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Capped these from an old episode of Unsolved Mysteries show about the intriguing space photos on Mars surface that resemble a human like face.
THE MYSTERY OF THE BOULE CABINET
A Detective Story
BY
BURTON E. STEVENSON
With Illustrations by THOMAS FOGARTY
1911
CONTENTS
I A CONNOISSEUR'S VAGARY II THE FIRST TRAGEDY III THE WOUNDED HAND IV THE THUNDERBOLT V GRADY TAKES A HAND VI THE WOMAN IN THE CASE VII ROGERS GETS A SHOCK VIII PRECAUTIONS IX GUESSES AT THE RIDDLE X PREPARATIONS XI THE BURNING EYES XII GODFREY IS FRIGHTENED XIII A DISTINGUISHED CALLER XIV THE VEILED LADY XV THE SECRET OF THE UNKNOWN FRENCHMAN XVI PHILIP VANTINE'S CALLER XVII ENTER M. ARMAND XVIII I PART WITH THE BOULE CABINET XIX "LA MORT!" XX THE ESCAPE XXI GODFREY WEAVES A ROMANCE XXII "CROCHARD, L'INVINCIBLE!" XXIII WE MEET M. PIGOT XXIV THE SECRET OF THE CABINET XXV THE MICHAELOVITCH DIAMONDS XXVI THE FATE OF M. PIGOT XXVII THE LAST ACT OF THE DRAMA XXVIII CROCHARD WRITES AN EPISODE
Quotes:
Madame De Montespan must ave sauntered down the mirror gallery at Versailles, ablaze with jewels , her skirts rustling , figure swaying suggestively, calling out to be noticed! ; Something Threatening too: something sinister and deadly
Known to warn people that they kept their jewels too carelessly, and then, after they had placed them in a safer place, he would go and take them!
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It was the "Roarin 20's, and prohibition had been in place. Families took to having "stills" (my grandfather had one, lol) in their basements as alcohol was just as American as anything else. The famous John Dwight, Queen of the Rum Runners fleet, made a little extra money in the illegal shipping of alcohol. That is until one day, on 06 April 1923 with a crew of atleast 8-14 men, ran into some mysterious trouble and she would become the mystery of the century. As reporters began to dug to try to understand why a crew of 8 men would suddenly disappear and the ship sink, scandals of possible Politician involvement and more would unfold. The "John Dwight" last seen off the Cape, sunk near Martha's Vineyard. It's a haunting mystery to this day. If only this light fixture whom lit the crews room could speak, for it was the last thing to see what trully happened to the ill-fate of family men just trying to make a living, were murdered.. 8 bodies would sooner or later be found, the captains son, in a dinghy in the most peculiar positon with his head under a seat and his rump in the air, will the true story ever be told? The political scandal that rocked the news of every newspaper in the entire east coast was just another part of valuable American history, the wonderful roaring 20's, the famous Prohibition, and just normal families trying to make a living for their families during a time period of time when times were rough like the famous "Stock Market Crash". What was one day perfectly normal to do with alcohol, the next day would not be and turned innocent hard-working family men and women into criminals because the "times of that time-period" said so. Come back to see my "write-up" on the famous ""John Dwight" Queen of the Rum Runners" and her haunting history! My dad, a professional scuba-diver, took this off the "John Dwight" when his team went down her to investigate her. I inherited it. I hope to turn it into a working lamp with a wheel in front and clock inside of it. I hope to light it on it's anniversary in April. This is for sale as I need to repair my house, and my only request is that a picture be taken with new owner for my own personal emotional attachment. My dad died less than 2 weeks before my 17th birthday and this is all I have of him left. How about a special piece of famous history?
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"NOTE: SEE MY NEWS ARTICLES ON "JOHN DWIGHT, QUEEN OF THE RUM RUNNERS" LISTED BY NAME IN MY SITE. YOU CAN USE THE SEARCH ENGINE TO FIND THEM BY NAME. NAMES OF ARTICLES ARE LISTED BELOW 1-5...
"THE ROARING 20'S, PROHIBITION, RUM RUNNING, MURDER MYSTERY!"
JOHN DWIGHT, "QUEEN OF THE RUM RUNNERS", CREW OF 8 PLUS, MURDER MYSTERY": Articles:
1) Theory Of Pirates In Wreck Mystery Grows, by John J Donovan, Boston Daily Globe 1923: Proquest Historical Newspapers Boston Globe (1872-1923) (Pg. 1 & con't pg. 10 )
2) Think 8 On Rum Ship Were Slain Fight, Special to The New York Times. New York Times (1857-current file); April 9, 1923; PmQuest Historical Newspapters, The New York Times (1851-2003) (Pg. 6)
3) Rum Runners' LifeBoat is Found by John J. Donovan, Boston Daily Globe (1923-1960); April 9, 1923; Proquest Historical Newspapers Boston Globe (1872-1923) (pg. 19)
4) Fear Grows Two Ships Were Lost by John J. Donovan, Boston Globe (1923-1960); April 8, 1923; Proquest Historical Newspapers, Boston Globe (1872-1923) (Pg. 1 & Pg. 5)
5) Rum Runner Sunk-8 Lives Lost, Boston Daily Globe (1923-1960); April 7, 1923; Proquest Historical Newspapers, Boston Globe (1872-1923) (Pg. 19 & Rum Runner Sunk-Nine Lives Lost -con't Pg. 8)
IDENTIFICATION OF 8 MEN ON FAMOUS JOHN DWIGHT:
OWNER (NEVER ONBOARD-NOT MISSING): CPTN. LEWIS N. BLIX of Brooklyn, NY. won't know the # or names of crew til he visits his business tomorrow-9 april
Note: 3 strange men come to identify: from boston & N.J.- nervous- his wife believe her brother on a rumrunner. 1 brag he escape.
8 BODIES FOUND WITH NUMEROUS CUTS, REPORTED KNIFE WOUNDS, BULLET WOUNDS, SMASHED SKULL ETC.. (MYTH: THEY DROWNED- NO WATER FOUND IN LUNGS WHAT SO EVER!)
1) CAPT. JOHN F. KING- 1 of the Cptns on the Dwight. 121 or 124 Jefferson Av. Brooklyn, NY. (has a wife, dau, & Married son)
2) HARRY KING- married son of Cptn. John F. King, found in smaller boat (1 of 2 boats) face down a man with the back of his skull crushed in. No oars or Oarlocks were in boat. He had taken his lifepreserver off & had made an oarlock of the straps. He was the only man found without a life perserver. No names on life preservers except one "Marion Ft." found on a man believed to be an engineer.
3) CAPT. JOHN CARMICHAEL of Jersey City (had actual charge tho he signed on as a seaman)
No bodies at the Haven answering to description of either man of either Cptn. found yet.
4) identified by CPTN. ROBERT PEABODY MOON, skipper of the tug T.J. Hooper & his mate PAT MCMURRAY from brooklyn, NY were on route to Boston spot wreck: IDENTIFIED ONE OF THE BODIES with a protuding chin, curly hair is "MCKENZIE from NY" & also he identify 3 men from brooklyn tho he not know who they were.
family members of known crew will be here tom. to identify.
8 CREW DESCRIPTIONS:
-------------"all have severe cuts & bruises never seen before"
#1= 25 ca. years, 5'8", 150 LB, blue eyes, several missing teeth, large scar on back of neck
#2- 45 ca. yrs., 5'11", 195 LB, Dark hair, heavy lashes, teeth good, several gold crowns, emblem of crucifix tattooed on Right forearm. Gold watch stop at 10:30, propeller fob?, gold ring with brown stone.
#3- 25 ca yr, 5' 5 3/4", 165 LB, light brown hair, smooth face.
#4- 55 yrs., 5' 3", 180 Lb, gray hair, part bald, cropped mustache, emblems tattooed on both arms, cards bearing name JAMES H. NELSON, the Republican Club of Kings Co., New York. In pocket & Marine Engineers' Benefit Ass., Atlantic & Gulf Coast council- #F1184, assessment #1318. Address on card: 209? Patchen Ave, BROOKLYN, NY. (HE WAS ONLY ONE WHO DIED W/O STRUGGLE).
#5- 25-30 YR., 5'5", 150 Lb., smooth shaven, good teeth, nails short, circular emblem tatooed on outer right forearm- "HARRIET". In clothes: letters bear "JAMES CRAIG, care of T. WILSON, Kennedy's Towline, 32 so. St., NY. & James Craig, 40 Front St., NY. Had kid gloves & Jewelry. Letter: "Your brother- C. CRAIG, 71 Ann st. DUNDEE, SCOTLAND.
#6- (age ?, 200 Lb Ca., 5' 9", dark brown hair, somewhat bald, brown eyes, good teeth, vaccination mark on calf- right leg. paper found: "M. NOLAN, 231 Eckford st., Brooklyn, NY. coat found on beach correspond #6 clothes that had address JOHN H. PADDOCK, 156 Wrentham st., Brooklyn Heights, NY, Rm. 208. or JOHN T. PADDEN, 158 Remsen St. BROOKLYN, NY room 208 (NOTED:) MICHAEL NOLAN was believed to be on board but he is in NY. his name & address was found on slip of paper in coat of 1 of men found near Menemsha Creek. He gave that memorandum to Harry King, the son of Cptn. John F. King.
#7- 25-30 yr, ca. 190-200 Lb, thick dark brown hair, brown eyes, teeth good repair, semi- circular scar 4 in long on right chest, silver ring made from a frane on finger.
#8- 50-55 yr, 180 lb ca. Roman nose, gray & white hair cut pompadour fashion, brown eyes, good teeth, handkerchief intial "B".
(SEARCH WORDS:)
"Rum Runner Sunk-8 Lives Lost Boston Daily Globe 07 April 1923 pg. 19 (page 1 of 2)", "Rum Runner Sunk-Nine Lives Lost Boston Daily Globe 07 April 1923 PG. 8 (page 2 of 2)", "Cptn. Lewis N. Blix of Brooklyn, N.Y.", "Jersey City, N.J.", "Boston, Massachusetts", "Brooklyn, N.Y.", "Martha's Vineyard", "Edgartown", "Haven", "Newport, R.I.", "Cptn. John F. King 121 Jefferson Ave., Brooklyn, N.Y.", "Harry King Brooklyn, N.Y.", "Marion Ft.", "Cptn. John Carmichael of Jersey City, N.J.", "Cptn. Robert Peabody Moon skipper of the tug T.J. Hooper of Brooklyn, N.Y.", "Mate Pat McMurray Brooklyn, N.Y.", "McKenzie of N.Y.", "James H. Nelson 209? Patchen Ave Brooklyn, N.Y.", "Republican Club of Kings Co., N.Y.", "Marines Engineers' Benefit Ass.", "Atlantic Gulf Coast Council", "harriet", "James Craig 40 Front St., N.Y.", "T. Wilson, Kennedy's Towline, 32 So. St., N.Y.", "C. Craig 71 Ann St., Dundee, Scotland", "Michael Nolan 231 Eckford St., Brooklyn, N.Y.", "John H. Paddock 156 Wrentham St., Brooklyn Heights, N.Y.", "John T. Padden 158 Remsen St., Brooklyn, N.Y.", "News", "Newspaper", "Article", "John Dwight", "Roaring 20's", "Prohibition", "Rum Runner", "Rum Running", "Mystery", "Murder Mystery", "Pirates", "Famous, Historical, John Dwight, Queen of the Rum Runners", "Famous Historical John Dwight", "Queen of The Rum Runners Murder Mystery Runner Light Fixture for sale", "Murder", "Murder Mystery", "Historical", "Famous", "Theory Of Pirates In Wreck Mystery Grows, by John J. Donovan, Boston Daily Globe April 1923, (Pg. 1 & Pg. 10)", "Think 8 On Rum Ship Were Slain In Fight, Special to The New York Times, New York Times 09 April 1923, (Pg. 6)", "Rum Runners' LifeBoat Is Found, by John J. Donovan, Boston Daily Globe 09 April 1923, (Pg. 19)", "Fear Grows Two Ships Were Lost, by John J. Donovan, Boston Globe 08 April 1923, (Pg. 1 & Pg. 5)", "Rum Runner Sunk-8 Lives Lost, Boston Daily Globe 07 April 1923, (Pg. 19 & Pg. 8)", "Rum Runner Sunk-Nine Lives Lost, Boston Daily Globe 07 April 1923, (Pg. 19 & Pg. 8)",
Monument to Yakov Sverdlov in Yekaterinburg (Sverdlovsk)
Variations on a theme «...with a film across Russia»
Variations on a theme «My Yekaterinburg»
Camera: Canon EOS 5
Lens: Canon EF 28-105 1:3.5-4.5 USM
Film: Fujifilm Fujicolor C200 (135/36)
Photo taken: 24/01/2017
Scanner: Pakon F235+
Historical note: July 15, 1927 at the Paris Commune Square in Yekaterinburg was a monument to the well-known political figure Yakov Sverdlov.
Personality Yakov Sverdlov with confidence can be called outstanding and unsolved to this day - until now historians have not come to a definite opinion about its activities, but most confidently speak of it as the Gray Cardinal of the Russian revolution. As the third man in the Bolshevik Party, he chose not to appear at the earliest opportunity to the public, and to rule "behind the scenes": being in 1905 in Yekaterinburg, he rallied around him clandestine workers who had influence over the proletariat, as well as participated in the preparation of the execution of the royal family.
In the early twenties of the last century on the initiative of the Bolsheviks passed a nationwide collection of money for the installation of a commemorative sculpture of Yakov Sverdlov, which later at the Leningrad plant "Red Vyborzhets" and was cast monument.
City Ekaterinburg from 1924 to 1991 bore the name of Sverdlovsk, in honor of Yakov Sverdlov.
From me: Monument interesting but pose Sverdlov always produced a lot of jokes and anecdotes, even during the Soviet era. I have my own version — the monument seems to be saying to us: «I am innocent in all this ugliness, Citizens Judges. That's all they are: Vovka, Levka and Joseph screwed up, and I even was not there».
___
Attention Publishers: This is a digital copy of the experimental photography of the old, expired, often disturbed by all the technical requirements of the film. Parallel always leads to shooting high-quality digital contemporary photography. If you are looking for pictures of these places is for printed materials or illustrations of the site - please ask. Almost always have a digital copy in good quality.
UNSOLVED RIDDLE OF SHOCKING TRAGEDY IN SUBURBAN COTTAGE
WHAT MOTIVE PROVOKED CRIME?
Life-long Friend of Family Kills Wife and Then Commits Suicide
HUSBAND BELIEVES "POTTER WENT MAD"
(From "N.Z. Truth's" Special Auckland Representative)
Cheered with the prospects of work after a long period of bad luck, John Frederick Beesley returned to his home in Foch Avenue, Dominion Road, Auckland, to meet his wife and three children at the end of his day's toil.
Fate, with grim irony, had in the interval since he left that morning played one, of its cruellest jests, on the unsuspecting husband.
In the place of a smiling, plucky wife to greet him at the door, he found a locked house, and inside, when he had entered through a window, still unsuspecting, his horrified eyes discovered the body of his wife lying in a pool of blood, murdered by his best friend.
And the friend? William Potter, aged 55, Beesley's friend for twenty-five years, lay on the floor of his room with his throat cut and chest, terribly lacerated. He died later in the Auckland Hospital.
GRIEF-STRICKEN, and bereft, his home a shambles the agonised husband rushed away for help. Meanwhile in the warm summer evening the motherless children played happily m the garden, unaware of the terrible tragedy which had stricken their devoted mother. And yet such is the kindly disposition of the unfortunate husband that even faced with such harsh fate he does not find it in his heart to abuse his friend.
"There can be no other explanation than that he went mad. I can't think of him but as he was, an old friend," said Beesley.
Potter made the acquaintance of the Beesley family in Dunedin when he arrived from the Old Country, having an introduction from people in England.
While in Dunedin he acted as night porter at the Grand and City Hotels. Ill-luck had dogged the footsteps of John Frederick Beesley, a returned soldier who had seen service at Gallipoli and in France, for some time past but it reached a tragic climax when, he returned home on the evening of the tragedy.
Little did he dream as he left the Dominion Road tramcar and turned into the comparative peace of Foch Avenue that by the demented act of his friend he had been made a widower, and that his wife lay dead while his friend, horribly cut about, was lying In another room with death about to claim him.
Outwardly all was as usual. Mr. Beesley's three children were playing near the house and having greeted their father they told him in response to his question: "Mummie is not home." Inside the house all was silent and the doors were locked. It may be imagined that the unsuspecting hus- ….(missing).... made a sidelong and upward slash with the deadly weapon.
Some little warning she must have had for both her hands were cut and a small portion of Potter's broken watch-chain was found near her body. Near her on the floor were some articles of clothing she had been sewing, her thimble, and some thread.
The razor with which Potter murdered Mrs. Beesley was broken during the murder or when he inflicted injuries upon himself. A considerable portion of the blade near the tip had been broken off and was not found.
WAS SHE WARNED?
What happened before he killed Mrs. Beesley cannot be said with any certainty, but when her face was washed at the morgue it was found that she must have been hit or smashed over the face for it was bruised and her lips swollen. Her glasses were found almost hidden, under the mat before the fireplace.
This indicates that she was warned of what was to happen and the reason that her screams — if scream she could — were not heard is due to the fact that her neighbors on the western side of the house were out all the afternoon.
They heard nothing in the morning. Having carried out his horrible purpose Potter had apparently gone to his own room and discarded his clothing, which may have become bloodstained, and then slashed his chest several times, so as to practically expose his heart in one place, and his throat.
Meanwhile Mrs. Beesley lay where she had fallen, her head towards the ottoman. There were bloodstains on the walls and the ottoman. The only signs of struggle, if signs they could be called, were that the …. (missing) ….
steady man, always, willing to oblige, and more anxious to do a good turn than a bad one. Rarely did a woman employee leave the hotel to be married but that "Old Bill" would make her some wedding present by no means trivial if he had been overlooked when the subscription list had been passed around and, he had not been invited to subscribe owing to his being on night duty.
Little peculiarities he certainly had so "Truth's" investigators were informed. He took offence rather easily for one thing, and had a habit of chuckling to himself over little jokes apparently which he did not confide In his fellow workers.
But "Old Bill" was a most methodical and abstemious man. He mapped his duties out by a schedule and it was almost possible to tell the time of night by the work he would be doing. About Christmas time he left his employment as some small matter had displeased him, and since then he had been out of a job.
Accustomed to a regular routine of life it is thought by those who knew him best that this may have worried him unduly. Members of the Beesley family were not able to say that he had displayed any outward signs of extreme worry. He still continued to be the same very kindly man they had known for a decade. They had always looked upon him as a dear friend and there was no question of him being in want or homeless.
FRIEND OF FAMILY
The Beesleys had first known "Old Bill" when he arrived from the Old Country. They were then living in the South Island. Despite the shocking tragedy which has terminated the life of Mrs. Beesley, and that of their old friend, members of the family were unable to speak harshly of him.
"He has been a friend of the family for 25 years," they said. "We can't even now think hardly of him in spite of this. He was a very good living man, most sober in his habits; no one could have been kinder to the children than he was — he has taken them on trips even as far as Rotorua.
"He was fond of Ag. (Mrs. Beesley), but he was always the same and he was the soul of honor."
It is only reasonable to assume that he suddenly went mad, and as is often the case when a person goes mad the victim is often one whom the madman has most regard for. There seems to be no other explanation.
As indicating the regard in which the Beesley family held the dead man one said when asked for the use of a photograph by the reporter: "I couldn't let that be used again. Whatever has happened he was a friend and that photo makes him look a blackguard and he was not that in any way. We cant think of him like that. No one could have been kindlier or more honorable."
Mr. J. F. Beesley, upon whom falls the brunt of this cruel blow of fate, was one of the first to leave New Zealand for the war and was bandmaster of the Ist. Battalion. When the war ended he had gained the rank of first-class warrant officer. He was well- …. (missing) ….
band, who had returned from the first day's work he had had for many a long day, and was therefore in a more hopeful frame of mind than he had known for a while, thought that the only thing to do was to gain an entrance and see what was in preparation for the evening meal.
