Further east of where I had been out capturing interesting images of the "South Fork of the St.Vrain" and found other unedited pastoral shots along what is on the water charts as the "South Fork of the St.Vrain." This is near 61st on a particularly mellow day. It's obviously a wandering ditch. I shot many other images of the wandering ditch and pastures. This ditch is what was designated the South Fork of the St.Vrain. Still in all, I found the meandering ditch cool, tranquil and peaceful before the rains came. A lot has been flushed down river. I have a misguided fascination about this squirrelly ditch. This view is west, upstream toward the source.

 

This time I followed it on Google terrain so I knew the exact course. I trudged about a football field to a relatively new bridge over the stream/ditch. There was an otter in the water there, but no tracks on the other side... just grasses nearly to the neck. and the private domain of the mosquitoes. A good wading might be due here. This time I knew to travel the westward course of the Meandering ditch. Another time. Another plan of attack. I'll get closer yet! It's course through pastures fairly amazes me and I have a lot of shooting yet to do. I have other captures that shows the meandering ditch. I drove around by Crane Hollow and stopped at Ron's. Ron wasn't there but I have been trying to shoot the abandoned barn out west. The ditch was designed to flood and water large tracts of river bottom land. The temps were back up as was the humditty. Well, it looks as if my time is limited at this venue! Next time I need to figure on taking on more hydration or wait until later at the end of the summer. I personally found this to be a satisfying glimpse of our St.Vrain Valley before they riddled it with gravel holes and laid the land dead.

  

My Day Trip in Tuebingen...

IMAGE INFO

- Location is ~4.8km further S along Yampire Gorge Rd from the abandoned Yampire Gorge mining camp site.

- Karijini National Park was previously called the Hamersley Range National Park.

- The Gorge was looking remarkably lush after some good rains in the weeks before we drove through.

- Wiki link:

en.wikipedia.org/wiki/Hamersley_Range

SOURCE INFO

- Original image captured using a hand-held CANON EOS-1 SLR with FUJI 100 35mm color negative film & a Tamron 28-300mm AF Zoom lens during our drive along Yampire Gorge road.

*********************

PROCESS INFO

- Original colour negative digitized using a CANON 8800F scanner.

- Primary editing done using Adobe Photoshop CS Windows.

- Original Image size = 3006x4546 [13.7MP]

The Postcard

 

A postally unused postcard that was published in 1986 by Impact of Pittsburg, California 94565. The card, which was designed and distributed in the USA, was printed in Korea.

 

The photography was by Ken Raveill, and the card, which has a divided back, was made with recycled paper.

 

Hearst Castle

 

Hearst Castle, known formally as La Cuesta Encantada ("The Enchanted Hill"), is an estate in San Simeon, located on the Central Coast of California. Conceived by William Randolph Hearst, the publishing tycoon, and his architect Julia Morgan, the castle was built between 1919 and 1947.

 

George Bernard Shaw described Hearst Castle as:

 

"What God would have built

if he had had the money."

 

Today, Hearst Castle is a museum open to the public as a California State Park and registered as a National Historic Landmark and California Historical Landmark.

 

George Hearst, William Randolph Hearst's father, had purchased the original 40,000-acre (162 km2) estate in 1865 and Camp Hill, the site for the future Hearst Castle, was used for family camping vacations during Hearst's youth.

 

In 1919 William inherited $11,000,000 (equivalent to $172,000,000 in 2021) and estates, including the land at San Simeon. He used his fortune to further develop his media empire of newspapers, magazines and radio stations, the profits from which supported a lifetime of building and collecting.

 

Within a few months of Phoebe Hearst's death, he had commissioned Morgan to:

 

"Build something a little more

comfortable up on the hill."

 

This was the genesis of the present castle. Morgan was an architectural pioneer:

 

"America's first truly independent

female architect."

 

She was the first woman to study architecture at the School of Beaux-Arts in Paris, the first to have her own architectural practice in California, and the first female winner of the American Institute of Architects' Gold Medal.

 

Julia worked in close collaboration with Hearst for over twenty years, and the castle at San Simeon is her best-known creation.

 

In the Roaring Twenties and into the 1930's, Hearst Castle reached its social peak. Originally intended as a family home for Hearst, his wife Millicent and their five sons, by 1925 he and Millicent had effectively separated and he held court at San Simeon with his mistress, the actress Marion Davies.

 

Their guest list comprised most of the Hollywood stars of the period; Charlie Chaplin, Cary Grant, the Marx Brothers, Greta Garbo, Buster Keaton, Mary Pickford, Jean Harlow and Clark Gable all visited, some on multiple occasions.

 

Political luminaries encompassed Calvin Coolidge and Winston Churchill, while other notables included Charles Lindbergh, P. G. Wodehouse and George Bernard Shaw.

 

Visitors gathered each evening at Casa Grande for drinks in the Assembly Room, dined in the Refectory and watched the latest movie in the theater before retiring to the luxurious accommodation provided by the guest houses of Casa del Mar, Casa del Monte and Casa del Sol.

 

During the days, they admired the views, rode, played tennis, bowls or golf and swam in "the most sumptuous swimming pool on earth".

 

While Hearst entertained, Morgan built; the castle was under almost continual construction from 1920 until 1939, with work resuming after the end of World War II until Hearst's final departure in 1947.

 

Hearst, his castle and his lifestyle were satirized by Orson Welles in his 1941 film Citizen Kane. In the film, which Hearst sought to suppress, Charles Foster Kane's palace Xanadu is said to contain:

 

"Paintings, pictures, statues, the very stones

of many another palace – a collection of

everything so big it can never be cataloged

or appraised; enough for ten museums; the

loot of the world".

 

Welles's was referring to Hearst's mania for collecting; the dealer Joseph Duveen called him the "Great Accumulator".

 

With a passion for acquisition almost from childhood, he bought architectural elements, art, antiques, statuary, silverware and textiles on an epic scale. Shortly after starting San Simeon, he began to conceive of making the castle:

 

"A museum of the best

things that I can secure".

 

Foremost among his purchases were architectural elements from Western Europe, particularly Spain. Over thirty ceilings, doorcases, fireplaces and mantels, entire monasteries, paneling and a medieval tithe barn were purchased, shipped to Hearst's Brooklyn warehouses and transported on to California.

 

Much was then incorporated into the fabric of Hearst Castle. In addition, he built up collections of more conventional art and antiques of high quality; his assemblage of ancient Greek vases was one of the world's largest.

 

In May 1947, Hearst's health compelled him and Marion Davies to leave the castle for the last time. He died in Los Angeles in 1951, and Morgan died in 1957. The following year, the Hearst family gave the castle and much of its contents to the State of California, and the mansion was opened to the public on the 17th. May 17, 1958.

 

It has since operated as the Hearst San Simeon State Historical Monument, and attracts about 750,000 visitors annually.

 

The Hearst family retains ownership of the majority of the 82,000 acres (332 km2) wider estate and, under a land conservation agreement reached in 2005, has worked with the California State Parks Department and American Land Conservancy to preserve the undeveloped character of the area.

 

Early History to 1864

 

The coastal range of Southern California has been occupied since prehistoric times. The indigenous inhabitants were the Salinans and the Chumash. In the late 18th. century, Spanish missions were established in the area in order to convert the Native American population.

 

The Mission San Miguel Arcángel, one of the largest, opened in what is now San Luis Obispo county in 1797. By the 1840's, the mission had declined and the priests departed. In that decade, the governors of Mexican California distributed the mission lands in a series of grants.

 

Three of these were Rancho Piedra Blanca, Rancho Santa Rosa and Rancho San Simeon. The Mexican–American War of 1846–1848 saw the area pass into the control of the United States under the terms of the Mexican Cession. The California Gold Rush of the next decade brought an influx of American settlers, among whom was the 30-year old George Hearst.

 

Buying the land: 1865–1919

 

Born in Missouri in 1820, George Hearst made his fortune as a miner of gold and silver, notably at the Comstock Lode and the Homestake Mine. He then undertook a political career, becoming a senator in 1886, and bought The San Francisco Examiner.

 

Investing in land, he bought the Piedra Blanca property in 1865, and subsequently extended his holdings with the acquisition of most of the Santa Rosa estate, and much of the San Simeon lands.

 

In the 1870's George Hearst built a ranch house on his estate, which remains a private property maintained by the Hearst Corporation. The San Simeon area became a site for family camping expeditions, including his young son, William. A particularly favored spot was named Camp Hill, the site of the future Hearst Castle.

 

Years later Hearst recalled his early memories of the place:

 

"My father brought me to San Simeon

as a boy. I had to come up the slope

hanging on to the tail of a pony.

We lived in a cabin on this spot and I

could see forever. That's the West –

forever."

 

George Hearst developed the estate somewhat, introducing beef and dairy cattle, planting extensive fruit orchards, and expanding the wharf facilities at San Simeon Bay. He also bred racehorses.

 

While his father developed the ranch, Hearst and his mother traveled, including an eighteen-month tour of Europe in 1873, where Hearst's life-long obsession with art collecting began.

 

When George Hearst died in 1891, he left an estate of $18 million to his widow including the California ranch. Phoebe Hearst shared the cultural and artistic interests of her son, collecting art and patronizing architects.

 

She was also a considerable philanthropist, founding schools and libraries, supporting the fledgling University of California, Berkeley, including the funding of the Hearst Mining Building in memory of her husband, and making major donations to a range of women's organizations, including the YWCA.

 

During the late 1890's, Mrs Hearst encountered Julia Morgan, a young architecture student at Berkeley. On Phoebe Hearst's death in 1919, William Hearst inherited the ranch, which had grown to 250,000 acres and 14 miles (23 km) of coastline, as well as $11 million.

 

250,000 acres is a huge area for an estate - to accommodate that area in a square, it would need sides of over 19.8 miles (32 km).

 

Within days of his mother's death, William was at Morgan's San Francisco office.

 

Julia Morgan

 

Julia Morgan, who was born in 1872, was 47 when Hearst entered her office in 1919. Her biographer Mark A. Wilson has described her subsequent career as that of:

 

"America's first independent

full-time woman architect".

 

After studying at Berkeley, where she worked with Bernard Maybeck, and in 1898 she became the first woman to win entry to the prestigious École des Beaux-Arts in Paris. Passing out from the École in 1902, Morgan returned to San Francisco and took up a post at the architectural practice of John Galen Howard.

 

Howard recognized Morgan's talents, but also exploited them:

 

"The best thing about this person

is, I pay her almost nothing, as it is

a woman."

 

In 1904, Julia passed the California architects' licensing examination, the first woman to do so, establishing her own office in 1906 at 456 Montgomery Street in San Francisco.

 

During her time with Howard, Morgan was commissioned by Phoebe Hearst to undertake work at her Hacienda del Pozo de Verona estate at Pleasanton. This led to work at Wyntoon and to a number of commissions from Hearst himself; an unexecuted design for a mansion at Sausalito, north of San Francisco, a cottage at the Grand Canyon, and the Los Angeles Examiner Building.

 

In 1919, when he turned up at Morgan's office, Hearst was fifty-six years old, and the owner of a publishing empire that included twenty-eight newspapers, thirteen magazines, eight radio stations, four film studios, extensive real-estate holdings and thirty-one thousand employees.

 

He was also a significant public figure: although his political endeavors had proved largely unsuccessful, the influence he exerted through his direct control of his media empire attracted fame and opprobrium in equal measure.

 

In 1917, one biographer described him as:

 

"The most hated man

in the country".

 

The actor Ralph Bellamy, a guest at San Simeon in the mid-1930's, recorded Hearst's working methods in a description of a party in the Assembly Room:

 

"The party was quite gay. And in the midst of it,

Mr Hearst came in. There was a teletype machine

just inside, and he stopped and he read it.

He went to a table and picked up a phone.

He asked for the editor of his San Francisco

newspaper and he said, 'Put this in a two-column

box of the front pages of all the newspapers

tomorrow morning.'

And without notes he dictated an editorial."

 

Morgan and Hearst's partnership at San Simeon lasted from 1919 until his final departure from the castle in 1947. Their correspondence, preserved in the Julia Morgan archive in the Robert E. Kennedy Library at Cal Poly San Luis Obispo, runs to some 3,700 letters and telegrams.

 

Victoria Kastner, Hearst Castle's in-house custodian, has described the partnership as "a rare, true collaboration," and there are many contemporary accounts of the closeness of the relationship. Walter Steilberg, a draughtsman in Morgan's office, once observed them at dinner:

 

"The rest of us could have been a

hundred miles away; they didn't pay

any attention to anybody ... these

two very different people just clicked".

 

Thomas Aidala, in his 1984 history of the castle, made a similar observation:

 

"Seated opposite each other, they

would discuss and review work,

consider design changes, pass

drawings back and forth ... seemingly

oblivious of the rest of the guests."

 

Having a Ball: 1925–1938

 

Hearst and his family occupied Casa Grande for the first time at Christmas, 1925. Thereafter, Hearst's wife, Millicent, went back to New York, and from 1926 until they left for the last time in 1947, Hearst's mistress Marion Davies acted as his chatelaine at the castle.

 

The Hollywood and political elite often visited in the 1920's and 1930's. Among Hearst's guests were Calvin Coolidge, Winston Churchill, Charlie Chaplin, Cary Grant, the Marx Brothers, Charles Lindbergh, and Clark Gable.

 

Churchill described his host, and Millicent Hearst and Davies, in a letter to his own wife:

 

"A grave simple child – with no doubt a

nasty temper – playing with the most

costly toys.

Two magnificent establishments, two

charming wives, complete indifference

to public opinion, oriental hospitalities."

 

Weekend guests were either brought by private train from Glendale Station north of Los Angeles, and then by car to the castle, or flew into Hearst's airstrip, generally arriving late on Friday evening or on Saturday. Cecil Beaton wrote of his impressions during his first visit for New Year's Eve in 1931:

 

"We caught sight of a vast, sparkling white

castle in Spain. It was out of a fairy story.

The sun poured down with theatrical

brilliance on tons of white marble and white

stone.

There seemed to be a thousand statues,

pedestals, urns. The flowers were unreal in

their ordered profusion.

Hearst stood smiling at the top of one of

the many flights of garden steps".

 

Guests were generally left to their own devices during the day. Horseback riding, shooting, swimming, golf, croquet and tennis were all available, while Hearst would lead mounted parties for picnics on the estate. The only absolute deadline was for cocktails in the assembly room at 7.30 on Saturday night.

 

Alcohol was rationed; guests were not permitted to have liquor in their rooms, and were limited to one cocktail each before dinner. This was due not to meanness on Hearst's part, but to his concerns over Davies's alcoholism, though the rule was frequently flouted.

 

The actor David Niven later reflected on his supplying illicit alcohol to Davies:

 

"It seemed fun at the time to stoke up

her fire of outrageous fun and I got a

kick out of feeling I had outwitted one

of the most powerful and best informed

men on earth, but what a disloyal and

crummy betrayal of him, and what a

nasty potential nail to put in her coffin."

 

Dinner was served at 9.00 in the refectory. Wine came from Hearst's 7,000-bottle cellar. Charlie Chaplin commented on the fare:

 

"Dinners were elaborate -- pheasant, wild

duck, partridge and venison -- but were

also informal: amidst the opulence, we

were served paper napkins, it was only

when Mrs Hearst was in residence that

the guests were given linen ones."

 

The informality extended to the ketchup bottles and condiments in jars which were remarked on by many guests.

 

Dinner was invariably followed by a movie; initially outside, and then in the theater. The actress Ilka Chase recorded a showing in the early 1930's:

 

"The theater was not yet complete – the plaster

was still wet – so an immense pile of fur coats

was heaped at the door, and each guest picked

one up and enveloped himself before entering...

Hearst and Marion, close together in the gloom

and bundled in their fur coats, looked for all the

world like the big and baby bears".

 

Movies were generally films from Hearst's own studio, Cosmopolitan Productions, and often featured Marion Davies. Sherman Eubanks, whose father worked as an electrician at the castle, recorded in an oral history:

 

"Mr Hearst would push a button and call up to

the projectionist and say 'Put on Marion's Peg

o' My Heart'.

So I've seen Peg o' My Heart about fifty times.

This is not being critical. I'm simply saying that's

the way it was. This repetition tended to put a

slight strain on the guests' gratitude."

 

In 1937, Patricia Van Cleeve married at the castle, the grandest social occasion there since the visit of President and Mrs Coolidge in February 1930. Ken Murray records these two events as the only occasions when formal attire was required of guests to the castle.

 

Van Cleeve, who married the actor Arthur Lake, was always introduced as Marion Davies' favorite niece. It was frequently rumored that she was in fact Davies and Hearst's daughter, something she herself acknowledged just before her death in 1993.

 

In February 1938, a plane crash at the San Simeon airstrip led to the deaths of Lord and Lady Plunket, who were traveling to the castle as Hearst's guests, and the pilot Tex Phillips. The only other passenger, the bobsledding champion, James Lawrence, survived.

 

The Specter at the Feast: Hearst, Welles and Xanadu

 

Hearst Castle was the inspiration for Xanadu, and Hearst himself the main model for Charles Foster Kane in Orson Welles's 1941 film Citizen Kane.

 

Having made his name with the Mercury Theatre production of The War of the Worlds in 1938, Welles arrived in Hollywood in 1939 to make a film version of Joseph Conrad's novel, Heart of Darkness for RKO Pictures.

 

The film was not made, and Welles began a collaboration with the screenwriter Herman J. Mankiewicz on a screenplay originally entitled American. The film tells the stories of Kane, a media magnate and aspiring politician, and of his second wife Susan Alexander, a failed opera singer driven to drink, who inhabit a castle in Florida.

 

Filming began in June 1940, and the movie premiered on the 1st. June 1941. Although at the time Orson Welles and RKO denied that the film was based on Hearst, his long-time friend and collaborator, John Houseman was clear:

 

"The truth is simple: for the basic concept

of Charles Foster Kane and for the main

lines and significant events of his public life,

Mankiewicz used as his model the figure of

William Randolph Hearst".

 

Told of the film's content before its release – his friends, the gossip columnists Hedda Hopper and Louella Parsons having attended early screenings – Hearst made strenuous efforts to stop the premiere. When these failed, he sought to damage the film's circulation by alternately forbidding all mention of it in his media outlets, or by using them to attack both the movie and Welles.

 

Hearst's assault damaged the film at the box office, and harmed Welles' subsequent career.

 

Since its inception in 1952 through to 2012, the Sight and Sound Critics' Poll voted Citizen Kane the greatest film of all time in every decade of polling. On the 9th. March 2012 the film was screened in the movie theater at Hearst Castle for the first time as part of the San Luis Obispo International Film Festival.

 

Depression, Death and After: 1939–Present

 

By the late 1930's, the Great Depression and Hearst's profligacy had brought him to the brink of financial ruin. Debts totaled $126 million, and he was compelled to cede financial control of the Hearst Corporation. Newspapers and radio stations were sold, and much of his art collection was dispersed in a series of sales, often for much less than he had paid.

