tissues) are necessary if a crop has been exposed to sporangia within the last 24 hours. Even if the first infections occurred more than 24 hours earlier, if lesions are visible in the crop and a systemic has not been applied, an effective systemic will probably provide some benefit that is not possible from a protectant. Protectant fungicides (those that are not systemic and cannot penetrate tissue) are ineffective against the pathogen once it has penetrated the cuticle (sometimes within two hours of germination). Thus applications of a protectant fungicide will have no visible effect on disease suppression until six to nine days after application because it takes that long for lesions to be easily visible. Unfortunately, even systemic fungicides (at least those available in 1998) do not suppress all infections and will have little effect on infections that are more than 24 to 48 hours old. Effects from systemic fungicides may be visible within three to four days.
Treating "hotspots." A hotspot is a group of infected plants located amid relatively healthy ones. If very little disease is present in the crop and there are only a few hotspots, the latter should be destroyed as quickly as possible by flaming, disking, and burying the infected foliage or killing the plants with a rapidly acting herbicide. Plants immediately surrounding the hotspot should also be destroyed because they are very likely infected even though the infections are not yet visible. If fungicides are being used, the remainder of the held should be treated with a fungicide that has some systemic activity, and subsequently, applications of a protectant fungicide should be applied on a tight (frequent) schedule.
Treating established infections. Once 5 to 10 percent of the foliage is infected it is usually not possible to halt the development or progress of the disease. Currently available (1998) systemic fungicides are inadequate to halt an epidemic at this stage. Only weather that is very dry and hot, both day and night, might temporarily stop the epidemic. Stem infections are very resistant to drying, however, and will sporulate when sufficient moisture is available. Growers can attempt to salvage apparently uninfected tomato fruit but should be aware that some fruit infections will not become visible for several days. Foliage in such fields should be promptly destroyed to prevent spread to nearby fields or farms.
Forecasting. Forecasting schemes and fungicide registrations are constantly changing. Consult Cooperative Extension for the latest information on fungicide registrations, efficacy, and forecasting information.
Using fungicides at planting. At the time of this writing, it appears that some systemic oomycete-specific fungicides can protect healthy seed tubers during the seed cutting process. If there is a chance that some seed tubers are infected, use of an effective fungicide will lower the chances that late blight will develop in the subsequent crop. Consult Cooperative Extension recommendations for the most current information.
The Future
Late blight in the United States may need to be managed very differently in the future than in the past. Before exotic strains were introduced in the early 1990s, the late blight pathogen could only reproduce asexually via sporangia. Sexual reproduction requires two individuals of different mating type (Al and A2), and before the 1990s all strains were of the same mating type. Both mating types of P. infestans (A1 and A2) are now present in the United States and Canada, however, and have sometimes come into contact. Thus sexual reproduction is now theoretically possible.
The spores resulting from sexual reproduction are called oospores. Oospores are thick-walled dormant structures (Fig. 18) that can survive in the absence of living plant tissue. The occurrence of oospores could change the epidemiology of the disease because they can survive in soil over winter or summer (if soil temperatures do not exceed 40°C [= 102°F]). If oospores are produced, the soil may become a source of this pathogen, therefore adding an entirely new dimension to the epidemiology of P. infestans and the control of late blight. The result will be new "sources" of the pathogen. At the time of this writing (1998), there is no evidence that oospores are contributing to the epidemiology of late blight of potatoes or tomatoes in the United States. Nonetheless, the possibility of sexual reproduction exists and growers and scientists need to be alert to this development.
Sexual reproduction will also yield recombinant individuals, thus providing a supply of "new" genotypes among the progeny. Whereas the majority of recombinant progeny are expected to be less problematic than parental strains, it is possible that some progeny could be more problematic.
Summary
Successful management of late blight relies on an integration of the following tactics: removing sources of the pathogen by eliminating cull potatoes and volunteers and planting only healthy seed tubers; using resistant cultivars when possible and as they become available; scouting locations where late blight might appear first; using a forecasting scheme to gain early warning of weather that is favorable to disease and to adjust frequency of fungicide application or the intensity of scouting; and using appropriate protectant or systemic fungicides. After harvest, store potato tubers at cool temperatures under conditions sufficiently dry that there is no free moisture on tuber surfaces. Control tactics are constantly modified as new information and technology become available, so consult the latest Cooperative Extension publications for the best recent specific recommendations.
Useful References
Bouma, E., and H. T. A. M. Schepers, eds. 1997. Proceedings of the workshop on the European network for development of an integrated control strategy of potato late blight. NL8200 AK Lelystad (the Netherlands), Applied Research for Arable Farming and Field Production of Vegetables.
Cornell University. (annually). Pest Management Recommendations-Commercial Vegetable and Potato Production. Ithaca, N.Y.: Cornell Cooperative Extension.
Fry, W E., and S. B. Goodwin. 1997a. Re-emergence of potato and tomato late blight in the United States. Plant Disease 81:1349-5 7.
Fry, W E., and S. B. Goodwin. 1997b. Resurgence of the Irish Potato Famine Fungus. Bioscience 47:363-71.
Fry, W E., arid D. Shtienberg. 1990. Integration of host resistance and fungicide to manage potato diseases. Canadian Journal of Plant Pathology 12:111-16.
Inglis, D. A., D. A. Johnson, D. E. Legard, W E. Fry, and P B. Hamm. 1996. Relative resistances of potato clones in response to new and old populations of Phytophthora infestans. Plant Disease 80:575-78.
Ingram, D. S., and P H. Williams. 1991. Phytophthora infestans, the Cause of Late Blight of Potato. London: Academic Press. 273 pages
NOT CURRENTLY AVAILABLE: Figure 17. Relative resistances of potato cultivars. Cultivars that are feast resistant are shown on the left-hand side and most resistant ones are shown on the right-hand side. This ranking is derived from a series of experiments in different locations (see Inglis et al. 1996.) This ranking considers foliage reactions only and not tuber reactions (which may be different from foliage reactions).
| i don't know |
Who said ‘a single death is a tragedy, a million deaths is a statistic’? | A Single Death is a Tragedy; a Million Deaths is a Statistic | Quote Investigator
A Single Death is a Tragedy; a Million Deaths is a Statistic
Joseph Stalin? Leonard Lyons? Beilby Porteus? Kurt Tucholsky? Erich Maria Remarque?
Dear Quote Investigator: There is a vivid statement that typifies a heartless attitude toward human mortality:
A single death is a tragedy; a million deaths is a statistic.
These words are often attributed to the Soviet leader Joseph Stalin, but I have not found a precise citation for this harsh expression. Would you please explore this topic?
Quote Investigator: The earliest evidence known to QI linking this saying to Joseph Stalin was published in 1947 by the popular syndicated newspaper columnist Leonard Lyons in “The Washington Post”. The ellipsis in the following passage was in the original text. Boldface has been added to excerpts: 1 2
In the days when Stalin was Commissar of Munitions, a meeting was held of the highest ranking Commissars, and the principal matter for discussion was the famine then prevalent in the Ukraine. One official arose and made a speech about this tragedy — the tragedy of having millions of people dying of hunger. He began to enumerate death figures … Stalin interrupted him to say: “If only one man dies of hunger, that is a tragedy. If millions die, that’s only statistics.”
QI does not know what source Lyons used to obtain the details of this noteworthy scene and quotation. Without additional corroborative evidence or an explanation QI believes that this citation provides weak support for the ascription to Stalin. Perhaps future researchers will locate further relevant evidence.
There are several interesting precursors that illustrate the possible evolution of this expression, and additional selected citations are presented below in chronological order. The family of sayings examined here is variegated, and the denotations are often distinct, but QI believes that grouping them together is illuminating.
In 1759 a classics scholar named Beilby Porteus published a prize-winning work titled “Death: A Poetical Essay”. Porteus later became a Bishop in the Church of England. The following excerpt did not contain the word “statistics”, but it did discuss tyranny and provocatively contrasted the ramifications of small and large casualty numbers. Boldface has been added to excerpts: 3
To sate the lust of power; more horrid still,
The foulest stain and scandal of our nature
Became its boast — One Murder made a Villain,
Millions a Hero. — Princes were privileg’d
To kill, and numbers sanctified the crime.
Ah! why will Kings forget that they are Men?