Through a back window he made his entrance, but the silence he had met with outside his home was not the silence of peace, but that of death.
On the floor of the living room in disarray in the midst of a great pool of blood lay his murdered wife.
Such a horrible shock must be left to the imagination, but sensing that this might not be the worst Mr. Beesley hurried to the other rooms and there in the front room, that occupied by his trusted friend, William Potter, he found his friend's form stretched out on the floor his throat cut and his chest gashed in a shocking manner.
Potter still lived. Speech was beyond him, but sounds came from his throat and he tried feebly to make signs with his hands.
SUDDEN ATTACK
"Come quick, something has happened," was the greeting which alarmed Mr. Beesley's neighbor, Mr. T. H. Nicholls, when the stricken husband came rushing over to him.
Within a little while, in answer to a telephone ring, Dr. M.B. Gunn was on the scene. Mrs. Beesley was long since past help, but the medical man did all that was possible for Potter, who was hurried off in the ambulance to the hospital.
Constable Belcher, of Mount Roskill, was the first constable on the scene; he could do nothing but note the details of the ghastly crime.
In the opinion of the doctor the murdered woman had been dead for about two hours when the discovery was made.
Before an hour had elapsed quite a posse of police were on the spot acting under the direction of Chief-detective Hammond. Inspectors Hollis and McIlveney arrived after 8 p.m.
It was reported that a desperate struggle had taken place which would lead to the belief that Mrs. Beesley had had at least a forlorn chance to fight for her life and raise the alarm.
This, however, is not borne out by facts, and an interview with the coroner, Mr. F. K. Hunt, S.M., does not bear out the statement.
So far as can be gathered it would seem that Mrs. Beesley must have been in the act of doing some sewing, and was sitting on an ottoman couch beside the western back window.
Whether Potter stole in on her, or was in the act of conversing with her, the razor hidden from her gaze, cannot be said, but the wound in the unhappy woman's throat indicates that Potter suddenly seized her from behind and …. (missing) ….
dining-room table was slightly out of alignment, and there was a little ruck in the carpet mat before the fireplace.
No letter, no scribbled note, has, so far as is known, been found which might throw any light on the motive for the tragedy, which is shrouded m mystery.
In the neighborhood Mrs. Agnes Beesley was liked and respected. Storekeepers and others who knew the dead woman, and the family, speak in the highest terms of them.
In spite of a very adverse run of luck and Mr. Beesley's unemployment Mrs. Beesley had always kept her children with, it is said, the help of relatives, neatly dressed, and well cared for.
The Beesleys were looked upon as good payers and faced their run of ill-luck with cheerfulness and fortitude.
It was a grim irony of fate that on that very day Beesley had commenced his first job for a long time and was more cheerful over the fact.
Potter, whom it was learnt was generally known as "Old Bill," had known Mr. Beesley, his brother and relations for about twenty-five years; in fact, he had been his friend before the bereaved man had married eleven years ago, and had lived with them as a boarder for three years.
For twenty years or so Potter, who was a railwayman at Home, had been employed as a night porter at two of Auckland's leading hotels. For the last twelve years or more he had held this position at the Star Hotel, Albert Street.
There he was known as a kindly, liked and respected in the army, and has a high reputation among those who know him. Like many another returned soldier life has not treated him kindly since the palmy days of peace arrived.
On Thursday morning the inquest on Agnes Beesley was formally opened by Mr. F. K. Hunt, coroner.
Brief evidence was given by the bereaved husband as to how he had left for his new job about 8.30 a.m. on the Wednesday morning when all was well, and his wife was m the best of health and spirits.
The inquest was then adjourned sine die.
It can only be concluded from the meagre evidence offering that Potter was the victim of a form of sudden dementia which may have been brought about by worry or his failure to secure employment.
MOTIVE A MYSTERY
He may have concealed his anxiety, it is true, and have brooded over things. It Is known that he left the house of the Beesleys in Foch Avenue on Wednesday morning for a while, but what took place in that brief space of time is so far unrecorded.
Whether the terrible deed took place after the midday meal or not cannot he stated with certainty, but the house was in perfect order, the beds made, and the dishes washed and put away.
Considered in all its aspects there can be no other conclusion arrived at than that something suddenly broke in the mind of the apparently sane man and becoming literally "possessed of a devil" he ran amok.
The very nature of his self-inflicted wounds points to this.
Whatever the incentive the real facts of the tragedy will never be known. Death has removed both victim and slayer and the secret lies buried with them.
Mrs. Beesley was born at Milton, Otago, 43 years ago.
paperspast.natlib.govt.nz/newspapers/NZTR19300227.2.25
Plot 42: Agnes Beesley (43) 19/2/1930 – Mrs – Manslaughter
Raymond Phillip Sampson (8 days) 1938
Graham David Sampson (20) 1964 – Carpenter (ashes)
Philip Harold Sampson (77) 1993 – Rtd Bus Driver (ashes)
In Loving Memory Of
AGNES BEASLEY
died 19/2/1930
RAYMOND PHILIP SAMPSON
died 6-4-1938
GRAHAM DAVID SAMPSON
died 31-12-1963
plaque
In Loving Memory Of
PHILIP
HAROLD
SAMPSON
10. 6. 1916 -
24. 6. 1993.
OLIVE
CONSTANCE
SAMPSON
18. 3. 1920 -
20. 7. 2011.
DEATHS
BEESLEY.—On February 19, at her late residence, Foch Avenue, Mount Roskill, Agnes, dearly-beloved wife of John Frederick Beesley; aged 43 years. Private interment. Funeral will leave Mclvor's Mortuary at 3 p.m. to-day (Friday).
paperspast.natlib.govt.nz/newspapers/NZH19300221.2.2.5
BEESLEY.— In loving memory of our dear wife and mother, Agnes, who passed away February 19, 1930. Ever remembered by her loving husband and children, Olive, Ronald and Eileen.
BEESLEY.—In fondest memory of dear Aggie, who passed away February 19, 1930. Some time we'll understand. Inserted by Her loving sister-in-law and brother-in-law, Ethel and Arthur May.
BEESLEY.—In loving memory of our dear sister, Agnes, who passed away February 19, 1930. Sadly missed. Inserted by her sister and brother-in-law, Bell and Garnett.
paperspast.natlib.govt.nz/newspapers/AS19310219.2.5
If you are worried about your or someone else's mental health, the best place to get help is your GP or local mental health provider. However, if you or someone else is in danger or endangering others, call police immediately on 111.
Or if you need to talk to someone else:
• LIFELINE: 0800 543 354 (available 24/7)
• SUICIDE CRISIS HELPLINE: 0508 828 865 (0508 TAUTOKO) (available 24/7)
• YOUTHLINE: 0800 376 633
• NEED TO TALK? Free call or text 1737 (available 24/7)
• KIDSLINE: 0800 543 754 (available 24/7)
• WHATSUP: 0800 942 8787 (1pm to 11pm)
• DEPRESSION HELPLINE: 0800 111 757
Starring Bela Lugosi, Lionel Barrymore, Elizabeth Allan, Lionel Atwill, Jean Hersholt, and Michael Visaroff. Directed by Tod Browning.
youtu.be/irNxN9PmE58 Trailer
synopsis
Mark of the Vampire is Tod Browning's remake of his own 1927 thriller London After Midnight, which unfortunately no longer exists. The sudden appearance of ghostly vampires in a remote mittel-European community is seemingly tied in with an old, unsolved murder case. Police inspector Neumann (Lionel Atwill) and occult expert Prof. Zelen (Lionel Barrymore) investigate, with the full cooperation of leading citizen Baron Otto (Jean Hersholt). For awhile, it looks as though the vampires -- Count Mora (Bela Lugosi) and his chalky-faced daughter Luna (Carroll Borland) -- will continue to hold the community in thrall, but the truth behind their mysterious activities is revealed midway through the film, whereupon the story concentrates on identifying the well-concealed murderer. In the original London After Midnight, Lon Chaney played both Count Mora and Prof. Zelen, which should provide a clue as to the film's incredible outcome.
review
Director Tod Browning's 1935 murder mystery Mark of the Vampire is essentially a lesser remake of two of his earlier films: 1927's Lon Chaney silent London After Midnight and 1931's Dracula with Bela Lugosi. Originally titled The Vampires of Prague, the film is most notable for its stunning conclusion, which reveals that the various murders being blamed on the supernatural have been committed by a more natural source. The bloodsucker father and daughter, played by Lugosi and Carol Borland, are given minimal screen time, but provide the film's best chills and appear to be the inspiration for Ed Wood's Plan 9 From Outer Space. This picture originally insinuated that Lugosi's vampire had an incestuous affair with Borland that resulted in a murder-suicide, leaving them both undead. This explains the mysterious bullet wound on the side of Lugosi's head throughout the film. However, MGM was wary after Browning's Freaks spawned great controversy, so cuts were made to ensure that Mark of the Vampire was safe for public consumption. The barely feature-length production looks rather stagey and the special effects are typical of the time (bats on strings, fake rats, etc.), but Browning's atmospheric style and the great cast, including Lionel Barrymore, Elizabeth Allan, and Lionel Atwill, makes this good entertainment. Cinematographer James Wong Howe shot test footage of Rita Hayworth for Borland's part.
There was never any doubt I would go to Rob's funeral. Rob was born just two weeks before me, and in our many meetings, we found we had so much in common.
A drive to Ipswich should be something like only two and a half hours, but with the Dartford Crossing that could balloon to four or more.
My choice was to leave early, soon after Jools left for work, or wait to near nine once rush hour was over. If I was up early, I'd leave early, I said.
Which is what happened.
So, after coffee and Jools leaving, I loaded my camera stuff in the car, not bothering to program in a destination, as I knew the route to Suffolk so well.
Checking the internet I found the M2 was closed, so that meant taking the M20, which I like as it runs beside HS2, although over the years, vegetation growth now hides most of it, and with Eurostar cutting services due to Brexit, you're lucky to see a train on the line now.
I had a phone loaded with podcasts, so time flew by, even if travelling through the endless roadworks at 50mph seemed to take forever.
Dartford was jammed. But we inched forward, until as the bridge came in sight, traffic moved smoothly, and I followed the traffic down into the east bore of the tunnel.
Another glorious morning for travel, the sun shone from a clear blue sky, even if traffic was heavy, but I had time, so not pressing on like I usually do, making the drive a pleasant one.
Up through Essex, where most other traffic turned off at Stanstead, then up to the A11 junction, with it being not yet nine, I had several hours to fill before the ceremony.
I stopped at Cambridge services for breakfast, then programmed the first church in: Gazeley, which is just in Suffolk on the border with Cambridgeshire.
I took the next junction off, took two further turnings brought be to the village, which is divided by one of the widest village streets I have ever seen.
It was five past nine: would the church be open?
I parked on the opposite side of the road, grabbed my bag and camera, limped over, passing a warden putting new notices in the parish notice board. We exchange good mornings, and I walk to the porch.
The inner door was unlocked, and the heavy door swung after turning the metal ring handle.
I had made a list of four churches from Simon's list of the top 60 Suffolk churches, picking those on or near my route to Ipswich and which piqued my interest.
Here, it was the reset mediaeval glass.
Needless to say, I had the church to myself, the centuries hanging heavy inside as sunlight flooded in filling the Chancel with warm golden light.
Windows had several devotional dials carved in the surrounding stone, and a huge and "stunningly beautiful piscina, and beside it are sedilia that end in an arm rest carved in the shape of a beast" which caught my eye.
A display in the Chancel was of the decoration of the wooden roof above where panels contained carved beats, some actual and some mythical.
I photographed them all.
I programmed in the next church, a 45 minute drive away just on the outskirts of Ipswich, or so I thought.
The A14 was plagued by roadworks, then most trunk roads and motorways are this time of year, but it was a fine summer morning, I was eating a chocolate bar as I drove, and I wasn't in a hurry.
I turned off at Claydon, and soon lost in a maze of narrow lanes, which brought be to a dog leg in the road, with St Mary nestling in a clearing.
I pulled up, got out and found the air full of birdsong, and was greeted by a friendly spaniel being taken for a walk from the hamlet which the church serves.
There was never any doubt that this would be open, so I went through the fine brick porch, pushed another heavy wooden door and entered the coolness of the church.
I decided to come here for the font, which as you can read below has quite the story: wounded by enemy action no less!
There seems to be a hagioscope (squint) in a window of the south wall, makes one think or an anchorite, but of this there is little evidence.
Samuel and Thomasina Sayer now reside high on the north wall of the Chancel, a stone skull between them, moved here too because of bomb damage in the last war.
I drove a few miles to the next church: Flowton.
Not so much a village as a house on a crossroads. And the church.
Nothing so grand as a formal board outside, just a handwritten sign say "welcome to Flowton church". Again, I had little doubt it would be open.
And it was.
The lychgate still stands, but a fence around the churchyard is good, so serves little practical purpose, other than to be there and hold the signs for the church and forthcoming services.
Inside it is simple: octagonal font with the floor being of brick, so as rustic as can be.
I did read Simon's account (below) when back outside, so went back in to record the tomb of Captain William Boggas and his family, even if part of the stone is hidden by pews now.
I had said to myself, that if I saw signs for another church, I might find time to visit. And so it was with Aldham, I saw the sign pointing down a narrow lane, so I turned and went to investigate.
First it looked like the road ended in a farmyard, but then I saw the flint round tower of the church behind, so followed the lane to the church gate.
There was a large welcoming sign stating, proudly, that the church is always open.
St Mary stands on a mound overlooking a shallow valley, water stand, or runs slowly, in the bottom, and it really is a fine, fine location for a church.
I pushed through the gate and went up the path to the south porch, where the door swung open once again.
The coolness within enveloped me.
An ancient font at the west end was framed by a brick-lined arch, even to my untrained eyes, I knew this was unusual.
There were some carved bench ends, some nice fairly modern glass, but the simplicity of the small church made for a very pleasant whole.
I no longer watch TV much, so was unaware of the view and indeed church being used in the TV show, The Detectorists.
One of Suffolk's hidden treasures, for sure.
--------------------------------------------------
I cycle past this church often - or, at least, the top of the lane that leads down to it. Traffic rushes along the busy Ipswich to Sudbury road not far off, but there is a quieter, parallel road which not many people seem to know about. It leaves Ipswich through Sproughton and will take you all the way to Sudbury, visiting the likes of Burstall, Kersey and Little Waldingfield on the way. Aldham as a village is little more than a straggle of houses, but they lie along this road, and just beyond a cluster of houses you take a sudden turn to the left, on to a pretty track to Aldham Hall. Down through fruit trees you descend, until the walls become older, and there at the end are the farm buildings. Beyond them, is this pretty church.
If the church is pretty, the view from it is doubly so - to the south, the land drops away alarmingly, into a valley full of sheep. You may even think you recognise it, and you could well be right, for the second season of the popular TV series The Detectorists was filmed here, as a small display in the porch of the church reminds you. The church appeared in the opening credits of each programme, the two main characters searching for buried treasure in Aldham Vale below the churchyard.
This is lovely, and splendidly English. Nothing could be more peaceful. But beyond, the land rises to a dark sea of trees, the mysteriously named Wolves Wood, now an RSPB reserve. Looking along to the right, the other hilltop is where the Protestant preacher Roland Taylor was burned at the stake in the 1550s, a site of pilgrimage for his many American descendants. Whatever your reading of the English Reformation, Taylor's burning was a terrible event. One imagines the villagers gathered outside this church, watching the flames and smoke rise.
I remembered the first time I came here, back in the 1990s. We arrived on one of those humid, overcast summer days, on our way to the Bildeston Beer Festival. My young children scattered off to play hide and seek with their mother in the precipitous graveyard. An elderly man was pottering about, looking at 19th Century graves, so I apologised for my family (as you do). But he seemed genuinely pleased that they were running about like mad things. He was tracing his family, and had come down from Norfolk to look for a particular grave of an ancestor. And he'd found it. He was pretty pleased about that, too. He was also following up a theory that his ancestor had been a Rector of this parish. His address had been Aldham Rectory. Did I have any idea how he could find out? I suggested that the church might have a board of 'Rectors of this Parish'. Many do. These are a pleasant Victorianism, intended to overcome the 16th Century breach by claiming a history of the CofE that extended back before the Reformation. We could go inside, and take a look. And we did - the church was militantly open, the inner door wedged wide. We found the board - but the name wasn't there. So, the mystery remained unsolved.
This church was pretty well derelict by the mid 19th Century, and underwent a fairly late restoration, in 1883. The tower was rebuilt, as was the south wall of the nave. The roofs were replaced, giving an overwhelmingly Victorian appearance, although Sam Mortlock detected the Norman, and possibly Saxon, ancestor. The hill itself suggests a very early foundation, perhaps on a site of pagan worship.
The architect was WM Fawcett, and there was another restoration of the inside in the early 20th Century under the eyes of diocesan surveyor and renowned antiquarian H Munro Cautley. The resulting interior is one of those neat and shiny jobs that is certainly grand, and pleasant enough, but rather dated now. Our early 21st Century spirituality seems to respond more to dusty, ancient interiors than to these High Church ritualisations. But you get a sense of a church that is still much loved, well-cared for, and used regularly.
Aldham parish have gone one further than a wedged-open door, and a big sign has been erected at the bottom of the lane proclaiming that Our Church is Always Open, and so it is easy to step inside. And it is not without survivals, some of them fascinating. The benches are mostly Cautleys from the 1920s, but he incorporated a couple of earlier ones. These are unlike anything else I've seen in Suffolk, and their primitive quality suggests a local origin. The one to the west apparently shows a bear, or possibly a lion. My first impulse was that it was some kind of heraldic device, but what is the shaved off object it holds in its mouth, and is the pattern emerging from beneath the head really fur? Back in 1999, my six year old took one look at it and decided that the creature isn't eating the bird, but the bird is flying out of its mouth. Could it be a dove? And could the three objects issuing from beneath the head actually be tongues of fire? In which case, could this be some strange composition representing Pentecost, and the descent of the Holy Spirit?
In the spandrel above the bear, or whatever it is, there is a lily, the symbol of the Annunciation. But it is also a symbol of the crucifixion. It calls to mind the rare lily crucifixes, of which just two are known to survive in Suffolk, at Long Melford and Great Glemham. Could this be an unrecorded third? The other bench end is probably easier to read. The crown is obvious enough. The star and crescent are familiar from representations of the crucifixion. The pike is a familiar instrument of the Passion. And, if you look in the spandrel above, you'll see a crown of thorns, so this may well be a composition representing the Passion.
A third bench end, to the east, shows just a simple spiked tool, that looks as if it might have been used in thatching. So, what's it all about? They are all a bit of a mystery, really.
And what of the font? This is curious too. It appears to be Norman, but a second glance finds it too elegant, too finely detailed. The pillars are almost Classical in design, and the whole piece has a touch of the 18th Century about it. Was it brought here from somewhere else in the 1880s? Or is it a Victorian recutting of a Norman predecessor? Whatever, the revealed brickwork of the late medieval tower arch looks most fitting behind it.
To see Cautley's work in its full glory, step up into the chancel for the reredos and its flanking niches, as grand as a side-chapel in a French cathedral. Cautley was usually a safe pair of hands in these churches he loved so well, but I wonder what he had been thinking to impose this triumphalism on this pretty little country church. Alfred Wilkinson's contemporary glass above it suits it well, but even so it is rather hard to imagine the same thing happening today. Postdating it by a few decades is a set of arms for Elizabeth II above the south doorway. East Anglia has no more than half a dozen sets, and these ones are rather good.
Standing in the nave and looking east to the splendour of the reredos, it is hard to imagine the real glory that once was here. But John Nunn contacted me, to tell me about a will he has a copy of. In 1525, his ancestor Robert Clifford declared: I bequeath I will have the rood there upon the candlebeam set up higher and Mary & John and two new angels and the breast under the rood korvyn and when that is done I will have all this painted and guilt whatsoever the cost. I will have bought two standards of brass stand in the choir and I will my executors bestow therein 40/-. I will my executors shall buy four candlesticks of brass for the candlebeam, I give six kine unto the church of Aldham to keep my obit with as long as the world stand.