 

Hearst railed against his losses, and the perceived incompetence of the sales agents, Parish-Watson & Co:

 

"They greatly cheapened them and us,

he advertises like a bargain basement

sale. I am heartbroken".

 

Construction at Hearst Castle virtually ceased. After the attack on Pearl Harbor, the castle was closed up and Hearst and Davies moved to Wyntoon, which was perceived to be less vulnerable to enemy attack.

 

They returned in 1945, and construction on a limited scale recommenced, finally ending in 1947. In early May of that year, with his health declining, Hearst and Davies left the castle for the last time. The pair settled in at 1007 North Beverly Drive in Beverly Hills.

 

William Randolph Hearst died in 1951, his death abruptly severing him from Davies, who was excluded from the funeral by Hearst's family:

 

"For thirty-two years I had him,

and they leave me with his

empty room".

 

In 1950 Julia Morgan closed her San Francisco office after a career of forty-two years. Ill health marred her retirement and she died, a virtual recluse, in early 1957.

 

In 1958 the Hearst Corporation donated Hearst Castle, its gardens, and many of its contents, to the state of California. A plaque at the castle reads:

 

"La Cuesta Encantada presented to

the State of California in 1958 by the

Hearst Corporation in memory of

William Randolph Hearst who created

this Enchanted Hill, and of his mother,

Phoebe Apperson Hearst, who

inspired it".

 

The castle was opened to the public for the first time in June 1958. Hearst Castle was added to the National Register of Historic Places on the 22nd. June.

 

Hearst was always keen to protect the mystique of his castle. In 1926, he wrote to Morgan to congratulate her after a successful party was held on the hill:

 

"Those wild movie people said it was

wonderful and that the most extravagant

dream of a movie picture fell far short of

this reality. They all wanted to make a

picture there but they are NOT going to

be allowed to do this."

 

Commercial filming at the castle is still rarely allowed. Since 1957 only two projects have been granted permission:

 

-- Stanley Kubrick's 1960 film Spartacus used the castle to stand in as the villa of Marcus Licinius Crassus, played by Lawrence Olivier.

 

-- In 2014, Lady Gaga's music video for "G.U.Y." was filmed at the Neptune and Roman Pools.

 

On the 12th. February 1976, the Casa del Sol guesthouse was damaged by a bomb. The device was placed by allies of the Symbionese Liberation Army (SLA), in retaliation for Patty Hearst, Hearst's granddaughter, testifying in court at her trial for armed robbery, following her kidnapping by the SLA in 1974.

 

On the 22nd. December 2003, an earthquake occurred with its epicenter some three miles north of the castle. With a magnitude of 6.5, it was the largest earthquake recorded at San Simeon. The very limited structural damage which resulted was a testament to the quality of the castle's construction.

 

Since its opening, the castle has become a major California tourist attraction, attracting over 850,000 visitors in 2018. Recent changes to the tour arrangements now allow visitors time to explore the grounds independently at the conclusion of the conducted tours.

 

The Hearst family maintains a connection with the castle, which was closed for a day in early August 2019 for the wedding of Amanda Hearst, Hearst's great-granddaughter.

 

The castle closed in March 2020, due to the COVID-19 pandemic. After 2 years of closure and repairs to the access road due to rainstorm damage, the castle reopened on the 11th. May 2022.

 

Architecture of Hearst Castle

 

Hearst's original idea was to build a bungalow, according to Walter Steilberg, one of Morgan's draftsmen who recalled Hearst's words from the initial meeting:

 

"I would like to build something up on

the hill at San Simeon. I get tired of

going up there and camping in tents.

I'm getting a little too old for that.

I'd like to get something that would

be a little more comfortable".

 

However within a month, Hearst's original ideas for a modest dwelling had greatly expanded. Discussion on the style began with consideration of "Jappo-Swisso" themes. Then the Spanish Colonial Revival style was favored. Morgan had used this style when she worked on Hearst's Los Angeles Herald Examiner headquarters in 1915.

 

Hearst appreciated the Spanish Revival but was dissatisfied with the crudeness of the colonial structures in California. Mexican colonial architecture had more sophistication, but he objected to its abundance of ornamentation.

 

Thomas Aidala, in his 1984 study of the castle, notes the Churrigueresque influence on the design of the main block:

 

"Flat and unembellished exterior surfaces;

decorative urges are particularized and

isolated, focused mainly on doorways,

windows and towers".

 

The Panama-California Exposition of 1915 in San Diego held the closest approximations in California to the approach Hearst desired. But William's European tours, and specifically the inspiration of the Iberian Peninsula, led him to Renaissance and Baroque examples in southern Spain that more exactly suited his tastes. He particularly admired a church in Ronda, Spain and asked Morgan to model the Casa Grande towers after it.

 

In a letter to Morgan dated 31st. December 1919, Hearst wrote:

 

"The San Diego Exposition is the best source

of Spanish in California. The alternative is to

build in the Renaissance style of southern Spain.

We picked out the towers of the church at Ronda...

a Renaissance decoration, particularly that of the

very southern part of Spain, could harmonize well

with them.

I would very much like to have your views on what

style of architecture we should select."

 

This blend of Southern Spanish Renaissance, Revival and Mediterranean examples became San Simeon's defining style:

 

"Something a little different than other

people are doing out in California".

 

The architectural writers Arrol Gellner and Douglas Keister describe Casa Grande as

 

"A palatial fusion of Classicism and Mediterranean

architecture that transcended the Mission Revival

era and instead belonged to the more archaeological

Period Revival styles that gained favor after the

Panama-California Exposition of 1915".

 

Hearst Castle has a total of 42 bedrooms, 61 bathrooms, 19 sitting rooms, 127 acres (half a square kilometer) of gardens, indoor and outdoor swimming pools, tennis courts, a movie theater, an airfield and, during Hearst's lifetime, the world's largest private zoo.

 

Hearst was an inveterate rethinker who would frequently order the redesign of previously agreed, and often built, structures: the Neptune Pool was rebuilt three times before he was satisfied.

 

He was aware of his propensity for changing his mind; in a letter dated the 18th. March 1920, he wrote to Morgan:

 

"All little houses stunning. Please complete

before I can think up any more changes".

 

As a consequence of Hearst's persistent design changes, and financial difficulties in the early and later 1930's, the complex was never finished.

 

By the late summer of 1919, Morgan had surveyed the site, analyzed its geology, and drawn initial plans for Casa Grande. Construction began in 1919 and continued through 1947 when Hearst left the estate for the last time.

 

During the early years of construction, until Hearst's stays at San Simeon became longer and more frequent, his approval for the ongoing design was obtained by Morgan sending him models of planned developments.

 

By the late 1920's the main model, designed by another female architect Julian C. Mesic, had become too large to ship, and Mesic and Morgan would photograph it, hand-color the images, and send these to Hearst.

 

Construction of Hearst Castle

 

The castle's location presented major challenges for construction. It was remote; when Morgan began coming to the estate for site visits in 1919, she would leave her San Francisco office on Friday afternoon and take an eight-hour, 200-mile train journey to San Luis Obispo, followed by a fifty-mile drive to San Simeon.

 

The relative isolation made recruiting and retaining a workforce a constant difficulty. In the early years, the estate lacked water, its limited supplies coming from three natural springs on Pine Mountain, a 3,500-foot-high (1,100 m) peak seven miles (11 km) east of Hearst Castle.

 

The issue was addressed by the construction of three reservoirs, and Morgan devised a gravity-based water delivery system that transported water from the nearby mountain springs to the reservoirs, including the main one on Rocky Butte, a 2,000-foot (610 m) knoll less than a mile southeast of Hearst Castle.

 

Water was of particular importance; as well as feeding the pools and fountains Hearst desired, it provided electricity, by way of a private hydroelectric plant, until the San Joaquin Light and Power Corporation began service to the castle in 1924.

 

The climate presented a further challenge. The proximity to the coast brought strong winds in from the Pacific Ocean, and the site's elevation meant that winter storms were frequent and severe.

 

After a period of severe storms in February 1927, Hearst wrote a letter:

 

"We are all leaving the hill. We are drowned,

blown and frozen out. Before we build anything

more, let's make what we have practical,

comfortable and beautiful.

If we can't do that we might just as well change

the names of the houses to Pneumonia House,

Diphtheria House and Influenza Bungalow.

The main house we can call the Clinic."

 

Water was also essential for the production of concrete, the main structural component of the houses and their ancillary buildings.

 

Morgan had substantial experience of building in steel-reinforced concrete and, together with the firm of consulting engineers Earl and Wright, experimented in finding suitable stone, eventually settling on that quarried from the mountain top on which the foundation platform for the castle was built.

 

Combining this with desalinated sand from San Simeon Bay produced concrete of exceptionally high quality. Later, white sand was brought in from Carmel. Material for construction was transported either by train and truck, or by sea into a wharf built in San Simeon Bay below the site. In time, a light railway was constructed from the wharf to the castle, and Morgan built a compound of warehouses for storage and accommodation for workers by the bay.

 

Brick and tile works were also developed on site, as brick was used extensively, and tiling was an important element of the decoration of the castle. Morgan used several tile companies to produce her designs, including Grueby Faience, Batchelder, California Faience and Solon & Schemmel.

 

Albert Solon and Frank Schemmel came to Hearst Castle to undertake tiling work, and Solon's brother, Camille, was responsible for the design of the mosaics of blue-and-gold Venetian glass tile used in the Roman pool and the murals in Hearst's Gothic library.

 

Morgan worked with a series of construction managers; Henry Washburn from 1919 to 1922, then Camille Rossi from 1922, until his firing by Hearst in 1932, and finally George Loorz until 1940. From 1920 to 1939, there were between 25 and 150 workmen employed in construction at the castle.

 

Costs of Hearst Castle

 

The exact cost of the entire San Simeon complex is unknown. Kastner makes an estimate of expenditure on construction and furnishing the complex between 1919 and 1947 as "under $10,000,000".

 

Thomas Aidala suggests a slightly more precise figure for the overall cost at between $7.2 and $8.2 million. Hearst's relaxed approach to using the funds of his companies, and sometimes the companies themselves, to make personal purchases made clear accounting for expenditure almost impossible.

 

In 1927 one of his lawyers wrote:

 

"The entire history of your corporation

shows an informal method of withdrawal

of funds".

 

In 1945, when the Hearst Corporation was closing the Hearst Castle account for the final time, Morgan gave a breakdown of construction costs, which did not include expenditure on antiques and furnishings.

 

Casa Grande's build cost is given as $2,987,000, and that for the guest houses, $500,000. Other works, including nearly half a million dollars on the Neptune pool, brought the total to $4,717,000.

 

Morgan's fees for twenty-odd years of almost continuous work came to $70,755. Her initial fee was a 6% commission on total costs. This was later increased to 8.5%. Many additional expenses, and challenges in getting prompt payment, led her to receive rather less than this.

 

Kastner suggests that Morgan made an overall profit of $100,000 on the entire, twenty-year, project. Her modest remuneration was unimportant to her. At the height of Hearst's financial travails in the late 1930's, when his debts stood at over $87 million, Morgan wrote to him,

 

"I wish you would use me in any way

that relieves your mind as to the care

of your belongings. There never has

been, nor will there be, any charge in

this connection, it is an honor and a

pleasure".

 

Casa del Mar

 

Casa del Mar, the largest of the three guest houses, provided accommodation for Hearst himself until Casa Grande was ready in 1925. He stayed in the house again in 1947, during his last visit to the estate.

 

Casa del Mar contains 5,350 square feet (546 square meters) of floor space. Although luxuriously designed and furnished, none of the guest houses had kitchen facilities, a lack that sometimes irritated Hearst's guests. Adela Rogers St. Johns recounted her first visit:

 

"I rang and asked the maid for coffee.

With a smile, she said I would have to

go up to the castle for that.

I asked Marion Davies about this. She

said W. R. Hearst did not approve of

breakfast in bed."

 

Adjacent to Casa del Mar is the wellhead from Phoebe Hearst's Hacienda del Pozo de Verona, which Hearst moved to San Simeon when he sold his mother's estate after her death in 1919.

 

Casa del Monte

 

Casa del Monte was the first of the guest houses, originally entitled simply Houses A (del Mar), B (del Monte) and C (del Sol). It was built by Morgan on the slopes below the site of Casa Grande during 1920–1924.

 

Hearst had initially wanted to commence work with the construction of the main house, but Morgan persuaded him to begin with the guest cottages because the smaller structures could be completed more quickly.

 

Each guest house faces the Esplanade, and appears as a single story at its front entrance. Additional stories descend rearward down the terraced mountain side. Casa del Monte has 2,550 sq ft (237 sq. meters) of living space.

 

Casa del Sol

 

The decorative style of the Casa del Sol is Moorish, accentuated by the use of antique Persian tiles. A bronze copy of Donatello's David stands atop a copy of an original Spanish fountain.

 

The inspiration for the fountain came from an illustration in a book, The Minor Ecclesiastical, Domestic and Garden Architecture of Southern Spain, written by Austin Whittlesey and published in 1919.

 

Hearst sent a copy to Morgan, while retaining another for himself, and it proved a fertile source of ideas. The size of the house is 3,620 square feet (242 sq. meters).

 

Morgan's staff were responsible for the cataloguing of those parts of Hearst's art collection which were shipped to California, and an oral record made in the 1980's indicates the methodology used for furnishing the buildings at San Simeon:

 

"We would set the object up, and then I would

stand with a yardstick to give it scale. Sam Crow

would take a picture. Then we would give it a

number and I would write a description.

These were made into albums.

When Mr Hearst would write and say 'I want a

Florentine mantel in Cottage C in Room B, and

four yards of tiles,' then we would look it up in

the books and find something that would fit."

 

Casa Grande

 

Construction of Casa Grande began in April 1922. Work continued almost until Hearst's final departure on the 2nd. May 1947, and even then the house was unfinished. The size of Casa Grande is 68,500 square feet (5,634 sq. meters).

 

The main western façade is four stories. The entrance front, inspired by a gateway in Seville, is flanked by twin bell towers modeled on the tower of the church of Santa Maria la Mayor.

 

The layout of the main house was originally to a T-plan, with the assembly room to the front, and the refectory at a right angle to its center. The subsequent extensions of the North and South wings modified the original design.

 

As elsewhere, the core construction material is concrete, though the façade is faced in stone. In October 1927 Morgan wrote to Arthur Byne:

 

"We finally took the bull by the horns

and are facing the entire main building

with a Manti stone from Utah."

 

Morgan assured Hearst that it would be "the making of the building".

 

A cast-stone balcony fronts the second floor, and another in cast-iron the third. Above this is a large wooden overhang or gable. This was constructed in Siamese teak, originally intended to outfit a ship, which Morgan located in San Francisco.

 

The carving was undertaken by her senior carver Jules Suppo. Sara Holmes Boutelle suggests Morgan may have been inspired by a somewhat similar example at the Mission San Xavier del Bac in Arizona. The façade terminates with the bell towers, comprising the Celestial suites, the carillon towers and two cupolas.

 

The curator Victoria Kastner notes a particular feature of Casa Grande, the absence of any grand staircases. Access to the upper floors is either by elevators or stairwells in the corner turrets of the building. Many of the stairwells are undecorated and the plain, poured concrete contrasts with the richness of the decoration elsewhere.

 

The terrace in front of the entrance, named Central Plaza, has a quatrefoil pond at its center, with a statue of Galatea on a Dolphin. The statue was inherited, having been bought by Phoebe Hearst when her son was temporarily short of money.

 

The doorway from the Central Plaza into Casa Grande illustrates Morgan and Hearst's relaxed approach to combining genuine antiques with modern reproductions to achieve the effects they both desired. A 16th.-century iron gate from Spain is topped by a fanlight grille, constructed in a matching style in the 1920's by Ed Trinkeller, the castle's main ironmonger.

 

The castle made use of the latest technology. Casa Grande was wired with an early sound system, allowing guests to make music selections which were played from a Capehart phonograph located in the basement, and piped into rooms in the house through a system of speakers. Alternatively, six radio stations were available.

 

The entire estate was also equipped with 80 telephones, operated through a PBX switchboard, which was staffed 24 hours a day, and ran under the exclusive exchange 'Hacienda'.

 

Fortune recorded an example of Hearst's delighting in the ubiquitous access the system provided:

 

"A guest) fell to wondering about the result

of a ball game while seated by a campfire

with Mr Hearst, a day's ride from the castle.

'I'll tell you' volunteers Mr Hearst and,

fumbling with the rock against which he was

leaning, pulls from there a telephone, asks

for New York, and relieves his guest's curiosity".

 

The Assembly Room

 

The assembly room is the main reception room of the castle, described in 1985 by Taylor Coffman as:

 

"One of San Simeon's most

magnificent interiors".

 

The fireplace, originally from a Burgundian chateau in Jours-lès-Baigneux, is named the Great Barney Mantel, after a previous owner, Charles T. Barney, from whose estate Hearst bought it after Barney's suicide.

 

The ceiling is from an Italian palazzo. A concealed door in the paneling next to the fireplace allowed Hearst to surprise his guests by entering unannounced. The door opened off an elevator which connected with his Gothic suite on the third floor.

 

The assembly room, completed in 1926, is nearly 2,500 square feet in extent, and was described by the writer and illustrator Ludwig Bemelmans as:

 

"Looking like half of Grand

Central Station".

 

The room held some of Hearst's best tapestries. These include four from a set celebrating the Roman general Scipio Africanus, designed by Giulio Romano, and two copied from drawings by Peter Paul Rubens depicting The Triumph of Religion.

 

The need to fit the tapestries above the paneling and below the roof required the installation of the unusually low windows.

 

The room has the only piece of Victorian decorative art in the castle, the Orchid Vase lamp, made by Tiffany for the Exposition Universelle held in Paris in 1889. It was bought by Phoebe Hearst, who had the original vase converted to a lamp. William placed it in the assembly room in tribute to his mother.

 

The Refectory

 

The refectory was the only dining room in the castle, and was built between 1926 and 1927. The choir stalls which line the walls are from the La Seu d'Urgell Cathedral in Catalonia, and the silk flags mounted on the walls are Palio banners from Siena.

 

Hearst originally intended a "vaulted Moorish ceiling" for the room but, finding nothing suitable, he and Morgan settled on the Italian Renaissance example, dating from around 1600, which Hearst purchased from a dealer in Rome in 1924.

 

Victoria Kastner considered that the flat roof, with life-size carvings of saints:

 

"Strikes a discordant note of

horizontality among the vertical

lines of the room".

 

The style of the whole is Gothic, in contrast to the Renaissance approach adopted in the preceding assembly room. The refectory is said to have been Morgan's favorite interior within the castle.

 

The design of both the refectory and the assembly room was greatly influenced by the monumental architectural elements, especially the fireplaces and the choir stalls used as wainscoting, and works of art, particularly the tapestries, which Hearst determined would be incorporated into the rooms.

 

The central table provided seating for 22 in its usual arrangement of two tables, which could be extended to three or four, on the occasion of larger gatherings. The tables were sourced from an Italian monastery, and were the setting for some of the best pieces from Hearst's collection of silverware. One of the finest is a wine cooler dating from the early 18th. century and weighing 14.2 kg by the Anglo-French silversmith David Willaume.