In the text above the large number of deaths was not simply dismissed as a “statistic”. Instead, a more complex cultural process of reinterpretation depicted the deaths as a manifestation of “heroism”. The verse was implicitly critical of this unjustified societal reframing. Whether the deaths were viewed as statistical or heroic the shock of mass mortality was downplayed.
In 1916 an anarchist publication based in California called “The Blast” printed a story that contrasted the feelings engendered by the personalized death of one individual versus the depersonalized death of many: 4
There is double the pathos for us in the death of one little New York waif from hunger than there is in a million deaths from famine in China. It is not that distance glosses over the terrible picture of the Chinese horror, or that a feeling of national kinship with the waif impresses us the more sincerely with his plight. It is merely that the mind is unable to grasp a suffering in the gross. Suffering is so intimately personal a thing that it must be explained through the personal equation, if at all.
In 1925 a journalist and satirist named Kurt Tucholsky wrote a piece in a German newspaper that included a statement that was similar to the quotation. Here was the original text together with an English translation: 5
Darauf sagt ein Diplomat vom Quai d’Orsay: „Der Krieg? Ich kann das nicht so schrecklich finden! Der Tod eines Menschen: das ist eine Katastrophe. Hunderttausend Tote: das ist eine Statistik!”
At which a diplomat from French Ministry of Foreign Affairs replies: “The war? I can’t find it too terrible! The death of one man: that is a catastrophe. One hundred thousand deaths: that is a statistic!”
In 1932 “The Christian Science Monitor” printed an article describing a meeting that included George Bernard Shaw, Lady Astor, and Stalin. The article did not contain a statement matching the quotation, but it did contain a thematically related comment attributed to Stalin that portrayed him as a callous autocrat indifferent to death although the reporter expressed uncertainty about the veracity of the tale: 6
Although the interview which the Shaw-Astor party had with Stalin was theoretically secret, the story is told in Moscow that hardly had his guests been shown into the room when Lady Astor exuberantly opened the conversation with this remark: “Mr. Stalin, how long are you going to continue killing people?”
The Soviet Dictator quietly answered: “As long as it is necessary.”
Whether or not this story is true, it is illustrative of the Communist conception of government.
In 1939 a newspaper in Wisconsin reprinted a short item that contrasted the divergent responses evoked by the varying number of causalities caused by an individual: 7
If you shoot one person you are a murderer. If you kill a couple persons you are a gangster. If you are a crazy statesman and send millions to their deaths you are a hero. — Watertown Daily Times.
As noted previously in this article, in January 1947 the saying was attributed to Stalin in a syndicated column by Leonard Lyons:
Stalin interrupted him to say: “If only one man dies of hunger, that is a tragedy. If millions die, that’s only statistics.”
Also in 1947 Charlie Chaplin played the role of Henri Verdoux in the movie “Monsieur Verdoux”. A line from the script written and spoken by Chaplin echoed the words Beilby Porteus: 8
That’s the history of many a big business. Wars, conflict, it’s all business. One murder makes a villain, millions a hero. Numbers sanctify my good fellow.
In October 1948 “The Atlantic” monthly magazine published an instance, but the words were not attributed to Stalin; instead, the speaker was characterized only as a “Frenchman”. The quotation appeared in a book review column called “The Atlantic Bookshelf” which was written by Charles J. Rolo. This attribution may have been an echo of Tucholsky’s French diplomat: 9
Scourges as immense as fascism and war present the novelist with a knotty problem of ways and means. A Frenchman has aptly remarked that “a single man killed is a misfortune, a million is a statistic.” How to encompass the emotional reality of that aggregate of horrors which so easily becomes “a statistic” or a remote abstraction — “war dead,” “purge,” “pogrom”?
In 1956 the German novel “Der Schwarze Obelisk” by the prominent author Erich Maria Remarque was released. In 1957 it was translated into English and published as “The Black Obelisk”. Remarque included an instance without attribution: 10
It’s strange, I think, all of us have seen so many dead in the war and we know that over two million of us fell uselessly—why, then, are we so excited about a single man, when we have practically forgotten the two million already? But probably the reason is that one dead man is death—and two million are only a statistic.
In 1958 “The New York Times” published a book review that presented the saying with an ascription to Stalin: 11 12
“A single death is a tragedy, a million deaths is a statistic.” Stalin’s epigram is admirably illustrated by Ernst Schnabel’s pointilliste portrait of Anne Frank during the few months she lived after the last entry in her diary, Aug. 1, 1944.
In conclusion, the saying was attributed to Joseph Stalin by 1947, but the evidentiary support for the linkage was not clear to QI. Columnist Lyons stated that the words were spoken during a meeting “of the highest ranking Commissars”. Perhaps a statement was made by a witness, but QI has not located such a document at this time. The satirist Kurt Tucholsky placed a similar remark into the mouth of a French diplomat in a piece that was available in German by 1925.
Image Notes: Illustration depicting Joseph Stalin from the The National Archives of the UK; accessed via Wikimedia Commons. Sample bar graph constructed by QI. Images have been cropped and resized.
(Thanks to Stephen Goranson who located the key citations dated 1925 and January 30, 1947. Barry Popik also pointed to the words of Kurt Tucholsky. Thanks to James Marx who pointed to the line spoken by Charlie Chaplin in “Monsieur Verdoux” and to the work by Beilby Porteus. Thanks to Alex Stroup who also pointed to “Monsieur Verdoux”. Thanks to Fred Shapiro’s “The Yale Book of Quotations” which included the Chaplin citation and the 1958 citation. Thanks to commenters Mary and Tucker Lieberman for pointing to Erich Maria Remarque.)
Update history: On January 27, 2016 the entry was rewritten, and several citations were added including the ones dated 1759, 1916, and 1932. On February 2, 2016 the date of the 1932 citation was updated to reflect an earlier 1925 publication date.
Notes:
1947 January 30, Washington Post, Loose-Leaf Notebook by Leonard Lyons, Quote Page 9, Washington, D.C. (ProQuest) ↩
1947 January 30, Salt Lake Tribune, Lyons Den by Leonard Lyons, Quote Page 8, Column 3, Salt Lake City. (NewspaperArchive) ↩
1759, Death: A Poetical Essay by Beilby Porteus (Fellow of Christ’s College, Cambridge), Start Page 1, Quote Page 12, Printed by J. Bentham Printer to the University, for T & J. Merrill, Booksellers at Cambridge, Cambridge, England. (Google Books Full View) link ↩
1916 May 1, The Blast, Volume 1, Number 12, Edited by Alexander Berkman, A Timely Thought, Quote Page 104, Column 2, (Page 6 in original publication), San Francisco, California. Reprinted in 2005 by AK Press, Oakland, California. (Verified with Google Books Preview of 2005 reprint) ↩
1932, Lerne Lachen Ohne Zu Weinen (Learn To Laugh Without Crying) by Kurt Tucholsky, Section: Französischer Witz (French Wit), Start Page 147, Quote Page 148, Ernst Rowohlt Verlag, Berlin, Germany. (Französischer Witz was previously published by Vossische Zeitung in August 23, 1925 and September 10, 1925; under the titles: Französische Witze (I); and Noch einmal französische Witze (II)) (Scans and bibliographic note in Wikimedia Commons Archive) link link link ↩
1932 December 29, Christian Science Monitor, Revised Impressions of Russia by J. Roscoe Drummond, Quote Page 12, Boston, Massachusetts. (ProQuest Historical Newspapers) ↩
1939 September 9, Sheboygan Press, With the State Press, Quote Page 20, Sheboygan, Wisconsin. (NewspaperArchive) ↩
YouTube video, Title: Verdoux: That’s business, Uploaded on: Dec 6, 2009, Uploaded by: RedUmbrellaUnite, Quotation spoken by: Henri Verdoux played by Charlie Chaplin, (Quotation starts at 1 minute 02 seconds of 3 minutes 07 seconds), (This video shows a scene from 1947 film “Monsieur Verdoux”. (Accessed on youtube.com on January 27, 2016) link ↩
1948 October, Atlantic, The Atlantic Bookshelf: Reader’s Choice by Charles J. Rolo, Quote Page 106, Atlantic Monthly Co. (Verified on paper) ↩
1957, The Black Obelisk by Erich Maria Remarque, (Translated from German to English by Denver Lindley), Chapter 8, Quote Page 141, Harcourt, Brace & World, New York. (Verified with scans) ↩
1958 September 28, New York Times, Unwritten Pages at the End of the Diary by Anne Fremantle, (Book review of Anne Frank: A Portrait in Courage by Ernst Schnabel), Quote Page BR3, New York. (ProQuest) ↩
2006, The Yale Book of Quotations by Fred R. Shapiro, Section Josef Stalin, Quote Page 724, Yale University Press, New Haven. (Verified on paper) ↩
| Joseph Stalin |
Who was Radio 1’s first female presenter? | Talk:Joseph Stalin - Wikiquote
Talk:Joseph Stalin
Unsourced[ edit ]
Wikiquote no longer allows unsourced quotations, and they are in process of being removed from our pages (see Wikiquote:Limits on quotations ); but if you can provide a reliable, precise and verifiable source for any quote on this list please move it to Joseph Stalin . -- Antiquary 18:11, 6 May 2009 (UTC)
Damn you all to hell. And it's not treachery, it's running a persuasive campaign.