What does all this mean? Firstly, you have to remember that England was a devoutly Catholic country in 1525, and the fittings of the church were for the actions of the Catholic liturgy. In the late 15th and early 16th Centuries, all Suffolk churches had a rood in place. This was a representation of the crucifixion, set above the chancel arch. On the left hand side of the cross always stood the Virgin Mary, and on the other side stood St John. Often, the wall behind was painted. The rood either hung on the wall, or was supported by a beam. However, there was always a beam that ran below it for candles to be lit on. This was called the candlebeam, or rood beam. The candles were placed on it by individuals or guilds as part of the process of prayer, particularly prayer for the souls of the dead. A rood loft ran beside it for access, and the space beneath was infilled with a rood screen. To make the rood even more glorious, the roof above was panelled, and the panels were painted blue, with gold stars, and perhaps Marian monograms. This was called the canopy of honour, or more simply, the coving (rendered delightfully in Suffolk dialect as Korvyn above.)
Robert Clifford was paying for a simple rood to be made more glorious. He was going to have it placed higher, with a new canopy of honour. He was paying for brass candlesticks to replace wooden candlestocks.
Why? Simply, the medieval economy of grace depended upon the living praying for the dead, and the dead praying for the living. In donating glorious things to his church, Clifford was ensuring that he would be remembered. The roodscreen would have a dedicatory inscription with his name on. He was saying - I won't forget you, don't you forget me. The Catholic liturgy formalised prayers for the dead in the form of obit masses.These were said on the anniversary of someone's death in perpetuity. The proceeds of the sale of the six cows (kine) would be invested, probably in land to be rented, to pay a priest to say these masses - as long as the world shall stand; that is, for ever.
Unfortunately, 'for ever' didn't last very long. Prayers for the dead were declared illegal by the protestant reformers in the late 1530s. By 1547, every single rood in the land had been toppled and burned. The rood lofts were hacked down, along with many of the candle beams (although about ten beams survive in Suffolk) and most of the rood screens were also destroyed (about 50 survive in Suffolk).
Nothing of Robert Clifford's gifts survive at Aldham. All the gilt would have been stripped, the brass candlesticks melted down, and the proceeds sequestered by the King's commissioners. The collected glory of all the churches of England was squandered by Henry VIII on high living, and on the expensive and pointless siege of Boulogne. A sad thought.
When I first came here in 1999, I remember the graveyard was full of wild thyme and especially sorrel, which we gathered in handfuls and ate later in the day with fresh trout and new potatoes. Twenty years have passed since then, and it was too early for the sorrel this year. Instead I just stood, and looked out across the gentle valley, the sheep cropping their way slowly westward. It was easy to recognise the opening of The Detectorists in the vale below. And I looked beyond to Wolves Wood, and the site of Roland Taylor's martyrdom. Hard to imagine such history happening to such a modest little parish.
Simon Knott, March 2019
Volume 32 1/3 August 2005 ; Volume 33 1/3 Christmas 2005
for friend. I made her music CDs remixed some music too, like stairway2heaven. She went to Graphic Design school [MassArt]
Lesson 1 Examples, with Roll Overs...
www.GrfxDziner.com/ExampleLesson1.html
This first music Mix below I did in 2003, for my friend, for her Christmas CD that year. I added imagery in 2017. The second mix was for another forum I was on, He needed the mix at 4:00 R/T, exactly
Soulstice | Winter Mix 2017 gwennie2006! • YouTube™
NOTE: @ 1:14 mark! Fire Truck at McDonalds [77 minutes]
I knew nothing of that incident until fall 2024
Marvin Gay & Friends | Ain't No Mountain High Enough
[7.31.16] gwennie2006! • YouTube™
souls [114]...
www.flickr.com/photos/CaptainXenon/16703703004/
April 28, 2015, Holocaust Memorial, Congress Street, Boston. I used to go through there all the time too, That account is also mine, I have very many accounts on flickr, 11 are pro, often to save private images from deletion. [120 US dollars per month]
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qwikLoadr™ Videos...
Imagine Dragons | Radioactive Yeva Shiyanova! • mail.RU™
stairway2heaven | and it makes me wonder gwennie2006!
Amy Winehouse | I Love You More Than You Will Ever Know Live! • mail.RU™
Blogger HiltonFan | Radio Active...
HiltonFan-GrfxDziner.blogspot.com/2016/05/radio-active.html
Blogger GrfxDziner | Sticks & Stones...
GrfxDziner.blogspot.com/2016/01/sticks-and-stones.html
blogger gwennie2006 | Quick, Drop & Roll...
gwennie2006.blogspot.com/2016/03/quick-drop-roll.html
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fiveprime.org/hivemind/Tags/4Deanna/Recent
In Remembrance of Deanna Cremin • Her Family and Friends miss her so much!
Boston Herald | Articles on Deanna Cremin Murder [*]
Venus | HiltonFan • flickr.com
Venus | GrfxDziner • flickr.com
Venus | gwennie2006 • flickr.com
[*] NOTE: This article from 1995, describes a note!!...
www.GrfxDziner.com/deanna33195a.jpg
NOTE: This screencap has note in slideshow...
www.flickr.com/photos/HiltonFan/40374216090/in/photolist-...
more screenCaps
[GrfxScreenCap] some include Amber Hagerman, Amber Alert...
www.flickr.com/photos/bloggerhelper/41394608644
America | Alyssa, and featuring Jon Bon Jovi
www.GrfxDziner.com/HelpDeannaCremin2.html
NOTE: goes where the "puzzle piece" is...
America | Alyssa feat. Jon Bon Jovi [2005] gwennie2006! • YouTube™
NOTE: Alyssa is my friend's niece, she was 3 yrs old singing
Blogger HiltonFan | Pieces of 8 Puzzle Peace [Go Dahlia!!!!]...
HiltonFan-GrfxDziner.blogspot.com/2017/08/pieces-of-8-puz...
winterSolstice | Rudolph [12.21-24.19] gwennie2006! • YouTube™
My Daughter Jessica, and a couple friends.
Narasimha (Sanskrit: नरसिंह IAST: Narasiṁha, lit. man-lion), Narasingh, Narsingh and Narasingha in derivative languages is an avatar of the Hindu god Vishnu and one of Hinduism's most popular deities, as evidenced in early epics, iconography, and temple and festival worship for over a millennium.
Narasiṁha is often visualised as having a human-like torso and lower body, with a lion-like face and claws. This image is widely worshipped in deity form by a significant number of Vaiṣṇava groups. Vishnu assumed this form on top of Himvat mountain (Harivamsa). He is known primarily as the 'Great Protector' who specifically defends and protects his devotees in times of need. Vishnu is believed to have taken the avatar to destroy the demon king Hiranyakashipu.
ETYMOLOGY
The word Narasimha means 'lion-man' which usually means 'half man and half lion'. His other names are:
- Agnilochana (अग्निलोचन) - the one who has fiery eyes
- Bhairavadambara (भैरवडम्बर) - the one who causes terror by roaring
- Karala (कराल) - the one who has a wide mouth and projecting teeth
- Hiranyakashipudvamsa (हिरण्यकशिपुध्वंस) - the one who killed Hiranyakashipu
- Nakhastra (नखास्त्र) - the one for whom nails are his weapons
- Sinhavadana (सिंहवदन) - the whose face is of lion
- Mrigendra (मृगेन्द्र) - king of animals or lion
SCRIPTURAL SOURCES
There are references to Narasiṁha in a variety of Purāṇas, with 17 different versions of the main narrative. The Bhagavata Purāṇa (Canto 7), Agni Purāṇa (4.2-3), Brahmāṇḍa Purāṇa(2.5.3-29), Vayu Purāṇa (67.61-66), Harivaṁśa (41 & 3.41-47), Brahma-Purāṇa (213.44-79), Viṣṇudharmottara Purāṇa(1.54), Kūrma Purāṇa (1.15.18-72), Matsya Purāṇa(161-163), Padma Purāṇa(Uttara-khaṇḍa 5.42), Śiva Purāṇa (2.5.43 & 3.10-12), Liṅga Purāṇa (1.95-96), Skanda Purāṇa 7 (2.18.60-130) and Viṣṇu Purāṇa (1.16-20) all contain depictions of the Narasiṁha Avatāra. There is also a short reference in the Mahābhārata (3.272.56-60) and a Gopāla Tapani Upaniṣad (Narasiṁha tapani Upaniṣad), earliest of Vaiṣṇava Upaniṣads named in reference to him.
REFERENCES FROM VEDAS
The Ṛg Veda contains an epithet that has been attributed to Narasiṁha. The half-man, half-lion avatāra is described as:
- like some wild beast, dread, prowling, mountain-roaming.
Source: (RV.I 154.2a).
There is an allusion to a Namuci story in RV.VIII 14.13:
- With waters' foam you tore off, Indra, the head of Namuci, subduing all contending hosts.
This short reference is believed to have culminated in the full puranic story of Narasiṁha.
LORD NARASIMHA AND PRAHLADA
Bhagavata Purāṇa describes that in his previous avatar as Varāha, Viṣṇu killed the asura Hiraṇayakṣa. The younger brother of Hirṇayakṣa, Hiraṇyakaśipu wanted revenge on Viṣṇu and his followers. He undertook many years of austere penance to take revenge on Viṣṇu: Brahma thus offers the demon a boon and Hiraṇyakaśipu asks for immortality. Brahma tells him this is not possible, but that he could bind the death of Hiraṇyakaśipu with conditions. Hiraṇyakaśipu agreed:
- O my lord, O best of the givers of benediction, if you will kindly grant me the benediction I desire, please let me not meet death from any of the living entities created by you.
- Grant me that I not die within any residence or outside any residence, during the daytime or at night, nor on the ground or in the sky. Grant me that my death not be brought about by any weapon, nor by any human being or animal.
- Grant me that I not meet death from any entity, living or nonliving created by you. Grant me, further, that I not be killed by any demigod or demon or by any great snake from the lower planets. Since no one can kill you in the battlefield, you have no competitor. Therefore, grant me the benediction that I too may have no rival. Give me sole lordship over all the living entities and presiding deities, and give me all the glories obtained by that position. Furthermore, give me all the mystic powers attained by long austerities and the practice of yoga, for these cannot be lost at any time.
Brahma said,
Tathāstu (so be it) and vanished. Hiraṇyakaśipu was happy thinking that he had won over death.
One day while Hiraṇyakaśipu performed austerities at Mandarācala Mountain, his home was attacked by Indra and the other devatās. At this point the Devarṣi (divine sage) Nārada intervenes to protect Kayādu, whom he describes as sinless. Following this event, Nārada takes Kayādu into his care and while under the guidance of Nārada, her unborn child (Hiraṇyakaśipu's son) Prahālada, becomes affected by the transcendental instructions of the sage even at such a young stage of development. Thus, Prahlāda later begins to show symptoms of this earlier training by Nārada, gradually becoming recognised as a devoted follower of Viṣṇu, much to his father's disappointment.
Hiraṇyakaśipu furious at the devotion of his son to Viṣṇu, as the god had killed his brother. Finally, he decides to commit filicide. but each time he attempts to kill the boy, Prahlāda is protected by Viṣṇu's mystical power. When asked, Prahlāda refuses to acknowledge his father as the supreme lord of the universe and claims that Viṣṇu is all-pervading and omnipresent.
Hiraṇyakaśipu points to a nearby pillar and asks if 'his Viṣṇu' is in it and says to his son Prahlāda:
O most unfortunate Prahlāda, you have always described a supreme being other than me, a supreme being who is above everything, who is the controller of everyone, and who is all-pervading. But where is He? If He is everywhere, then why is He not present before me in this pillar?
Prahlāda then answers,
He was, He is and He will be.
In an alternate version of the story, Prahlāda answers,
He is in pillars, and he is in the smallest twig.
Hiraṇyakaśipu, unable to control his anger, smashes the pillar with his mace, and following a tumultuous sound, Viṣṇu in the form of Narasiṁha appears from it and moves to attack Hiraṇyakaśipu. in defence of Prahlāda. In order to kill Hiraṇyakaśipu and not upset the boon given by Brahma, the form of Narasiṁha is chosen. Hiraṇyakaśipu can not be killed by human, deva or animal. Narasiṁha is neither one of these as he is a form of Viṣṇu incarnate as a part-human, part-animal. He comes upon Hiraṇyakaśipu at twilight (when it is neither day nor night) on the threshold of a courtyard (neither indoors nor out), and puts the demon on his thighs (neither earth nor space). Using his sharp fingernails (neither animate nor inanimate) as weapons, he disembowels and kills the demon.
Kūrma Purāṇa describes the preceding battle between the Puruṣa and demonic forces in which he escapes a powerful weapon called Paśupāta and it describes how Prahlāda's brothers headed by Anuhrāda and thousands of other demons were led to the valley of death (yamalayam) by the lion produced from the body of man-lion avatar. The same episode occurs in the Matsya Purāṇa 179, several chapters after its version of the Narasiṁha advent.
It is said that even after killing Hiraṇyakaśipu, none of the present demigods are able to calm Narasiṁha's wrath.So the demigods requested Prahlada to calm down the Lord,and Narasimha,who had assumed the all-powerful form of Gandaberunda returned to more benevolent form after that. In other stories,all the gods and goddesses call his consort, Lakṣmī, who assumes the form of Pratyangira and pacifies the Lord. According to a few scriptures, at the request of Brahma, Shiva took the form of Sharabha and successfully pacified him. Before parting, Narasiṁha rewards the wise Prahlāda by crowning him as the king.
NARASIMHA AND ADI SANKARA
Narasiṁha is also a protector of his devotees in times of danger. Near Śrī Śailaṁ, there is a forest called Hatakeśvanam, that no man enters. Śaṅkarācārya entered this place and did penance for many days. During this time, a Kāpālika, by name Kirakashan appeared before him.
He told Śrī Śaṅkara that he should give his body as a human-sacrifice to Kālī. Śaṅkara happily agreed. His disciples were shocked to hear this and pleaded with Śaṅkara to change his mind, but he refused to do so saying that it was an honor to give up his body as a sacrifice for Kālī and one must not lament such things. The Kāpālika arranged a fire for the sacrifice and Śaṅkara sat beside it. Just as he lifted his axe to severe the head of Śaṅkara, Viṣṇu as Narasiṁha entered the body of the disciple of Śaṅkarācārya and Narasiṁha devotee, Padmapada. He then fought the Kāpālika, slayed him and freed the forest of Kapalikas. Ādi Śaṅkara composed the powerful Lakṣmī-Narasiṁha Karāvalambaṁ Stotram at the very spot in front of Lord Narasiṁha.
MODE OF WORSHIP
Due to the nature of Narasiṁha's form (divine anger), it is essential that worship be given with a very high level of attention compared to other deities. In many temples only lifelong celibates (Brahmācārya) will be able to have the chance to serve as priests to perform the daily puja. Forms where Narasiṁha appears sitting in a yogic posture, or with the goddess Lakṣmī are the exception to this rule, as Narasiṁha is taken as being more relaxed in both of these instances compared to his form when first emerging from the pillar to protect Prahlāda.
PRAYERS
A number of prayers have been written in dedication to Narasiṁha avatāra. These include:
- The Narasiṁha Mahā-Mantra
- Narasiṁha Praṇāma Prayer
- Daśāvatāra Stotra by Jayadeva
- Kāmaśikha Aṣṭakam by Vedānta Deśika
- Divya Prabandham 2954
- Sri Lakshmi Narasimha Karavalamba Stotram by Sri Adi Sankara
THE NARASIMHA MAHA-MANTRA
- oṁ hrīṁ kṣauṁ
- ugraṁ viraṁ mahāviṣṇuṁ
- jvalantaṁ sarvatomukham ।
- nṛsiṁhaṁ bhīṣaṇaṁ bhadraṁ
- mṛtyormṛtyuṁ namāmyaham ॥
O' Angry and brave Mahā-Viṣṇu, your heat and fire permeate everywhere. O Lord Narasiṁha, you are everywhere. You are the death of death and I surrender to You.
NARASIMHA PRANAMA PRAYER
namaste narasiṁhāya,
prahlādahlāda-dāyine,
hiraṇyakaśipor vakṣaḥ,
śilā-ṭaṅka nakhālaye
I offer my obeisances to Lord Narasiṁha, who gives joy to Prahlāda Mahārāja and whose nails are like chisels on the stone like chest of the demon Hiraṇyakaśipu.
ito nṛsiṁhaḥ parato nṛsiṁho,
yato yato yāmi tato nṛsiṁhaḥ,
bahir nṛsiṁho hṛdaye nṛsiṁho,
nṛsiṁhaṁ ādiṁ śaraṇaṁ prapadye
Lord Nṛsiṁha is here and also there. Wherever I go Lord Narasiṁha is there. He is in the heart and is outside as well. I surrender to Lord Narasiṁha, the origin of all things and the supreme refuge.
DASAVATARA STOTRA BY JAYADEVA
tava kara-kamala-vare nakham adbhuta-śrṅgaṁ,
dalita-hiraṇyakaśipu-tanu-bhṛṅgam,
keśava dhṛta-narahari-rūpa jaya jagadiśa hare
O Keśava! O Lord of the universe. O Hari, who have assumed the form of half-man, half-lion! All glories to You! Just as one can easily crush a wasp between one's fingernails, so in the same way the body of the wasp-like demon Hiraṇyakaśipu has been ripped apart by the wonderful pointed nails on your beautiful lotus hands. (from the Daśāvatāra-stotra composed by Jayadeva)
KAMASIKHA ASTAKAM BY VEDANTA DESIKA
tvayi rakṣati rakṣakaiḥ kimanyaiḥ,
tvayi cārakṣāti rakṣākaiḥ kimanyaiḥ ।
iti niścita dhīḥ śrayāmi nityaṁ,
nṛhare vegavatī taṭāśrayaṁ tvam ॥8॥
O Kāmaśikhā Narasiṁha! you are sarva śakthan. When you are resolved to protect some one, where is the need to seek the protection of anyone else? When you are resolved not to protect some one, which other person is capable of protecting us?. There is no one. Knowing this fundamental truth, I have resolved to offer my śaraṇāgatī at your lotus feet alone that rest at the banks of Vegavatī river.
DIVYA PRABANDHAM 2954
āḍi āḍi agam karaindhu isai
pāḍip pāḍik kaṇṇīr malgi engum
nāḍi nāḍi narasingā endru,
vāḍi vāḍum ivvāl nuthale!
I will dance and melt for you, within my heart, to see you, I will sing in praise of you with tears in joy, I will search for Narasiṁha and I am a householder who still searches to reach you (to attain Salvation).
SYMBOLISM
Narasiṁha indicates God's omnipresence and the lesson is that God is everywhere. For more information, see Vaishnav Theology.
Narasiṁha demonstrates God's willingness and ability to come to the aid of His devotees, no matter how difficult or impossible the circumstances may appear to be.
Prahlāda's devotion indicates that pure devotion is not one of birthright but of character. Prahlāda, although born an asura, demonstrated the greatest bhakti to God, and endured much, without losing faith.
Narasiṁha is known by the epithet Mṛga-Śarīra in Sanskrit which translates to Animal-Man. From a philosophical perspective. Narasiṁha is the very icon of Vaiṣṇavism, where jñāna (knowledge) and Bhakti are important as opposed to Advaita, which has no room for Bhakti, as the object to be worshipped and the worshipper do not exist. As according to Advaita or Māyāvāda, the jīva is Paramātma.
SIGNIFICANCE
In South Indian art – sculptures, bronzes and paintings – Viṣṇu's incarnation as Narasiṁha is one of the most chosen themes and amongst [[Avatar] |Avatāra]]s perhaps next only to Rāma and Kṛṣṇa in popularity.
Lord Narasiṁha also appears as one of Hanuman's 5 faces, who is a significant character in the Rāmāyaṇa as Lord (Rāma's) devotee.