 

The Library

 

The library is on the second floor, directly above the assembly room. The ceiling is 16th. century Spanish, and a remnant is used in the library's lobby. It comprises three separate ceilings, from different rooms in the same Spanish house, which Morgan combined into one.

 

The fireplace is the largest Italian example in the castle. Carved from limestone, it is attributed to the medieval sculptor and architect Benedetto da Maiano.

 

The library contains a collection of over 5,000 books, with another 3,700 in Hearst's study above. The majority of the library collections, including Hearst's choicest pieces from his sets of, often signed, first editions by Charles Dickens, his favorite author, were sold at sales at Parke-Bernet at 1939 and Gimbels in 1941. The library is also the location for much of Hearst's important holding of antique Greek vases.

 

The Cloisters and the Doge's Suite

 

The Cloisters form a grouping of four bedrooms above the refectory and, along with the Doge's Suite above the breakfast room, were completed in 1926. The Doge's Suite was occupied by Millicent Hearst on her rare visits to the castle.

 

The room is lined with blue silk, and has a Dutch painted ceiling, in addition to two more of Spanish origin, which was once the property of architect Stanford White.

 

Morgan also incorporated an original Venetian loggia in the suite, refashioned as a balcony. The suite leads on to Morgan's inventive North and South Duplex apartments, with sitting areas and bathrooms at entry level and bedrooms on mezzanine floors above.

 

The Gothic Suite

 

The Gothic suite was Hearst's private apartment on the third floor. He moved there in 1927. It comprises the Gothic study or library and Hearst's own South Gothic bedroom and private sitting room.

 

The ceiling of the bedroom is one of the best Hearst bought; Spanish, of the 14th. century, it was discovered by his Iberian agent Arthur Byne who also located the original frieze panels which had been detached and sold some time before.

 

The whole was installed at the castle in 1924. The space originally allocated for the study was too low to create the impression desired by Morgan and Hearst, a difficulty Morgan surmounted by raising the roof and supporting the ceiling with concrete trusses.

 

These, and the walls, were painted with frescoes by Camille Solon. Light was provided by two ranges of clerestory windows. The necessity of raising the roof to incorporate the study occasioned one of the few instances where Hearst hesitated:

 

"I telegraphed you my fear of the cost...

I imagine it would be ghastly."

 

Nevertheless Morgan urged further changes and expense. The result vindicated Morgan. The study, completed in 1931, is dominated by a portrait of Hearst at age 31, painted by his life-long friend, Orrin Peck.

 

The Celestial Suites

 

The Celestial bedrooms, with a connecting, shared, sitting room, were created between 1924 and 1926. The bell towers were raised to improve the proportions of the building, and the suites constructed in the spaces created below.

 

The relatively cramped spaces allowed no room for storage, and en-suite bathrooms were "awkwardly squeezed" into lower landings. Ludwig Bemelmans, a guest in the 1930's, recalled:

 

"There was no place to hang your

clothes, so I hung mine on wire

coat hangers that a former tenant

had left hanging on the arms of

two six-armed gold candelabra,

the rest I put on the floor".

 

The sitting room contains one of the most important paintings in Hearst's collection, Bonaparte Before the Sphinx (1868) by Jean-Léon Gérôme. The suites are linked externally by a walkway, the Celestial Bridge, which is decorated with elaborate tiling.

 

The North and South Wings

 

The North, or Billiard, and the South, or Service, wings complete the castle, and were begun in 1929.

 

The North wing houses the billiard room on the first floor, which was converted from the original breakfast room. It has a Spanish antique ceiling and a French fireplace, and contains the oldest tapestry in the castle, a Millefleur hunting scene woven in Flanders in the 15th. century.

 

The spandrel over the doorcase is decorated with a frieze of 16th. century Persian tiles depicting a battle. The 34 tiles originate from Isfahan and were purchased by Hearst at the Kevorkian sale in New York in 1922.

 

The theater, which leads off the billiard room, was used both for amateur theatricals and the showing of movies from Hearst's Cosmopolitan Studios. The theater accommodated fifty guests and had an electric keyboard that enabled the bells in the carillon towers to be played. The walls are decorated in red damask, which originally hung in the Assembly room, and feature gilded caryatids.

 

The upper stories of the North Wing were the last to be worked upon, and were never completed. Activity recommenced in 1945 and Morgan delegated the work to her assistant, Warren McClure. Many of the rooms are unfinished, but Aidala considers that the bathrooms in the wing represent first-rate examples of streamline design.

 

The Service Wing contains the kitchen. The hotel-scale units and worktops are constructed in Monel Metal, an expensive form of nickel alloy invented in 1901. The wing contains further bedroom suites, a staff dining room, and gives entry to the 9,000 square foot basement which contained a wine cellar, pantries, the boiler plant which heated the main house, and a barber shop, for the use of Hearst's guests.

 

Planned but Uncompleted Elements

 

Hearst and Morgan intended a large ballroom or cloister to connect the North and South wings at the rear of Casa Grande and unify the whole composition, but it was never undertaken.

 

In 1932, Hearst contemplated incorporating the reja (grille) he had acquired from Valladolid Cathedral in 1929 into this room. He described his vision in a letter to Morgan dated that year:

 

"A great ballroom and banqueting hall,

that is the scheme! Isn't it a pippin."

 

The letter was signed "Sincerely, Your Assistant Architect".

 

Other structures that did not develop beyond drawings and plans included two more guest houses, in English and Chinese architectural styles.

 

Collections

 

After a visit to Ansiglioni's workshop in 1889, William wrote the following in a letter to his mother:

 

"Why didn't you buy Ansiglioni's Galatea. It is

superb...I have a great notion to buy it myself,

the one thing that prevents me is a scarcity of

funds.

The man wants eight thousand dollars for the

blooming thing. I have the art fever terribly.

Queer, isn't it?

I never miss a gallery and I go and nosey about

the pictures and statuary and wish they were mine."

 

Hearst was a voracious collector of art, with the stated intention of making the castle "a museum of the best things that I can secure."

 

The dealer Joseph Duveen, from whom Hearst bought despite their mutual dislike, called him the "Great Accumulator." His robust approach to buying, particularly the purchase and removal of entire historic structures, generated considerable ill-feeling, and sometimes outright opposition.

 

William's deconstruction and removal of the 14th. century Bradenstoke Priory in England led the Society for the Protection of Ancient Buildings to organize a campaign which used language so violent that its posters had to be pasted over for fear of a libel suit.

 

Hearst sometimes encountered similar opposition elsewhere. In 1919 he was writing to Morgan about:

 

"The patio from Bergos (sic) which, by the

way, I own but cannot get out of Spain".

 

The dismantling of a monastery in Sacramenia, which Hearst bought in its entirety in the 1920's, saw his workmen attacked by enraged villagers.

 

Hearst's tardiness in paying his bills was another less attractive feature of his purchasing approach; in 1925 Morgan was obliged to write to Arthur Byne:

 

"Mr. Hearst accepts your

dictum – cash or nothing".

 

Some of the finest pieces from the collections of books and manuscripts, tapestries, paintings, antiquities and sculpture, amounting to about half of Hearst's total art holdings, were sold in sales in the late 1930's and early 1940's, when Hearst's publishing empire was facing financial collapse, but a great deal remains.

 

William's art buying had started when he was young and, in his tested fashion, he established a company, the International Studio Arts Corporation, as a vehicle for purchasing works and as a means of dealing with their export and import.

 

In 1975, the Hearst Corporation donated the archive of Hearst's Brooklyn warehouses, the gathering point for almost all of his European acquisitions before their dispersal to his many homes, to Long Island University.

 

As of 2015, the university has embarked on a digitization project which will ultimately see the 125 albums of records, and sundry other materials, made available online.

 

Antiquities

 

The ancient Egyptian, Greek and Roman antiquities are the oldest works in Hearst's collection. The oldest of all are the stone figures of the Egyptian goddess Sekhmet which stand on the South Esplanade below Casa Grande. They date from the Eighteenth and Nineteenth Dynasties, approximately 1550 to 1189 BC.

 

Morgan designed the pool setting for the pieces, with tiling inspired by ancient Egyptian motifs. In the courtyard of Casa del Monte is one of a total of nine Roman sarcophagi collected by Hearst, dated to 230 AD, and previously held at the Palazzo Barberini, which was acquired at the Charles T. Yerkes sale in 1910.

 

The most important element of the antiquities collection is the holding of Greek vases, on display in the second-floor library. Although 65 vases were purchased by the Metropolitan Museum of Art in New York after Hearst's death, those which remain at the castle still form one of the world's largest private groups. Hearst began collecting vases in 1901, and his collection was moved from his New York homes to the castle in 1935.

 

At its peak, the collection numbered over 400 pieces. The vases were placed on the tops of the bookshelves in the library, each carefully wired in place to guard against vibrations from earthquakes. At the time of Hearst's collecting, many of the vases were believed to be of Etruscan manufacture, but later scholars ascribe all of them to Greece.

 

Sculptures

 

Hearst often bought multiple lots from sales of major collections; in 1930 he purchased five antique Roman statues from the Lansdowne sale in London. Four are now in the collection of the Los Angeles County Museum of Art, and one in the Metropolitan.

 

William collected bronzes as well as marble figures; a cast of a stone original of Apollo and Daphne by Bernini, dating from around 1617, stands in the Doge's suite.

 

In addition to his classical sculptures, Hearst was content to acquire 19th. century versions, or contemporary copies of ancient works:

 

"If we cannot find the right thing

in a classic statue, we can find a

modern one".

 

He was a particular patron of Charles Cassou, and also favored the early 19th. century Danish sculptor Bertel Thorvaldsen whose Venus Victorious remains at the castle.

 

Both this, and the genuinely classical Athena from the collection of Thomas Hope, were displayed in the Assembly room, along with the Venus Italica by Antonio Canova. Other works by Thorvaldsen include the four large marble medallions in the Assembly room depicting society's virtues.

 

Two 19th. century marbles are in the anteroom to the Assembly room, Bacchante, by Frederick William MacMonnies, a copy of his bronze original, and Pygmalion and Galatea by Gérôme.

 

A monumental statue of Galatea, attributed to Leopoldo Ansiglioni and dating from around 1882, stands in the center of the pool on the Main terrace in front of Casa Grande.

 

Textiles

 

Tapestries include the Scipio set by Romano in the Assembly room, two from a set telling the Biblical story of Daniel in the Morning room, and the millefleur hunting scene in the Billiard room. The hunting scene is particularly rare, one of only "a handful from this period in the world".

 

Hearst also assembled and displayed an important collection of Navajo textiles at San Simeon, including blankets, rugs and serapes. Most were purchased from Herman Schweizer, who ran the Indian Department of the Fred Harvey Company.

 

Originally gathered at Hearst's hacienda at Jolon, they were moved to Wyntoon in 1940 before being brought to San Simeon. They were finally donated to the Los Angeles County Museum of Art in 1942.

 

Hearst was always interested in pieces that had historical and cultural connections to the history of California and Central and Latin America. The North Wing contains two Peruvian armorial banners. Dating from the 1580's, they show the shields of Don Luis Jerónimo Fernández Cabrera y Bobadilla, Count of Chinchón and viceroy of Peru.

 

Nathaniel Burt, the composer and critic evaluated the collections at San Simeon thus:

 

"Far from being the mere kitsch that

most easterners have been led to

believe, San Simeon is full of real

beauties and treasures".

 

Paintings

 

The art collection includes works by Tintoretto, whose portrait of Alvisius Vendramin hangs in the Doge's suite, Franz Xaver Winterhalter who carried out the double portraits of Maximilian I of Mexico and his empress Carlota, located in Casa del Mar, and two portraits of Napoléon by Jean-Léon Gérôme.

 

Hearst's earliest painting, a Madonna and Child from the school of Duccio di Buoninsegna, dates from the early 14th. century. A gift from his friend, the editor Cissy Patterson, the painting hangs in Hearst's bedroom.

 

Portrait of a Woman, by Giulio Campi, hangs in a bedroom in the North Wing. In 1928 Hearst acquired the Madonna and Child with Two Angels, by Adriaen Isenbrandt.

 

The curator Taylor Coffman describes this work, which hangs in the Casa del Mar sitting room, as perhaps "San Simeon's finest painting". In 2018, a previously unattributed Annunciation in the Assembly room was identified as a work of 1690 by Bartolomé Pérez.

 

The Gardens and Grounds of Hearst Castle

 

The Esplanade, a curving, paved walkway, connects the main house with the guest cottages; Hearst described it as:

 

"Giving a finished touch to the big

house, to frame it in, as it were."

 

Morgan designed the pedestrianized pavement with great care, to create a coup de théâtre for guests, desiring:

 

"A strikingly noble and saississant effect

be impressed upon everyone on arrival."

 

Hearst concurred:

 

"Heartily approve. I certainly want that

saississant effect. I don't know what it

is, but I think we ought to have at least

one such on the premises".

 

A feature of the gardens are the lampposts topped with alabaster globes; modeled on "janiform hermae", the concept was Hearst's. The Swan lamps, remodeled with alabaster globe lights to match the hermae, were designed by Morgan's chief draftsman, Thaddeus Joy.

 

Others who influenced Hearst and Morgan in their landscaping include Charles Adams Platt, an artist and gardener who had made a particular study of the layout and planting of Italian villas. Also Nigel Keep, Hearst's orchardman, who worked at San Simeon from 1922 to 1947, and Albert Webb, Hearst's English head gardener who was at the hill from 1922 to 1948.

 

The Neptune Pool

 

The Neptune Pool, "the most sumptuous swimming pool on earth", is located near the edge of the hilltop. It is enclosed by a retaining wall and underpinned by a framework of concrete struts to allow for movement in the event of earthquakes.

 

The pool is often cited as an example of Hearst's changeability; it was reconstructed three times before he was finally satisfied. Originally begun as an ornamental pond, it was first expanded in 1924 as Millicent Hearst desired a swimming pool.

 

It was enlarged again during 1926–1928 to accommodate Cassou's statuary. Finally, in 1934, it was extended again to act as a setting for a Roman temple, in part original and in part comprising elements from other structures which Hearst transported from Europe and had reconstructed at the site.

 

The pool holds 345,000 gallons of water, and is equipped with seventeen shower and changing rooms. It was heated by oil-fired burners. In early 2014, the pool was drained due to drought conditions and leakage.

 

After a long-term restoration project to fix the leaking, the pool was refilled in August 2018. The restoration of the pool was recognized with a Preservation Design Award for Craftsmanship from the California Preservation Foundation in 2019.

 

The pool is well-supplied with sculpture, particularly works by Charles Cassou. His centerpiece, opposite the Roman temple, is The Birth of Venus. An even larger sculptural grouping, depicting Neptune in a chariot drawn by four horses, was commissioned to fill the empty basin above the Venus. Although carved, it was never installed.

 

Roman Pool

 

The Roman Pool, constructed under the tennis courts, provided an indoor alternative to the Neptune pool. Originally mooted by Hearst in 1927, construction did not begin until 1930, and the pool was not completed until 1935.

 

Hearst initially wanted the pool to be fed by salt-water, but the design challenges proved to be insuperable. A disastrous attempt to fulfill Hearst's desires by pouring 20 tons of washed rock salt into the pool saw the disintegration of the cast-iron heat exchanger and pump.

 

Inspiration for the mosaic decoration came from the Mausoleum of Galla Placidia in Ravenna. The tiles are of Murano glass, with gold-leaf, and were designed by Solon and manufactured in San Francisco.

 

Although a pool of "spectacular beauty", it was little used as it was located in a less-visited part of the complex.

 

The Pergola and Zoo

 

Two other major features of the grounds were the pergola and the zoo. The pergola, an ornamental bridleway, runs to the west of Casa Grande. Comprising concrete columns, covered in espaliered fruit trees, Morgan ensured that it was built to a height sufficient to allow Hearst, "a tall man with a tall hat on a tall horse", to ride unimpeded down its mile-long length.

 

Plans for a zoo, to house Hearst's large collection of wild animals, were drawn up by Morgan, and included an elephant house and separate enclosures for antelopes, camels, zebras and bears. The zoo was never constructed, but a range of shelters and pits were built, sited on Orchard Hill.

 

The Estate

 

At the height of Hearst's ownership, the estate totaled more than 250,000 acres. W. C. Fields commented on the extent of the estate while on a visit:

 

"Wonderful place to bring up children.

You can send them out to play. They

won't come back till they're grown."

 

23 miles to the north of the castle, Morgan constructed the Milpitas Hacienda, a ranch-house that acted as a trianon to the main estate, and as a focus for riding expeditions.

 

Appraisals of Hearst Castle

 

As with Hearst himself, Hearst Castle and its collections have been the subject of considerable criticism. From the 1940's the view of Hearst and Morgan's most important joint creation as the phantasmagorical Xanadu of Orson Welles's imagination has been commonplace.

 

Some literary depictions were gently mocking; P. G. Wodehouse's novel of 1953, The Return of Jeeves has a character describe her stay:

 

"I remember visiting San Simeon once,

and there was a whole French Abbey

lying on the grass."

 

John Steinbeck's unnamed description was certainly of Hearst:

 

"They's a fella, newspaper fella near the

coast, got a million acres. Fat, sof' fella

with little mean eyes an' a mouth like a

ass-hole".

 

The writer John Dos Passos went further, explicitly referencing Hearst in the third volume of his 1938 U.S.A trilogy:

 

"The emperor of newsprint retired to his

fief of San Simeon where he built an

Andalusian palace and there spends his

last years amid the relaxing adulations

of screen stars, admen, screenwriters,

publicity-men, columnists.

Until he dies, a spent Caesar grown old

with spending."

 

The English architectural writer Clive Aslet was little more complimentary about the castle. Disliking its "unsympathetic texture of poured concrete", he described it as "best seen from a distance".

 

The unfinished, and unresolved, rear façade of Casa Grande has been the subject of particular negative comment; Carleton Winslow and Nicola Frye, in their history from 1980, suggest:

 

"The flanking North and South wings

compete rather disastrously with the

central doge's suite block."

 

Others questioned the castle's very existence; the architect Witold Rybczynski asked:

 

"What is this Italian villa doing on the

Californian Coastal Range? A costly

piece of theatrical décor that ignores

its context and lacks meaning."

 

Hearst's collections were similarly disparaged. The art historian William George Constable echoed Joseph Duveen when he assessed Hearst as:

 

"Not a collector but a gigantic

and voracious magpie."

 

Later decades after Hearst's death have seen a more sympathetic and appreciative evaluation of his collections, and the estate he and Morgan created to house them.

 

The director of the Metropolitan Museum of Art, Thomas Hoving, although listing Hearst only at number 83 in his evaluation of America's top 101 art collectors, wrote:

 

"Hearst is being reevaluated. He may

have been much more of a collector

than was thought at the time of his

death."