Joseph Stalin, rumored to be said after the Great Purge of 1938
"It's a shame Hitler had to go and attack us. Together, we could really have done some things!"
Stalin made to his daughter after Germany had invaded the Soviet Union.
"I'm so paranoid that I worry that I am plotting against myself."
Stalin to Lavrenti Beria, the last leader of the secret police during Stalin's lifetime
The people who cast the votes decide nothing. The people who count the votes decide everything. (Знаете, товарищи, - говорит Сталин, - что я думаю по этому поводу: я считаю, что совершенно неважно, кто и как будет в партии голосовать; но вот что чрезвычайно важно, это - кто и как будет считать голоса)
Both quotes are from Boris Bazhanov's 'The Memoirs of former Stalin's secretary' Saint Petersburg, 1992 (in Russian) . Bazhanov defected to the West in 1928. Probably it was the same text that was published in France back to 1930 - Boris Bajanov, Avec Staline dans le Kremlin (Paris: Les Éditions de France, 1930) -- Nekto 11:57, 15 April 2006 (UTC)
As of Bazhanov (Бажанов) sourced-quotes. Bazhanov was a well-known anti-Stalinist and in his books he provided extremly preconceived point of view. I personaly would at least mark those quotes as "attributed to". Those attributed quotations, compared to those sourced by reliable sources, differ greatly even in style. Not to mentiotion overall low reliability of Bazhanov's works.
In the Soviet Army, it takes more courage to retreat than advance.
It is claimed that Averrell Harriman, American ambassador in Moscow, said to American professor Urban (sp?) in 1979 that Stalin used this phrase in conversation with him. Further research is needed. -- Nekto 12:33, 15 April 2006 (UTC)
There is little doubt that it WAS more courageous for a Soviet soldier to retreat than to attack. Those who attempted to retreat were typically shot by blocking forces designed specifically for that purpose. Stalin had issued a famous order called "Not One Step Back!" and enforced it mercilessly.
184.175.48.100 03:20, 30 May 2014 (UTC)
When I am gone, the capitalists will drown you like blind kittens.
Many variants; from a speech apparently made to the Politburo in 1950.
What shall we do? We shall envy!
Что делать будем? Завидовать будем!
Rumored to be said after receiving a report about Marshal Konstantin Rokossovsky's inappropriately large number of female lovers.
Beat, beat and beat again!
When asked how to treat political prisoners and get information out of them, Nikita Khrushchev alleged that had been said.
You cannot make a revolution with silk gloves.
Variant: You cannot make a revolution with white gloves.
Then Devil is with us, and together we will win.
In response to Churchill 's "God is with us", during WW2.
"All young people are the same, so why write about the young Stalin?"
Not stated, should be quoted from Russian archives.
Quantity is quality[ edit ]
Quantity is quality
Variant: Quantity has a quality all its own
This quote is reminiscent of the Marxist theoretical principle that steady quantitative changes can lead to a sudden qualitative leap. It is therefore likely that Stalin may have said something like this. However, in the variant "Quantity is quality", there is an undialectical equation of the two. Stalin is therefore unlikely to have used this variant; the variant "Quantity has a quality all its own" is therefore more likely.
This quote is sometimes tied to a commentary on Russian tank and troop production
I've seen this attributed to him on dozens of web pages. It probably should go in unsourced until someone can trace a primary source down.
It should probably go in the garbage can. 205.237.144.123 19:00, 20 February 2013 (UTC) Activist ( talk ) 19:06, 20 February 2013 (UTC)
This is a misattribution; it's a 1970s US defense formulation of an old Marxist/Hegelian/Ancient Greek idea. I've elaborated in this edit .
—Nils von Barth ( nbarth ) ( talk ) 20:41, 23 August 2015 (UTC)
Did Georgy Zhukov say this? He certainly was found of giving quotes, although they were generally not overly memorable.
Gratitude is a sickness suffered by dogs.[ edit ]
Gratitude is a sickness suffered by dogs.
I bet it comes from the western folklore. Those quotations were completely unknown in the USSR before perestroyka . I cannot find any sources for them in Russian. -- 83.237.62.153 18:44, 11 April 2006 (UTC)
Gratitude is a sickness suffered by dogs.(Через полтора года, когда Сталин отстранил Зиновьева и Каменева от власти, Зиновьев, напоминая это заседание Пленума и как ему и Каменеву удалось спасти Сталина от падения в политическое небытие, с горечью сказал: "Знает ли товарищ Сталин, что такое благодарность?" Товарищ Сталин вынул трубку изо рта и ответил: "Ну, как же, знаю, очень хорошо знаю, это такая собачья болезнь")
The death of one man is a tragedy, the death of millions is a statistic[ edit ]
"The death of one man is a tragedy, the death of millions is a statistic."
According to David McCullough's biography of Harry Truman, Stalin did in fact say this to Truman--I believe it was at Potsdam. The book gives the quote a bit differently from how it is usually attributed--I remember it as "one death is a tragedy, millions of deaths are statistics". If I can find a copy of the book then I will add some more detail.
"When one man dies it is a tragedy, when thousands die it's statistics"
This is the exact quote from the McCullough biography of Truman. According the the citation in that book, McCullough got it from page 278 of a book called "The Time of Stalin: Portrait of Tyranny", by Anton Antonov-Ovseyenko. McCullough quotes Stalin as having said this to Churchill at Teheran. "Churchill had been arguing that a premature opening of a second front in France would result in an unjustified loss of tens of thousands of Allied soldiers. Stalin responded that 'when one man dies it is a tragedy, when thousands die it's statistics'". Although I don't know where Ovseyenko got it from, I think that we can consider this sourced.
It makes sense that this quote never gained any currency in the Soviet world since he apparently only said it in private, never in public.
Can anyone check the Antonov-Ovseyenko's book and say what source he used? He himself cannot be a primary source (he was in prison at that time). -- Nekto 07:12, 13 May 2006 (UTC)
The quotation most likely comes from The Black Obelisk (Der schwarze Obelisk) by Erich Maria Remarque written in 1956: Wir starren in das Abendrot. Der Zug pufft schwarz und verloren heran wie eine Begräbniskutsche. Sonderbar, denke ich, wir alle haben doch so viele Tote im Kriege gesehen, und wir wissen, daß über zwei Millionen von uns nutzlos gefallen sind — warum sind wir da so erregt wegen eines einzelnen, und die zwei Millionen haben wir schon fast vergessen? Aber das ist wohl so, weil ein einzelner immer der Tod ist — und zwei Millionen immer nur eine Statistik.
The earliest mention of the quotation when it was attributed to Stalin that I managed to find is a New York Times' article (1958) - Unwritten Pages at the End of the Diary; ANNE FRANK: A Portrait in Courage. By Ernst Schnabel. Translated by Richard and Clara Winston from the German "Anne Frank: Spur Eines Kindes." Illustrated. 192 pp. New York: Harcourt, Brace & Co. $3.95. :
" A SINGLE death is a tragedy, a million deaths is a statistic." Stalin's epigram is admirably illustrated by Ernst Schnabel's pointilliste portrait of Anne Frank during the few months she lived after the last entry in her diary, Aug. 1, 1944. [ END OF FIRST PARAGRAPH ]
Once heard from a writer interviewed on radio that this quote supposedly comes from an early 20th century theatric play, and apologies but that is as much i can recall now.
