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Ownership inscription from the library of the Augustinian Prieuré Sainte-Catherine du Val-des-Ecoliers (Paris) followed by an inscription recording the date the volume was bound (1759) and its shelfmark.
Established (SUDOC) heading: Prieuré Sainte-Catherine du Val-des-Ecoliers (Paris). Bibliothèque
Penn Libraries call number: FC75 A100 760c
Aerial view of a forest area in SW Cameroon that has been started planted by crop and oil palm.
Photo by Mokhamad Edliadi/CIFOR
If you use one of our photos, please credit it accordingly and let us know. You can reach us through our Flickr account or at: cifor-mediainfo@cgiar.org and m.edliadi@cgiar.org
The Blackbirds seem to have taken ownership of these berries. Raining and atrocious light coupled with being hand-held through kitchen window glass so somewhat lacking in definition
Ownership inscription: Di Mario Guiducc[i]?
Possibly Mario Guiducci (1584-1646), scientist, lawyer, pupil of Galileo, member of Florentine Academy
Established heading: Guiducci, Mario, 1584-1646
Penn Libraries call number: GrC Ac464 Ei551c 1598
Ownership passed from NZRRS to Associated Coach Sales, Palmerston North, then Lewis Hodgson Motor Services Ltd Te Awamutu, then F H Stott Otorohanga, thenAvondale College Auckland before Commercial Coachlines (www.omnibus.org.nz/buslocation/hino/bg100.html)
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In 1762, a plantation was founded named Bonaventure Plantation on a 600-acre plot of land only a few miles from the city of Savannah. Ownership of the land changed hands and eventually the decision was made to make the family cemetery public. Bonaventure Cemetery was established in 1856 and was originally 70 acres and named Evergreen Cemetery. It was built as a traditional Victorian cemetery with many curved paths and lots of trees and plants.
It was purchased in 1907 by the City of Savannah and expanded to nearly 103 acres. Today it contains nearly 160 acres.
Of very interesting note, Scottish-American Naturalist John Muir camped in the Cemetery in 1867 on his thousand-mile trip from Indiana to Florida for 6 nights while awaiting a parcel of money to be shipped to him. He wrote of the Cemetery:
"There is but little to be seen on the way in land, water, or sky, that would lead one to hope for the glories of Bonaventure. The ragged desolate fields, on both sides of the road, are overrun with coarse rank weeds, and show scarce a trace of cultivation. But soon all is changed. Rickety log huts, broken fences, and the last patch of weedy rice-stubble are left behind. You come to beds of purple liatris and living wild-wood trees. You hear the song of birds, cross a small stream, and are with Nature in the grand old forest graveyard, so beautiful that almost any sensible person would choose to dwell here with the dead rather than with the lazy, disorderly living.
Part of the grounds was cultivated and planted with live-oak, about a hundred years ago, by a wealthy gentleman who had his country residence here But much the greater part is undisturbed. Even those spots which are disordered by art, Nature is ever at work to reclaim, and to make them look as if the foot of man had never known them. Only a small plot of ground is occupied with graves and the old mansion is in ruins.
The most conspicuous glory of Bonaventure is its noble avenue of live-oaks. They are the most magnificent planted trees I have ever seen, about fifty feet high and perhaps three or four feet in diameter, with broad spreading leafy heads. The main branches reach out horizontally until they come together over the driveway, embowering it throughout its entire length, while each branch is adorned like a garden with ferns, flowers, grasses, and dwarf palmettos.
But of all the plants of these curious tree-gardens the most striking and characteristic is the so-called Long Moss (Tillandsia usneoides). It drapes all the branches from top to bottom, hanging in long silvery-gray skeins, reaching a length of not less than eight or ten feet, and when slowly waving in the wind they produce a solemn funereal effect singularly impressive.
There are also thousands of smaller trees and clustered bushes, covered almost from sight in the glorious brightness of their own light. The place is half surrounded by the salt marshes and islands of the river, their reeds and sedges making a delightful fringe. Many bald eagles roost among the trees along the side of the marsh. Their screams are heard every morning, joined with the noise of crows and the songs of countless warblers, hidden deep in their dwellings of leafy bowers. Large flocks of butterflies, flies, all kinds of happy insects, seem to be in a perfect fever of joy and sportive gladness. The whole place seems like a center of life. The dead do not reign there alone.
