Arsène Lupin is a fictional gentleman thief and master of disguise created by French writer Maurice Leblanc.

 

Lupin was featured in 20 novels and 28 short stories by Leblanc, with the short stories collected into book form for a total of 24 books. The first story, "L'Arrestation d'Arsène Lupin", was published in the magazine Je sais tout on 15 July 1905.

The character has also appeared in a number of books from other writers as well as numerous film, television , stage play, and comic book adaptations.

 

Arsene Lupin Contre Herlock Sholmes

Aside from the Arsène Lupin stories written by Maurice Leblanc (1864–1941) himself, five authorized sequels were written in the 1970s by the celebrated mystery writing team of Boileau-Narcejac.

 

The character of Lupin was first introduced in a series of short stories serialized in the magazine Je sais tout, starting in No. 6, dated 15 July 1905. He was originally called Arsène Lopin, until a local politician of the same name protested, resulting in the name change.

 

Arsène Lupin is a literary descendant of Pierre Alexis Ponson du Terrail's Rocambole. Like him, he is often a force for good, while operating on the wrong side of the law. Those whom Lupin defeats, always with his characteristic Gallic style and panache, are worse villains than he. Lupin shares distinct similarities with E. W. Hornung's archetypal gentleman thief A. J. Raffles who first appeared in The Amateur Cracksman in 1899, but both creations can be said to anticipate and have inspired later characters such as Louis Joseph Vance's The Lone Wolf and Leslie Charteris's The Saint.

 

The character of Arsène Lupin might also have been based by Leblanc on French anarchist Marius Jacob, whose trial made headlines in March 1905, but Leblanc had also read Octave Mirbeau's Les 21 jours d'un neurasthénique (1901), which features a gentleman thief named Arthur Lebeau, and had seen Mirbeau's comedy Scrupules (1902), whose main character is a gentleman thief.

 

The official last book of the series, The Billions of Arsene Lupin, was published without the ninth chapter "The Safe" ("IX. Les coffres-forts"), and even the published book was withdrawn at Leblanc's son's request. However, in 2002, by the efforts of some Lupinians and Korean translator Sung Gwi-Su, the missing part was restored and the complete final collection of Arsene Lupin happened to be published first in Korea, from Kkachi Publishing House.

 

Arsène Lupin and Sherlock Holmes

 

Leblanc introduced Sherlock Holmes to Lupin in the short story "Sherlock Holmes Arrives Too Late" in Je sais tout No. 17, 15 June 1906. In it, Holmes meets a young Lupin for the first time. After legal objections from Conan Doyle, the name was changed to "Herlock Sholmes" when the story was collected in book form in Volume 1.

 

Sholmes returned in two more stories collected in Volume 2, "Arsène Lupin contre Herlock Sholmes", and then in a guest-starring role in the battle for the secret of the Hollow Needle in L'Aiguille creuse. Arsène Lupin contre Herlock Sholmes was published in the United States in 1910 under the title "The Blonde Lady" which used the name "Holmlock Shears" for Sherlock Holmes, and "Wilson" for Watson.

 

In 813, Lupin manages to solve a riddle that Herlock Sholmes was unable to figure out.

 

Sherlock Holmes, this time with his real name and accompanied by familiar characters such as Watson and Lestrade (all copyright protection having long expired), also confronted Arsène Lupin in the 2008 PC 3D adventure game Sherlock Holmes versus Arsène Lupin. In this game Holmes (and occasionally others) are attempting to stop Lupin from stealing five British valuable items. Lupin wants to steal the items in order to humiliate Britain, but he also admires Holmes and thus challenges him to try to stop him.

 

In a novella "The Prisoner of the Tower, or A Short But Beautiful Journey of Three Wise Men" by Boris Akunin published in 2008 in Russia as the conclusion of "Jade Rosary Beads" book, Sherlock Holmes and Erast Fandorin oppose Arsène Lupin on December 31, 1899.

 

Fantasy elements

 

Several Arsène Lupin novels contain some interesting fantasy elements: a radioactive 'god-stone' that cures people and causes mutations is the object of an epic battle in L’Île aux trente cercueils; the secret of the Fountain of Youth, a mineral water source hidden beneath a lake in the Auvergne, is the goal sought by the protagonists in La Demoiselle aux yeux verts; finally, in La Comtesse de Cagliostro, Lupin's arch-enemy and lover is none other than Joséphine Balsamo, the alleged granddaughter of Cagliostro himself.

 

Bibliography

1.Arsène Lupin, Gentleman Burglar (Arsène Lupin, gentleman cambrioleur, 1907 coll., 9 stories) (AKA Exploits of Arsène Lupin, Extraordinary Adventures of Arsène Lupin)

2.Arsene Lupin vs. Herlock Sholmes (Arsène Lupin contre Herlock Sholmès, 1908 coll., 2 stories) (AKA The Blonde Lady)

3.The Hollow Needle (L'Aiguille creuse, 1909)

4.813 (813, 1910)

5.The Crystal Stopper (Le Bouchon de cristal, 1912)

6.The Confessions of Arsene Lupin (Les Confidences d'Arsène Lupin, 1913 coll., 9 stories)

7.The Shell Shard (L'Éclat d'obus, 1916) (AKA: Woman of Mystery) Not originally part of the Arsène Lupin series, Lupin was written into the story in the 1923 edition.

8.The Golden Triangle (Le Triangle d'or, 1918) (AKA: The Return of Arsène Lupin)

9.The Island of Thirty Coffins (L’Île aux trente cercueils, 1919) (AKA: The Secret of Sarek)

10.The Teeth of The Tiger (Les Dents du tigre, 1921)

11.The Eight Strokes of The Clock (Les Huit Coups de l'horloge, 1923 coll., 8 stories)

12.The Countess of Cagliostro (La Comtesse de Cagliostro, 1924) (AKA: Memoirs of Arsene Lupin)

13.The Damsel With Green Eyes (La Demoiselle aux yeux verts, 1927) (AKA: The Girl With the Green Eyes, Arsène Lupin, Super Sleuth)

14.The Overcoat of Arsène Lupin (Le Pardessus d'Arsène Lupin, published in English in 1926) First published in 1924 in France as Dent d'Hercule Petitgris. Altered into a Lupin story and published in English as The Overcoat of Arsène Lupin in 1926 in The Popular Magazine.

15.The Man with the Goatskin (L'Homme à la peau de bique (1927)

16.The Barnett & Co. Agency (L'Agence Barnett et Cie., 1928 coll., 8 stories) (AKA: Jim Barnett Intervenes, Arsène Lupin Intervenes)

17.The Mysterious Mansion (La Demeure mystérieuse, 1929) (AKA: The Melamare Mystery)

18.The Mystery of The Green Ruby (La Barre-y-va, 1930)

19.The Emerald Cabochon (Le Cabochon d'émeraude (1930)

20.The Woman With Two Smiles (La Femme aux deux sourires, 1933) (AKA: The Double Smile)

21.Victor of the Vice Squad (Victor de la Brigade mondaine, 1933) (AKA: The Return of Arsene Lupin)

22.The Revenge of The Countess of Cagliostro (La Cagliostro se venge, 1935)

23.The Billions of Arsène Lupin (Les Milliards d'Arsène Lupin, 1939)

24.The Last Love of Arsene Lupin (Le Dernier Amour d'Arsène Lupin, 2012)

 

Other material by LeBlanc

1.Arsène Lupin (Arsène Lupin (pièce de théâtre) Originally a 4-part play written by Maurice LeBlanc and Francis de Croisset, it was subsequently novelized by LeBlanc and published in 1909. It was then translated into English by Edgar Jepson and published in 1909 by Doubleday as "Arsene Lupin: By Maurice LeBlanc & Edgar Jepson"

 

By other writers

Boileau-Narcejac1.Le Secret d’Eunerville (1973)

2.La Poudrière (1974)

3.Le Second visage d’Arsène Lupin (1975)

4.La Justice d’Arsène Lupin (1977)

5.Le Serment d’Arsène Lupin (1979)

 

Notable pastiches

The Adventure of Mona Lisa by Carolyn Wells in The Century (January, 1912)

Sure Way to Catch Every Criminal. Ha! Ha! by Carolyn Wells in The Century (July, 1912)

The Adventure of the Clothes-Line by Carolyn Wells in The Century (May, 1915)

The Silver Hair Crime (= Clue?) by Nick Carter in New Magnet Library No. 1282 (1930)

Aristide Dupin who appears in Union Jack Nos. 1481, 1483, 1489, 1493 and 1498 (1932) in the Sexton Blake collection by Gwyn Evans

La Clé est sous le paillasson by Marcel Aymé (1934)

Gaspard Zemba who appears in The Shadow Magazine (December 1, 1935) by Walter B. Gibson

Arsène Lupin vs. Colonel Linnaus by Anthony Boucher in Ellery Queen’s Mystery Magazine Vo. 5, No. 19 (1944)

L’Affaire Oliveira by Thomas Narcejac in Confidences dans ma nuit (1946)

Le Gentleman en Noir by Claude Ferny (c. 1950) (two novels)

International Investigators, Inc. by Edward G. Ashton in Ellery Queen’s Mystery Magazine (February 1952)

Le Secret des rois de France ou La Véritable identité d’Arsène Lupin by Valère Catogan (1955)

In Compartment 813 by Arthur Porges in Ellery Queen’s Mystery Magazine (June 1966)

Arsène Lupin, gentleman de la nuit by Jean-Claude Lamy (1983)

Auguste Lupa in Son of Holmes (1986) and Rasputin’s Revenge (1987) by John Lescroart

Various stories in the Tales of the Shadowmen anthology series, ed. by Jean-Marc Lofficier and Randy Lofficier, Black Coat Press (2005-ongoing)

Arsène Lupin is also referred to as the grandfather of Lupin III in the Japanese manga series of the same name. He appears in chapter 37 of the series.

Arsène Lupin and Sherlock Holmes have been the basis for the popular Japanese manga series Detective Conan. Kaitou Kid (originating from Magic Kaito) resembles and represents Lupin, while Conan Edogawa resembles and represents Sherlock Holmes.

In the Adventure of The Doraemons, the robot cat The Mysterious Thief Dorapent resembles Lupin.

A funny animal pastiche of Arsène Lupin is Arpin Lusène, of the Scrooge McDuck Universe.

Případ Grendwal (A Grendwal Case), a play by Pavel Dostál, Czech playwright and Minister of Culture

Tuxedo Mask from the popular Japanese manga and anime series Sailor Moon, also resembles Arsène Lupin.

Arsène Lupin et le mystère d'Arsonval by Michel Zink

Qui fait peur à Virginia Woolf ? (... Élémentaire mon cher Lupin !) by Gabriel Thoveron

Crimes parfaits by Christian Poslaniec

La Dent de Jane by Daniel Salmon (2001)

Les Lupins de Vincent by Caroline Cayol et Didier Cayol (2006)

Code Lupin by Michel Bussi (2006)

L'Église creuse by Patrick Genevaux (2009) (short story)

The Many Faces of Arsène Lupin collection of short stories edited by Jean-Marc Lofficier & Randy Lofficier (Black Coat Press, 2012)

 

Other Reading

Dorothée, Danseuse de Corde (1923) (The Secret Tomb) an eponymous heroine solves one of Arsène Lupin's four fabulous secrets.

 

Films

Arsène Lupin 2004 movie posterThe Gentleman Burglar (B&W., US, 1908) with William Ranows (Lupin).

Arsène Lupin (B&W., 1914) with Georges Tréville (Lupin).

Arsène Lupin (B&W., UK, 1915) with Gerald Ames (Lupin).

The Gentleman Burglar (B&W., US, 1915) with William Stowell (Lupin).

Arsène Lupin (B&W., US, 1917) with Earle Williams (Lupin).

The Teeth of the Tiger (B&W., US, 1919) with David Powell (Lupin).

813 (B&W., US, 1920) with Wedgewood Nowell (Lupin) and Wallace Beery.

Les Dernières aventures d'Arsène Lupin (B&W., France/Hungary, 1921).

813 - Rupimono (B&W., Japan, 1923) with Minami Mitsuaki (Lupin).

Arsène Lupin (B&W., US, 1932) with John Barrymore (Lupin).[1]

Arsène Lupin, Détective (B&W., 1937) with Jules Berry (Lupin).

Arsène Lupin Returns (B&W., US, 1938) with Melvyn Douglas (Lupin).

Enter Arsène Lupin (B&W., US, 1944) with Charles Korvin (Lupin).

Arsenio Lupin (B&W., Mexico, 1945) with R. Pereda (Lupin).

Nanatsu-no Houseki (B&W., Japan, 1950) with Keiji Sada (Lupin).

Tora no-Kiba (B&W., Japan, 1951) with Ken Uehara (Lupin).

Kao-no Nai Otoko (B&W., Japan, 1955) with Eiji Okada (Lupin).

Les Aventures d'Arsène Lupin (col., 1957) with Robert Lamoureux (Lupin).

Signé Arsène Lupin (B&W., 1959) with Robert Lamoureux (Lupin).

Arsène Lupin contre Arsène Lupin (B&W., 1962) with Jean-Pierre Cassel and Jean-Claude Brialy (Lupins).

Arsène Lupin (col., 2004) with Romain Duris (Lupin).

Lupin no Kiganjo (col., Japan, 2011) with Kōichi Yamadera (Lupin).

 

Television

Arsène Lupin, 26 60-minute episodes (1971, 1973–1974) with Georges Descrières (Lupin), Arsène Lupin at the Internet Movie Database.

L'Île aux trente cercueils, six 60-minute episodes (1979) (the character of Lupin, who only appears at the end of the novel, was removed entirely).

Arsène Lupin joue et perd, six 52-minute episodes (1980) loosely based on 813 with Jean-Claude Brialy (Lupin).

Le Retour d'Arsène Lupin, twelve 90-minute episodes (1989–1990) and Les Nouveaux Exploits d'Arsène Lupin, eight 90-minute episodes (1995–1996) with François Dunoyer (Lupin).

Lupin (Philippine TV series), Philippines (2007) with Richard Gutierrez (Lupin).

 

Stage

Arsène Lupin by Francis de Croisset and Maurice Leblanc. Four-act play first performed on October 28, 1908, at the Athenée in Paris.

Arsène Lupin contre Herlock Sholmès by Victor Darlay & Henri de Gorsse. Four-act play first performed on October 10, 1910, at the Théâtre du Châtelet in Paris. (American edition ISBN 1-932983-16-3)

Le Retour d'Arsène Lupin by Francis de Croisset and Maurice Leblanc. One-act play first performed on September 16, 1911, at the Théâtre de la Cigale in Paris.

Arsène Lupin, Banquier by Yves Mirande & Albert Willemetz, libretto by Marcel Lattès. Three-act operetta, first performed on May 7, 1930, at the Théâtre des Bouffes Parisiennes in Paris.

A/L The Youth of Phantom Thief Lupin by Yoshimasa Saitou . Takarazuka Revue performance, 2007, starring Yūga Yamato and Hana Hizuki.

Rupan －ARSÈNE LUPIN－ by Haruhiko Masatsuka . Takarazuka Revue performance, 2013, starring Masaki Ryū and Reika Manaki (after Le Dernier Amour d'Arsène Lupin)

 

Comics and animation

Les Exploits d'Arsène Lupin aka Night Hood, produced by Cinar & France-Animation, 26 episodes for 24 min. in (1996)

Lupin III, the grandson of Arsène Lupin, a character created by Monkey Punch for a series of manga, anime television shows, movies and OVA's based in Japan and around the world. Because Monkey Punch did not seek permission to use the character from the Leblanc estate, the character was renamed in the early English adaptations and also had to be renamed when the anime series was broadcast on French TV.

Soul Eater episode 3, the introduction of Death The Kid and the Thompson Sisters initially depicts them chasing the demonic form of Arsène Lupin so that the sisters could claim and devour his soul. When Death The Kid begins panicking about the lack of symmetry with the sisters and their appearances, Lupin escapes down a manhole and is not seen for the rest of the episode.

Hidan no Aria episode 4, Riko Mine reveals that she is a descendant of Arsène Lupin after she hijacked the airplane that Aria took. She also reveals Aria's identity as the descendant of Sherlock Holmes.

The exploits of Arsène Lupin inspired an entire Phantom Thief (Kaitō) sub-genre of Japanese media.

Kaito Kid from the manga series Magic Kaito and Detective Conan is often compared to Arsene Lupin. Lupin is also highlighted in volume 4 of the Detective Conan manga's edition of "Gosho Aoyama's Mystery Library", a section of the graphic novels (usually the last page) where the author introduces a different detective (or in this case, a villain/detective) from literature.

Meimi Haneoka, who "transforms" into Kaitō Saint Tail heavily inspired by Arsene Lupin, a thief with acrobatic and magician skills, from Saint Tail (by Megumi Tachikawa)

Chizuko "Chiko" Mikamo, from The Daughter of Twenty Faces.

There is also an ongoing manga adaptation of Arsene Lupin first published in 2011, from Gundam artist Takashi Morita.

 

Comics

Arsene Lupin, as he appeared in volume 4 of Case ClosedArsène Lupin, written by Georges Cheylard, art by Bourdin. Daily strip published in France-Soir in 1948-49.

Arsène Lupin, written & drawn by Jacques Blondeau. 575 daily strips published in Le Parisien Libéré from 1956-58.

Arsène Lupin contre Herlock Sholmès: La Dame blonde, written by Joëlle Gilles, art by Gilles & B. Cado, published by the authors, 1983.

Arsène Lupin, written by André-Paul Duchateau, artist Géron, published by C. Lefrancq. 1.Le Bouchon de cristal (1989)

2.813 — La Double Vie d'Arsène Lupin (1990)

3.813 — Les Trois crimes d'Arsène Lupin (1991)

4.La Demoiselle aux yeux verts (1992)

5.L'Aiguille creuse (1994)

 

Arpin Lusène is featured as a character in the Donald Duck & Co stories The Black Knight (1997), Attaaaaaack! (2000) and The Black Knight GLORPS again! (2004) by Don Rosa.

In Alan Moore's The League of Extraordinary Gentlemen: Black Dossier, Lupin is featured as a member of Les Hommes Mysterieux, the French analogue of Britain's League of Extraordinary Gentlemen.

 

Chronicles of lifting Light C (The Reception Game)

A forethought

“The wedding was a bit over the top. The bride wanted her girl’s dresses to be something they would wear out again. A nice thought, but the gowns she found were a little too long for anything but formal evening wear, according to our girls who were asked to be part of the bridal party. The maid of honour wore a red silk version; the six Bridesmaids wore theirs in black satin.” Each of the girls were also presented with a matching collection of Swarovski rhinestones “traditional classic darlings” ! The jewellery, when added to the girl’s ensemble, further enhanced the red carpet like atmosphere of the Bridal party coterie’!

 

^^^^^^^^^^

Intro of the story proper :

“A few years ago, “Ginny” was watching some type of show when I heard her squeal out. Our Golden Retriever ‘Sam’ meandered back in to see what all the fuss was about? I obediently followed. Ginny pointed out to us a model who was wearing, rather fetchingly I might add, a long black satin gown. That’s m’ gown Ginny exclaimed, you remember, the one I wore at “Sheila’s” wedding, the one where my necklace was sn…., But at that point her attention was diverted back to her program. Squirrel I teased as Sam and I watched with her.

 

It was a gown strikingly very similar in colour, cut, and material to the one worn by Ginny ( and me sister) at a chums wedding years before ( and winningly worn several times hence I might add). It is a pretty thing to behold my charming Ginny sporting it, and in its time, it has born witness to a few goings on that most ladies wearing a gown like that would never encounter…….”

 

Chronicles of lifting Light C

Story Proper

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

 

This story is true, and is really pretty much told as it happened.

What we did may sound daft, but read and understand the circumstances, plus realize we all were pretty well lit up with drink.

 

I will plead guilty at having enhanced certain aspects of the story.

For indeed, truth can be stranger than fiction… and coincidences occur, both sweet and bitter….. as I’m sure someone once said.

 

So here goes it….

 

My twin sister and our friend “Ginny” were invited to join in a school chums bridal party. The groom didn’t have enough to go around so my sister’s boyfriend “Brian” and I were pressed, not unwillingly, into service.

 

As I stated earlier, the wedding and reception were both over the top posh. So much so that our opinions, and subsequent escapades, were still coming up amongst us as a topic of conversation at our local haunt The ‘Poet and the Peasant Pub’, kept by Brian’s Auntie and Uncle..

www.flickr.com/groups/poet_and_the_peasant__pub_/

 

The Wedding proper was held at the local Cathedral. A rather decadent place built with a hearty clash of gothic/ medieval styles ; with black stone towers, Lancet arches, and fly away buttresses.

 

Inside one finds white marble columns, oak pews blackened with age, intricate wood work and ghostly while statues. All lit with hanging diamond shaped antique glass lights and colourful lead glass stained windows depicting a horde of medieval era religious scenes.

 

I twas a fine backdrop for the rather glamoursly attired guests in attendance. The wedding ceremony itself would have been an interesting tale in and of itself, but that telling will await another day, for mine has its’ beginnings at the Reception.

 

The Reception was held in the basement, a grand place with an opulent ballroom, well stocked bar room and elegant dining area. The subterranean basement was decorated richly along the same grand lines as the interior of the ancient Cathedral above.

 

We were some time at the reception when my Ginny , who had been held up on her way back from the loo by a snobbish dowager feeling the need to criticise someone, regained her seat by plopping down with a loud woosh.

 

That was a chore, being picked apart by that “lovely !”creature. she exclaimed cynically, whilst adjusting her loose brooch. We all just smirked. I had received the same treatment from the lecturing prig earlier that evening.

  

Well, to be honest , my twin sister and Brian just actually were smirking at that. I believe my attention at the time was rather more occupied on the area where Ginny’s Brooch lay, which was the proper cause of my smirk! (naughty me)

 

Finished, Ginny than leaned against me sister, and, still reeling from being inappropriately chided, made a snide comment about the flimsy clasps on the shimmering jewellery they were wearing. My Sister, touching her necklace, told her, “ no worries, luv, no one would nick them anyways, they are only rhinestones”. Except my ring isn’t, said Ginny looking down at the ruby ring she was wearing on her pinky. My sister, thinking a minute, retorted “Then one never knows… “ , It looked like she was going to add something to that, but at that point the band restarted, and we joined the swarm of fancy dress gowns, silky dresses, suits and tuxes worn by the chic guests as they herded to the dance floor.

  

As we headed off, I was still perplexed about what had been going on in Sis’s head that made her come out with that reply, and I swear she had stolen a look at me while saying it. But as I had watched her pull at an earring to emphasize how loose the sparkling jewel was, a seed was planted in my head about a subject I myself had always found rather intriguing, pickpocketing jewelry!

  

Much later that evening, found Brian, me sister, and I alone, and probably more than a little drunk (always a precarious time with us). As Sis and Brain chatted on about a topic I had soon lost interest in, I started to watch Ginny, who had been asked to dance by some twit with shifty eyes in a red silk shirt, (open collared), who had rudely cut in on us. As I watched Ginny’s swishing gown liquidly move and flutter about in quite an interesting exhibition, I found meself mesmerized by the beckoning manner in which her healthy display of rhinestones were sparkling about( as they had been all evening). I looked back at my sister, and her own show of jewelry, also sparkling up nicely against the smooth black satin backdrop of her own matching gown..

 

Still not being able to shake me twin’s earlier comment about nicking jewels, nor its answer, out of my head , I waited for a lull in conversation to finally chance asking my twin about her comments.

 

She looked at me, having to think back a bit about the question, ( As I said, we were more drunk than sober by then), placing a nicely ringed finger to her lips, while regrouping her thoughts. Got it, she exclaimed! Proudly remembering what had triggered her memory, and with that she started to explain.

 

When she was a tyke of about 7, there was a show that she had seen on the tele that centered on this group of people trying to reform a thief. Believing that he had turned a new leaf, they threw a fancy dress dance for him in honour of his new ways. During the dance, he cut in and danced with each of the three ladies who had been trying to teach him the errors of his ways. From one he slipped off her long diamond earrings, from a second her diamond necklace was lifted away, but me sister was unsure what the scoundrel took from the third. Sis had reckoned that the earrings and necklaces that she and Ginny were wearing that evening, looked a lot like the ones worn by ( and nicked from) the ladies on that show.

  

Now, as me twin described the thief’s antics, certain emotions awakened, rearing their tantalizing heads; my mind began wandering in some deep waters, pulled bout by some deep personal emotions. Cause I had been sitting on the couch with her, when as quite young children, we had seen a repeat of that episode.

  

As it happened my sister had been outside earlier playing dress up in on of mum’s old party frocks and was still wearing it, along with a set of costume pearls. Suddenly, that day, I wanted nothing more in the world than to lift the pearls she was wearing. I simmered over it for the rest of the program, getting to the point of actually laying my arm on the back of the couch, inching my fingers towards the clasp of her pearls laying there upon the back of her throat. But then the show ended, and I got no closer to stealing anything more than a touch of a really soft old evening gown. After the show ended, I warily suggested we go back outside and play Robin Hood (my sister has always been into his story).

  

We did, and as Sir Robin led her to his hideout, conveniently located through a thicket of Hawthorne’s, the pretty Maid Marion’s pearls mysteriously melted away.

  

That is when I had I had my epiphany, hitting me like a brick wall! Waiting till sis finished her story, I pointed out to Ginny, and asked the pair, If Ginny had been the third lady he had danced with, what jeweles do you think he would have found easiest to lift from her while dancing?

  

Brian , always the more pragmatic of the group, snorted, that’s stuff that only happens in stories and movies.

 

I said I would bet it can be done, a quid says I can lift a piece of Ginny’s jewelry with her never noticing. Sis chimed in, you wouldn’t dare, but she was looking at me like she knew the answer already. Brian caught her tone, and took me up on it, betting me the quid that I couldn’t get away with lifting her necklace,( I liked his choice, it had been a necklace that “Sir Robin” had first lifted from me sisters neck that day in the woods long past).

  

At this time the music ended, and Ginny swished back to rejoin us. As we played mute about our plans, we welcomed the damsel back and acted like there had been nothing in the world goin on amongst us while she was out dancing.

 

We drank and talked for a bit more, and I was all but certain that Brian and my sister had all but forgotten the wager.

 

But I hadn’t, nor had I been able to keep my eyes from studying the glittery rhinestones Ginny had draped around her pretty throat. When a slow song started up, I rose and asked Ginny to a dance. I caught Brian’s eyes, and read the dare reflecting in them, so we were still on with the wager.

 

Leading Ginny to the dance floor, we embraced, and danced to the pretty song beginning to play, it twas a slow romantic one ( lady in red If I recall correctly). Ginny was absolute pure heaven in my arms, and I found me self so entrapped by her charms, that all ambitions to be a thief and make an attempt upon her lovely rhinestone necklace fell to the wayside.

  

As the song was ending, I caught a look from Brian across the dance floor, noticing that he smugly was looked at Ginny’s throat. I did not want to lose me quid on principle (I swear), so as the dance ended I held onto Ginny, waiting. Soon a second song started, disappointedly a more fast paced one with a Latin beat. I spun Ginny around onto the floor before she had time to catch a breath, we danced, like the song which played says:

  

And we… danced like a wave on the ocean, romanced

We were liars in love and we danced

Swept away for a moment by chance

And we danced, danced, danced

 

And dance we did, hot, furious and fast. A couple of times I spun Ginny around, and the poor girl already a bit tipsy, fell against me, giggling. About the third time I spun her, she stopped, and dropped backside into me and began to do this sort of gyrating move, slithering up and down my front side, with her hands held high above her head, her longish ginger hair had fallen over one shoulder, exposing her necklace in all its fine brilliance. As her warm, sweaty figure slipped up and down against mine, I watched the back of her throat, eyeing the necklace as it sparkled opulently in the dim lights. I started Studying, intently, the sparkly chain with it’s simple hook in eye clasp.

  

She brought her hands down behind me back, crossing them behind me waist. My right hand went to the front of her waist, holding onto her squirming, satin slippery sweating figure, pressing her warm body tightly against me.

 

My left hand went up to her shoulder, gliding along the glossy slick fabric of her black satin gown, until I reached her necklace. It only took seconds for my fingers to lift up, and slip off the hook from its”eye” , letting the shimmering chain slither down the front side of Ginny’s satin clad breasts. My right hand left her waist, and travelled nimbly, tingling, all the way up the front until my fingers grasped the dangling chain. My left hand let go, and the necklace whisked down the front of her perking bosom, tightly covered by the glossy black satin bridesmaid gown. The whole bit of thievery took me only a few chords of the music, but it seemed to be carried out in slow motion in the process.

 

We finished out the song, me basking in the fact that my gyrating partner was innocently unaware that her shiny necklace had been pinched, and were now residing in her dance partners vest pocket. I will admit feeling a twinge of regret that it no longer could be seen glittering from around its’ mistress’s now bare throat.

  

We made our way back to the others, Brian had a smug look on his bearded face, I knew he was up to something. As I sat down, he whispered double it or nothing mate, that she notices it’s missing before we leave. I nodded, taking him up on it.

 

So, the game was still on, and for the last two hours that we stayed at the reception poor Ginny became the unknowing centre of our somewhat devious game1

 

Brain, eagerly waiting for Ginny to notice her missing necklace, tried for the most part to remain mute. I sweated it a bit, but his saboteur’s tactics failed.

 

I’ll admit I hadn’t thought it out before agreeing, but what probably should have been a suckers bet, with a million ways for Ginny to notice her necklace was playing hooky, apparently was going with the long odds for me to win.

 

I sweated it a bit, butno-one else amongst the crowd pointed out, or even seemed to care that Ginny was no longer wearing her necklace! Even the bloke in the open collared re shirt, who managed to steal Ginny away for another dance, failed to say anything. Which made me a mite curious as to where his attention span had been focused.

 

Even when me sister tried to help Brian out by playing with her own jewelled necklace while she held Ginny’s attention during conversation in the ladies powder room, failed to cause a reaction!

 

Through all this, the poor creature never quite caught on that her necklace had been lifted from her throat ! Unscrupulously nicked away on a whimsical bet while innocently dancing!

 

And continued danced with me she did, all of us thoroughly enjoying the rest of the evening’s attractions, along with the bit of fun we were having at poor Ginny’s expense.! But I made damn sure that our poor victim had the time of her life for my repentance.

 

Then during our last slow dance, I did start to harbour the prickling thought of trying for another of Ginny’s baubles. But the thought of winning 2 quid from Brian, who in his time has won a bit more from me than I him, kept my thoughts of further thievery in check! I knew my spirit was weakening. Fortunately we left soon afterwards….

  

We finally left the reception after midnight and made our way along the ten city blocks back to the hotel where Ginny and my twin sister shared a joining room with Brian and meself.

 

Ginny walked calmly with us, unaware of the picaresque devils that were us, keeping pace beside her. As were making our way through a short cut in a wooded Provincial park, we stopped in a small isolated glen and circled around Ginny. Sis was grinning as she asked poor unawares Ginny; So luv, whatever did happen to your necklace? Gin’s reaction was absolutely, rewardingly priceless.

  

Ginny, a relatively innocent soul, who is prone to believing most anything told to her, started, and her hand went to her throat, feeling about fruitlessly, as her rustling glossy gown and remaining jewels glistened dark in the full moons’ light.

 

“M’ necklace, why it’s gone? , where did it go!, she pleaded helplessly, her thought patterns and speech a little slurred by her rather intoxicated condition. We than got into it, playing dumb along with her, and tried to figure out the “mystery” I said the last time I saw it was when that seedy bloke cut in, and I ran my hand up her back, feeling the shivers going down her spine, did the blighter touch you like that, then luv. No she said, then thought hard, no she repeated, he couldn’t have, he was a proper gentleman, and it was only rhinestone, like your sister said.

 

I don’t know said Brian, never trust any gent who doesn’t wear a tie to fancy dress! He had to ‘ave been up to no good, that one!

 

My sister then commented that the bloke may have not noticed no difference, and she held out her own necklace, I’m glad he didn’t ask me to dance.

 

No, Ginny shook her head, her long earrings flickering a frenzied fire out from her let down ginger hair, no one could have lifted them like that, I’d have felt it….I’m sure of that…!

  

She looked desperately around at us, then seeing the look on upon our faces, Ginny froze with the realization that we had all been up to something, and, then a smile of relief showed up on her pretty face, as I held up her necklace, sparkling in front of her eyes. A sly look of understanding that we had been up to something crept into those dazzling green eyes , as she told us now to spill it out.

  

We explained the whole tale as Sis helped Ginny place her necklace back on. Ginny, with her usual good humor, said she had never noticed a thing, and it probably was a good thing we weren’t real thieves, because if her necklace had been diamonds, it would have been worth a small fortune. And shame on us for having her believe it was that poor blighter in the red shirt.

  

We wouldn’t’ make very good thieves I agreed we drink too much. She just smiled, a curious looking gleam creeping up into those witchy green eyes of hers. Let’s get going before we meet a real thief then, urged my sister, all this talk about someone thinking our jewels are real is giving me the right chills.

  

Our drunken little group then merrily, if not a little more guardedly, made our way home..

 

This next bit is my favorite.

 

We rode the elevator up to the boy’s room, as the girls called our room, where we drank beer, danced to music and talked on a bit about the reception. The girls stayed in dress and I happily soaked up the pretty picture the pair of admirably attractive girls presented with their long sheets of straight hair now just hanging down, their “diamonds” sparkling and all other assorted frills enticing.

 

About two hours later found Brian and myself sitting on the couch in kind of a hazy stupor while holding onto our beers. Ginny and my sister were standing directly in front of us, holding beers of their own and giggling over some girlish nonsense, the hypnotic swaying of their longish glossy black satin gowns slowly putting me to sleep.

  

Brain, draining his beer, got up to get another, bumping against my sister and playfully grabbed a handful. My sister started giggling at him as he sauntered off grinning, turning her figure so the brooch at the centre of her gowns’ waistline almost wacked me on the nose. Half asleep I reached over and gingerly lifted it up.

 

Looking up at the girls I saw that neither was paying no never mind towards me. Ginny, however, laid a hand on my twins shoulder, drawing her close so she could whisper some girlish secret about Brian. I continued on, and was able to undo the brooch, and slip it carefully off without notice. I slipped her jewel into my pocket; waiting until I could think ,now that I did the deed, just hpw I would tease her about it.

  

Brian stopped on the way back and reset the music, a slow song came up. Sis went to him, and the pair started dancing. I rose and taking Ginny by the hand, followed suit, leading her to the bit of a dance floor we had cleared. She was again, pure heaven in my arms and my hands slipped liberally up and down her smooth, slinky gowned figure.

 

Ginny smiled! I knew that smile, and realized that something was going on behind her pretty green eyes.

 

She flicked back her sheet of ginger hair, and leaned against me. I saw you, she huskily whispered, her voice putting a tickle in my ear. Saw me I asked, not getting it. I saw you lift that dame’s diamond brooch, Ginny said in a sultry voice as she looked over towards where my sister was dancing, (no, she was actually swooning), in Brian’s arms.

 

Now mate, you see that one over there, in the black dancing with the bearded gent? I looked over, as she continues, look at ‘er necklace, I have a fancy for diamonds, and if you don’t want me to call security, I suggest you get hers for me, darling, she said with conspiracy like tones, acting like she was some old time actress in a movie. I loved the devilishness of Ginny’s role play idea and it did not take much to toss me whole heart and soul into the assignment!.

  

Check out the Sonia clip shortcut at the end of my tale( recommend viewing)

  

Now wide awake, I got fully into Ginny’s game. As we continued dancing, my eyes watched Brian and me sister, taking careful inventory of all the “dames” sparkling jewelry. Sis turned, and caught my eyes looking her over, she blushed, and not knowing what was really going through my mind, smiled at me. As I smiled back, my eyes drinking her fetchingly attired figure up!