FORMS OF NARASIMHA
There are several forms of Narasiṁha, but 9 main ones collectively known as Nava-narasiṁha:
Ugra-narasiṁha
Kroddha-narasiṁha
Vīra-narasiṁha
Vilamba-narasiṁha
Kopa-narasiṁha
Yoga-narasiṁha
Aghora-narasiṁha
Sudarśana-narasiṁha
Lakṣmī-narasiṁha
In Ahobilam, Andhra Pradesh, the nine forms are as follows:
Chātra-vata-narasiṁha (seated under a banyan tree)
Yogānanda-narasiṁha (who blessed Lord Brahma)
Karañja-narasiṁha
Uha-narasiṁha
Ugra-narasiṁha
Krodha-narasiṁha
Malola-narasiṁha (With Lakṣmī on His lap)
Jvālā-narasiṁha (an eight armed form rushing out of the pillar)
Pavana-narasiṁha (who blessed the sage Bharadvaja)
Forms from Prahlad story:
Stambha-narasiṁha (coming out of the pillar)
Svayam-narasiṁha (manifesting on His own)
Grahaṇa-narasiṁha (catching hold of the demon)
Vidāraṇa-narasiṁha (ripping open of the belly of the demon)
Saṁhāra-narasiṁha (killing the demon)
The following three refer to His ferocious aspect:
Ghora-narasiṁha
Ugra-narasiṁha
Candā-narasiṁha
OTHERS
Pañcamukha-Hanumān-narasiṁha, (appears as one of Śrī Hanuman's five faces.)
Pṛthvī-narasiṁha, Vayu-narasiṁha, Ākāśa-narasiṁha, Jvalana-narasiṁha, and
Amṛta-narasiṁha, (representing the five elements)
Jvālā-narasiṁha (with a flame-like mane)
Lakṣmī-narasiṁha (where Lakṣmī pacifies Him)
Prasāda/Prahlāda-varadā-narasiṁha (His benign aspect of protecting Prahlad)
Chatrā-narasiṁha (seated under a parasol of a five-hooded serpent)
Yoga-narasiṁha or Yogeśvara-narasiṁha (in meditation)
Āveśa-narasiṁha (a frenzied form)
Aṭṭahasa-narasiṁha (a form that roars horribly and majestically strides across to destroy evil)
Cakra-narasiṁha, (with only a discus in hand)
Viṣṇu-narasiṁha, Brahma-narasiṁha and Rudra-narasiṁha
Puṣṭi narasiṁha, (worshipped for overcoming evil influences)
EARLY IMAGES
In Andhra Pradesh, a panel dating to third-fourth century AD shows a full theriomorphic squatting lion with two extra human arms behind his shoulders holding Vaiṣṇava emblems. This lion, flanked by five heroes (vīra), often has been identified as an early depiction of Narasiṁha. Standing cult images of Narasiṁha from the early Gupta period, survive from temples at Tigowa and Eran. These sculptures are two-armed, long maned, frontal, wearing only a lower garment, and with no demon-figure of Hiraṇyakaśipu. Images representing the narrative of Narasiṁha slaying the demon Hiraṇyakaśipu survive from slightly later Gupta-period temples: one at Madhia and one from a temple-doorway now set into the Kūrma-maṭha at Nachna, both dated to the late fifth or early sixth century A.D.
An image of Narasiṁha supposedly dating to second-third century AD sculpted at Mathura was acquired by the Philadelphia Museum of Art in 1987. It was described by Stella Kramrisch, the former Philadelphia Museum of Art's Indian curator, as "perhaps the earliest image of Narasiṁha as yet known". This figure depicts a furled brow, fangs, and lolling tongue similar to later images of Narasiṁha, but the idol's robe, simplicity, and stance set it apart. On Narasiṁha's chest under his upper garment appears the suggestion of an amulet, which Stella Kramrisch associated with Visnu's cognizance, the Kauṣtubha jewel. This upper garment flows over both shoulders; but below Hiranyakasipu, the demon-figure placed horizontally across Narasiṁha's body, a twisted waist-band suggests a separate garment covering the legs. The demon's hair streams behind him, cushioning his head against the man-lion's right knee. He wears a simple single strand of beads. His body seems relaxed, even pliant. His face is calm, with a slight suggestion of a smile. His eyes stare adoringly up at the face of Viṣṇu. There is little tension in this figure's legs or feet, even as Narasiṁha gently disembowels him. His innards spill along his right side. As the Matsya purana describes it, Narasiṁha ripped "apart the mighty Daitya chief as a plaiter of straw mats shreds his reeds". Based on the Gandhara-style of robe worn by the idol, Michael Meiste altered the date of the image to fourth century AD.
Deborah Soifer, a scholar who worked on texts in relation to Narasiṁha, believes that "the traits basic to Viṣṇu in the Veda remain central to Viṣṇu in his avataras" and points out, however, that:
we have virtually no precursors in the Vedic material for the figure of a man-lion, and only one phrase that simply does not rule out the possibility of a violent side to the benign Viṣṇu.
Soifer speaks of the enigma of Viṣṇu's Narasiṁha avatāra and comments that how the myth arrived at its rudimentary form [first recorded in the Mahābhārata], and where the figure of the man-lion came from remain unsolved mysteries.
An image of Narasiṁha, dating to the 9th century, was found on the northern slope of Mount Ijo, at Prambanan, Indonesia. Images of Trivikrama and Varāha avatāras were also found at Prambanan, Indonesia. Viṣṇu and His avatāra images follow iconographic peculiarities characteristic of the art of central Java. This includes physiognomy of central Java, an exaggerated volume of garment, and some elaboration of the jewelry. This decorative scheme once formulated became, with very little modification, an accepted norm for sculptures throughout the Central Javanese period (circa 730–930 A.D.). Despite the iconographic peculiarities, the stylistic antecedents of the Java sculptures can be traced back to Indian carvings as the Chalukya and Pallava images of the 6th–7th centuries AD.
CULTURAL TRADITION OF PROCESSION (SRI NRSIMHA YATRA)
In Rājopadhyāya Brahmins of Nepal, there is a tradition of celebrating the procession ceremony of the deity Narasiṁha avatar, in Lalitpur district of the Kathmandu Valley in Nepal. The Lunar fifth day of the waning phase of the moon, in the holy Soli-lunar Śrāvaṇa month i.e. on Śrāvaṇa Kṛṣṇa Pañcamī of the Hindu Lunar Calendar is marked as auspicious day for the religious procession, Nṛsiṁha Yātrā. This tradition of the holy procession has been held for more than a hundred years. This is one of the typical traditions of the Rājopadhyāya Bramhins, the Hindu Bramhans of the locality.
In this Nṛsiṁha Yātrā, each year one male member of the Rājopadhyāya community gets the chance to be the organizer each year in that particular day. He gets his turn according to the sequence in their record, where the names of Rājopadhyāya bramhins are registered when a brahmāṇa lad is eligible to be called as a Bramhan.
WIKIPEDIA
John Hook speaking with attendees at an event titled "Who Killed Bob Crane?: The Final Close-Up" at the Walter Cronkite School of Journalism and Mass Communication at Arizona State University in Phoenix, Arizona.
Please attribute to Gage Skidmore if used elsewhere.
The unsolved murder of June and Royston Sheasby (1957) - At about 5.30 p.m. on Thursday, 20th June 1957, June Sheasby, aged 7, and her brother Royston, aged 5, left their home in Brockworth Crescent, Stapleton, Bristol, for a walk towards Wickham Glen. When they failed to return a massive search involving thousands of people was launched, during which fields and woodland were scoured, police frogmen searched a pond, and near-by streams were dragged. Eleven days later on Monday, 1st July, the bodies of the Sheasby children were found buried side by side in a shallow grave among dense undergrowth in woods 100 yards from the River Frome at Snuff Mills Park.
A light covering of leaves and soil had been partly exposed by heavy rain. Both children had severe head injuries and fractured skulls. The patients of four mental hospitals around Bristol were questioned. Despite an extensive police investigation during which 25,000 people were interviewed and more than 2,000 statements were taken, the murderer remained at large.
Why innocence died with Babes in Wood
AS the search party prepared to turn in after another frustrating day, the shrill blast of a police whistle emanated from a secluded nook in a Bristol wood. The bodies of two children, their tiny skulls crushed, had been found in a shallow grave on the banks of the River Frome, in Stapleton. It was 9pm, Monday, July 1, 1957. The 'Babes in the Wood', as they came to be known, were seven-year-old June Sheasby and her younger brother Royston, aged five.
And their killer? What monster could have committed such a cowardly crime? Still, almost 50 years on, nobody knows. Could a West Country pensioner be hiding a sinister secret? Could the person who shattered the idyllic tranquility of a Bristol suburb be walking the streets today? Looking back, it sounds like a golden age, an age of innocence. Even the gyrating hips of Elvis Presley had to be censored lest they caused offence. But behind this veneer of naivety was a reality that the West could no longer ignore once that whistle was heard across the grounds of Snuff Mills Park.
'Tell this story,' the mother of the murdered children, Barbara Sheasby, would later implore. 'I don't want it to be forgotten. Things like that should never be forgotten.'
Thursday, June 20, was a sultry, sticky summer day - the West was in the midst of a heatwave. When the temperature eased in the late afternoon, little Royston Sheasby felt like going for a walk. His elder sister, June, was less keen. But Royston was insistent - he wanted to look at a pair of brown horses in a nearby field - and June was swayed. It was half-past-five. They told their mother of their plans, and off they went - June clutching a chocolate box, both of them laughing and talking excitedly.
Mrs Sheasby was so busy decorating the family home in Brockworth Crescent, Stapleton, that time simply flew by. When she finally took a break from her painting, she noticed the time with a fright - seven o'clock. Her children were always back by then, and she raised the alarm.
SO began the biggest child hunt Britain had ever seen. The whole country was intrigued by the mystery surrounding the siblings' disappearance. In an amazing tribute to the strength of the West's community spirit, volunteers joined the search party in droves. Before long, more than 10,000 men, women and children were scouring the Stapleton area. Nowadays, such a response is unthinkable.
Local police officers who searched around the clock for 11 days, turned down overtime pay. As the days went by, storm clouds started to gather overhead, and as the heatwave broke, heavy rain hindered the search effort. The signs were ominous, but as the dogs sniffed, frogmen waded and firemen toiled, the West held its breath, desperate for some good news. Right to the end, the children's parents - Jesse, an iron moulder, and Barbara - clung to the possibility that their offspring would be found alive.
Perhaps they had been kidnapped. A letter addressed to the Bristol Evening Post suggested they had, but it turned out to be a malicious hoax. Could June and Royston be trapped in the woods? There were ravines enough around the banks of the River Frome, where they were last seen.
But that ghostly whistle shattered the hopes of a whole community. It was sounded by Jefferson Brough, a young police officer. He had glimpsed a tiny hand protruding from of a bundle of leaves. The rain had washed away some of the foliage and revealed a shallow grave - and within it, the body of little Royston Sheasby.
June was found just inches away, the pair as close in death as they had been in life, each of their lives brutally cut short by a blow to the side of the head with some blunt instrument.
There was no evidence of a sexual assault, no sign of a struggle, no theft and no obvious motive for this mindless attack. It seems the Sheasbys died satisfying one person's murderous lust. More than 25,000 people were questioned and thousands of statements were taken, but police had very little to go on. They tried to locate two key witnesses. The mysterious 'Man in the Blue Suit' was thought to be the last person to see the children alive. And a man with 'peering eyes' was seen staring at children near where the Sheasbys were found. Neither witness (maybe they were the same man) was ever identified.
Other difficulties arose. The children were found yards from Bristol Mental Hospital, now Blackberry Hill Hospital. However, when they interviewed the patients, proceedings took a farcical turn. Dozens confessed to the murder, and the police were forced to spend precious time disproving these confessions, rather than trying to catch the killer. The facade of innocence that pervaded 1950s society hampered the investigation, too. It was known that there were courting couples down by the river, but many were too embarrassed to come forward.
So, as the Sheasby children lay in a flower-strewn grave in Filton New Cemetery, the trail went cold. The investigation had lost momentum. Promising leads were scarce and the passing weeks became months and then years. Barring a miracle, it seemed the identity of the man who struck fear into the whole of the West would remain a mystery.
However, in a sensational development, that miracle nearly came about seven years later, in the summer of 1964. On August 26, the sixth international congress of psychology gathered in London, and Dr Arthur Hyatt Williams, a Home Office psychiatrist, delivered a speech that stunned the West Country.
Hyatt Williams said that a prisoner patient of his, serving time for a minor crime, had made a confession to him just before he died. He had murdered two small children - a girl and a boy.
THE case of 'Babes in the Wood' was back in the spotlight, thrust into the centre of a political storm. Hyatt Williams would say neither who the prisoner was, nor who the murdered children were. He said he felt like a priest who had received a confession. Jesse Sheasby, though, had no doubts. The murder of June and Royston was the only such crime of recent years.
But maybe the confession was false, like those made by the Bristol psychiatric patients at the time. Without any details, Hyatt Williams's revelation was cruel.
Should the Home Secretary Henry Brooke insist the confession be made public? Questions were asked in Parliament and Labour demanded an official inquiry, but the Home Office distanced itself from the case. Bristol CID approached Hyatt Williams, but he sent this reply: 'I have spent a night with my conscience and I cannot divulge the name of the person concerned.'
Technically, the case is still open. There has been no closure on this horrific episode. And in the West, people still shudder at the memory of that terrible fortnight.
Letters in the press
' I sensed evil of babes' murder ' - 2003
SIR - In June 2002, while visiting my relatives in Bristol, we went for an afternoon stroll at a riverside walk in a large park-type area on the other side of the city.
Having parked, we walked down to the riverside and, within minutes, I started feeling extremely uncomfortable, claustrophobic and totally oppressed by the area. This got worse until I felt what I can only describe as a feeling of pure evil around me. I desperately wanted to leave the place, but felt stupid and unable to explain my feelings. We walked about a mile before I felt less uneasy.
The impression and atmosphere of this place has haunted me for 18 months. I had only ever mentioned this to my husband, and had recently decided to ask my relatives in Bristol if they could do some research of that area to find out if anything bad had happened there. Perhaps it had slaves working on the river, as it was obviously part of a large estate years ago. To my utter amazement, I opened my Western Daily Press on December 9 and saw the article about the murder of the 'babes in the wood' 46 years ago at Snuff Mills Park, and their burial on the riverbank.
It was the very place we had taken our walk and I had seemingly sensed its awful history. Thank you for helping to solve my problem. I do think that, on that day, I had sensed the pure evil of that awful event. Now at last I know the possible reason for it.
'Memories of the murder'
There was panic among the young parents on the Oldbury Court Estate and surrounding area. All us youngsters - there were hundreds of us due to the post-war baby boom - were lectured over and over about not talking to strangers.
Vassalls Park through to Snuff Mills was our adventure area. We would spend hours playing in the shallows where the stream enters the river Frome on the edge of Bamboo Island. In fact, we played anywhere along the river up and into Snuff Mills. After this incident took place - and the lack of apprehension of the murderer - we were told not to go there alone. This was drummed into me so much that to this day, on a visit to Snuff Mills, I always mention the murder to whoever I am with.
It was the talking point at school and on the street, with some lads giving graphic details of what they thought the bodies would be like. I would have nightmares. We were told that it was a mental patient from Glenside/Stoke Park hospitals who had done it, but that they could not be identified.
Going to Snuff Mills for a picnic with the family was never the same and we tended to stay in the 'safety' of Vassalls Park. But as time passed, we children gradually went back to playing in the area as before - but we were ever-cautious about strangers and a little on edge. We tended to play in larger groups.
This was an event which will forever be engraved in my memory - just like the later plane crash near Ovendale Road. No one who is my age and who lived at Oldbury Court will ever forget either.
Never forgotten: Royston and June Sheasby were killed near Snuff Mills nearly 50 years ago - but no one was ever charged with their murder.
Eddie O'Hare was the man who took down Al Capone, not Eliot Ness.
An attorney, "Fast Eddie" worked with Capone on business and legal matters starting in 1927. By 1930 O'Hare decided to turn state's evidence against Capone. He pointed the IRS to Capone's accountant who testified against him in 1931. Al Capone went to prison in 1933 for tax evasion.
On November 8, 1939, O'Hare was driving east on Ogden Avenue when a car pulled up beside his at Rockwell Street, pictured here. Inside were two thugs with shotguns. He tried to pull away when they unloaded big-game slugs into him, killing him instantly and causing him to crash into a post in the midsection (the island in the middle of this picture.) The crime remains unsolved to this day.
O'Hare International Airport is named after Eddie's son, Butch O'Hare. Butch was a war hero, a Medal of Honor recipient and the US Navy's first ace.
Located at 2601 W. Ogden Ave.
Agrippina Maior 14 v.Chr.-33 n.Chr.
(D) Sestertius (29,27g), Roma, posthum unter Caligula 37-41 n.Chr. Av.: AGRIPPINA M F MAT C CAESARIS AVGVSTI, Büste mit Drapierung n.r. Rv.: S PQ R / MEMORIAE / AGRIPPINAE (in den Feldern), Carpentum mit Figurenschmuck und zwei Maultieren n.l. -- Kleine Druckstellen am Rd., leichte Korrosionsspuren, Felder stellenweise minimal geglättet. RIC 55, C 1. For more on Caligulan Numismatic Articles see: Coins courtesy cngoins.com
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Full Record: Butcher, K. E. T. Caligula : the evil emperor. (1985)
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Full Record: Faur, Jean-Claude. Moneda de Caligula de Museo Arqueologico Provincial de Tarragona. (1979)
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Full Record: Hansen, Peter. A history of Caligula's Vesta. (1992)
Full Record: Kaenel, Hans-Markus von. Augustus, Caligula oder Caludius? (1978)
Full Record: Kaenel, Hans-Markus von. Die Organisation der Münzprgung Caligulas. (1987)
Full Record: Johansen, Flemming S. The sculpted portraits of Caligula. (1987)
Full Record: Carter, G. F. Chemical compositions of copper-based Roman coins. V : imitations of Caligula, Claudius, and Nero / G. F. Carter and others. (1978)
Full Record: Giard, Jean-Baptiste. L'atelier de Lyon sous Auguste : Tibre et Caligula. (1979)
Full Record: Giard, Jean-Baptiste. Les missions d'or et d'argent de Caligula dans l'atelier de Lyon. (1976)
Full Record: Giard, Jean-Baptiste. Le monnayage de l'atelier de Lyon des origines au rgne de Caligula (43 avant J.-C. - 41 aprs J.-C.). (1983)
Full Record: Nony, D. Quelques as d'imitation de Caligula trouves a Bordeaux (Gironde). (1981)
Full Record: Levy, Brooks Emmons. Caligula's radiate crown. (1988)
Full Record: Poulsen, Vagn. Un nouveau visage de Caligula. (1972)
Full Record: Price, Martin Jessop. Elephant in Crete? New light ona cistophorus of Caligula. (1973)
Full Record: MacInnis, H. Frank. Ego-driven emperor commits excesses. (1979)
Full Record: McKenna, Thomas P. The case of the curious coin of Caligula : a provincial bronze restruck with legend-only dies. (1994)
Full Record: Mowat, Robert. Bronzes remarquables de Tibre, de son fils, de ses petits-fils et de Caligula. (1911)
Full Record: Koenig, Franz E. Roma, monete dal Tevere : l'imperatore Gaio (Caligola). (1988)
Full Record: Kollgaard, Ron. Caligula's coins profile despot. (1993)
Full Record: Kollgaard, Ron. A numismatic mystery : "the Caligula quadrans." (1994)
Full Record: Martini, Rodolfo. Osservazioni su contromarche ed erosioni su assi de Caligula. (1980)
Full Record: Szaivert, Wolfgang. Moneta Imperii Romani. Band 2 und 3. Die Münzprgung der Kaiser Tiberius und Caius (Caligula) 14/41 / von Wolfgang Szaivert. (1984)
Full Record: Boschung, Dietrich. Die Bildnisse des Caligula. Kaenel, Hans-Markus von. Jucker, Hans. Deutsches Archaologisches Institut. Das Romische Herrscherbild. 1. Abt., Bd. 4, Die Bildnisse des Caligula / Dietrich Boschung ; mit einem Beitrag von Hans-Markus von Kaenel ; auf Grund der Vorarbeiten und Marterialsammlungen von Hans Jucker. (1989)
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Full Record: Ritter, Hans-Werner. Adlocutio und Corona Civica unter Caligula und Tiberius. (1971)
Full Record: Kumpikevicius, Gordon C. A numismatic look at Gaius. (1979)
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Full Record: Savio, Adriano. Note su alcune monete di Gaio-Caligola. (1973)
Full Record: Stylow, Armin U. Die Quadranten des Caligula als Propaganda-münzen.münzen" aus der stdtischen sammlung zu Osnabrück. (1971)
Full Record: Schwartz, Jacques. Le Monnayage Snatorial entre 37 et 42 P.C. (1951)
Full Record: Rodolfo Martini, ed. Sylloge nummorum Romanorum. Italia. Milano, Civiche Raccolte Numismatiche Vol. 1 Giulio-Claudii / a cura di Rodolfo Martini. (1990)
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. . . in Double Ikat not only the warp gets s pattern, so does the weft. This is much more time consuming and complicate.