Bonaventure to me is one of the most impressive assemblages of animal and plant creatures I ever met. I was fresh from the Western prairies, the garden-like openings of Wisconsin, the beech and maple and oak woods of Indiana and Kentucky, the dark mysterious Savannah cypress forests; but never since I was allowed to walk the woods have I found so impressive a company of trees as the tillandsia-draped oaks of Bonaventure.
I gazed awe-stricken as one new-arrived from another world. Bonaventure is called a graveyard, a town of the dead, but the few graves are powerless in such a depth of life. The rippling of living waters, the song of birds, the joyous confidence of flowers, the calm, undisturbable grandeur of the oaks, mark this place of graves as one of the Lord's most favored abodes of life and light.
On no subject are our ideas more warped and pitiable than on death. Instead of the sympathy, the friendly union, of life and death so apparent in Nature, we are taught that death is an accident, a deplorable punishment for the oldest sin, the arch-enemy of life, etc. Town children, especially, are steeped in this death orthodoxy, for the natural beauties of death are seldom seen or taught in towns.
Of death among our own species, to say nothing of the thousand styles and modes of murder, our best memories, even among happy deaths, yield groans and tears, mingled with morbid exultation; burial companies, black in cloth and countenance; and, last of all, a black box burial in an ill-omened place, haunted by imaginary glooms and ghosts of every degree. Thus death becomes fearful, and the most notable and incredible thing heard around a death-bed is, "I fear not to die."
But let children walk with Nature, let them see the beautiful blendings and communions of death and life, their joyous inseparable unity, as taught in woods and meadows, plains and mountains and streams of our blessed star, and they will learn that death is stingless indeed, and as beautiful as life, and that the grave has no victory, for it never fights. All is divine harmony."
excerpt from "A Thousand-Mile Walk to the Gulf" by John Muir, published in 1916.
I just came into ownership of this, my first ever Rolleiflex- A Black Baby rolleiflex 4X4 and would appreciate any info on it. I have scoured the internet but was left in confusion between two models (after checking serial numbers at www.rolleiclub.com ).
125.000* - 145.000*
Rolleiflex 4x4 3,5 model 1 - Prochnow
Baby 4x4 1931 Rolleiflex - Parker
3.5 Original Baby - Evans
127.000- 523.000
Rolleiflex 4x4 3,5 model 2 - Prochnow
Baby 4x4 1934 Rolleiflex - Parker
Black Baby (type 1 - Evans
The serial number is 1456**
- and the last two digits are missing but at closer inspection they look like 17 (possibly)..
so maybe serial is No. 145617.
Viewing lens reads - Heidoskop-Anastigmat 1: 2,8 f- 6 cm
Viewing lens Number - 132752
Focus lens reads - Tessar 1: 3,5 f= 6 cm
Focus lens number - Carl Zeiss Jena Nr. 1327345
Number under shutter release - 2392959
It was sold to me as an-
"Original Baby Rolleiflex 4 x 4 Model 4RF 411"
Early 1930s. Complete with original case-
Camera fully functioning but could do with an overhaul. Paintwork a bit battered & view finder magnifier (small magnifying glass) missing.
Has red window on the back.
But then I saw this one -http://www.Pacificrimcamera.com/pp/rollei/pr ebaby.htm which is different to my own so I'm just more confused than ever
Did I buy the right camera as advertised or did I buy a dud?
I would really appreciate any info in identifying the correct model and year and of-course if it has any real monetary value. I bought it to use it but if it is a rare model then I think I'll just baby it (excuse the pun) and only take out for exercise on occasion. :)
Thanks in advance to anyone who took the time to read all that and bother posting back. :)
P.S- I will take some photos soon and post them back up here in case the information I gave isn't enough. :)
Are you looking to buy your home? Whether it may be your first, or it could be your home for vacation, retirement, home buying could be a very significant milestone in ones life. It is your future that you are investing on as well as committing your finances. We have collected for you 50 HOME...