 

I was imagining that all of her ample collection of rhinestones so prettily positioned on her figure, were real diamonds. And that I was an actual thief plotting to nick her lovely sparklers. I looked into Ginny’s eyes. You have a deal miss, I whispered, making my voice deep and throaty, as I imagined meself as some, albeit drunk, Humphrey Bogart type character in some grittingly shadowy film noir style black and white movie.

  

The song ended and a second, even slower one began playing. Brian and my sister were still locked into each other’s arms, but I felt that the time to make my move was now. Throwing Ginny a wink, I went over and cut in, Brian looked drunkenly at me like “whattsup chap,” but Ginny was right behind and swirled him conveniently away before he could properly react.

  

And as I took the pretty, wide eyed with innocence looking “dame” into my arms I found it exciting that she was oblivious to my nefarious intentions. Naïvely unaware, that in indifference to her own words earlier, someone did now want to nick the jewelry which was quite so merrily dangling from her svelte figure. Now, don’t forget at this point to me she was no longer my sister, but a sweet innocent victim weighted down with desirable loot. And I? I was nothing more than a suave thief deliciously hungering after her bright baubles, albeit, a slightly inebriated suave thief!

  

I bided my time, appearing to look into my twins/victims half opened eyes ( she was really lit by this time, as we all were) , my mind was working overtime on how the best approach to reach my objective. Then it came to me, quite clearly, and so Bob became my uncle, and I began his suggested approach…. And if I would have dared say so at the time, I executed my bit of jewel thievery like a pro….That is if there are actually pros at this sort of thing1?

  

Employing the same method that I remembered the thief using in the Gilligan’s Island episode to remove his dance partners necklace, I began to compliment my twin on how devastating her and Ginny looked both looked that evening (no lies), slowly moving my one hand up the slick material of the gown covering her back as I whispered my praise. Easily I reached the dangling part of her hook and eye necklace with its’ glittering rows of “diamonds”. She ate it up, blushing and closing her eyes, naively cooperating by tilting her head down, exposing even more of the back of her throat, and laying bare the chain of her “diamond” necklace. As she fawned over my words of (not false) praise, I subtly lifted up the chain of her necklace, whilst my free hand held her ever so her tightly around the waist. For the second time that evening I could feel the heat emanating from my victims squirming figure. As well as again feeling me own heart pounding a storm.

  

I gently used my free left hands’ fingers to unhooked the clasp, and let the necklace fall over her one shoulder. Sis never felt it hanging, or noticed it as I peeled it off her chest (whisking along her gown smooth as silk) and pulled it over her gown’s satin shoulder till it slipped sparkling down behind her. I held it hanging loose behind her back for a few turns, still pouring out the compliments, until I pocketed it, letting it join her purloined brooch.

  

Meanwhile, Brian had left Ginny to go to the loo, and I saw Ginny, who had been eagerly watching all of it, give me a wink. Then she turned and stole out the apartment door, her longish slinking gown slipping through behind her as she closed the door. I made ready to make some excuse to break away from my sister and head after her with my loot.

  

But just as I opened my mouth to make that excuse , Sis pulled her arms behind me head, and laid her own head back on my shoulder and closed her tired eyes, getting into the music’s deep beat. One of her longish rhinestone earrings just hung there sparkling, mocking me to touch it, and like Gingers diamonds, I saw them as quite ripe for the picking.

  

With the prize within my grasp, I momentarily forgot about the departing Ginny, and I made my move. I found meself trembling a bit, as I reached up and placed my hands gently alongside her ear, her eyes still shut, my victim smiled prettily. The rest of the manoeuvre was surprisingly easy, as I glided my fingers down and slipped it off the earring in one effortless motion. The sparkling beauty came away from her sweaty ear as smoothly as an ice cube moves along a steaming hot grill ( I actually did have a thought like that). I held it in one fist for a bit, watching my victim, she had not felt so much as a tickle on her earlobe, as I had removed her earring. Relishing in my success, I looked at it dangling and shimmering in my hand behind her back. Then, as I secured her diamonds away, I thought about trying for the other. But thought better of it, knowing Ginny was just waiting on the other side of the door.

  

I finished out the dance, taking my sisters hand with its dazzling bracelet and rings, and admired them while I kissed it, the “Dames” Bracelet tantalizing slipped down along her wrist and brushed against me knuckles. At that moment, we both heard the toilet flushing, and my twin looked over her shoulder laughing. As she did do, I saw an opportunity opening up and taking her dangling diamonded bracelet in me fingers, tugged it down ever so discreetly. Surprisingly the clasp popped opened ( right about being flimsy luv, I silently agreed with my twin’s earlier statement)!

  

I daringly pulled it free from around her wrist and slipped it in me pocket just as she turned back around to face her dance partner. I could see in her eyes that she had not felt nor noticed anything outta place. I’d better be off after Ginny I said, clearing me throat, and then , with no fanfare, let go of her hand. It dropped to her side, rings flashing, purloined bracelet gone from where it had, with cheeky regality, had been holding shimmering court all evening.

 

Nice doing business with you I said, bemused as I watched the puzzlement creep into her half awake eyes while I backed away from her towards the door.

 

And that chaps, is how I left her. With my grainy black and white movie still playing out in my mind. She just was standing there puzzled, a wealthy lady in fancy dress, unknowingly watching the dashing stranger leave with the “fortune” in jewels she thought she still was wearing. She innocently watched me as I left the room with her “diamonds” in my scoundrel’s possession!

  

However, it was my turn to look puzzled as I went out, Ginny was nowhere to be seen! I quickly looked around, then headed to the elevator and rode down in it, alone at this early morning hour, to the lobby.

  

I arrived there, and at first the lobby appeared deserted, cept for a lonely desk clerk with her head buried in a novel. Then breathed a sigh of relief, there, around a corner, Ginny stood talking to some older lady wearing a garish grey pant suit, with this blue tinted helmet of curly hair covered by a large silk head scarf, and carrying an overlarge purse. I suddenly realized that now my anxiety had gone, another urge had taken its place. Ginny looked up, and smiles happily at me, and I smiled back, indicated that I had to go for a minute, and headed meself to the loo.

  

Coming out after I finished, I saw that the lobby was actually now really empty, not even the desk clerk was visible. Thinking Ginny may have gone back upstairs, I first went to the hotels double doors to chance a look outside onto the street below. I just caught sight of a wisp of black gown moving just out of sight past the stairs, on the now smoggy sidewalk below.

  

I headed out, and there was Ginny walking with the Blue haired stranger, they appeared to be looking for something. I started wondering if Ginny had invited this stranger to go on out walk with us? But no, apparently the blue haired lady in the unfortunate grey pantsuit had discovered her keys were missing, and thought they had dropped somewhere after getting out of a taxi just around the corner. And Ginny, bless her kind heated soul, had offered to help the distressed lady look for them.

  

As Ginny was telling me all this after I had caught up, the blue haired older lady , her cheerful face now stern, had started rummaging in her large shoulder bag, I sneaked a peek over her shoulder and saw that is contained quite an amazing assortment of items , ( no wonder it had to be so big). Suddenly she uttered an exclamation, found them she said, triumphantly pulling out an interesting assortment of skeleton type keys on a small ring. Happily smiling at Ginny, she pulled her into an enveloping hug for her efforts, before quickly leaving, but not without first giving me a sidelong glance with a disapproving look from her now pursed–lipped mouth as she passed. But I at the time put it down as her just being stressed out from believing she had misplaced her keys.

  

I am so glad she found her keys remarked Ginny, taking up me hand. That lady was ever so nice, she wanted to know where I had been dressed up all pretty like I am, and when I told her about the wedding, she said it must have been lovely. Then she admired me dress, and rhinestones. Then asked if me ruby ring was a gift from the bride. Liked your ring huh, I asked Ginny, my mind clearing up a little. Oh yes she said, lifted my hand, looked at it an everything!

Then the poor dear missed her keys, and asked if I could be a dear and help her look outside, and that was that until you showed up. (Looking outside for keys at 2:30 in the morning? I thought to myself) As I said ti Ginny, it is a pretty ring, and taking her arm, we started down the block together.

  

My mind, now somewhat attuned to the reality of things, went back to the blue haired lady and her large shoulder bag. Among some of various items I had seen had been a penknife, a length of old silk sash cord, small bundle of lacy handkerchiefs, and a small torch! Then add in the odd assortment of keys on her “misplaced” keyring, and put it all together, it all began to sum up to a new, slightly more sinister meaning of her intentions, in my take on the episode.

  

As we walked, I said nothing in reply to the happily chirping, richly attired girl walking beside me , as for the first time, and not the last, I wondered if something had been afoot with the Blue Haired, pursed mouthed lady that Ginny had seen as a kind older lady needed help, like the bird with a broken wing she had tried to help a few days past( a blue jay!). So was the blue haired lady, with the silk scarf and wearing a rather unisexual pantsuit, acting out the part of a “blue jay”, using her “broken wing” as a ruse to lure my Ginny safely away for her own nefarious reasons?

  

Surreptitiously, I carefully checked over Ginny from head to heeled toes as we walked, to make sure nothing was amiss. Her rhinestones were still safely all in their place, but I did not see the ruby ring, and me heart went still, and chills prickled down my spine! Bullocks! I swore under my breath, that pucker faced tart walked away with it. Ginny, I said, a little choked, she swirled facing me, her green eyes questioning, as she raised her hand to her perked breasts, and there it was, the small, but rather pricey, ruby ring she so loved wearing, the glittery darling had turned around on her finger so it was hidden from my view

.

 

I breathed a heavy sigh of relief, I just wanted to say how lovely you looked this evening my lass, I said saving myself. She smiled winningly, giving me a deep hug for my words. We walked on, as my beating heart slowed down, I convinced myself that maybe the incident of lost keys had all been harmless, and I was just being a worry-wort. I apologized silently for what I had called the fashion challenged blue haired lady in my mind. But I was still beginning to feel like ever a fool to have let Ginny, handsomely decked out as she was, out of my sight at this early hour of the morning.

  

I opened my mind and let all such thoughts flee my head, for the world was now ours, as we made our journey together, hand in hand. We ended up making a very long stroll in the Provincial Park, and reentering the same isolated, secret glen we had been in earlier, proceeded to continue acting out the role playing game we had started at the apartment.

  

Ginny went to the middle of the clearing to wait, pretending she was smoking, like a moll from a gangster movie. I circled and watched her sparkling figure, black in the glens shadows, move about a bit.

  

And as I did, my thoughts wondered a bit, and I remember reflecting ( not for the first time) how in the older black n whites, the heroine, or villainous, is always wearing gowns, elegant long gloves, and jeweled to the sparkling hilt. Then she walks alone to and then waits in some dark alley or other desolate spot for her contact, or hero to show up, much like Ginny was acting out now. So how is it that those fancy dressed and well jeweled unescorted dames, always manage to get to those spots, and are able to wait around in them alone, in those movies, and nary ever meet a ruffian who strips them of those pricy looking sparklers they are flaunting about? Just saying!

  

Saying a brief prayer that my thoughts were not tempting a fate of that type to occur to us now that I had been thinking it, I came out of the shadows and approached Ginny. Keeping my left hand in my pocket like I was carrying a heater. Hey sister, I said, been waiting long? No, she whispered, did you get the goods. Hot as ice I said proudly, producing the necklace and earring I had liberated from the dancing “dame”.

  

As I showed Ginny my take from “the dame”, she squealing over the fact I was able to take one of her diamond earrings, bonus she chanted. Playing a thief’s role, I kept mum about the bracelet, no honour amongst thieves I thought mischievously .

We laughed over what the “dames” reaction would be when the jewels were discovered missing. As we snickered, Ginny caught my eyes and then we got off on a tangent about jewel thieves in love, and ended up reenacting the “lure” scene from the movie ‘To Catch a Thief” ending up producing fireworks of our own making as Ginny lost all her jewels as well as her “innocence”.. We then made our way back home, as the cock crows, receiving a few odd looks from the occasional early morning lorry drivers.

  

And above all, I still remember feeling pretty bloody cocky as Ginny and I had sauntered our way to the park. And why not, I ask? Cause not only did I get to stroll about with the most captivating ginger haired lass, sparkling in fancy dress around, But I also had totally scored a hat trick in the jewelry lifting department, collecting two Quid to boot, and that’s what life is all about for us boys, winning the game, taint it?

 

So ends my story

Please leave a comment at the end of the story if you rather liked the telling..

  

The Sonia clip shortcut ( recommend viewing)

youtu.be/HAZdjhNVjxk

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Please consider leaving a comment at the end of the story if you rather liked the telling..

 

As soon as management had vanished in the rain of confetti on Monday night the aliens completely took over the club, surfing their unidentified flying objects, some crashlanded upside down. They danced, some without shoes, and some wore ugly staches. And there were cats - furry ones and naked ones, even a Fanny one! Like a cult they all chanted repeatedly “Sneee goo vicchh!”. We have tried to reach management unfortunately without success. Who is the master mind behind all this mayhem? The mystery remains unsolved.

 

Группа „Ветерок“ - Снегович/Snegovich

www.youtube.com/watch?v=zuJveUfHD-0

 

Watch, listen, participate on your own risk:

 

Crazy Dragona

 

nyti.ms/3b2bIXf

At first the display caught my eye as I thought the mannequin had fallen over. then I saw the flowers, then the book cover..... then appreciated how much thought had gone into the display.

 

But when you have a book shop combined with an artists supplies shop, I guess you shouldn't be surprised to find artistic talents.

 

The book is Cursed Bread, by Sophie Mackintosh and it centers on the unsolved mystery of the 1951 mass poisoning of a French village

 

123 in 2023 no 9 artistic

en.wikipedia.org/wiki/Beamish_Museum

 

Beamish Museum is the first regional open-air museum, in England, located at Beamish, near the town of Stanley, in County Durham, England. Beamish pioneered the concept of a living museum. By displaying duplicates or replaceable items, it was also an early example of the now commonplace practice of museums allowing visitors to touch objects.

 

The museum's guiding principle is to preserve an example of everyday life in urban and rural North East England at the climax of industrialisation in the early 20th century. Much of the restoration and interpretation is specific to the late Victorian and Edwardian eras, together with portions of countryside under the influence of industrial revolution from 1825. On its 350 acres (140 ha) estate it uses a mixture of translocated, original and replica buildings, a large collection of artefacts, working vehicles and equipment, as well as livestock and costumed interpreters.

 

The museum has received a number of awards since it opened to visitors in 1972 and has influenced other living museums. It is an educational resource, and also helps to preserve some traditional and rare north-country livestock breeds.

 

History

Genesis

In 1958, days after starting as director of the Bowes Museum, inspired by Scandinavian folk museums, and realising the North East's traditional industries and communities were disappearing, Frank Atkinson presented a report to Durham County Council urging that a collection of items of everyday history on a large scale should begin as soon as possible, so that eventually an open air museum could be established. As well as objects, Atkinson was also aiming to preserve the region's customs and dialect. He stated the new museum should "attempt to make the history of the region live" and illustrate the way of life of ordinary people. He hoped the museum would be run by, be about and exist for the local populace, desiring them to see the museum as theirs, featuring items collected from them.

 

Fearing it was now almost too late, Atkinson adopted a policy of "unselective collecting" — "you offer it to us and we will collect it." Donations ranged in size from small items to locomotives and shops, and Atkinson initially took advantage of a surplus of space available in the 19th-century French chateau-style building housing the Bowes Museum to store items donated for the open air museum. With this space soon filled, a former British Army tank depot at Brancepeth was taken over, although in just a short time its entire complement of 22 huts and hangars had been filled, too.

 

In 1966, a working party was established to set up a museum "for the purpose of studying, collecting, preserving and exhibiting buildings, machinery, objects and information illustrating the development of industry and the way of life of the north of England", and it selected Beamish Hall, having been vacated by the National Coal Board, as a suitable location.

 

Establishment and expansion

In August 1970, with Atkinson appointed as its first full-time director together with three staff members, the museum was first established by moving some of the collections into the hall. In 1971, an introductory exhibition, "Museum in the Making" opened at the hall.

 

The museum was opened to visitors on its current site for the first time in 1972, with the first translocated buildings (the railway station and colliery winding engine) being erected the following year. The first trams began operating on a short demonstration line in 1973. The Town station was formally opened in 1976, the same year the reconstruction of the colliery winding engine house was completed, and the miners' cottages were relocated. Opening of the drift mine as an exhibit followed in 1979.

 

In 1975 the museum was visited by the Queen Elizabeth The Queen Mother, and by Anne, Princess Royal, in 2002. In 2006, as the Grand Master of the United Grand Lodge of England, The Duke of Kent visited, to open the town masonic lodge.

 

With the Co-op having opened in 1984, the town area was officially opened in 1985. The pub had opened in the same year, with Ravensworth Terrace having been reconstructed from 1980 to 1985. The newspaper branch office had also been built in the mid-1980s. Elsewhere, the farm on the west side of the site (which became Home Farm) opened in 1983. The present arrangement of visitors entering from the south was introduced in 1986.

 

At the beginning of the 1990s, further developments in the Pit Village were opened, the chapel in 1990, and the board school in 1992. The whole tram circle was in operation by 1993.[8] Further additions to the Town came in 1994 with the opening of the sweet shop and motor garage, followed by the bank in 1999. The first Georgian component of the museum arrived when Pockerley Old Hall opened in 1995, followed by the Pockerley Waggonway in 2001.

 

In the early 2000s two large modern buildings were added, to augment the museum's operations and storage capacity - the Regional Resource Centre on the west side opened in 2001, followed by the Regional Museums Store next to the railway station in 2002. Due to its proximity, the latter has been cosmetically presented as Beamish Waggon and Iron Works. Additions to display areas came in the form of the Masonic lodge (2006) and the Lamp Cabin in the Colliery (2009). In 2010, the entrance building and tea rooms were refurbished.

 

Into the 2010s, further buildings were added - the fish and chip shop (opened 2011)[28] band hall (opened 2013) and pit pony stables (built 2013/14) in the Pit Village, plus a bakery (opened 2013) and chemist and photographers (opened 2016) being added to the town. St Helen's Church, in the Georgian landscape, opened in November 2015.

 

Remaking Beamish

A major development, named 'Remaking Beamish', was approved by Durham County Council in April 2016, with £10.7m having been raised from the Heritage Lottery Fund and £3.3m from other sources.

 

As of September 2022, new exhibits as part of this project have included a quilter's cottage, a welfare hall, 1950s terrace, recreation park, bus depot, and 1950s farm (all discussed in the relevant sections of this article). The coming years will see replicas of aged miners' homes from South Shields, a cinema from Ryhope, and social housing will feature a block of four relocated Airey houses, prefabricated concrete homes originally designed by Sir Edwin Airey, which previously stood in Kibblesworth. Then-recently vacated and due for demolition, they were instead offered to the museum by The Gateshead Housing Company and accepted in 2012.

 

Museum site

The approximately 350-acre (1.4 km2) current site, once belonging to the Eden and Shafto families, is a basin-shaped steep-sided valley with woodland areas, a river, some level ground and a south-facing aspect.

 

Visitors enter the site through an entrance arch formed by a steam hammer, across a former opencast mining site and through a converted stable block (from Greencroft, near Lanchester, County Durham).

 

Visitors can navigate the site via assorted marked footpaths, including adjacent (or near to) the entire tramway oval. According to the museum, it takes 20 minutes to walk at a relaxed pace from the entrance to the town. The tramway oval serves as both an exhibit and as a free means of transport around the site for visitors, with stops at the entrance (south), Home Farm (west), Pockerley (east) and the Town (north). Visitors can also use the museum's buses as a free form of transport between various parts of the museum. Although visitors can also ride on the Town railway and Pockerley Waggonway, these do not form part of the site's transport system (as they start and finish from the same platforms).

 

Governance

Beamish was the first English museum to be financed and administered by a consortium of county councils (Cleveland, Durham, Northumberland and Tyne and Wear) The museum is now operated as a registered charity, but continues to receive support from local authorities - Durham County Council, Sunderland City Council, Gateshead Council, South Tyneside Council and North Tyneside Council. The supporting Friends of Beamish organisation was established in 1968. Frank Atkinson retired as director in 1987. The museum has been 96% self-funding for some years (mainly from admission charges).

 

Sections of the museum

1913

The town area, officially opened in 1985, depicts chiefly Victorian buildings in an evolved urban setting of 1913.

 

Tramway

The Beamish Tramway is 1.5 miles (2.4 km) long, with four passing loops. The line makes a circuit of the museum site forming an important element of the visitor transportation system.

 

The first trams began operating on a short demonstration line in 1973, with the whole circle in operation by 1993.[8] It represents the era of electric powered trams, which were being introduced to meet the needs of growing towns and cities across the North East from the late 1890s, replacing earlier horse drawn systems.

 

Bakery

Presented as Joseph Herron, Baker & Confectioner, the bakery was opened in 2013 and features working ovens which produce food for sale to visitors. A two-storey curved building, only the ground floor is used as the exhibit. A bakery has been included to represent the new businesses which sprang up to cater for the growing middle classes - the ovens being of the modern electric type which were growing in use. The building was sourced from Anfield Plain (which had a bakery trading as Joseph Herron), and was moved to Beamish in the late 1970s and early 1980s. The frontage features a stained glass from a baker's shop in South Shields. It also uses fittings from Stockton-on-Tees.

 

Motor garage

Presented as Beamish Motor & Cycle Works, the motor garage opened in 1994. Reflecting the custom nature of the early motor trade, where only one in 232 people owned a car in 1913, the shop features a showroom to the front (not accessible to visitors), with a garage area to the rear, accessed via the adjacent archway. The works is a replica of a typical garage of the era. Much of the museum's car, motorcycle and bicycle collection, both working and static, is stored in the garage. The frontage has two storeys, but the upper floor is only a small mezzanine and is not used as part of the display.

 

Department Store

Presented as the Annfield Plain Industrial Co-operative Society Ltd, (but more commonly referred to as the Anfield Plain Co-op Store) this department store opened in 1984, and was relocated to Beamish from Annfield Plain in County Durham. The Annfield Plain co-operative society was originally established in 1870, with the museum store stocking various products from the Co-operative Wholesale Society (CWS), established 1863. A two-storey building, the ground floor comprises the three departments - grocery, drapery and hardware; the upper floor is taken up by the tea rooms (accessed from Redman Park via a ramp to the rear). Most of the items are for display only, but a small amount of goods are sold to visitors. The store features an operational cash carrier system, of the Lamson Cash Ball design - common in many large stores of the era, but especially essential to Co-ops, where customer's dividends had to be logged.

 

Ravensworth Terrace

Ravensworth Terrace is a row of terraced houses, presented as the premises and living areas of various professionals. Representing the expanding housing stock of the era, it was relocated from its original site on Bensham Bank, having been built for professionals and tradesmen between 1830 and 1845. Original former residents included painter John Wilson Carmichael and Gateshead mayor Alexander Gillies. Originally featuring 25 homes, the terrace was to be demolished when the museum saved it in the 1970s, reconstructing six of them on the Town site between 1980 and 1985. They are two storey buildings, with most featuring display rooms on both floors - originally the houses would have also housed a servant in the attic. The front gardens are presented in a mix of the formal style, and the natural style that was becoming increasingly popular.

 

No. 2 is presented as the home of Miss Florence Smith, a music teacher, with old fashioned mid-Victorian furnishings as if inherited from her parents. No. 3 & 4 is presented as the practice and home respectively (with a knocked through door) of dentist J. Jones - the exterior nameplate having come from the surgery of Mr. J. Jones in Hartlepool. Representing the state of dental health at the time, it features both a check-up room and surgery for extraction, and a technicians room for creating dentures - a common practice at the time being the giving to daughters a set on their 21st birthday, to save any future husband the cost at a later date. His home is presented as more modern than No.2, furnished in the Edwardian style the modern day utilities of an enamelled bathroom with flushing toilet, a controllable heat kitchen range and gas cooker. No. 5 is presented as a solicitor's office, based on that of Robert Spence Watson, a Quaker from Newcastle. Reflecting the trade of the era, downstairs is laid out as the partner's or principal office, and the general or clerk's office in the rear. Included is a set of books sourced from ER Hanby Holmes, who practised in Barnard Castle.

 

Pub

Presented as The Sun Inn, the pub opened in the town in 1985. It had originally stood in Bondgate in Bishop Auckland, and was donated to the museum by its final owners, the Scottish and Newcastle Breweries. Originally a "one-up one down" cottage, the earliest ownership has been traced to James Thompson, on 21 January 1806. Known as The Tiger Inn until the 1850s, from 1857 to 1899 under the ownership of the Leng family, it flourished under the patronage of miners from Newton Cap and other collieries. Latterly run by Elsie Edes, it came under brewery ownership in the 20th Century when bought by S&N antecedent, James Deuchar Ltd. The pub is fully operational, and features both a front and back bar, the two stories above not being part of the exhibit. The interior decoration features the stuffed racing greyhound Jake's Bonny Mary, which won nine trophies before being put on display in The Gerry in White le Head near Tantobie.

 

Town stables

Reflecting the reliance on horses for a variety of transport needs in the era, the town features a centrally located stables, situated behind the sweet shop, with its courtyard being accessed from the archway next to the pub. It is presented as a typical jobmaster's yard, with stables and a tack room in the building on its north side. A small, brick built open air, carriage shed is sited on the back of the printworks building. On the east side of the courtyard is a much larger metal shed (utilising iron roof trusses from Fleetwood), arranged mainly as carriage storage, but with a blacksmith's shop in the corner. The building on the west side of the yard is not part of any display. The interior fittings for the harness room came from Callaly Caste. Many of the horses and horse-drawn vehicles used by the museum are housed in the stables and sheds.

 

Printer, stationer and newspaper branch office

Presented as the Beamish Branch Office of the Northern Daily Mail and the Sunderland Daily Echo, the two storey replica building was built in the mid-1980s and represents the trade practices of the era. Downstairs, on the right, is the branch office, where newspapers would be sold directly and distributed to local newsagents and street vendors, and where orders for advertising copy would be taken. Supplementing it is a stationer's shop on the left hand side, with both display items and a small number of gift items on public sale. Upstairs is a jobbing printers workshop, which would not produce the newspapers, but would instead print leaflets, posters and office stationery. Split into a composing area and a print shop, the shop itself has a number of presses - a Columbian built in 1837 by Clymer and Dixon, an Albion dating back to 1863, an Arab Platen of c. 1900, and a Wharfedale flat bed press, built by Dawson & Son in around 1870. Much of the machinery was sourced from the print works of Jack Ascough's of Barnard Castle. Many of the posters seen around the museum are printed in the works, with the operation of the machinery being part of the display.

 

Sweet shop

Presented as Jubilee Confectioners, the two storey sweet shop opened in 1994 and is meant to represent the typical family run shops of the era, with living quarters above the shop (the second storey not being part of the display). To the front of the ground floor is a shop, where traditional sweets and chocolate (which was still relatively expensive at the time) are sold to visitors, while in the rear of the ground floor is a manufacturing area where visitors can view the techniques of the time (accessed via the arched walkway on the side of the building). The sweet rollers were sourced from a variety of shops and factories.

 

Bank

Presented as a branch of Barclays Bank (Barclay & Company Ltd) using period currency, the bank opened in 1999. It represents the trend of the era when regional banks were being acquired and merged into national banks such as Barclays, formed in 1896. Built to a three-storey design typical of the era, and featuring bricks in the upper storeys sourced from Park House, Gateshead, the Swedish imperial red shade used on the ground floor frontage is intended to represent stability and security. On the ground floor are windows for bank tellers, plus the bank manager's office. Included in a basement level are two vaults. The upper two storeys are not part of the display. It features components sourced from Southport and Gateshead

 

Masonic Hall

The Masonic Hall opened in 2006, and features the frontage from a former masonic hall sited in Park Terrace, Sunderland. Reflecting the popularity of the masons in North East England, as well as the main hall, which takes up the full height of the structure, in a small two story arrangement to the front of the hall is also a Robing Room and the Tyler's Room on the ground floor, and a Museum Room upstairs, featuring display cabinets of masonic regalia donated from various lodges. Upstairs is also a class room, with large stained glass window.

 

Chemist and photographer

Presented as W Smith's Chemist and JR & D Edis Photographers, a two-storey building housing both a chemist and photographers shops under one roof opened on 7 May 2016 and represents the growing popularity of photography in the era, with shops often growing out of or alongside chemists, who had the necessary supplies for developing photographs. The chemist features a dispensary, and equipment from various shops including John Walker, inventor of the friction match. The photographers features a studio, where visitors can dress in period costume and have a photograph taken. The corner building is based on a real building on Elvet Bridge in Durham City, opposite the Durham Marriot Hotel (the Royal County), although the second storey is not part of the display. The chemist also sells aerated water (an early form of carbonated soft drinks) to visitors, sold in marble-stopper sealed Codd bottles (although made to a modern design to prevent the safety issue that saw the original bottles banned). Aerated waters grew in popularity in the era, due to the need for a safe alternative to water, and the temperance movement - being sold in chemists due to the perception they were healthy in the same way mineral waters were.

 

Costing around £600,000 and begun on 18 August 2014, the building's brickwork and timber was built by the museum's own staff and apprentices, using Georgian bricks salvaged from demolition works to widen the A1. Unlike previous buildings built on the site, the museum had to replicate rather than relocate this one due to the fact that fewer buildings are being demolished compared to the 1970s, and in any case it was deemed unlikely one could be found to fit the curved shape of the plot. The studio is named after a real business run by John Reed Edis and his daughter Daisy. Mr Edis, originally at 27 Sherburn Road, Durham, in 1895, then 52 Saddler Street from 1897. The museum collection features several photographs, signs and equipment from the Edis studio. The name for the chemist is a reference to the business run by William Smith, who relocated to Silver Street, near the original building, in 1902. According to records, the original Edis company had been supplied by chemicals from the original (and still extant) Smith business.

 

Redman Park

Redman Park is a small lawned space with flower borders, opposite Ravensworth Terrace. Its centrepiece is a Victorian bandstand sourced from Saltwell Park, where it stood on an island in the middle of a lake. It represents the recognised need of the time for areas where people could relax away from the growing industrial landscape.

 

Other

Included in the Town are drinking fountains and other period examples of street furniture. In between the bank and the sweet shop is a combined tram and bus waiting room and public convenience.

 

Unbuilt

When construction of the Town began, the projected town plan incorporated a market square and buildings including a gas works, fire station, ice cream parlour (originally the Central Cafe at Consett), a cast iron bus station from Durham City, school, public baths and a fish and chip shop.

 

Railway station

East of the Town is the Railway Station, depicting a typical small passenger and goods facility operated by the main railway company in the region at the time, the North Eastern Railway (NER). A short running line extends west in a cutting around the north side of the Town itself, with trains visible from the windows of the stables. It runs for a distance of 1⁄4 mile - the line used to connect to the colliery sidings until 1993 when it was lifted between the town and the colliery so that the tram line could be extended. During 2009 the running line was relaid so that passenger rides could recommence from the station during 2010.

 

Rowley station

Representing passenger services is Rowley Station, a station building on a single platform, opened in 1976, having been relocated to the museum from the village of Rowley near Consett, just a few miles from Beamish.

 

The original Rowley railway station was opened in 1845 (as Cold Rowley, renamed Rowley in 1868) by the NER antecedent, the Stockton and Darlington Railway, consisting of just a platform. Under NER ownership, as a result of increasing use, in 1873 the station building was added. As demand declined, passenger service was withdrawn in 1939, followed by the goods service in 1966. Trains continued to use the line for another three years before it closed, the track being lifted in 1970. Although in a state of disrepair, the museum acquired the building, dismantling it in 1972, being officially unveiled in its new location by railway campaigner and poet, Sir John Betjeman.

 

The station building is presented as an Edwardian station, lit by oil lamp, having never been connected to gas or electricity supplies in its lifetime. It features both an open waiting area and a visitor accessible waiting room (western half), and a booking and ticket office (eastern half), with the latter only visible from a small viewing entrance. Adorning the waiting room is a large tiled NER route map.

 

Signal box

The signal box dates from 1896, and was relocated from Carr House East near Consett. It features assorted signalling equipment, basic furnishings for the signaller, and a lever frame, controlling the stations numerous points, interlocks and semaphore signals. The frame is not an operational part of the railway, the points being hand operated using track side levers. Visitors can only view the interior from a small area inside the door.

 

Goods shed

The goods shed is originally from Alnwick. The goods area represents how general cargo would have been moved on the railway, and for onward transport. The goods shed features a covered platform where road vehicles (wagons and carriages) can be loaded with the items unloaded from railway vans. The shed sits on a triangular platform serving two sidings, with a platform mounted hand-crane, which would have been used for transhipment activity (transfer of goods from one wagon to another, only being stored for a short time on the platform, if at all).

 

Coal yard

The coal yard represents how coal would have been distributed from incoming trains to local merchants - it features a coal drop which unloads railway wagons into road going wagons below. At the road entrance to the yard is a weighbridge (with office) and coal merchant's office - both being appropriately furnished with display items, but only viewable from outside.

 

The coal drop was sourced from West Boldon, and would have been a common sight on smaller stations. The weighbridge came from Glanton, while the coal office is from Hexham.

 

Bridges and level crossing

The station is equipped with two footbridges, a wrought iron example to the east having come from Howden-le-Wear, and a cast iron example to the west sourced from Dunston. Next to the western bridge, a roadway from the coal yard is presented as crossing the tracks via a gated level crossing (although in reality the road goes nowhere on the north side).

 

Waggon and Iron Works

Dominating the station is the large building externally presented as Beamish Waggon and Iron Works, estd 1857. In reality this is the Regional Museums Store (see below), although attached to the north side of the store are two covered sidings (not accessible to visitors), used to service and store the locomotives and stock used on the railway.

 

Other

A corrugated iron hut adjacent to the 'iron works' is presented as belonging to the local council, and houses associated road vehicles, wagons and other items.

 

Fairground

Adjacent to the station is an events field and fairground with a set of Frederick Savage built steam powered Gallopers dating from 1893.

 

Colliery

Presented as Beamish Colliery (owned by James Joicey & Co., and managed by William Severs), the colliery represents the coal mining industry which dominated the North East for generations - the museum site is in the former Durham coalfield, where 165,246 men and boys worked in 304 mines in 1913. By the time period represented by Beamish's 1900s era, the industry was booming - production in the Great Northern Coalfield had peaked in 1913, and miners were relatively well paid (double that of agriculture, the next largest employer), but the work was dangerous. Children could be employed from age 12 (the school leaving age), but could not go underground until 14.

 

Deep mine

Reconstructed pitworks buildings showing winding gear

Dominating the colliery site are the above ground structures of a deep (i.e. vertical shaft) mine - the brick built Winding Engine House, and the red painted wooden Heapstead. These were relocated to the museum (which never had its own vertical shaft), the winding house coming from Beamish Chophill Colliery, and the Heapstead from Ravensworth Park Mine in Gateshead. The winding engine and its enclosing house are both listed.

 

The winding engine was the source of power for hauling miners, equipment and coal up and down the shaft in a cage, the top of the shaft being in the adjacent heapstead, which encloses the frame holding the wheel around which the hoist cable travels. Inside the Heapstead, tubs of coal from the shaft were weighed on a weighbridge, then tipped onto jigging screens, which sifted the solid lumps from small particles and dust - these were then sent along the picking belt, where pickers, often women, elderly or disabled people or young boys (i.e. workers incapable of mining), would separate out unwanted stone, wood and rubbish. Finally, the coal was tipped onto waiting railway wagons below, while the unwanted waste sent to the adjacent heap by an external conveyor.