________________________________________________
Ikat (in Indonesian languages means "bind") is a dyeing technique originating from Indonesia used to pattern textiles that employs resist dyeing on the yarns prior to dyeing and weaving the fabric.
In ikat, the resist is formed by binding individual yarns or bundles of yarns with a tight wrapping applied in the desired pattern. The yarns are then dyed. The bindings may then be altered to create a new pattern and the yarns dyed again with another colour. This process may be repeated multiple times to produce elaborate, multicolored patterns. When the dyeing is finished all the bindings are removed and the yarns are woven into cloth. In other resist-dyeing techniques such as tie-dye and batik the resist is applied to the woven cloth, whereas in ikat the resist is applied to the yarns before they are woven into cloth. Because the surface design is created in the yarns rather than on the finished cloth, in ikat both fabric faces are patterned.
A characteristic of ikat textiles is an apparent "blurriness" to the design. The blurriness is a result of the extreme difficulty the weaver has lining up the dyed yarns so that the pattern comes out perfectly in the finished cloth. The blurriness can be reduced by using finer yarns or by the skill of the craftsperson. Ikats with little blurriness, multiple colours and complicated patterns are more difficult to create and therefore often more expensive. However, the blurriness that is so characteristic of ikat is often prized by textile collectors.
Ikat is produced in many traditional textile centres around the world, including India to Central Asia, Southeast Asia, Japan (where it is called kasuri), Africa, and Latin America. Double ikats—in which both the warp and weft yarns are tied and dyed before being woven into a single textile—are relatively rare because of the intensive skilled labour required to produce them, especially in lining up the weft patterns.
ETYMOLOGY
Ikat is an Indonesian word, which depending on context, can be the nouns: cord, thread, knot, or bundle, also the finished ikat fabric, as well as the verbs "to tie" or "to bind"; the term ikatan is a noun for bond or tie. It has a direct etymological relation to cognates in various Indonesian languages from Sumatra, Borneo, Java, Bali, Sulawesi, Sumba, Flores and Timor. Thus, the name of the finished ikat woven fabric originates from the tali (threads, ropes) being ikat (tied, bound, knotted) before they are being put in celupan (dyed by way of dipping), then berjalin (woven, intertwined) resulting in a berjalin ikat- reduced to ikat.
The introduction of the term ikat into European language is attributed to Rouffaer. Ikat is now a generic English loanword used to describe the process and the cloth itself regardless of where the fabric was produced or how it is patterned.
In Indonesian, the plural of ikat remains ikat. While in English, a suffix plural 's' is commonly added, as in ikats. However, these term are interchangeably used and correct.
HISTORY OF IKAT
The term "ikat" has Indonesian and Malay origin, and it was introduced into European textile vocabulary back in the early 20th century, when Dutch scholars begin to study the rich textile traditions of the Dutch East Indies archipelago (present-day Indonesia).
Some parts of Asia demonstrate strong ikat traditions which suggest its possible origin; whether they are Maritime Southeast Asia (Dutch East Indies archipelago), the Indian subcontinent and Central Asia. However, it probably developed in several different locations independently.
Uyghurs call it atlas (IPA [ɛtlɛs]) and use it only for woman's clothing. The historical record indicates that there were 27 types of atlas during Qing Chinese occupation. Now there are only four types of Uyghur atlas remaining: qara-atlas, a black ikat used for older women's clothing; khoja'e-atlas, a yellow, blue, or purple ikat used for married women; qizil-atlas, a red ikat used for girls; and Yarkent-atlas, a khan or royal atlas.
Yarkent-atlas has more diverse styles; during the Yarkent Khanate (1514–1705), there were ten different styles of Yarkent-atlas.
TYPES OF IKAT
In warp ikat it is only the warp yarns that are dyed using the ikat technique. The weft yarns are dyed a solid colour. The ikat pattern is clearly visible in the warp yarns wound onto the loom even before the weft is woven in. Warp ikat is, amongst others, produced in Indonesia; more specifically in Kalimantan, Sulawesi, and Sumatra by respectively the Dayaks, Torajans and Bataks.
In weft ikat it is the weaving of weft yarn that carries the dyed patterns. Therefore, the pattern only appears as the weaving proceeds. Weft ikats are much slower to weave than warp ikat because the weft yarns must be carefully adjusted after each passing of the shuttle to maintain the clarity of the design.
Double Ikat is a technique in which both warp and the weft are resist-dyed prior to weaving. Obviously it is the most difficult to make and the most expensive. Double ikat is only produced in three countries: India, Japan and Indonesia. The double ikat made in Patan, Gujarat in India is the most complicated. Called "patola," it is made using fine silk yarns and many colours. It may be patterned with a small motif that is repeated many times across the length of a six-meter sari. Sometimes the Patan double ikat is pictorial with no repeats across its length. That is, each small design element in each colour was individually tied in the warp and weft yarns. It's an extraordinary achievement in the textile arts. These much sought after textiles were traded by the Dutch East Indies company for exclusive spice trading rights with the sultanates of Indonesia. The double ikat woven in the small Bali Aga village, Tenganan in east Bali in Indonesia reflects the influence of these prized textiles. Some of the Tenganan double ikat motifs are taken directly from the patola tradition. In India double ikat is also woven in Puttapaka, Nalgonda district and is called Puttapaka Saree. In Japan, double ikat is woven in the Okinawa islands where it is called tate-yoko gasuri.
DISTRIBUTION
Ikat is a resist dyeing technique common to many world cultures. It is probably one of the oldest forms of textile decoration. However, it is most prevalent in Indonesia, India and Japan. In South America, Central and North America, ikat is still common in Argentina, Bolivia, Ecuador, Guatemala and Mexico, respectively.
In the 19th century, the Silk Road desert oases of Bukhara, Samarkand, Hotan and Kashgar (in what is now Uzbekistan and Xinjiang in Central Asia) were famous for their fine silk Uzbek/Uyghur ikat.
India, Japan, Indonesia and many other Southeast Asian nations including Cambodia, Myanmar, Philippines and Thailand have weaving cultures with long histories of ikat resist dyeing.
Double ikat textiles are still found in India, Japan and Indonesia. In Indonesia ikat textiles are produced throughout the islands from Sumatra in the west to Timor in the east and Kalimantan and Sulawesi in the north. Ikat is also found in Iran, where the Persian name is daraee. Daraee means wealth, and this fabric is often included in a bride's dowry during wedding ceremonies; and the people who buy these fabrics were rich.
PRODUKTION
WARP IKAT
Ikat created by dyeing the warps (warp ikat) is simpler to make than either weft ikat or double ikat. First the yarns--cotton, silk, wool or other fibres—are wound onto a tying frame. Then they are separated into bundles. As the binding process is very labor-intensive an effort is made to reduce the work to a minimum by folding the thread bundles like in paper dolls and binding a basic ikat motif (BIM) that will be repeated like in paper dolls when the threads are unfolded for weaving after the dyeing is completed. The thread bundles may be folded around a vertical and/or horizontal axis. The bundles may be covered with wax, as in batik. (However, in making batik, the crafts person applies the resist to the finished cloth rather than to the yarns to be woven.) The warp yarns are then wrapped tightly with thread or some other dye-resistant material with the desired pattern so as to prevent unwanted dye penetration. The procedure is repeated, according to the number of colours required to complete the design. Multiple coloration is common, requiring multiple rounds of tying and dyeing. After the dyeing is finished the bindings are removed and the threads are wound onto the loom as the warp (longitudinal yarns). The threads are adjusted to precisely align the motifs and thin bamboo strips are lashed to the threads to prevent them from tangling or slipping out of alignment during weaving.
Some ikat traditions, such as Central Asia's, embrace a blurred aesthetic in the design. Other traditions favour a more precise and more difficult to achieve alignment of the ikat yarns. South American and Indonesian ikats are known for a high degree of warp alignment. Weavers carefully adjust the warp threads when they are placed on the loom so the patterns appear clearly. Thin strips of bamboo are then lashed to the warps to maintain the pattern alignment during weaving.
Patterns are visible in the warp threads even before the weft, a plain colored thread, is woven in. Some warp ikat traditions are designed with vertical-axis symmetry or have a "mirror-image" running along their long centre line. That is, whatever pattern or design is woven on the right is duplicated on the left in reverse order about a central warp thread group. Patterns can be created in the vertical, horizontal or diagonal.
WEFT IKAT
Weft ikat uses resist-dyeing for the weft yarns. The movement of the weft yarns in the weaving process means precisely delineated patterns are more difficult to achieve. The weft yarn must be adjusted after each passing of the shuttle to preserve the clarity of the patterns.
Nevertheless, highly skilled artisans can produce precise weft ikat. Japanese weavers produce very accurate indigo and white weft ikat with small scale motifs in cotton. Weavers in Odisha, India have replicated fine patterns in weft ikat. In Thailand, weavers make silk sarongs depicting birds and complex geometrical designs in seven-colour weft ikat.
In some precise weft ikat traditions (Gujarat, India), two artisans weave the cloth: one passes the shuttle and the other adjusts the way the yarn lies in the shed.
As the weft is a continuous strand, aberrations or variations in the weaving tension are cumulative. Some weft ikat traditions incorporate this affect into their aesthetic. Patterns become transformed by the weaving process into irregular and erratic designs. Guatemalan ikat is well-noted for its beautiful "blurs."
DOUBLE IKAT
Double ikat is created by resist-dyeing both the warp and weft prior to weaving. Some sources use the term double ikat only when the warp and weft patterning overlap to form common, identical motifs. If they do not, the result is referred to as compound ikat.
This form of weaving requires the most skill for precise patterns to be woven and is considered the premiere form of ikat. The amount of labour and skill required also make it the most expensive, and many poor quality cloths flood the tourist markets. Indian and Indonesian examples typify highly precise double ikat. Especially prized are the double ikats woven in silk known in India as patola (singular: patolu). These are from Khambat, Gujarat. During the colonial era, Dutch merchants used patola as prestigious trade cloths during the peak of the spice trade.
In Indonesia double ikat is only woven in the Bali Aga village of Tenganan. These cloths have high spiritual significance. In Tenganan they are still worn for specific ceremonies. Outside Tenganan, geringsing are treasured as they are purported to have magical powers.
The double ikat of Japan is woven in the Okinawa islands and is called tate-yoko gasuri.
Pochampally Saree, a variety from a small village in Nalgonda district, Andhra Pradesh, India is known for silk saris woven in the double Ikat.
The Puttapaka Saree is made in Puttapaka village, Samsthan Narayanpuram mandal in Nalgonda district, India. It is known for its unique style of silk saris. The symmetric design is over 200 years old. The Ikat is warp-based. The Puttapaka Saree is a double ikat.
Before the weaving is done, a manual winding of yarn, called Asu, needs to be performed. This process takes up to five hours per sari and is usually done by the womenfolk, who suffer physical strain through constantly moving their hands back and forth over 9000 times for each sari. In 1999, a young weaver C Mallesham developed a machine which automated Asu, thus developing a technological solution for a decades-old unsolved problem.
ŌSHIMA
Ōshima ikat is a uniquely Japanese ikat. In Amami Ōshima, the warp and weft threads are both used as warp to weave stiff fabric, upon which the thread for the ikat weaving is spot-dyed. Then the mats are unravelled and the dyed thread is woven into Ōshima cloth.
The Ōshima process is duplicated in Java and Bali, and is reserved for ruling royalty, notably Klungkung and Ubud: most especially the dodot cloth semi-cummerbund of Javanese court attire.
OTHER COUNTRIES
CAMBODIA
The Cambodian ikat is a weft ikat woven of silk on a multi-shaft loom with an uneven twill weave, which results in the weft threads showing more prominently on the front of the fabric than the back.
By the 19th century, Cambodian ikat was considered among the finest textiles of the world. When the King of Thailand came to the US in 1856, he brought as a gift for President Franklin Pierce fine Cambodian ikat cloth.[18] The most intricately patterned of the Cambodian fabrics are the sampot hol—skirts worn by the women—and the pidans—wall hangings used to decorate the pagoda or the home for special ceremonies.
Unfortunately, Cambodian culture suffered massive disruption and destruction during the mid-20th century Indochina wars but most especially during the Khmer Rouge regime. Most weavers were killed and the whole art of Cambodian ikat was in danger of disappearing.
Kikuo Morimoto is a prominent pioneer in re-introducing ikat to Cambodia. In 1995, he moved from Japan and located one or two elderly weavers and Khmer Rouge survivors who knew the art and have taught it to a new generation.
THAILAND
In Thailand, the local weft ikat type of woven cloth is known as Matmi (also spelled 'Mudmee' or 'Mudmi'). Traditional Mudmi cloth was woven for daily use among the nobility. Other uses included ceremonial costumes. Warp ikat in cotton is also produced by the Karen and Lawa tribal peoples in northern Thailand.
This type of cloth is the favourite silk item woven by Khmer people living in southern Isan, mainly in Surin, Sisaket and Buriram provinces.
IRAN
In Iran, ikat, known by the name darayee, has been woven in different areas. In Yazd, there are some workshops that produce it. It is said that this kind of cloth historically used to be included in a bride's dowry. In popular culture, there is a quote that states that people who bought this type of cloth were wealthy.
LATIN AMERICA
Ikat patterns are common among the Andes peoples, and native people of Argentina, Bolivia, Brazil, Chile, Colombia, Ecuador, Guatemala, Mexico, Peru, and Venezuela. The Mapuche shawl or poncho of the Huaso cowboys of Chile is perhaps the item best known in the West. Wool and cabuya fibre are the most commonly used. India: In India Ikat art is present since thousands of years . Now also some parts of India this Ikat processed cloth like saree and kurtis are much popular . bedsheet, door screen, towels are also much preferred one.
The Mexican rebozos can be made from silk, wool or cotton and are frequently ikat dyed. These shawls are seen as a part of the Mexican national identity and most women own at least one.
Latin American ikat (Jaspe, as it is known to Maya weavers) textiles are commonly woven on a back-strap loom. Pre-dyed warp threads are a common item in traditional markets- saving the weaver much mess, expense, time and labour. A Latin American innovation which may also be employed elsewhere is to employ a round stick around which warp threads are wrapped in groups, thus allowing more precise control of the desired design The "corte" is the typical wrap-skirt used worn by Guatemalan women.
ACCREDITATION
As of 2010, the government of the Republic of Indonesia announced it would pursue UNESCO Intangible Cultural Heritage accreditation for its ikat weaving, along with songket, and gamelan having successfully attained this UNESCO recognition for its wayang, batik and the kris.
WIKIPEDIA
On the night of June 20, 1947, as Siegel sat in Virginia Hill's Beverly Hills home reading the Los Angeles Times, an unknown gunman entered the backyard and fired at him through the window with a .30-caliber military M1 carbine, hitting him many times including twice in the head. No one was ever charged with the murder, and the crime remains unsolved.
Accused Mohanand Naik was first arrested on 21st April 2009 in connection with a Rape Case. During interrogations he confessed killings, The accused 40, Rickshaw Driver, allegedly commited FIRST murder when he was about 24 (1994). Main Motive: Greed for Gold Ornaments and money. Mode of killings: Strangulation using the victim's dupata. Mohanand is married with 18 months old child. He seems very quite and many find hard to believe in his alleged crimes. All the murdered victims are young females
In 1995, Mohanand was first arrested in kidnapping case but the Police let him off without proper investigation. Now, he admits not only kidnapping but killing the girl too.
Murder confessions (as per the Goa Police) as follows:
2 as on 25/04/09 Miss Darshan Naik 22, Shroda ( ACQUITTED 1/12/10) & Miss Yogita Naik 30, Ponda
1 as on 03/05/09 Miss Vasanti Gaude19, Marcaim - CONVICTED on 30/6/11 (Sentenced to LIFE on 20/7/11 - this is the second life term for murder)
1 as on 06/05/09 Miss Kesar Naik 33, Ponchwadi AQUITTED on 13/11/10
1 as on 07/05/09 Miss Nayan Goancar 30, Panchwadi
2 as on 08/05/09 Miss Sunita Gaoncar 31, Bethora ACQUITTED (on 1/12/10) & Miss Anjani Gaoncar 30, Ponda AQUITTED on 9/10/11
(3 as on 08/05/09 as per GT Miss Sunita, Mis Anjani & Miss Nirmala Ghadi, 28, Khandola)
1 as on 11/05/09 Miss Surat Gaonkar, 30, Panchwadi (ACQUITTED)
1 as on 19/05/09 Miss Sushila Fatarpekar, 30 from Curca CONVICTED May 31,2011 and Sentenced for LIFE on 10th June 2011
2 as on 27/5/9 Miss Deepali Jotkar 22, Davorlim, Margao & Miss Bhagi Satarkar30, Ponda
2 on 28/5/09 Miss Nirmala Amonkar, 32, Rivona (ACQUITTED) & Miss Baghu Upaskar
of Satpal-Sacord (ACQUITTED)
1 on 29/5/09 he does not remember the victim's name but age 25-30 and from Bicholim, killed on 30/12/05 (ACQUITTED on 25/10/10)
1 on 30/5/09 Miss Gulabi Gaokar, 30 of Dabal on july 29, 1994 (his first murder, 2nd being 2 months later same year)
Total: 16 as on 30/5/09
5 murders in 2007, 3 in 2005, 2 each in 2008, 1994 and 1 each in, 1995, 2003, 2006 & 2009
However, Police are investigating for possible links to 18 (now 7?) missing girls during the period.
Mahanand and his wife Puja:
Where do they first met ?
Ans: In a prison or police lock-up at Savordem Both as offenders.
Wife's offence not known yet.
see wife Puja, Mahanand Pics etc here
www.flickr.com/photos/joegoaukextras/3527774702/
or
www.flickr.com/photos/joegoaukextras/3527774702/sizes/l/
Watch this space for updates
Watch the killer in this Clip (NDTV 1.5 mins)
www.youtube.com/watch?v=g7o5LQafHB4
The Killer's wife Puja seeking refuge saying the agitated villagers threatened to kill her and the baby and is now safe at an undisclosed destination. Protection given by a Goan NGO 'Bailancho Ekvott' or 'Women's Unity' 18/5/09
Puja says they have been married for last 11 years and that she never had a clue that her husband might involve in the alleged crimes.
He sometime used to bring in large amount of money and upon questions, he often said the money either come from borrowing from his parents or from the painting worlk he sometime says he did.
Puja works as a clerk in a central governmnet dept. at Ela, Goa.
Just befoe the arrest of her husband, she was told to leave the job and that he *husband' would look after them.
Leader of the BE (abv NGO), Auda Viegas says that if they find Puja's involvement in the crimes then they will withdraw the protection given to her
update: 25/5/09
According to the Police..
- 3 of the 10 victims skeletons discovered.
One of it was found just about 150mts from the main road at Raia and co-incidently the area is frequented by Migrants to asnwer nature call and yet it was not detected earlier.