#Comfort, #Home, #HomeOwnership, #Live, #Ownership, #Peace, #Quotes
Hunc petit Henricus librum post funera patris
[Early ms. inscription, struck through. One "Henricus" wants this book after his father's death. The same hand is possibly responsible for the ms. device with initials "H H" immediately below this inscription.]
Liberali donatione honorabilis viri
Christiani Grunfeldij ego Lucas Beckman
hunc librum possideo Anno 1629
[Ms. ownership inscription of Lucas Beckman (dated 1629), recording the gift of this book from Christian Grunfeld.]
DOM: SCRIPT: PROV [...] S. J.
[Jesuit stamp. Unfortunately, the name of the province is illegible.]
Established form: Jesuits.
Antonius Grunfeld[?] hunc librum
ex dona[...?] hon[orabi]lis[?] viri d[omi]nj
[...]manni[?] hin[...]ma[...][?]
pa[...] in Ri[...]sslo[?] [...] & possideo[?]
[Partially illegible early ms. ownership(?) inscription of Antonius Grunfeld(?), recording the gift of this book from an unidentified donor, struck through.]
Penn Libraries call number: GC5 N2268 539c 1543
Ms. ownership inscription: "A Toledo Fr[ancisc]o? de la Serna ...15[9]6? 12 de agosto .."
Stamp of the Discalced Augustinians: "Agost. Descalc. do Monto Olivet". Belongs to the Convento de Nossa Senhora da Conceição do Monte Olivete Ordem dos Eremitas Descalços de Santo Agostinho.
Established heading (BNP): Ordem dos Eremitas Descalços de Santo Agostinho. Convento de Nossa Senhora da Conceição do Monte Olivete (Lisboa)
Penn Libraries call number: SC55 P4159 585p
Legislation introduced July 25, 2016 creates new measures to help make home ownership more affordable, establishes a fund for market housing and rental initiatives, strengthens consumer protection, and gives the City of Vancouver the tools it requested to increase rental property supply.
Learn more: news.gov.bc.ca/releases/2016PREM0080-001346
2013 World Water Week.
Monday, September 2.
Community Ownership of Water and Sanitation Projects, K22/K23.
Photo: Mikael Ullén.
This shows the development under construction in early 2011. Designed by Bernard Taylor Partnership architects and built for Mosscare housing, the development consists of houses and flats with mixed tenure for sale as freehold properties, shared ownership and for rent as social housing. The streets are named after northern author and former Moss Side resident Mary Gaskell and her literary works.
Angelus, Johannes: Astrolabium. Venice: Johannes Emericus de Spira, for Lucantonio Giunta, 9 June 1494. Page of illustrated zodiacal tables (predicting character) with ownership inscription of Magister Dominus Bartholomeus (16th century) in the margin: “m[agister] d[ominus] Barth[olom]eus(?) Con[...] possidet” (together with an unread annotation of two words). Sp Coll S.M. 105.
Charles Albert Browne was a sugar chemist and head of the Bureau of Chemistry (which became the Food and Drug Administration). This book was donated to the Edgar Fahs Smith Collection at the University of Pennsylvania by Browne.
Established heading: Browne, Charles Albert, 1870-1947
Penn Libraries call number: Boyle 540.4 B699.6 1671
Bricot, Thomas: Insolubilia; Obligationes. Paris: [André Bocard], 1498. Page of text (d2r) with annotations and ownership inscription of Anthonius Rogant/Rogantus (fl. 1537), of Montpellier: “Rogãt de’ mõtepeſſulano”. Sp Coll BC33-d.8 (item 2).
Formed only in 2007, Fleshgod Apocalypse are at the vanguard of Italy’s extreme metal movement. No other band in the country’s history has taken ownership of and innovated on death metal quite like the Italians. Inspired by greats Morbid Angel, Deicide, and Cannibal Corpse as well as renowned composers Franz Joseph Haydn, Wolfgang Amadeus Mozart and Ludwig Van Beethoven, Fleshgod Apocalypse have fused disparate genres and crafted a sound that’s powerful, impressive, and unique across three full-lengths, the latest of which was 2013’s critically-acclaimed Labyrinth effort. However, the group are only getting stronger. Add in film score composers such as John Williams, Hans Zimmer, and Howard Shore and melodic death metal—Carcass and At the Gates—and there’s clearly no stopping Fleshgod Apocalypse’s creative ambitions.