 

Chophill Colliery was closed by the National Coal Board in 1962, but the winding engine and tower were left in place. When the site was later leased, Beamish founder Frank Atkinson intervened to have both spot listed to prevent their demolition. After a protracted and difficult process to gain the necessary permissions to move a listed structure, the tower and engine were eventually relocated to the museum, work being completed in 1976. The winding engine itself is the only surviving example of the type which was once common, and was still in use at Chophill upon its closure. It was built in 1855 by J&G Joicey of Newcastle, to an 1800 design by Phineas Crowther.

 

Inside the winding engine house, supplementing the winding engine is a smaller jack engine, housed in the rear. These were used to lift heavy equipment, and in deep mines, act as a relief winding engine.

 

Outdoors, next to the Heapstead, is a sinking engine, mounted on red bricks. Brought to the museum from Silksworth Colliery in 1971, it was built by Burlington's of Sunderland in 1868 and is the sole surviving example of its kind. Sinking engines were used for the construction of shafts, after which the winding engine would become the source of hoist power. It is believed the Silksworth engine was retained because it was powerful enough to serve as a backup winding engine, and could be used to lift heavy equipment (i.e. the same role as the jack engine inside the winding house).

 

Drift mine

The Mahogany Drift Mine is original to Beamish, having opened in 1855 and after closing, was brought back into use in 1921 to transport coal from Beamish Park Drift to Beamish Cophill Colliery. It opened as a museum display in 1979. Included in the display is the winding engine and a short section of trackway used to transport tubs of coal to the surface, and a mine office. Visitor access into the mine shaft is by guided tour.

 

Lamp cabin

The Lamp Cabin opened in 2009, and is a recreation of a typical design used in collieries to house safety lamps, a necessary piece of equipment for miners although were not required in the Mahogany Drift Mine, due to it being gas-free. The building is split into two main rooms; in one half, the lamp cabin interior is recreated, with a collection of lamps on shelves, and the system of safety tokens used to track which miners were underground. Included in the display is a 1927 Hailwood and Ackroyd lamp-cleaning machine sourced from Morrison Busty Colliery in Annfield Plain. In the second room is an educational display, i.e., not a period interior.

 

Colliery railways

The colliery features both a standard gauge railway, representing how coal was transported to its onward destination, and narrow-gauge typically used by Edwardian collieries for internal purposes. The standard gauge railway is laid out to serve the deep mine - wagons being loaded by dropping coal from the heapstead - and runs out of the yard to sidings laid out along the northern-edge of the Pit Village.

 

The standard gauge railway has two engine sheds in the colliery yard, the smaller brick, wood and metal structure being an operational building; the larger brick-built structure is presented as Beamish Engine Works, a reconstruction of an engine shed formerly at Beamish 2nd Pit. Used for locomotive and stock storage, it is a long, single track shed featuring a servicing pit for part of its length. Visitors can walk along the full length in a segregated corridor. A third engine shed in brick (lower half) and corrugated iron has been constructed at the southern end of the yard, on the other side of the heapstead to the other two sheds, and is used for both narrow and standard gauge vehicles (on one road), although it is not connected to either system - instead being fed by low-loaders and used for long-term storage only.

 

The narrow gauge railway is serviced by a corrugate iron engine shed, and is being expanded to eventually encompass several sidings.

 

There are a number of industrial steam locomotives (including rare examples by Stephen Lewin from Seaham and Black, Hawthorn & Co) and many chaldron wagons, the region's traditional type of colliery railway rolling stock, which became a symbol of Beamish Museum. The locomotive Coffee Pot No 1 is often in steam during the summer.

 

Other

On the south eastern corner of the colliery site is the Power House, brought to the museum from Houghton Colliery. These were used to store explosives.

 

Pit Village

Alongside the colliery is the pit village, representing life in the mining communities that grew alongside coal production sites in the North East, many having come into existence solely because of the industry, such as Seaham Harbour, West Hartlepool, Esh Winning and Bedlington.

 

Miner's Cottages

The row of six miner's cottages in Francis Street represent the tied-housing provided by colliery owners to mine workers. Relocated to the museum in 1976, they were originally built in the 1860s in Hetton-le-Hole by Hetton Coal Company. They feature the common layout of a single-storey with a kitchen to the rear, the main room of the house, and parlour to the front, rarely used (although it was common for both rooms to be used for sleeping, with disguised folding "dess" beds common), and with children sleeping in attic spaces upstairs. In front are long gardens, used for food production, with associated sheds. An outdoor toilet and coal bunker were in the rear yards, and beyond the cobbled back lane to their rear are assorted sheds used for cultivation, repairs and hobbies. Chalkboard slates attached to the rear wall were used by the occupier to tell the mine's "knocker up" when they wished to be woken for their next shift.

 

No.2 is presented as a Methodist family's home, featuring good quality "Pitman's mahogany" furniture; No.3 is presented as occupied by a second generation well off Irish Catholic immigrant family featuring many items of value (so they could be readily sold off in times of need) and an early 1890s range; No.3 is presented as more impoverished than the others with just a simple convector style Newcastle oven, being inhabited by a miner's widow allowed to remain as her son is also a miner, and supplementing her income doing laundry and making/mending for other families. All the cottages feature examples of the folk art objects typical of mining communities. Also included in the row is an office for the miner's paymaster.[11] In the rear alleyway of the cottages is a communal bread oven, which were commonplace until miner's cottages gradually obtained their own kitchen ranges. They were used to bake traditional breads such as the Stottie, as well as sweet items, such as tea cakes. With no extant examples, the museum's oven had to be created from photographs and oral history.

 

School

The school opened in 1992, and represents the typical board school in the educational system of the era (the stone built single storey structure being inscribed with the foundation date of 1891, Beamish School Board), by which time attendance at a state approved school was compulsory, but the leaving age was 12, and lessons featured learning by rote and corporal punishment. The building originally stood in East Stanley, having been set up by the local school board, and would have numbered around 150 pupils. Having been donated by Durham County Council, the museum now has a special relationship with the primary school that replaced it. With separate entrances and cloakrooms for boys and girls at either end, the main building is split into three class rooms (all accessible to visitors), connected by a corridor along the rear. To the rear is a red brick bike shed, and in the playground visitors can play traditional games of the era.

 

Chapel

Pit Hill Chapel opened in 1990, and represents the Wesleyan Methodist tradition which was growing in North East England, with the chapels used for both religious worship and as community venues, which continue in its role in the museum display. Opened in the 1850s, it originally stood not far from its present site, having been built in what would eventually become Beamish village, near the museum entrance. A stained glass window of The Light of The World by William Holman Hunt came from a chapel in Bedlington. A two handled Love Feast Mug dates from 1868, and came from a chapel in Shildon Colliery. On the eastern wall, above the elevated altar area, is an angled plain white surface used for magic lantern shows, generated using a replica of the double-lensed acetylene gas powered lanterns of the period, mounted in the aisle of the main seating area. Off the western end of the hall is the vestry, featuring a small library and communion sets from Trimdon Colliery and Catchgate.

 

Fish bar

Presented as Davey's Fried Fish & Chip Potato Restaurant, the fish and chip shop opened in 2011, and represents the typical style of shop found in the era as they were becoming rapidly popular in the region - the brick built Victorian style fryery would most often have previously been used for another trade, and the attached corrugated iron hut serves as a saloon with tables and benches, where customers would eat and socialise. Featuring coal fired ranges using beef-dripping, the shop is named in honour of the last coal fired shop in Tyneside, in Winlaton Mill, and which closed in 2007. Latterly run by brothers Brian and Ramsay Davy, it had been established by their grandfather in 1937. The serving counter and one of the shop's three fryers, a 1934 Nuttal, came from the original Davy shop. The other two fryers are a 1920s Mabbott used near Chester until the 1960s, and a GW Atkinson New Castle Range, donated from a shop in Prudhoe in 1973. The latter is one of only two known late Victorian examples to survive. The decorative wall tiles in the fryery came to the museum in 1979 from Cowes Fish and Game Shop in Berwick upon Tweed. The shop also features both an early electric and hand-powered potato rumblers (cleaners), and a gas powered chip chopper built around 1900. Built behind the chapel, the fryery is arranged so the counter faces the rear, stretching the full length of the building. Outside is a brick built row of outdoor toilets. Supplementing the fish bar is the restored Berriman's mobile chip van, used in Spennymoor until the early 1970s.

 

Band hall

The Hetton Silver Band Hall opened in 2013, and features displays reflecting the role colliery bands played in mining life. Built in 1912, it was relocated from its original location in South Market Street, Hetton-le-Hole, where it was used by the Hetton Silver Band, founded in 1887. They built the hall using prize money from a music competition, and the band decided to donate the hall to the museum after they merged with Broughtons Brass Band of South Hetton (to form the Durham Miners' Association Brass Band). It is believed to be the only purpose built band hall in the region. The structure consists of the main hall, plus a small kitchen to the rear; as part of the museum it is still used for performances.

 

Pit pony stables

The Pit Pony Stables were built in 2013/14, and house the museum's pit ponies. They replace a wooden stable a few metres away in the field opposite the school (the wooden structure remaining). It represents the sort of stables that were used in drift mines (ponies in deep mines living their whole lives underground), pit ponies having been in use in the north east as late as 1994, in Ellington Colliery. The structure is a recreation of an original building that stood at Rickless Drift Mine, between High Spen and Greenside; it was built using a yellow brick that was common across the Durham coalfield.

 

Other

Doubling as one of the museum's refreshment buildings, Sinker's Bait Cabin represents the temporary structures that would have served as living quarters, canteens and drying areas for sinkers, the itinerant workforce that would dig new vertical mine shafts.

 

Representing other traditional past-times, the village fields include a quoits pitch, with another refreshment hut alongside it, resembling a wooden clubhouse.

 

In one of the fields in the village stands the Cupola, a small round flat topped brick built tower; such structures were commonly placed on top of disused or ventilation shafts, also used as an emergency exit from the upper seams.

 

The Georgian North (1825)

A late Georgian landscape based around the original Pockerley farm represents the period of change in the region as transport links were improved and as agriculture changed as machinery and field management developed, and breeding stock was improved. It became part of the museum in 1990, having latterly been occupied by a tenant farmer, and was opened as an exhibit in 1995. The hill top position suggests the site was the location of an Iron Age fort - the first recorded mention of a dwelling is in the 1183 Buke of Boldon (the region's equivalent of the Domesday Book). The name Pockerley has Saxon origins - "Pock" or "Pokor" meaning "pimple of bag-like" hill, and "Ley" meaning woodland clearing.

 

The surrounding farmlands have been returned to a post-enclosure landscape with ridge and furrow topography, divided into smaller fields by traditional riven oak fencing. The land is worked and grazed by traditional methods and breeds.

 

Pockerley Old Hall

The estate of Pockerley Old Hall is presented as that of a well off tenant farmer, in a position to take advantage of the agricultural advances of the era. The hall itself consists of the Old House, which is adjoined (but not connected to) the New House, both south facing two storey sandstone built buildings, the Old House also having a small north–south aligned extension. Roof timbers in the sandstone built Old House have been dated to the 1440s, but the lower storey (the undercroft) may be from even earlier. The New House dates to the late 1700s, and replaced a medieval manor house to the east of the Old House as the main farm house - once replaced itself, the Old House is believed to have been let to the farm manager. Visitors can access all rooms in the New and Old House, except the north–south extension which is now a toilet block. Displays include traditional cooking, such as the drying of oatcakes over a wooden rack (flake) over the fireplace in the Old House.

 

Inside the New House the downstairs consists of a main kitchen and a secondary kitchen (scullery) with pantry. It also includes a living room, although as the main room of the house, most meals would have been eaten in the main kitchen, equipped with an early range, boiler and hot air oven. Upstairs is a main bedroom and a second bedroom for children; to the rear (i.e. the colder, north side), are bedrooms for a servant and the servant lad respectively. Above the kitchen (for transferred warmth) is a grain and fleece store, with attached bacon loft, a narrow space behind the wall where bacon or hams, usually salted first, would be hung to be smoked by the kitchen fire (entering through a small door in the chimney).

 

Presented as having sparse and more old fashioned furnishings, the Old House is presented as being occupied in the upper story only, consisting of a main room used as the kitchen, bedroom and for washing, with the only other rooms being an adjoining second bedroom and an overhanging toilet. The main bed is an oak box bed dating to 1712, obtained from Star House in Baldersdale in 1962. Originally a defensive house in its own right, the lower level of the Old House is an undercroft, or vaulted basement chamber, with 1.5 metre thick walls - in times of attack the original tenant family would have retreated here with their valuables, although in its later use as the farm managers house, it is now presented as a storage and work room, housing a large wooden cheese press.[68] More children would have slept in the attic of the Old House (not accessible as a display).

 

To the front of the hall is a terraced garden featuring an ornamental garden with herbs and flowers, a vegetable garden, and an orchard, all laid out and planted according to the designs of William Falla of Gateshead, who had the largest nursery in Britain from 1804 to 1830.

 

The buildings to the east of the hall, across a north–south track, are the original farmstead buildings dating from around 1800. These include stables and a cart shed arranged around a fold yard. The horses and carts on display are typical of North Eastern farms of the era, Fells or Dales ponies and Cleveland Bay horses, and two wheeled long carts for hilly terrain (as opposed to four wheel carts).

 

Pockerley Waggonway

The Pockerley Waggonway opened in 2001, and represents the year 1825, as the year the Stockton and Darlington Railway opened. Waggonways had appeared around 1600, and by the 1800s were common in mining areas - prior to 1800 they had been either horse or gravity powered, before the invention of steam engines (initially used as static winding engines), and later mobile steam locomotives.

 

Housing the locomotives and rolling stock is the Great Shed, which opened in 2001 and is based on Timothy Hackworth's erecting shop, Shildon railway works, and incorporating some material from Robert Stephenson and Company's Newcastle works. Visitors can walk around the locomotives in the shed, and when in steam, can take rides to the end of the track and back in the line's assorted rolling stock - situated next to the Great Shed is a single platform for passenger use. In the corner of the main shed is a corner office, presented as a locomotive designer's office (only visible to visitors through windows). Off the pedestrian entrance in the southern side is a room presented as the engine crew's break room. Atop the Great Shed is a weather vane depicting a waggonway train approaching a cow, a reference to a famous quote by George Stephenson when asked by parliament in 1825 what would happen in such an eventuality - "very awkward indeed - for the coo!".

 

At the far end of the waggonway is the (fictional) coal mine Pockerley Gin Pit, which the waggonway notionally exists to serve. The pit head features a horse powered wooden whim gin, which was the method used before steam engines for hauling men and material up and down mineshafts - coal was carried in corves (wicker baskets), while miners held onto the rope with their foot in an attached loop.

 

Wooden waggonway

Following creation of the Pockerley Waggonway, the museum went back a chapter in railway history to create a horse-worked wooden waggonway.

 

St Helen's Church

St Helen's Church represents a typical type of country church found in North Yorkshire, and was relocated from its original site in Eston, North Yorkshire. It is the oldest and most complex building moved to the museum. It opened in November 2015, but will not be consecrated as this would place restrictions on what could be done with the building under church law.

 

The church had existed on its original site since around 1100. As the congregation grew, it was replaced by two nearby churches, and latterly became a cemetery chapel. After closing in 1985, it fell into disrepair and by 1996 was burnt out and vandalised leading to the decision by the local authority in 1998 to demolish it. Working to a deadline of a threatened demolition within six months, the building was deconstructed and moved to Beamish, reconstruction being authorised in 2011, with the exterior build completed by 2012.

 

While the structure was found to contain some stones from the 1100 era, the building itself however dates from three distinct building phases - the chancel on the east end dates from around 1450, while the nave, which was built at the same time, was modernised in 1822 in the Churchwarden style, adding a vestry. The bell tower dates from the late 1600s - one of the two bells is a rare dated Tudor example. Gargoyles, originally hidden in the walls and believed to have been pranks by the original builders, have been made visible in the reconstruction.

 

Restored to its 1822 condition, the interior has been furnished with Georgian box pews sourced from a church in Somerset. Visitors can access all parts except the bell tower. The nave includes a small gallery level, at the tower end, while the chancel includes a church office.

 

Joe the Quilter's Cottage

The most recent addition to the area opened to the public in 2018 is a recreation of a heather-thatched cottage which features stones from the Georgian quilter Joseph Hedley's original home in Northumberland. It was uncovered during an archaeological dig by Beamish. His original cottage was demolished in 1872 and has been carefully recreated with the help of a drawing on a postcard. The exhibit tells the story of quilting and the growth of cottage industries in the early 1800s. Within there is often a volunteer or member of staff not only telling the story of how Joe was murdered in 1826, a crime that remains unsolved to this day, but also giving visitors the opportunity to learn more and even have a go at quilting.

 

Other

A pack pony track passes through the scene - pack horses having been the mode of transport for all manner of heavy goods where no waggonway exists, being also able to reach places where carriages and wagons could not access. Beside the waggonway is a gibbet.

 

Farm (1940s)

Presented as Home Farm, this represents the role of North East farms as part of the British Home Front during World War II, depicting life indoors, and outside on the land. Much of the farmstead is original, and opened as a museum display in 1983. The farm is laid out across a north–south public road; to the west is the farmhouse and most of the farm buildings, while on the east side are a pair of cottages, the British Kitchen, an outdoor toilet ("netty"), a bull field, duck pond and large shed.

 

The farm complex was rebuilt in the mid-19th century as a model farm incorporating a horse mill and a steam-powered threshing mill. It was not presented as a 1940s farm until early 2014.

 

The farmhouse is presented as having been modernised, following the installation of electric power and an Aga cooker in the scullery, although the main kitchen still has the typical coal-fired black range. Lino flooring allowed quicker cleaning times, while a radio set allowed the family to keep up to date with wartime news. An office next to the kitchen would have served both as the administration centre for the wartime farm, and as a local Home Guard office. Outside the farmhouse is an improvised Home Guard pillbox fashioned from half an egg-ended steam boiler, relocated from its original position near Durham.

 

The farm is equipped with three tractors which would have all seen service during the war: a Case, a Fordson N and a 1924 Fordson F. The farm also features horse-drawn traps, reflecting the effect wartime rationing of petrol would have had on car use. The farming equipment in the cart and machinery sheds reflects the transition of the time from horse-drawn to tractor-pulled implements, with some older equipment put back into use due to the war, as well as a large Foster thresher, vital for cereal crops, and built specifically for the war effort, sold at the Newcastle Show. Although the wartime focus was on crops, the farm also features breeds of sheep, cattle, pigs and poultry that would have been typical for the time. The farm also has a portable steam engine, not in use, but presented as having been left out for collection as part of a wartime scrap metal drive.

 

The cottages would have housed farm labourers, but are presented as having new uses for the war: Orchard Cottage housing a family of evacuees, and Garden Cottage serving as a billet for members of the Women's Land Army (Land Girls). Orchard Cottage is named for an orchard next to it, which also contains an Anderson shelter, reconstructed from partial pieces of ones recovered from around the region. Orchard Cottage, which has both front and back kitchens, is presented as having an up to date blue enameled kitchen range, with hot water supplied from a coke stove, as well as a modern accessible bathroom. Orchard Cottage is also used to stage recreations of wartime activities for schools, elderly groups and those living with dementia. Garden Cottage is sparsely furnished with a mix of items, reflecting the few possessions Land Girls were able to take with them, although unusually the cottage is depicted with a bathroom, and electricity (due to proximity to a colliery).

 

The British Kitchen is both a display and one of the museum's catering facilities; it represents an installation of one of the wartime British Restaurants, complete with propaganda posters and a suitably patriotic menu.

 

Town (1950s)

As part of the Remaking Beamish project, with significant funding from the National Lottery Heritage Fund, the museum is creating a 1950s town. Opened in July 2019, the Welfare Hall is an exact replica of the Leasingthorne Colliery Welfare Hall and Community Centre which was built in 1957 near Bishop Auckland. Visitors can 'take part in activities including dancing, crafts, Meccano, beetle drive, keep fit and amateur dramatics' while also taking a look at the National Health Service exhibition on display, recreating the environment of an NHS clinic. A recreation and play park, named Coronation Park was opened in May 2022 to coincide with the celebrations around the Platinum Jubilee of Elizabeth II.

 

The museum's first 1950s terrace opened in February 2022. This included a fish and chip shop from Middleton St George, a cafe, a replica of Norman Cornish's home, and a hairdressers. Future developments opposite the existing 1950s terrace will see a recreation of The Grand Cinema, from Ryhope, in Sunderland, and toy and electricians shops. Also underdevelopment are a 1950s bowling green and pavilion, police houses and aged miner's cottages. Also under construction are semi-detached houses; for this exhibit, a competition was held to recreate a particular home at Beamish, which was won by a family from Sunderland.

 

As well as the town, a 1950s Northern bus depot has been opened on the western side of the museum – the purpose of this is to provide additional capacity for bus, trolleybus and tram storage once the planned trolleybus extension and the new area are completed, providing extra capacity and meeting the need for modified routing.

 

Spain's Field Farm

In March 2022, the museum opened Spain's Field Farm. It had stood for centuries at Eastgate in Weardale, and was moved to Beamish stone-by-stone. It is exhibited as it would have been in the 1950s.

 

1820s Expansion

In the area surrounding the current Pockerley Old Hall and Steam Wagon Way more development is on the way. The first of these was planned to be a Georgian Coaching Inn that would be the museum's first venture into overnight accommodation. However following the COVID-19 pandemic this was abandoned, in favour of self-catering accommodation in existing cottages.

 

There are also plans for 1820s industries including a blacksmith's forge and a pottery.

 

Museum stores

There are two stores on the museum site, used to house donated objects. In contrast to the traditional rotation practice used in museums where items are exchanged regularly between store and display, it is Beamish policy that most of their exhibits are to be in use and on display - those items that must be stored are to be used in the museum's future developments.

 

Open Store

Housed in the Regional Resource Centre, the Open Store is accessible to visitors. Objects are housed on racks along one wall, while the bulk of items are in a rolling archive, with one set of shelves opened, with perspex across their fronts to permit viewing without touching.

 

Regional Museums Store

The real purposes of the building presented as Beamish Waggon and Iron Works next to Rowley Station is as the Regional Museums Store, completed in 2002, which Beamish shares with Tyne and Wear Museums. This houses, amongst other things, a large marine diesel engine by William Doxford & Sons of Pallion, Sunderland (1977); and several boats including the Tyne wherry (a traditional local type of lighter) Elswick No. 2 (1930). The store is only open at selected times, and for special tours which can be arranged through the museum; however, a number of viewing windows have been provided for use at other times.

 

Transport collection

Main article: Beamish Museum transport collection

The museum contains much of transport interest, and the size of its site makes good internal transportation for visitors and staff purposes a necessity.

 

The collection contains a variety of historical vehicles for road, rail and tramways. In addition there are some modern working replicas to enhance the various scenes in the museum.

 

Agriculture

The museum's two farms help to preserve traditional northcountry and in some cases rare livestock breeds such as Durham Shorthorn Cattle; Clydesdale and Cleveland Bay working horses; Dales ponies; Teeswater sheep; Saddleback pigs; and poultry.

 

Regional heritage

Other large exhibits collected by the museum include a tracked steam shovel, and a coal drop from Seaham Harbour.

 

In 2001 a new-build Regional Resource Centre (accessible to visitors by appointment) opened on the site to provide accommodation for the museum's core collections of smaller items. These include over 300,000 historic photographs, printed books and ephemera, and oral history recordings. The object collections cover the museum's specialities. These include quilts; "clippy mats" (rag rugs); Trade union banners; floor cloth; advertising (including archives from United Biscuits and Rowntree's); locally made pottery; folk art; and occupational costume. Much of the collection is viewable online and the arts of quilting, rug making and cookery in the local traditions are demonstrated at the museum.

 

Filming location

The site has been used as the backdrop for many film and television productions, particularly Catherine Cookson dramas, produced by Tyne Tees Television, and the final episode and the feature film version of Downton Abbey. Some of the children's television series Supergran was shot here.

 

Visitor numbers

On its opening day the museum set a record by attracting a two-hour queue. Visitor numbers rose rapidly to around 450,000 p.a. during the first decade of opening to the public, with the millionth visitor arriving in 1978.

 

Awards

Museum of the Year1986

European Museum of the Year Award1987

Living Museum of the Year2002

Large Visitor Attraction of the YearNorth East England Tourism awards2014 & 2015

Large Visitor Attraction of the Year (bronze)VisitEngland awards2016

It was designated by the Museums, Libraries and Archives Council in 1997 as a museum with outstanding collections.

 

Critical responses

In responding to criticism that it trades on nostalgia the museum is unapologetic. A former director has written: "As individuals and communities we have a deep need and desire to understand ourselves in time."

 

According to the BBC writing in its 40th anniversary year, Beamish was a mould-breaking museum that became a great success due to its collection policy, and what sets it apart from other museums is the use of costumed people to impart knowledge to visitors, rather than labels or interpretive panels (although some such panels do exist on the site), which means it "engages the visitor with history in a unique way".

 

Legacy

Beamish was influential on the Black Country Living Museum, Blists Hill Victorian Town and, in the view of museologist Kenneth Hudson, more widely in the museum community and is a significant educational resource locally. It can also demonstrate its benefit to the contemporary local economy.

 

The unselective collecting policy has created a lasting bond between museum and community.

With the construction of the Central Washington Railway in 1889, Govan was designated as a place in Lincoln County WA. The discovery of a large sandbank in the area in the autumn of 1890 created a boom town atmosphere as a crew of workmen complete with a steam shovel, extracted sand for the railroad construction. The name is derived from R.B. Govan, a construction engineer employed by the Central Washington Railway. Govan has been the scene of several unsolved murders. Reported December 1902 as "The most brutal crime ever committed in the county." was the axe murder of Judge J.A. Lewis and his wife, Penelope. The elderly Lewis kept sums of money about the house. It was believed robbery was the motive. Govan's eventual demise was hastened in 1933 when the community was bypassed by US Route 2. Only one retail store remained in business as of 1940.

 

www.ghosttownsofwashington.com/govan.html

www.scenicusa.net/120810.html

 

Photo of an abandoned house captured via Minolta MD Zoom Rokkor-X 24-50mm F/4 lens and the bracketing method of photography. In the ghost town and unincorporated community of Govan. Columbia Plateau Region. Inland Northwest. Lincoln County, Washington. Early March 2018.

 

Exposure Time: 1/250 sec. * ISO Speed: ISO-160 * Aperture: F/8 * Bracketing: +1 / -1 * Color Temperature: 10000 K * Film Plug-In: Fuji Superia 400

The following article was written by historian Greg Nesteroff on Jun. 30, 2013 for the Nelson Star newspaper - BLUEBERRY - Blueberry, or Blueberry Creek, is one of three fruit-themed Castlegar suburbs. (The others are Raspberry and Strawberry, although the latter is no longer in common use.) The creek was so named by January 1, 1897 when it was mentioned in the Trail Creek News. The Blueberry railway siding was named on a Columbia and Western Railway schedule dated November 21, 1897 and published in the Slocan Pioneer of December 11, 1897. For a while around 1910-11, the community — or at least a portion of it — was known as Bruce Gardens, despite the fact the post office opened on May 1, 1910 as Blueberry Creek. Bruce Gardens is mentioned in the Nelson Daily News of December 15 and 22, 1910 and January 7, 1911. One headline read “Water system for Bruce Gardens,” yet the story itself said “All together Blueberry creek looks forward to a prosperous future.” Who was Bruce? It’s an unsolved mystery. No one by that name was listed there in the 1910 Henderson directory for BC, which included the notation “See also Blueberry Creek” and erroneously stated Bruce Gardens was on Okanagan Lake, eight miles south of Okanagan Landing. (The confusion was with Bruce’s Landing, which was in fact on Okanagan Lake.) The same directory also erroneously stated Blueberry Creek was “a settlement in Kootenay district situated two miles north of Moberly.” Bruce Gardens was never mentioned in the directories again. The Blueberry Creek post office closed on May 12, 1973. Blueberry, which is home to a community school, amalgamated with Castlegar in 2004. LINK to the complete article - www.nelsonstar.com/community/kootenay-river-waterfall-nam...

 

(from - Wrigley's 1918 British Columbia Directory) - BLUEBERRY CREEK - a post office and farming settlement 12 miles north of Trail at the junction of Blueberry Creek with Columbia River, in Trail Provincial Electoral District. Local resources: Farming.

 

LINK to a list of the Postmasters who served at the BLUEBERRY CREEK Post Office - recherche-collection-search.bac-lac.gc.ca/eng/home/record...

 

sent from - / BLUEBERRY CREEK / PM / VII 3 / 54 / B.C. / - (B type / large letters) cds cancel - (RF C).

 

Water card addressed to: District Engineer, / Water Resources Division, / 744 West Hastings Street, / Vancouver 1, B.C. /

 

Water card signed by: John E. Marshall

 

Observations of Water Height on Blueberry Creek near Blueberry Creek, B.C. - the Water Height Observer was John E. Marshall

 

John Edward Marshall

b. 11 March 1904 in Rangoon, India

d. 5 February 1978 at age 73 in Castlegar District Hospital - his usual residence was Blueberry Creek, B.C.

His occupation was a plumber.

 

His wife - Ruby "Cave" Marshall

b. 26 March 1911 in Saskatoon, Saskatchewan

d. 29 December 1993 at age 82 in Nelson, B.C. - her usual residence was Castlegar, B.C.

Raffles (1930 film)

From Wikipedia, the free encyclopedia

For other film versions, see Raffles the Amateur Cracksman, Raffles (1925 film) and Raffles (1939 film).

Raffles

Poster of Raffles (1930 film).jpg

Directed byGeorge Fitzmaurice

Harry d'Abbadie d'Arrast (uncredited and replaced by Fitzmaurice)

Produced bySamuel Goldwyn

Written byEugene Wiley Presbrey (play)

E. W. Hornung (play and novel)

Sidney Howard

StarringRonald Colman

Kay Francis

Edited byStuart Heisler

Production

company

Samuel Goldwyn Productions

Distributed byUnited Artists

Release datesJuly 24, 1930

Running time72 minutes

CountryUnited States

LanguageEnglish

Raffles (1930) is a comedy-mystery film produced by Samuel Goldwyn. It stars Ronald Colman as the titular character, a proper English gentleman who moonlights as a notorious jewel thief, and Kay Francis as his love interest. It is based on the 1906 play Raffles, the Amateur Cracksman by E. W. Hornung and Eugene Wiley Presbrey, which was in turn adapted from the 1899 novel of the same name by Hornung.

 

Oscar Lagerstrom was nominated for an Academy Award for Sound, Recording.[1]

 

The story had been filmed previously as Raffles, the Amateur Cracksman in 1917 with John Barrymore as Raffles, and again in 1925 by Universal Studios. A 1939 film version, also produced by Goldwyn, stars David Niven in the title role.

 

Contents [hide]

1 Plot

2 Cast

3 Production

4 Reception

5 References

6 External links

Plot[edit]

Gentleman jewel thief Raffles (Ronald Colman) decides to give up his criminal ways as the notorious "Amateur Cracksman" after falling in love with Lady Gwen (Kay Francis). However, when his friend Bunny Manders (Bramwell Fletcher) tries to commit suicide because of a gambling debt he cannot repay, Raffles decides to take on one more job for Bunny's sake. He joins Bunny and Gwen as guests of Lord and Lady Melrose, with an eye toward acquiring the Melrose necklace, once the property of Empress Joséphine.

 

Complications arise when a gang of thieves also decides to try for the necklace at the same time. Inspector Mackenzie of Scotland Yard (David Torrence) gets wind of their plot and shows up at the Melrose estate with his men. Burglar Crawshaw breaks into the house and succeeds in stealing the jewelry, only to have Raffles take it away from him. Crawshaw is caught by the police, but learns his robber's identity.

 

Meanwhile, both Gwen and Mackenzie suspect that Raffles is the famous jewel thief. When the necklace is not found, Mackenzie insists that all the guests remain inside, then quickly changes his mind. Gwen overhears Mackenzie tell one of his men that he intends to let Crawshaw escape, expecting the crook to go after Raffles and thereby incriminate him. She follows Raffles back to London to warn him.

 

Crawshaw does as Mackenzie anticipated. However, Raffles convinces Crawshaw that it is too dangerous to pursue his original goal with all the policemen around and helps him escape. Then, Raffles publicly confesses to being the Amateur Cracksman. When Lord Melrose shows up, Raffles reminds him of the reward he offered for the necklace's return (conveniently the same amount that Bunny owes) and produces the jewelry. Then, he outwits Mackenzie and escapes, after arranging with Gwen to meet her in Paris.

 

Cast[edit]

Ronald Colman as A.J. Raffles

Kay Francis as Gwen

Bramwell Fletcher as Bunny

Frances Dade as Ethel Crowley

David Torrence as Inspector McKenzie

Alison Skipworth as Lady Kitty Melrose

Frederick Kerr as Lord Harry Melrose

John Rogers as Crawshaw

Wilson Benge as Barraclough

Production[edit]

According to Robert Osborne, host on Turner Classic Movies, this was the last film that Samuel Goldwyn made in both a silent and talking version.

 

Reception[edit]

Raffles was a substantial hit with audiences and critics when it was released in the summer of 1930. The movie was release on DVD by Warner Archive Collection in 2014. Reviewing the disc (which also featured the David Niven 1939 version), Paul Mavis of DVDTalk.com wrote, Raffles cleanly mixes equal doses of humor and criminal derring-do, along with potent dashes of "Colmanized" romance for the actor's core female audience....Since this was written and shot prior to the enforcement of the Production Code, there's an enjoyably tolerant (and modern feeling) looseness to the Raffles character that's buttoned back up for the Niven remake."[2]

 

This bird which was identified via flickr's "Bird Identification Help Group" is a King Rail which inhabits the south Gulf Coastal region living in Marshland....so

Chicago Crime Stoppers need to uncover how this lil fella got so off course as to travel to The Windy City of Chicago?

 

www.allaboutbirds.org/guide/assets/photo/303143791-720px.jpg

...anything else in clothing is quite acceptable! Saw this person wearing a very fetching onsie at Jokulsarlon. Still can't quite work out if he is trying to be a cow or a unicorn - one of life's unsolved mysteries maybe!!! Apologies for my quirky sense of humour - no offence intended to people, cows and unicorns!!

This bird, which was identified via flickr's

"Bird Identification Help Group" is a King Rail

www.allaboutbirds.org/guide/assets/photo/303143791-720px.jpg

which inhabits the southern Gulf Coast region

it's habitation being in marshland....

  

"Behavior Probing

Males court females by strutting and cocking the tail quickly to show their white undertail coverts. When the female nears, the male gives chase, with tail up, neck outstretched, head angled upward, and bill open—looking like a wild pose from an Audubon painting. Males also bring prey to females when courting. They drive rival males from their territory, or at least away from the nesting area, and also chase other rail species. King Rails forage within a home range that varies from about 11 acres to 68 acres."

so-

Chicago Crime Stoppers need to uncover

how the HELL this lil fella got so off course

as to travel up-to The Windy City of Chicago?

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

Symmetry

A plot in Motion

As excerpted from

“An Odyssey Less Taken “@

 

Tallie looked into the mirror as the bound Olivia stirred, a self-satisfied smirk lighting up her pretty face. It was time to administer the syringe containing the liquid that would render Olivia unconscious until late the next morning, giving them plenty of time. Olivia would wake thinking she had been the victim of a robbery. She should have no clue that the real reason was a simple piece of paper she had had tucked away inside her gold purse.

 

A couple of hours earlier:

 

Tallie had jogged into the upscale inn’s main lobby wearing a black running suite with her long,hair tucked up under a neoprene running cap. Playing the part of a guest who had gone out for exercise, she was also wearing thin gloves, wide wraparound sunglasses, small backpack and listening to music on her I Phone. She took up station in a corner of the inns’ huge lobby, like she was resting, while listening to her music. Ten minutes later, Olivia, whom Tallie had been shadowing, came in. Olivia had been easy to follow. An eye catching figure clad in a gold silk dress and pearls. She was carrying a shiny gold purse, and holding a bag containing a deep purple satin gown. Olivia had headed straight to the elevator, tapped her floor button and disappeared inside.