 

The curator Mary Levkoff, in her 2008 study, Hearst the Collector, contends that he was indeed a collector, describing the four separate "staggeringly important" collections of antique vases, tapestries, armor and silver which Hearst had brought together.

 

She wrote of the challenge of bringing their artistic merit to light from under the shadow of his own reputation.

 

Of Morgan's building, its stock has risen with the re-evaluation of her standing and accomplishments, which saw her inducted into the California Hall of Fame in 2008. She became the first woman to receive the American Institute of Architects Gold Medal in 2014, and to have an obituary in The New York Times as recently as 2019.

 

The writer John Julius Norwich recorded his recantation after a visit to the castle:

 

"I went prepared to mock; I remained

to marvel. Hearst Castle is a palace in

every sense of the word."

 

Final Thoughts From William Randolph Hearst

 

"News is something somebody doesn't

want printed; all else is advertising.”

 

"Don't be afraid to make a mistake,

your readers might like it."

 

"Putting out a newspaper without

promotion is like winking at a girl

in the dark -- well-intentioned, but

ineffective."

 

"Truth is not only stranger than

fiction, it is more interesting."

 

"You must keep your mind on the

objective, not on the obstacle."

Taken 2 years ago, this shows the difference some good directional light can have. Further down the beach, from the lighthouse some great rock details can be found at low tide.

 

This lighthouse was unknown to me until recently. I was asked to judge a photo competition, sponsored by SpecSavers and the local paper. The winning photo was taken at this location.

Only trying to reach, a fabulous country,...:-)

(further pictures and information you can see if you go to the end of page and by clicking on the link...)

Belvedere

Belvedere Castle. Garden Front of the Lower Belvedere.

Belvedere Palace stands supposedly on the foundations of a Roman camp that had been erected here for strategic reasons. In 1693 Prince Eugene of Savoy acquired field and vineyard grounds between today's Rennweg and today's Gürtel. In 1700 Johann Lukas von Hildebrandt began with the construction of a palace garden (Lower Belvedere), whose in French-style layed out park was equipped with large water basins, an orangery with precious foreign plants and a menagerie. Prince Eugene was a great animal lover, and some animals in his collection could be fed exclusively by himself.

1720 the Prince conceived the plan the summer palace to supplement by a another palace building on the hill of the garden.

The 1721 by Johann Lukas von Hildebrandt begun works had been completed in 1724. The Upper Belvedere served in contrast to the Lower only representative purposes and was never meant to live.

The Prince and his architect managed a perfect symbiosis between architecture and garden. After the death of the Savoy (1736) inherited his niece Victoria of Savoy-Soisson, nee Princess Hildburghausen, all his possessions. From her the Habsburgs beginning of 1752 acquired the Belvedere. From 1755 Empress Maria Theresa moved the Arcierenleibgarde (Royal Company of the Archers) and the Galician Guard in the annex of the Belvedere. Besides, the castle stood almost empty.

Belvedere Castle. Engraving by Salomon Kleiner 1731/40 (left).

Vienna from the Belvedere. Coloured copper engraving by Carl Schütz, 1784 (right).

1770 Belvedere Palace was venue of brilliant festivities:

In castle and park the marriage of Archduchess Maria Antonia (Marie Antoinette) with the Dauphin of France by proxy (per procura) was celebrated. About 2,000 people were invited, more than 1,500 bottles of champagne, which was far from home in Vienna at that time,

were emptied. For hospitality of the guests, there were round tables, which were covered with silver. However, the Court of Vienna had a large part of the silver service to rent of nobles, because the stocks of the silver chamber were not sufficient. Finished was the festival by a magnificent fireworks.

1776, the imperial picture gallery from the Stallburg (home of the famous Lipizzan stallions) was transferred to the Upper Belvedere, the animals of the menagerie came to Schönbrunn. Shortly before the Congress of Vienna in 1814 in the Lower Belvedere the Ambras Collection was exposed. During the war against Napoleon (1805-1809), much of the collection of paintings had to be outsourced. The Corsican claimed 400 masterpieces for himself, but which after his defeat at Waterloo to the Habsburgs have been restituted. The after the French wars completely neglected building has been restored 1850-1866.

Castle Park with Upper Belvedere. Photograph, around 1890.

1819 Emperor Franz II (I) the Institute of Botany, University of Vienna, had given spacious grounds for enlargement of the Botanical Garden at Rennweg. Franz was very interested in botany and in accordance with a Habsburg House bill - every Archduke must learn a civilian job - has been educated for gardener. In an adjoining garden of Schloß Belvedere he had from his private funds laid out a botanical garden ("Flora Austriaca") which was left to the Institute of Botany for use.

During the cholera epidemic of 1831, the Belvedere served as well as Schönbrunn Palace the imperial family as a refuge; supposedly one was there protected from the bad air, which was attributed to the onset of the disease. Both castles lay in the "countryside", the air was much better here than in the densely populated city. During wartime, a hospital was set up in the castle.

As the space for the imperial collections became too small, it was thought to expand the Upper Belvedere by wing buildings. This plan was dropped for aesthetic reasons, however. After the expansion of the city (razing of the bastions and glacis) arose on the ring road the newly created Court Museums; moved there in 1891 the major part of the paintings.

Archduke-Heir to the Throne Franz Ferdinand of Austria-Este at folk and children's party in the park of the Belvedere Palace. Photograph, 1905.

To 1893/94 it is likely that Archduke Franz Ferdinand has chosen the Upper Belvedere to his residence in Vienna. Other sources say that it had been assigned to him by the Emperor Franz Joseph as a place to stay in Vienna. The rooms have been restored, adapted for residential purposes and supplemented with neo-Baroque furniture. The heir of the Este collections furnished his residence with numerous works of art. He had envisaged the castle for the accommodation of his collections; in 1893 were numerous boxes from India and Singapore in Belvedere stored. 1894 Emperor Franz Joseph could see the collection: "Yesterday I went to the Belvedere, where Franzi showed me his now quite and very nicely prepared collections. The same are as imposing as interesting by the incredible amount of objects and by the rarity and beauty of them. I believe that this exhibition would be interesting for you", wrote the monarch to his wife, Empress Elisabeth. That same year, Archduke Franz Ferdinand showed his collections his future wife, Sophie Chotková,

"Where I unaware of your fatigue with particular brutality you dragged from box to box" as he apologetically from Budweis wrote to the Countess.

Then the collections moved one the one hand to the Palais Modena in the Beatrixgasse, on the other hand to Konopischt. Only in 1898, Franz Ferdinand was granted by Emperor Franz Joseph to move into the Belvedere as Vienna Residence. More revitalization works were carried out and were also necessary. Technical modernization and preservation of the original building condition had priority - as always with the projects of Archduke Franz Ferdinand. As furnishings served still preserved furnitures from Schloss Hof, which were supplemented by new ones in old style. The private rooms in addition to electric lighting were equipped with central heating.

Belvedere Castle. Staircase in the Upper Belvedere (left).

Marble plastic "Apotheosis of Prince Eugene" by Balthasar Permoser in Gold Cabinet of the Lower Belvedere (right).

If his presence was needed in Vienna, Franz Ferdinand here could lead a normal family life and escape the pressures of court ceremonial, in which the to him in morganatic marriage affiliated wife was exposed to the evils of the courtiers. When the heir to the throne invited guests to the Belvedere, he was sitting opposite his wife as a hostess while she was ranked in the Hofburg always after the latest unmarried Archduchess. About the cozy family life at Belvedere reported Prince von Clary-Aldringens:

"Aunt Sophie invited us ... to snack into a Belvedere, unexpectedly, suddenly appeared the Archduke - we literally froze in our Hab-Acht-position (stand at attention). He greeted us warmly ... [I got to know] the Archduke as a friendly landlord, who was playing and laughing with his Children..."

Between 1899 and 1914 in the Lower Belvedere the military bureau of the heir to the throne was housed. Other well-known Residents - but of outbuildings - were Anton Bruckner, who in 1896 died in the Kustodenwohnung (guardian house), and Richard Strauss, who lived here from 1925 to 1944.

After the assassination of the Archduke and his wife in Sarajevo, the Belvedere should serve as the residence of the new heir to the throne, Archduke Karl and his family. This, however, preferred living in Schönbrunn and especially in the villa Wartholz. In 1917, Charles' brother Archduke Maximilian moved with his family into the Belvedere.

During World War II the castle was badly damaged by bombs, but rebuilt after the war ended immediately. On 15 May 1955 was the Marble Hall venue of the signing of the Austrian State Treaty. Today, the Upper Belvedere houses important art collections.

Excerpts from

Thus lived the Habsburgs - Imperial and Royal Palaces in the

Austro-Hungarian Monarchy

Ingrid Haslinger, Gerhard Trumler

Christian Brandstätter Verlag mbH

The publishing service for museums, businesses and

public bodies

www.brandstaetter - verlag.at

Denomination of the summer residence which Prince Eugene of Savoy himself had erected btw Rennweg and Swiss Garden. The term which refers to the unique view over Vienna dates from the time of Maria Theresa. Prinz Eugen bought in 1697 a plot of land at the Rennweg, which he extended to 1721 in four stages to the current area. Between 1714 and 1716 emerged the Lower Belvedere It is an elongated ground floor building, designed of a 7-axes central projection, two wings and two corner pavilions. The 3-axis central pavilion houses the Marble Hall. The castle the only rarely in Vienna sojourning builder served during the summer months as a pleasure palace.

Only in 1720 commenced construction works for the Upper Belvedere, first drawings for this existed already in 1717. The in it extent and form language compared to the Lower Belvedere especially magnificent Upper Belvedere served primarily as a representative setting for grand receptions and festivities. The architectural history of the example due to the loss of the Eugenianischen Bauarchivs (construction archiv of Prince Eugene) cannot be explored in detail without any gaps. 1723 (according to Rizzi 1721/22) the Upper Belvedere s is considered complete. The architect Johann Lukas von Hildebrandt, who repeatedly worked for Prince Eugen, with the construction of the Belvedere has created his main work. It counts in its multiform architectonic as well as sculptural structure to the most important baroque buildings of the 18th century. The to the ensemble belonging, btw Upper and Lower Belvedere laying garden has been created by the Bavarian horticultural engineer D. Girard and today only in broad terms is original. The designs for the interior of the castle stem from C. le Fort du Plessy.

After the death of the prince the belvedere went into the possession of his sole heiress, Victoria Duchess of Saxe-Hildburghausen. She sold it in 1752 to Maria Theresa. At the behest of Joseph II from 1775 the imperial picture gallery was transferred here, which in 1781 for the first time was open to the public. had. Since 1806 was located in the Lower Belvedere the Ambras Collection. Both collections were in 1890 in the Museum of Art History transferred. In 1894, the palace became residence for the heir to the throne Archduke Franz Ferdinand.

After the first World War I the Republic of Austria in Belvedere installed the Austrian Gallery. 1945 suffered the Belvedere severe war damage. In 1950, the "Gold Cabinet" in the north-eastern corner pavilion of the Upper Belvedere was destroyed by fire and replaced by a copy. The since 1988 ongoing general renovation should have been completed in 1996.

aeiou - the cultural information system of the bm: bwk

14,000 key words and 2000 pictures from history, geography, politics and business in Austria

www.aeiou.at

Austrian Gallery Belvedere

The in the center of Vienna situated Belvedere palaces with their extensive parks form an impressive baroque Gesamtkunstwerk. The Museum in the Upper and Lower Castle

provides an excellent overview of the Austrian Art from the Middle Ages to the present. the collections of the 19th and 20th Century also include an exquisite inventory of international art. World Famous works by Klimt, Schiele, Kokoschka, Renoir and Monet you can see in the upper

Belvedere, from where you can enjoy a spectacular view to the center of Vienna. In the historic rooms of the Lower Belvedere are shown works of art from the Middle Ages and Baroque.

Austrian Gallery Belvedere

Prinz Eugen -Strasse 27 , A - 1037 Wien

Phone +43 / ( 0) 1 / 79557-0

Fax +43 / (0) 1/79 84 337

Upper Belvedere

Collections of the 19th and 20th century

Prinz Eugen -Strasse 27 , A - 1037 Wien

Lower Belvedere

Baroque Museum, and Museum of Medieval Art

Rennweg 6a, A - 1030 Vienna

www.wien-vienna.at/blickpunkte.php?ID=255

Here just across the road from what is now the Crossroads Garage, formerly M & J Ellis, was a tiny petrol outlet form further back in time. I am not sure if this is just before the war or just after, I'm not good enough on car registrations to tell from the one van we see parked here. The van looks quite modern compared to the shop front and the age of the pump, a model from well before the war.

Incredibly the owners are still the same family in the present day and it is still a general store and post office.

www.google.co.uk/maps/@52.694915,1.6875939,3a,75y,252.88h...

Old one again! Even further back now to the Chrimbo lights switch on with Tris.

by palila ift.tt/1NDXBqQ

‘Unprovoked is my release. This is the last birth.

There is now no further becoming.’

 

I remember posting it once before.

So.....friends have been wondering when I'd post a picture of the Chicago Bean. Well, Cloud Gate to be precise. But who calls it that?

 

The weekend after the big blizzard, a friend from the Bay area was in town to visit her mom. We met at the Chicago Cultural Center and had a nice time photographing various things. I took these shots before we met - the clouds were great. I was hoping for maybe some color at sunset, but by the time we were finished in the Cultural Center, the clouds had disappeared. Glad I took these when I did!

 

This isn't your classic bean shot. Heck, you can't even tell it looks like a bean. But I thought it looked like a snow globe.

Church of Santa Maria del Rosario (Church of Saint Mary of the Rosary), in Dorsoduro one of the six sestieri of Venice in Veneto, Italy.

 

An 18th-century Dominican church a classical style building has a well-lit interior and is exceptional in preserving its original layout and Rococo decoration intact.

 

The religious order of the Jesuates, formally the Clerici apostolici Sancti Hieronymi was founded in Siena in the 14th century and had a presence in Venice by 1390. Its members were known as I poveri Gesuati (the poor Jesuates) because they frequently called on the name of Jesus.

 

They acquired some wealth from donations and legacies and from privileges granted by the state, including a monopoly on the distillation of wine. In 1493, they commenced the building of a small church on land fronting the Zattere, which was originally dedicated to St. Jerome.

 

The order was suppression by Pope Clement IX in 1668, their property was put up for auction and acquired by the Dominicans. The small church was not large enough and by 1720 they had decided to build a new church, larger and of more architectural importance. They first engaged Andrea Musato, but he died in 1721 and they turned to Giorgio Massari, whose model for the new church was accepted in 1724.

 

Work started in 1725, while the Dominicans energetically sought to raise sufficient funds, both from charitable contributions and from religious institutions and benefactors. This enabled them not only to build a magnificent church, but to embellish it with the work of the most famous painters and sculptors of the day.

 

Massari left untouched the existing church of the Visitation, builing the new church around it and further along the Zattere. He was responsible not only for the building itself but also for its interior fittings and decoration and for commissioning the paintings and sculpture. The facade of the church was derived from the central portion of the facade of San Giorgio Maggiore, while the basic idea for the interior came from the Redentore.

 

Information Source:

en.wikipedia.org/wiki/Gesuati

 

Sony Alpha

 

no photoshop - pure lightpainting

Lentos Kunstmuseum Linz

 

Bearbeitung: Jürgen Krall Photography

-------------------------------

Bild Nr.: _1423983_SW

www.krall-photography.com

www.krall-photographie.de

 

Feeling my way with this one. First plan for the top part did not work out, so I'm going with this basic dish out. The stone is quite hard and progress is slow, but I think it will be worth it.

Travelling to the USA for a month. Seeing 16 states in 26 days, including California, Texas and New York.

 

Watch my page for images from those states, including San Francisco, Yosemite and Joshua Tree.

 

Visit my Linktr.ee for further details and about the gofund.me that you can donate to.

How much mass do flocculent spirals hide? The featured true color image of flocculent spiral galaxy NGC 4414 was taken with the Hubble Space Telescope to help answer this question. The featured image was augmented with data from the Sloan Digital Sky Survey (SDSS). Flocculent spirals -- galaxies without well-defined spiral arms -- are a quite common form of galaxy, and NGC 4414 is one of the closest. Stars and gas near the visible edge of spiral galaxies orbit the center so fast that the gravity from a large amount of unseen dark matter must be present to hold them together. Understanding the matter and dark matter distribution of NGC 4414 helps humanity calibrate the rest of the galaxy and, by deduction, flocculent spirals in general. Further, calibrating the distance to NGC 4414 helps humanity calibrate the cosmological distance scale of the entire visible universe. via NASA ift.tt/2gsbMns

This is Sarah (MM# 3175523).

 

I had a new Photek Softlighter delivered on Friday, just in time for a shoot this past Sunday with Sarah. After a minor hiccup we were able to setup and test it out.

 

She gets extra gold stars because I told her to throw any music she wanted on Pandora, and she chose "The Smiths" station...

 

We were shooting with the softlighter in knife-fighting distance, which with a 60" diameter makes for a very soft light.

 

I'm already planning another shoot asap with her. In the meantime, I'll be pushing images from the shoot as I work through them...

 

60" softlighter with a single YN560 just above eye level, camera left and really, really close in.

 

Meet Sarah: post on shooting and processing these...

 

my blog

Did a lithograph effect on my phone with the app Painteresque, then did further editing with Photoshop and Nik Color Efex. Pretty amazing what these apps can do! Fun!

Spread throughout

Observed conditions

Emotional intellectualizing

 

the further he had to walk to school as a boy :-) Commercial Appeal (Danville, Virginia)

HSS!!

 

day lily, my yard, cary, north carolina

Further exploring late winter scenery at Interstate State Park, central Minnesota.

 

A further test run with S60000 Hastings was carried out during the afternoon of 8th January 2024. The weather was appalling! However iall four of Hastings Diesels Power cars were included in the formation. The 5Z04 departs Eastbourne headed by DMBS S60116 Mountfield, S60000 Hastings, and S60119. At the rear of the train was S60118 Tunbridge Wells.

Korsika - Bonifacio

 

Bonifacio (/bəˈniːfɑːtʃoʊ/; Italian pronunciation: [boniˈfaːtʃo]; French: [bɔnifasjo]; Corsican: Bunifaziu, [buniˈfatsju]; Bonifacino: Bunifazziu; Gallurese: Bunifaciu) is a commune at the southern tip of the island of Corsica, in the Corse-du-Sud department of France.

 

Bonifacio is the setting of Guy de Maupassant's short story "Vendetta".

 

The French leg of the Red Bull Cliff Diving World Series takes place in Bonifacio.

 

Bonifacio is located directly on the Mediterranean Sea, separated from Sardinia by the Strait of Bonifacio. It is a city placed on the best and only major harbour of the southern coast and also is a commune covering a somewhat larger region including the offshore Isles Lavezzi, giving it the distinction of being the southernmost commune in Metropolitan France. The commune is bordered on the northwest by the canton of Figari and has a short border on the northeast with the canton of Porto-Vecchio. The combined border runs approximately from the Golfe de Ventilegne on the west to the mouth of the Golfu di Sant'Amanza on the east. The coastline circumscribed by the two points is about 75 kilometres (47 mi). Highway N198 runs north along the east coast and N196 along the west.