In an interview with the BBC's Andrew Marr (11.11.2011) Winston Churchill's daughter, Mary Soames, explained that she overheard Stalin say this to her father. Churchill, was upset having received news that a family friend had died. He apologised to Stalin in light of the vast loss of Russian life. And Stalin then gave this reply.
Interestingly, in the interview - The Andrew Marr Show -Lady Soames said death of thousands not "millions".
The interview can be found here at 5:25. Davehill47 ( talk ) 13:54, 28 April 2014 (UTC)
I moved some of the discussion of this quotation from the upper section down into this named section. Davehill47 ( talk ) 13:56, 28 April 2014 (UTC)
Soldier not worth a General[ edit ]
A Lieutenant is not worth a General!
Stalin's refusal for a prisoner exchange, after Kurt Daluege offered Stalin back his captured son if General Paulus was returned to the Germans.
I do not trade a soldier for a marshal.
In response to the German offer to trade a POW Field Marshal Paulus for Stalin's captured son Yakov.
I do not change the soldier for the marshal.
In response to the German offer to change a Marshal for Stalin's captured son Yakov.
Conviction vs Fear[ edit ]
"I prefer to rule my people through fear rather than conviction. Convictions can change, but fear remains. "
Isn't this a quote from Stalin? I didn't see it in the list, though I may have missed it. -- 84.193.113.243 19:05, 7 May 2010 (UTC)
Sounds like a condensed version of Machiavelli's Chapter XVII of the Principe ("... much safer to be feared than loved ..."). The rationale given there is exactly the same -- only wordier -- as in the alleged Stalin quote: that humans are "ungrateful, fickle, false, cowardly, covetous, and as long as you succeed [...] they will offer you their blood, property, life and children [...] when the need is far distant; but when it approaches they turn against you ...".
It is not impossible that Stalin paraphrased Machiavelli. Whether it is likely IONO; I'd guess not considering a) Stalin himself favored brute-force approaches to Machiavellian scheming, and what seems like schemin was simply clinically paranoia. b) Machiavelli was perhaps the foremost philosopher of power in the late Aristocrat/early Capitalist era, and that era was precisely what Stalin wanted to overcome (he didn't co-opt later Capitalist philosophers either as it seems).
Needs reliable source (date, setting, context) but I'd tend to believe it's bogus. 87.78.80.57
To choose ones victims quote[ edit ]
I've heard this quote attributed to Stalin "To choose ones victims, to prepare ones plans minutely, to stake an implacable vengeance upon the world there is nothing sweeter in the world." Can some one investigate?
Terror to control the population[ edit ]
There is a quote being attributed on the web to Stalin that I was unable to find a source for:
"The easiest way to gain control of a population is to carry out acts of terror. The public will clamor for such laws if their personal security is threatened"
If anybody can confirm or refute Stalin as the origin of that source, it would be great to add it to the article. -- 217.237.39.193 10:53, 11 September 2012 (UTC)
Appears to be a fake quote, oldest reference is found in the book Vile Acts of Evil [ [1] ], which was published in 2009. The author claimed the quote was from Stalin, but the citations included do not include the quote. The book is filled with similar fake quotes, misquotes, and misattributions. ( Downix ( talk ) 19:58, 29 November 2015 (UTC))
Stalin's pipe joke[ edit ]
Any other sources for this one?
"it wasn’t just opponents of the regime who told them. Stalin himself cracked them, including this one about a visit from a Georgian delegation: They come, they talk to Stalin, and then they go, heading off down the Kremlin’s corridors. Stalin starts looking for his pipe. He can’t find it. He calls in Beria, the dreaded head of his secret police. “Go after the delegation, and find out which one took my pipe,” he says. Beria scuttles off down the corridor. Five minutes later Stalin finds his pipe under a pile of papers. He calls Beria—”Look, I’ve found my pipe.” “It’s too late,” Beria says, “half the delegation admitted they took your pipe, and the other half died during questioning.”"
"Hammer and Tickle" by Ben Lewis, via [2]
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Who is the current chairman of Radio 4’s I’m Sorry I Haven’t A Clue? | I’m Sorry I Haven’t A Clue — Jeremy Hardy
I’m Sorry I Haven’t A Clue
Dates for the live theatre show in 2015 are available at http://isihac.net
~~~
This radio programme started in 1972. It was the first deconstructed panel show and has been the model for a great many radio programmes ever since. It is no exaggeration to say that many a thieving bastard of a producer has paid homage to it.
The original line-up was Graeme Garden, Tim Brooke-Taylor, Jo Kendall and Bill Oddie, with Humphey Lyttleton is the chair. Jo and Bill left the show during the seventies and the permanent line-up included Barry Cryer and Willie Rushton, until Willie died in 1996. After that time the fourth chair was occupied by guests.
I first appeared on the show standing in for Tim, who was in a play, in 1995. Willie had heard me do a rant about the Conservative Party conference on The News Quiz and asked that I be invited on. I had listened to the show as a boy and was excited to become part of it, but wasn’t prepared for the rapturous adulation Humph received from an audience of 1,500 people in Harrogate. Their enthusiasm sustained throughout the recording. One of the most popular rounds in the show is One Song to the Tune of Another. I was given the task of singing Everybody Was Kung Fu Fighting to the tune of Scarborough Fare. I had not sung in public since primary school, when a teacher had detected a horrible droning during rehearsals for a school play and identified it as coming from me. Thenceforth I was instructed to mouth the words in silence.
When I began to sing in Harrogate in 1995 in front of 1500 people, there was a shocked and uncomfortable silence which continued for a while after I had finished. It was like one of those moments in a movie when the protagonist’s luck could go either way. Suddenly, the horrified silence turned into an ovation and as I returned to my seat, Willie said three words I’ve never forgotten: “I smell points.”
Having become a frequent guest and a permanent member of the touring theatre show, I now get cheers before I start singing, and on the occasions when my voice drifts into tune without my knowing, there is palpable disappointment in the room. It is a matter of concern to me that I have spent 27 years trying to think of witty and insightful things to say about important matters, studying current events, churning out hours of material and traipsing all over the British Isles to deliver it, and yet the best response I ever get from an audience is for singing particularly badly.
We lost Humph in 2008. The chairman is now Jack Dee. For some reason, I am still touched by a mention in Humph’s book, It Occurs to Me, when he noted kindly that, despite my abysmal singing, I have perfect pitch on the kazoo.
In 2002, Graeme and Barry created a spin-off featuring characters they use in Clue, You’ll Have Had Your Tea, The Doings of Hamish and Dougal . They asked me and Alison Steadman to play the other characters. I was very pleased, not least because I adore Alison. The show ran until 2006, when the BBC suffered a sense-of-humour failure.
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Which future king was created Prince of Wales in 1301? | Barry Cryer: "I’m Sorry I Haven’t a Clue is at its best when it’s falling apart" | Radio Times
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Barry Cryer: "I’m Sorry I Haven’t a Clue is at its best when it’s falling apart"
As the long-running Radio 4 show returns, the stalwart panelist celebrates the late Humphrey Lyttelton, his replacement Jack Dee - and the importance of silliness
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Barry Cryer
4:31 PM, 12 November 2012
I wasn’t in the original series, which was a spin-off from I’m Sorry I’ll Read That Again, but later filled in as chairman, when Humphrey Lyttelton was otherwise engaged. I still have a yellowing Radio Times cutting, showing a black-haired youth with horn-rimmed glasses – I assume it was me.
After the first series, which could hardly be described as a hit, there was an agonising reappraisal of team members, as John Cleese, Bill Oddie and Jo Kendall all decided it was too silly and chaotic. The result was that Willie Rushton and I were recruited, and stayed happily until Willie died in 1996. It’s true that, after the pilot – which nearly didn’t get off the ground but was promoted by [Radio 4’s first controller] Tony Whitby, whom God preserve – it was never regarded as a long-term project.
Forty years later, maybe the jury is still out, but we seem to have got away with it. We’re often asked, “Why does it work?” We’re just glad that it does, but I can assure you, we’re not complacent. We have the best producer we’ve ever had, Jon Naismith, who nags us for new ideas and rounds. He’s never let ISIHAC stagnate, and if there’s a reason it still works, Jon is it.