 

Tallie spent an uncomfortably anxious 10 minutes deciding what to do. Olivia had not gone to the front desk to take her jewels from the safe. Although her jewelry was not a main part of the plan, Tallie had loftier goals in mind, they did present a rather profitable bonus. Tallie decided to proceed, not wanting to blow the whole operation for a few pretty baubles. She had just risen when the elevator tinged. The doors opened, and Olivia exited into the lobby, still clad in the gold silk, and headed to the desk. There, she had the manager retrieve a black case. Showtime Tallie thought, relieved now that she had waited, watching as Olivia once again left in the elevator. Ten minutes after that, it was time to put the plan in motion. Using her I Phone, Tallie rang Olivia’s room pretending to be a hotel employee. “Someone had found something of yours in the lobby; a manager is on her way up with it.” She hung up not giving Olivia any chance for response.

  

From then, it had gone like clockwork. Tallie, with delight, watched the shocked look on Olivia’s face when she opened the door expecting a female hotel manager, but instead came face to face with a Taser wielding double of herself, Tallie! Firing the Taser, the shocked girl slumped into Tallies’ welcome arms. Kicking the door shut, Tallie pulled Olivia into the bathroom, where she was then bound and gagged. To make it look like a robbery, Tallie stripped Olivia of her pearl necklace, earrings, bracelets and rings. Then she quickly looted the apartment of any other small, but valuable items. Placing these items, along with the small backpack, into a leather clutch. Tallie then went to the dresser top and opened the black case sitting there. She whistled to herself as she savored the shiny contents. Looking them over, she made a selection, then poured the remaining jewelry into the clutch, glittering explosive fire as they went. She placed the selected diamond jewelry on the bathroom sink. Tallie found Olivia’s gold purse and opened it and pulled the ticket out. Studying, with eager eyes, the prize they had worked so hard to obtain. The small ticket was the key to the whole plot, worth potentially millions.

  

Carrying the purse to the bathroom, Tallie started to get ready. De bagging Olivia’s purple gown, she slipped it on. It poured over her curvy figure perfectly, as they had known it would. Tallie had switched her calfskin gloves for a pair of Olivia’s satin ones. It was as she had been putting on Olivia’s glittering diamonds that the tied up girl started to stir. Walking over to the groggy eyed girl, Tallie pretended to fumble with the ropes knots, and administered the hypo containing the knockout drops. After checking the heavily sedated Olivia’s Pulse, Tallie finished putting on the unlucky girls jewels.

 

Tallie admired herself in the mirror, almost not recognizing herself. She had dyed her midnight black hair blonde to match Olivia‘s and had put in blue tinted contacts. The clingy gown fitted snugly in all the right places, tightly outlining her perky breasts and nicely rounded butt. Very nice, thought Tallie beaming. After putting on Olivia’s stiletto heels, Tallie pronounced herself ready. Picking up the purse, she patted it for luck, and went into the bedroom. Tallie called the front desk, asking to have a limo called to pick her up out front, then she also ordered a wakeup call with breakfast for eleven o’clock the next morning. Hanging up the phone, Tallie still had 12 minutes left to kill. She spent it retracing her steps around the entire apartment making sure nothing had been overlooked, and then double checked that Olivia was going to stay out of the picture. When her time was up, Tallie snatched the clutch up from the satin covers of the bed, heavy now with Olivia’s valuables and her running suit and backpack. Tallie left the apartment, closing the door after hanging a do not disturb sign on the lever. Tallie entered the empty elevator , pushed the down button, and focused on the task at hand.

  

Finally, after seemingly endless months of careful plotting, preparation, rehearsals and dry runs. It was time. The whole scheme had been planned to the minutest detail, it had to be. The main prize was the tens of millions of dollars’ worth of jewels worn by the female guests attending the annual formal Casino Night by the Bay Ball. The annual black tie ball was a Republican Political Fundraiser by special invitation only and Olivia, who had been carefully selected and shadowed for weeks now, had been one of the lucky ticket holders. As a final coup de grâce , Tallie would attend the ball wearing Olivia’s luxurious gown and her brilliantly expensive diamonds, fitting right in with the other attendees. Security would be checking ID’s at the door. But Tallie now resembled Olivia almost to a T. She would fool those rent a cops easily as they checked her against Olivia‘s driver’s license for identification, bending over and showing a little bosom for added distraction. Tallie couldn’t wait to mingle and rub elbows with the galas ultra-rich patrons. She would mark her time by mingling and endearing herself to as many of the male guests as possible in the short time allotted to her. She would use her rich welsh brogue to the fullest to win over the posh male Yanks. All the while admiring the shiny gowns and scoping out the shimmering jewels that would be adorning her fellow female guests. Those jewels would include the Dahlkemper pearls, the Caboyt diamonds with the brilliant sapphires that placed the “Hope Diamond” to shame, and, of course, the famous matching waterfall diamond sets the Dempsey Twins would be wearing (Not to mention their Mother’s emeralds and rubies) . The sets, which had been presented as gifts at the twins ultra- fancy coning out ball, were insured for over 1 million dollars by the girls parents.

  

Then at the appointed hour, Tallie would slip away to a seldom used back stage door, conveniently hidden neath a stairwell. Security would not have this door covered. It was there that Tallies’ husband and his troupe of fellow masked thieves would be waiting to make their entrance. If all went to plan and it would, she was sure of that, they would proceed to hold up and rob all the guests. Relieving the lot of their fat designer purses, thick leather wallets, gold Rolexes, and of course, their jewels, Lots and lots of shimmering, pricy jewelry. Not to mention the piles of loose cash lying on the gambling tables begging to be collected. Tallie’s heart beat faster at the enticing visions.

 

After the last guest had been relieved of their valuables, Tallie’s next part of the plot would come. This was where Tallie’s experience as an actress would pay off. The thieves would grab an innocent hostage (Tallie) by knifepoint Then, while threatening the life of the frightened squirming hostage, order the rest of the guests to strip off their clothing. If Tallie had played her part well, mingling and playing the doe eyed innocent who reminded those she met as someone who they would love to protect, her fellow guests would not want to see her harmed and be obedient to the robbers threats, not wishing any harm to come to her. The guests would be threatened to not to try anything for the next hour, or they would eliminate their hostage. The gang would then leave with their loot, as well as their hapless hostage. Then they would make, what in Tallie’s opinion, was a rather brilliantly orchestrated get away.

  

This was not the first time out for Tallie and her husband’s team, but it promised to be their last. The gang had been operating in Europe and Latin America, seeking out small, but lucrative, gatherings of the privileged and ultra-wealthy. They had gotten quite adept, fine tuning a formula that successfully paid attention to even the minutest detail.

  

Tallie loved playing the part of the inside victim. Getting as close as possible to the female guests (usually by flirting with husbands and boyfriends) to get a close appraisal of their jewels. Then, after letting her husband and crew loose, observing the well-dressed guests being herded to line up along the wall with raised hands. Usually creating a colorful array of swishing lace, satin, silk , velvety gowns and dresses, all flowing along forlorn figures. It was a thrill to watch their facial and body expressions and reactions. Especially of the women and girls present, as they were forced to hand over their flashy gemstones, their Shiny gold and silver, opulent pearls and other assorted fine jewelry were handed over reluctantly from about their persons.

 

Then would come the part that really aroused Tallie. The thieves would reach her and tell her to “fork over the jewels miss,” and depending on her mood, would do so, either acting defiant and forcing them to take them off her, or frightened(especially if the thief was her husband) , and timidly handing them over. She would be squirming inside with a deep, delicious delight as she took off , or had the thief wrench off, each precious piece. It was a reaction she did not fully understand, but just knew and accepted it as a scintillating feeling. Tallie, shivered, licking her lips at past memories of being a robbery “victim”.

  

The band had no qualms about was fair game, boldly invading Weddings, Receptions, Fancy dress dances and even the upscale prom or mansion party. All had been meticulously planned, all had been very lucrative. Their last raid had been carried out on a coming out party for an English Earl/ Minister and his titled wife’s only daughter. It had occurred at the minister’s isolated country manor located deep in the moors. Where, in addition to the jewels worn by the guests that ill-fated Saturday evening, the manor’s many bedroom safes yielded a dazzling array of cases of unworn jewelry brought by the guests for the four day weekend.

  

Tallie fondly remembered that raid. She had gained access to the family by going as the guest of a rather vain bachelor she had “happened to make an acquaintance with,” in London. The dinner gatherings and nightly parties that had led up to the night of the debutante’s ball had been all over the top, as only very old money can pull off. Tallie had almost suffered a system overload by observing the bounty of rich offerings at her fingertips. Beckoning jewels so very close, and as of yet, so very far. The Saturday evening ball could not have come soon enough. But come it did, and the minister’s daughter did not disappoint, nor did her mother or any other of their female guests. The young debutante had made her grand entrance in a long slinky blood red gown and matching gloves. Among the child’s perfect jewels was included an authentic family heirloom tiara, dripping with pristine diamonds, holding up the wavy curls of her silky fawn hair.

  

Tallies mouth had watered as she kept stealing looks, keeping her eyes glued to the precocious miss all evening. She inwardly was squirming with anticipation, up until the delightful moment when the begowned debutante limply removed and handed over the tiara, along with the rest of her gleaming diamonds and pearls to one of the gang of masked robbers who had had the “audacity “ to crash the party..

  

Now, Tallie was traditionally allowed to keep one piece of jewelry from the loot taken from each job as part of her take if she so desired. She always enjoyed picking out pieces she would like to have as she mingled with her fellow guests before her husband’s gang charged in. In the coming out party it had been the sad puppy faced debutante‘s cascading diamond earrings that Tallie had claimed for her own from the minute she first saw them dangling from the pretty girl’s delicate ears. Tallie had subsequently worn and been “robbed” of those earrings several times on jobs since then.

  

After the Manor house’s guests had been relieved of their valuables, the gang had made its getaway, seemingly vanishing into the moors misty air. The mechanics of that escape would form the basis of their getaway attempt after this evening’s robbery of the wealthy guests attending the “By the Bay Ball” Actually the symmetry of the two events did not stop there. The profit realized by the take from the Earl’s family and guests had given the gang the seed money for the enormous expense in planning tonight’s complex raid. And tonight’s successful raid on the ball, appropriately enough, its diamond jubilee, would be splashed over all of the countries newspapers, like the Manor raid had been. And like after the Manor raid, Tallie and her husband would be reading those papers in the safty of their isolated island retreat.

 

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

 

As Tallie dwelt on that remembrance, the elevator completed its long, uninterrupted journey by tinging its 1st floor arrival. Showtime! Tallie thought with wry amusement as she stepped into the now crowded lobby. Tonight would be more of the same tingling robbery experiences, only ten times better and since it may very well be her last time , Tallie was going to savor every delicious minute.

 

Tallie left the elevator and moved quickly towards the sitting area she had occupied when watching for Olivia to come in. In one of the chairs sat a young man wearing wraparound sunglasses reading a blue covered novel. She swished by him, allowing her satin clad leg to brush along his. She watched with enticement as he straightened, uncomfortably, in his chair, his reaction to her teasing pleasing her immensely . Going around him, she placed her clutch on the chair behind him before turning and primping herself in front of one of the long mirrored walls that lined the sitting area. Seeing that no one as of yet was looking her way, she smiled to herself and swished her way back into the main lobby, leaving behind her clutch. She again passed the young man, who, even with the sunglasses, bore a striking resemblance to a young Sidney Poitier! No signal passed between them. The blue novel meant everything was going as planned, a red novel would have meant danger. The clutch on the chair behind him signaled the young man she had teased, Jessie by name , that everything was a go on Tallies end. After she left, Jessie would retrieve the clutch and rejoin Tallies husband and the rest of his gang.

  

With the prearranged signals exchanged, Tallie happily made her way to the fancy Glass doors where a uniformed Doorman was opening for arriving and departing guests. She could feel more than one pair of jealous eyes following her as she weaved her way through the crowd, her long gown swishing deliciously along her pretty figure. The pretty blond in the purple satin and shimmering diamonds was soon lost to sight, as she exited the doors to the misty street below. Those watching her were totally oblivious that the pretty blonde passing them was setting into motion the complex wheels of a rather ingenious scheme. Meanwhile in a ballroom some miles away a large group of extremely well dressed and decked out guests attending a certain excessively extravagant Ball , were innocently mingling, jewels sparkled with a frenzied riot of colours! These heavily gem encrusted guests were also totally oblivious as to what fate had in store for them in a few hours.

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

@ Chatwick University extends its compliments to the unknown artist whose worthy photo and captivating title proved to be the spark that ignited the genesis of our Tallies Odyssey….

 

DISCLAIMER

All rights and copyrights observed by Chatwick University, Its contributors, associates and Agents

 

The purpose of these chronological photos and accompanying stories, articles is to educate, teach, instruct, and generally increase the awareness level of the general public as to the nature and intent of the underlying criminal elements that have historically plagued humankind.

 

No Part of this can reprinted, duplicated, or copied be without the express written permission and approval of Chatwick University.

 

These photos and stories are works of fiction. Any resemblance to people, living or deceased, is purely coincidental.

As with any work of fiction or fantasy the purpose is for entertainment and/or educational purposes only, and should never be attempted in real life.

We accept no responsibility for any events occurring outside this website.

 

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Tiger King: Murder, Mayhem and Madness chronicles the rise and fall of Joe Exotic — aka Joseph Maldonado-Passage, the titular "Tiger King" of Oklahoma — and his deep-seated rivalry with animal activist Carol Baskin. In one of his most public taunts against Baskin, Maldonado-Passage alleged that Carol Baskin's husband Don Lewis went missing in 1997 because she killed and fed him to her cats. Law enforcement didn't find evidence of foul play, but Lewis did disappear without a trace, and his missing persons case remains unsolved to this day.

Marfa, Texas

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Marfa, Texas

— City —

Location of Marfa, Texas

Coordinates: 30°18′43″N 104°1′29″W / 30.31194°N 104.02472°W / 30.31194; -104.02472Coordinates: 30°18′43″N 104°1′29″W / 30.31194°N 104.02472°W / 30.31194; -104.02472

Country United States

State Texas

County Presidio

Area

- Total 1.6 sq mi (4.1 km2)

- Land 1.6 sq mi (4.1 km2)

- Water 0.0 sq mi (0.0 km2)

Elevation 4,685 ft (1,428 m)

Population (2000)

- Total 2,121

- Density 1,354.6/sq mi (523.0/km2)

Time zone Central (CST) (UTC-6)

- Summer (DST) CDT (UTC-5)

ZIP code 79843

Area code(s) 432

FIPS code 48-46620[1]

GNIS feature ID 1340942[2]

 

Marfa is a town in the high desert of far West Texas in the Southwestern United States. Located between the Davis Mountains and Big Bend National Park, it is also the county seat of Presidio County. The population was 2,121 at the 2000 census.

 

Marfa was founded in the early 1880s as a railroad water stop, and grew quickly through the 1920s. Marfa Army Airfield (Fort D.A. Russell) was located east of the town during World War II and trained several thousand pilots before closing in 1945 (the abandoned site is still visible ten miles (16 km) east of the city). The base was also used as the training ground for many of the U.S. Army's Chemical mortar battalions.

 

Despite its small size, today Marfa is a tourist destination. Attractions include the historical architecture and classic Texas town square, modern art at the Chinati Foundation and in galleries around town, and the Marfa lights.

 

Amateur etymologist Barry Popik has shown[where?] that Marfa is named after Marfa Strogoff, a character in the Jules Verne novel Michael Strogoff and its theatrical adaptation; the origin was reported in the Galveston Daily News on December 17, 1882, after the Marfa railroad station was established but before Marfa received a post office in 1883.

 

The Handbook of Texas states that the wife of a railroad executive reportedly suggested the name "Marfa" after reading the name in the Fyodor Dostoevsky novel The Brothers Karamazov.[

  

Marfa is in the Chihuahuan Desert

 

Marfa is located at 30°18′43″N 104°1′29″W / 30.31194°N 104.02472°W / 30.31194; -104.02472 (30.311863, -104.024779)[4]. According to the United States Census Bureau, Marfa has a total area of 1.6 square miles (4.1 km²), all of it land, the city is located in the Chihuahuan Desert, a notably underdeveloped region of about 140,000 square miles (~362,600 km²). There is less than one person per square mile in the area.[citation needed]

[edit] Modern art and minimalism

Hotel Paisano and the Presidio County courthouse

 

In 1971, Donald Judd, the renowned minimalist artist, moved to Marfa from New York City. After renting summer houses for a couple of years he bought two large hangars, some smaller buildings and started to permanently install his art. While this started with his building in New York, the buildings in Marfa (now The Block, Judd Foundation) allowed him to install his works on a larger scale. In 1976 he bought the first of two ranches that would become his primary places of residence, continuing a long love affair with the desert landscape surrounding Marfa. Later, with assistance from the Dia Art Foundation in New York, Judd acquired decommissioned Fort D.A. Russell, and began transforming the fort's buildings into art spaces in 1979. Judd's vision was to house large collections of individual artists' work on permanent display, as a sort of anti-museum. Judd believed that the prevailing model of a museum, where art is shown for short periods of time, does not allow the viewer an understanding of the artist or their work as they intended.

 

Since Judd's death in 1994, two foundations have been working to maintain his legacy: the Chinati Foundation and Judd Foundation. Every year The Chinati Foundation holds an Open House event where artists, collectors, and enthusiasts come from around the world to visit Marfa's art. Since 1997 Open House has been co-sponsored by both foundations and attracts thousands of visitors from around the world.

 

The Chinati Foundation now occupies more than 10 buildings at the site and has on permanent exhibit work by Carl Andre, Ingólfur Arnarson, John Chamberlain, Dan Flavin, Roni Horn, Ilya Kabakov, Richard Long, Claes Oldenburg, Coosje van Bruggen, John Wesley, and David Rabinowitch.

 

In recent years, a new wave of artists has moved to Marfa to live and work. As a result, new gallery spaces have opened in the downtown area. Furthermore, The Lannan Foundation has established a writers-in-residency program, a Marfa theater group has formed, and a multi-functional art space called Ballroom Marfa has begun to show art films, host musical performances, and exhibit other art installations.

[edit] Marfa lights

Main article: Marfa lights

Official viewing platform, east of Marfa

 

Outside of Donald Judd and modern art, Marfa may be most famous for the Marfa lights, visible on clear nights between Marfa and the Paisano Pass when one is facing southwest (toward the Chinati Mountains). According to the Handbook of Texas Online, "...at times they appear colored as they twinkle in the distance. They move about, split apart, melt together, disappear, and reappear. Presidio County residents have watched the lights for over a hundred years. The first historical record of them recalls that in 1883 a young cowhand, Robert Reed Ellison, saw a flickering light while he was driving cattle through Paisano Pass and wondered if it was the campfire of Apache Indians. He was told by other settlers that they often saw the lights, but when they investigated they found no ashes or other evidence of a campsite.[5]

 

Presidio County has built a viewing station nine miles east of town on U.S. 67 near the site of the old air base. Each year, enthusiasts gather for the annual Marfa Lights Festival.

 

These objects have been featured and mentioned in various media, including the television show Unsolved Mysteries and an episode of King of the Hill ("Of Mice and Little Green Men") and in an episode of Disney Channel Original Series So Weird, however the producers/writers had made the countryside of Marfa as a forest area instead of a desert area which Marfa is actually located in. A fictional book by David Morrell, 2009's "The Shimmer", is inspired by the lights. The metalcore group Between the Buried and Me make a reference in the song "Obfuscation" (2009).

[edit] Filming of Giant and other films

Marker of Marfa

 

The famous 1956 Warner Bros. film Giant, starring Elizabeth Taylor, Rock Hudson, James Dean, Sal Mineo, Carroll Baker and Dennis Hopper, was filmed in Marfa for two months. Director George Stevens did not have a closed set and actively encouraged the townspeople to come by, either to watch the shooting, or visit with the cast and crew, or take part as extras, dialect coaches, bit players and stagehands.

 

In August 2006, two movie production units used locations in and around Marfa: the film There Will Be Blood, an adaptation of the Upton Sinclair novel Oil!, directed by Paul Thomas Anderson, and the Coen Brothers' adaptation of the Cormac McCarthy novel No Country for Old Men.[6][7]

 

The 1976 play Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean, and its 1982 film adaptation, were set in and around Marfa. The film, however, was not shot there.

 

In 2008, Marfa held the first annual Marfa Film Festival, which lasted from May 1–5.

 

The music video of 'Home' by Edward Sharpe and the Magnetic Zeros ends in Marfa with a sign reading 'GOODBYE MARFA, TX!!'

 

The music video of 'Obfuscation' by Between the Buried and Me is set in Marfa.

[edit] Demographics

Downtown view of Marfa from atop the Courthouse

 

According to the latest U.S. census[1] of 2000, there were 2,121 people, 863 households, and 555 families residing in the city. The population density was 1,354.6 people per square mile (521.6/km²). There were 1,126 housing units at an average density of 719.1 per square mile (276.9/km²). The racial makeup of the city was 91% White, 0.28% African American, 0.38% Native American, 0.05% Asian, 7.50% from other races, and 0.75% from two or more races. Hispanic or Latino of any race were 69.9% of the population.

 

There were 863 households out of which 29.3% had children under the age of 18 living with them, 47.4% were married couples living together, 13.1% had a female householder with no husband present, and 35.6% were non-families. 31.4% of all households were made up of individuals and 17.3% had someone living alone who was 65 years of age or older. The average household size was 2.35 and the average family size was 2.99.

 

In the city the population was spread out with 24.9% under the age of 18, 7.9% from 18 to 24, 24.2% from 25 to 44, 24.5% from 45 to 64, and 18.5% who were 65 years of age or older. The median age was 39 years. For every 100 females there were 101.8 males. For every 100 females age 18 and over, there were 100.9 males.

 

The median income for a household in the city was $24,712, and the median income for a family was $32,328. Males had a median income of $25,804 versus $18,382 for females. The per capita income for the city was $14,636. About 15.7% of families and 20.6% of the population were below the poverty line, including 24.6% of those under age 18 and 26.9% of those age 65 or over.

[edit] Education

Marfa High School

 

Marfa is served by the Marfa Independent School District. Marfa Elementary School and Marfa Junior/Senior High School, a part of the district, serve the city.

[edit] Law enforcement

 

As of October 1, 2009 the city no longer has a local police department. The Presidio County Sheriff patrols the city as well as the county as a whole.

[edit] Media

 

Marfa is home to NPR-affiliated station KRTS.

 

Marfa Magazine is a yearly publication distributed out of Marfa Texas, founded and operated by Johnny Calderon, Jr. Marfa Magazine focuses on current issues and general information about Marfa, Alpine, and Fort Davis.

[edit] Transportation

 

Marfa operates the Marfa Municipal Airport, located north of the city in unincorporated Presidio County and serving general aviation. Commercial air service is available at either Midland International Airport, 180 miles (290 km) northeast, or El Paso International Airport, 190 miles (310 km) northwest.

 

Greyhound Lines operates an intercity bus service from the Western Union office.[8]

 

The Amtrak Sunset Limited passes through the city, but does not stop. The nearest stop is located in nearby Alpine.

With the construction of the Central Washington Railway in 1889, Govan was designated as a place in Lincoln County WA. The discovery of a large sandbank in the area in the autumn of 1890 created a boom town atmosphere as a crew of workmen complete with a steam shovel, extracted sand for the railroad construction. The name is derived from R.B. Govan, a construction engineer employed by the Central Washington Railway. Govan has been the scene of several unsolved murders. Reported December 1902 as "The most brutal crime ever committed in the county." was the axe murder of Judge J.A. Lewis and his wife, Penelope. The elderly Lewis kept sums of money about the house. It was believed robbery was the motive. Govan's eventual demise was hastened in 1933 when the community was bypassed by US Route 2. Only one retail store remained in business as of 1940.

 

Built in 1906, the old red schoolhouse somehow manages to resist the prairie winds, and leaves ghost town hunters with a strong connection to a much older and very different hardworking America. Closed in 1942, sunlight now passes through its wooden siding. Not much remains inside but 50 years of school day memories.

 

www.ghosttownsofwashington.com/govan.html

www.scenicusa.net/120810.html

 

Photo of the abandoned Govan School House captured via Minolta MD W.Rokkor-X 17mm F/4 lens. In the ghost town and unincorporated community of Govan. Columbia Plateau Region. Inland Northwest. Lincoln County, Washington. Early August 2018.

 

Exposure Time: 1/200 sec. * ISO Speed: ISO-100 * Aperture: F/11 * Bracketing: None * Color Temperature: 5550 K * Film Plug-In: Kodak Portra 160 VC

Lake Bodom. The site of an infamous unsolved triple murder from 1960 with one survivor.

The X-Files is an American science fiction drama television series. FBI Special Agents Fox Mulder and Dana Scully are the investigators of X-Files: marginalized, unsolved cases involving paranormal phenomena. Mulder is a believer in the existence of aliens and the paranormal while Scully, a skeptic, is assigned to make scientific analyses of Mulder's discoveries which could ultimately be used to debunk Mulder's work and thus return him to FBI mainstream...

  

...taken at Tate Modern...

 

London, United Kingdom...

On my daily walks with our Pooch- CUMIN- I often see mundane things, and more often than not- I observe the

kind of image that you'll see here....not necessarily DEATH- but odd bits, like a dead-bird-lying lifeless on a sidewalk.

 

Korsika - Cap Corse

 

Erbalunga

 

Cap Corse (Corsican: Capicorsu; Italian: Capo Corso), a geographical area of Corsica, is a 40 kilometres (25 mi) long peninsula located at the northern tip of the island. At the base of it is the second largest city in Corsica, Bastia. Cap Corse is also a Communauté de communes comprising 18 communes.

 

Numerous historians have termed Cap Corse "the Sacred Promontory" and have gone so far as to suppose the name came from a high concentration of early Christian settlements. This is a folk-etymology.

 

The term comes from the geographer Ptolemy, who called his first and northernmost location on Corsica the hieron achron in ancient Greek, transliterated by the Romans to sacrum promontorium. This is not the only point of land to be so-called; there were many others in the classical world, none of them Christian. The meaning is somewhat ambiguous, whether it was called that because of a temple placed there or whether as the end of the land it was sacred to the god of the sea. If the date of the Geography is taken arbitrarily to be 100 AD, and Ptolemy was working from earlier sources, a Christian association is highly unlikely. There is no evidence that Corsica was converted earlier than the 6th century AD, no evidence of any Christian communities in the area in Ptolemy's time, and the concentration of later Christian edifices is no greater than they are in any populated region of Corsica.

 

Ptolemy's interpretation of promontory also is not clear. It has been taken to mean the entire Cap Corse, the Pointe du Cap Corse, or some one of the small promontories on it. Sometimes it is associated with Macinaggio, but the problem remains unsolved.

 

There is some geographic justification for associating Ptolemy's entire tribe, the Vanacini, which are described as "more to the north", with Cap Corse, as it is a distinct geophysical environment. The Vanacini appear in a bronze tablet found in northern Corsica repeating a letter from the emperor Vespasian to "the magistrates and senators of the Vanacini" written about 72 AD, in Ptolemy's time. The Vanacini had bought some land from Colonia Mariana, a Roman colony in the vicinity of Bastia, and complained about the borders fixed by the procurator from whom they had bought it. The emperor on receiving the complaint appointed another procurator to arbitrate and wrote informing the complainants. The inscription is documentary evidence of the historicity of the Vanacini.

 

(Wikipedia)

 

Le Cap Corse est une péninsule d'environ 400 km2 de superficie, au nord-est de l'île de Corse. Élancée au nord vers la Ligurie, elle se rencontre à 33 km de la Capraia, à 83 km de Piombino, à 96 km de Livourne, à 160 km de Gênes et à moins de 175 km de la côte française. La pointe Nord du Cap (42° 50’ 2.34‘’ N) est située en deçà d’une ligne Est-Ouest qui passe par Toulon (43° 7’ 19.92’’ N) et même légèrement plus au Sud que l’île de Porquerolles (43° 0’ 2‘’ N), ce qui place le nord de la Corse à la même latitude que la partie la plus au sud de la France continentale (Pyrénées-Orientales, sud de Perpignan).

 

Dans l'Antiquité, le pays est dénommé Sacrum promuntorium. Il devient, au Moyen Âge, un territoire de seigneuries (San Colombano, Avogari, etc.). Il est partagé en cantons durant la Révolution.

 

« Le pays appelé le Cap-Corse a un circuit de quarante-huit à cinquante milles. Il est partagé en deux dans le sens de sa longueur par une montagne qui se prolonge du nord au midi. Les gens du pays l'appellent la Serra. C'est comme une chaîne dont la cime partage les eaux, qui vont se jeter dans la mer, les unes à l'est, les autres à l'ouest. »

 

— Agostino Giustiniani in Dialogo, traduction de Lucien Auguste Letteron in Histoire de la Corse - Description de la Corse – Tome I p. 7 - 1888.

 

Il est formé par une arête relativement élevée qui envoie en avant, à l'est et à l'ouest, des éperons et des contreforts qui délimitent des vallées parallèles où se sont installés les villages et les cultures.

 

« Dans le Cap-Corse, l'air est partout sain, l'eau bonne ; le vin est abondant, excellent et généralement blanc. Les vins de la côte extérieure sont plus renommés comme vins moûts ; ceux de la côte intérieure, lorsqu'ils sont clairs. La quantité de vin que l'on récolte dans le Cap-Corse est considérable ; on y récolte encore un peu d'huile, des figues et quelques autres fruits. Le sol est rebelle aux autres cultures, surtout à celle du blé. Les habitants sont bien habillés et plus polis que les autres Corses, grâce à leurs relations commerciales et au voisinage du continent. Il y a chez eux beaucoup de simplicité et de bonne foi. Leur unique commerce est celui des vins qu'ils vont vendre en terre ferme »

 

— Mgr Agostino Giustiniani in Dialogo, traduction de Lucien Auguste Letteron in Histoire de la Corse - Description de la Corse, Bulletin de la Société des sciences historiques & naturelles de la Corse – Tome I p. 8

 

Le Cap Corse est une péninsule schisteuse qui s'étend au nord d'une ligne Bastia - Saint-Florent, sur près de 40 km de long dans le sens nord-sud, et 10 à 15 km de large. La région est composée de schistes lustrés, dans lesquels dominent les schistes et quartzites amphiboliques ou pyroxéniques, avec, par places, des calcschistes micacés et des cipolins durs.

 

Quelques exceptions importantes apparaissent dans ce relief. Au nord du Cap, les schistes sont pénétrés par une masse de gabbros et de péridotites, d'où provient la pierre verte bien connue sous le nom de serpentine. Cette pierre d'une grande dureté forme les bosses du paysage, telles que les sommets comme l'Alticcione 1 139 mètres, les promontoires comme le Corno di Becco ou la pointe d'Agnello. De part et d'autre de cette nappe de roches vertes se trouvent deux accidents géologiques curieux. À l'ouest, presque tout le territoire de la commune d'Ersa est constitué par une couche de gneiss amphibolique, granitisé, sur lequel on retrouve les schistes lustrés ; tandis qu'à l'est, au nord et au sud de Macinaggio, le long de la côte, à Tamarone, comme à Finocchiarola, s'étalent les grès siliceux et à poudingues de l'époque Éocène, avec un lambeau triasique de cargneules et de calcaires.

 

La géologie très particulière du Cap Corse a donné lieu à une rareté géologique : l'amiante amphibiolique, une roche fibreuse susceptible d'être filée et tissée. Avec la première révolution industrielle, celle de la machine à vapeur, la demande d'amiante (matériau isolant et incombustible) est montée en flèche. L'amiante a été exploité industriellement à Canari dans une impressionnante carrière en gradins à ciel ouvert, de 1935 à 1965. Le site était à la fois une mine et une usine produisant un produit fini et mis en sacs. Fermée depuis 1966, la friche industrielle est diversement considérée : verrue industrielle au passé sinistre (le mésothéliome ou cancer de l'amiante sévissait parmi les ouvriers) pour les uns, c'est un lieu de visite (illégale) apprécié par d'autres, avec la mode de l'exploration urbaine.

 

L'orographie de la région s'explique ainsi : les schistes luisants et tendres donnent un relief doux, des versants lentement inclinés, des mamelons et des chaînes continus, telle que la crête de séparation entre Rogliano et Luri. Les bancs de cipolins dessinent des ruptures de pente et des plateaux abrupts, comme le Piano de Santarello. Les schistes amphiboliques en revanche ont des crêtes aiguës et dentelées, mais ce sont surtout les gabbros et les péridotites qui forment les plus fortes saillies, les dômes, les massifs compacts isolés au milieu des roches plus tendres.

Coucher sur le Monte Stello.

 

Une chaîne montagneuse, la Serra, s'étend tout le long du cap, depuis la Serra di Pignu (altitude 960 m) au sud, jusqu'au Monte di u Castellu (altitude 540 m) au nord. La Cima di e Follicie, haute de 1 324 mètres, en est le point culminant ; mais le Cap compte plus de dix autres sommets dépassant les 1 000 mètres d'altitude, dont le Monte Stello. Cette chaîne surgit des flots souvent tumultueux du Capo Bianco et de la Punta di Corno di Becco, par une levée de 333 m à la Punta de Pietra Campana et 359 m au Monte Maggiore. Elle se dirige en direction du sud-est vers la pointe de Torricella (562 m), traverser toute la péninsule et finir à la cime du Zuccarello 955 m et le défilé du Lancone.

 

La Serra est la ligne de partage des eaux. À l'est, la côte intérieure est baignée par la mer Tyrrhénienne et le littoral offre des paysages au relief collinaire contrastant avec les paysages aigus et abrupts de la côte extérieure baignée par la mer Méditerranée. Au nord, la côte est baignée par la mer Ligure.

 

Le littoral capcorsin, déchiqueté et accidenté, comprend peu de plages que l'on trouve uniquement au fond de ses anses. Le relief descend le plus souvent de façon abrupte dans la mer, et la route D80, qui fait le tour du Cap sur 110 km, de Bastia à Saint-Florent, offre un panorama de corniche. Un tiers des tours génoises, destinées à protéger la Corse d'attaques navales des Barbaresques, a été construit autour du cap.

 

(Wikipedia)

 

Erbalunga is an ancient village in Corsica, in the municipality of Brando in the French department of Haute-Corse. The town has been occupied since prehistory. The village is the site of the 16th century Torra d'Erbalunga.

 

The town's Saint-Érasme church (patron saint of the sailors) has a baroque facade. In the chapel adjacent to the church are 14th-century frescos, on which Sainte Catherine and Christ are pictured. The frescoes are a monument historique. The port sheltered the chapel of the cemetery Madona del Carmine.

 

To the north of Erbalunga, in the Cintolinu district, is the monastery of the Bénédictines du Saint Sacrement dating back to 1862. The church is dedicated to the Eucharistic Heart of Jesus. It used to be a boarding school for girls.

 

(Wikipedia)

 

Erbalunga est un village ancien de caractère sur le littoral, remarquable par sa tour génoise ruinée construite au XVIe siècle sur un rocher à l'entrée de son port, classée aux Monuments Historiques. Il a été habité dès le XVIe siècle avec son château féodal. Erbalunga (on trouve aussi l'orthographe Herbalunga) et ses environs immédiats formaient un fief créé en 1438 à la mort de Mathieu De Gentile.

 

Erbalunga est aujourd'hui une marine agréable dans un site remarquable. Il est formé des quartiers de Poggiolo et de Curcianella au sud. Au nord sont les quartiers de Foce et de Sicolu. Les quartiers du vieil Erbalunga portent les noms de Calellu, Torre, Cima, Trave, Scalu, Casanova, Piandifora et Concia. Les maisons anciennes ont été construites autour de la marine d'Erbalunga, un petit port de pêche qui fut un des principaux ports de l'île du XIIe siècle au XVIIIe siècle.