 

The islands are part of the French portion, 794.6-square-kilometre (196,300-acre), of the international Bouches de Bonifacio ("Strait of Bonifacio") marine park, a nature reserve, signed into legal existence by France and Italy in 1993 for the protection of the strait against passage of ships bearing dangerous chemicals, and implemented in France by a ministerial decree of 1999 detailing the land to be included in the réserve naturelle de Bouches de Bonifacio for the preservation of wild birds, other fauna and flora, fish and nature in general.

 

The southern coast in the vicinity of Bonifacio is an outcrop of chalk-white limestone, precipitous and sculpted into unusual shapes by the ocean. Slightly further inland the limestone adjoins the granite of which the two islands, Sardinia and Corsica, are formed. The port of Bonifacio is placed on the Bay of Bonifacio, a drowned ravine of a fjord-like appearance separated from the ocean by a finger-like promontory 1,500 meters (4,900 ft) long and 200 meters (660 ft) wide. In prehistoric post-glacial times when sea levels were low and the islands were connected, the ravine was part of a valley leading to upland Corsica. The maximum draught supported by the harbour is 3.5 meters (11 ft), more than ample for ancient ships and modern small vessels.

 

The city of Bonifacio is split into two sections. The vieille ville (old town), or la Haute Ville (the Upper city), on the site of a citadel, is located on the promontory overlooking the Mediterranean Sea. The citadel was built in the 9th century with the foundation of the city. The Citadel has been reconstructed and renovated many times since its construction and most recently was an administrative center for the French Foreign Legion. Today it is more of a museum. Historically most of the inhabitants have resided in the Haute ville under the immediate protection of the citadel. The harbour facilities and residential areas below, la marine, line the narrow shelf of the inlet and extend for some distance up the valley, giving the settlement a linear appearance and creating a third residential section limited by St. Julien on the east.

 

The city and its fortifications also extend for some distance along the cliff-tops, which are at about 70 meters (230 ft) elevation. The cliffs have been undercut by the ocean so that the buildings, which have been placed on the very lip of the precipice, appear to overhang it. The appearance from the sea is of a white city gleaming in the sun and suspended over the rough waters below.

 

Bonifacio has two prehistoric sites of some importance: the ancient cave shelter of Araguina-Sennola near the village of Capello on Route N96 just north of the city and a chambered tomb of Vasculacciu further north near Figari. The first is the site of the notable Lady of Bonifacio, a female burial carbon-dated to about 6570 BC, which is either late Mesolithic or Early Neolithic, and the second belongs to the Megalithic Culture and is dated to the Middle Neolithic. The alignment of the two and the extensive use of chert from Monte Arci in Sardinia shows that the Bay of Bonifacio was a route to inland Corsica from the earliest times.

 

The only record of southernmost Corsica in Roman times comes from the geographer Ptolemy. He reports the coordinates of Marianum Promontory and town, which, plotted on a map, turn out to be the farthest south of Corsica. After listing the peoples of the east coast he states that the Subasani (ancient Greek Soubasanoi) were "more to the south."

 

The people do not appear subsequently and the town and promontory have not been identified, nor do any Roman roads point to it. The only official road, the Via Corsica, ran between the Roman castra of Mariana and Aleria on the east coast and further south to Pallas, according to the Antonine Itinerary. Ptolemy places Pallas unequivocally on the east coast north of Marianum. Although unrecorded tracks and paths to the far south are possible, it is unlikely they would have carried any significant Roman traffic.

 

Maritime traffic through the strait however was significant and it could hardly have neglected the fine harbour at Bonifacio. The most popular choice for Marianum Promontory therefore is Cape Pertusato, southernmost point of Corsica island, about 9 kilometers (6 mi) east of the harbor, with Bonifacio itself as Marianum town. A second possibility would be the first century AD Roman ruins adjoining Piantarella Beach near the village of Ciappili and next to the grounds of Sperone golf course, a recreational suburb to the west of Bonifacio, but those ruins appear to represent a Roman villa and the beach though eminently suitable for recreation is of little value as a port. More likely the villa belonged to a citizen of Bonifacio as Marianum.

 

Corsica was taken from the Roman Empire in 469 AD by Genseric, king of the Vandals, and recovered by the Eastern Empire in 534. The Lombards having taken it again in 725, Charlemagne cleared them out by 774 and handed the island over to the Papacy, which had been the most powerful complainant of the island's devastation by Germanics. Starting in 806 the Moors of Spain began to contend for the island and held it for a short time but in 828 the Papacy assigned its defense to the margrave of Tuscany, a powerful state of the Holy Roman Empire nominally under the Kingdom of Italy.

 

The city in evidence today was founded as a fortress by and subsequently named after Boniface II of Tuscany in 828. He had led a naval expedition to suppress the Saracens of North Africa and returned to build an unassailable fortress and naval base from which the domains of Tuscany could be defended at the outermost frontier. Most of the citadel postdates the 9th century or is of uncertain date but Il Torrione, a round tower, was certainly part of the original citadel.

 

(Wikipedia)

 

Bonifacio (prononcé en français : [bɔnifasjo], en italien : [boniˈfaːtʃo]; en corse : Bunifaziu ou Bunifazziu selon le dialecte bonifacien) est une commune française située dans la circonscription départementale de la Corse-du-Sud et le territoire de la collectivité de Corse. Elle appartient à l'ancienne piève de Bonifacio dont elle était le chef-lieu.

 

Bonifacio, située à l'extrême sud de la Corse, est la commune française la plus méridionale de la France métropolitaine.

 

Au sud, les Bouches de Bonifacio séparent la Corse de la Sardaigne italienne.

 

Elle constitue après Porto-Vecchio la deuxième agglomération de l'Extrême Sud de la Corse, qui s'étend depuis Bonifacio jusqu'à Sari-di-Porto-Vecchio au nord et Monacia-d'Aullène à l'ouest en passant par Figari et son aéroport.

 

Dès 1833, les terrains néogènes de Bonifacio sont signalés par J. Reynaud dans une note publiée dans les Mémoires de la Société géologique de France (n° 20). « L'âge des couches de Bonifacio correspondant très probablement au calcaire moellon du Midi et à la mollasse des Martigues, de Cucuron et de Saint-Paul-Trois-Châteaux ». En 1886, l'îlot de Néogène de Bonifacio est soigneusement étudié par Pérou (n° 114) qui en donne la description suivante :

 

« Tantôt les premières assises disparaissaient, affleuraient ou étaient supérieures au niveau actuel de la mer ; qu'en de nombreux endroits l'érosion les avait totalement enlevées en ne laissant que le substratum de granite, et cela aussi bien sur les bords de la mer, par exemple, entre les ruisseaux de Canalli et de Balava, qu'à l'intérieur des terres, entre les collines de Sappa et de Finocchio. »

 

— D. Hollande in Géologie de la Corse, Bulletin de la Société des Sciences historiques et naturelles de la Corse - Éditeur Veuve Ollagnier Bastia, janvier 1917 p. 237-238.

 

Les sédiments du Néogène de Bonifacio forment à l'extrémité sud de la Corse un plateau élevé entre 60 et 80 mètres, d’une superficie de 60 km2, reposant en plein sol granitique. La mer a fortement rongé, miné à la base cet immense bloc ; les constructions élevées sur le bord des falaises « donnent l'impression d'une chute prochaine, bien qu'un tel état des choses dure depuis des siècles et ne trouble en rien la quiétude des habitants. ». La surface de ce plateau est découpée par des fentes, de petites vallées, qui la transforment en une table mamelonnée à monticules s'élevant jusqu'à 80 mètres au-dessus du niveau de la mer. La falaise que domine le phare de Capo Pertusato comprend essentiellement des mollasses graveleuses et des calcaires blancs.

 

Les sédiments néogènes de Bonifacio comprennent sept couches avec fossiles identifiés1, qui sont de haut en bas :

 

De l’Helvétien : 7 - Des calcaires assez tendres, grisâtres ; 6 - Des calcaires blancs subcrayeux ; 5 - Des calcaires durs, jaunâtres ou d'un gris blanc ;

Du Burdigalien : 4 - Des marnes ou des marno-calcaires ; 3 - Des calcaires verdâtres et des marnes sableuses, grises, ocreuses, quelquefois à grains de granite, où les fossiles sont nombreux ; 2 - Des calcaires ou des marno-calcaires ; 1 - Des lits de galets, de gravier et de sable.

 

L'origine de la ville actuelle de Bonifacio n'est pas vraiment connue avec précision, mais des dates approximatives indiquent sa refondation entre 828 et 833 par Boniface II de Toscane qui lui donna son nom actuel. L'histoire attestée de Bonifacio remonte en 1195 mais la ville fut colonisée par les Génois qui imposèrent à la ville des modifications militaires structurelles importantes (et qui créèrent la citadelle actuelle).

 

Comme tous les ports de commerce, son histoire a été relativement mouvementée notamment par un conflit guerrier entre Pise et Gênes, ces deux républiques se disputant avec acharnement sa citadelle qui était un maillon stratégique militaire et un complexe portuaire sans égal en Corse. Dans un premier temps, Pise fut maîtresse des lieux jusqu'à la fin du XIIe siècle.

 

Le roi Alphonse V d'Aragon, maintint en 1420 un siège pendant cinq mois avant de baisser les armes face à l'intouchable cité qu'était Bonifacio.

 

Bonifacio a subi au cours des siècles, de multiples attaques ; mais la plus terrible fut celle de la peste qui en 1528 fit plus de 4 300 morts dans la cité qui à cette époque comptait 5 000 habitants. Les murailles imprenables se révélèrent inutiles face à ce fléau. La chapelle Saint-Roch, à l'entrée de la ville, reste un témoignage de la fin de cette sombre période. On y fait toujours une procession qui rappelle que c'est en ce lieu, où est mort le dernier Bonifacien atteint de la maladie, avant la fin de la peste.

 

En 1553, encore très affaiblie par le passage de la peste, Bonifacio subissait une nouvelle attaque et dut se rendre à Dragut, un ancien corsaire turc dont on dit qu'il avait été commandité par le Maréchal des Thermes. La ville assiégée capitula pour la première fois et fut mise au pillage.

 

Le roi François Ier de France prend possession d'une ville détruite et dépeuplée que les Français commencent à reconstruire, mais qui, en vertu du traité de paix passé en 1559, est cédée à la République de Gênes.

 

(Wikipedia)

 

Bonifacio (korsisch: Bunifaziu) ist eine Hafenstadt an der südlichen Spitze der französischen Mittelmeerinsel Korsika (Département Corse-du-Sud) mit 3118 Einwohnern (Stand 1. Januar 2017). Sie gab der Straße von Bonifacio genannten Meerenge zwischen Korsika und der zwölf Kilometer entfernten Insel Sardinien ihren Namen.

 

Bonifacio ist die südlichste Gemeinde des Départements Corse-du-Sud und der Insel Korsika. Der Ort teilt sich in zwei Gebiete: die Ville haute (Oberstadt) genannte mittelalterliche Altstadt und die Marina im Hafenbereich. Die Ville haute liegt auf einer 900 Meter langen, schmalen, parallel zur Küste verlaufenden Landzunge aus Kalk- und Sandstein, der Île de Fazio, die an ihrer Seeseite aus einer durchschnittlichen Höhe von 70 Metern faktisch senkrecht zum Meer hin abfällt. An der Landseite der Landzunge ist eine fjordartige Bucht (französisch Calanque) in den Kalkstein eingeschnitten, die einen gut geschützten Naturhafen bildet. Dort fällt das Kalksteinplateau weniger steil zum Wasser hin ab. Der Naturhafen dient gleichzeitig als Fischerei- und Yachthafen. Des Weiteren ist Bonifacio ein Zentrum der Handelsschifffahrt und des Fährverkehrs mit der benachbarten Insel Sardinien sowie des Fremdenverkehrs, insbesondere in den Sommermonaten.

 

Die offizielle Gründung Bonifacios geht auf das Jahr 828 und den toskanischen Grafen Bonifacio II. zurück. Archäologische Funde belegen allerdings, dass die Gegend bereits in frühgeschichtlichen Zeiten besiedelt war. 1187 gelang es den Genuesern mit einer List die Stadt einzunehmen. Abgesehen von einer Unterbrechung in den Jahren von 1553 bis 1559 (Sampiero Corso) blieb Bonifacio bis 1768 in der Hand Genuas. Seit 1768 ist Bonifacio unter französischer Herrschaft. 1793 bereitete Napoleon hier die gescheiterte Invasion Sardiniens vor. Im Zweiten Weltkrieg wurde Bonifacio 1942 wie ganz Korsika von deutschen und italienischen Truppen besetzt.

 

Die auf einem halbinselartigen Felsplateau gelegene Altstadt von Bonifacio ist wohl eine der eindrucksvollsten im Mittelmeerraum. Das Plateau ist an seinem Fuß auf der Seeseite stark ausgewaschen, sodass die Häuser darauf fast wie auf einem Balkon stehen.

 

Die Altstadt, deren enge, kopfsteingepflasterte Straßen von vier- bis fünfstöckigen Häusern gesäumt werden, ist über eine Zugbrücke und einen im Zickzack angelegten Tunnel zur Zitadelle zu erreichen. Das Panorama, das sich von den zahlreichen Aussichtspunkten bietet, verdeutlicht, warum Bonifacio stets als Schutzhafen vor den unberechenbaren Witterungs- und Strömungsbedingungen in der Straße von Bonifacio angesteuert wurde. Es gibt ebenfalls den Blick auf die mit Häusern bebauten weißen Kalk- und Sandstein-felsen frei, an denen das Meer seit Jahrtausenden ununterbrochen nagt, so dass sich Grotten bildeten, die ein beliebtes Ausflugsziel sind. Im Westen der Altstadt liegt der alte Meeresfriedhof (Cimetière marin de Saint-François), der beinahe den Charakter einer eigenen kleinen Stadt aus unzähligen Mausoleen und Familiengruften aufweist.

 

Die einzigartige Lage machte die Stadt immer wieder zum Zentrum kriegerischer Auseinandersetzungen, weshalb sie im Laufe der Zeit zu einer Festung ausgebaut wurde.

 

Die Grotten sind Ziel der vom Hafen aus organisierten Bootsfahrten, während der auch die Klippen vom Meer aus bewundert werden können. Von dort gut zu sehen ist auch die sogenannte Treppe des Königs von Aragon, deren Stufen in den Stein gehauen von der Oberstadt bis zum Meer führen.

 

Entlang der Klippen bietet sich eine Wanderung von Bonifacio aus in Richtung Südosten bis zum südlichsten Punkt Korsikas an, dem Capo Pertusato. Von dort eröffnet sich eine schöne Aussicht auf die Stadt.

 

Die Gastronomiebetriebe im Hafen sind auf die Zubereitung fangfrischen Fisches spezialisiert.

 

Das bei jedem Wetter gut geschützte Hafenbecken liegt am Ende der schmalen „Calanque“ und bietet daher Segelyachten keine Gelegenheit zum Kreuzen. Die Einfahrt selbst ist schwer auszumachen, die Häuser der Altstadt auf dem Plateau im Osten sind gut zu erkennen.

 

Gut erkennbar ist der weiße, viereckige Turm mit dem Wohngebäude des Leuchtturms auf Cap Pertusato, der von Süden und Westen zu sehen ist. Aus Norden kommend, ist der weiße Leuchtturm mit schwarzer Galerie auf Cap de Feno die beste Landmarke. An den Klippen unterhalb der Altstadt sind der restaurierte Wachturm und in den Fels gehauenen Treppen (Treppe des Königs von Aragon) zu sehen.

 

(Wikipedia)

...further...

The Further Exploring & Roaming Integrated System Wheel was designed by the infamous Vehicle Design Department of Llwyngwril Systems. Frequent claims had been made that the designers were unbalanced and so the they set out to produce a vehicle that was all about equilibrium. The Tarren Trade Authority commissioned a machine that could carry two people across rugged terrain on unexplored planets. They specified that it should have large wheels, capable of rolling through or over large craters.

 

The FERIS Wheel used the weight of its 8848 engine, hanging from the drive axle to help balance its twin cabs. The unusual wheels gave a natural spring/suspension to the ride. The drivers' cabs were access by hinged roofs, in true Classic Space style. Drivers had to be careful to dismount simultaneously, in order to keep the vehicle balanced.

 

These distinctive vehicles were retired after only a short service life. They had limited cargo carrying capacity. Such cargo as they could carry always had to be loaded in even numbers, half in each cabin. This meant that items such as single packets of Rich Tea biscuits, had to be split open in order to be transported and were frequently eaten before they arrived at their destination.

 

Worst still, some drivers were more susceptible to biscuits than other (especially when chocolate digestives were involved). These drivers put on weight from biscuit snaffling and eventually became too heavy to balance their co-drivers. Faced with putting its staff on crash diets or buying a more sensible vehicle, the Tarren Trade Authority opted for the latter solution.

 

Film of the vehicle in action can be seen here.

 

Driving north from Yorkshire to Northumberland on the A1 motorway it is impossible to miss this - The Angel of The North, a steel sculpture by the famous artist Anthony Gormley which stands 20m high with a 54m wingspan and symbolically protects the cities of Gateshead and Newcastle upon Tyne in the north east of England.

People of the Old Town part II...

Fürther New Orleans Festival 2008

The magnetic motor will be cheaper than a standard motor to make, as the rotor and stator assemblies can be set into plastic housings, due to the fact that the system creates very little heat. Further, with the motor's energy efficiency, it will be well suited for any application where a motor has limited energy to drive it. While development is still focused on replacing existing devices, Minato says that his motor has sufficient torque to power a vehicle. With the help of magnetic propulsion, it is feasible to attach a generator to the motor and produce more electric power than was put into the device. Minato says that average efficiency on his motors is about 330 percent.

 

Mention of Over Unity devices in many scientific circles will draw icy skepticism. But if you can accept the idea that Minato's device is able to create motion and torque through its unique, sustainable permanent magnet propulsion system, then it makes sense that he is able to get more out of the unit than he puts in in terms of elctrical power. Indeed, if the device can produce a surplus of power for longer periods, every household in the land will want one.

 

"I am not in this for the money," Minato says. "I have done well in my musical career, but I want to make a contribution to society -- helping the backstreet manufacturers here in Japan and elsewhere. I want to reverse the trends caused by major multinationals. There is a place for corporations. But as the oil industry has taught us, energy is one area where a breakthrough invention like this cannot be trusted to large companies."

 

Minato was once close to making a deal with Enron. But today, he is firmly on a mission to support the small and the independent -- and to go worldwide with them and his amazing machine. "Our plan is to rally smaller companies and pool their talent, and to one day produce the technology across a wide range of fields."

 

When we first got the call from an excited colleague that he'd just seen the most amazing invention -- a magnetic motor that consumed almost no electricity -- we were so skeptical that we declined an invitation to go see it. If the technology was so good, we thought, how come they didn't have any customers yet?