When Humph, the great Lyttelton, died in 2008, we said, “That’s it.” A year went by and then the BBC wanted us back, as emails had been coming in asking for our return. We did six shows with different chairmen, finishing with Jack Dee. It didn’t take us long to decide he was the man for the job: detached, sarcastic and yet, underneath it all, thoroughly enjoying himself. He has a flair for the perfect radio joke – one that paints a picture in the listener’s mind. In the middle of a recording, he suddenly said to me: “Barry, your dressing gown’s hanging open.” During a recording at the Rose Theatre, Kingston, a man in the audience shouted, “It’s not the same without Humphrey Lyttelton, is it?” Jack paused. "Ah, dear Humph, I wonder where he is now. I envy him.” Style.
It’s never been a wholly ad-libbed show, in that we’re given notice of topics and subjects that will feature. But a lot of the time we don’t know what each other is going to do, so we react like the listener. I’ve always felt the show is at its best when it’s falling apart.
The parade of guests through the years has been an element in our survival, bringing their own personalities and approaches. May I say, speaking for myself (although I know we’re in agreement), we’d like more women to appear with us. Victoria Wood fought us off for a while, but then succumbed. And Jo Brand, Sandi Toksvig and the late Linda Smith have joined us, to our great delight. We’re not a bunch of old male chauvs, even if some people think we are – so come and join us.
Andy Hamilton and Tony Hawks have often appeared and we still recall Kenny Everett, having made precious little preparation, being a riot. And of course, Jeremy Hardy, our regular guest, whose singing defies belief. Tuning forks have been known to walk out when he’s in full cry.
And finally, as Humph used to say, with great pleasure, the show has only changed radically in one way. I think the pace is faster than it was years ago, in tune with the current Twitter age. I leave you with the words of the great Humphrey Lyttelton: “As we journey through life, discarding baggage along the way, we should keep an iron grip, to the very end, on the capacity for silliness. It preserves the soul from desiccation.”
Excuse me now – I have to catch a train at Mornington Crescent.
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Which Scottish hero was executed as a traitor in 1305? | 1305: Horrific Execution of Scottish Hero William Wallace | History.info
1305: Horrific Execution of Scottish Hero William Wallace
Photo Credit To Wikipedia Commons/ William Wallace Statue in Aberdeen, Scotland
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Historical event:
23 August 1305
Wallace was taken prisoner by the English on 5 August 1305, after Scottish knight John de Menteith betrayed him. He was sentenced to death, taken to the Tower of London, stripped of all clothing, and dragged through the streets by a horse. Next, he was hanged, but released when still alive. He was then emasculated, eviscerated, and had his innards burned before him. Finally, his head was cut off and his body quartered.
William Wallace was without doubt one of the greatest heroes of Scottish history.
He is probably best known as the leading character of the movie Braveheart, where he is played by Mel Gibson. Although the movie is filled with historical inaccuracies, it still manages to show the importance of William Wallace in Scottish history.
Wallace was taken prisoner by the English on 5 August 1305, after Scottish knight John de Menteith betrayed him. The traitor later earned the nickname “Fause Menteith” (Menteith the Treacherous) among the Scots.
Wallace was taken to London and put before Edward I Longshanks (the main antagonist of Braveheart). He was put on trial for treason, but he denied the charges, claiming he couldn’t have betrayed Edward since he had never sworn allegiance to him in the first place. He was sentenced to death regardless.
The execution was carried out in a truly horrific manner. Wallace was taken to the Tower of London, stripped of all clothing, and dragged through the streets by a horse. Next, he was hanged, but released when still alive. He was then emasculated, eviscerated, and had his innards burned before him. Finally, his head was cut off and his body quartered. Wallace’s severed head was placed on a pike atop London Bridge. His limbs were sent to Newcastle upon Tyne, Berwick upon Tweed, Stirling, and Perth, where they were put on public display.
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Who died in 1376 before he could become king? | William Wallace, Robert Burns - Burns, Blind Harry & Braveheart
Burns, Blind Harry & Braveheart
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On this day in 1305, Scotland's William Wallace was executed -- more accurately, hanged, disemboweled, beheaded and quartered -- as a traitor in London. The William Wallace legend and the popularity of the Braveheart movie owe much to a 15th century epic poem by Blind Harry (Harry the Minstrel). A turning-point moment in the movie is the execution of Wallace's wife, Marion, by the Sheriff of Lanark; in this passage, Blind Harry dispenses highland justice:
"And thought'st thou, traitor," fierce the hero cried,
"When by thy murd'ring steel she cruel died;
When thy fell hand her precious blood did spill,
Wallace though absent, would be absent still?"
Furious he spoke, and rising on the foe,
Full on his head discharg'd the pond'rous blow;
Down sinks the felon headlong to the ground,
The guilty soul flew trembling through the wound. . . .
Blind Harry's Wallace ran to nine volumes, but it is said to have had second place only to the Bible in Scottish homes. Burns took the title of "Scots Wha Hae," one of his most famous airs, from Blind Harry. In "a pitch of enthusiasm on the theme of Liberty and Independence," Burns has Wallace join poetic forces with Robert the Bruce against all things British:
Scots, wha hae wi Wallace bled,
Scots, wham Bruce has aften led,
Welcome to your gory bed
Or to victorie!
By Oppression's woes and pains,
By your sons in servile chains,
We will drain our dearest veins,
But they shall be free!
Lay the proud usurpers low!
Tyrants fall in every foe!
Liberty's in every blow! --
Let us do or die!
Burns chose discretion over valor when this was first published in a Scottish newspaper in 1794. Given that Scottish independence was still a volatile issue and an imprisonable offence, he advised that the newspaper print the poem "as a thing they have met with by accident, and unknown to me." Less discreet was the overwhelming vote for the new Scottish Parliament, held in 1997 on the 700th anniversary of Wallace's victory over English troops at Stirling Bridge.
— SK
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Which maker of fashionable outdoor wear was founded in Basingstoke in 1865? | Look 5 | Christopher Bailey | V&A Search the Collections
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Burberry was founded in 1856 by former draper's apprentice Thomas Burberry, who opened the first Burberry shop in Basingstoke. Known for producing outdoor clothing, in 1880 Burberry introduced gabardine, a hardwearing, water-resistant yet breathable fabric, in which the yarn is waterproofed before weaving. In 1911 they became the outfitters for Roald Amundsen, the first man to reach the South Pole, and Ernest Shackleton, who led a 1914 expedition to cross Antarctica The company is now well known as a luxury British brand providing fashion, accessories, fragrances and cosmetics. In May 2001, British designer and RCA graduate Christopher Bailey, joined Burberry as creative director and is now Chief Creative Officer and CEO of the brand which also has a Royal Warrant. In 1914, Burberry was commissioned by the War Office to adapt its officer's coat to suit the conditions of contemporary warfare, resulting in what became known as the 'trench coat'. After the war, the trench coat became popular with civilians of both sexes and is now considered a design classic, synonymous with the brand. Although Burberry offer a wide range of clothing it is the trench coat design which is returned to and remodelled each season.
This coat dress deliberately subverts the original trench design by using impractical, feminine-coloured lace fabric, but retains many of the classic features such as the storm flap, wide lapels, self-fabric belt and wrist and shoulder straps. It was worn on the catwalk with matching lilac lace knickers, a lilac doeskin belt and contrasting green suede sandals. The belt was re-made for the V&A to match that worn on the catwalk. This ensemble, acquired 100 years after Burberry's first trench coat designs, reflects their continual reworking of the design. It was designed by Christopher Bailey, whose extremely influential tenure at Burberry - beginning in 2001 as Design Director then Creative Director in 2004, and from 2013 as CEO of the brand - has been credited with transforming the fortunes of the company.