 

À l'entrée de la marine se dresse la tour d'Erbalunga, reconstruite à la fin du XVIe siècle, partiellement ruinée.

 

Le village est devenu au fil du temps un repaire chic où artistes et notables y ont élus domicile.

 

On y trouve l'école, la mairie ainsi que la plupart des commerces de Brando. L'église Saint-Érasme (saint patron des marins) du XVIIe siècle s'orne d'une façade baroque. La marine abrite également la chapelle du cimetière Madona del Carmine.

 

Au nord d'Erbalunga, au quartier de Cintolinu se trouve le monastère des bénédictines de l'Adoration perpétuelle du Très Saint Sacrement, datant de 1862, avec une église dédiée au Cœur Eucharistique de Jésus. Il était autrefois un pensionnat de jeunes filles.

 

Plus au nord d'Erbalunga, sur une éminence (201 m) au sud de la tour ruinée de Sagro, la forteresse historique de Tesoro (dite parfois Tresoro) dresse ses murs d'enceinte et ses longues lignes de pierre.

 

(Wikipedia)

 

Cap Corse (korsisch Capicorsu, italienisch Capo Corso) ist eine Halbinsel im Norden Korsikas. Sie befindet sich im Département Haute-Corse.

 

Die Halbinsel hat eine Länge von ca. 40 km und eine Breite von ca. 10 km. An ihrem südöstlichen Ende befindet sich die Stadt Bastia. Die höchsten Erhebungen sind Monte Alticcione (1138 m), Monte Stello (1306 m) und Cima di e Follicie (1324 m) (mit der Höhle Grotta a l'Albucciu). Nördlich des Cap Corse liegt die kleine zur Gemeinde Ersa gehörende Insel Giraglia.

 

Das Cap Corse ist verhältnismäßig wenig touristisch erschlossen. Es ist eine bekannte Weinregion, das Cap gibt dem Wein Muscat du Cap Corse seinen Namen.

 

Die korsische Schutzpatronin Julia von Korsika lebte zeitweilig in der Gegend.

 

(Wikipedia)

When I saw this photograph I immediately thought of a book I read many years ago.

Kerstin Ekman was writing a sort of "Scandinavian Noir" many years before the term was coined. Blackwater, the book I read, involves an unsolved double murder in a remote part of northern Sweden. However, a warning, the book is not a straightforward crime novel! I'll quote part of a review on Amazon; " Blackwater is absolutely NOT a conventional plot-driven action thriller or police procedural. This novel is a profound study of individual psychology and and the impact of insular rural life in a harsh but very beautiful sub-arctic region."

Think, just taking and looking at a photograph can bring all this to mind.

Rushes Cemetery is home to the Cryptic Gravestone or Bean Marker.

The cryptic tombstone for Mr. Bean's two wives who died close together remained unsolved for over 100 years but was finally solved in the 1970's.

 

A new tombstone marker with the identical markings as the original was added in 1982 so other people could try to solve the puzzle and can be seen in this link: www.flickr.com/photos/31155442@N03/51006020761/in/photost...

 

The solution is as follows:

In memoriam Henrietta, Ist wife of S. Bean, M.D. who died 27th Sep. 1865, aged 23 years, 2 months and 17 days and Susanna his 2nd wife who died 27th April, 1867, aged 26 years, 10 months and 15 days, 2 better wives 1 man never had, they were gifts from God but are now in Heaven. May God help me so to meet them there. Reader meet us in heaven."

Korsika - Cap Corse

 

Cap Corse (Corsican: Capicorsu; Italian: Capo Corso), a geographical area of Corsica, is a 40 kilometres (25 mi) long peninsula located at the northern tip of the island. At the base of it is the second largest city in Corsica, Bastia. Cap Corse is also a Communauté de communes comprising 18 communes.

 

Numerous historians have termed Cap Corse "the Sacred Promontory" and have gone so far as to suppose the name came from a high concentration of early Christian settlements. This is a folk-etymology.

 

The term comes from the geographer Ptolemy, who called his first and northernmost location on Corsica the hieron achron in ancient Greek, transliterated by the Romans to sacrum promontorium. This is not the only point of land to be so-called; there were many others in the classical world, none of them Christian. The meaning is somewhat ambiguous, whether it was called that because of a temple placed there or whether as the end of the land it was sacred to the god of the sea. If the date of the Geography is taken arbitrarily to be 100 AD, and Ptolemy was working from earlier sources, a Christian association is highly unlikely. There is no evidence that Corsica was converted earlier than the 6th century AD, no evidence of any Christian communities in the area in Ptolemy's time, and the concentration of later Christian edifices is no greater than they are in any populated region of Corsica.

 

Ptolemy's interpretation of promontory also is not clear. It has been taken to mean the entire Cap Corse, the Pointe du Cap Corse, or some one of the small promontories on it. Sometimes it is associated with Macinaggio, but the problem remains unsolved.

 

There is some geographic justification for associating Ptolemy's entire tribe, the Vanacini, which are described as "more to the north", with Cap Corse, as it is a distinct geophysical environment. The Vanacini appear in a bronze tablet found in northern Corsica repeating a letter from the emperor Vespasian to "the magistrates and senators of the Vanacini" written about 72 AD, in Ptolemy's time. The Vanacini had bought some land from Colonia Mariana, a Roman colony in the vicinity of Bastia, and complained about the borders fixed by the procurator from whom they had bought it. The emperor on receiving the complaint appointed another procurator to arbitrate and wrote informing the complainants. The inscription is documentary evidence of the historicity of the Vanacini.

 

(Wikipedia)

 

Le Cap Corse est une péninsule d'environ 400 km2 de superficie, au nord-est de l'île de Corse. Élancée au nord vers la Ligurie, elle se rencontre à 33 km de la Capraia, à 83 km de Piombino, à 96 km de Livourne, à 160 km de Gênes et à moins de 175 km de la côte française. La pointe Nord du Cap (42° 50’ 2.34‘’ N) est située en deçà d’une ligne Est-Ouest qui passe par Toulon (43° 7’ 19.92’’ N) et même légèrement plus au Sud que l’île de Porquerolles (43° 0’ 2‘’ N), ce qui place le nord de la Corse à la même latitude que la partie la plus au sud de la France continentale (Pyrénées-Orientales, sud de Perpignan).

 

Dans l'Antiquité, le pays est dénommé Sacrum promuntorium. Il devient, au Moyen Âge, un territoire de seigneuries (San Colombano, Avogari, etc.). Il est partagé en cantons durant la Révolution.

 

« Le pays appelé le Cap-Corse a un circuit de quarante-huit à cinquante milles. Il est partagé en deux dans le sens de sa longueur par une montagne qui se prolonge du nord au midi. Les gens du pays l'appellent la Serra. C'est comme une chaîne dont la cime partage les eaux, qui vont se jeter dans la mer, les unes à l'est, les autres à l'ouest. »

 

— Agostino Giustiniani in Dialogo, traduction de Lucien Auguste Letteron in Histoire de la Corse - Description de la Corse – Tome I p. 7 - 1888.

 

Il est formé par une arête relativement élevée qui envoie en avant, à l'est et à l'ouest, des éperons et des contreforts qui délimitent des vallées parallèles où se sont installés les villages et les cultures.

 

« Dans le Cap-Corse, l'air est partout sain, l'eau bonne ; le vin est abondant, excellent et généralement blanc. Les vins de la côte extérieure sont plus renommés comme vins moûts ; ceux de la côte intérieure, lorsqu'ils sont clairs. La quantité de vin que l'on récolte dans le Cap-Corse est considérable ; on y récolte encore un peu d'huile, des figues et quelques autres fruits. Le sol est rebelle aux autres cultures, surtout à celle du blé. Les habitants sont bien habillés et plus polis que les autres Corses, grâce à leurs relations commerciales et au voisinage du continent. Il y a chez eux beaucoup de simplicité et de bonne foi. Leur unique commerce est celui des vins qu'ils vont vendre en terre ferme »

 

— Mgr Agostino Giustiniani in Dialogo, traduction de Lucien Auguste Letteron in Histoire de la Corse - Description de la Corse, Bulletin de la Société des sciences historiques & naturelles de la Corse – Tome I p. 8

 

Le Cap Corse est une péninsule schisteuse qui s'étend au nord d'une ligne Bastia - Saint-Florent, sur près de 40 km de long dans le sens nord-sud, et 10 à 15 km de large. La région est composée de schistes lustrés, dans lesquels dominent les schistes et quartzites amphiboliques ou pyroxéniques, avec, par places, des calcschistes micacés et des cipolins durs.

 

Quelques exceptions importantes apparaissent dans ce relief. Au nord du Cap, les schistes sont pénétrés par une masse de gabbros et de péridotites, d'où provient la pierre verte bien connue sous le nom de serpentine. Cette pierre d'une grande dureté forme les bosses du paysage, telles que les sommets comme l'Alticcione 1 139 mètres, les promontoires comme le Corno di Becco ou la pointe d'Agnello. De part et d'autre de cette nappe de roches vertes se trouvent deux accidents géologiques curieux. À l'ouest, presque tout le territoire de la commune d'Ersa est constitué par une couche de gneiss amphibolique, granitisé, sur lequel on retrouve les schistes lustrés ; tandis qu'à l'est, au nord et au sud de Macinaggio, le long de la côte, à Tamarone, comme à Finocchiarola, s'étalent les grès siliceux et à poudingues de l'époque Éocène, avec un lambeau triasique de cargneules et de calcaires.

 

La géologie très particulière du Cap Corse a donné lieu à une rareté géologique : l'amiante amphibiolique, une roche fibreuse susceptible d'être filée et tissée. Avec la première révolution industrielle, celle de la machine à vapeur, la demande d'amiante (matériau isolant et incombustible) est montée en flèche. L'amiante a été exploité industriellement à Canari dans une impressionnante carrière en gradins à ciel ouvert, de 1935 à 1965. Le site était à la fois une mine et une usine produisant un produit fini et mis en sacs. Fermée depuis 1966, la friche industrielle est diversement considérée : verrue industrielle au passé sinistre (le mésothéliome ou cancer de l'amiante sévissait parmi les ouvriers) pour les uns, c'est un lieu de visite (illégale) apprécié par d'autres, avec la mode de l'exploration urbaine.

 

L'orographie de la région s'explique ainsi : les schistes luisants et tendres donnent un relief doux, des versants lentement inclinés, des mamelons et des chaînes continus, telle que la crête de séparation entre Rogliano et Luri. Les bancs de cipolins dessinent des ruptures de pente et des plateaux abrupts, comme le Piano de Santarello. Les schistes amphiboliques en revanche ont des crêtes aiguës et dentelées, mais ce sont surtout les gabbros et les péridotites qui forment les plus fortes saillies, les dômes, les massifs compacts isolés au milieu des roches plus tendres.

Coucher sur le Monte Stello.

 

Une chaîne montagneuse, la Serra, s'étend tout le long du cap, depuis la Serra di Pignu (altitude 960 m) au sud, jusqu'au Monte di u Castellu (altitude 540 m) au nord. La Cima di e Follicie, haute de 1 324 mètres, en est le point culminant ; mais le Cap compte plus de dix autres sommets dépassant les 1 000 mètres d'altitude, dont le Monte Stello. Cette chaîne surgit des flots souvent tumultueux du Capo Bianco et de la Punta di Corno di Becco, par une levée de 333 m à la Punta de Pietra Campana et 359 m au Monte Maggiore. Elle se dirige en direction du sud-est vers la pointe de Torricella (562 m), traverser toute la péninsule et finir à la cime du Zuccarello 955 m et le défilé du Lancone.

 

La Serra est la ligne de partage des eaux. À l'est, la côte intérieure est baignée par la mer Tyrrhénienne et le littoral offre des paysages au relief collinaire contrastant avec les paysages aigus et abrupts de la côte extérieure baignée par la mer Méditerranée. Au nord, la côte est baignée par la mer Ligure.

 

Le littoral capcorsin, déchiqueté et accidenté, comprend peu de plages que l'on trouve uniquement au fond de ses anses. Le relief descend le plus souvent de façon abrupte dans la mer, et la route D80, qui fait le tour du Cap sur 110 km, de Bastia à Saint-Florent, offre un panorama de corniche. Un tiers des tours génoises, destinées à protéger la Corse d'attaques navales des Barbaresques, a été construit autour du cap.

 

(Wikipedia)

 

Cap Corse (korsisch Capicorsu, italienisch Capo Corso) ist eine Halbinsel im Norden Korsikas. Sie befindet sich im Département Haute-Corse.

 

Die Halbinsel hat eine Länge von ca. 40 km und eine Breite von ca. 10 km. An ihrem südöstlichen Ende befindet sich die Stadt Bastia. Die höchsten Erhebungen sind Monte Alticcione (1138 m), Monte Stello (1306 m) und Cima di e Follicie (1324 m) (mit der Höhle Grotta a l'Albucciu). Nördlich des Cap Corse liegt die kleine zur Gemeinde Ersa gehörende Insel Giraglia.

 

Das Cap Corse ist verhältnismäßig wenig touristisch erschlossen. Es ist eine bekannte Weinregion, das Cap gibt dem Wein Muscat du Cap Corse seinen Namen.

 

Die korsische Schutzpatronin Julia von Korsika lebte zeitweilig in der Gegend.

 

(Wikipedia)

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

 

So what was the highwayman I had danced with on that fateful evening

Twilights Ghost

 

Uncanny was an exclamation used a lot by my grandPappa; I used to love to hear him say it, even though it was years before I knew its meaning. Uncanny is also the best word I can use to describe the following story:

 

I’m not sure if what follows is a true “ghost” story. I always thought of ghosts as being wispy things that people always talk about seeing, but never touching. And that’s another issue, I do not believe in ghosts, so why is it that people like me are the ones these type of things happen too. I couldn’t tell you the number of people who upon have heard this story exclaim, oh you saw a ghost, wish it had been me. The ones who want to believe never seem to ever actually see one.

 

As you can see, I have never placed much faith into supernatural occurrences. Even though my GrandPappa would tell some pretty spooky stories to my sisters, cousins , and I during late night fires around the hearth, I never really thought it could ever happen in real life. Now the romantic medieval tales of knights and princesses that my Móraí wove were another story, so to speak. Those I would fantasize about, and would desire strongly to become true, impressionable young lady that I was, and still am I’ll admit.

 

And that’s the rub.

 

The tale I am about to tell, really happened to me, many years ago. But as luck would have it, it favors my GrandPappas tales more so than my dear Móraí s.

 

GrandPappa was the dean of English Prose , Chatwick college, Surry, but it was my Móraí who was known for her stories, one of which was even published . They livedhappily on campus in a small stone cottage that once had been the livery for the historically old estate that now made up the College’s main campus. A medieval looking cottage made for lighting the imaginations of young girls.

 

One tale of my Móraí I can still recall vividly was about a local highwayman for whom Abbot‘s Chase, the road bordering the campus, was supposedly named. Craig Abbot supposedly held up the coach that my grandmothers great grand aunt Sarah had been a passenger in You could almost taste the suspense on the air as the highwayman courteously ( for a highwayman) had Sarah hand over her jewels, when my Móraí reached the part where Aunt Sarah had her hand kissed and had pleaded with him not to take her emerald ring, which had been a family keepsake she had received on her 18st birthday, She would have us spellbound with apprehension as to what would happen next( although we would hear the story many times over, and knew the outcome, it was always the same feeling). The highwayman had smile, slipping off Aunt Sarah’s rings, but allowed her to keep the emerald’s she wore around her throat. Poor Aunt Sarah had loved that ring, and it was not a family secret of the grief it caused her to lose it. But, romance always would overshadow reality, and my sisters and I would talk through the evening wondering what had become of such a dashing figure as my grandmothers masked highwayman. But it still remained a story, and nothing more. I had always hoped that I would dream myself into one of my Móraí’s tales, but no dashing prince, or romantic highwayman ever did.

 

It was years later that I would learn that my romantic highwayman had met his fate by the old bridge on Abbots Chase and had been hung. Legend had it that he was buried in the ancient cemetery that could still be found in those days, and maybe still there, in a small wooded corner of the campus estate.

 

Years later, after my grandparents had both passed on, and their old stone cottage a distant, but still warm memory, I attended Chatwick college with no direct plans or purpose to be there, other than to walk the same halls as my grandfather.

 

My experience happened one evening as I was attending a Masque Ball for charity on a blustery Halloween‘s eve. The Ball was being held at the posh old Ryder house in Chatwick Parish . My Girlfriend, Tallie, did not want to go alone, as friends are want to do, and convinced, or rather conned, me into going. I found an old green satin gown with a matching sash, from which a long brooch dangled, It had been a relic from a cousins wedding. I removed the satin sash and bow and it became a rather respectable little gown. I was also sporting the shiny emerald necklace that we had found among my Grandmother’s things. It was pretty, with glittery emeralds surrounding a petite diamond pendant that sparkled like the real thing.

 

So anyway, there I was, all dressed up, bored to tears as the saying quite correctly goes,, and of course no male seemed to notice me, and I was too shy to ask someone to dance. I remember watching my, friend off dancing with a , handsome bloke in , of course, a prince charming outfit. As I was snickering to myself over an image placed in my mind concerning his green nylon pantaloons, someone stepped onto the hem of my long gown. Turning around I tripped into a tall, bearded saturnine man sporting a black hood and mask. He caught my fall, and twirled me onto the dance floor. He was really light on his feet and had these intense, icy eyes staring from his mask An executioner I joked to him, knowing full well he was dressed like my Móraí’s quixotic highwayman. He did not answer, only looked me over with those wistful eyes. Silent type I remember remarking to him, trying to force a smile, but it did not work. He just grinned, remaining mute and mysterious Thinking back I realized that he had never really said anything the whole time we danced. He spoke to me through his eyes, sad and morose; it said everything that I had needed to know. And It had been enough.

 

He kissed my hand when the dance was finished, and still not uttering a word, turned and made his way towards the black oak doors leading to the English Gardens. On a sudden whim, I followed him

 

He stopped at the steps outside; an turning , looked back at me, then led me down the stairs. The walk through the deserted moonlit Garden was surreal, like being in one of my Móraí’s romantic tales. Coming to a break in the hedge , he went through. I followed, walking right into a low hanging cobweb spanning the opening. I bent over to free my long hair of the sticky web, I looked around, that quickly he had deserted me. My highwayman was gone, like a phantom in the night, or more likely a will o wisp of my imagination. But he had seemed real enough, so I did not dwell on the subject, just turned and headed back inside, my skirts swishing along the cobblestone.

 

I walked back to the hall and rejoined my girlfriend, who was sitting with her frog prince. As she introduced me to him she stopped, and placed a hand to my throat, asking me where my necklace had gotten off to. With a start I realized that it was gone, and we spent the rest of the evening fruitlessly tracking it down. But it, like the masked highwayman, did not reappear.

 

Now, as I said in the beginning, I was never one to have dreams, and even if I did, none save one, ever remained with me. That one dream I still vividly recall came later that evening... I had declined my friends offer to join her and her boyfriend Charles( forever the frog prince to me), to go out after the party. Instead I went back to my room, and still in the gown, picked up a text that some professor actually thought a normal being could make sense of, and stated to half heatedly study. I found my thoughts drifting to the party and wondering if the mysterious highwayman would come back into my life.

 

Suddenly I was alone, walking along a misted Abbots Chase , my long gown again swishing along the stones. Just ahead of me sat a misty shrouded mounted figure, outlined in darkness. Steam emits into the chilly night air from his horses’ flared nostrils. It shakes its head awaiting its masters orders. The cloaked figure looks left, then look down into a tree lined valley. The distant sound of horses carries up, and a lone coach comes into view

The carriage horses have just strained to come up from a small valley, the driver cracks his whip to keep them moving. He does not hear what they do, and he assumes their neighs are in answer to his whip. So he is totally unprepared when the horseman, clocked and masked, rides out from the trees and points a sword at him. He pulls to a jerking stop. “Stand and deliver” is the command he hears, The man’s voice muffled from beneath his mask.

 

Dismounting, the rider strolls casually up to the carriage door, and invites the occupants to step out. They do so, a gentleman first, An older man with the detached look of a sour judge. A bright gold chain encircling his waist, diamond cufflinks glint in the moonlight. Behind him, in the shadows of the carriage, emits the pleasing, to the masked figure, sounds of a rustling dress.

 

Behind the Judge, the open carriage door is bathed in moonlight. A whisper of satin precedes the pretty lady that enters into view. Easy does it the masked rider says as he helps her down, his words rolling pleasantly with a kindly English accent. I shall, she answers, head held proudly.

 

His eyes focus on her necklace as it lays glistening along her throat. In my dream, the same necklace That I had found in my Móraí’s jewel case. She steps down into a pool of moon light, revealing the shimmering silver frock that adorns her pretty figure, the gowns long skirts come cascading out as she steps down to the ground. Her hair is up, and a set of drippy emerald earrings sway freely, twinkling merrily about its forlorn wearer. Diamond rings, one a bright emerald sparkle along her slender gloved fingers.

 

” Nice of you to come dressed up this lovely evening, my pretty lass.” He smiles gallantly in her eyes, she blushes . What do you want,” the judge asks in a commanding voice. With a twinkle in his eyes, the bandit answers, “Well that’s the problem you see, my steed I need your valuables to purchase his feed. That right rapskellian, he says to the horse behind him, who snorts upon hearing his name and tosses his head, mane flowing. His words come across in an almost embarrassed apology. The Highwayman approaches the Judge, his horse waiting patiently in the background.

 

The figure walks up to him, and holds out his hand, fingers beckoning. At a sign of hesitation, the sword is produced and pointed at his waist. He hands over his fat wallet, gold watch and chain. His diamond cufflinks and emerald pin are also given over.. The booty is placed in a pocket of the the highway man’s cloak . Thank you sir, the highwayman says in an almost civil manner.

 

The Highwayman moves to the pretty lady in silver. The moon is seen behind her, framing her face casting a light through so very soft long hair.

 

With puppy sad eyes she looks into his, her heart melting. He moves forward, his sword drawn, and he brings up his gloved hand, lifting her necklace from her throat . Yes, he whispers genially, this for starters now please raise your hands. The look he is giving the area where her diamonds lay upon her throat, just above her ample bosom, is one of lustful desire.

Your jewels, then, miss, he asks her with a daunting voice. Her mouth pursed in a whimper, she sadly lowers her hands , reaches behind and fumbled for her earrings, they explodes into dazzling light as she pulls them reluctantly free and lays them upon the outstretched palm. She slides the bracelets off each wrist, then looking sadly at her shimmering rings, she pulls off the two diamond ones from her gloved fingers. She stops at the emerald ring, she looks up at him, please sir, may I keep it. My lady he says , taking her hand up in his. I cannot let you keep it, though I can tell it has meaning to you. He pulls it off. I will let you keep your necklace however my lady, so that you may sparkle this evening. Realizing he will not bargain, she steps back and watches miserably as her pile of jewelry glistens in his palm.

 

The horse comes back into view, his head moving up and down, snorting. The highwayman, sheathing his sword, leaves the group and walks backwards to the horse. “I thank you my good gentleman and fine lady, your contribution this evening is greatly appreciated.” The Judge looks at him with scorn, the pretty lady smiles a sad little smile The figure on foot remounts, and rides off.

 

Suddenly a cold wind comes howling down the road, I tried to wake, but felt myself paralyzed as The Highwayman road off, soon after soldiers on horseback come thundering after him down the road. He is far ahead and I see him cross the bridge, he dismounts and slapping rapskellianon the flank, now rider less, the horse gallops off down Abbots Chase. The masked highwayman darts under the bridge. As the soldiers cross the bridge in hot pursuit, he salutes them from his hiding spot. As I watch, he then goes up and works on of the flagstones loose on the bottom of the bridge, creating a little hallow. It is here that he places his ill-gotten gains, moving the stone back in place he moves onto the road, suddenly he turns around, looking back. I start to look also, but then am aware of a key in my door. Reluctantly I tried to hold onto my dream as I hear my roommates call. As I woke, I found my hand searching in vain for the necklace I had lost, the one he had said I could keep in my dream,.

The next day I discussed my dream with my girlfriend and her boyfriend after lecture. He suggested we should visit the old bridge and look for the loose flagstone. I chided him for his silliness; it was only a dream after all, a remnant of one of my Móraí’s stories. But after they left, I had a sort of odd, haunting feeling. I remember feeling my throat again for the necklace that I had worn. I rose and walked along campus until I reached Abbots Chase. It was almost surreal as I walked down it .The sun disappeared under some blustery autumn clouds, it grew colder, everything around me took on a colorless pale. Off to one side I soon saw the old cemetery, and for the first time in my life I went into it, looking over its crumbling gravestones, reading faint names of those long ago forgotten. I found it, off in a corner by itself. A long tall stone, with carved writing, faint with age ; Craig Abbot was written, and below what looked like the word hung. With a start I realized that the date he had departed from this earth was the very date I had gone to the dance, and chillingly, the date of last evening when I had my dream. I ran my fingers along the etchings, and then still in somewhat of a daze, I went back to the old road and drifted to the bride a short ways off. Upon reaching it, I remembered in vivid detail the stone he had pried away in my dream. I went to it and moved it. It did not budge at first, but to my surprise, stated to wobble, then it come down, exposing a small cavity. Wondering what it meant, I reached inside and felt around. My fingers curled around a small, cold object. Pulling it out I discovered it was a ring, upon further examination it was an emerald ring, one just like the one taken from the pretty young lady in my dream, similar to the one my Móraí had said my Aunt Sarah Had lost to Craig Abbot.

As I finally write this down from my memory, I am wearing the ring I discovered hidden away.. It is very old, and very pretty. What connection, if any it has with my story, I am unsure, but obviously there are many to be made. So was the highwayman I had danced with on that fateful evening I had lost my necklace : a ghost, a figment of my dream, some materialization of the late, hung Craig Abbot. Or merely a flesh and blood rogue whose identity I never will discover? And the ring I am now wearing, could it possibly be Aunt Sarah’s? Much like a ghost, the real answer may never be found.

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The purpose of these chronological photos and accompanying stories, articles is to educate, teach, instruct, and generally increase the awareness level of the general public as to the nature and intent of the underlying criminal elements that have historically plagued humankind.

 

No Part of this can reprinted, duplicated, or copied be without the express written permission and approval of Chatwick University.

 

These photos and stories are works of fiction. Any resemblance to people, living or deceased, is purely coincidental.

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zentacuarelas.blogspot.com.es/

Moai are the famous giant statues of Easter Island. This island holds great number of unsolved mysteries.

Landscape watercolor art 6 x 8 in

Original Artwork

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I'm not going to lie; several unsolved missing peoples cases have been haunting me and my intuition like that of 25 year old, Khayman Welch, who went missing in the Superstition Mountains Aug of 2020 during the pandemic. I haven't forgotten his story or the plight of his family three years later.

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All these missing individuals have or had mothers and fathers and brothers and sisters. The Superstition Wilderness has claimed many missing souls as well as other places in the Sonoran Desert Region. It's not only in low basin deserts where these strange happenings are unfolding; it's happening in places like the Grand Canyon and many other significant places where I guide tours of visitors to this land.

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There's a lot of dot connecting that I want to do or feel compelled to do as these cases and stories take up space in my reality and grow cold when it comes to the actual history of these mysteries. I'm allowing these darker energies to visit my sixth sense as I try to interpret them as an artist and researcher.

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Humans are attached to related phenomena that we can't always sense in the immediate reality and some of this is strongly present outside our perceived reality. One thing I know is certain, there is more to this reality than what our physical senses are capable of detecting. I know this because of my own third eye.

Keddie was named for surveyor Arthur W. Keddie, who surveyed the railroad cut through the mountains in Plumas County in the early 1900s. While thought to be a railroad town by me due to its proximity to the Keddie Wye on two different visits. This is the only history I can find. Keddie California seems to have a more recent gruesome history. This was not known to me during my visits and only learned at time of posting.

 

Caution this story is not for the squeamish. You have been warned so I don't want to hear about it. Not all history is romantice and pretty.

 

On April 12, 1981 in Cabin #28 in Keddie, Plumas County, California, the bodies of three individuals were discovered.

 

Glenna Sharp, 36, had been staying at the cabin for several months, along with her four children. On the night of April 11, 1981, Glenna was staying in the cabin with her daughter, Tina Sharp, 12, and three younger children (two of whom belonged to Glenna). They were later to be accompanied by her son, 15-year-old John Sharp and his buddy, 17-year-old Dana Wingate, who were seen that night hitchhiking from nearby Quincy. Sometime after John and Dana arrived at the cabin after being dropped off, by who is still yet unknown.

 

The following morning, Glenna's 14-year-old daughter, Sheila, who had spent the night with a friend at a neighboring cabin, found the dead bodies of her mother, brother, and brother's friend lying in the front living room; all had been bound with electrical wire and duct tape, and were beaten and stabbed beyond recognition. Tina Sharp was nowhere to be seen.

 

The savage nature of the crime was undeniable; the walls were covered with knife cuts, and the furniture had been destroyed. A sheriff patrol commander, Rod DeCrona, who arrived to the scene remarked that "There was blood sprayed absolutely everywhere". Upon examination of the bodies, it was clear that each of the victims had been bludgeoned with a claw hammer and stabbed repeatedly with steak knives. DeCrona also said that one of the knives discovered at the scene had been used so forcefully that the blade had bent entirely in half.

 

The case soon grew cold, and Tina Sharp's bizarre disappearance went unsolved as did the murders. The town of Keddie began to lose its visitors, and the resort turned into a ghost town. Three years after the crime, in 1984, the dismembered head of Tina Sharp was discovered near Feather Falls, roughly fifty miles downhill from the cabin resort. After this discovery no new information regarding the crime ever surfaced. No arrests have ever been made in regard to the crimes, nor have there been any solid leads as to the motivation of the killer(s). The murders remain unsolved to this day.

  

In 2004, Cabin 28 was demolished.

 

On March 24, 2016, a hammer matching the description of a hammer suspect Martin Smartt said he lost shortly before the murders was taken into evidence by Plumas County Special Investigator Mike Gamberg. Sheriff Hagwood stated, "the location it was found... It would have been intentionally put there. It would not have been accidentally misplaced.

  

Copyright © All Rights Reserved Images are the property of Prairie Fire Imaging and may not be reproduced without permission

Vintage postcard. Abel Fernandez (left) as William Youngfellow, Nicholas Georgiade as Enrico Rossi, Robert Stack as Elliot Ness and Paul Picerni as Lee Hobson in the TV series The Untouchables (1959-1963).

 

American actor Robert Stack (1919-2003) became a star as Deanne Durbin's young lover in Henry Koster's First love (1939). After the war, he had massive success with Douglas Sirk's drama Written on the Wind (1956) for which he was nominated for the Oscar. Internationally, he became famous as Elliot Ness in the TV series The Untouchables (1959-1963).

 

Robert Stack was born Charles Langford Modini Stack in Los Angeles, in 1919. His first name, selected by his mother, was changed to Robert by his father, a professional soldier Robert was the grandson of Marina Perrini, an opera singer at the Scala theatre in Milan. When little Robert was five, his father was transferred to the US embassy in France. Robert went to school in Paris and learnt French rather than his mother tongue. At 11, he returned to America, and at 13, he became a top athlete. His brother and he won the International Outboard Motor Championships, in Venice, Italy, and at age 16, he became a member of the All-American Skeet Team. He played polo, saxophone and clarinet at Southern California University. A broken wrist ended his career as a sports athlete. He took drama classes and made his stage debut at 20. He joined Universal Studios in 1939. In his first film, he starred as Deanne Durbin's young lover in First love (Henry Koster, 1939). He gave the teenage film star her first on-screen kiss. Around this "event," Universal producer Joe Pasternak provided a lot of publicity. Stack established himself as an actor and the following year he appeared as a young Nazi in The Mortal Storm (Frank Borzage, 1940) alongside Margaret Sullavan and James Stewart. Stack was reunited with Durbin in Pasternak's musical Nice Girl? (William A. Seiter, 1941). In 1942 he appeared as a Polish Air Force pilot in Ernst Lubitsch's comedy To Be or Not to Be (1942) starring Carole Lombard and Jack Benny. The plot concerns a troupe of actors in Nazi-occupied Warsaw who use their acting abilities to fool the occupying troops. The film has become recognised as a comedy classic. Stack played another pilot in Eagle Squadron (Arthur Lubin, 1942), a huge hit. Then Stack's career was interrupted by military service. He did duty as a gunnery instructor in the United States Navy during World War II.

 

After World War II, Robert Stack continued his career. He returned to the screen with roles in films such as Fighter Squadron (Raoul Walsh, 1948) with Edmond O'Brien and A Date with Judy (Richard Thorpe, 1948) with Elizabeth Taylor. In 1952 Stack starred in Bwana Devil (Arch Oboler, 1952), the first major film production in 3D. He played the second leading role alongside John Wayne in William A. Wellman's aviation drama It's Always Day (1954). Sam Fuller cast him in the lead of House of Bamboo (1955), shot in Japan. Stack enjoyed one of his greatest successes with Douglas Sirk's drama Written in the Wind (1956). He received an Oscar nomination for Best Supporting Actor for his portrayal of the alcoholic playboy Kyle Hadley. From the late 1950s Stack turned increasingly to television. Internationally, Robert became famous with his role in the television series The Untouchables in which he starred as the clean-cut Chicago police officer Eliot Ness during the Prohibition era. Around 120 episodes were made between 1959 and 1963. Other leading roles followed for Stack in the television series The Name of the Game (1968-1971), Most Wanted (1976) and Strike Force (1981). The multilingual Stack also took the lead role in the German-language film Die Hölle von Macao/The Hell of Macau (James Hill, 1966) alongside Elke Sommer, and he also appeared in French- or Italian-language productions. With advancing age, Stack also frequently took on deadpan comedy roles that lampooned his dramatic on-screen persona in films such as 1941 (Steven Spielberg, 1979), Airplane! (Jim Abrahams, David Zucker, Jerry Zucker, 1980) or Caddyshack II (Allan Arkush, 1988). Between 1987 and 2002 he was the host of the television series Unsolved Mysteries, which was dedicated to mysterious murder cases. He worked as an actor until his death. In 1956 he married actress Rosemarie Bowe (1932-2019), to whom he was married until the end of his life. The couple had two children. Robert Stack died of pneumonia in 2003 in Beverly Hills at the age of 84 and was buried in Westwood Village Memorial Park Cemetery.

 

Sources: Wikipedia (Dutch, German and English) and IMDb.

 

And, please check out our blog European Film Star Postcards.

Raffles (1930 film)

From Wikipedia, the free encyclopedia

For other film versions, see Raffles the Amateur Cracksman, Raffles (1925 film) and Raffles (1939 film).

Raffles

Poster of Raffles (1930 film).jpg

Directed byGeorge Fitzmaurice

Harry d'Abbadie d'Arrast (uncredited and replaced by Fitzmaurice)

Produced bySamuel Goldwyn

Written byEugene Wiley Presbrey (play)

E. W. Hornung (play and novel)

Sidney Howard

StarringRonald Colman

Kay Francis

Edited byStuart Heisler

Production

company

Samuel Goldwyn Productions

Distributed byUnited Artists

Release datesJuly 24, 1930

Running time72 minutes

CountryUnited States

LanguageEnglish

Raffles (1930) is a comedy-mystery film produced by Samuel Goldwyn. It stars Ronald Colman as the titular character, a proper English gentleman who moonlights as a notorious jewel thief, and Kay Francis as his love interest. It is based on the 1906 play Raffles, the Amateur Cracksman by E. W. Hornung and Eugene Wiley Presbrey, which was in turn adapted from the 1899 novel of the same name by Hornung.