We forgot about the invitation and the company until several months later, when our friend called again. "OK," he said. "They've just sold 40,000 units to a major convenience store chain. Now will you see it?" In Japan, no one pays for 40,000 convenience store cooling fans without being reasonably sure that they are going to work.

 

The Maestro ~

 

The streets of east Shinjuku are littered with the tailings of the many small factories and workshops still located there -- hardly one's image of the headquarters of a world-class technology company. But this is where we are first greeted outside Kohei Minato's workshop by Nobue Minato, the wife of the inventor and co-director of the family firm. The workshop itself is like a Hollywood set of an inventor's garage. Electrical machines, wires, measuring instruments and batteries are strewn everywhere. Along the diagram-covered walls are drill presses, racks of spare coils, Perspex plating and other paraphernalia. And seated in the back, head bowed in thought, is the 58-year-old techno maestro himself. Minato is no newcomer to the limelight. In fact, he has been an entertainer for most of his life, making music and producing his daughter's singing career in the US. He posseses an oversized presence, with a booming voice and a long ponytail. In short, you can easily imagine him onstage or in a convertible cruising down the coast of California -- not hunched over a mass of wires and coils in Tokyo's cramped backstreets. Joining us are a middle-aged banker and his entourage from Osaka and accounting and finance consultant Yukio Funai. The banker is doing a quick review for an investment, while the rest of us just want to see if Minato's magnetic motors really work. A prototype car air conditioner cooler sitting on a bench looks like it would fit into a Toyota Corolla and quickly catches our attention. Seeing is Believing ~

Nobue then takes us through the functions and operations of each of the machines, starting off with a simple explanation of the laws of magnetism and repulsion. She demonstrates the "Minato Wheel" by kicking a magnet-lined rotor into action with a magnetic wand. Looking carefully at the rotor, we see that it has over 16 magnets embedded on a slant -- apparently to make Minato's machines work, the positioning and angle of the magnets is critical. After she kicks the wheel into life, it keeps spinning, proving at least that the design doesn't suffer from magnetic lockup. She then moves us to the next device, a weighty machine connected to a tiny battery. Apparently the load on the machine is a 35kg rotor, which could easily be used in a washing machine. After she flicks the switch, the huge rotor spins at over 1,500 rpms effortlessly and silently. Meters show the power in and power out. Suddenly, a power source of 16 watt or so is driving a device that should be drawing at least 200 to 300 watts. Nobue explains to us that this and all the other devices only use electrical power for the two electromagnetic stators at either side of each rotor, which are used to kick the rotor past its lockup point then on to the next arc of magnets. Apparently the angle and spacing of the magnets is such that once the rotor is moving, repulsion between the stators and the rotor poles keeps the rotor moving smoothly in a counterclockwise direction. Either way, it's impressive. Next we move to a unit with its motor connected to a generator. What we see is striking. The meters showed an input to the stator electromagnets of approximately 1.8 volts and 150mA input, and from the generator, 9.144 volts and 192mA output. 1.8 x 0.15 x 2 = 540mW input and 9.144 x 0.192 = 1.755W out. But according to the laws of physics, you can't get more out of a device than you put into it. We mention this to Kohei Minato while looking under the workbench to make sure there aren't any hidden wires. Minato assures us that he hasn't transcended the laws of physics. The force supplying the unexplained extra power out is generated by the magnetic strength of the permanent magnets embedded in the rotor. "I'm simply harnessing one of the four fundamental forces of nature," he says. Although we learned in school that magnets were always bipolar and so magnetically induced motion would always end in a locked state of equilibrium, Minato explains that he has fine-tuned the positioning of the magnets and the timing of pulses to the stators to the point where the repulsion between the rotor and the stator (the fixed outer magnetic ring) is transitory. This creates further motion -- rather than a lockup. (See the sidebar on page 41 for a full explanation). Real Products ~ Nobue Minato leads us to the two devices that might convince a potential investor that this is all for real. First, she shows us the cooling fan prototype that is being manufactured for a convenience store chain's 14,000 outlets (3 fans per outlet). The unit looks almost identical to a Mitsubishi-manufactured fan unit next to it, which is the unit currently in wide use. In a test, the airflow from both units is about the same. The other unit is the car air conditioning prototype that caught our eye as we came in. It's a prototype for Nippon Denso, Japan's largest manufacturer of car air conditioners. The unit is remarkably compact and has the same contours and size as a conventional unit. Minato's manufacturing skills are clearly improving.

The Banker and his Investment ~

Minato has good reason to complain about Japan's social and cultural uniformity. For years, people thought of him as an oddball for playing the piano for a living, and bankers and investors have avoided him because of his habit of claiming that he'd discovered a breakthrough technology all by himself -- without any formal training. However, the Osaka banker stands up after the lecture and announces that before he goes, he will commit \100 million to the investment pool. Minato turns to us and smiles. We brought him good luck, and this was his third investor in as many weeks to confirm an interest. Bringing the Tech to the Table ~ With the audience gone, we ask Minato what he plans to do to commercialize the technology. His game plan is simple and clear, he says. He wants to retain control, and he wants to commercialize the technology in Japan first -- where he feels he can ensure that things get done right. Why doesn't he go directly to the US or China? His experiences in both countries, he suggests, have been less than successful. "The first stage is critical in terms of creating good products and refining the technology. I don't want to be busy with legal challenges and IP theft while doing that." Still, the export and licensing of the technology are on his agenda, and Minato is talking to a variety of potential partners in other countries. Whereas another inventor might be tempted to outsource everything to a larger corporation, part of what drives Minato is his vision of social justice and responsibility. The 40,000 motors for the convenience store chain are being produced by a group of small manufacturers in Ohta-ku and Bunkyo-ku, in the inner north of Tokyo -- which is becoming a regional rust belt. Minato is seized with the vision of reinvigorating these small workshops that until the 80s were the bedrock of Japan's manufacturing and economic miracle. Their level of expertise will ensure that the quality of the motors will be as good as those from any major company. International Prep " Despite his plan to do things domestically first, Minato is well prepared for the international markets. He is armed with both six years of living and doing business in Los Angeles in the early 90s -- and with patent protection for over 48 countries. His is hardly a provincial perspective. His US experience came after playing the piano for a living for 15 years. He began tinkering with his invention in the mid-70s. The idea for his magnetic motor design came from a burst of inspiration while playing the piano. But Minato decided to drop everything in 1990 to help his daughter Hiroko, who at the age of 20 decided that she wanted to be a rhythm and blues star in the US. Minato is a strong believer in family: If Hiroko was going to find fame and fortune in the US, Dad had better be there to help manage her. He suceeded in helping Hiroko to achieve a UK dance chart number one hit in 1995. In 1996 Minato returned to Japan and his magnetic motor project. The following year he displayed his prototypes to national power companies, government officials and others at a five-day conference in Mexico City. Interest was palpable, and Minato realized that his invention might meet a global need for energy-saving devices.

Subsequent previews and speeches in Korea and Singapore further consolidated his commitment to bringing the invention to fruition, and he was able to bring in several early-stage investors.

During the late 90s, Minato continued to refine his prototypes. He also stayed in constant contact with his lawyer, registering patents in major countries around the world. Through his experiences in the US he realized that legal protection was critical, even if it meant delaying release of the technology by a couple of years. Ironically, by the time he'd won patents in 47 countries, the Japanese patent office turned him down on the grounds that "[the invention] couldn' t possibly work" and that somehow he was fabricating the claims. But a few months later they were forced to recant their decision after the US patent office recognized his invention and gave him the first of two patents. As Minato notes: "How typical of Japan's small-minded bureaucrats that they needed the leadership of the US to accept that my invention was genuine." By 2001, the Minatos had refined their motors and met enough potential investors to enter into a major international relationship, initially with a Saudi company, to be followed thereafter by companies in the US and elsewhere. However, fate dealt the investors and Minato's business a serious blow when the World Trade Center was attacked in New York. The Saudis retreated, and Minato's plans fell back to square one. Now Minato is once again ready to move. With the first order in the works and more orders pending successful prototypes, he has decided that investors don't have to be primary partners. He is actively accepting inquiries from corporate investors who can bring strategic advantages and corporate credibility with them. His company, Japan Magnetic Fan, will make a series of investment tie-up announcements in the first and second quarters of 2004. Implications ~ Minato's motors consume just 20 percent or less of the power of conventional motors with the same torque and horse power. They run cool to the touch and produce almost no acoustic or electrical noise. They are significantly safer and cheaper (in terms of power consumed), and they are sounder environmentally. The implications are enormous. In the US alone, almost 55 percent of the nation's electricity is consumed by electric motors. While most factory operators buy the cheapest motors possible, they are steadily being educated by bodies like NEMA (National Electrical Manufacturers Association) that the costs of running a motor over a typical 20-year lifespan comprise a purchase price of just 3 percent of the total, and electricity costs of 97 percent. It is not unusual for a $2,000 motor to consume $80,000 of electricity (at a price of .06 cents per kilowatt hour). Since 1992, when efficiency legislation was put into place at the US federal level, motor efficiency has been a high priority -- and motors saving 20 percent or so on electrical bills are considered highly efficient. Minato is about to introduce a motor which saves 80 percent, putting it into an entirely new class: The $80,000 running cost will drop to just $16,000. This is a significant savings when multiplied by the millions of motors used throughout the USA and Japan -- and eventually, throughout the world. The Devices ; Minato's invention and its ability to use remarkably less power and run without heat or noise make it perfect for home appliances, personal computers, cellphones (a miniature generator is in the works) and other consumer products.

  

Content provided by J@pan Inc. Magazine -- www.japaninc.com

  

US Patent # 4,751,486

(Cl. 335/272)

 

Magnetic Rotation Apparatus

 

(June 14. 1998)

 

Kohei Minato

 

Abstract --- The magnetic rotation apparatus of the present invention has first and second rotors rotatably supported and juxtaposed. The first and second rotors are connected so as to be rotatable in opposite directions in a cooperating manner. A number of permanent magnets are arranged on a circumferential portion of the first rotor at regular intervals, and just as many permanent magnets are arranged on a circumferential portion of the second rotor at regular intervals. Each permanent magnet has one magnetic polarity located radially outward from the rotors, and has the other magnetic polarity located radially inward toward the rotors. The polarity of each permanent magnet, which is located radially outward from the rotors, is identical. When the first and second rotors are rotated in a cooperating manner, the phase of rotation of the permanent magnets of one rotor is slightly advanced from that of the permanent magnets of the other rotor. One of the permanent magnets of one rotor is replaced with the electromagnet. The radially outward polarity of the electromagnet can be changed by reversing the direction in which a current is supplied to the electromagnet.

  

TECHNICAL FIELD

 

The present invention relates to a magnetic rotation apparatus in which a pair of rotors are rotated by utilizing a magnetic force.

 

BACKGROUND ART

 

An electromotor is well known as a rotation apparatus utilizing a magnetic force. For example, an AC electromotor comprises a rotor having a coil, a stator surrounding the rotor, and a plurality of electromagnets, disposed on the stator, for generating a rotating magnetic field. An electric power must be constantly supplied to the electromagnets in order to generate the rotating magnetic field and keep the rotor rotating, i.e., an external energy, or electric energy, is indispensable for the rotation of the rotor. Under the circumstances, a magnetic rotation apparatus, which employs permanent magnets in lieu of electromagnets and can rotate a rotor only by a magnetic force of the permanent magnets, is highly desirable. The present application proposes a magnetic rotation apparatus which comprises a pair of rotors rotatable in opposite directions in a cooperating manner, and a plurality of permanent magnets stationarily arranged at regular intervals on the peripheral portion of each rotor. One end portion of each permanent magnet of both rotors, which has the same polarity, is located radially outward of the rotors. When the two rotors are rotated in a cooperating fashion, a permanent magnet on one rotor and a corresponding permanent magnet on the other, which form a pair, approach and move away from each other periodically. In this case, the phase of rotation of the magnet on one rotor advances a little from that of the corresponding magnet on the other rotor. When the paired permanent magnets approach each other, magnetic repulsion causes one rotor to rotate. The rotation of one rotor is transmitted to the other rotor to rotate the same. In this manner, other pairs of magnets on both rotors sequentially approach each other, and magnetic repulsion occurs incessantly. As a result, the rotors continue to rotate. In the above apparatus, in order to stop the rotation of the rotors, a brake device is required. If an ordinary brake device is mounted on the magnetic rotation apparatus, the entire structure of the apparatus becomes complex, and a driving source for the brake device must be provided separately. The present invention has been developed in consideration of the above circumstances, and its object is to provide a magnetic rotation apparatus including a brake device for suitably stopping the rotation of rotors.,DISCLOSURE OF THE INVENTION The magnetic rotation apparatus of the present invention is provided with magnetic force conversion means which is substituted for at least one pair of permanent magnets of the paired rotors. In a normal state, the magnetic force conversion means causes a magnetic repulsion, as in the other pairs of permanent magnets. When it is intended for the rotors to stop, the magnetic force conversion means causes a magnetic attraction force. Since a magnetic attraction force can be produced between the rotors at any time, the magnetic attraction force serves to stop the rotors. The brake device constituted by the magnetic force conversion means differs from an ordinary brake device which forcibly stops a pair or rotors by using a frictional force. In the brake device of this invention, by converting a magnetic repulsion force to a magnetic attraction force, the rotors can be braked in the state that the movement of the rotors is reduced. Thus, the rotors can be stopped effectively. BRIEF DESCRIPTION OF THE DRAWINGS

FIG. 1 is a schematic perspective view showing a magnetic rotation apparatus according to an embodiment of the invention;

FIG. 2 is a schematic plan view showing the relationship between the first and second rotors; FIG. 3 is a perspective view of a permanent magnet; FIG. 4 shows an electromagnet, a permanent magnet cooperating with the electromagnet, and a driving circuit the electromagnet; and FIG. 5 is a view for explaining how a pair of rotors rotate. BEST MODE OF CARRYING OUT THE INVENTION FIG. 1 shows a magnetic rotation apparatus embodying the present invention. The magnetic rotation apparatus has frame 1. Frame 1 is provided with a pair of rotation shafts 2 which extend vertically and in parallel to each other. Shafts 2 are located at a predetermined distance from each other. Upper and lower ends of each shaft 2 are rotationally supported on frame 1 via bearing 3. First rotor 4a is mounted on one of rotation shafts 2, second rotor 4b is mounted on the other rotation shaft 2. First and second rotors 4a and 4b are arranged on the same level. Rotors 4a and 4b have similar structures. For example, each rotor 4a (4b) comprises two ring-shaped plates 5 which are spaced apart from each other in the axial direction of the rotation shaft 2. Gears 6a and 6b made of synthetic resin are, as cooperating means, attached to lower surfaces of first and second rotors 4a and 4b. The diameters of gears 6a and 6b are identical but larger than those of rotors 4a and 4b. Gears 6a and 6b mesh with each other. First and second rotors 4a and 4b are thus rotatable in opposite directions in a cooperating manner. In FIG. 1, reference numeral 7 indicates support arms for supporting first and second rotors 4a and 4b.

For example, 16 magnets are arranged at regular intervals on a peripheral portion of first rotor 4a. These magnets are secured between two ring-shaped plates 5. In this embodiment, among the 16 magnets, one is electromagnet 9a (see FIG. 2), and the others are permanent magnets 8a. FIG. 2 shows only some of permanent magnets 8a. As shown in FIG. 3, permanent magnet 8a comprises case 10, and a plurality of rod-like ferromagnetic members 11 housed in case 10. Ferromagnetic member 11 is, for example, a ferrite magnet. Ferromagnetic members 11 of each permanent magnet 8a are arranged such that ferromagnetic members 11 have the same polarity at one end. In first rotor 4a, for example, an N-polarity end portion of each permanent magnet 8a faces radially outward, and an S-polarity end portion of magnet 8a faces radially inward. As shown in FIG. 2, when each permanent magnet 8a is located between two shafts 2, angle C formed by longitudinal axis A of magnet 8a and imaginary line B connecting two shafts 2 is, for example, set to 30.degree. C. On the other hand, electromagnet 9a is, as shown in FIG. 4, constituted by U-shaped iron core 12, and coil 13 wound around core 12. Electromagnet 9a is arranged such that both N- and S-polarity end portions face radially outward of first rotor 4a, and the above-mentioned angle C is formed, similarly to the case of permanent magnet 8a. The same number of permanent magnets (8b,9b) as the total number of all permanent magnets and electromagnet (8a,9a) of first rotor 4a are secured on a peripheral portion of second rotor 4b at regular intervals. In FIG. 2, when first and second rotors 4a and 4b are rotated in opposite directions, each permanent magnet of second rotor 4b periodically moves toward and away from the corresponding one of the magnets (8a,9a) of first rotor 4a. The permanent magnets (8b,9b) of second rotor 4b will now be described in greater detail. Permanent magnets 8b of second rotor 4b, which periodically move toward and away from permanent magnets 8a of first rotor 4a in accordance with the rotation of rotors 4a and 4b, have a structure similar to that of permanent magnets 8a of first rotor 4a. The polarity of that end portion of each permanent magnet 8b which is located radially outward from second rotor 4b, is identical with that of the end portion of each permanent magnet 8a of first rotor 4a. That is, the radially outward portion of each permanent magnet 8b has an N-polarity. Permanent magnet 9b of second rotor 4b, which periodically moves toward and away from electromagnet 9a of first rotor 4a, has a structure shown in FIG. 4. Permanent magnet 9b has a structure similar to that of permanent magnets 8a. Both polarities of electromagnet 9a face radially outward from first rotor 4a. Permanent magnet 9b has two different polarities which face radially outward from second rotor 4b and correspond to both polarities of electromagnet 9a. As shown in FIG. 2, when each permanent magnet 8b,9b is located between two rotation shafts 2, angle E formed by longitudinal axis D of the magnet (8b,9b) and imaginary line B connecting two shafts 2 is, for example, set to 56.degree. C. In addition, when rotors 4a and 4b are rotated in opposite directions, as shown by arrows, the magnets (8a,9a) of first rotor 4a move a little ahead of the corresponding permanent magnets (8b,9b) of second rotor 4b, in a region in which both magnets (8a,9a; 8b,9b) approach one another. In other words, the phase of rotation of the magnets (8a,9a) of first rotor 4a advances by a predetermined angle in relation to the permanent magnets (8b,9b) of second rotor 4b. As shown in FIG. 4, electromagnet 9a of first rotor 4a is electrically connected to drive circuit 14. Drive circuit 14 includes a power source for supplying an electric current to coil 13 of electromagnet 9a. While rotors 4a and 4b rotate, drive circuit turns on electromagnet 9a upon receiving a signal from first sensor 15 only when electromagnet 9a and permanent magnet 9b are in a first region in which they periodically approach each other. First sensor 15 is an optical sensor comprising a light-emitting element and a light-receiving element. As shown in FIG. 1, first sensor 15 is attached to a portion of frame 1 above first rotor 4a. First sensor 15 emits light in a downward direction. The light is reflected by reflection plate 16 projecting radially inward from the inner edge of first rotor 4a. First sensor 15 receives the reflected light, and feeds a signal to drive circuit 14. Thus, drive circuit 14 turns on electromagnet 9a. The circumferential length of reflection plate 16 is equal to that of the above-mentioned first region. When magnets 9a and 9b enter the first region, first sensor 15 is turned on, and when they leave the first region, first sensor 15 is turned off. When drive circuit 14 receives a signal from first sensor 15, it excites electromagnet 9a such that both polarities of electromagnet 9a correspond to those of permanent magnet 9b of second rotor 4b. Drive circuit 14 is electrically connected to switching circuit 17. When brake switch 18 is operated, switching circuit 17 reverses the direction in which an electric current is supplied to electromagnet 9a. When the current supplying direction of drive circuit 14 is reversed, drive circuit 14 excites electromagnet 9a only in a time period in which drive circuit 14 receives a signal from second sensor 19. Second sensor 19 has a structure similar to that of first sensor 15, and is attached to frame 1 so as to be located closer to the center of rotor 4a than first sensor 15. Reflection plate 20, which corresponds to the position of second sensor 19, is formed integral to an inner edge portion of reflection plate 16. As shown in FIG. 2, compared to reflection plate 16, reflection plate 20 extends in rotational direction of first rotor 4a, indicated by the arrow. The operation of the above-described magnetic rotation apparatus will now be explained with reference to FIG. 5. In FIG. 5, rotation shaft 2 of first rotor 4a is denoted by 01, and rotation shaft 2 of second rotor 4b is denoted by 02. Only the radially outward polarity, that is, N-polarity, of the magnets of rotors 4a and 4b is shown, for the sake of convenience. Although electromagnet 9a and permanent magnet 9b have both polarities located radially outward, only the N-polarity thereof is shown. When first and second rotors 4a and 4b are put in a position shown in FIG. 5, magnetic pole Nb1 of one permanent magnet of second rotor 4b is located in a line connecting shafts 01 and 02. In this case, polarity Na1 of first rotor 4a, which is paired with polarity Nb1, is a little advanced from polarity Nb1 in the rotational direction of first rotor 4a. For example, as shown in FIG. 5, magnetic pole Na1 is advanced from polarity Nb1 by an angle of X.degree.. Polarities Na1 and Nb1 exert repulsion force F1 upon each other along line L. Supposing that an angle, formed by line M, which is drawn from shaft 01 perpendicularly to line L, and the line connecting shafts 01 and 02 is represented by Y, and that the length of line K is represented by R, torques Ta1 and Tb1 caused by repulsion force F1 to rotate first and second rotors 4a and 4b can be given by: Ta1=F1.multidot.R.multidot.cos (Y-X)

Tb1=F1.multidot.R.multidot.cos Y Since cos (Y-X)>cos Y, Ta1>Tb1.