Physical description
Trench coat, matching belt and silk-lined knickers, all made in light purple lace
Place of Origin
machine-made lace, silk,
Dimensions
Length: 108 cm coat, shoulder to hem, Width: 39 cm coat, across waist, Length: 34 cm knickers, waist to gusset, Width: 31 cm knickers, across waist
Object history note
Summary
Ensemble. Lilac lace trench coat dress, matching lace knickers, suede shoes and leather belt, designed by Christopher Bailey for Burberry Prorsum, S/S 2014
The maker
Burberry was founded in 1856 by former draper's apprentice Thomas Burberry, who opened the first Burberry shop in Basingstoke. Known for producing outdoor clothing, in 1880 Burberry introduced gabardine, a hardwearing, water-resistant yet breathable fabric, in which the yarn is waterproofed before weaving. In 1911 they became the outfitters for Roald Amundsen, the first man to reach the South Pole, and Ernest Shackleton, who led a 1914 expedition to cross Antarctica The company is now well known as a luxury British brand providing fashion, accessories, fragrances and cosmetics. In May 2001, British designer and RCA graduate Christopher Bailey, joined Burberry as creative director and is now Chief Creative Officer and CEO of the brand which also has a Royal Warrant.
The Design
In 1914, Burberry was commissioned by the War Office to adapt its officer's coat to suit the conditions of contemporary warfare, resulting in what became known as the ‘trench coat’. After the war, the trench coat became popular with civilians of both sexes and is now considered a ‘design classic’, synonymous with the brand. Although Burberry offer a wide range of clothing it is the trench coat design which is returned to and remodelled each season.
This coat dress deliberately subverts the original ‘trench’ design by using impractical, feminine-coloured lace fabric, but retains many of the classic features such as the storm flap, wide lapels, self-fabric belt and wrist and shoulder straps. It was worn on the catwalk with matching lilac lace knickers, a lilac doeskin belt and contrasting green suede sandals. The belt was re-made for the V&A as part of the gift to match that worn on the catwalk.
Significance and relevance to the V&A
The V&A has several pieces by Burberry in the collections including a man’s suit from 1904 (T.159&A-1969), 1920s ski wear (T.30:A-F-1978) and trench coats from the 1970s and 1980s. This ensemble, acquired 100 years after Burberry’s first trench coat designs, reflects their continual reworking of the design and is an important t example of work produced under CEO Christopher Bailey. Bailey’s extremely influential tenure at Burberry — beginning in 2001 as Design Director then Creative Director in 2004, and from 2013 as CEO of the brand — has been credited with transforming the fortunes of the company.
Descriptive line
Lavender lace trench coat with self-fabric belt and matching knickers, Christopher Bailey for Burberry Prorsum, Look 5, Spring 2014
Materials
| Burberry |
Taffeta is a variety of which material? | Fashion | Lovemarks.com | Find Your Lovemark
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Thomas Pink is a brand of men and women's clothing, and known for their business shirts. The company was established in London in 1984.
12
In 1933, canvas footwear pioneer BF Goodrich patented the Posture Foundation insole which became known simply as “P-F” in 1937.
12
Stone Island is brand of clothing established in 1982 by the Italian designer, Massimo Osti.
12
David Yurman is a privately held American designer jewelry company headquartered in New York City.
12
Bontoni is an Italian family company that manufactures hand-made men’s shoes. The shoes are sold in high-end retail stores around the world.
12
Topman is the stand-alone fashion business counterpart of Topshop that caters exclusively to men’s clothing.
12
Merrell Sport Sandals is an outdoor footwear company for men and woman.
11
Mulberry is a fashion company founded in England in 1971, known internationally for its leather goods, in particular women’s handbags.
11
Steve Madden is a brand and retailer of men's and women's footwear. It was founded by Steve Madden in 1990.
11
sweatyBetty is a brand of fitness apparel for women. The company is based in the United Kingdom.
11
Eastpak is a lifestyle brand founded in Boston, USA, specializing in the design, development, manufacturing and worldwide marketing and distribution of a range of products including bags, backpacks, travel gear and accessories.
11
Lanvin is a French fashion house founded by Jeanne Lanvin in the early 1900s. It is the oldest fashion house still in operation.
11
Clothing and accessories for men and women.
10
Gymboree’s history began with the founding of Gymboree Play & Music in 1976.
10
Silver Jeans Co. is a designer denim company founded by Michael Silver in 1991. The company also produces outerwear and T-shirts.
10
Hunter Gatherer’s cute as a button accessories under the label What Katy Did – featured in their Newsletter #2.
10
TSUBO is a brand of ergonomic footwear. The company was established in 1997 by Patrick McNully and Nick O'Rorke.
10
Dr. Scholl’s is a footwear and foot care brand.
10
Filson
For 107 years, serious outdoorsmen have considered Filson the standard for comfort and severe-weather protection. Beginning in 1897, Clinton C. Filson designed his goods for the extreme conditions of the Klondike, based on the experience of the hundreds of gold rush “Stampeders” he outfitted.
10
Bazura Bags are made using recycled juice packs by a women’s co-op in the Philippines.
10
Bell & Ross is a luxury French watch company headed by the French and Swiss designer Bruno Belamich and businessman Carlos A. Rosillo.
10
Swanndri is a New Zealand brand of outdoor clothing. Originally worn by farmers, the brand has been adopted by mainstream fashion.
10
Hearts On Fire, is a privately held diamond manufacturer and jewelry design company founded in 1996 by Glenn and Susan Rothman
10
Belstaff, a British brand, founded in Longton, Staffordshire in 1924, is a garment manufacturer best known for producing waterproof jackets. The company is now Italian-owned and based in Mogliano Veneto.
10
Gore-Tex is a waterproof, breathable fabric membrane invented in 1969. Gore-Tex boasts the ability to repel liquid water while allowing water vapor to pass through, making it a lightweight, waterproof fabric suitable for all-weather use.
10
Acne Jeans began in Stockholm in 1997 when a collection of jeans was designed by the ACNE creative collection for friends, family and clients.
10
BCBG Max Azria is French fashion brand that designs and retails midscale women's clothing.
10
Tommy Hilfiger is an American fashion designer and clothing brand of the same name.
10
O’Neill is an American surfboard, surfwear and equipment brand started in 1952 in San Francisco.
9
Barbour
J. Barbour & Sons Ltd. is an English luxury fashion brand founded by John Barbour in 1894 in South Shields. The brand designs, manufactures and markets weatherproofed outerwear, ready-to-wear, leather goods, shoes and accessories for men, women and children under the Barbour brand.
9
Fjällräven is a Swedish company specialising in outdoor equipment — mostly clothing and rucksacks. Fjällräven was founded in 1960 by Åke Nordin.
9
Coco de Mer is a British erotic luxury boutique.
9
Esprit is a manufacturer and retailer of clothing and accessories for men, women and children. The brand sells in 5 continents and 44 countries.
9
Missoni is an Italian fashion house based in Milan. The company was founded by Ottavio and Rosita Mission in 1953 and is best known for its knitwear.
9
No Sweat is a brand of footwear and apparel manufactured by independent trade union members in the U.S., Canada and the developing world.
8
Orvis is a family-owned retail and mail-order business specializing in high-end fly fishing, hunting and sporting goods, founded in Manchester, Vermont, in 1856.
8
Allen Edmonds is an American company that designs and handcrafts formal and casual leather footwear for men.
8
Berluti is an exclusive, luxury brand of men’s shoes and boots. The company was founded in 1895 and is based in Paris, France.
8
Originators of the newborn pearl bracelet.
8
Shanghai Tang is an international clothing chain company founded in 1994 by Hong Kong businessman, David Tang.
8
Ben Sherman is an international clothing company with British roots, selling shirts, sweaters, suits, outerwear, shoes and accessories predominantly for men.
8
Loro Piana is a brand of Italian clothing known for its high-end cashmere and luxury products. The company was established in 1924.
8
tokidoki is a Japanese-inspired lifestyle brand that produces apparel, footwear, accessories and other products using art, iconic characters.
8
Red Wing shoes is a Minnesota based shoe manufacturer that produces work boots for a full line of industries and work sites.
7
The Territory Ahead is a brand of clothing and accessories that are sold through mail order catalogs, retail stores and online.
7
Tommy Bahama is a brand of tropical-themed clothing and homeware.
7
Kipling is a fashion brand founded in 1987 in Belgium.
7
Illustrated bags and purses made in Melbourne.
7
The Nomad Tribe is a brand of denim apparel and jeans that fuses indigo denim and antique hardware. The company launched their first collection in New York City in 2005.
7
SOURCE is a world leader in hydration systems, hiking sandals and travel accessories.