 

Oscar Lagerstrom was nominated for an Academy Award for Sound, Recording.[1]

 

The story had been filmed previously as Raffles, the Amateur Cracksman in 1917 with John Barrymore as Raffles, and again in 1925 by Universal Studios. A 1939 film version, also produced by Goldwyn, stars David Niven in the title role.

 

Contents [hide]

1 Plot

2 Cast

3 Production

4 Reception

5 References

6 External links

Plot[edit]

Gentleman jewel thief Raffles (Ronald Colman) decides to give up his criminal ways as the notorious "Amateur Cracksman" after falling in love with Lady Gwen (Kay Francis). However, when his friend Bunny Manders (Bramwell Fletcher) tries to commit suicide because of a gambling debt he cannot repay, Raffles decides to take on one more job for Bunny's sake. He joins Bunny and Gwen as guests of Lord and Lady Melrose, with an eye toward acquiring the Melrose necklace, once the property of Empress Joséphine.

 

Complications arise when a gang of thieves also decides to try for the necklace at the same time. Inspector Mackenzie of Scotland Yard (David Torrence) gets wind of their plot and shows up at the Melrose estate with his men. Burglar Crawshaw breaks into the house and succeeds in stealing the jewelry, only to have Raffles take it away from him. Crawshaw is caught by the police, but learns his robber's identity.

 

Meanwhile, both Gwen and Mackenzie suspect that Raffles is the famous jewel thief. When the necklace is not found, Mackenzie insists that all the guests remain inside, then quickly changes his mind. Gwen overhears Mackenzie tell one of his men that he intends to let Crawshaw escape, expecting the crook to go after Raffles and thereby incriminate him. She follows Raffles back to London to warn him.

 

Crawshaw does as Mackenzie anticipated. However, Raffles convinces Crawshaw that it is too dangerous to pursue his original goal with all the policemen around and helps him escape. Then, Raffles publicly confesses to being the Amateur Cracksman. When Lord Melrose shows up, Raffles reminds him of the reward he offered for the necklace's return (conveniently the same amount that Bunny owes) and produces the jewelry. Then, he outwits Mackenzie and escapes, after arranging with Gwen to meet her in Paris.

 

Cast[edit]

Ronald Colman as A.J. Raffles

Kay Francis as Gwen

Bramwell Fletcher as Bunny

Frances Dade as Ethel Crowley

David Torrence as Inspector McKenzie

Alison Skipworth as Lady Kitty Melrose

Frederick Kerr as Lord Harry Melrose

John Rogers as Crawshaw

Wilson Benge as Barraclough

Production[edit]

According to Robert Osborne, host on Turner Classic Movies, this was the last film that Samuel Goldwyn made in both a silent and talking version.

 

Reception[edit]

Raffles was a substantial hit with audiences and critics when it was released in the summer of 1930. The movie was release on DVD by Warner Archive Collection in 2014. Reviewing the disc (which also featured the David Niven 1939 version), Paul Mavis of DVDTalk.com wrote, Raffles cleanly mixes equal doses of humor and criminal derring-do, along with potent dashes of "Colmanized" romance for the actor's core female audience....Since this was written and shot prior to the enforcement of the Production Code, there's an enjoyably tolerant (and modern feeling) looseness to the Raffles character that's buttoned back up for the Niven remake."[2]

 

Built 1903 Architect - unknown .... in Neo-Tudor / Queen Anne style .... Ambrose Joseph Small (January 11, 1863 – vanished December 2, 1919) was a Canadian theatre magnate & self-made millionaire, who owned theatres in several Ontario cities including the Grand Opera House in Toronto, the Grand Opera House in Kingston, and the Grand Theatre in London, Ontario.

On 2 December 1919, Small disappeared and his body was never recovered, he was 56 years old. It was alleged at the time that Small's wife and her lover killed Small and cremated his body in the London Ontario Grand Opera theater furnace (one of Small's holdings). It was further alleged that a police inspector was involved in a "cover-up" of Small's disappearance. The police launched an extensive investigation in the disappearance of Ambrose Small. Small was officially declared dead in 1924. The case remained unsolved, until being officially closed in 1960 ....

Polaroid 110 Pathfinder and Fuji Instax 210 camera conversion. It looks somewhat crude, this is a sort of trial version, that I have built just to check, if that is a good idea, or not. I have seen some attempts to pair the original Instax 210 with the proper lens, but I do not think it is a good idea, cause the focusing problem stays unsolved. Therefore, the only way to do it is to integrate the camera with range finder and Fuji's film holder, bypassing existing electric circuit in order to use the rollers.

A Monkey Puzzle tree in the churchyard at Meerbrook, Staffordshire

I've ways wanted a photo of me walking away. Especially into the unknown. And that's what "The Journey" represents.

 

Leaving behind my past and walking into the unknown. An unsolved mystery that's scary, but will be written and solved by me. One that I would look forward too.

 

The glowing gateways represent those little steps of significance and victories I've had along the path. To be ok to sometime be lost and wander around. Making sure that I don't trip over and fall while walking on rocky roads.

 

I'm not sure if I'll ever reach its end, but all I know and have been told is that the journey is more important than the end.

I spent time with this magnificent Orangutan today and felt very privileged to capture this portrait of him. The look in those wise old eyes touched my heart. Please take the time to see him in full-screen mode.

 

The orangutans are the two exclusively Asian species of extant great apes. Native to Indonesia and Malaysia, orangutans are currently found in only the rainforests of Borneo and Sumatra.

 

In Malay orang means “person” and utan is derived from hutan, which means “forest.” Thus, orangutan literally means “person of the forest.”

 

Much is known about orangutan physiology and behavior. Yet there is one thing that is still unsolved – the exact reason why some male orangutans develop a flange while others do not. From the age of thirteen years (usually in captivity) past the age of thirty, males may develop flanges or cheek pads.

 

The destruction and degradation of the tropical rain forest, particularly lowland forest, in Borneo and Sumatra is the main reason orangutans are threatened with extinction.

 

This has been caused primarily by human activity (intense illegal logging, conversion of forest to palm oil plantations and timber estates, mining, clearing forest for settlements, and road construction) and also by large-scale fires facilitated by the El Nino weather phenomena. Additionally, the illegal animal trade has been a factor in the decline of wild orangutan populations. Finally, orangutans are occasionally hunted and eaten by some of the indigenous peoples of Borneo as well as migrant loggers and plantation workers who do not have dietary prohibitions against eating primate bushmeat.

 

During the past decade orangutan populations have probably decreased by 50% in the wild. Currently, the IUNC has classified the Bornean orangutan as Endangered and the Sumatran orangutan as Critically Endangered.

We found these guys like this last night. My husband seems to think this was an act done by little hands. However, I think life in a bath tub with three children was too rough and they just couldn't take it anymore.... Happy Toy-in-the-Frame Thursday!

Part B

 

It did rather put the creeps in me, one may play games, but never considers it a reality.

  

I just want to put it out, because it was something that remains a mystery,( and unsolved mysteries really have always gotten me goat) It concerns an incident that I believe hit a little too close to home for me. Read on, I’m sure you will understand.

  

I had all but forgotten this one, but I was driving home the other night and going a way I haven’t been by for in years. The street I was travlin lead past a boulevard that went up into a neighborhood located on a steep hill. As I passed, It quite clearly all came back to me.

  

My twin sister and her friend had Ginny had been invited to some big party. I remember them talkin about it, but didn’t really pay too much attention, nor did I even know what the bloody thing was all about, but I was soon to find out.

  

Late one evening, after I had gotten home from a late rugby practice round 9 o’clock, I got a call from me sister. They had been left without a ride home when of one Ginny’s cousins, the one who had given them the ride, had left early sick (pregnancy does that, or so I’ve heard.) I told them I would be right over, but they pleaded for me to let them stay on a wee bit, the do was still going strong.

  

I finally agreed to be there by 12:30am

 

They told me the friend’s house they were at. I knew it all too well! It was located at the end of a boulevard that ran up a steep hill. I did not care much for it, being a newer driver at the time, and my little 4 cylinder Bug was not the best on hills.

  

So I waited, probably grumbling a little, and left at the appointed time. It didn’t take more than 30 minutes to get there being that the route I took was all on main roads.

  

As I approached the corner to the boulevard, I see two fetching darlings wearing these long shiny dresses like one sees at weddings, standing on a small stretch of grass by a sidewalk. I will admit I was eyeing them over as I was getting closer, their tantalizingly clad shapely figures and jewelry shimmering ever so appealingly outlined in me car’s headlights.

  

Suddenly I coldly realized that the pair I was lusting over were me own Sister and our friend Ginny themselves, standing there putting on the show. Needless to say, my take on the situation was completely turned around on its bloody head.

  

The silly twits had apparently walked down from the party house to wait for me so I would not have to navigate the hill.

  

Which was wonderful of the girls, don’t get me wrong , but two young ladies, out alone fancy dressed like that, was a recipe for something quite unpleasant to swallow.

  

But I guess the idea of an Oscar party ( which I was informed afterwards was the theme of it ) is that one dresses up like screen stars, tuxedos and long gowns. So, the scene before me was of two rather attractive ladies in shiny dresses , one wearing pearls, the other in emerald rhinestones. The pair looked for the world like they were probably thumbing it, or worse…..

  

As the pair swished themselves into the back seat, my sister said thank you James, like I was that chauffer chap named James in a movie we had watched. It’s a bug, not a Rolls you silly twit, I teased, then I lectured, what gives with the pair of you standing out there all alone dressed like that. What if some stranger had tried to give you a ride, I asked?

  

Giggling, they said a truck had indeed pulled up and the occupants, two youths in flannel and rugby caps, asked them if they had needed a lift. They had said no, and they had playfully kept asking, before my sister finally shooed them off, saying help was on the way, as they started to open their doors to usher them in, a car slowed down and sis had said to them, and here he is. Then the truck left, and the other vehicle kept going on by also, wasn’t me,,, and for the life of her she couldn’t understand why all the cars that passed them had been slowing down.

  

So after they had situated themselves in their seats, I turned the car around in the boulevard and we were on our way. Before long I noticed a pair of headlights very close behind me, I could tell from the height that they belonged to a truck. I speed up a little, then turned the next corned to give the tailgater off my tail. In doing so , I jostling the girls who had been happily twittering amongst themselves about the party, both dolled up princesses rightly gave me the “look”.

  

As I turned the corner, I’ll be buggered if the truck did so also, a red truck with a black strip and a noticeably big dent in the door. A question popped into my mind.

  

Excuse me you two darlings, but I was wondering, I asked them looking up into the rearview mirror, they were looking at me like I had apparently been rudely cutting into their conversation. What did the truck that offered you a ride look like. Red and black my sister said, did it have a dent in the door I asked, I think so, Ginny thinking a sec, the answering decidedly, yes, why?

  

Because it is following us you silly birds! They turned, but could only make out headlights.

  

Nice try they chirped, you’re just trying to put one over, we know your tricks, and they went innocently back to their happy chitter chatter.

  

I turned a few more corners, rounded a park, the girls still paying no never mind, and the truck stayed the course right behind me, although they were not as close now…. Finally I made for a well-lit street and pulled over mid-way.

  

What’s up luv, Ginny asked innocently?.. I just tsked them, I told you, a red truck with a black stripe has been following us. We all looked back, the truck, headlights still on, had pulled over a few cars behind us. We waited for several rather long minutes; finally the truck pulled away, and speed by us.

  

So is it the truck I asked,( the two shadowy occupants had been wearing caps from what I could see) maybe Ginny’s voice said from the back, Sis just shrugged( her dangling rhinestone earrings glittering quite strikingly). I could tell the two young ladies still were not buying it. I looked back at the two of them, both smirking at me like I was pullin a leg or something, sitting there all pertly in their shiny dresses, decked out in their rather healthy collection of shimmery faux jewelry.

  

Cripes, I remember thinking at that moment that the pair of duffer’s in the truck may have been after filching the very jewels the lass’s were wearing , believin them to be real. Later I would think that if I hadn’t showed up, Shiny earrings and such would not have been the prigs only intent!

  

I Know,I know, I am assuming the worse here, they may have been a pair of rather pleasant chaps hoping to get the pretty young lass’s numbers . But one always likes to think the worse it seems.

  

Putting all such thoughts aside, I turned the car around in a driveway, and headed back by a different route. We were not followed again, and I was able to complete the trip with peace of mind.

  

I got Ginny back to her house and took Sis home without further incident.

  

But It has always vexed me to wonder what the two blighters in the truck had had going on in their heads, and what tricks they were planning up their weasely sleeves. Were my many assumptions correct, or was it all just a load of bosh. I know it really did bother me for a time, especially since no one believed me. Plus the fact is, as I have already stated, I’m rightly peeved when I am presented with a mystery that cannot readily be solved.

  

I guess I am wondering what anyone’s thoughts were on this story, or if anyone has ever experienced anything similar.

If you want to drop a line or leave it in the comments I would be quite interested to hear about it.

 

Thank You

  

The thinking was almost exclusively about his years in the Department and one particular high profile unsolved case, which had been thrust upon him very early in his career and that had left a profound impression on him: the mysterious disappearance of Dana Drayton, a well known socialite and heiress to part of the fortunes of two prominent Detroit families. Joe knew he would never solve the case by rehashing it, but he couldn’t suppress the notion that something critical had been overlooked in the investigation. Something seemingly insignificant, which might connect two other unmatching bits of information and thus become the key that unlocks the door to an answer. But did anyone want an answer at this point, so many years after the crime, if there ever was a crime? The public had long ago forgotten, the news media had nothing new to report and if they were going to resurrect cold cases, then the Jimmy Hoffa story had more bizarre theories to mine. Every couple years it seemed a new Hoffa burial site would get dug up only to become the latest dead end. The Dana Drayton case had none of that circus- like quality. And, although the odds were that whoever was a part of it was resting in a grave somewhere, Joe had to know who, where and why for his own peace of mind. It was as addictive as working on a jigsaw puzzle, and usually brought on a tide of memories: his role in the investigation, the influence of his mentor, Jack McGuire, and the backdrop of Detroit’s inexorable slide from a technology and societal pioneer, to a symbolic icon of the “Rust Belt,” depopulation, urban inner city crime, and municipal mismanagement and neglect.

at the Marfa lights observation platform, lit by a super moon

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Some others too...

featuring, the Red Hot Chili Peppers and AudioSlave...

Smoke and Mirrors, Fire too... from gwennie2006...

gwennie2006.blogspot.com/2009/10/smoke-and-mirrors-fire-t...

 

Blogger GrfxDziner | Powder Blue [thanks to you!]...

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Caltrans officials confirmed human remains are found inside a culvert pipeline that runs under the 55 Freeway in Costa Mesa. Officials sent a robot camera to inspect for blockages on Monday morning when it spotted what appears to be human remains 300 feet into the 26-inch pipe near the Baker Street offramp, according to California Highway Patrol. Crews can be seen working to flush out the human remains. The Costa Mesa Civic Center can be seen in the distance.

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Bios

Eva Arce

Human rights activist and mother of Silvia Arce who disappeared in Juarez on March 11, 1998. Eva Arce's daughter vanished in March 1998 along with a friend, Griselda Mares. The Washington-based Inter-American Commission on Human Rights (IACHR) of the Organization of American States has accepted her case.

 

Cynthia Bejarano

Assistant Professor of Criminal Justice at New Mexico State University, Las Cruces, and activist. She spearheaded the “Justice for Women” Symposium in Las Cruces in March 2006. Her research interests include youth and justice; U.S. border studies and violence; and race, class, and gender issues within the criminal justice system. Professor Bejarano was involved with community-based groups in the metropolitan Phoenix area and hopes to build strong community advocacy in the New Mexico, Texas, and Chihuahua tri-state area. She is also co-founder of Amigos de las Mujeres de Juárez, a non-profit organization working to end the violence against women in Chihuahua, Mexico and the borderlands. She is currently working on an anthology with colleague Rosa-Linda Fregoso focusing on feminicides and sexual assaults against women throughout Latin America, with the tentative title Gender Terrorism: Feminicides in the Américas.

 

Ilder Andrés Betancourt

Ilder Betancourt will graduate with a Masters in Psychology this June from Stanford University. His research has focused on Latino gangs, specifically in Los Angeles and El Salvador. He has the unusual distinction of having written two honors theses. For his first honors thesis, entitled “Relative Deprivation Mediating Street Gang Appeal,” he constructed and conducted the experimental paradigm used with Latino youth subjects in the Pico Union area of Los Angeles, looking for gang association that occurs at the local level. For his second thesis, “From LA to El Salvador: Displaying Street Performance for the Self,” he conducted field research in El Salvador where he interviewed deported ex-gang members. He is currently teaching for the third year in a row a student-initiated course on Latino gangs in the Chicana/o Studies Program, CCSRE.

 

Lawrence D. Bobo

Lawrence D. Bobo is the Martin Luther King Jr. Centennial Professor at Stanford University. He is in the Sociology Department and also serves as Director of both CCSRE and the Program in African and African American Studies. Professor Bobo is an elected member of the National Academy of Science, a former Fellow of the Center for Advanced Study in the Behavioral Sciences, and former Visiting Scholar at the Russell Sage Foundation. His interests include race, ethnicity, politics, and social inequality. He is currently conducting research for the “Race, Crime, and Public Opinion” project.

 

Lydia Cacho

Journalist and writer, Lydia Cacho has published over 400 articles in Mexico, Spain, the United States and Canada. She is also the director of a crisis center for women and children who have been sexually abused in Cancun, Mexico. She recently received the 2007 Ginetta Sagan Award for Women’s and Children's Rights from Amnesty International for her work exposing a net of pederasts and child pornographers linked to powerful politicians and business people, as well as for her high-security shelter for victims of trafficking and violence in Cancun, Mexico. After her book Los demonios del Edén (The demons of Eden) was published, she received death threats and was kidnapped and incarcerated by the Mexican police. For 15 years she has researched, lectured, and published articles on violence against women in the State of Chihuahua and other parts of Mexico. She is an expert on issues concerning the corruption and impunity of the Mexican government. The Ginetta Sagan Award is given once a year to one woman in the world who stands out for her work on behalf of women’s and children’s rights. Lydia Cacho is the first Mexican to receive this prestigious award. She is also the author of the novel Muérdele el corazón (Bite his heart) based on the diary of a Mexican woman who dies of AIDS and is currently working on the book Trata y tráfico de mujeres en México (Trafficking in Persons: Women in Mexico).

 

Adriana Carmona

Human rights lawyer from the Centro de Derechos Humanos de las Mujeres (Center for Women's Human Rights) in Chihuahua City, Mexico. She has argued cases before the International Commission of Human Rights. She collaborates in the writing of reports for CEDAW and the United Nations in the area of human rights and feminicide. She is also a legislative advisor for the Congress of the State of Chihuahua and works with Justicia para Nuestras Hijas (Justice for Our Daughters), a non- government organization formed by relatives on behalf of the women who have disappeared or have been murdered in Juarez and Chihuahua, Mexico.

 

Carlos Castresana Fernández

Project Coordinator of the United Nations’ Office on Drugs & Crime, Mexican Regional Office. He is also Visiting Professor and Director of International Human Rights Programs at the University of San Francisco Center for Law and Global Justice. In 2003, he visited Ciudad Juarez as a UN Independent Commission Expert to participate in the review of the murder cases in the State of Chihuahua. In 2005, he was appointed Prosecutor of the Spanish Supreme Court. Professor Castresana authored the formal complaint and subsequent reports in the Argentina Case and the Pinochet Case before the Spanish Audiencia Nacional. Professor Castresana serves as an expert in international legal cooperation and other issues in Europe and Latin America. He received the National Human Rights Award in Spain in 1997, and was awarded an Honorary Doctoral Degree from Guadalajara University, Mexico in 2003. He received his law degree from the Complutense University, Madrid, Spain.

 

Lucha Castro

Human rights lawyer from the Centro de Derechos Humanos de las Mujeres (Center for Women’s Human Rights) in Chihuahua City, Mexico. She is also a legal advocate for Justicia para Nuestras Hijas (Justice for Our Daughters). She represents families of murdered women in the State of Chihuahua and also files the cases with the Inter-American Commission on Human Rights in Washington DC, a commission that accused the Mexican government of violating the rights of victims and their families.

 

Norma Cruz

Norma Cruz is an activist for women’s human rights in Guatemala. She began her struggle for justice in 1999 as the result of her own personal experience in the case of her daughter Claudia María who was a victim of sexual violence. Deeply upsetting Guatemalan society, she and her supporters refused to keep silent and made public a reality that affects thousands of Guatemalan female children. Alter a long and dehumanizing legal process, a conviction was achieved in July of 2002, shattering with it the wall of impunity. During this legal process, Norma Cruz and her daughter established the Fundación Sobrevivientes (Survivors Foundation) and began to support hundreds of women who endure violence and seek justice. In July 2006, the Foundation opened the Centro de Atención, providing legal and psychological aid for these women. The Center’s shelter offers protection for women who are victims of intra-family violence and sexual violence, and provides support for families of women who are murdered. Their struggle is directed at bringing impunity to a halt and ending feminicide in Guatemala. In June of 2005, Norma Cruz was officially nominated for the Nobel Peace Prize as part of the campaign “A Thousand Women for a Nobel Peace Prize.” In Killer’s Paradise, a new Canadian documentary focusing on feminicide in Guatemala, she analyzes the links between the murders of women and the civil war in Guatemala.

 

Paula Flores

An activist in the community of Lomas de Poleo in Ciudad Juarez, she is the mother of María Sagrario González Flores, who disappeared on March 11, 1998 in Juarez and was murdered in April, 1998. Her daughter is one of over 400 women who have been disappeared and slain in Juarez over the past 13 years. Paula Flores runs the María Sagrario Foundation, an organization that established the kindergarten Jardín de Niños Ma. Sagrario González Flores in Juarez.

 

Rosa-Linda Fregoso

Professor and Chair of Latin American and Latino Studies, and Feminist Studies, at the University of California, Santa Cruz. Rosa-Linda Fregoso received the second annual MLA Prize in United States Latina and Latino and Chicana and Chicano Literary and Cultural Studies for her book MeXicana Encounters: The Making of Social Identities on the Borderlands. Her interests include human rights, visual culture and and transnational feminist studies. Among her publications on feminicide is the recent article “’We Want Them Alive!’: The Politics and Culture of Human Rights.” Along with Cynthia Bejarano, she is co-editing a book tentatively entitled, Gender Terrorism: Feminicides in the Américas.

 

Judith Galarza

Mexican activist Judith Galarza Campos joined the struggle for human rights as a result of the forced disappearance of her sister Leticia Galarza Campos in 1978. From 1982 to 1996, she was President of the Independent Committee for Human Rights in Juarez. She was also President of the Association of Relatives of Missing Detainees (AFADM) from 1996 to 2000. Currently she is the Executive Secretary of the Latin American Federation of Associations of Relatives of Missing Detainees (FEDEFAM), headquartered in Venezuela. FEDEFAM provides assistance to families of “disappeared people” in all of Latin America. She has been a promoter of several family groups, among them the Association of Missing Children in Mexico in the 1980s. She is currently completing the degree of licenciatura in Education in Venezuela. On July 24th, she will be awarded the Theodor Häcker Prize in Esslingen, Germany. Häcker worked as a writer and translator during the Nazi period and was part of the Catholic resistance. First awarded in 1995, this prize is dedicated to persons who defend human rights "honorably, with special political valor.”

 

Marcela Lagarde

Maria Marcela Lagarde y de los Ríos is a Professor in the Graduate Program in Anthropology and Sociology as well as in the Degree Program in Gender and Development at the Universidad Nacional Autónoma de México (UNAM). She is also advisor to the Graduate Program in Gender Studies of the Guatemala Foundation and to the Program on Feminist Research at UNAM. She is the coordinator of the Casandra Workshops on feminist anthropology and advisor to the Gender Program of the Center for Interdisciplinary Research of UNAM. She is also the Secretary for the College of University Academics at UNAM, of which she became a member in 2002.

 

Marcela Lagarde is a major figure in Latin American feminism. She is the author of over one hundred articles and ten books. Her doctoral thesis, Los cautiverios de las mujeres: madresposas, monjas, putas, presas y locas (The captivities of women: mother-wives, nuns, prostitutes, prisoners and lunatics), has been reprinted a total of five times between 1990 and 2003. Her books examine topics such as the relationship between gender identity, feminism, human development and democracy; the relationship between ethnicity, gender and feminism; the theme of women’s power and autonomy; and feminist perspectives on love, self-concept, and the eve of the millennium.

 

Marcela Lagarde collaborates with feminist groups and women’s centers and institutes in Mexico, Latin America and Spain. She also works with organizations of international cooperation, labor unions and political parties focusing on women’s issues. She is a member of the Network of Researchers for the Life and Liberty of Women and other feminist networks. She is also a member of many editorial boards: of Hypatia, a collection of the Andalusian Institute for Women in Spain; of the journal Cuadernos Feministas, of the Editorial Series Diversidades Feministas published by the Center for Interdisciplinary Research at UNAM; and of the journal Pensamiento Iberoamericano, in Spain.

 

As to the topic that concerns us at this conference, it is Marcela Lagarde who coined the term “feminicide” to describe the situation in Juarez, Mexico. She has developed an analysis of what she calls “the politics of gender extermination” to examine the proliferation of violence in Mexico. Through her ideas, writings and activism, she wishes to leave an indelible mark on public policies.

 

Marcela Lagarde was a federal representative for the Partido de la Revolución Democrática (PRD) in the LIX Congress (2003-2006) and served as President of the Special Commission on Feminicide in the Republic of Mexico. It was the work of this Commission that disclosed that feminicide was not exclusive to Ciudad Juarez. Marcela Lagarde also promoted legislation establishing feminicide as a crime in the Federal Penal Code and helped pass the law Access to a Life Free of Violence for Women, which was established on February 2.

 

Marcela Lagarde is a member of the Mexican Academy on Human Rights (2006); of El Consejo Asesor del Centro de Formación Política Mujer y Ciudad, of the Diputación de Barcelona, España (2006); and of the Council to Prevent and Eradicate Discrimination in Mexico City (2006).

 

Among the many distinctions and honors Marcela Lagarde has received are the Maus Prize for the best doctoral thesis, the Medal of University Merit for 25 years of teaching at UNAM, and the Presea Águila Canacintra al Mérito Legislativo, awarded by the Cámara Nacional de la Industria de la Transformación in 2005. She also received the Omecíhuatl Medal in 2006. The Omecíhuatl Medal is awarded by the Women’s Institute of Mexico City to women who have distinguished themselves for their commitment, struggle and creativity and the defense of democracy. Also in 2006, she received the Hermila Galindo Prize from Mexico City’s Commission on Human Rights, for the defense of women’s human rights.

 

Miguel Méndez

Adelbert H. Sweet Professor of Law at Stanford University. After a litigation career in public interest law that included work for the Mexican American Legal Defense and Education Fund and California Rural Legal Assistance, Miguel Méndez entered academia and has become a foremost expert, scholar, and teacher in the field of evidence law. An author of leading works on the laws of evidence in California, he writes about reforms in the federal and California evidence codes and on emerging issues in state substantive criminal law. He is a consultant to the California Law Revision Commission, a board member at Public Advocates, Inc., and an elected member of the American Law Institute.

 

Miguel David Meza Argueta

Falsely accused on July 14, 2003 and held for the murder of Neyra Azucena Cervantes by the judicial authorities in the city of Chihuahua, Mexico. The falseness of this accusation and incarceration was established by reports from Amnesty International, news articles, and testimonies from relatives of the murdered woman, including her mother, Sra. Patti Cervantes, who is also David’s aunt. After proving that Mexican authorities tortured him, he was set free in June 2006.

 

Paula Moya

Associate Professor in the English Department at Stanford University, Paula Moya served for three years as Director of the Undergraduate Program in CCSRE and as Chair of its Comparative Studies major. Her interests are Chicana/o cultural studies and feminist theory, incorporating 19th and 20th century American literatures, post-colonial literature and literary and cultural theory. Her main theoretical concern centers on the relationship between a subject's social location and her identity, and seeks to interrogate the epistemic and political consequences of social identity. For the past five years, she has been actively involved with the Future of Minority Studies research project (FMS), facilitating discussions about the democratizing role of minority identity and participation in a multicultural society.

 

Elisabeth Mudimbe-Boyi

Professor of the French and Comparative Literature Departments and Director of the Program in Modern Thought and Literature at Stanford University. Her fields are 20th-century French literature and Francophone literature from Africa and the Caribbean. Her interests include cultural relations between Europe, Africa and the Caribbean; travel writing; history and memory in literature; literature, intellectuals and society; and women writers. She recently served on the Executive Council of the Modern Language Association, where she represented the field of French.

 

Marisela Ortiz

Marisela Ortiz is the Director of Nuestras Hijas de Regreso a Casa (Our Daughters on Their Way Back Home), a non-profit organization composed of mothers, family members and friends of murdered women in Ciudad Juarez, Mexico. A psychologist with a Masters degree in special education, she has taught at the Escuela Normal Superior de Chihuahua for the past 20 years, specializing in professional development. She continues to work with adolescents and also trains middle school teachers in her entire region.

 

David Palumbo-Liu

Professor of Comparative Literature, Director of the Undergraduate Program in CCSRE, and Chair of CCSRE’s Comparative Studies major at Stanford University. His fields of interest include social and cultural criticism; literary theory and criticism; and East Asian and Pacific Asian American studies. His current project addresses the role of contemporary humanistic literature with regard to the instruments and discourses of globalization, seeking to discover modes of affiliation and transnational ethical thinking. Professor Palumbo-Liu is most interested in issues regarding social theory, community, justice, globalization, and the specific role that literature and the humanities play in helping us address each of these areas.

 

Elena Poniatowska Amor

Journalist and novelist, Elena Poniatowska is one of Latin America's most distinguished and innovative living writers. Many of her works have been translated into English, including Querido Diego te abraza Quiela (Dear Diego), Hasta no verte, Jesús mío (Here's to You, Jesusa!); Nada, Nadie. Las voces del temblor (Nothing, Nobody: The Voices of the Mexican Earthquake); Tinísima; La noche de Tlatelolco. Testimonios de historia oral (Massacre in Mexico) and La piel del cielo (The Skin of the Sky). Translations of her work also exist in Polish, Danish, French, Dutch, Italian and German. Elena Poniatowska advocates for women and the poor in their struggle for social and economic justice, denounces the repression of that struggle, and blurs the boundaries between conventional literary forms.

 

Born in Paris, Elena Poniatowska is of Mexican and French descent. Her father was a Frenchman whose family was originally from Poland. She moved to Mexico in 1942 and began her work as a journalist at the newspaper Excelsior in 1953, where she published daily interviews during an entire year under the name "Hélene.'' She interviewed Diego Rivera, Octavio Paz, William Golding, Barry Goldwater, Dolores del Río, Cantinflas, María Félix, Juan Rulfo, and Linus Pauling, among others. From Excelsior she went to Novedades, where she drew an audience who followed her because of her unpredictable texts. She is a founder and a contributor of the leftist newspaper La Jornada, and continues to contribute to its pages.

 

In 1954 she published her first novel, Lilus Kikus. Chronicler of the 1985 earthquake and of the Chiapas conflict, she continues to meld her journalistic and literary work. She published Tinísima in 1992, a novel about the life of Tina Modotti, which was as successful as her novel Hasta no verte Jesús mío, about the life of a soldadera, or camp follower. Her next novel, La piel del cielo, won the Premio Alfaguara in 2001 and the prize for the best novel in Spanish awarded by the government of China. In 2004, Alfaguara published her novel El tren pasa primero, which brought to life the struggle of railroad workers and led to the reconstruction of railway stations in many parts of Mexico. During a 35-year period, she led a literary workshop that produced writers such as Silvia Molina, Guadalupe Loaeza y Rosa Nissan.

 

When Luis Echevarría, who had been Secretary of State during the massacre of 1968, was elected president, he awarded the Xavier Urrutia Literary Prize to Elena Poniatowska in 1971 for her book La noche de Tlatelolco. She rejected the prize asking who was going to award prizes to the dead.

 

She has been awarded many honorary doctoral degrees: by the University of Sinaloa, the University of Toluca, Columbia University and Manhattanville College in New York, Florida Atlantic University in Boca Raton, and the University of Pau in France. She is the only woman who has received the Mazatlán Prize in Literature on two occasions, and in 1979, she was the first woman to receive the National Prize for Journalism. In 1993, she was awarded a Guggenheim Fellowship and received the Gabriela Mistral Medal in Chile in 1997. She holds the rank of official in the French Legion of Honor, and in 2004 she received the Mary Moors Cabot Prize for Outstanding Work in Journalism. In 2006 the International Women’s Media Foundation awarded her the Courage in Journalism Lifetime Achievement Award. In addition to these she has received many other prizes and awards.

 

Elena Poniatowska dedicates a good part of her life to writing novels, short stories, poems, articles, interviews, prologues, and book presentations. She was married to Dr. Guillermo Haro, the founder of modern astronomy in Mexico. She has three children, the oldest of whom is a scientist, and ten grandchildren. She lives in Chimalistac with 13 canaries and an unending line of visitors.

 

Lourdes Portillo

Lourdes Portillo was born in Chihuahua, Mexico and moved to the United States in 1960. Her films focus on the representation of Latina/o identity, human rights, social justice and Latin American realities. An equally important aspect of her filmmaking is experimenting with the documentary form. Her most recent film, Señorita Extraviada (Missing young woman), released in 2002, is a documentary about the disappearance and death of young women in Juarez and the search for truth and justice by their families and human rights groups. It received a Special Jury Prize at the Sundance Film Festival, the Best Documentary Prize at the Havana International Film Festival, and the Néstor Almendros Prize at the Human Rights Watch Film Festival. It premiered on P.O.V. and received more than 20 prizes and awards around the world. The film inspired a number of governmental and non-governmental organizations such as Amnesty International to conduct intensive investigations into the disappearances and murders of women in Juárez. Lourdes Portillo made her first film, a dramatic short called After the Earthquake, in 1979. Some of the other documentary, dramatic, experimental and performance films and videos she has made are the Academy Award-nominated Las Madres: The Mothers of Plaza de Mayo (1986); La Ofrenda: The Days of the Dead (1988); Vida (1989); Columbus on Trial (1992); Mirrors of the Heart for the PBS series “Americas” (1993); The Devil Never Sleeps (1994); Sometimes My Feet Go Numb; 13 Days, a multi-media piece for a nationally toured play by the San Francisco Mime Troupe (1997); and Corpus (1999), a documentary about the late Tejana singer Selena.

 

Kris Samuelson

Professor in the Art and Art History Department at Stanford, where she is Director of the Film and Media Studies Program and the Documentary Film and Video MFA Program. She has also been a Professor in the Department of Communication, where she served as Chair from 2000-2003. Kris Samuelson has been an independent producer for twenty-eight years and was nominated for an Academy Award for her film Arthur and Lillie. She has received artist's fellowships from the NEA and the California Arts Council and is a member of the Academy of Motion Picture Arts and Sciences. From 1999-2006, Samuelson served on the Board of the Independent Television Service. Samuelson recently completed .Point 25, a multimedia concert and co-production with colleagues in Stockholm.

 

Rita Laura Segato

Professor of Anthropology at the University of Brasilia in Brazil, Rita Segato directs the National Research Council of Brazil’s research group on anthropology and human rights. She is also the project director for the non-government organization AGENDE, Ações em Gênero, Cidadania e Desenvolvimento ((Measures in Gender, Citizenship and Development). As part of her work on human rights, she was the co-author of the first affirmative action proposal for the inclusion of students of African and indigenous background in Brazilian higher education.