As shown in FIG. 5, since magnetic pole Na1 is advanced from magnetic pole Nb1 by angle X.degree., first rotor 4a receives a greater torque than second rotor 4b. Thus, first rotor 4a forwardly rotates in the direction of the arrow in FIG. 5. Mention is now made of paired magnets of rotors 4a and 4b in the vicinity of magnetic poles Na1 and Nb1. Magnetic poles Nan and Nan-1 of first rotor 4a are advanced ahead of magnetic pole Nal in the rotational direction. Magnetic poles Nan and Nan-1 receive a torque produced by a repulsion force acting between magnetic poles Nan and Nan-1 and corresponding magnetic poles Nbn and Nbn-1. In FIG. 5, magnetic poles Nan and Nan-1 receive a smaller torque, as they rotate farther from the location of magnetic pole Na1. It is well known that a torque of first rotor 4a, which is caused by a repulsion force acting on magnetic poles Nan and Nan-1, is decreased in inverse proportion to the square of the distance between paired magnetic poles Na and Nb.

Magnetic poles Na2 and Na3, behind magnetic pole Na1, receive a torque which tends to rotate rotor 4a in the reverse direction. This torque is considered to be counterbalanced with the torque acting on magnetic poles Nan and Nan-1. In FIG. 5, attention should be paid to the region of magnetic poles Na1 and Na2. As first rotor 4a forwardly rotates, the direction in which a torque applies to magnetic pole Na2, is changed from the reverse direction to the forward direction, before magnetic pole Na2 reaches the position of magnetic pole Na1. The torque for forwardly rotating rotor 4a is larger than that for reversely rotating rotor 4a. Therefore, first rotor 4a is easily rotated in the direction shown in FIG. 2. Second rotor 4b is considered to receive a torque in a direction reverse to the direction shown in FIG. 2, as seen from the description of first rotor 4a. It is obvious that second rotor 4b receives a maximum torque at the position of magnetic pole Nb1. As seen from the above formula, torque Tb1 applied to second rotor 4b in a direction reverse to that denoted by the arrow is smaller than torque Ta1 applied to first rotor 4a in the forward direction. The rotation of first rotor 4a is transmitted to second rotor 4b through gears 6a and 6b. By determining the relationship between the strengths of torques Ta1 and Tb1, second rotor 4b is thus rotated in a direction reverse to the rotational direction of first rotor 4a, against the torque applied to second rotor in the direction. As a result, first and second rotors 4a and 4b are kept rotating, since a torque for rotating rotors 4a and 4b in a cooperating manner is produced each time magnetic poles Na of first rotor 4a pass across the line connecting shafts 01 and 02. In a diagram shown in the right part of FIG. 5, a solid line indicates a torque applied to first rotor 4a, and a broken line indicates a torque applied to second rotor 4b. The ordinate indicates a distance between each magnetic pole and the line connecting shafts 01 and 02 of rotors 4a and 4b. The first region in which electromagnet 9a of first rotor 4a is turned on is set in a range of Z during which a torque is applied to first rotor 4a in the forward direction. In order to stop the cooperative rotation of rotors 4a and 4b, brake switch is turned on to operate switching circuit 17. Thus, the direction in which drive circuit 14 supplies a current to electromagnet 9a is reversed. The polarities of electromagnet 9a are reversed. The torque applied to electromagnet 9a in the forward direction is stopped. When electromagnet 9a approaches permanent magnet 9b, a magnetic attract:on force is produced. As a result, the rotation of rotors 4a and 4b is effectively slowed down and stopped. Since the second region, in which electromagnet 9a is excited, is larger than the first region, a large braking force can be obtained from a magnetic attraction force. In the above embodiment, since electromagnet 9a is excited only in a specific region, a large electric power is not required. In addition, since electromagnet 9a rotates and brakes rotors 4a and 4b, a braking mechanism for a magnetic rotation apparatus can be obtained without having to make the entire structure of the apparatus complex. The present invention is not restricted to the above embodiment. With the exception of the paired electromagnet and permanent magnet, all permanent magnets of the rotors are arranged such that their end portions of the same polarity face radially outward from the rotors. However, it is possible that the polarities of the radially outward end portions of the permanent magnets are alternately changed. Namely, it should suffice if the polarities of the radially outward end portions of the first rotor are identical to those of the corresponding radially outward end portions of the second rotor. The magnets may have different magnetic forces. Furthermore, an electric power for exciting the electromagnet can be derived from the rotation of the rotors or from the revolving magnetic field of the permanent magnet.

Angles C and E are not restricted to 30.degree. and 56.degree.. They may be freely determined in consideration of the strength of the magnetic force of the permanent magnet, a minimum distance between adjacent magnets, angle x, and the like. The number of magnets of the rotor is also freely chosen.

Industrial Applicability ~ As described above, the magnetic rotation apparatus of the present invention can be used as a driving source in place of an electric motor, and as an electric generator. US Patent # 5,594,289 (Cl. 310/152) Magnetic Rotating Apparatus (January 14, 1997) Kohei Minato Abstract --- On a rotor which is fixed to a rotatable rotating shaft, a plurality of permanent magnets are disposed along the direction of rotation such that the same magnetic pole type thereof face outward. In the same way, balancers are disposed on the rotor for balancing the rotation of this rotor. Each of the permanent magnets is obliquely arranged with respect to the radial direction line of the rotor. At the outer periphery of the rotor, an electromagnet is disposed facing this rotor, with this electromagnet intermittently energized based on the rotation of the rotor. According to the magnetic rotating apparatus of the present invention, rotational energy can be efficiently obtained from permanent magnets. This is made possible by minimizing as much as possible current supplied to the electromagnets, so that only a required amount of electrical energy is supplied to the electromagnets. Claims --- [ Claims not included here ] Description BACKGROUND OF THE INVENTION 1. Field of the Invention The present invention relates to a magnetic rotating apparatus, and more particularly, to a magnetic rotating apparatus which utilizes repulsive forces produced between a permanent magnet and an electromagnet.

2. Description of the Prior Art In a conventional electric motor, an armature as a rotor consists of turns of wires, and electric field as a stator consists of a permanent magnet. In such the conventional electric motor, however, current must be usually supplied to windings of the armature which is rotated. When the current is supplied, heat is generated, which gives rise to the problem that not much driving force is efficiently generated. This, in turn, gives wise to the problem that the magnetic forces cannot be efficiently obtained from the permanent magnet. In addition, in the conventional electric motor, since the armature is so constructed as consisting of the windings, the moment of inertia cannot be made very high, so that enough torque cannot be obtained. To overcome the above-described problems of such the conventional electric motor, the inventor proposed, in Japanese Patent Publication No. 61868/1993 (U.S. Pat. No. 4,751,486) a magnetic rotating apparatus in which a plurality of the permanent magnets are disposed along the two rotors, respectively, at a predetermined angle, and in which an electromagnet is disposed at one of the rotors. In a generally constructed conventional electric motor, there is a limit as to how much the efficiency of energy conversion can be increased. In addition, the torque of the electric motor cannot be made high enough. For the above reasons, hitherto, various improvements have been made on existing electric motors, without any success in producing an electric motor so constructed has providing satisfactory characteristics. In the magnetic rotating apparatus disclosed in Japanese Patent Publication No. 6868/1993 (U.S. Pat. No. 4,751,486) a pair of rotors is rotated. Therefore, it is necessary for each of the rotors to have high precision, and in addition, measures must be taken for easier rotation control. SUMMARY OF THE INVENTION In view of the above-described problems, the object of the present invention is to provide a magnetic rotating apparatus in which rotational energy can be efficiently obtained from the permanent magnet with a minimum amount of electrical energy, and in which rotation control can be carried out relatively easily. According to one aspect of the present invention, there is provided a magnetic rotating apparatus comprising a rotating shaft; a rotor which is fixed to the rotating shaft and which has disposed thereon permanent magnet means and means for balancing rotation, the permanent magnet means being disposed such that a plurality of magnetic poles of one (or first) polarity type is arranged along an outer peripheral surface in the direction of rotation, and a plurality of magnetic poles of the other (or second) polarity type arranged along an inner peripheral surface, with each pair of corresponding magnetic poles of one and the other polarities obliquely arranged with respect to a radial line; electromagnet means, which is disposed facing this rotor, for developing a magnetic field which faces the magnetic field of the permanent magnet means of the rotor and detecting means for detecting rotating position of the rotor to allow the electromagnet means to be energized. According to another aspect of the present invention, there is provided a magnetic rotating apparatus comprising a rotating shaft a rotor which is fixed to the rotating shaft and which has disposed thereon a plurality of permanent magnets and balancers for balancing rotation, the permanent magnets being disposed such that one magnetic polarity type is arranged along an outer peripheral surface in the direction of rotation and the other magnetic polarity type arranged along an inner peripheral surface, with each pair of corresponding magnetic poles of one and the other polarities obliquely arranged with respect to a radial line; an electromagnet, which is disposed facing this rotor, for developing a magnetic field which produces the other magnetic polarity type on the facing surface; and energizing means for intermittently energizing the electromagnet means from where the leading permanent magnet, based on the rotation of the rotor, passes the facing surface of the electromagnet in the direction of rotation. According to still another aspect of the present invention, there is provided magnetic rotating apparatus comprising a rotating shaft; a first rotor which is fixed to the rotating shaft and which has disposed thereon permanent magnet means and means for balancing rotation, the permanent magnet means being disposed such that a plurality of magnetic poles of the second polarity type is arranged along an outer peripheral surface in the direction of rotation, and a plurality of magnetic poles of the first pole type arranged along an inner peripheral surface, with each pair of corresponding magnetic poles of one and the other polarities obliquely arranged with respect to a radial line; a second rotor which rotates along with the first rotor and is fixed to the rotating shaft, having disposed thereon a plurality of permanent magnets and balancers for balancing rotation, the permanent magnets being disposed such that one magnetic polarity type is arranged along an outer peripheral surface in the direction of rotation and the other magnetic polarity type arranged along an inner peripheral surface, with each pair of corresponding magnetic poles of one and the other polarities obliquely arranged with respect to a radial line a first and a second electromagnet means, which are magnetically connected and disposed facing the first and second rotors, respectively, for developing a magnetic field which faces the magnetic field of the permanent magnet means of the first and second rotors; and detecting means for detecting rotating position of the rotors to allow the electromagnet means to be energized. The nature, principle and utility of the invention will become more apparent from the following detailed description when read in conjunction with the accompanying drawings.

BRIEF DESCRIPTION OF THE DRAWINGS In the accompanying drawings: FIG. 1 is a perspective view schematically illustrating a magnetic rating apparatus according to one embodiment of the present invention FIG. 2 is a side view of the magnetic rotating apparatus illustrated in FIG. 1; FIG. 3 is a plan view of a rotor of the magnetic rotating apparatus illustrated in FIGS. 1 and 2;

FIG. 4 is a circuit diagram illustrating a circuit in the magnetic rotating apparatus shown in FIG. 1; FIG. 5 is a plan view showing a magnetic field distribution formed between the rotor and the electromagnet of the magnetic rotating apparatus shown in FIGS. 1 and 2, and FIG. 6 is an explanatory view illustrating a torque which causes rotation of the rotor of the magnetic rotating apparatus shown in FIGS. 1 and 2. DESCRIPTION OF THE PREFERRED EMBODIMENTS The magnetic field developed by an electromagnet means and that of a permanent magnet means of a rotor repel each other. In addition, the magnetic field of the permanent magnet means is flattened by the magnetic fields of other nearby permanent magnets and electromagnet means. Therefore, a torque is produced therebetween to efficiently rotate the rotor. Since the rotor has a high inertial force, when the rotor starts rotating, its speed increases by the inertial force and the turning force. A magnetic rotating apparatus related to one embodiment of the present invention will be described with reference to the following drawings. FIGS. 1 and 2 are schematic diagrams of a magnetic rotating apparatus related to one embodiment of the present invention. In the specification, the term "magnetic rotating apparatus" will include an electric motor, and from its general meaning of obtaining turning force from the magnetic forces of permanent magnets, it will refer to a rotating apparatus utilizing the magnetic forces. As shown in FIG. 1, in the magnetic rotating apparatus related to one embodiment of the present invention, a rotating shaft 4 is rotatably fixed to a frame 2 with bearings 5. To the rotating shaft 4, there are fixed a first magnet rotor 6 and a second magnet rotor 8, both of which produce turning forces and a rotated body 10, which has mounted therealong a plurality of rod-shaped magnets 9 for obtaining the turning forces as energy. They are fixed in such a manner as to be rotatable with the rotating shaft 4. At the first and second magnet rotors 6 and 8, there are provided, as will be described later in detail with reference to FIGS. 1 and 2, a first electromagnet 12 and a second electromagnet 14 respectively are energized in synchronism with rotations of the first and second magnet rotors 6 and 8, both of which face each other and are each disposed in a magnetic gap. The first and second electromagnets 12 and 14 are respectively mounted to a yoke 16, which forms a magnetic path. As shown in FIG. 3, the first and second magnet rotors 6 and 8 each have disposed on its disk-shaped surface a plurality of tabular magnets 22A through 22H for developing a magnetic field for generating the turning forces and balancers 20A through 20H, made of non-magnetic substances, for balancing the magnet rotors 6 and 8. In the embodiments, the first and second magnet rotors 6 and 8 each have disposed along the disk-shaped surface 24 at equal intervals the eight tabular magnets 22A through 22H along half of the outer peripheral area and +the eight balancers 20A through 20H along the other half of the outer peripheral area.