7
Cole Haan is an American brand of clothing, footwear and accessories for men and women. The company was founded in Chicago in 1928.
7
Roberto Cavalli is an Italian fashion designer known for using wild animal prints and sensual cuts in his design.
7
Eskimo Arctic Ice Diamonds is a brand of diamonds sourced from Canada's Northern territory.
7
Etro is an Italian fashion house that is known for its textile fabrics and design.
7
Forever 21 is an American chain of fashion retailers with headquarters in Los Angeles.
7
L’O Ka TERRE is a French organic clothing brand. The cotton is grown by a co-operative in India, and the items crafted in the French commune of Roanne.
6
Carter’s is a major American manufacturer of children’s apparel founded in 1865.
6
River Island is a London-head quartered high street fashion brand started in 1948, which operates in a number of worldwide markets.
6
Triumph is a global brand of lingerie and intimate apparel.
6
Simple Kapadia was a Bollywood actress and costume designer. Simple Kapadia began her career when she was 18 years old and made her acting debut in 1977 in the film Anurodh. Simple died of cancer in 2009.
6
French Connection is company based in the United Kingdom that sells clothing and accessories around the world.
6
Brioni is an Italian brand of high fashion clothing founded in 1945. It was founded by Nazareno Fonticoli and Gaetano Savini.
6
Asprey is a historic British brand that produces jewelry and luxury goods. The company was first founded in 1781.
6
Borsalino is an Italian brand of milinery, especially known for its fedoras. Established in 1857, the company has diversified and now also produces a range of accessories.
6
Salvatore Ferragmo is an Italian luxury brand of clothing, footwear and accessories.
6
Billabong is recognized worldwide as a producer of surf, skate and snowboarding apparel, hardgoods and accessories. The Billabong clothing company was founded in 1973 by Gordon Merchant of Australia.
6
A|X Armani Exchange is a fashion and lifestyle brand launched in 1991 in the U.S and is inspired by street-chic culture and dance music.
6
“Every Day is an Adventure” – the horny toad tagline.
5
ZooZoo2 is a brand of t-shirts and other apparel that are made using 100% organic cotton and recycled materials.
5
TASARAM Scarves are a London-based producer of unique and original designs, renowned for their silk map scarves of the great capital cities of London, Paris, Rome, Washington DC and New York.
5
Annelli is a luxury goods company that designs clothing and accessories inspired by Italian style.
5
The Net-A-Porter Group is the world’s premier online luxury fashion retailer.
5
Rock & Republic is an American jeans brand founded by Michael Ball in 2002.
5
Loewe is an Spanish luxury goods brand founded in 1846. The company is now a subsidiary of LVMH.
5
Country Road is an Australian brand offering womens, mens and childrens apparel, and homewares.
5
Kiki de Montparnasse is luxury brand of lingerie, erotic accessories and body and beauty products.
5
Audrey Beaulac / Style is a company that offers services relating to the management and development of personal style.
5
Chie Mihara is a brand of shoes created by a shoemaker by the same name.
5
Hackett is a brand of British clothing and accessories for men. The company was formed in 1979 on Portobello Road, London, by Jeremy Hackett and Ashley Lloyd-Jennings.
5
Giuseppe Zanotti is an Italian brand of men and women’s footwear designed and manufactured by the Vicini company.
5
Nine West is a brand of footwear and accessories for women. It is a division of Jones Apparel Group.
5
Marvin is a brand of Swiss timepieces. The company was established in 1850 by brothers Marc and Emmanuel Didisheim.
5
RYZ is a brand of sneakers. Its shoes are based on the most popular designs submitted by users and selected by its community. The company is based in Portland, Oregon.
5
Longines is a brand of watch, currently owned by the Swatch Group. The company was originally founded in Switzerland in 1832.
5
Nixon is a brand of watches and accessories for youth. The company was founded in 1997 by Andy Laats and Chad DiNenna.
5
Visvim is a Japanese brand of footwear and clothing founded by Hiroki Nakamura.
5
ECCO is a brand of comfort footwear for men, ladies and kids. The company was founded in Denmark in 1963.
5
Canada Goose is a brand of extreme cold weather outerwear.
5
Tarina Tarantino is a brand of jewelry and cosmetics produced by the designer of the same name.
5
Delance is a brand of Swiss watches for women. The company was founded in 1996 by Giselle Rufer.
5
Pandora is a global jewelry company founded in Denmark in 1982. The brand is known for its customizable charm bracelets, rings, earrings and necklaces.
5
Frugi is a line of organic clothing for babies, children and mothers. The brand was established by Lucy and Kurt Jewson.
5
Industrie is a youth fashion clothing label started in 1999 in Sydney, Australia. It produces mainly streetwear and denim, but has dabbled in swimwear and accessories.
4
Evisu is a Japanese designer clothing company that specializes in producing denim wear through traditional, labor-intensive methods. The brand was founded in 1991 in Osaka, Japan, by Hidehiko Yamane.
4
Bensimon is a French brand of clothing, shoes and cosmetics. The Bensimon style is known to be colorful, bright and feminine.
4
Keds was introduced by the U.S. Footwear Company in 1916 as the first national athletic and lifestyle footwear brand.
4
Persol is an Italian brand of sunglasses. Formed in 1917 by Giuseppe Ratti, Persol is currently owned by the Luxottica group.
4
H.Stern is a luxury Brazillian jeweller. The company was founded in Rio de Janeiro in 1945 by Hans Stern.
4
NaCo is a brand of t-shirts created by Edoardo Chavarin and Robby Vient. The Mexican company is known for their use of Mexican slang in the design of their products.
4
Oliver Sweeney is a British designer and brand of men's footwear and accessories.
4
A. Testoni is an Italian brand of footwear and leather accessories established by Amedeo Testoni in 1929.
4
Monbianco is a brand of Italian footwear first launched in 1976.
4
iller is a brand of hip-hop inspired clothing available in the United States and United Kingdom.
4
Tisza Cipo is a Hungarian footwear and fashion brand.
4
Matt & Natt is a Canadian brand of vegan accessories created by Inder Bedi.
4
Zovo is a brand of underpinnings and contemporary sportswear made primarily from 100% natural yarn fabrications.
4
MaxMara is an Italian fashion house that produces ready-to-wear clothing. The brand was established in 1941 by Achille Maramotti.
4
Blancpain is a Swiss watch manufacturer, founded in 1735 by Jehan-Jaques Blancpain.
4
Diane von Furstenburg is a Belgian-American fashion designer best known for her hallmark wrap dress.
4
Atelier Marchal is a Spanish brand of bijoux and fashion accessories for men and women. The company was established in 2000 by siblings Ana and Josep Garcia.
4
Eiger is an Indonesian brand of adventure equipment and accessories. The company was founded in 1993 by Ronny Lukito.
4
aussieBUM is an Australian brand of mens underwear and swimwear.
3
John Smedley is a brand of cotton, wool and cashmere knitwear for men and women based in the United Kingdom.
3
Kickers is a European brand of clothing and footwear, who’s casual shoes were popular during the 1970s and 80s among football supporters.
3
Little Brother is a line of menswear made in New Zealand and designed by Murray Crane.
3
Swazi is a brand of high performance outdoor clothing designed and manufactured in New Zealand.
3
Adiamondisforever.com is an information source on diamonds, combining promotion with education and helps to build interest in diamonds among consumers.
3
Sebago is a brand of casual and speciality boat footwear.
3
Alain Mikli is a French brand of high-end handmade eyeglasses and accessories.
3
Hogan is a brand of leather goods owned by Tod's S.p.A. Originally a brand of shoes, the company has extended their collections to include bags and accessories.
3
Original Penguin is a brand of clothing, footwear and eyewear. It was established in 1955 by Munsingwear, and is now owned by Perry Ellis.
3
Zutano is a brand of clothing and accessories for infants and babies. The brand was created in New York by Uli and Michael Belenky.
3
Invicta is an Italian brand of backpacks. Born in England in 1906, Invicta became an Italian brand in 1921 and is headquarterd in Caerano San Marco.
3
Comptoir des Cotonniers is a brand of accessible and contemporary fashion for women across generations.
3
Georgina Goodman is a British designer and brand of shoes of the same name.