 

Her study on ethno-psychology and the construction of gender in the Yoruba religious tradition in Recife, Brazil was published in the book Santos e Daimones. O politeísmo afro-brasileiro e a tradição arquetipal (Saints and demons. African-Brazilian polytheism and the archetypal tradition), a second edition of which came out in 2005. A chapter from this book was translated and published as "Inventing Nature: Family, Sex and Gender In the Xango Cult" in 1997. Her essay “Gender, Politics, and Hybridism in the Transnationalization of the Yorùbá Culture” is included in the volume Òrìsà Devotion as World Religion to be published by the University of Wisconsin Press.

 

She has also carried out a comparative study of emerging political identities and multiculturalism within the United States, Brazil and Argentina. This study led to the publication in 2007 of the volume La Nación y sus Otros. Raza, etnicidad y diversidad religiosa en tiempos de Políticas de la Identidad (The nation and its Others: race, ethnicity and religious diversity in times of Identity Politics). Two of the articles included in this volume were published in English as "The Color-Blind Subject of Myth; or, Where to find Africa in the Nation" in 1998 and "Frontiers and Margins: The Untold Story of the Afro-Brazilian Religious Expansion to Argentina and Uruguay" in 1996.

 

Rita Segato carried out an extensive investigation among inmates convicted for sexual crimes in the city in which she resides, and published a book on gender and violence entitled Las estructuras elementales de la violencia (The elemental structures of violence) in 2003. In 2006 the Universidad del Claustro de Sor Juana published her essay “La escritura en el cuerpo de las mujeres asesinadas en Ciudad Juárez. Territorio, soberanía y crímenes de Segundo Estado” (Writing on the body of the murdered women of Juarez: Territory, sovereignty and crimes of the Second State). Her understanding of prison reality is the subject of her article “El sistema penal como pedagogía de la irresponsabilidad y el proyecto ‘habla preso: el derecho humano a la palabra en la cárcel’” (The penal system as a pedagogy of irresponsibility and the project prisoner talk: the right to speech in jail), accessible on the website of the Lozano Long Institute of Latin American Studies, University of Texas, Austin (http://lanic.utexas.edu/project/etext/llilas/cpa/spring03/culturaypaz/segato.pdf). Also part of this series of articles is “El color de la cárcel en América Latina. Apuntes sobre la colonialidad de la justicia en un continente en desconstrucción” (The color of jail in Latin America. Notes toward the coloniality of justice in a continent in the process of deconstruction).

 

Rita Segato is one of the most renowned experts on the subject of feminicide. Her most recent study is entitled “What is feminicide? Notes toward an Emerging Debate,” in which she argues that feminicide should be considered a special category of crimes against humanity in order to bring greater pressure on governments and international jurists to include it among the crimes prosecuted by the International Criminal Court of The Hague.

 

She has been an invited researcher at the Institute for Research in the Humanities of the University of Wisconsin-Madison and in the Department of Anthropology at Rice University in Houston, and a Visiting Professor at the Center for Latin American Studies at the University of Florida, Gainesville.

 

Irene Simmons

Artist, university educator, activist and creator of the art installation “ReDressing Injustice.” The “Redressing Injustice” project brings public awareness to the hundreds of unsolved murders perpetrated against women living in Juarez, Mexico. The installation features over 400 dresses hanging on pink crosses that commemorate the victims of feminicide and protest the absence of justice in Juarez. Creatively transformed dresses are continually added to this collaborative endeavor by community members in the areas where the installation is shown. The installation has been featured at political rallies, social justice forums, and memorial events both nationally and internationally since 2003.

 

Guadalupe Valdés

Bonnie Katz Tenenbaum Professor in the School of Education and Professor in the Spanish and Portuguese Department at Stanford University. She works in the areas of sociolinguistics and applied linguistics. Much of Guadalupe Valdés’ work has focused on the English-Spanish bilingualism of Latinas and Latinos in the United States and on discovering and describing how two languages are developed, used, and maintained by individuals who become bilingual in immigrant communities. Her interests include language diversity; bilinguals and bilingualism; heritage languages among minority populations; and the teaching of Spanish to Hispanic bilinguals and monolingual speakers of English.

 

Yvonne Yarbro-Bejarano

Professor in the Spanish and Portuguese Department and Chair of the Chicana/o Studies Program in CCSRE at Stanford University. Her interests include queer studies and feminist theories, and the confluence of race, gender and sexuality in cultural representations across a variety of media, especially with respect to imaginings of home, nation and family. Since 1994 she has been developing the digital archive Chicana Art, a database of images and information featuring women artists. She will offer a course on the films of Lourdes Portillo in Fall 2007.

 

Gwenda Yuzicappi

Standing Buffalo First Nation member and mother of 19-year-old missing Amber Redman, who disappeared in rural Saskatchewan, Canada on July 15, 2005. Her case was featured in "Stolen Sisters: Discrimination and Violence against Indigenous Women in Canada," a report released by Amnesty International that addresses the disproportionate number of First Nations women who have been abducted, and how these severe felonies have not been deemed a priority by numerous police forces.

 

Copyright 2007, Center for Comparative Studies in Race and Ethnicity, all rights reserved.

 

FEMINICIDE = SANCTIONED MURDER

ccsre.stanford.edu/feminicide/index.html

Be patient toward all that is unsolved in your heart and try to love the questions themselves like locked rooms and like books that are written in a very foreign tongue. Do not now seek the answers, which cannot be given you because you would not be able to live them. And the point is, to live everything. Live the questions now. Perhaps you will find them gradually, without noticing it, and live along some distant day into the answer. ~Rainer Maria Rilke, Letters to a Young Poet

 

HFF!

ESO’s next step is to build a European extremely large optical/infrared telescope (E-ELT) with a 40-metre-class primary mirror. The E-ELT will be “the world’s biggest eye on the sky” — the only such telescope in the world. ESO is drawing up detailed construction plans together with the community. The E-ELT will address many of the most pressing unsolved questions in astronomy, and may, eventually, revolutionise our perception of the Universe, much as Galileo's telescope did 400 years ago.

 

Credit: ESO/S. Brunier

More information: www.eso.org/public/news/eso1018/

The face of the artist is nothing but his mask, since his real "I" remains invisible. According to Steiner, the head having become a kind of hologram of the body, then all the effort of spiritualization of the human being by the artist, will have to relate to the shape of the human head. This is what will happen with the design of the Goetheanum. Once more, we are faced with an objectification of the supersensible domain. The model of Gnostic art for Rudolf Steiner is of course as a work of art the Goetheanum in which he will give substance to his thought. 1965 The model of artistic gnosis for Raymond Abellio is of course a cabalistic diagram: the Universal Senaire Sphere which achieves the synthesis and the program of all his thought. Same. Through these images, we can grasp the artistic project of the first Goetheanum whose architectural elements, such as the columns, the capitals and the windows, owed nothing to chance, neither taste nor even less to functionality, but had to obey requirements particular esoteric and spiritual. The entire Goetheanum was to illustrate the foundations and 16 teachings of Anthroposophy, just as the art of Gothic cathedrals illustrated the foundations and various passages of the sacred history of Christianity. The scene of the Goetheanum was of course the apogee of his artistic project, with the column-seats where the twelve "apostrophes" should sit, next to the carved wooden ensemble, "The Representative of Humanity". which returns as a colored figure under the cupola.

In the rented hall of the Munich State Theatre, the Mystery Plays of Rudolf Steiner were performed each year between 1910 and 1913. The wish arose within the circle around Rudolf Steiner to build an appropriately designed building for these and for performances of eurhythmy. As there were many obstacles from the side of the authorities in Munich, it was decided to redesign the building to be erected on donated land in Dornach near Basel/Switzerland.

Construction began in 1913, meeting with delays during the First World War. Still incomplete, the building burnt down on New Year’s Eve of 1922/23.

The central element, already present in the project in Munich was the ground plan: 2 domes of different sizes resting on 2 large rotundas and interlinked with one another. Because of their particular proportions, they gave the impression both of a single, sculpted space, or also one consisting of 2 separate portions. The pillars along the interior of the building connected with earlier epochs in the development of architecture. Yet each pillar was sculpted individually with a base and a capital whose motifs were carved in such a manner that each new one derived its forms from elements of the previous one. It was Steiner’s attempt to incorporate into the design the laws underlying all development from one form to another in the living world, as in Goethe’s theory of metamorphosis, and to give to these new forms of artistic expression.

Architecture thereby departs from the static, “dead” state and begins to take on elements of a path of animated development. The arts of architecture, sculpture, painting and stained glass windows were united to create a space for the other arts – music, drama and eurhythmy. The building represents an effort to assist what slumbers in each human being as a higher element into full fruition

 

The First Goetheanum: A Centenary for Organic Architecture

John Paull*

University of Tasmania, Hobart, Australia *Corresponding Author: j.paull@utas.edu.au, john.paull@mail.com

ABSTRACT

A century has elapsed since the inauguration (on 26 September, 1920) of a remarkable piece of architecture, Rudolf Steiner‟s Goetheanum, headquarters of the Anthroposophy movement, on a verdant hilltop on the outskirts of the Swiss village of Dornach, near Basel. The Goetheanum was an all timber structure, sitting on concrete footings and roofed with Norwegian slate. The building was begun in 1913, and construction progressed through the First World War. Rudolf Steiner‟s intention was to take architecture in a new and organic direction. On New Year‟s Eve, 31 December 1922, the Goetheanum hosted a Eurythmy performance followed by a lecture by Rudolf Steiner for members of the Anthroposophy Society. In the hours that followed, despite the fire-fighting efforts of the Anthroposophists and the local fire brigades, the building burned to the ground. The popular narrative is that the fire was arson but that was never proved. A local watchmaker and anthroposophist, Jakob Ott, was the only person to perish in the fire. He was falsely accused (in death) as „the arsonist‟ but the evidence is rather that he perished in his brave efforts at saving the Goetheanum. Rudolf Steiner saw the “calamity” as an opportunity “to change the sorrowful event into a blessing”. He promptly embarked on plans for a new building, Goetheanum II. This time there was to be “no wood”. The short-lived Goetheanum I had served as a placeholder for Goetheanum II. This new Goetheanum, Rudolf Steiner‟s finest work of organic architecture, is of steel reinforced concrete and today stands on the Dornach hill right on the site of the old Goetheanum.

Keywords: Rudolf Steiner, Anthroposophy, Goethe, Edith Maryon, Jakob Ott, Marie Steiner, fire, arson, disability, Dornach, Switzerland.

INTRODUCTION

The present Goetheanum building, located at Dornach, Switzerland, is one of the great buildings of the twentieth century (). The world has this building, Goetheanum II, because of three strokes of good luck (karma if you prefer), although they did not appear in that guise at the time. First, was a frustrating bureaucratic denial [1], second, was a catastrophic fire that Rudolf Steiner (1861-1925) described as a “calamity” [2], and third was the arrival of a talented English sculptor who became one of Rudolf Steiner‟s closest colleagues [3].

The original Goetheanum was opened on 26 September, 1920. It was designed by the New Age philosopher, Rudolf Steiner. The first plan was to build a centre for Rudolf Steiner‟s Anthroposophy movement in Munich, but the city authorities denied building approval [1, 4]. It was a source of frustration and disappointment at the time, although it was really a stroke of great good fortune. As the Nazi ideology took root in Germany, Rudolf Steiner was unwelcome and threatened in Germany. After two decades of

living in Berlin, Rudolf Steiner relinquished his Berlin apartment in 1923 and never revisited Germany [5].

Alfred Hummel, who served as a member of the Building Office for the Goetheanum, explains of the denial of building approval: “this could be seen as good providence because the building would have run into great difficulties after the outbreak of World War 1. Munich would have been a place of great danger after 1933” [4: 2]. If the Goetheanum had been raised in Munich, it would have stood a good chance of destruction during World War II since the city was carpet bombed, including with magnesium incendiary bombs, in Allied raids. Such an alternative reality was never tested because shortly after the Munich denial, Dr Emil Grossheintz offered a site for the Goetheanum in Switzerland and Rudolf Steiner took up the offer [1].

The first Goetheanum was a building of very short life. Opened in 1920, it was burned to the ground at the end of 1922. This was a blow to the aspirations of the Anthroposophists and the multinational contingent of dedicated workers

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The First Goetheanum: A Centenary for Organic Architecture

who had laboured through the war, many as volunteers, to create this unique building. Rudolf Steiner described it as a “calamity” [1]. But, the destruction proved to be a blessing in disguise because it allowed a rethink of the design. In place of the original rather quaint structure of Goetheanum I, there is now Goetheanum II, which is a truly remarkable and timeless masterpiece.

The English sculptor, Edith Maryon (1872- 1924), arrived in Dornach a few months before the outbreak of war in 1914, to devote her talents to the service of Rudolf Steiner and his Anthroposophy movement. Here she found her spiritual home and she devoted herself forthwith to „the cause‟. Goetheanum I was already designed and under construction by the time Edith Maryon arrived in Dornach, but she was the sculptor on hand, and by then established as one of Rudolf Steiner‟s close collaborators when Goetheanum II was conceived.

On the occasion of the centenary of the opening of Goetheanum I, the present paper, considers the dharma of the building, its reception, and its passing

Methods

Goetheanum I is, a century on from the opening, beyond living memory. The present account draws on contemporary documents of the time, to throw light on the building, its reception, and its calamitous demise. Documents drawn on include eye witness accounts, personal published and manuscript accounts, newspaper accounts, correspondence, and Rudolf Steiner‟s own comments, explanations and lectures. The original sources are quoted where appropriate.

Results

The Goetheanum with which this paper is concerned is the first Goetheanum, Rudolf Steiner referred to it as the “old Goetheanum”[6], the present paper will refer to it generally as „Goetheanum I‟. When building approval was denied in Munich [4], a devotee of Rudolf Steiner‟s Anthroposophy, the Zürich dentist Dr Emil Grosheintz, offered a site on the outskirts of the Swiss village of Dornach, the site of a famous Swiss battle of 1499 where Swabian invaders were repulsed [7]. Dornach is a brief commute (train or tram, about 15 km) to the city of Basel, which sits in the north west of Switzerland near the junction of three country borders (France, Germany and Switzerland).

The Goetheanum was a project of the New Age philosopher and mystic Rudolf Steiner. He had honed his skills as an orator and lecturer as

leader of the German section of the Theosophy Society [8]. Emerging differences between the Theosophists and Rudolf Steiner led to the establishment of a breakaway movement, the Anthroposophy Society. The Goetheanum was to be the home of the new Society, an administrative centre, and a performance space for Steiner‟s Mystery plays.

Rudolf Steiner went on to design various buildings in the growing enclave of Anthroposophists at Dornach [9], but the monumental Goetheanum I was the first venture into Anthroposophical architectural design on a grand scale, and the Goetheanum II was the apogee of Rudolf Steiner‟s architectural manifestations .

THE GREAT WAR

An Australian soldier, arriving in Europe in 1916, sent a postcard home: “Dear Dave, We have seen a lot of ruined towns & villages since we have been in France. This must have been a nice building once, now ruins, Keith” [10].

In the Europe of the time, destruction on an industrial scale was the order of the day. However, Switzerland remained neutral throughout, and her neutrality was honoured by all the belligerents for the duration.

Construction of the Goetheanum at Dornach began in 1913. Construction carried on through the years of World War I (1914-1918). The Russian artist, Assya Turgeniev, recalled: “Already at the beginning of hostilities Dr Steiner tried to speak to us about the background to the events of the war ... The stirred up chauvinistic moods of his listeners thrown together from all quarters of the globe (we were from about 17 different nations) that did not allow him to continue” [11: 99].

Marie Steiner wrote that, as the war stretched on, the work force was depleted by call-up notices: “one after another our artists were called away to the scene of the war. With very few exceptions, there remained only those men who belonged to neutral countries, and the women” [in 12: vii].

The Goetheanum was built during the Great War using volunteer and paid labour. They came and went. Amongst the privations and avalanche of news of death and destruction of the war: “the work went on as best it could and as far as our strength allowed” [11: 136]. “From all quarters of the globe people gathered in Dornach to help with the building. It was a motley, many-sided, multilingual company”[11: 57]. “Our carving group grew to about 70 in number, not counting those who put in a short appearance ... All financial affairs were

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The First Goetheanum: A Centenary for Organic Architecture

attended to by Miss Stinde. For those who needed it she arranged a modest remuneration” [11: 58].

The artist Assya Turgeniev remembered: “we were only a bunch of dilettantes ... Only the knowledge that we were working together on a great future task and Dr Steiner‟s helping guidance brought order into this chaos. It remains a wonder that the work progresses without any kind of organisation” [11: 59].

With the outbreak of war, “A heavy gloom settled over Dornach ... a European war, was now on our very doorstep [11: 68]. Goetheanum volunteers were called up to return to their respective countries: “Many friends had been recruited and had to depart” [11: 69]. “Our group of wood- carvers grew less and less as further friends were called up” [11: 79].

Figure 1. View of the Goetheanum with blossom trees [source: 13].

A NEW STYLE OF ARCHITECTURE

Rudolf Steiner spoke of the Goetheanum, “The Dornach Building”, in a lecture to Anthro- posophists at The Hague in February 1921: “I have said that the style of this Goetheanum has arisen out of the same sources that gave birth to spiritual science. The endeavour to create a new style of imperfections which must accompany such architecture is accompanied by inevitable risks, by all the a first attempt” [14: 150]. Steiner elaborated: “there is not a single symbol, not a single allegory, but rather we have attempted to give everything a truly artistic form [14: 151].

Organic Architecture

Rudolf Steiner explained his Goetheanum as a manifestation of a new organic architecture: “Concrete and wood are both employed to give rise to an architectural style that may perhaps be described as the transition from previous geometrical, symmetrical, mechanical, static- dynamic architectural styles into an organic style” [14: 153]. The plinth was concrete and the superstructure was timber.

The Goetheanum was organic but not imitative of nature: “Not that some sort of organic form has been imitated in the Dornach building. That is not the case” [14: 154]. Rudolf Steiner informed his audience that: “The least and the greatest in an organic whole has its place in the organism, its absolutely right form. All this has passed over into the architectural conception of the Dornach building” [14: 154]

Rudolf Steiner acknowledged the German writer and polymath, Johann Wolfgang von Goethe (1749 -1832): “it has been my aim, in accordance with Goethe‟s theory of metamorphosis, to steep myself in nature‟s creation of organic forms, and from these to obtain organic forms that, when metamorphosed, might make a single whole of the Dornach building. In other words, organic forms of such a kind that each single form must be in precisely the place it is” [14: 154].

Windows, as all the elements of the Goetheanum, were conceived of as part of an organic whole: “we are handing over this auxiliary building [the Glass House, Glashaus] ... in order that they

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The First Goetheanum: A Centenary for Organic Architecture

may create something that in the fairest sense may be a living member in the whole organism of our building” [12: 15].

Rudolf Steiner was aware already that not all would be won over to his organic architecture: "I well know how much may be said against this organic principle of building from the point of view of older architectural styles. This organic style, however, has been attempted in the architectural conception of the building at Dornach ... You will therefore find in the Dornach building certain organic forms... carved out of wood, as embodied in the capitals of the columns at the entrance” [14: 154-6]

THE OPENING

The Italian artist Ernesto Genoni, who later spent a year with Rudolf Steiner at Dornach (in 1924) [15, 16] and was a member of Rudolf Steiner‟s First Class, wrote two (somewhat cryptic) accounts of his first visit to the Goetheanum on the occasion of the inauguration (26 September, 1920).

In one account Ernesto Genoni relates: “In Milan I came in touch with the Anthroposophical Society where I took part for a whole year in the study of Anthroposophy. Then my sister Mrs [Rosa] Podreider, for certain business reasons, sent me to Lausanne and said „While you are there you can go as far as the Goetheanum‟. Eventually I arrived in Dornach at the inauguration of the first Goetheanum. There Mrs [Charlotte] Ferreri introduced me to Dr Steiner and I was received by him with great warmth. Unfortunately he was speaking in German which I did not know, but by his long handshake

and smiling expression of the face I could feel his sincere welcome. Here I would like to add this - That was the only time among all the people I met at the Goetheanum that anyone gave me a feeling that I was truly welcome ... So much did I feel this isolation that I decided to return to Italy” [17: 7].

In another account of his Goetheanum inauguration visit, Ernesto Genoni writes: “In autumn 1920 Rosa sent me to Lausanne for selling some opossum skins and then I went to Dornach. What a strange impression I received from the first view of the Goetheanum building ... The short conversation with Fräulein Vreede ... chilly! Frau Ferreri ... the meeting with the Doctor ... the bewildering impression of the interior of the Goetheanum. I could not enter in such saturated life of the spirit and after a few days I left ... the reproach from Miss Maryon. In the following years it was a painful search to find my way in life” [18: 19] (author‟s note: ellipses are in the original handwritten manuscript).

ART OF THE TOUR

Rudolf Steiner wanted the art of the Goetheanum to speak directly to the viewer without intermediary explanations: “Sometimes I had occasion to show visitors the Goetheanum personally. Then I used to say that all „explanation‟ of the forms and colours was in fact distasteful to me. Art does not want to be brought home to us through thoughts, but should rather be received in the immediate sight and feeling of it” [1: 3]. The photographs in the present paper offer an insight into the experience of Steiner‟s visitors (Figs. 1, 2 & 3).

Figure 2. Rear view of the Goetheanum with Heizhaus to the right (postcard)

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The First Goetheanum: A Centenary for Organic Architecture

NEWS IN THE ANTIPODES

The Register newspaper in Adelaide, Australia‟s city of churches, informed its readers in 1925 about Rudolf Steiner and the Goetheanum: “a man who built a building large enough to contain an audience of a thousand people, roofed by intersecting domes, the larger of them slightly greater span than St Peter‟s, earned a title of serious consideration from all who profess the art of architecture. The building owed nothing to traditional styles. No effect was made by its designer to present an intellectual conception of what the temples of ancient Greece could contribute to the art of modern Europe, nor were the forms of medieval Gothic borrowed and adjusted. In no sense was it a drawing board design.” [19].

The Register continued: “It was conceived and designed, as architecture should be and must be, in three dimensions, and it had to be seen in three dimensions to be understood ... as a first effort in a new presentation of architecture it has probably no rival in the history of art” [19].

Readers in South Australia were informed that the Goetheanum: “was built on the summit of one of the foothills of the Jura mountains, near the village of Dornach, standing out against a background of rugged hills and rocky cliffs ... He deliberately discards the limitations of squares, and one feels that his construction is organic rather than static” [19].

Figure 3. Interior of the Goetheanum [source: 13]. Journal of Fine Arts V3 ● I2 ● 2020

The Name

Even the name of the Goetheanum apparently drew offence. „Wokeness' is not such a twenty- first century phenomenon as some might suppose. Rudolf Steiner explained: “Many people were scandalised at the very name, „Goetheanum‟, because they failed to consider the fundamental reason for this name, and how it is connected with all that is cultivated there as Anthroposophy ... this Anthroposophy is the spontaneous result of my devotion for more than four decades to Goethe‟s world-conception” [2: 1].

Of the name, Rudolf Steiner explained: “this Goetheanum was first called „Johannesbau‟ by those friends of the anthroposophical world- conception who made it possible to erect such a building ... for me this building is a Goetheanum, for I derived my world-view in a living way from Goethe ... I have always regarded this as a sort of token of gratitude for what can be gained from Goethe, an act of homage to the towering personality of Goethe ... the anthroposophical world-view feels the deepest gratitude for what has come into the world through Goethe” [2: 2].

Second Thoughts

Less than a year after the opening of the Goetheanum, and even while the building remained incomplete (it was never entirely completed), Rudolf Steiner revealed that he was thinking of a Goetheanum Mark 2.

At a lecture in Berne on 29 June 1921 titled „The Architectural Conception of the Goetheanum‟ Rudolf Steiner told his audience that: “Naturally one can criticise in every possible way this architectural style which has been formed out of spiritual science. But nothing that makes its first appearance is perfect, and I can assure you that I know all its flaws and that I would be the first to say: If I had to put up this building a second time, it would be out of the same background and out of the same laws, but in most of its details, and perhaps even totally, it would be different” [20: 42]. As events played out just eighteen months later, it proved to be a remarkably prescient statement.

Bad Timing

For sheer bad timing (and perhaps prolixity), a fund raising letter dated 25 December 1922 by the British Anthroposophical Society in London would be hard to beat. The letter explained that: “the Goetheanum expresses in a language of line, form and colour those thoughts and ideas which a knowledge of higher spiritual worlds

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produces in the artist. As a work of art the Goetheanum can only be compared, in its tendency to the supreme artistic achievements of humanity, for it produces in the onlooker the perception of that interpenetration of object and idea of which the true world of art is the outcome, while it raises him to that point within his inner being where an ideal spiritual world is felt to be born into physical reality”.

Then the fund raising letter gets to the point: “The Goetheanum still remains to be completed. The funds at Dr Steiner‟s disposal are drawing to an end. Money is urgently needed to carry on the work. The work MUST NOT STOP ... Let each give what he or she can. In the old days ladies sold their jewellery to enable the foundation stone to be laid” [21].

Just six days after the date of the London fund raiser letter, the Goetheanum burned to the ground (on the night of 31 December 1922). Rudolf Steiner described the occurrence as a “dreadful calamity”. He reminded his audience of “The terrible catastrophe of last New Year‟s Eve, the destruction by fire of the Goetheanum, which will remain a painful memory” [2: 1].

Rudolf Steiner explained that the Anthroposophical Society was misunderstood and that there was calumny afoot: “That dreadful calamity was just the occasion to bring to light what fantastic notions there are in the world linked with all that this Goetheanum in Dornach intended to do and all that was done in it. It was said that the most frightful superstitions were disseminated there, that all sorts of things inimical to religion were being practiced; and there is even talk of all kinds of spiritualistic seances, of nebulous mystic performances, and so on” [2: 1].

The Fire

A local newspaper, the Basler Nachricten reported the news of the New Year fire at the Goetheanum: “The Goetheanum in Dornach-Arlesheim is on fire, was the terrible alarm message that flew like wildfire ... just before the bells sounded in solemn ringing ... On New Year‟s Eve ... at 7 pm , the Goetheanum had a presentation of Eurythmy and a lecture by Rudolf Steiner ... The last audience had left the lecture hall by 9.45 pm ... immediately after the seriousness of the situation was clear, the calls for help were despatched to the surrounding villages and to Basel ... The Dornachers were the first to arrive at 11:45 pm, followed by the Arlesheimers a quarter of an hour later ... Because of repair work, there was scaffolding where the fire was first seen” [22].

Rudolf Steiner put the fire as starting between 5:15 pm and 6:20 pm [23].

Rudolf Steiner related that: “one hour after the last word had been spoken, I was summoned to the fire at the Goetheanum. At the fire of the Goetheanum we passed the whole of that New Year night”. He stated that it was “exactly at the moment in its evolution when the Goetheanum was ready to become the bearer of the renewal of spiritual life”[6].

A newspaper gave an account of the events: “When the double cupolas fell in, there shot up heavenwards a giant sheaf of fire, and a torrent of sparks threatened the whole neighbor-hood so that fire-men had to be sent in all directions to prevent the spread of disaster” [24]. Later, on New Year‟s Day “The sky was veiled in clouds as if to check the great outpouring of people which took place from Basel and its neighbor- hood. For nearly the whole population there was one urge: Off to Dornach! Hour after hour unbroken streams of people climbed the muddy roads and slippery fields, whilst other streams, equally unbroken, flowed down again” [24].

Rudolf Steiner later referred to “the pain for which there are no words” [1: 7]. However, on the day, as Albert Steffen relates, Rudolf Steiner kept his nerve and declared the continuance of the New Year‟s programme: “In the morning Dr Steiner ... was still there ... „We will go on with our lectures as notified‟, he said, and gave instructions that the pools of water in the „Schreinerei‟ (the temporary shed used for lectures) and the dirt carried in by muddied shoes should be removed” [25: 13].

Seat of the Fire

Albert Steffen (1884-1963), Anthroposophist, writer and editor, wrote of the seat of the fire: “Unfortunately a scaffolding, necessary for certain work, had been put up just in the place where the fire was first noticed” [25: 12]. A local Basel newspaper had reported likewise: “Because of repair work, there was scaffolding where the fire was first seen” [22].

Ninety nine years later, accounts of the Notre Dame Cathedral fire of 2019 are reminiscent of accounts of the Goetheanum fire. “The fire began at about 18:43 local time on Monday (15 April). Pictures show flames shooting up around the spire, shortly after the doors were shut to visitors for the day. The blaze spread rapidly along the wooden roof as onlookers gathered on the ground below” [26]. Another account states

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that: “Flames that began in the early evening burst through the roof of the centuries-old cathedral and engulfed the spire, which collapsed, quickly followed by the roof” [27]. Builder‟s scaffolding for repair work are also a part of the Notre Dame story: “Much of the roof was covered in scaffolding as part of a big renovation programme, which is being investigated as a possible cause of the blaze” [26]. Two leading candidates for the cause of the Notre Dame fire are identified: “The catastrophic fire at the Notre Dame Cathedral could have been caused by a burning cigarette or an electrical malfunction, French prosecutors said ... Prosecutors are now looking at the possibility of negligence” [28].

Of the Goetheanum fire, a Basel newspaper reported: “Dr Steiner ... According to him,, who will probably know his way around the construction of the building, the fire must have started between 5:00 and 7:00 in the evening .... The smoke was noticed a little after 10 pm in the so-called „white room‟ on the third floor” [23]. The room, the apparent seat of the fire, was used by one or some Eurythmists as a change room [23]. It was reported that “there were no electrical systems at the fire site”[22].A discarded cigarette butt, a neglected candle or a portable camp stove or heater (the outside temperature would have been hovering around 0o C), or a flimsy Eurythmy costume draped carelessly on a hot light bulb are candidates as potential ignition sources.

The Goetheanum was insured for CHF 3,800,000 and with a further CHF 500,000 for furniture and equipment [22]. A proof of contributory negligence would have voided or severely prejudiced an insurance claim. This, combined with the prevailing persecution complex of the Anthroposophists, was a great motivation for fuelling suspicions of arson. To this day, the cause of the Goetheanum blaze remains an open question [29]. The timely payout of the insurance facilitated the rebuild of the Goetheanum, and the local Building Insurance Act was revised “to protect the state institution against such disasters” [30].

Jakob Ott

One person lost their life in the fire. That was Jakob Ott, a watchmaker from nearby Arlesheim, and a member of the Anthroposophy Society.

Assya Tergeniev recorded that: “When the glowing ashes had cooled, some days later, a human skeleton with a deformed spine was found therein. This deformity was the same as

that of a watchmaker who had disappeared at the time of the fire. It was officially announced that he had come to grief while helping with the rescue work” [11: 129].

A Basel newspaper reported that “Human remains were found in the rubble of the burned- down Goetheanum on Wednesday [10 January]. It is not yet certain whether it is the missing watchmaker Ott ... These are the bones of a single person, who presumably fell from the floor of the dome into the depth of the basement. The skull was smashed ... no one apart from the watchmaker Ott has been missing since that fateful night ... the bone remains were almost completely covered with slate residue from the roof of the dome. The casualty must have plunged into the stage basement below the collapsing dome at 12 midnight. Although all fire-fighting teams had withdrawn at 11:30 pm in view of the building, which was at risk and could no longer be saved, it is easily possible that, due to the thick smoke, a person who might already have been stunned had not been noticed” [31].

Conspiracy theorists of the day, and later commentators, have attributed the fire to arson, but that is not proven, and even named the supposed arsonist as Jakob Ott, and that is proven false. Research of Günther Aschoff has established: “the 28-year-old watchmaker Jakob Ott from Neu-Arlesheim had died in the fire. But he could not have been the arsonist, because he was home all New Year's Eve, then in the evening at a choir rehearsal and at the year-end service in the Reformed Church. (He was a member of the Reformed Church and of the Anthroposophical Society, he procured many advertisements for the magazine "Das Goetheanum" and had also collected signatures for the naturalization of Rudolf Steiner). At about 22.30 he was on the tram on the way home. When he saw the clouds of smoke at the Goetheanum in the moonlit night, he ran up the mountain, to help, which he used to do whenever he was needed. He was present when the fire was extinguished in the small dome at the top of the building, but when the others had already retreated because of all the smoke”. Jakob Ott failed to evacuate likely because he was overcome by smoke or that he lost his footing [32].

Jakob Ott was reportedly just 1.5 metres tall, and a hunchback with “a backbone curvature due to an accident” [31]. Another account simply sated: “Ott had a hump” [30]. He was a man of modest means and lacking influential friends. As a disabled figure, Jakob Ott was a

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The First Goetheanum: A Centenary for Organic Architecture

ready candidate for „othering‟ and he made a convenient scapegoat for the smug. A Basel newspaper reported: “Dr Steiner, whom we also interviewed regarding Ott ... He himself has no suspicion of Ott” [23]. Rudolf Steiner subsequently attended Jakob Ott‟s funeral [33].

It appears that Rudolf Steiner never referred to the fire as „arson‟. Albert Steffen wrote of „The destruction of the Goetheanum by fire”, he did not write of „by arson‟ [25]. Arson does not rate in the top ten causes of house fires [34]. Arson does not rate as one of the nominated “leading causes of warehouse structure fires” [35]. If the arson conspiracy theory fails, then the quest for „the arsonist‟ is extinguished.

The demonising of Jakob Ott has been an unworthy episode propagated by some who should have known better. One hysterical account about Jakob Ott appears to be mere flights of fancy, ungrounded in fact, and owes more to a fertile imagination than sound research [e.g. 36]. It appears that Marie Steiner has fuelled conspiracy theories: “One of the suspects was the watchmaker Jakob Ott from Allesheim , whose skeleton was found ten days after the fire in the ashes of the Goetheanum which had burned down. It was identified by a spinal defect. Later Marie Steiner wrote „From a skeleton that was discovered, it can be established that the arsonist was burned‟‟ [quoted in 33: 904].

Jakob Ott (1895-1923) died a miserable death by incineration, in a worthy cause of trying to save the Goetheanum. Whether he was overcome by smoke and/or lost his footing, the action of entering a burning building is the act of a brave man.

A Blessing

Exactly a year on from the fire, Rudolf Steiner reflected on the events of New Year‟s Eve, 1922, at the Goetheanum. The venue for the lectures was now the much less salubrious (and cold) Schreinerei, the carpentry workshop, adjacent to the site of the remnants of the fire [37].

Rudolf Steiner referred to the “painful memory” of the final lecture that he had delivered at the Goetheanum, what he now called “our old Goetheanum” [6]. Remembering the night, Rudolf Steiner reminded his listeners that; “the flames bust from our beloved Goetheanum ... but out of the very pain we pledge ourselves to remain loyal to the Spirit to which we erected the Goetheanum, building it up through ten years of work” [6].

Changing tack, Rudolf Steiner urged his audience to move on from the “tragedy” and offered them the recipe for doing just that: “if we are able to change the pain and grief into the impulses to action then we shall also change the sorrowful event into a blessing. The pain cannot thereby be made less, but it rests with us to find in the pain the urge to action ... Let us carry over the soul of the Goetheanum into the Cosmic New Year, lets try to erect in the new Goetheanum a worth memorial to the old!” [6: 4].

Beyond Wood

Goetheanum I was an all-timber construct. One of the building officers related that: “our first director had implored us not to use any iron nail, coach screw or sheet metal in the main wooden structure. These artificial building materials were not to be brought in connection with the noble organic timber” [4: 15]

A few months after the fire, Rudolf Steiner, writing in the April 1923 issue of the periodical „Anthroposophy‟, was quick to rule in a rebuild, that was never in doubt in his mind, while at the same time he ruled out rebuilding in timber: “In rebuilding the Goetheanum we shall probably need to think on different lines ... There can, of course, be no question of a second Building in wood” [38: 38].