- The goldSmitth to whom the alleged serial killer was selling the ill gotton gold is arrested
Police says the gold would worth at least 5 lakhs or at least 500g.
Police recovered Rs.10.5 lakhs worth melted stolen gold from the goldsmith. 26/5/09
Soon after the the Gold Smith Ulhas Rivonkar's arrest, a retired judge and an advocate approached the police station to bail him out
It also appears that besides the 3 skeletons found, the bodies of most remaining also found over the years which police termed as ‘unnatural deaths’
Tiatr on Mahanand releasing in August
Check it out here
www.flickr.com/photos/joegoauk-tiatr2/3780604592/
or
www.flickr.com/photos/tiatr/3550947796/
a tiatr trailer
www.youtube.com/watch?v=eAHM3E2h9W0
Goa Police charge-sheeted Mahanadn in the last week of July 2009
as of early Dec. 2009, total of 9 charge sheets filed.
Court Verdicts:
On 2nd Jan 2010,
District and Sessions Judge Desmond D’Costa ACQUITTED Mahanand in the case saying the prosecution had failed to establish that the woman went to the spot with Mahanand. “The prosecution also could not prove that she was killed and her body thrown in the bushes by the accused,” the judge said.
The order also expressed the doubt that the police may have been trying to fix a blame on accused to solve the unsolved mystery of the woman’s death.
Court acquited Mahanand in Surat Gaukar case.
Court could not establish his direct link to the crime
On 6th March 2010
Judge Mr P V Sawaiker, acquitted Mahanand Naik, who was arrested in connection with the case of murder of Bhagu Upasker from Sacordem that took place in 2007. This is the second case, after he was acquitted on January 2 this year, in the murder of Surat Gaunker from Panchwadi.
The court after examining a witness and the concerned investigating police officer in the Upasker case passed the said order.
on 30th March 2010
Mahanand acquitted today in the third case
Additional district and sessions court judge Desmond D’Costa acquitted 40-year-old Mahanand of the charges of killing Nirmala Amonkar, a woman in her late 20s, found dead on a plateau in Verna village
Her highly decomposed body was found at Verna on February 24. 2008
The court acquitted Mahanand from the charges as the police were not able to establish the offence against him.
Mahanand latest pic (Sept end 2010)
www.flickr.com/photos/joegoaukextra2/5046313905/
Oct. 1 2010
Convicted for Rape
Sessions court Judge Nutan Sardessai has convicted Mahanand Naik
Sentenced for 7 years and fine Rs.25K
It may be reminded that the Rape case was the first to file with the Police.
Based on it's investigation, the alleged 16 murders came to light later on.
Tony Dias, Tiatr Director in an advertisement in early Oct. 2010 had announced yet another
tiatr title 'MAHANAND, DEV NIDONK NA'
This was soon after Mahanand was convicted for rape.
Then again, after the first life sentence announced on 10/6/11
25/10/10.
Mahanand Naik was acquitted by the court for the 4th time/case.
North Goa District & Sessions Judge Nutan Sardessai acquitted Mahanad as the prosecution failed to produce concrete evidence proving his guilt under Sections 364 (kidnapping), 392 (robbery), 302 (murder) and 201 (destroying evidence) of Indian Penal Code.
The court ould find any evidence to prove the alleged Killer stragulated
Shakuntala Kavthankar 35, of Mayem.
Nov. 13, 2010,
Mahanand lucky for the 5th time.
Principal Sessions Judge Nutan Sardesai in Panaji after hearing string of arguments by the prosecution ACQUITTED him in case of murder of 33 year Kesar Naik from Mapa-Panchwadi in 2007.
For want of sufficient evidence to show he killed Kesar. Also, Forsenic report said DNA could not be extracted from the bone.
Dec. 1. 2010
Mahanad acquitted in two more cases - 7 time lucky.
Principal Session Judge Nutan Sardessai acquitted Mahanand today in the murder cases of Darshana Naik (21) and Sunita Gaonkar (31), giving him benefit of doubt. Darshana was killed in 1994 and Sunita in 2003.
Darshana Naik (22) of Talaulim and sunita Gaonkar (31) of Betoda.
9 more muder cases (out of the total 16) still to come up in the court
Feb. 9, 2011 Judge Desmond D'Costa got suspended by Hight Court for disposing off one of the Mahnand cases in haste.
Protest meet by advocates/ clip
www.youtube.com/watch?v=Jk8tDzm6pTk
Feb 28/2011
Mahanand filed an appeal in the high court against the District Court oder / conviction on rape case for which he was sentenced to 7 years imprisonment
March 15/2011
Cutorim Police filed a chargsheet case againt Mahanand in Deepali Jotkar Murder case. This is the third Case in South Goa Court (prev. two ended in aquittals + 5 at North Goa = 7 acquittals in all)
May 19, 2011
Frame charges against Mahanand in Deepali’s murder, orders court
HERALD REPORTER
Frame charges against Mahanand in Deepali’s murder, orders court
HERALD REPORTER
MARGAO, MAY 19
Accused Mahanand Naik on Thursday landed in the dock when the South Goa Sessions court ordered framing of charges of murder, abduction and robbery against him in the Deepali Jotkar murder case.
Judge Bimba Thaly ordered that charges under section 302 of the IPC for murder, 364 abduction, 394 robbery and 201 for destruction of evidence be framed against the accused.
The Judge further ordered framing of charges against the jeweller Ulhas Rivonkar under section 411 of the IPC for receiving stolen property.
Adv Joe Antao, who appeared for Mahanand Naik, under the free legal aid scheme, did not argue during arguments before framing of charges.
In this case, the Maina Curtorim police had chargesheeted accused Mahanand Naik for allegedly adducting deceased Deepali Jotkar from the housing board and later allegedly murdered here at Fatorda after relieving her of the gold ornaments.
The police said both Deepali and Mahanand were last seen together near the Maruti Temple at the Rumdamol Housing board before her body was found murdered at Fatorda.
Incidentally, Mahanand was acquitted in two other murder cases reported from South Goa, including the one which kicked up a row, leading to the suspension of Additional Sessions Judge Desmond D’Costa
27.5.11
Charges framed against Mahanand in Deepali murder case
TEAM HERALD
teamherald@herald-goa.com
MARGAO: The South Goa Sessions Court on Friday framed charges of murder, abduction and robbery against accused Mahanand Naik in the Deepali Jotkar murder case.
The trial in the sensational case would commence in the Sessions Court on June 7.
After framing the charges, Judge Bimba Thaly posted the matter for evidence.
In this case, the Maina Curtorim Police had charged accused Mahanand Naik for allegedly adducting deceased Deepali Jotkar from the housing board and later allegedly murdered her at Fatorda after relieving her of the gold ornaments.
The police said both Deepali and Mahanand were last seen together near the Maruti temple at the Rumdamol Housing Board before her body was found murdered at Fatorda.
May 31, 2011
Mahanand gets first murder conviction
TEAM HERALD
teamherald@herald-goa.com
PANJIM: North Goa Principal Sessions Judge today held Goa’s infamous serial killer Mahanand Naik guilty for the murder of a 32-year-old woman at Bambolim in 2007.
Principal Judge Nutan Sardessai ruled Mahanand guilty of murdering Susheela Fatarpekar of Curca and fleeing away with her gold ornaments.
It may be recalled that the victim’s sister had filed a complaint against Mahanand at the Agassaim police station on May 19, 2009. The complainant alleged that Susheela was abducted by the accused on October 24, 2007, under the pretext of marrying her.
“Mahanand took her to an isolated spot behind Goa University library and killed her by strangulating her with her own duppata (long stole) and robbed the gold ornaments. Her body was thrown in the bushes”, the chargesheet mentioned.
The accused was booked under section 364 (kidnapping or abduction in order to murder), 302 (murder), 392 (robbery) and 201 (destruction of evidence) of the Indian Penal Code.
The prosecution led by Sarojini Sardinha examined 21 witnesses including the goldsmith Mukund Rivankar who deposed that Mahanand sold off the gold ornaments at his jewelry store in Ponda, stating he was in need of money for his daughter’s medical treatment.
During the course of investigation police recovered part of gold in the melted form weighing 20.340 grams.
This is Mahanand’s first conviction in the murder case after a string of seven murder acquittals by Sessions Court giving benefit of doubt. Mahanand, who is already convicted in a rape case, has contested the verdict before the High Court of Bombay at Goa.
Mahanand was arrested on April 21, 2009 after the lone surviving victim complained of rape against him. His spate of crimes unfolded one by one after his confession during custodial interrogation and was charged for the gruesome killings over a span of one-and-a-half decade beginning from 1994.
10.6.11
Serial killer Mahanand Naik has finally been sentenced for life by the Panaji Sessions Court after he was convicted for the murder of Susheela Fatarpekar of Curca at Bambolim in 2007.
PANJIM: North Goa Principal Sessions Judge on Friday awarded life sentence to Goa’s infamous serial killer Mahanand Naik in the 2007 Susheela Fatarpekar death case.
Principal Judge Nutan Sardessai awarded him life sentence on four counts, along with total fine of Rs 1.30 lakh after the prosecution pleaded stringent punishment during arguments on the quantum of sentence.
The Court, on May 30 held him guilty of strangulating the 32-year-old woman at Bambolim and fleeing with her gold ornaments.
The victim’s sister had filed a complaint at Agassaim police station on May 19, 2009 alleging that Susheela, who worked as a sweeper in a private firm, was abducted by the accused on October 24, 2007, under the pretext of marrying her.
“Mahanand took her to an isolated spot behind Goa University library and killed her by strangulating her with her own duppata (long stole) and robbed her gold ornaments. Her body was thrown in the bushes”, the police chargesheet mentioned.
He has been sentenced to life imprisonment on murder charges, five years imprisonment for robbery, three years imprisonment for kidnapping and finally five years imprisonment for destroying evidences.
30th June, 2011
Alleged serial killer Mahanand Naik was today convicted of a second murder. The district and sessions court found him guilty of killing Vasanti Gawade in 1995. Naik is accused of killing more than a dozen women and has been acquitted in seven murder cases. In this case, police alleged Mahanand had befriended Gawade on the pretext of marrying her.
July 20, 2011
The North Goa Sessions Court on Wednesday sentenced serial killer Mahanand Naik to life imprisonment for the murder of 19-year-old Vasanti Gawade from Vadalwada, Madkai in 1995. This is the second case Mahanand has been convicted for life, the first being for the 2007 murder of Susheela Fatarpekar of Curca in Bambolim, sentenced on 10.6.11
6 murder charges (of the total 16) still to come up in the court
of the 10 murder cases that came up in court.. (update; Aug. 2011)
8 ACQUITTED
2 CONVICTED (Sentenced for life in both) - updated 10/8/11
Mahanand..Tiatr part II is back
Mahanand II is back
www.flickr.com/photos/joegoauktiatr8/5969332038/
See prev. pics and Trailer - links within
Part II released on 7th Aug. 2011. Name changed from Mahanand to Manand
August 9, 2011
North Goa District & Sessions Court, The Principal Sessions Judge Nutan Sardessa, acquitted alleged serial killer Mahanand Naik in the 2005 Anjani Gaonkar murder case on benefit of doubt and lack of evidence.
more updates here
joegoauk-pointofview.blogspot.com/2011/08/mahanand-serial...
This post is really more about the story than the photos.
This grave is located just as you turn onto Bain's Gap road from Choccolocco road.Bain's Gap road takes you through some beautiful mountainous scenery and ends at Fort McClellan in Anniston Alabama.Fort McClellan was closed in the late 90's during one of the rounds of base closings.The Army deeded the entire area to the City of Anniston.
Anniston immediately closed this road because for decades the Army had used this beautiful mountainous area for artillery practice and this had left a large amount of unexploded shells in the area which had to be removed before the road could be reopened.The cleanup was finally completed in the first half of 2006 and was made available for public use.There were several articles in the paper concerning the beautiful scenery and mountains this road passes through so of course I had to go see it for myself.
I noticed this grave right off so on the way back I stopped to check it out because it is so unusual.The fact that it is by itself and the road being more or less around it piqued my interest so I decided to see what I could find out about it.I did several online searches and made a few phone calls but details concerning this grave continued to elude me.
A few weeks ago I went to the online version of The Anniston Star I thought maybe there would be an obituary or something so I did a search there and hit pay dirt.George Smith a senior editor had written an article about this very grave in October of 2002 but the online version did not contain the whole article,it really was just a few brief lines.I sent Mr Smith an E-Mail concerning the article and he was gracious enough to mail me the whole article he interviewed a lady who was the child's niece while she was placing a floral arrangement on the grave which is where the following information comes from.
It has been a family tradition for someone to clean up and leave a floral arrangement every Mothers Day that has been passed down through four generations and the niece's daughter has already agreed to continue it when her mother becomes unable to do so..The niece had never even seen a picture of Woodrow and her knowledge concerning him had been passed down to her from her Grandmother Woodrow's mother.The cause of his passing was never told to her,this lady has been doing this since 1973.
"Over the years some have wondered why the one lonely grave beside the road."
Her mother always told her it was there because a church was going to be built there but after his death it was decided that the church would be built about a quarter of a mile down the road.The grave is located on land that was once the maternal grandfather's farm.
"A great-uncle lived across the road and a great grand mother's farm was a mere stone's throw from the church."
Mr Smith tried on several occasions through the years to find information concerning the little grave but strangely none knew the history behind it.Surprisingly he uncoverd the story of the small grave in the offices of the Anniston Star it seems that this lady worked the front desk there.
I have thought a lot about the why and wherefores of this little grave.This is pure speculation on my part but when the land was sold to the Army or the state or whoever I think there was probably some kind of stipulation that the grave could never be moved or relocated or disturbed in any way.That's the only reason I can think of that the roads would be built around it like they are.
View On Black Large
For more on Caligulan Numismatic Articles see: Coins courtesy cngoins.com
Related Articles of Caligula from American Numismatic Society Library Search
Library Catalog Search (Preliminary Version)
Full Record: Barrett, Anthony A. The invalidation of currency in the Roman Empire : the Claudian demonetization of Caligula's AES. (1999)
Full Record: Bost, Jean-Pierre. Routes, cits et ateliers montaires : quelques remarques sur les officines hispaniques entre les rgnes d'Auguste en de Caligula. (1999)
Full Record: Bibliothque Municipale d'Etude et d'Information de Grenoble. Grenoble : Bibliothque Municipale d'Etude et d'Information : catalogue des monnaies. II. Monnaies romaines. Monnaies impriales romaines. 2. Caligula - Neron . Index. / Bernard Rmy, Frdric Bontoux, Virginie Risler. (1998)
Full Record: Gainor, John R. The image of the Julio-Claudian dynasty from coins / by John R. Gainor.
Full Record: Martini, Rodolfo. Monete romane imperiali del Museo G. B. Adriani. Parte 3, Caius (37-41 d.C.) / Rodolfo Martini. (2001)
Full Record: ACCLA privy to presentation by Richard Baker on Caligula. (2002)
Full Record: Wend, David A. Caligula, the emperor as autocrat. Part 1. (2002)
Full Record: Wend, David A. Caligula, the emperor as autocrat. Part 2. (2002)
Full Record: Wend, David A. Caligula, the emperor as autocrat. Part 3. (2002)
Full Record: Kemmers, Fleur. Caligula on the Lower Rhine : Coin finds from the Roman Fort of Albaniana (The Netherlands) / Fleur Kemmers. (2004)
Full Record: Estiot, Sylviane. Le trsor de Meussia (Jura) : 399 monnaies d'argent d'poques rpublicaine et julio-claudienne / Sylviane Estiot, Isabelle Aymar. (2002)
Full Record: Gocht, Hans. Namenstilgungen an Bronzemünzen des Caligula und Claudius / Hans Gocht. (2003)
Full Record: Gomis Justo, Marivi. Ercavica : La emision de Caligula. Estimacion del numero de cunos originales.
Full Record: Sayles, Wayne G. Fakes on the Internet. (2002)
Full Record: Kemmers, Fleur. The coin finds from the Roman fort Albaniana, the Netherlands / Fleur Kemmers . (2005)
Full Record: Lopez Snchez, Fernando. La afirmacion soberana de Caligula y de Claudio y el fin de las acunaciones ciudadanas en occidente / Fernando Lopez Snchez. (2000)
Full Record: Besombes, Paul-Andr. Les monnaies hispaniques de Claude Ier des dpôts de la Vilaine (Rennes) et de Saint-Lonard (Mayenne) : tmoins de quel type de contact entre l'Armorique et la pninsule ibrique ? / Paul-Andr Besombes. (2005)
Full Record: Catalli, Fiorenzo. Le thesaurus de Sora / Fiorenzo Catalli et John Scheid.
Full Record: Giard, Jean-Baptiste. Faux deniers de Caligula de la Renaissance.
Full Record: Vermeule, Cornelius. Faces of Empire (Julius Caesar to Justinian). Part II(B), More young faces : Caligula again and Nero reborn / Cornelius Vermeule. (2005)
Full Record: Geranio, Joe. Portraits of Caligula : the seated figure? / Joe Geranio. (2007)
Full Record: Aguilera Hernandez, Alberto. Acerca de un as de Caligula hallado en Zaragoza / Alberto Aguilera Hernandez. (2007)
Full Record: Butcher, K. E. T. Caligula : the evil emperor. (1985)
Full Record: Fuchs, Michaela. Frauen um Caligula und Claudius : Milonia Caesonia, Drusilla und Messalina. (1990)
Full Record: Faur, Jean-Claude. Moneda de Caligula de Museo Arqueologico Provincial de Tarragona. (1979)
Full Record: British Museum. Dept. of coins and medals. Coins of the Roman Empire in the British museum. Vol. I: Augustus to Vitellius / by Harold Mattingly. (1976)
Full Record: Conrad, Edwin. A Caligula Isotope of Hadrian. (1968)
Full Record: Conrad, Edwin. The Metamorphosis of an Allegad 'As of Hadrian.' (1968)
Full Record: Bendall, Simon. A 'new' gold quinarius of Caligula. (1985)
Full Record: Cortellini, Nereo. Le monete di Caligola nel Cohen.
Full Record: Guey, Julien. Les "bains d'or" de Caligula "Immensi Avreorvm Acervi (Sutone, Cal., 42,3).
Full Record: Guey, J. Les "bains d'or" de Caligula : Sutone, Cal. 42, 3.