“Fleshgod Apocalypse’s music is orchestral music,” says frontman/guitarist Tommaso Riccardi, blurring the lines between classical refinement and metallic bombast. “This means that drums, bass, guitars, and vocals are elements of the orchestra, together with all the other sections, [such as] strings, brass, etc. This means that in the process of composing new songs we always consider all these elements together. Of course, sometimes a guitar riff could be the starting point, while sometimes the song could come to life with the idea of a main orchestral theme or a drum rhythm, but it’s going to be a very organic process in which all these elements are written and arranged together during the evolution of the songwriting.”
What Riccardi is saying is that when it comes to writing music for Fleshgod Apocalypse, the spark of inspiration can come from anywhere on any instrument. For new album, King, a song like “Gravity” started with a riff, while a song like “In Aeternum” kicked off with an orchestral motif. Then again, “The Fool” was informed by both Classical and death metal. As with Labyrinth so too with King, the Italians focused first on melding their influences and second on writing songs that would be immediately recognizable yet have a wider and deeper cinematic scope.
“[The songwriting was] very stressful as usual,” the frontman laughs. “We are extremely meticulous about everything, especially the songwriting, and I think this is what made us grow up so fast and gave us the chance to play so many great stages over the years. We are hard workers and we never settle on anything. King’s songwriting and arrangements took almost nine full months—plus all the recordings—so it was actually very challenging. But we are so happy with the results.”
To date, every Fleshgod Apocalypse album is built on the album before it. They’re a synthesis of the music and mentality of what came before. Labyrinth took from and expanded upon 2011’s Agony. The Mafia EP was an extension of debut album, Oracles (2009). King is, therefore, cut from the same cloth as Labyrinth, but in the three years between albums, Fleshgod Apocalypse have matured greatly.
“[King] is much more than the sum of its parts,” says Riccardi. “I think we reached the perfect balance between all the aspects of our music. Besides that, I really believe that we simply wrote our best songs so far. Every riff is mind-blowing and the way we managed the arrangements and song structures is great; I really feel that everything is in the right place, when I listen to it.”
Fleshgod Apocalypse are no strangers to concept albums. Agony was about all the ways our painful feelings can lead us to be violent and hurt others; Mafia was about the way the Italian mafia uses fear to control the weak and perpetrate their dominion on the populace; while Labyrinth centered on the labyrinth of Knossos, the legendary maze made by Daedalus. King, however, moves the band forward lyrically. There’s real commentary behind the stories of a collapsing world.
“King is about an old world that is slowly coming to an end,” Riccardi informs. “The king himself is, in a way, the only positive character of the whole story. He represents justice, integrity, and wisdom that are slowly being corroded by ignorance and mediocrity spreading everywhere. We thought this could be a perfect way to describe our indignation about the unrestrainable downfall of our own society in an era that looks more like the Middle Ages rather than the 21st Century. Obviously, in this story there is a positive message: that the king could be inside every one of us. It’s up to us to recognize the King and find the courage to stand for what we believe in. We should all hail the king we have inside!”
Recorded across two studios—Kick Recording Studios and 16th Cellar Studios—King is easily Fleshgod Apocalypse’s most forceful yet. Pre-production was handled by Stefano Morabito at 16th Cellar Studios—a session Riccardi called “really comfortable”—whereas the full production was completed at Kick Recording Studios with Marco Mastrobuono (Hour of Penance). The sessions for King were, as the frontman tells it, an “amazing time.” The ultimate goal was to give Fleshgod Apocalypse a firm foundation from which to build their complex yet savage music.
“I think working with Marco has been the very first step towards the realization of a very high quality product,” says Riccardi. “We are extremely satisfied about the work we did on the album sound, both during the recordings with Marco Mastrobuono at Kick Recording Studio and of course during mixing and mastering with the almighty Jens Bogren at Fascination Street Studios.”