In 1923 Rudolf Steiner wrote to the Central Administration of the local Swiss Canton Solothurn: “The new building will stand directly on the site of the old. With regard to the construction of the building as a whole, we bring to your attention that it is to be executed as a solid structure and that all its structural parts, all floors and bearing walls, as well as the roof trusses will be carried out in reinforced concrete. We plan to employ a purely steel construction for the support of the floor of the main stage alone. Timber will be used nowhere as a constructional element in the new building, but exclusively for doors, windows, flooring and floor construction over solid slab floors, for rafters and for fixtures and cladding. As roof material the same Norwegian slate as was used on the old Goetheanum is to be employed. ... We are convinced that the entire building, when completed in this type of construction, will be able to meet all requirements as to fire safety to an unusual degree” [39: 52].

Concrete

By the time of Goetheanum II, Rudolf Steiner already had some experience of reinforced

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The First Goetheanum: A Centenary for Organic Architecture

concrete as a building medium. The rather fanciful Heizhaus (Boiler House) of 1914 [9], located nearby the Goetheanum, and still standing today, is a creative exercise in concrete. Rudolf Steiner described it as “a remarkable structure” and so it is [14] (Fig.2).

Rudolf Steiner was well aware of criticism of his first adventure in concrete, the Boiler House. He proffered this rejoinder: “This is what is subject to the most severe criticism from some quarters ... I undertook to create ... a shell of concrete - a material which is extremely difficult to mould artistically. Those who criticise this structure today do not pause to reflect what would stand there if no endeavour had been made to mould something out of concrete - a material so difficult to mould. There could be nothing but a brick chimney. I wonder if that would be more beautiful than this, which of course is only a first attempt to give a certain style to something made of concrete. It has many defects, for it is only a first attempt to mould something artistic out of materials such as concrete” [14: 157].

Edith Maryon, Sculptor

Edith Maryon (1872-1924) stepped into Rudolf Steiner‟s life in 1914. It was just before the outbreak of World War I and she quickly became one of his closest confidants. Edith Maryon was an English sculptor trained at the Royal College of Arts in London.

As a trained and skilled sculptor, Edith Maryon brought new skills into the inner sanctum of Rudolf Steiner‟s bevy of talented women, which included the mathematician Elizabeth Vreede and medical doctor Ita Wegman. Goetheanum I was already under construction when Edith Maryon arrived at Dornach. Edith Maryon however quickly proved her skills in collaborative architectural design not just of sculptural elements within Goetheanum I. Together they created the Eurythmy Houses I, II and III (Eurythmiehäuser), a little way down the Dornach hill from the Goetheanum [9].

Edith Maryon brought a feminine influence and a sculptor's panache. Under the collaborative influence of Edith Maryon, Rudolf Steiner was liberated from the overt Freudian features of his earlier creations with his phallic Boiler House and the double-breasted Glass House (Glashaus) and Goetheanum I.

The clay models for Goetheanum II were constructed during 1923, the year of closest

collaboration between Rudolf Steiner and Edith Maryon. At the end of the year, at the Christmas Conference of 1923 Rudolf Steiner appointed Edith Maryon as the head of the Sculpture Section (plastic arts) of the School of Spiritual Science of the Goetheanum [40]. Sadly, by then her health was deteriorating and she passed away four months later. Rudolf Steiner‟s own health took a blow at the close of the Christmas Conference on 31 December 1923. He struggled on through nine months of 1924, before retreating to his sick bed in September, and he passed away six months later.

It could be regarded as fortuitous that Goetheanum I was destroyed during Rudolf Steiner‟s own lifetime and that he and Edith Maryon had developed a close collaborative working embrace that could bring the clay sculptural models of Goetheanum II quickly to fruition. Goetheanum II is Rudolf Steiner‟s final contribution to his portfolio of Anthroposophic buildings and to organic architecture, and more than any of his prior works, it is a monumental and masterful work of sculpture.

CONCLUSION

The first Goetheanum was both success and failure. It was a bold experiment in organic design, a proof of concept that such a vision could be translated into reality, that despite the disruption of war, work could proceed, funds could be raised, a distinctive building could be manifested, and the enthusiasm and talent of a multitude of volunteers could be harnessed. However, an all timber building is a conflagration waiting to happen, it is just the timing of the conflagration that is the uncertainty. In the case of Goetheanum I, the conflagration came quickly, before even the building was completed, before a Mystery Play was ever performed in the space, remembering that a dedicated performance space for such plays had been a large part of the rationale for the building.

The dharma of Goetheanum I was to serve as a placeholder for Goetheanum II. The new Goetheanum took the money from the insurance of the demise of the old Goetheanum, and embraced the lesson that an all-timber construction is not a recipe for longevity. Goetheanum II harnessed the sculptural skills by then on hand, and brought them to the fore to create what is not only a magnificent sculpture in concrete, but is also a functioning building and a delight to work in. Flushed away is the quaintness of Goetheanum I. The new Goetheanum is a bold twentieth

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century building worthy of the twenty first century and beyond.

ACKNOWLEDGEMENT

Thank you to to members of the Goetheanum Archive (Dokumentation am Goetheanum Bibliothek Kunstsammlung Archiv) for kind

assistance in navigating the collection and to DeepL.com/Translator and Google Translate for assistance with various translations.

REFERENCES

[1] Steiner, R., The Goetheanum in the ten years of its life, I. Anthroposophy, 1923. 2(1-2): p. 2-10.

[2] Steiner, R., What was the purpose of the Goetheanum and what is the task of Anthroposophy, A lecture at Basel, 9 April, 1923. 1923, Fremont, IL: Rudolf Steiner Archive, .

[3] Paull, J., A portrait of Edith Maryon: Artist and Anthroposophist. Journal of Fine Arts, 2018. 1(2): p. 8-15.

[4] Hummel, A., A Diary: Life and Work During the Building of the First Goetheanum. 2003, (Trans. Friedwart Bock from c.1955 German original), Aberdeen: Camphill Architects.

[5] Paull, J., Rudolf Steiner: At Home in Berlin. Journal of Biodynamics Tasmania, 2019. 132: p. 26-29.

[6] Steiner, R., World History in the Light of Anthroposophy, A lecture at Dornach, 31 December 1923. 1923, Fremont, IL: Rudolf Steiner Archive, .

[7] Fahrni, D., An Outline History of Switzerland From the Origins to the Present Day. 1997, Zürich: Pro Helvetia Arts, Council of Switzerland.

[8] Steiner, R., The Story of My Life. 1928, London: Anthroposophical Publishing Co.

[9] Kugler, J., ed. Architekturführer Goetheanumhügel die Dornacher Anthroposophen-Kolonie. 2011, Verlag Niggli: Zurich.

[10] Keith, Postcard (with handwritten message on rear): Ypres - La Salle Pauwels (Halles d'Ypres) avant et après le Bombardment. The Pauwels Gallery (Halles of Ypres) before the Bombard- ment and after. 1916, Paris: Visé Paris (private collection).

[11] Turgeniev, A., Reminiscences of Rudolf Steiner and Work on the First Goetheanum. 2003, Forest Row, UK: Temple Lodge.

[12] Steiner, R., Ways to A New Style in Architecture: Five lectures by Rudolf Steiner given during the building of the First Goetheanum, 1914. 1927, London: Anthroposophical Publishing Company.

[13] Uehli, E., Rudolf Steiner als Künstler. 1921, Stuttgart: Der Kommnede Tag.

[14]

[15] [16] [17] [18] [19] [20] [21]

[22] [23]

[24]

[25] [26] [27]

[28]

[29] [30] [31]

Steiner, R., The Dornach Building, Lecture at The Hague, 28 Feb 1921, in Rudolf Steiner Architecture, A. Beard, Editor. 2003, Sophia Books: Forest Row.

Paull, J., Ernesto Genoni: Australia's pioneer of biodynamic agriculture. Journal of Organics, 2014. 1(1): p. 57-81.

Paull, J., The Anthroposophic Art of Ernesto Genoni, Goetheanum, 1924. Journal of Organics, 2016. 3(2): p. 1-24.

Genoni, E., Personal memoir. c.1970, 9 pp., typewritten manuscript, last date mentioned is 1966, A4. Private collection.

Genoni, E., Personal memoir. c.1955, 26 pp., handwritten manuscript, last date mentioned is 1952, school exercise book. Private collection.

The Register, Modernity in Art - New Architectural Forms. The Register (Adelaide, Australia), 1925. 31 December: p. 5.

Biesantz, H. and A. Klingborg, The Goetheanum: Rudolf Steiner's Architectural Impulse. 1979, London: Rudolf Steiner Press.

Metaxa, G., Typed letter, Dear Friends and fellow members. 2 pages. 25 December. Anthroposophical Society. 1922, 46 Gloucester Place, London.

Basler Nachrichten, Das Goetheanum niedergebrannt. Basler Nachrichten, 1923. 2 January.

Basler Nachrichten, Zum Brand im Goetheanum - Ott in Verdacht als Brandstifter oder Mitwisser. Basler Nachrichten, 1923. 5 January.

National Zeitung, The account of the burning of the Goetheanum from the National Zeitung. Anthroposophy, 1923. 2(1-2, January- February): p. 18-19.

Steffen, A., The destruction of the Goetheanum by fire. Anthroposophy, 1923. 2(1-2): p. 10-13.

BBC News, Notre-Dame: The story of the fire in graphics and images. BBC News, 2019. 16 April.

ABC News, Notre Dame fire: Paris cathedral spire collapses as blaze tears through landmark. ABC News, 2019. 16 April.

Vandoorne, S., A. Crouin, and B. Britton, Notre Dame fire could have been started by a cigarette or an electrical fault, prosecutors say. CNN, 2019. 26 June.

Balzer, M., The unsolved Goetheanum case: A play is devoted to the fire of New Year'ds Eve 1922. Aargauer Zeitung, 2019. 2 May.

Basler Nachrichten, Zur Untersuchung über den Goetheanum-Brand. Basler Nachrichten, 1923. 11 January.

Neue Zürcher Nachrichten, Ein wichtiger Fund bei den Aufräumungsarbeiten am Goetheanum. Neue Zürcher Nachrichten, 1923. 13 January.

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[32] Aschoff, G., Neues vom Goetheanum-Brand. Das Goetheanum, 2007. 1-2.

[33] Prokofieff, S.O., May Human Beings Hear It!: The Mystery of the Christmas Conference. 2014, Forest Row, UK: Temple Lodge.

[34] Real Insurance, The most common causes of house fires. 2013, Sydney: Real Insurance.

[35] Campbell, R., Structure Fires in Warehouse Properties. 2016, Quincy, MA: National Fire Protection Association.

[36] Ravenscroft, T., The Spear of Destiny: The Occult Power Behind the Spear Which Pierced the Side of Christ and how Hitler inverted the Force in a bid to conquer the World. 1982, York Beach, ME: Samuel Weiser Inc.

[37] Paull, J., Dr Rudolf Steiner's Shed: The Schreinerei at Dornach. Journal of Bio-Dynamics Tasmania, 2018. 127(September): p. 14-19.

[38] Steiner, R., The Goetheanum in the ten years of its life, VI. Anthroposophy, 1923. 2(4): p. 37-41.

[39] Raab, R., A. Klingborg, and A. Fant, Eloquent Concrete: How Rudolf Steiner Employed Reinforced Concrete. 1979, London: Rudolf Steiner Press.

[40] Steiner, M., Proceedings of the Founding Conference of the General Anthroposophical Society. 1944, Roneoed publication. "As edited and published by Marie Steiner in 1944. Translated by Frances E Dawson": "For Members of the General Anthroposophical Society".

  

hal.archives-ouvertes.fr/hal-02566578/document

A travesty of Justice

 

We are looking for the name (Melody?) and hopefully a photo of a somewhat obscure actress of the early silent film era. She apparently was the victim of a jewel robbery that occurred in her suite in New York City. Her story may have been used to inspire the cover from the Snappy Detective Stories July 1934 issue. We have not been able to find a copy and were wondering if any of the stories matched the cover illustration, and if any actual names were given.

  

She may have been the Lover (Wife?) of a wealthy, influential New York City Business man. One weekend, while he was out of town, she left his South Hampton mansion and went out partying to New York City for the weekend. During that time, she reported to police that she had been robbed in her penthouse suite by a masked burglar to the tune of 75,000 worth of jewelry... In what may have been a rather cruel twist of injustice, an elevator valet with a Juvenile criminal background was arrested for the crime, tried without any real evidence, convicted and put in prison. Years later He died under mysterious circumstances while still incarcerated in a New York Prison. The Ladies jewelry was never reported recovered.

  

The above info was, told to us by an old vaudeville magician who had performed with a young lady whose stage name of Melody was all he could remember. She eventually became a silent era ‘B’ actress under a name he could not recall. He thought she may have had a minor role as an actress appearing in the 1911 silent film version of the Poseidon Adventure.

  

Rumor had it that her apartment was never “burglarized” and that she made up the story to prevent the insanely jealous influential Businessman she was involved with from finding out the truth.

  

But then we came across another story gathered from article that appears to have been derived from some surviving pages (with no cover) out of an old pulp detective magazine of the prohibition era, Real Detective Tales. The ladies name was given as Melinda Victoria Scott se Hamot, but it may not have been her real name. If anyone knows what issue and year the below story derived from that article may have been published we would greatly appreciate it.

  

According to this article, Melinda was a silent film actress who had married a well to do gentleman and was known for the lavish jewelry she would show off. This lady had had been wearing some of her expensive jewelry while out on the town in N.Y.C. On this particular evening (sometime during the 1920’s) Melinda was being chaperoned for the evening by a male with a rather dubious background. This man was said to be a well-known City “raker”, a handsomely roguish man with a well-known reputation for escorting wealthy married ladies, as well as a reputation with the police as having connections with the underworld orchestrating burglaries. His given name was not mentioned. After attending a show and a couple of nightclubs, he insisted that Ms. Hamot go with him to a local underground gambling joint for a few (then illegal) drinks.

  

Late that evening (or early morning), a group of masked hoodlums held up the speakeasys’ patrons. It was believed that they were mainly after the money being gambled. But not only did they take all the money, but they also made the richly attired ladies present hand over all their jewels. Including those being worn by, we believe, our mystery women who supposedly was being robbed in her apartment at the same time.

  

Two weeks later the Actress’s male escort, throat slit, was found floating in the Hudson River.

  

Since some of the male patrons in attendance were in the governments’ employ, Tammany Hall took over the investigation and apparently hushed up the whole incident. The full story never made it to the local newspapers, although supposedly the New Yorker Magazine had some questions (could not find any reference) No crime was reported, no one was arrested, nor any of the property ever “reportedly” recovered. This was the gist of the article that we were able to read in the surviving pages of the old magazine.

  

We have been searching in the New York Times, but have failed to turn up any related story to the speakeasy hold up. Although we did find a few similar stories about women being bound and robbed of their jewels, but no exact matches to the penthouse robbery so far.

  

We strongly believe, based on the vaudevillian’s description of the lady and her mannerisms, that the Penthouse robbery victim, and the speakeasy robbery victim was one and the same Lady. We also think that there never was a penthouse robbery, and the jewels that the elevator valet was accused of stealing were actually relinquished to one of the thugs that held up the gambling joint. The main clue we don’t have is a name for the Lady. This would at least give us a starting point to investigate our theory.

If anyone out could shed some lights on this little mystery, especially the pulp detective magazines listed above, we would greatly appreciate it.

  

As a sidelight, the gambling joint’s robbery was closely reflected in the casino robbery scene from the movie” Uptown Saturday Night” Coincidence or not?

 

Bryggen i Bergen , also known as Tyskebryggen and Hansabryggen , comprises the old wooden buildings and fire-proof stone cellars in the historic city center of Bergen . The wharf was built around 1070, and from 1360 to 1754 was the seat of the German office in the city and the central hub for the Hanseatic trade in Norway. The Hansa company was also the Nordics' first trading company. The pier consists of approx. 13 acres with 61 listed buildings, and is on UNESCO's list of world heritage sites . Bryggen is the third most visited tourist attraction in Norway .

 

Streoket Bryggen

The area borders Bergenhus fortress in the north and along Øvregaten to Vetrlidsallmenningen in the south, down this and back along Bryggen's quay front on the east side of Vågen . The area north of the historic commercial farms is called Dreggen . Here is Bradbenken , which is the base for the school ship Statsraad Lehmkuhl , and the Dreggsallmenningen with St. Mary's Church from the 12th century, Bryggens Museum and Gustav Vigeland's statue by Snorre Sturlason . In the area there are also old clusters of wooden houses and more modern blocks of flats with hotels and commercial buildings, as well as the athletics hall Vikinghallen . South of the Dreggsallmenningen are the old Hanseatic wooden trading houses and the Schøtstuene, and south of the Nikolaikirkealmenningen brick apartment buildings in the same style. Farthest to the south is the Hanseatic Museum and the Meat Bazaar . The local archery corps is called Dræggens Buekorps . From Bryggen, Beffen runs a shuttle across Vågen to Munkebryggen on the Strandsiden .

 

The district is comprised of the basic districts Dreggen, Bryggen and Vetrlidsalmenningen, which had a total of 1,164 inhabitants on 1 January 2014 and an area of ​​0.16 km², but this includes smaller areas belonging to the districts Stølen and Fjellet east of Øvregaten and Lille Øvregaten , and smaller areas belonging to the Vågsbunnen area south of the Vetrlidsalmenningen.

 

Name

The name Bryggen or Bryggene can be traced back to the age of sagas . Late in the Middle Ages , in connection with the wharf's emergence as a Hanseatic trading post, the name form Tyskebryggen appears, in the same way that St. Mary's Church was referred to as the "German Church" because services were held in German there until 1868 . In the 17th and 18th centuries, the popular name form Garpebryggen was also common. In Norse, "garp" meant a core vessel, but applied to the German merchants, the term may have been intended ironically. Later, the form Tyskebryggen became dominant. On 25 May 1945, Bergen city council decided that the name should henceforth be Bryggen. The use of the name has been a source of controversy, and several have argued that Tyskebryggen is the most historically correct, and that the city council wishes to reverse the name decision. Lasse Bjørkhaug, former director of Stiftelsen Bryggen, has stated that he has noticed that "more and more people are now using the name Tyskebryggen again". In 2011, Venstre proposed in the city council that the official municipal name should be changed to Tyskebryggen. Hans-Carl Tveit from Venstre justified it by saying that "this is about taking history back. In 2016, Bergen will host the Hansadagen, and it would have been great to get the old name back before then." However, the proposal only received support from the Liberal Party and the independent representative Siv Gørbitz.

 

The commercial farms at Bryggen functioned as warehouses for goods for export and import. Grain from Central Europe was imported and dried fish from Northern Norway was exported. During the spring and autumn convention, the stalls were full of dried fish to be exported. Dried fish was an important commodity for the Catholic countries, which made use of the dried fish during Lent .

 

The front buildings at Bryggen were fitted out as seahouses. As a rule, these searooms were divided into packing sheds and farm sheds on the ground floor and outer living room, living room, inner living room and packing room on the second floor. The rooms on the third floor usually consisted of the master's room, the journeyman's room, the boy's room, sitting rooms and storerooms.

 

When the dried fish from the north reached Bryggen in Bergen, it was first unloaded and then collected in the warehouses for storage. The fish were not made ready for export until the spring or autumn gathering was over, as these were very busy periods. It was the farm boys who were responsible for preparing the fish for sale in the form of cutting the necks and spurs (tails) at each workstation. The dried fish wrecking, the quality determination and sorting of the dried fish, was left to the merchant's second-in-command, the journeyman or wrecker , with responsibility for assessing the value of the fish according to size and quality.

 

The trading community at Bryggen was strictly stratified, both in the Hanseatic period and later. Young men entered the community as room boys ( Stabenjungen ) with tasks related to daily life in the living rooms, after 3-4 years they advanced to schute boys ( Schutenjungen ) who had tasks, among other things, related to unloading and loading the Nordland jets . After a few more years, they were able to advance to journeyman , after passing an exam in trade theory, knowledge of goods and arithmetic. The office also had its own jurisdiction , as well as a separate school system where boys were apprenticed. There were strict living conditions, where it was forbidden for the members to associate with the inhabitants of Bergen. Hanseaters were also supposed to live in celibacy so that they did not have children who could lay claim to values ​​such as their paternal inheritance. The ban was not complied with, and in Lübeck's archives there are wills in which repatriated Hanseatics name the frill they had in Bergen, and any children in the relationship.

 

Originally, the Germans were only allowed to "sit" (i.e. shop) in Bergen in the time between the cross mass in the spring (3 May) and the cross mass in the autumn (14 September); but gradually they became "winter sitters". Around 1259, several of them wintered in Bergen as tenants with Norwegian farm owners at Bryggen, and one German soon became a landlord himself. The winter sitting enabled advantageous acquisitions in the winter and early shipping in the spring. Nevertheless, the Germans refused to pay tithes in Bergen, so King Håkon decreed that foreigners who rented houses in the city for 12 months had to be considered permanent residents and were obliged to pay tithes and other things on an equal basis with Norwegians. In 1250, a peace and trade agreement was concluded between King Håkon and Lübeck as a guarantee for mutual free trade between Norwegians and Lübeckers, mutual help against raiders and conditions in Norway that had previously existed. However, the Germans were not satisfied with the legal certainty they experienced. The Norwegian Wreck Court exposed the Hanseatic League to regular looting when their ships were wrecked along the Norwegian coast. In addition, merchants from Hamburg thought they were exposed to a false accusation of murder in Bergen. This Magnus Lagabøte acquitted them for later.

 

The City Act of 1276 assumed that there were also foreigners among the residents of Norwegian housing estates, and specifies that they must share public burdens such as wheat patrol and wire tax , as well as "skipdrått" (i.e. towing ships ashore in the city). In the summer of 1278, German envoys negotiated several exemptions with Magnus Lagabøte in Tønsberg . A royal letter secured them exemption from ship's draught, which the city law otherwise imposed on all merchants who stayed three nights or more in Bergen, as well as the right to buy hides and butter in smaller lots on wharves and in vessels during the summer months. (Otherwise it was required by law that trade took place in houses or in squares.) Changes were also made to Norwegian stranding law, so that the Hanseatic League could keep all the goods they salvaged by their own efforts after a shipwreck. No one was allowed to remove wreckage that they had not declared.

 

Eric of Pomerania's dispute with the counts in Holstein became noticeable in Norway when the Hanseatic League decided to close the office at Bryggen. In the spring of 1427 they left Bergen, and did not return until six years later. In the meantime, Bergen had been subjected to two terrible attacks by the Vitalie brothers , who were also known for plundering Hanseatic property.

 

In 1440, complaints were received that German merchants who set up Dutch stalls on the Strand , chased the Dutch away and threw their goods into the mud. More than a hundred armed Hanseatic League were also said to have entered Bergen's council chamber on the Tuesday after St. Peter's Day (February 23), and chased the councilors with axes and machetes . The conflicts peaked with Olav Nilsson as chief of staff at Bergenhus . He maintained an intransigent line against the Hanseatic League and was deposed in 1453; but as late as 1455 he was back after pressuring Eric of Pomerania to reinstate himself. In the meantime he had operated as a privateer and plundered Hanseatic ships. Well, Nilsson could point out that the Hanseatic League only reluctantly submitted to Norwegian law; but they could not tolerate a former pirate as captain. In 1455, the town witnessed armed Hanseatic troops chasing Nilsson, the bishop and their entourage towards Nordnes where they sought refuge in Munkeliv monastery . While Nilsson climbed the tower, the Hanseatic set fire to the monastery. They paid for the reconstruction, but they refused to pay the fine to Nilsson's survivors. Of course, there was a legally binding judgment on such a fine, but King Christian I did not pursue the case as he had taken out large loans from the Hanseatic League for his warfare.

 

Bergen's power center

Bryggen used to be the center of the city's worldly power. Maria Gildeskåle is first mentioned in Magnus Lagabøte's town law of 1276, and was then the meeting place for the town council. The building was located next to Mariakirkegården and served as the city's first "town hall", the place where the city administration and the city meeting were supposed to gather according to the city law. The building is today a ruin, located between Bryggens Museum and St Mary's Church. Originally, the building was located as a rear or northern part of the Gullskoen wharf .

 

The new council chamber was built around 1300-15. It was located in the middle of Bryggen, by the Nikolaikirkealmenningen, where the square was also located. The council chamber was in use until the 1560s. Christoffer Valkendorf was sheriff of Bergenhus from 1556 to 1560 . After Valkendorf arrived in Bergen, several unsolved murders were committed in some of the city's many brothels . Valkendorf had a number of the brothels demolished, and to a large extent abolished the privileges and monopoly of the Hanseatic League in Bergen. The German craftsmen were forced to comply with Norwegian law and were given the choice between swearing allegiance to the king or leaving. In 1559, 59 German craftsmen had to leave. In the 1560s, Bergen's center of power was gradually moved from Tyskebryggen to its current location, at Christoffer Valkendorf's former private residence at Rådstuplass, what is today called the old town hall .

 

The brewery today

The historic wooden buildings from 1702 received cladding in the 19th century. The preserved buildings at Bryggen today consist of the following rows of farms, counted from the south: South and north Holmedalsgård , Bellgården , Jacobsfjorden (Hjortegården), Svensgården (double farm), Enhjørningen , south and north Bredsgård and Bugården (Bergen) .

 

Svensgården's head with three faces

Above the entrance to Svensgården hangs a carved head with three faces in wood, a copy of an original in marble . Conservator Jan Hendrich Lexow has argued in the yearbook for Stavanger museum in 1957 that the original was a gift to King Håkon Håkonsson from the German-Roman Emperor Frederick II. Lexow believed that the head was made by a sculptor in southern Italy as a symbol of the triune God . Frederick II held court in Palermo . He and King Håkon exchanged gifts, and Lexow believed that the head may have been just such a gift from the period 1230-40. Furthermore, he assumed that the head was given a central place in Store Kristkirke, which was located north of Håkonshallen and was the coronation church. When Store Kristkirke was demolished on orders from Eske Bille in 1531, Lexow believed that the Hanseatic League took care of the head and used it as a mark for Svensgården, which at the time was being rebuilt after a fire. Such marking of the farms was important at a time when many could neither read nor write. The head at Svensgården has few parallels in European art, and the design of the nose, mouth and beard points, in Lexow's opinion, to antiquity , when the Christian image of God was still influenced by portraits of Zeus .

 

Preservation and destruction

Throughout history, Bergen has experienced many fires, since the building mass mostly consisted of wood. The building structure has nevertheless been preserved, despite many fires and subsequent reconstructions. Awareness of Bryggen's cultural-historical value was awakened already when the traditional business at Bryggen came to an end. In 1900, the wooden buildings on both sides of Vågen were largely intact.

 

Research and documentation

Johan Wilhelm Olsen (also known as Johan Wiberg Olsen; 1829-98), who had run Nordic trade in Finnegården, established the Hanseatic Museum as early as 1872, and reckons July 26 as the opening day when King Oscar II visited the town and the museum. His son Christian Koren Wiberg continued the work and sold the museum to Bergen municipality in 1916. In 1899 he published Det tische Kontor i Bergen , a description of the old Hanseatic buildings with a number of illustrations.

 

In 1908, Koren Wiberg received support from the municipality and the Ancient Heritage Association to carry out excavations in the plot below the newly constructed Rosenkrantzgaten. Findings from the excavation were reproduced, among other things, in Contribution to Bergen's Cultural History . The excavations uncovered the so-called wine cellar , which in the Middle Ages was also the town hall. Koren Wiberg had found documents (from 1651) in Lübeck showing the location of the wine cellar, which he was able to confirm during the excavation. This town plan with a town hall/wine cellar located between the market square and the church was typical of North German (Hanseatic) trading towns.

 

During the excavations in the southern part of the Bryggen, Christian Koren Wiberg found deep foundations of rough logs laid together. The lafting formed "vessels" over 2 meters high, and about 1 meter wide and 2 meters long. The vessels were assembled and lowered into the water between piles, and then filled with gravel and stone. The logs were made of pine and in good condition when Koren Wiberg made his excavations. The foundations could be dated to the fires in 1413 and 1476 or earlier. According to Koren Wiberg, the first sea houses at Vågen were low and made of coarse, lath timber. They had pointed gables and corridors around the entire building. According to Koren Wiberg, Bryggen's facade was already painted from the 16th century. From 1550 it became common to build stone cellars in Bergen, probably to store goods in a fire-proof place, according to Koren Wiberg. Hans Nagel's bakery, mentioned in 1441, Koren Wiberg located at the modern Øvregaten 17 , where a bakery was also run in Koren Wiberg's time.

 

Murbryggen

Until 1901, the entire area between Dreggsallmenningen in the north and Kjøttbazaren in the south was a continuous series of wooden trading houses that had been rebuilt after the town fire in 1702 . The commercial farms south of the Nikolaikirkeallmenningen were then demolished and replaced with brick apartment buildings in the same style, designed by Jens Zetlitz Monrad Kielland , with the exception of the southernmost Finnegården , a museum that also includes the old Schøtstuene which was rebuilt in 1937–38 with partially original and partially reconstructed parts, in the area south of St. Mary's Church .

 

Conservation

After the first act on building conservation was passed in 1920, the conservation list from Bergen was adopted in 1927. The conservation covered all the buildings on Bryggen, so that the overall cultural environment was safeguarded.

 

The explosion at Vågen

The explosion accident on 20 April 1944 accelerated the plans to demolish the Bryggen, and Terboven received the support of all professionals in Bergen municipality in his desire to raze the area to the ground. Seen through Terboven's eyes, the labyrinthine system of farms was ideal for hiding resistance fighters, such as the Theta group and their radio transmitter . Strong forces in the local population nevertheless succeeded in obtaining support, not least from Professor Hermann Phleps of the Technical College in Danzig ( Gdańsk ), who made a thorough inspection of the destroyed buildings, and concluded that the "German quarter" could be saved with simple means. The real rescue was the emergency product "Domus plates", which got soaked in the rain and easily broke. But they were still useful, as they temporarily covered 8,000 square meters of roof space. The demolished roofs were not the only problem. The explosion had also lifted Bryggen into the air, and let it fall back down onto the ground, so that a jack had to be used to get the houses more or less at an angle again. But the safeguarding had been carried out, not least to the delight of architect Halvor Vreim from the Riksantikvaren , who had already written off the Bryggen.

 

The fire of 1955

A major fire on 4 July 1955 destroyed the northern half of the remaining old wooden trading yards. The fire was the start of Asbjørn Herteig's excavations of the area. In the spring of 1962, the excavations entered their seventh season, made possible by the use of civilian workers in the summer. One year, spring came so late that the civil workers had to chip away 13 inches of ice to get started.

 

The facades of the burned-down part were rebuilt as copies in 1980 , and form part of the SAS hotel located in the area. The Bryggens Museum is also located on the fire site with remains from the oldest times uncovered by the archaeological excavations, which added enormous source material to the research.

 

Inscription on the UNESCO World Heritage List

Bryggen in Bergen was listed on the UNESCO World Heritage List in 1979 according to cultural criterion III , which refers to a place that "bears a unique, or at least rare, testimony of a cultural tradition or of a living or extinct civilization". In this connection, UNESCO points out that Bryggen bears witness to social organization and illustrates how the Hanseatic merchants in the 14th century utilized the space in their part of the city, and that it is a type of northern fondaco (combined trading depot, housing and ghetto for foreign merchants) which cannot be found anywhere else in the world, where the buildings have remained part of the urban landscape and preserve the memory of one of the oldest trading posts in Northern Europe.

 

Ownership and management

Most of the buildings on Bryggen are privately owned. "Stiftelsen Bryggen" currently owns 36 of the 61 buildings that are part of the world heritage. "Stiftelsen Bryggen" and "Friends of Bryggen" were formed in 1962. The purpose of the foundation is to preserve Bryggen in consultation with antiquarian authorities. The foundation is engaged in both rental of premises and security, maintenance and restoration work. Stiftelsen Bryggen has its own staff of carpenters with special expertise in traditional crafts . "Bryggen private farm owners' association" is an association of several private owners who together own 24 buildings. Bergen municipality owns Finnegården , the building that houses the Hanseatic Museum. All the buildings in private ownership can be renovated with up to 90% funding through a grant scheme administered by Vestland county municipality (formerly Hordaland). The listed buildings at Bryggen are managed as cultural monuments by the cultural heritage section of Vestland county municipality. The archaeological cultural monuments in the medieval grounds are managed by the Swedish National Archives . All archaeological work is 100% publicly funded and the necessary excavations are carried out by NIKU .

 

Other buildings in the area

Bryggen's museum is built where there were wharf yards until the big fire on 4 July 1955.

The Hanseatic Museum is located on the Bryggen, by the Fisketorget, and tells the story of Bergen and the Hanseatic League.

The meat market is the city's bazaar for foodstuffs, built in 1874 – 76 in the neo-Romanesque style .

Mariakirken in Bergen dates from the 12th century, and between 1408 and 1766 was the church of the Hanseatic League. Services were held in German here until 1868.

The Schøtstuene were the assembly houses for the residents of the commercial farms, used for meals and as party halls, court and meeting rooms, rebuilt in 1937 – 38 .

 

Streets in the district

Bradbench (Bergen)

Castle Street (Bergen)

Bryggen (Street in Bergen)

Sandbrogaten (Bergen)

The hook (Bergen)

Dreggsallmenningen (Bergen)

Upper Dreggsallmenningen (Bergen)

Øvregaten (Bergen)

Rosenkrantzgaten (Bergen)

Nikolaikircheallmenningen (Bergen)

Lodin Lepps street

Finnegårdsgaten (Bergen)

Vetrlids general

 

Bergen is a city and municipality in Vestland and a former county (until 1972) on Norway's west coast, surrounded by " De syv fjell ", and referred to as " Westland's capital". According to tradition, Bergen was founded by Olav Kyrre in 1070 with the name Bjørgvin , which means "the green meadow between the mountains".

 

Bergen is a trading and maritime city, and was Norway's capital in the country's heyday, later referred to as the Norgesveldet . Bergen became the seat of the Gulatinget from the year 1300. From approx. In 1360, the Hanseatic League had one of its head offices in Bergen, a trading activity that continued at Bryggen until 1899. Bergen was the seat of Bergenhus county and later Bergen stiftamt . The city of Bergen became its own county (county) in 1831 and was incorporated into Hordaland county in 1972. Bergen was the largest city in the Nordic countries until the 17th century and Norway's largest city until the 1830s, and has since been Norway's second largest city .

 

Bergen municipality had 291,940 inhabitants on 31 December 2023. Bergen township had 259,958 inhabitants per 6 October 2020. This was an increase of 2,871 inhabitants since 2019. [4] In 2023, the metropolitan region of Bergen and surrounding areas had 414,863 inhabitants.

 

Bergen is a city of residence for a number of important actors and institutions in culture, finance, health, research and education. The city is the seat of Vestland County Municipality , Gulating County Council and Bjørgvin Bishopric . Of the national government agencies , the Directorate of Fisheries , the Institute of Marine Research , the Norwegian Competition Authority , the Ship Registers and the Norwegian Navy's main base are located in Bergen.

 

Bergen is the center for marine, maritime and petroleum-related research environments and business clusters that are among the most complete and advanced in the world. Bergen has a strong and versatile business community, especially in banking and insurance, construction, trade and services, high technology, mass media, the food industry, tourism and transport. Bergen has one of the Nordic countries' busiest airports and one of Europe's largest and busiest ports [5] , and is the starting point for Hurtigruten and the Bergen Railway .

 

Bryggen in Bergen is listed on UNESCO's World Heritage List and reminds of the city's historical connection to the Hanseatic League . Bergen's city coat of arms with a silver three-towered castle standing on seven gold mountains is based on the city's old seal , which is considered Norway's oldest. Bergen's city song is called "Views from Ulrikken" .

“Be patient toward all that is unsolved in your heart and try to love the questions themselves. Do not now seek the answers, which cannot be given you because you would not be able to live them. And the point is to live everything. Live the questions”

 

Rainer Maria Rilke