Full Record: Curry, Michael R. The Aes Quadrans of Caligula. (1968)
Full Record: Jonas, Elemr. L'emploi dar "damnatio memoriae" sur l'un des "dupondius" de Calgula. (1937)
Full Record: Julian, R. W. The coins of Caligula. (1994)
Full Record: Donciu, Ramiro. Cu privire la activitatea militara a lui Caius (Caligula) in anul 40 e.n. (1983)
Full Record: Hansen, Peter. A history of Caligula's Vesta. (1992)
Full Record: Kaenel, Hans-Markus von. Augustus, Caligula oder Caludius? (1978)
Full Record: Kaenel, Hans-Markus von. Die Organisation der Münzprgung Caligulas. (1987)
Full Record: Johansen, Flemming S. The sculpted portraits of Caligula. (1987)
Full Record: Carter, G. F. Chemical compositions of copper-based Roman coins. V : imitations of Caligula, Claudius, and Nero / G. F. Carter and others. (1978)
Full Record: Giard, Jean-Baptiste. L'atelier de Lyon sous Auguste : Tibre et Caligula. (1979)
Full Record: Giard, Jean-Baptiste. Les missions d'or et d'argent de Caligula dans l'atelier de Lyon. (1976)
Full Record: Giard, Jean-Baptiste. Le monnayage de l'atelier de Lyon des origines au rgne de Caligula (43 avant J.-C. - 41 aprs J.-C.). (1983)
Full Record: Nony, D. Quelques as d'imitation de Caligula trouves a Bordeaux (Gironde). (1981)
Full Record: Levy, Brooks Emmons. Caligula's radiate crown. (1988)
Full Record: Poulsen, Vagn. Un nouveau visage de Caligula. (1972)
Full Record: Price, Martin Jessop. Elephant in Crete? New light ona cistophorus of Caligula. (1973)
Full Record: MacInnis, H. Frank. Ego-driven emperor commits excesses. (1979)
Full Record: McKenna, Thomas P. The case of the curious coin of Caligula : a provincial bronze restruck with legend-only dies. (1994)
Full Record: Mowat, Robert. Bronzes remarquables de Tibre, de son fils, de ses petits-fils et de Caligula. (1911)
Full Record: Koenig, Franz E. Roma, monete dal Tevere : l'imperatore Gaio (Caligola). (1988)
Full Record: Kollgaard, Ron. Caligula's coins profile despot. (1993)
Full Record: Kollgaard, Ron. A numismatic mystery : "the Caligula quadrans." (1994)
Full Record: Martini, Rodolfo. Osservazioni su contromarche ed erosioni su assi de Caligula. (1980)
Full Record: Szaivert, Wolfgang. Moneta Imperii Romani. Band 2 und 3. Die Münzprgung der Kaiser Tiberius und Caius (Caligula) 14/41 / von Wolfgang Szaivert. (1984)
Full Record: Boschung, Dietrich. Die Bildnisse des Caligula. Kaenel, Hans-Markus von. Jucker, Hans. Deutsches Archaologisches Institut. Das Romische Herrscherbild. 1. Abt., Bd. 4, Die Bildnisse des Caligula / Dietrich Boschung ; mit einem Beitrag von Hans-Markus von Kaenel ; auf Grund der Vorarbeiten und Marterialsammlungen von Hans Jucker. (1989)
Full Record: Rosborough, Ruskin R. An epigraphic commentary on Suetonius's life of Gaius Caligula. A thesis...for the...Doctor of Philosophy. (1920)
Full Record: Richard, Jean-Claude. A propos de l'aureus de Caligula dcouvert Saint-Colomban-des-Villards (Savoie). (1982)
Full Record: Richard, Jean-Claude. Un aureus de Caligula dcouvert Saint-Colomban-des-Villards (Savoie). (1982)
Full Record: Ritter, Hans-Werner. Adlocutio und Corona Civica unter Caligula und Tiberius. (1971)
Full Record: Kumpikevicius, Gordon C. A numismatic look at Gaius. (1979)
Full Record: Savio, Adriano. La coerenza di Caligola nella gestione della moneta / Adriano Savio. (1988)
Full Record: Savio, Adriano. Note su alcune monete di Gaio-Caligola. (1973)
Full Record: Stylow, Armin U. Die Quadranten des Caligula als Propaganda-münzen.münzen" aus der stdtischen sammlung zu Osnabrück. (1971)
Full Record: Schwartz, Jacques. Le Monnayage Snatorial entre 37 et 42 P.C. (1951)
Full Record: Rodolfo Martini, ed. Sylloge nummorum Romanorum. Italia. Milano, Civiche Raccolte Numismatiche Vol. 1 Giulio-Claudii / a cura di Rodolfo Martini. (1990)
Full Record: Szaivert, Wolfgang. Zur Julisch-Claudischen Münzprgung. (1979)
Full Record: Vedrianus. The Roman Imperial series. V. Gaius. (1963)
Full Record: Tietze, Christian M. Kaiser Cajus Caesar, genannt Caligula. (1979)
Full Record: Wood, Susan. Diva Drusilla Panthea and the sisters of Caligula / Susan Wood. (1995)
Full Record: Sutherland, Carol Humphrey Vivian. Coinage in Roman imperial policy 31 B.C.-A.D. 68. (1951)
Full Record: Sutherland, C. H. V. The mints of Lugdunum and Rome under Gaius : an unsolved problem. (1981)
Full Record: Trillmich, Walter. Familienpropaganda der Kaiser Caligula und Claudius : Agrippina Maior und Antonia Augusta auf Münzen. (1978)
Full Record: Voirol, August. Eine Warenumsatzsteuer im antiken Rom und der numismatische Beleg inher Aufhebung : Centesima rerum venalium. (1943)
Full Record: Trillmich, Walter. Zur Münzprgung des Caligula von Caesaraugusta (Zaragoza). (1973)
My family research is going to keep me busy for a little while as new cousins have given me a lot of information to process.
One of my unsolved mysteries is this beautiful photo of an unknown woman called Rena, dated 1909. So far I haven't found anyone by that name in the family tree. Whoever she is, she looked dressed for a special occasion.
These are from seven winters ago @ our back gate. This shot shows one big orb at our back gate. Next shot shows 3 orbs. There are no big bugs flying in the daytime here in January. Leaves? it was windy but the streaks shoot in different directions and some are orbs. Night winter moths?? We see a few.
An unsolved January mystery that's never happened again!
Queensland State Archives Item ID ITM294496 Dept No.44
The murder of siblings Michael, Norah and Ellen Murphy near Gatton on Boxing Day 1898 sparked intense interest and speculation. All three were killed between 10pm and the early hours of the following morning on their way home from a dance that had been cancelled and the case remains unsolved to this day.
Contained within the QSA archived police files are pages of handwritten letters from across Queensland sent from members of the community convinced they could help solve the case using their spiritual gifts. Some are simply a few words on a scrap of paper, others take up many pages and go into lengthy detail about possible conspiracies. The police called the correspondence files ‘Astrologers, Dreamers, Theorists, etc’.
Culling The Herd. Unicorns aren’t as kind and gentle as they appear. In Windsor yesterday and came upon this lawn character airing out. Rushed to save him but couldn’t stop the flow from the unicorn horn sized hole in the little guy’s chest.
In the St. Gallen Rhine Valley. On the left, somewhat elevated, is the village of Kobelwald, and Oberriet from the middle to the right. Kobelwald is starting point for the well-known crystal cave. But also the scene of an unsolved crime against two girls who were found dead near the crystal cave in October 1982. The cave has been known since 1682. Switzerland, April 10, 2023.
Caligula (Gaius) & Augustus AR Denarius. C. CAESAR AVG GERM P M TR POT COS, bare head right
For more on Caligulan Numismatic Articles see:
Related Articles of Caligula from American Numismatic Society Library Search
Library Catalog Search (Preliminary Version)
Full Record: Barrett, Anthony A. The invalidation of currency in the Roman Empire : the Claudian demonetization of Caligula's AES. (1999)
Full Record: Bost, Jean-Pierre. Routes, cits et ateliers montaires : quelques remarques sur les officines hispaniques entre les rgnes d'Auguste en de Caligula. (1999)
Full Record: Bibliothque Municipale d'Etude et d'Information de Grenoble. Grenoble : Bibliothque Municipale d'Etude et d'Information : catalogue des monnaies. II. Monnaies romaines. Monnaies impriales romaines. 2. Caligula - Neron . Index. / Bernard Rmy, Frdric Bontoux, Virginie Risler. (1998)
Full Record: Gainor, John R. The image of the Julio-Claudian dynasty from coins / by John R. Gainor.
Full Record: Martini, Rodolfo. Monete romane imperiali del Museo G. B. Adriani. Parte 3, Caius (37-41 d.C.) / Rodolfo Martini. (2001)
Full Record: ACCLA privy to presentation by Richard Baker on Caligula. (2002)
Full Record: Wend, David A. Caligula, the emperor as autocrat. Part 1. (2002)
Full Record: Wend, David A. Caligula, the emperor as autocrat. Part 2. (2002)
Full Record: Wend, David A. Caligula, the emperor as autocrat. Part 3. (2002)
Full Record: Kemmers, Fleur. Caligula on the Lower Rhine : Coin finds from the Roman Fort of Albaniana (The Netherlands) / Fleur Kemmers. (2004)
Full Record: Estiot, Sylviane. Le trsor de Meussia (Jura) : 399 monnaies d'argent d'poques rpublicaine et julio-claudienne / Sylviane Estiot, Isabelle Aymar. (2002)
Full Record: Gocht, Hans. Namenstilgungen an Bronzemünzen des Caligula und Claudius / Hans Gocht. (2003)
Full Record: Gomis Justo, Marivi. Ercavica : La emision de Caligula. Estimacion del numero de cunos originales.
Full Record: Sayles, Wayne G. Fakes on the Internet. (2002)
Full Record: Kemmers, Fleur. The coin finds from the Roman fort Albaniana, the Netherlands / Fleur Kemmers . (2005)
Full Record: Lopez Snchez, Fernando. La afirmacion soberana de Caligula y de Claudio y el fin de las acunaciones ciudadanas en occidente / Fernando Lopez Snchez. (2000)
Full Record: Besombes, Paul-Andr. Les monnaies hispaniques de Claude Ier des dpôts de la Vilaine (Rennes) et de Saint-Lonard (Mayenne) : tmoins de quel type de contact entre l'Armorique et la pninsule ibrique ? / Paul-Andr Besombes. (2005)
Full Record: Catalli, Fiorenzo. Le thesaurus de Sora / Fiorenzo Catalli et John Scheid.
Full Record: Giard, Jean-Baptiste. Faux deniers de Caligula de la Renaissance.
Full Record: Vermeule, Cornelius. Faces of Empire (Julius Caesar to Justinian). Part II(B), More young faces : Caligula again and Nero reborn / Cornelius Vermeule. (2005)
Full Record: Geranio, Joe. Portraits of Caligula : the seated figure? / Joe Geranio. (2007)
Full Record: Aguilera Hernandez, Alberto. Acerca de un as de Caligula hallado en Zaragoza / Alberto Aguilera Hernandez. (2007)
Full Record: Butcher, K. E. T. Caligula : the evil emperor. (1985)
Full Record: Fuchs, Michaela. Frauen um Caligula und Claudius : Milonia Caesonia, Drusilla und Messalina. (1990)
Full Record: Faur, Jean-Claude. Moneda de Caligula de Museo Arqueologico Provincial de Tarragona. (1979)
Full Record: British Museum. Dept. of coins and medals. Coins of the Roman Empire in the British museum. Vol. I: Augustus to Vitellius / by Harold Mattingly. (1976)
Full Record: Conrad, Edwin. A Caligula Isotope of Hadrian. (1968)
Full Record: Conrad, Edwin. The Metamorphosis of an Allegad 'As of Hadrian.' (1968)
Full Record: Bendall, Simon. A 'new' gold quinarius of Caligula. (1985)
Full Record: Cortellini, Nereo. Le monete di Caligola nel Cohen.
Full Record: Guey, Julien. Les "bains d'or" de Caligula "Immensi Avreorvm Acervi (Sutone, Cal., 42,3).
Full Record: Guey, J. Les "bains d'or" de Caligula : Sutone, Cal. 42, 3.
Full Record: Curry, Michael R. The Aes Quadrans of Caligula. (1968)
Full Record: Jonas, Elemr. L'emploi dar "damnatio memoriae" sur l'un des "dupondius" de Calgula. (1937)
Full Record: Julian, R. W. The coins of Caligula. (1994)
Full Record: Donciu, Ramiro. Cu privire la activitatea militara a lui Caius (Caligula) in anul 40 e.n. (1983)
Full Record: Hansen, Peter. A history of Caligula's Vesta. (1992)
Full Record: Kaenel, Hans-Markus von. Augustus, Caligula oder Caludius? (1978)
Full Record: Kaenel, Hans-Markus von. Die Organisation der Münzprgung Caligulas. (1987)
Full Record: Johansen, Flemming S. The sculpted portraits of Caligula. (1987)
Full Record: Carter, G. F. Chemical compositions of copper-based Roman coins. V : imitations of Caligula, Claudius, and Nero / G. F. Carter and others. (1978)
Full Record: Giard, Jean-Baptiste. L'atelier de Lyon sous Auguste : Tibre et Caligula. (1979)
Full Record: Giard, Jean-Baptiste. Les missions d'or et d'argent de Caligula dans l'atelier de Lyon. (1976)
Full Record: Giard, Jean-Baptiste. Le monnayage de l'atelier de Lyon des origines au rgne de Caligula (43 avant J.-C. - 41 aprs J.-C.). (1983)
Full Record: Nony, D. Quelques as d'imitation de Caligula trouves a Bordeaux (Gironde). (1981)
Full Record: Levy, Brooks Emmons. Caligula's radiate crown. (1988)
Full Record: Poulsen, Vagn. Un nouveau visage de Caligula. (1972)
Full Record: Price, Martin Jessop. Elephant in Crete? New light ona cistophorus of Caligula. (1973)
Full Record: MacInnis, H. Frank. Ego-driven emperor commits excesses. (1979)
Full Record: McKenna, Thomas P. The case of the curious coin of Caligula : a provincial bronze restruck with legend-only dies. (1994)
Full Record: Mowat, Robert. Bronzes remarquables de Tibre, de son fils, de ses petits-fils et de Caligula. (1911)
Full Record: Koenig, Franz E. Roma, monete dal Tevere : l'imperatore Gaio (Caligola). (1988)
Full Record: Kollgaard, Ron. Caligula's coins profile despot. (1993)
Full Record: Kollgaard, Ron. A numismatic mystery : "the Caligula quadrans." (1994)
Full Record: Martini, Rodolfo. Osservazioni su contromarche ed erosioni su assi de Caligula. (1980)
Full Record: Szaivert, Wolfgang. Moneta Imperii Romani. Band 2 und 3. Die Münzprgung der Kaiser Tiberius und Caius (Caligula) 14/41 / von Wolfgang Szaivert. (1984)
Full Record: Boschung, Dietrich. Die Bildnisse des Caligula. Kaenel, Hans-Markus von. Jucker, Hans. Deutsches Archaologisches Institut. Das Romische Herrscherbild. 1. Abt., Bd. 4, Die Bildnisse des Caligula / Dietrich Boschung ; mit einem Beitrag von Hans-Markus von Kaenel ; auf Grund der Vorarbeiten und Marterialsammlungen von Hans Jucker. (1989)
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Full Record: Richard, Jean-Claude. Un aureus de Caligula dcouvert Saint-Colomban-des-Villards (Savoie). (1982)
Full Record: Ritter, Hans-Werner. Adlocutio und Corona Civica unter Caligula und Tiberius. (1971)
Full Record: Kumpikevicius, Gordon C. A numismatic look at Gaius. (1979)
Full Record: Savio, Adriano. La coerenza di Caligola nella gestione della moneta / Adriano Savio. (1988)
Full Record: Savio, Adriano. Note su alcune monete di Gaio-Caligola. (1973)
Full Record: Stylow, Armin U. Die Quadranten des Caligula als Propaganda-münzen.münzen" aus der stdtischen sammlung zu Osnabrück. (1971)
Full Record: Schwartz, Jacques. Le Monnayage Snatorial entre 37 et 42 P.C. (1951)
Full Record: Rodolfo Martini, ed. Sylloge nummorum Romanorum. Italia. Milano, Civiche Raccolte Numismatiche Vol. 1 Giulio-Claudii / a cura di Rodolfo Martini. (1990)
Full Record: Szaivert, Wolfgang. Zur Julisch-Claudischen Münzprgung. (1979)
Full Record: Vedrianus. The Roman Imperial series. V. Gaius. (1963)
Full Record: Tietze, Christian M. Kaiser Cajus Caesar, genannt Caligula. (1979)
Full Record: Wood, Susan. Diva Drusilla Panthea and the sisters of Caligula / Susan Wood. (1995)
Full Record: Sutherland, Carol Humphrey Vivian. Coinage in Roman imperial policy 31 B.C.-A.D. 68. (1951)
Full Record: Sutherland, C. H. V. The mints of Lugdunum and Rome under Gaius : an unsolved problem. (1981)
Full Record: Trillmich, Walter. Familienpropaganda der Kaiser Caligula und Claudius : Agrippina Maior und Antonia Augusta auf Münzen. (1978)
Full Record: Voirol, August. Eine Warenumsatzsteuer im antiken Rom und der numismatische Beleg inher Aufhebung : Centesima rerum venalium. (1943)
Full Record: Trillmich, Walter. Zur Münzprgung des Caligula von Caesaraugusta (Zaragoza). (1973)
Ikat, or ikkat, is a dyeing technique used to pattern textiles that employs resist dyeing on the yarns prior to dyeing and weaving the fabric.
In ikat the resist is formed by binding individual yarns or bundles of yarns with a tight wrapping applied in the desired pattern. The yarns are then dyed. The bindings may then be altered to create a new pattern and the yarns dyed again with another colour. This process may be repeated multiple times to produce elaborate, multicolored patterns. When the dyeing is finished all the bindings are removed and the yarns are woven into cloth. In other resist-dyeing techniques such as tie-dye and batik the resist is applied to the woven cloth, whereas in ikat the resist is applied to the yarns before they are woven into cloth. Because the surface design is created in the yarns rather than on the finished cloth, in ikat both fabric faces are patterned.
A characteristic of ikat textiles is an apparent "blurriness" to the design. The blurriness is a result of the extreme difficulty the weaver has lining up the dyed yarns so that the pattern comes out perfectly in the finished cloth. The blurriness can be reduced by using finer yarns or by the skill of the craftsperson. Ikats with little blurriness, multiple colours and complicated patterns are more difficult to create and therefore often more expensive. However, the blurriness that is so characteristic of ikat is often prized by textile collectors.
Ikat is produced in many traditional textile centres around the world, from India to Central Asia, Southeast Asia, Japan (where it is called "kasuri"), Africa and Latin America. Double ikats - in which both the warp and weft yarns are tied and dyed before being woven into a single textile - are relatively rare because of the intensive skilled labour required to produce them. They are produced in Okinawa islands of Japan, the village of Tenganan in Indonesia, and the villages of Puttapaka and Bhoodan Pochampally in Telangana and Gujarat in India.
TYPES
In warp ikat it is only the warp yarns that are dyed using the ikat technique. The weft yarns are dyed a solid colour. The ikat pattern is clearly visible in the warp yarns wound onto the loom even before the weft is woven in. Warp ikat is, amongst others, produced in Indonesia; more specifically in Kalimantan, Sulawesi, and Sumatra by respectively the Dayaks, Torajans and Bataks.
In weft ikat it is the weaving or weft yarn that carries the dyed patterns. Therefore, the pattern only appears as the weaving proceeds. Weft ikats are much slower to weave than warp ikat because the weft yarns must be carefully adjusted after each passing of the shuttle to maintain the clarity of the design.
Double Ikat is a technique in which both warp and the weft are resist-dyed prior to weaving. Obviously it is the most difficult to make and the most expensive. ouble ikat is only produced in three countries: India, Japan and Indonesia. The double ikat made in Patan, Gujarat in India is the most complicated. Called "patola," it is made using fine silk yarns and many colours. It may be patterned with a small motif that is repeated many times across the length of a six-meter sari. Sometimes the Patan double ikat is pictorial with no repeats across its length. That is, each small design element in each colour was individually tied in the warp and weft yarns. It's an extraordinary achievement in the textile arts. These much sought after textiles were traded by the Dutch East Indies company for exclusive spice trading rights with the sultanates of Indonesia. The double ikat woven in the small Bali Aga village, Tenganan in east Bali in Indonesia reflects the influence of these prized textiles. Some of the Tenganan double ikat motifs are taken directly from the patola tradition. In India double ikat is also woven in Puttapaka, Nalgonda District and is called Puttapaka Saree. In Japan, double ikat is woven in the Okinawa islands where it is called tate-yoko gasuri.
ETYMOLOGY
Ikat is an Indonesian language word, which depending on context, can be the nouns: cord, thread, knot and the finished ikat fabric as well as the verbs "to tie" or "to bind". It has a direct etymological relation to Javanese language of the same word. Thus, the name of the finished ikat woven fabric originates from the tali (threads, ropes) being ikat (tied, bound, knotted) before they are being put in celupan (dyed by way of dipping), then berjalin (woven, intertwined) resulting in a berjalin ikat- reduced to ikat.
The introduction of the term ikat into European language is attributed to Rouffaer. Ikat is now a generic English loanword used to describe the process and the cloth itself regardless of where the fabric was produced or how it is patterned.
In Indonesian the plural of ikat remains ikat. However, in English a suffix plural 's' is commonly added, as in ikats. This is true in other some other languages. All are correct.