As shown in FIG. 3, each of the tabular magnets 22A through 22H are disposed so that its longitudinal axis 1 makes an angle D with respect to a radial axis line 11 of the disk-shaped surface 24. In the embodiment, an angle of 30 degrees and 56 degrees have been confirmed for the angle D. An appropriate angle, however, can be set depending on the radius of the disk-shaped surface 24 and the number of tabular magnets 22A through 22H to be disposed on the disk-shaped surface 24. As illustrated in FIG. 2, from the viewpoint of effective use of the magnetic field, it is preferable that the tabular magnets 22A through 22H on the first magnet rotor 6 are positioned so that their N-poles point outward, while the tabular magnets 22A through 22H on the second magnet rotor 8 are positioned so that their S-poles point outward. Exterior to the first and second magnet rotors 6 and 8, the first and second electromagnets 12 and 14 are disposed facing the first and second magnet rotors 6 and 8 respectively in the magnetic gap. When the first and second electromagnets 12 and 14 are energized, they develop a magnetic field identical in polarity to the their respective tabular magnets 22A through 22H so that they repel one anther. In other words, as shown in FIG. 2, since the tabular magnets 22A through 22H on the first magnet rotor 6 have their N-poles facing outwards, the first electromagnet 12 is energized so that the side facing the first magnet rotor 6 develops an N-polarity. In a similar way, since the tabular magnets 22A through 22H on the second magnet rotor 8 have their S-poles facing outwards, the second electromagnet 14 is energized so that the side facing the tabular magnets 22A through 22H develops a S-polarity. The first and second electromagnets 12 and 14, which are magnetically connected by the yoke 16, are magnetized so that the sides facing their respective magnet rotors 6 and 8 are opposite in polarity with respect to each other. This means that the magnetic fields of the electromagnets 12 and 14 can be used efficiently. A detector 30, such as microswitch, is provided to either one of the first magnet rotor 6 or second magnet rotor 8 to detect the rotating position of the magnet rotors 6 and 8. That is, as shown in FIG. 3, in a rotational direction 32 of the tabular magnets 22A through 22H, the first and the second magnet rotors 6 and 8 are respectively energized when the leading tabular 22A has passed. In other words, in the rotational direction 32, the electromagnet 12 or 14 is energized when starting point So, located between the leading tabular magnet 22A and the following tabular magnet 22B coincides with the center point Ro of either the electromagnet 12 or 14. In addition, as illustrated in FIG. 3, in the rotational direction 32 of the tabular magnets 22A through 22H, the first and the second magnet rotors 6 and 8 are de-energized when the last tabular magnet 22A has passed. In the embodiment, an end point Eo is set symmetrical to the starting point So on the rotating disk-shaped surface 24. When the end point Eo coincides with the center point Ro of either the electromagnet 12 or 14, the electromagnet 12 or 14 is de-energized, respectively. As will be described later, with the center point Ro of the electromagnet 12 or 14 arbitrarily set between the starting point So and the end point Eo, the magnet rotors 6 and 8 start to rotate when the electromagnets 12 and 14 and their tabular magnets 22A through 22H face one another. When a microswitch is used as the detector 30 for detecting the rotating position, the contact point of the microswitch is allowed to slide along the surface of the rotating disk-shaped surface 24. A step is provided for the starting point So and the end point Eo so that the contact of the microswitch closes between the starting point So and the end point Eo. The area along the periphery therebetween protrudes beyond the other peripheral areas of the rotating disk-shaped surface 24. It is apparent that a photo sensor or the like may be used instead of the microswitch as the detector 30 for detecting the rotating position. As shown in FIG. 4, the windings of the electromagnets 12 and 14 are connected to a DC power source 42 through a movable contact of a relay 40, which is connected in series with the windings. A series circuit containing the relay 40 (solenoid) and the detector 30 or microswitch is connected to the DC power source 42. In addition, from the viewpoint of energy conservation, a charger 44 such as a solar cell is connected to the DC power source 42. It is preferable that the DC power source 42 is constantly chargeable using solar energy or the like. In the magnetic rotating apparatus illustrated in FIGS. 1 and 2, a magnetic field distribution shown in FIG. 5 is formed between the tabular magnets 22A through 22H, disposed on each of the magnet rotors 6 and 8, and the electromagnets 12 and 14 which face them, respectively. When the electromagnet 12 or 14 is energized, a magnetic field of a tabular magnet of the tabular magnets 22A through 22H, adjacent to the electromagnet 12 or 14, is distorted in the longitudinal direction in correspondence with the rotational direction. This results in the generation of a repulsive force therebetween. As is apparent from the distortion of the magnetic field, the repulsive force has a larger component in the longitudinal or perpendicular direction, and produces a torque, as shown by an arrow 32. Similarly, a magnetic field of a tabular magnet of the tabular magnets 22A through 22H, which next enters the magnetic field of the electromagnet 12 or 14, is distorted. the repulsive force produced between the tabular magnets of the tabular magnets 22A through 22H, which have already entered the magnetic field of the electromagnets, a repulsive force operates between both of the poles M and M' of the tabular magnet at the rotating side and the electromagnet at the stationary side, respectively. Therefore, from the relationship illustrated in FIG. 6, an angular torque T is generated based on the formula: T=F. a.cos (.alpha.-.beta.), where in a is a constant. The angular torque starts the rotation of the rotating disk-shaped surface 24. After the rotating disk-shaped surface 24 has started rotating, its rotating speed gradually increases due to an inertial moment thereof, which allows a large turning driving force to be produced. After a stable rotation of the rotating disk-shaped surface 24 has been produced, when a necessary electromotive force can be developed in an electromagnetic coil (not illustrated) by externally bringing it near a rotated body 10 to be rotated along with the rotating disk-shaped surface 24. This electric power can be used for other applications. This rotating principle is based on the rotating principle of the magnetic rotating apparatus already disclosed in Japanese Patent Publication No. 61868/1993 (U.S. Pat. No. 4,751,486) by the inventor. That is, even if an electromagnet, provided for one of the rotors of the magnetic rotating apparatus disclosed in the same Patent Application, is fixed, it is rotated in accordance with the rotating principle disclosed therein. For details, refer to the above Japanese Patent Publication No. 61868/1993 (U.S. Pat. No. 4,751,486).

The number of tabular magnets 22A through 22H is not limited to "8" as shown in FIGS. 1 and 3. Any number of magnets may be used. In the above-described embodiment, although the tabular magnets 22A through 22H are disposed along half of the peripheral area of the disk-shaped surface 24, and the balancers 20A through 20H are disposed along the other half of the peripheral area, the tabular magnets may further be disposed along other areas of the disk-shaped surface 24. It is preferable that balancers, in addition to magnets, are provided along a portion of the peripheral area on the disk-shaped surface. The counter weights, which do not need to be formed into separate blocks, may be formed into one sheet of plate which extends on the outer peripheral area of the disk-shaped surface. In addition, in the above-described embodiments, while the construction is such as to allow the electromagnets to be energized for a predetermined period of time for every rotation of the rotating disk-shaped surface, the circuit may be so constructed as to allow, upon increased number of rotations, energization of the electromagnets for every rotation of the rotating disk-shaped surface, starting from its second rotation onwards. Further, in the above-described embodiment, a tabular magnet has been used for the permanent magnet, but other types of permanent magnets may also be used. In effect, any type of magnet may be used as the permanent magnet means as long as a plurality of magnetic poles of one type is disposed along the outer surface of the inner periphery and a plurality of magnetic poles of the other type are disposed along the inner peripheral surface of the disk-shaped surface, so that a pair of corresponding magnetic poles of one and the other polarities is obliquely arranged, with respect to the radial line 11, as shown in FIG. 3. Although the tabular magnets 22A through 22H are mounted on the magnet rotors 6 and 8 in the above embodiment, they may be electromagnets. In this case, the electromagnets 12 and 14 may be the alternative of electromagnets or permanent magnets.

According to the magnetic rotating apparatus of the present invention, rotational energy can be efficiently obtained from permanent magnets. This is made possible by minimizing as much as possible current supplied to the electromagnets, so that only a required amount of electrical energy is supplied to the electromagnets. It should be understood that many modifications and adaptations of the invention will become apparent to those skilled in the art and it is intended to encompass such obvious modifications and changes in the scope of the claims appended hereto. KeelyNet: BBS Posting from Henry Curtis (11-18-1997)

Korean Magnetic Perpetual Motion Wheel I must apologize for not having all the details of this interesting device but will update the file when I get more info from the source. In email communications with John Schnurer, I happened to mention it and he's been on me since then to send him a diagram, yet I felt like it would simply be confusing because its operation is not clear or readily apparent from the information I had.The information that I have comes directly from long time friend Henry Curtis of Colorado. We both attended the 1997 ISNE conference in Denver and Henry was telling about this interesting machine he had seen while on a trip to the Phillipines. He said there was a free energy conference held there and he noticed a spinning bicycle wheel that was attached to a stand that sat on a table.The wheel was running when he first saw it, yet there did not appear to be any driving force such as a motor, belts, gears, etc..Henry said he watched it for quite awhile and it never stopped running. On expressing curiosity about the wheel, he was invited to stop it and start it up without any outside assistance.Henry reports the wheel was brought to a complete stop, then he gave it a spin with his hand and it began moving on its own. I am uncertain if it followed the tendency of other such devices to establish its own speed. Some devices like this can be spun up to high speed from an outside source, then will slow to a speed which is determined by the geometry and strength of the repelling or attracting forces that operate it.Henry swears it was the neatest thing he'd ever seen and drew a crude diagram of the arrangement on my notepad. Unfortunately, we were a bit rushed and I did not achieve a complete understanding of how it operated. That is why I did not want to blow smoke about it until more detail had been received, god knows, we don't need any more of that.However, perhaps someone can figure it out from the limited information I do have. The following drawing shows the wheel arrangement, one half was weighted, the other half had slanted magnets. I do not know whether they are all repelling, attracting or a mix of these forces. As you can imagine, the weight of the magnets must equal the weight of the other half of the wheel to balance out. Apparently the force of the magnetic repulsion or attaction provides the actual imbalance.Henry also said there was a patent on this device that is dated January 14, 1997. The inventor is a Japanese man named Minatu. The spelling of this name is uncertain. I did a search on the IBM server but found nothing even remote. Henry specifically said this was a United States patent. So, here it is. Perhaps Henry can come up with some more detail which can be used to update this file in future. Good luck.... KeelyNet: Update and Corrections from Henry Curtis (Wed, 19 Nov 1997) ~

From: Henry Curtis ~ To: Jerry Decker Subject: Bicycle wheel correction and update Jerry, Again we see that communication is difficult and memories are fallable. Obviously I am remiss in not having sent this to you months ago as I intended to, but as a sage of old observed "The spirit is willing, but the flesh is slow." During the first weekend of May, 1997, a group in Soeul, Korea headed up by Mr. Chi San Park, held The First International New Energy Conference in Seoul, Korea. I attended this conference and gave a talk on various approcahes to free energy. It was at this conference in Seoul, Korea that I saw the bicycle wheel and had the opportunity to work with it unattended by anyone else.The inventor is Kohei Minato, a Japanese rock musician, who reports that he has spent a million dollars out of his own pocket developing magnetic motors, because the world needs a better source of energy. He has several patents in various countries. His latest patent that I am aware of is United States Patent # 5,594,289. His development efforts have gone in the general direction of the Adams motor which the above patent is similar to. He had a working prototype of this design at the conference and reported that it used 150 watts power input and produced 450 watts output on a sustained basis. About a year ago CNN (in the US) had a 10 minute segment about him and his motors. In this video he is shown demonstrating two of his magnetic motors. I have a copy of this film clip that he gave to me. I will make a copy and send it to you. Unfortunately, the editors were not attuned to technical details and the pictures of the running machines show little useful detail. The Phillipine connection that you mention is completely erroneous. It was in Korea. The drawing on the web site is essentially correct with the following exceptions. The counter weight is a single curved piece of aluminum covering 180 degrees. Each of the several individual magnets on the other half of the wheel are slightly asymmetric, crescent shaped and nested. They are magnetised end to end with the N poles out. The motor is actuated by moving the N pole of a large permanet magnet (the drive magnet) toward the wheel. As this magnet is moved toward the wheel, the wheel starts to spin. As the magnet is moved closer to the wheel it spins faster. The acceleration of the wheel is rapid. So rapid in fact, as to be startling. To put it another way I was very impressed. The motor works. And it works very well. In the film clip a slight pumping action of Minato's hand holding the magnet is apparent. When I braced my hand so that there was no pumping action, the motor still ran. In fact it seemed to run better. Pumping action by the hand held magnet is not the power that drives the motor. When the drive magnet is moved away from the wheel it coasts rather quickly to a stop and comes to rest in a manner typical of any spinning bicycle wheel. Again when the wheel is at rest and a large magnet is moved up to the wheel it starts to spin. At no time is it necessary to touch the wheel to get it to rotate. Simply bring the N pole of a large magnet several inches from the wheel. The particular orientation of the wheel when it is at rest seems to have no effect on how well it starts to turn. Irrespective of how the wheel and the magnets on it are sitting; move the drive magnet near, it starts to spin. Move the magnet closer it spins faster. Move the magnet further away it slows up. The wheel was mounted on a stand made of aluminum angle pieces bolted together similar to the diagram in the above mentioned patent. The axle of the wheel was mounted parellel to the surface of the planet. I have attached a rough diagram of the wheel. Apparently the geometry of the magnets on the wheel is very important and subtle. I have built several small models none of which have shown the free energy effects of Minato's machine. The conference in Seoul was attended by several hundred people, most appeared to be under 40 and evenly divided between men and women. Presenters were from Korea, US, Japan, and China. Simultaneous translation was provided for all talks in the 3 day conference. Jerry, I hope this information is useful. I may be contacted by e-mail at mailto:hcurtis@mindspring.com or by phone at 303.344.1458.

KeelyNet: Email from Gene Mallove at Infinite Energy ~ I spoke to Bob Vermillion of Tri-Cosmos Development (Los Angeles, CA 310-284-3250 or fax 310-284-3260) today, just before he left for the three-day demonstrations of the Minato magnetic motor being held in Mexico City, Mexico on July 8, 9, 10th.Three (3) Minato Motors (MM), covered by US Patents # 5,594,289 (Jan 14, 1997) and # 4,751,486 (June 14, 1988), have been brought over from Japan. One was allegedly tested last evening by Grupo Bufete Industrial (supposedly one of the largest power generation construction companies in Mexico and South America). The company engineers were said (by Vermillion) to have measured an output /input ratio of 4.3 / 1. The printed literature, which I received in a Fedex packet from Vermillion states that the device can put out 500 watts (maximum) with an input of 34 watts.For those of you who wonder why the device is not self-sustaining -- oral info from Vermillion is that Minato *will* in the course of one of the demonstrations *remove the battery power supply* and let the device self-run -- presumably with a load. The press release makes no bones about the physics-busting character of the MM: "As rotations per minute (rpm's) increase, the electromagnetic consumption of the stator decreases. This phenomenon is in direct conflict with accepted laws of physics and is achieved through the repelling magnetic fields. It operates without heat, noise, or pollution of any kind. It can be produced in size from ultra-small to very large." It is said in the press release that applications from cell phones to laptop computers are under development. Vermillion told me of other parties who were planning to attend the demonstrations, which will be conducted both in public displays and with private party measurements. These include: ENRON, Bechtel, Tejas (a division of Shell Oil Corporation), Fluor Daniels, Kellogg Corp. .He told me that Hal Fox of New Energy News and the Fusion Information Center will be there (I confirmed with Hal that he will be there and will give us a full report.) I considered going myself (I was invited), but I trust Hal Fox to provide a full report --

www.japaninc.com/article.php?articleID=1302

  

en.wikipedia.org/wiki/Permanent_magnet_motor

Simple corniform signs: Mont Bégo

 

Further to the north of Mont Bégo in the Valcomonica petroglyph megasite, can be seen dated corniform signs from the neolithic e.g. the 'roche de la Baita'. As with Mont Bégo, corniform signs can also be seen here linked with yokes - forming an early representation of a 'living tractor' - the kind that will have also been employed for ploughing and during the movement of erratic monoliths, trees and megaliths. Whilst most of the glyphs around the Mont Bégo site are certainly Bronze age, it must be very difficult to say categorically that certain of the more simple examples are not neolithic, with the rule of thumb being that heavily simplified schematic glyphs are neolithic with representational details arriving for the chalcolithic and Bronze age. Thus the above simple signs need to be seen in contrast with more detailed corniform signs (see below). They may be of the later date, they may not. They may have exactly the same 'meaning' as more complicated corniforms - they may not.

 

The importance of the corniform sign to Mont Bégo cannot be underestimated, and there is a statistic that if you factor out unformed marks and scratches and only count 'symbols' and 'representations', then corniforms make up close to 80% of all petroglyphs. Seeing the wide variety of expression within the category of corniform, and it can be said that the ideas associated with the corniform symbol were taken by a diverse population to a zone above the agricultural line and onto bleak but mesmerising geological spaces. Mont Bégo, with it's Vallée des Merveilles and Vallée de Fontanalba was a focus for corniform 'cow signs' and understanding the dynamic range of these signs seems to be a task. For the record, there are plentiful examples of small pecks and scratches, and even when these are included, the statistic for corniforms runs to 46% of the 30,000 or so petroglyphs.

 

Top left: two corniform signs. See how there is no hint of a 'real' structure: these are not direct descriptions of a subject be it a cow-form hut, a stretching skin, a cow's scull, a cow, a tool (with the horns tipped inwards the would not make a pitch fork) or cow/human spirit - the lines seem to have starting to drift towards raw symbols.

 

Top right : The corniform has an appearance of a jubilant humanoid. Under are two 'rouelles' or spoked 'suns'. One has six 'rays' and the other five. Others similar signs can be seen with eight spokes. These are vivid but neither systematic or common to the Mont Bégo site, so however simple and eye catching they may appear, they do not seem to be representative of the site's 'zeitgeist'. The variety of the number of branches suggests to me an informal sign and not a rigorous symbol of, for example, a sun deity. Further to the north in the Valcamonica rock art site, there are seemingly indubitable sun-like petroglyph symbols with the 'rays attached to a central circle dated to the neolithic. These seem to be more conclusively suns, and the above radiants may simply be expressive and jubilant decorations associated with decorated cows and festivals. If they are aligned to a sun God then the position on the rock is small and to the side, so subordinate. With the 'corniform' on the verge of 'dancing', a description of 'festival' and joy on the corner of a vast petrogliphic surface may be a coherent explanation. As with the image top left, excluding a neolithic date for these signs would seem to me to be difficult even though they are surrounded by multiple petroglyphs that are know to be bronze age.

 

Lower left : It is very easy to see that two methods were used to produce this image. 'Pecking' and then 'scratching' with no great innovations from the great paleolithic rock art site of the Coa valley. The rock surface is very hard, and today pecking might involve a hole punch and a hammer - no great change, just a need for a sharp wrist action and eye concentration. The scratching is not always present (some may also be from historical visitors) and involves a repeated action to break the peaks between the pecks and in so doing creating a unified image. This mix of technique may have repeated on a larger scale during the late prehistoric periods for regional earthworks. Studies of some large earthworks show that ditches were first made as a series of pits and then broken through to create the large ditch enclosures we can see today. There are many surfaces where the best way to dig a pit is by driving down many deep holes using a weighted pole with a chiseled end. Adding water can speed up the process by creating shatter pressures and colloids that squirt out on their own. Messy but fast. Once a series of vertical perforations has been made, these can be broken through by levering a large pole, with the rubble of the pit removed. Two pits next to each other in the envisaged line of, let's say, a henge ditch, with the dividing wall battered down and antler picks used to clean up the ruts and imperfections. Today, predictive calculations for the time taken to make prehistoric earthworks are often made using only the final antler picks - as if you cook for one hundred using only a serving spoon - which can lead to dramatic statistics and truly vast numbers of hours required. This can make prehistory look like a repetitive and gruelling adventure in space-time or, force it to approach some of slave based monuments of early civilisation.

 

Lower right : A purely abstract sign again with humanoid overtones - a certain joy. The curling of the horns suggests an animal like a mouflon or a goat rather than a cow. Around Mont Bégo there are rare glyphs that I did not manage to photograph that are understood to be of goats. As with Soay sheep, the mouflon is an archaic variety - an early variety of sheep that has returned to the wild. They are easy to see today and unlike Isards, they retain a slight domestication and can wait to have their picture taken while still looking very wild. A very small corniform is also present top left of this image.

 

In conclusion, within the category of corniform there may be two qualitatively different glyphs with the above examples within the 'simple signs' group.

 

AJM 12.2.19

A follow up to yesterday's photo.

 

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Further experimentation with HDR processing. All done using +2/0/-2 bracketing. My most popular image yet.

 

Edit: I'm gona have another go at this type of angled shot now i have my new D300s camera!

Dufferin Islands Nature Park,Niagara Falls,Ontario,Canada

 

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Further early morning shot 8.3.19. of Jubilee 4-6-0 45596 Bahamas (as light engine) emerging from the second over bridge near Howarth shed bound for Oxenhope during the Keighley & Worth Valley Railway's 2019 Spring Steam Gala.

....a peek at the next location coming to DNR ! Captured @ Observatoire de Cointe. An abandoned university in Belgium which is also connected to an observatory.

www.donotresuscitate.co.uk

I dont feel bad for you anymore

 

You'll call me bitter and unfair

You'll call me steel and unable to care

And I'll hear it lying on the floor

But I dont feel bad for you anymore

 

You'll say Im stupid, a simple mind

You'll say Im cold and no longer kind

And I'll hear it from behind a locked door

But I dont feel bad for you anymore

 

You'll destroy yourself by destroying me

You'll always miss the love you dont see

But I dont feel bad for you anymore

And I cant feel bad for you anymore

  

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© Mariana Tomas