Speaking of Bogren, the Italians felt it was absolutely necessary to take King out of the norms of their homeland. They opted to hire Jens Bogren (Soilwork, Symphony X, Enslaved) for his sonic expertise. Their reasoning was this: if Fleshgod Apocalypse had a gem in King on their hands they weren’t going to tarnish it. The group’s hopes were answered when they heard the first Bogren mix, actually. Fleshgod Apocalypse had something massive on their hands.
“We were looking for people who could really interpret our music and put it in a way in, which with all the things going on, where it could be intelligible and still extremely heavy and powerful,” the frontman says. “And we definitely succeeded. We finally obtained what we had in mind since the beginning: a great sounding album.”
If Fleshgod Apocalypse are at the pinnacle of classically-inspired death metal—King is a pivotal album—then where will the Italians take the genre next. For certain, they own it. More orchestration. More death metal. Superlative bluster from all angles. Thankfully, they can first put their efforts into King before deciding where they’ll take the genre in the future.
“This is a very hard question to answer,” Riccardi admits. “It is never easy to predict something like that. What I can say is that on our side, we are trying to push ourselves more and more into something that is grandiose, but at the same time heavy and sharp; something violent, obscure and dramatic!”
We can certainly live with that. Hail to Fleshgod Apocalypse! Hail to the King!
LEGAL NOTICE | protected work • All Rights reserved © B. Egger photographer retains ownership and all copyrights in this work.
🏁 | 2008 Bergpreis Planneralm, Styria 💚 Austria
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📷 | Fiat Abarth 850 Sport :: rumoto images # 8240
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If a photographer can’t feel what he is looking at, then he is never going to get others to feel anything when they look at his pictures.
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Lib[rum] M[agistri] Leonardi Meyr ad S[anctam] Clara[m] Nuremberge
[15th-century ownership inscription (struck through) of Leonhardus Meyr (d. 1502). Born in Vilseck, he took his M.A. at Leipzig in 1445 and served in Nuremberg at the Sebalduskirche and as chaplain to the nuns of Klarissenkloster St. Klara (founded 1279; dissolved 1596). He also served in Velden (1452) and Frensdorf and as a canon of the Stephanskirche in Bamberg (1477).
IPI entry: Meyr, Leonhardus]
Penn Libraries call number: Inc R-215 Folio
In 1762, a plantation was founded named Bonaventure Plantation on a 600-acre plot of land only a few miles from the city of Savannah. Ownership of the land changed hands and eventually the decision was made to make the family cemetery public. Bonaventure Cemetery was established in 1856 and was originally 70 acres and named Evergreen Cemetery. It was built as a traditional Victorian cemetery with many curved paths and lots of trees and plants.
It was purchased in 1907 by the City of Savannah and expanded to nearly 103 acres. Today it contains nearly 160 acres.
Of very interesting note, Scottish-American Naturalist John Muir camped in the Cemetery in 1867 on his thousand-mile trip from Indiana to Florida for 6 nights while awaiting a parcel of money to be shipped to him. He wrote of the Cemetery:
"There is but little to be seen on the way in land, water, or sky, that would lead one to hope for the glories of Bonaventure. The ragged desolate fields, on both sides of the road, are overrun with coarse rank weeds, and show scarce a trace of cultivation. But soon all is changed. Rickety log huts, broken fences, and the last patch of weedy rice-stubble are left behind. You come to beds of purple liatris and living wild-wood trees. You hear the song of birds, cross a small stream, and are with Nature in the grand old forest graveyard, so beautiful that almost any sensible person would choose to dwell here with the dead rather than with the lazy, disorderly living.
Part of the grounds was cultivated and planted with live-oak, about a hundred years ago, by a wealthy gentleman who had his country residence here But much the greater part is undisturbed. Even those spots which are disordered by art, Nature is ever at work to reclaim, and to make them look as if the foot of man had never known them. Only a small plot of ground is occupied with graves and the old mansion is in ruins.
The most conspicuous glory of Bonaventure is its noble avenue of live-oaks. They are the most magnificent planted trees I have ever seen, about fifty feet high and perhaps three or four feet in diameter, with broad spreading leafy heads. The main branches reach out horizontally until they come together over the driveway, embowering it throughout its entire length, while each branch is adorned like a garden with ferns, flowers, grasses, and dwarf palmettos.