3
Arthur Galan AG is an Australian fashion brand for men and women.
3
Jack Wills is a British brand of clothing. The company was founded in 1999.
3
Cia. Maritima is a Brazilian brand of beach and swim wear by Benny Rosset.
3
Vaute Couture is a vegan clothing brand that specializes in creating coats from recycled materials.
3
Jacob Cohen is an Italian brand of tailored men's and women's denim clothing. The company was founded in 1985 by Tato Bardelle in Pontelongo.
3
Bent Eyewear make bespoke handcrafted sunglasses
3
BOQARI is a brand of underwear, designer metal earphones and accessories.
3
Anya Hindmarch is an English fashion accessories designer. She is best known for her bespoke bags.
3
Golden Breed is an Australian brand of surf inspired clothing and accessories.
3
LOB is a brand of men's and women's clothing and accessories sold in Mexico and Central America.
3
Cottonworld is India's first store dedicated to natural clothing. It was established in 1987 in Mumbai.
3
Dr. Martens is a British footwear and clothing brand, which also makes a range of accessories – shoe care products, clothing, luggage, etc.
3
Founded in 1985, Revo quickly became a global performance eyewear brand known as the leader in polarized lens technology.
2
Finn Comfort shoes are handcrafted in Germany and renowned for their legendary durability, supreme comfort and unparalleled orthopedic support.
2
Animal is a brand of sports wear and accessories designed around surf, skate and biking culture and activity. The company is based in the United Kingdom.
2
EDUN is a fashion brand founded by Ali Hewson and Bono in 2005 to promote trade in Africa by sourcing production throughout the continent. In 2009 EDUN became part of the LVMH group.
2
Blue Marlin clothing company produces vintage sportswear for men. Clothes are reproductions worn by baseball leagues of the 1800s-1900s.
2
WORLD is a New Zealand brand of clothing and accessories. The company was founded in 1989 by Denis L'Estrange Corbet and Francis Hooper.
2
Jasper Conran is a designer of clothing, homeware and china. He has developed products for Debenhams, Waterford Wedgewood and Stuart Crystal.
2
Brunello Cucinelli is an Italian luxury brand of cashmere knitwear. The company was founded in 1978.
2
L*Space is collection of swimwear for women designed by Monica Wise.
2
Replay is an Italian brand of denim jeans, apparel and accessories. The company was founded in 1978 by Claudio Buziol in 1978.
2
Flock is a clothing line made, designed, owned and operated in New Zealand.
2
Woolrich is an American brand of outdoor clothing for men, women and children. The company was started by John Rich in Pennsylvania in 1830.
2
Church's is a British brand of hand crafted shoes. The company was founded in 1873.
2
Nature Baby is a New Zealand brand of products for babies. The company sells a range of clothing, accessories, furniture and care products.
2
Baked Beads is an American retailer of wholesale fashion jewelry. The company is owned by David and Robin Cohen.
2
Uberkate is an Australian brand of hand made jewellery created by Kate Sutton.
2
Hoss Intropia is a Spanish fashion label founded in 1994 by Paloma Vazquez de Castro.
2
Ginch Gonch is a brand of men’s and women’s underwear.
2
Paula Ferber is a Brazilian brand of shoes and a retailer of accessories such as bags, necklaces, and clothing.
2
Café Costume is a private tailor in Antwerp, Belgium.
2
Isaac Reina is a brand of bags and small leather goods made in Paris.
2
Ingram Camiceria is an Italian brand of men's and women's shirts.
2
Minti is a brand of children’s clothing and toys from New Zealand. The company was founded by Nick and Amy Joblin, and Nick and Jenny
2
Albam is a British brand of clothing, footwear and accessories designed and produced in the United Kingdom.
2
Ondademar is a Colombian brand of luxury swimwear founded in 1999.
2
MB&F is a Swiss brand of three-dimensional high-end timepieces by the creative laboratory of the same name.
2
Leona Edmistron is an Australian fashion designer and clothing brand of the same name.
2
Julio is a Mexican brand of women’s clothing and accessories.
2
English Cut is a bespoke Savile Row tailoring business owned by Thomas Mahon.
2
8 Inkerman is an Australian brand of cashmere clothing and accessories.
2
Free People is a women's clothing retailer operated by Urban Outfitters.
2
Van Lier is a Dutch brand of shoes made of vegetable-tanned leather.
2
Bustier and Co is Swiss brand of custom bustiers, corsets and lingerie created by Sylvie Gimmi.
2
Biba was an iconic and popular London fashion store of the 1960s – 1970s. The brand was created by Barbara Hulanicki and Stephen Fitz-Simon.
2
Nautica is an American apparel brand that also retails accessories, fragrance and homeware.
2
Braccialini is a brand of leather accessories based in Florence Italy. It was established in 1954.
2
Burlington is a brand socks. The company was founded in 1923 and based in North Carolina.
2
Deichmann is a German brand of footwear for men and women. It established in 1913 and is now active in 21 countries.
2
Pantofiori Veseli is a retailer of children's shoes in Romania.
2
Silver Forest is an American brand of jewelry crafted in Bellows Falls, Vermont.
2
Lindie is an online retailer for children’s clothing aged 2-14 years, based in Bucharest, Romania.
2
Get Girls | Get Jeans is a Brazilian brand of women's clothing established in 1992.
2
Mezzo Clothing Line (a.k.a. Mezzo CLine) imports high quality mens fashion.
2
Pashmina Perfection is an online retail store selling a beautiful selection of pashminas and scarves, shawls and wraps.
2
Athleta offers women’s yoga clothing, swimwear, running clothing and athletic clothing for fitness, golf & tennis.
2
Vera Ellen Wang is an American fashion designer based in New York City.
2
Sevenly is a online store that donates money to charity for each item that a customer has bought. Designs to Inspire Positivity and Change.
2
Madewell is a retail store that sells women’s fashion and mainly focuses on all things denim.
2
SuperGroup plc is a British international branded clothing company, and owner of the Superdry label. Superdry products combine vintage Americana styling with Japanese inspired graphics.
2
Richard James is a bespoke Savile Row tailors and contemporary menswear company founded in Britain.
1
R. Horn is a designer and retailer of handmade bags and accessories.
1
Salsa Jeans is a Portuguese brand of denim apparel.
1
Kino is a brand of sandals produced in the United States. The company was founded by Roberto and Margarita Lopez.
1
GimmeFashion is a website dedicated to all things glam. From the latest fashion trends, styles to accessories and makeup.
1
The fat doctor is a plus size clothing store that embraces and emphasises the beauty of larger women.
1
GOWIGASA is a global online clothing store for fashion-forward, smart shoppers. GOWIGASA based in Jakarta, Indonesia.
1
G.H. Bass & Co. 'Weejun' Shoe
G.H. Bass & Co. is a fashion store that dates back to Maine in 1876 and is the designer of the stylish spin on a Norwegian farm shoe designed for “loafing in the field,” and playfully dubbed them Weejuns – introducing the world’s first penny loafer.
1
JACK & JONES is one of Europe’s leading producers of menswear with more than one thousand stores in 38 countries and JACK & JONES clothes are sold by thousands of wholesale partners all over the world.
1
Philipp Patrick Plein is a German fashion designer and founder of the namesake brand that includes men’s and women’s apparel, children’s wear and accessories.
1
Nasty Gal is an American-based and owned retailer that specializes in fashion clothing, shoes, and accessories for young women.
1
Forever New is a women’s clothing store with their signature style flowing through their clothing & accessories.
1
Marshalls, Inc., is a chain of American off-price department stores. With over 750 conventional stores, as well as larger stores named Marshalls Mega Store, covering 42 states.
1
Zalora is an online fashion retailer that sells apparel, accessories, shoes and beauty products for women and men.
1
Climber B.C. is a men’s clothing brand of Cuno Group.
1
Marielle K
Marielle K creates beautiful artisan art pieces and fabrics for interior or fashion. Each piece is uniquely hand made in their Orkney studio, using bespoke craftsmanship techniques of dyeing and screen printing, combined with modern aspects of digital methods of production.
1
Harry Rosen Inc. is a Canadian retail chain of 15 luxury men’s clothing stores. A privately owned company, Harry Rosen accounts for 40 percent of the Canadian market in high-end menswear.
0
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