But of all the plants of these curious tree-gardens the most striking and characteristic is the so-called Long Moss (Tillandsia usneoides). It drapes all the branches from top to bottom, hanging in long silvery-gray skeins, reaching a length of not less than eight or ten feet, and when slowly waving in the wind they produce a solemn funereal effect singularly impressive.
There are also thousands of smaller trees and clustered bushes, covered almost from sight in the glorious brightness of their own light. The place is half surrounded by the salt marshes and islands of the river, their reeds and sedges making a delightful fringe. Many bald eagles roost among the trees along the side of the marsh. Their screams are heard every morning, joined with the noise of crows and the songs of countless warblers, hidden deep in their dwellings of leafy bowers. Large flocks of butterflies, flies, all kinds of happy insects, seem to be in a perfect fever of joy and sportive gladness. The whole place seems like a center of life. The dead do not reign there alone.
Bonaventure to me is one of the most impressive assemblages of animal and plant creatures I ever met. I was fresh from the Western prairies, the garden-like openings of Wisconsin, the beech and maple and oak woods of Indiana and Kentucky, the dark mysterious Savannah cypress forests; but never since I was allowed to walk the woods have I found so impressive a company of trees as the tillandsia-draped oaks of Bonaventure.
I gazed awe-stricken as one new-arrived from another world. Bonaventure is called a graveyard, a town of the dead, but the few graves are powerless in such a depth of life. The rippling of living waters, the song of birds, the joyous confidence of flowers, the calm, undisturbable grandeur of the oaks, mark this place of graves as one of the Lord's most favored abodes of life and light.
On no subject are our ideas more warped and pitiable than on death. Instead of the sympathy, the friendly union, of life and death so apparent in Nature, we are taught that death is an accident, a deplorable punishment for the oldest sin, the arch-enemy of life, etc. Town children, especially, are steeped in this death orthodoxy, for the natural beauties of death are seldom seen or taught in towns.
Of death among our own species, to say nothing of the thousand styles and modes of murder, our best memories, even among happy deaths, yield groans and tears, mingled with morbid exultation; burial companies, black in cloth and countenance; and, last of all, a black box burial in an ill-omened place, haunted by imaginary glooms and ghosts of every degree. Thus death becomes fearful, and the most notable and incredible thing heard around a death-bed is, "I fear not to die."
But let children walk with Nature, let them see the beautiful blendings and communions of death and life, their joyous inseparable unity, as taught in woods and meadows, plains and mountains and streams of our blessed star, and they will learn that death is stingless indeed, and as beautiful as life, and that the grave has no victory, for it never fights. All is divine harmony."
excerpt from "A Thousand-Mile Walk to the Gulf" by John Muir, published in 1916.
CSX Y123 with an ex-Conrail C40-8W and a ES40DC passes by some ex-GTW G-Head signals on CSX's Elsdon Subdivision
Ownership inscription from the library of the Piarist Gymnasium in Prague:
"Bibliothecae Schol[arum] Piar[um] Pragae 1805"
Early ms. inscription (crossed out) from the Jesuit College in Prague, which later became known as the Klementinum Library and University.
"Colleg[ij] Caesar[ei] Soc[ietatis] Jesu Pragae.
Bibl. [...]"
Penn Libraries call number: LatC Si345 471p 1504 Folio
Ownership stamp: "Karl Elze"
Probably belonging to Karl Elze, 1821-1889, a Shakespearean scholar and professor of philology, Univ. of Halle.
Established heading: Elze, Karl, 1821-1889
Penn Libraries call number: GrC Ar466.17 1536
This shows the development under construction in early 2011. Designed by Bernard Taylor Partnership architects and built for Mosscare housing, the development consists of houses and flats with mixed tenure for sale as freehold properties, shared ownership and for rent as social housing. The streets are named after northern author and former Moss Side resident Mary Gaskell and her literary works.
Inscription: Ex Bibliotheca Episcopatus Neostadiensis
Ownership inscription of the the bishopric of Wiener Neustadt (Austria)
Title in woodcut architectural border. Used by Alexander Weissenhorn (I) of Augsburg.
Penn Libraries call number: GC5 F1125 530a
Ms. ownership inscription: "A Toledo Fr[ancisc]o? de la Serna ...15[9]6? 12 de agosto .."
Stamp of the Discalced Augustinians: "Agost. Descalc. do Monto Olivet". Belongs to the Convento de Nossa Senhora da Conceição do Monte Olivete Ordem dos Eremitas Descalços de Santo Agostinho.
Established heading (BNP): Ordem dos Eremitas Descalços de Santo Agostinho. Convento de Nossa Senhora da Conceição do Monte Olivete (Lisboa)
Penn Libraries call number: SC55 P4159 585p
The last time that we had to do this was in 2007. I hoped to put it off until next year, but then I found evidence that I had to act sooner, rather than later...
•Land Ownership: The cemetery remains the property of the French State, but the U.S. government has a special concession to the land.
•Cemetery Management: The American Battle Monuments Commission, a U.S. federal government agency, manages the cemetery.
•Financial Support: The U.S. Congress provides yearly financial support for maintaining the cemetery.
•Total Burials: 9,389 servicemembers, including 304 unknown soldiers.
•Religious Markers: 9,238 Latin crosses and 151 Stars of David, representing the three recognized religions at the time.
•Notable Burials: Includes pairs of brothers, a father and son, an uncle and nephew, 3 generals, 4 chaplains, 4 civilians, 4 women, 147 African Americans, and 20 Native Americans.
•Wall of the Missing: Inscribed with the names of 1,557 servicemembers declared missing in action during Operation Overlord.
•Bronze Rosette Significance: Nineteen names on the Wall of the Missing bear a bronze rosette, indicating the recovery and identification of their bodies.
This shows the development under construction in early 2011. Designed by Bernard Taylor Partnership architects and built for Mosscare housing, the development consists of houses and flats with mixed tenure for sale as freehold properties, shared ownership and for rent as social housing. The streets are named after northern author and former Moss Side resident Mary Gaskell and her literary works.
Ms. inscription:
Ex Bibliotheca Monasterii Amorbacensis O.S.B.
[Early ms. ownership inscription of Abtei Amorbach, a Benedictine house in Bavaria, Germany, founded 734 and secularized 1803.
Established heading: Abtei Amorbach]
Stamp:
FÜRSTL. LEINING.
HOF-
BIBLIOTHEK
[Stamp of the Fürstlich-Leiningische Bibliothek (or Fürstlich Leiningensche Bibliothek; the name appears to be spelled variously) at Amorbach, Germany. (Cf. another example in Wikimedia here.) After Abtei Amorbach was secularized, its buildings and library became the property of the recently created Prince of Leiningen, Carl Friedrich Wilhelm. The library remains a going concern today with some 31000 volumes, mostly concerned with family and local history, and looks gorgeous.
DNB heading: Fürstlich-Leiningische Bibliothek]
Penn Libraries call number: IC B6416 543r 1690 Folio
Magistri, Martinus: Expositio super Praedicabilia Porphyrii. Paris: Félix Baligault, for Durand Gerlier, 27 Mar. 1499. Page of text (d2r) with marginal annotations, pointing hand, initial “C” added and ownership insciption of Petrus Chabrias in Greek: “Μερος Πετρος Χαβριας Σικυλος”. Sp Coll BC33-d.8 (item 1).
A dilapidated shack displays prominently, "Private Property: No Trespassing" in the ghost town of Cisco, Utah.
Today is Thanksgiving Day in the United States. Most of us have much more than this to be thankful for. Even finding shelter here would be better than the lot of many in the rest of the world. A little can be a lot if love is there.
Cisco was a railroad town in the 1920s and beyond, but was abandoned with the demise of the steam locomotive. I have a History album if you like things like this.
Charles Albert Browne was a sugar chemist and head of the Bureau of Chemistry (which became the Food and Drug Administration). This book was donated to the Edgar Fahs Smith Collection at the University of Pennsylvania by Browne.
Established heading: Browne, Charles Albert, 1870-1947
Penn Libraries call number: Boyle 540.4 B699.6