DISTRIBUTION
Ikat is a weaving style common to many world cultures. It is probably one of the oldest forms of textile decoration. However, it is most prevalent in Indonesia, India and Japan. In Central and South America, ikat is still common in Argentina, Bolivia, Ecuador, Guatemala and Mexico.
In the 19th century, the Silk Road desert oases of Bukhara, Samarkand, Hotan and Kashgar (in what is now Uzbekistan and Xinjiang in Central Asia) were famous for their fine silk Uzbek/Uyghur ikat.
India, Japan, Indonesia and many other Southeast Asian nations including Cambodia, Myanmar, Philippines and Thailand have weaving cultures with long histories of ikat production.
Double ikat weaving is still found in India, Japan and Indonesia. In Indonesia, it is still woven in Bali, Java, Kalimantan or Borneo and Sumatra.
HISTORY
As textiles do not last well through history, scholars have so far been unable to determine where the technique of ikat originated. Nevertheless, some parts of Asia demonstrates strong ikat traditions which suggest its possible origin; they are Maritime Southeast Asia, Indian subcontinent and Central Asia. However, it probably developed in several different locations independently, since ikat was known to be produced in several pre-Columbian Central and South American cultures.
The term "ikat" has Indonesian origin, and it was introduced into European textile vocabulary back in early 20th century, when the Dutch scholars begin to study the rich textile traditions of East Indies archipelago (today Indonesia).
Uyghurs call it atlas (in IPA [ɛtlɛs]) and use it only for woman's clothing. The historical record indicates that there were 27 types of atlas during Qing occupation. Now there are only four types of Uyghur atlas remaining: Qara-atlas (Darayi, black ikat used for older women's clothing), Khoja'e-atlas (yellow, blue, purple ikat used for married women), Qizil-atlas (red ikat used for girls) and Yarkant-atlas (Khan-atlas). Yarkant-atlas has more diverse styles; during Yarkant Khanate (16th century), there ten different styles of Yarkant-atlas.
PRODUCTION
WARP IKAT
Ikat created by dyeing the warp are simpler to make than either weft ikat or double ikat. First the yarns - cotton, silk, wool or other fibres - are wound onto a frame. Then they are tied into bundles. The bundles may be covered with wax, as in batik. (However, in making batik, the craftsperson applies the resist to the finished cloth rather than to the yarns to be woven.) The warp yarns are then wrapped tightly with thread or some other dye-resistant material to prevent unwanted dye permeation. The procedure is repeated, depending on the number of colours required to complete the design. Multiple coloration is common, requiring multiple rounds of tying and dyeing. The newly dyed and thoroughly washed bundles are wound onto the loom to produce the warp (longitudinal yarns). Warp threads are adjusted for the desired alignment for precise motifs.
Some ikat traditions, such as Central Asia's, embrace a blurred aesthetic in the design. Other traditions favour a more precise and more difficult to achieve refinement in the placement of the ikat yarns. South American and Indonesian ikat are known for a high degree of warp alignment. Weavers must adjust the warp repeatedly to maintain pattern alignment.
Patterns result from a combination of the warp dye and the weft thread colour. Some warp ikat traditions are designed with vertical-axis symmetry or have a "mirror-image" running along their long centre line. That is, whatever pattern or design is woven on the right is duplicated on the left in reverse order about a central warp thread group. Patterns can be created in the vertical, horizontal or diagonal.
WEFT IKAT
Weft ikat uses resist-dyeing for the weft yarns. The movement of the weft yarns in the weaving process means precisely delineated patterns are more difficult to weave. The weft yarn must be adjusted after each passing of the shuttle to preserve the pattern.
Nevertheless, highly skilled artisans can produce precise weft ikat. Japanese weavers produce very accurate indigo and white weft ikat with small scale motifs in cotton. Weavers in Odisha, India have replicated fine Urdu script in weft ikat. In Thailand, weavers make very fine silk sarongs depicting birds and complex geometrical designs in seven colour weft ikat.
In some precise weft ikat traditions (Gujarat, India), two artisans weave the cloth: one passes the shuttle and the other adjusts the way the yarn lies in the shed.
As the weft is commonly a continuous strand, aberrations or variation in coloration are cumulative. Some weft ikat traditions incorporate this affect into their aesthetic. Patterns become transformed by the weaving process into irregular and erratic designs. Guatemalan ikat is well-noted for its beautiful "blurs."
DOUBLE IKAT
Double Ikat is created by resist-dyeing both the warp and weft prior to weaving.This form of weaving requires the most skill for precise patterns to be woven and is considered the premiere form of ikat. The amount of labour and skill required also make it the most expensive, and many poor quality cloths flood the tourist markets. Indian and Indonesian examples typify highly precise double ikat. Especially prized are the double ikats woven in silk known in India as patola (singular: patolu). These are from Gujarat (Cambay). During the colonial era, Dutch merchants used patola as prestigious trade cloths during the peak of the spice trade.
In Indonesia double ikat is only woven in the Bali Aga village of Tenganan. These cloths have high spiritual significance. In Tenganan they are still worn for specific ceremonies. Outside Tenganan, geringsing are treasured as they are purported to have magical powers.
The double ikat of Japan is woven in the Okinawa islands and is called tate-yoko gasuri.
Pochampally Sari, a variety from a small village in Nalgonda district, Andhra Pradesh, India is known for silk saris woven in the double Ikat.
The Puttapaka Saree is made in Puttapaka village, Samsthan Narayanpuram mandal in Nalgonda district, India. It is known for its unique style of silk saris. The symmetric design is over 200 years old. The Ikat is warp-based. The Puttapaka Saree is a double ikat.
Before the weaving is done, a manual winding of yarn, called Asu, needs to be performed. This process takes up to 5 hours per sari and is usually done by the womenfolk, who suffer physical strain through constantly moving their hands back and forth over 9000 times for each sari. In 1999, a young weaver C Mallesham developed a machine which automated Asu, thus developing a technological solution for a decades-old unsolved problem.
OSHIMA
Oshima ikat is a uniquely Japanese ikat. In Oshima, the warp and weft threads are both used as warp to weave stiff fabric, upon which the thread for the ikat weaving is spot-dyed. Then the mats are unravelled and the dyed thread is woven into oshima cloth.
The Oshima process is duplicated in Java and Bali, and is reserved for ruling royalty, notably Klungkung and Ubud: most especially the dodot cloth semi-cummerbund of Javanese court attire.
OTHER COUNTRIES
CAMBODIA
The Cambodian ikat is a weft ikat woven of silk on a multi-shaft loom with an uneven twill weave, which results in the weft threads showing more prominently on the front of the fabric than the back.
By the 19th century, Cambodian ikat was considered among the finest textiles of the world. When the King of Thailand came to the US in 1856, he brought as a gift for President Franklin Pierce fine Cambodian ikat cloth. The most intricately patterned of the Cambodian fabrics are the sampot hol - skirts worn by the women - and the pidans - wall hangings used to decorate the pagoda or the home for special ceremonies.
Unfortunately, Cambodian culture suffered massive disruption and destruction during the mid-20th century Indochina wars but most especially during the Khmer Rouge regime. Most weavers were killed and the whole art of Cambodian ikat was in danger of disappearing.
Kikuo Morimoto is a prominent pioneer in re-introducing ikat to Cambodia. In 1995, he moved from Japan and located one or two old lady weavers and Khmer Rouge survivors who knew the art and have taught it to a new generation.
THAILAND
In Thailand, the local weft ikat type of woven cloth is known as Matmi (also spelled 'Mudmee' or 'Mudmi'). Traditional Mudmi cloth was woven for daily use among the nobility. Other uses included ceremonial costumes. Warp ikat in cotton is also produced by the Karen and Lawa tribal peoples in northern Thailand.
This type of cloth is the favourite silk item woven by ethnic Khmer people living in southern Isaan, mainly in Surin, Sisaket and Buriram.
LATIN AMERICA
Ikat patterns are common among the Andes peoples, and native people of Argentina, Bolivia, Brazil, Chile, Colombia, Ecuador, Guatemala, Mexico, Peru, and Venezuela. The Mapuche shawl or poncho of the Huaso cowboys of Chile is perhaps the item best known in the West. Wool and cabuya fibre are the most commonly used.
The Mexican rebozos can be made from silk, wool or cotton and are frequently ikat dyed. These shawls are seen as a part of the Mexican national identity and most women own at least one.
Latin American ikat (Jaspe, as it is known to Maya weavers) textiles are commonly woven on a back-strap loom. Pre-dyed warp threads are a common item in traditional markets- saving the weaver much mess, expense, time and labour. A Latin American innovation which may also be employed elsewhere is to employ a round stick around which warp threads are wrapped in groups, thus allowing more precise control of the desired design. The "corte" is the typical wrap skirt used worn by Guatemalan women.
ACCREDITATION
As of 2010, the government of the Republic of Indonesia announced it would pursue UNESCO Intangible Cultural Heritage accreditation for its ikat weaving, along with songket, and gamelan having successfully attained this UNESCO recognition for its wayang, batik and the kris.
WIKIPEDIA
Caligula Quadrans 40/41, Rom (3); Claudius. Quadrans 42, Rom; Domitianus. Quadrans 85, Rom; dazu 1 anonymer Quadrans der flavischen Zeit. Sehr schön
For more on Caligulan Numismatic Articles see: Coins courtesy cngoins.com
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KINGS of THRACE. Rhoemetalces III, with Gaius (Caligula). Circa AD 38-46. Æ 29mm (22.69 g, 12h). Struck AD 38-41. GAIW KAISAR[I G]ERMANIKW [SE]BASTW, laureate head of Gaius (Caligula) left / BASILE US ROIMHTALKAS KOTUWS, Gaius seated left on curule chair, presenting diadem in right hand to Rhoemetalces, standing right, cradling spear in left arm and receiving diadem in right hand. RPC I 1722; Youroukova 212-3 = Mouchmov 5804; BMC 1-2; SNG Copenhagen -. For more on Caligulan Numismatic Articles see: Coins courtesy cngoins.com
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Library Catalog Search (Preliminary Version)
Full Record: Barrett, Anthony A. The invalidation of currency in the Roman Empire : the Claudian demonetization of Caligula's AES. (1999)
Full Record: Bost, Jean-Pierre. Routes, cits et ateliers montaires : quelques remarques sur les officines hispaniques entre les rgnes d'Auguste en de Caligula. (1999)
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Full Record: Estiot, Sylviane. Le trsor de Meussia (Jura) : 399 monnaies d'argent d'poques rpublicaine et julio-claudienne / Sylviane Estiot, Isabelle Aymar. (2002)
Full Record: Gocht, Hans. Namenstilgungen an Bronzemünzen des Caligula und Claudius / Hans Gocht. (2003)
Full Record: Gomis Justo, Marivi. Ercavica : La emision de Caligula. Estimacion del numero de cunos originales.
Full Record: Sayles, Wayne G. Fakes on the Internet. (2002)
Full Record: Kemmers, Fleur. The coin finds from the Roman fort Albaniana, the Netherlands / Fleur Kemmers . (2005)
Full Record: Lopez Snchez, Fernando. La afirmacion soberana de Caligula y de Claudio y el fin de las acunaciones ciudadanas en occidente / Fernando Lopez Snchez. (2000)
Full Record: Besombes, Paul-Andr. Les monnaies hispaniques de Claude Ier des dpôts de la Vilaine (Rennes) et de Saint-Lonard (Mayenne) : tmoins de quel type de contact entre l'Armorique et la pninsule ibrique ? / Paul-Andr Besombes. (2005)
Full Record: Catalli, Fiorenzo. Le thesaurus de Sora / Fiorenzo Catalli et John Scheid.
Full Record: Giard, Jean-Baptiste. Faux deniers de Caligula de la Renaissance.
Full Record: Vermeule, Cornelius. Faces of Empire (Julius Caesar to Justinian). Part II(B), More young faces : Caligula again and Nero reborn / Cornelius Vermeule. (2005)
Full Record: Geranio, Joe. Portraits of Caligula : the seated figure? / Joe Geranio. (2007)
Full Record: Aguilera Hernandez, Alberto. Acerca de un as de Caligula hallado en Zaragoza / Alberto Aguilera Hernandez. (2007)
Full Record: Butcher, K. E. T. Caligula : the evil emperor. (1985)
Full Record: Fuchs, Michaela. Frauen um Caligula und Claudius : Milonia Caesonia, Drusilla und Messalina. (1990)
Full Record: Faur, Jean-Claude. Moneda de Caligula de Museo Arqueologico Provincial de Tarragona. (1979)
Full Record: British Museum. Dept. of coins and medals. Coins of the Roman Empire in the British museum. Vol. I: Augustus to Vitellius / by Harold Mattingly. (1976)
Full Record: Conrad, Edwin. A Caligula Isotope of Hadrian. (1968)
Full Record: Conrad, Edwin. The Metamorphosis of an Allegad 'As of Hadrian.' (1968)
Full Record: Bendall, Simon. A 'new' gold quinarius of Caligula. (1985)
Full Record: Cortellini, Nereo. Le monete di Caligola nel Cohen.
Full Record: Guey, Julien. Les "bains d'or" de Caligula "Immensi Avreorvm Acervi (Sutone, Cal., 42,3).
Full Record: Guey, J. Les "bains d'or" de Caligula : Sutone, Cal. 42, 3.
Full Record: Curry, Michael R. The Aes Quadrans of Caligula. (1968)
Full Record: Jonas, Elemr. L'emploi dar "damnatio memoriae" sur l'un des "dupondius" de Calgula. (1937)
Full Record: Julian, R. W. The coins of Caligula. (1994)
Full Record: Donciu, Ramiro. Cu privire la activitatea militara a lui Caius (Caligula) in anul 40 e.n. (1983)
Full Record: Hansen, Peter. A history of Caligula's Vesta. (1992)
Full Record: Kaenel, Hans-Markus von. Augustus, Caligula oder Caludius? (1978)
Full Record: Kaenel, Hans-Markus von. Die Organisation der Münzprgung Caligulas. (1987)
Full Record: Johansen, Flemming S. The sculpted portraits of Caligula. (1987)
Full Record: Carter, G. F. Chemical compositions of copper-based Roman coins. V : imitations of Caligula, Claudius, and Nero / G. F. Carter and others. (1978)
Full Record: Giard, Jean-Baptiste. L'atelier de Lyon sous Auguste : Tibre et Caligula. (1979)
Full Record: Giard, Jean-Baptiste. Les missions d'or et d'argent de Caligula dans l'atelier de Lyon. (1976)
Full Record: Giard, Jean-Baptiste. Le monnayage de l'atelier de Lyon des origines au rgne de Caligula (43 avant J.-C. - 41 aprs J.-C.). (1983)
Full Record: Nony, D. Quelques as d'imitation de Caligula trouves a Bordeaux (Gironde). (1981)
Full Record: Levy, Brooks Emmons. Caligula's radiate crown. (1988)
Full Record: Poulsen, Vagn. Un nouveau visage de Caligula. (1972)
Full Record: Price, Martin Jessop. Elephant in Crete? New light ona cistophorus of Caligula. (1973)
Full Record: MacInnis, H. Frank. Ego-driven emperor commits excesses. (1979)
Full Record: McKenna, Thomas P. The case of the curious coin of Caligula : a provincial bronze restruck with legend-only dies. (1994)
Full Record: Mowat, Robert. Bronzes remarquables de Tibre, de son fils, de ses petits-fils et de Caligula. (1911)
Full Record: Koenig, Franz E. Roma, monete dal Tevere : l'imperatore Gaio (Caligola). (1988)
Full Record: Kollgaard, Ron. Caligula's coins profile despot. (1993)
Full Record: Kollgaard, Ron. A numismatic mystery : "the Caligula quadrans." (1994)
Full Record: Martini, Rodolfo. Osservazioni su contromarche ed erosioni su assi de Caligula. (1980)
Full Record: Szaivert, Wolfgang. Moneta Imperii Romani. Band 2 und 3. Die Münzprgung der Kaiser Tiberius und Caius (Caligula) 14/41 / von Wolfgang Szaivert. (1984)
Full Record: Boschung, Dietrich. Die Bildnisse des Caligula. Kaenel, Hans-Markus von. Jucker, Hans. Deutsches Archaologisches Institut. Das Romische Herrscherbild. 1. Abt., Bd. 4, Die Bildnisse des Caligula / Dietrich Boschung ; mit einem Beitrag von Hans-Markus von Kaenel ; auf Grund der Vorarbeiten und Marterialsammlungen von Hans Jucker. (1989)
Full Record: Rosborough, Ruskin R. An epigraphic commentary on Suetonius's life of Gaius Caligula. A thesis...for the...Doctor of Philosophy. (1920)
Full Record: Richard, Jean-Claude. A propos de l'aureus de Caligula dcouvert Saint-Colomban-des-Villards (Savoie). (1982)
Full Record: Richard, Jean-Claude. Un aureus de Caligula dcouvert Saint-Colomban-des-Villards (Savoie). (1982)
Full Record: Ritter, Hans-Werner. Adlocutio und Corona Civica unter Caligula und Tiberius. (1971)
Full Record: Kumpikevicius, Gordon C. A numismatic look at Gaius. (1979)
Full Record: Savio, Adriano. La coerenza di Caligola nella gestione della moneta / Adriano Savio. (1988)
Full Record: Savio, Adriano. Note su alcune monete di Gaio-Caligola. (1973)
Full Record: Stylow, Armin U. Die Quadranten des Caligula als Propaganda-münzen.münzen" aus der stdtischen sammlung zu Osnabrück. (1971)
Full Record: Schwartz, Jacques. Le Monnayage Snatorial entre 37 et 42 P.C. (1951)
Full Record: Rodolfo Martini, ed. Sylloge nummorum Romanorum. Italia. Milano, Civiche Raccolte Numismatiche Vol. 1 Giulio-Claudii / a cura di Rodolfo Martini. (1990)
Full Record: Szaivert, Wolfgang. Zur Julisch-Claudischen Münzprgung. (1979)
Full Record: Vedrianus. The Roman Imperial series. V. Gaius. (1963)
Full Record: Tietze, Christian M. Kaiser Cajus Caesar, genannt Caligula. (1979)
Full Record: Wood, Susan. Diva Drusilla Panthea and the sisters of Caligula / Susan Wood. (1995)
Full Record: Sutherland, Carol Humphrey Vivian. Coinage in Roman imperial policy 31 B.C.-A.D. 68. (1951)
Full Record: Sutherland, C. H. V. The mints of Lugdunum and Rome under Gaius : an unsolved problem. (1981)
Full Record: Trillmich, Walter. Familienpropaganda der Kaiser Caligula und Claudius : Agrippina Maior und Antonia Augusta auf Münzen. (1978)
Full Record: Voirol, August. Eine Warenumsatzsteuer im antiken Rom und der numismatische Beleg inher Aufhebung : Centesima rerum venalium. (1943)
Full Record: Trillmich, Walter. Zur Münzprgung des Caligula von Caesaraugusta (Zaragoza). (1973)
Augustus. Denarius (Caius & Lucius). Tiberius. Denarius (Livia). Drusus. As (SC). Caligula. Quadrans. Germanicus. As (Vesta). Claudius. Provincial bronze, Alexandria. Judaea. M. Ambibulus, Procurator.
If you are interested in Julio Claudian Iconography and portrait study you may enjoy these two links:
Julio Claudian Iconographic Association- Joe Geranio- Administrator at groups.yahoo.com/group/julioclaudian/
The Portraiture of Caligula- Joe Geranio- Administrator- at
Both are non-profit sites and for educational use only.For more on Caligulan Numismatic Articles see: Coins courtesy cngoins.com
Related Articles of Caligula from American Numismatic Society Library Search
Library Catalog Search (Preliminary Version)
Full Record: Barrett, Anthony A. The invalidation of currency in the Roman Empire : the Claudian demonetization of Caligula's AES. (1999)
Full Record: Bost, Jean-Pierre. Routes, cits et ateliers montaires : quelques remarques sur les officines hispaniques entre les rgnes d'Auguste en de Caligula. (1999)
Full Record: Bibliothque Municipale d'Etude et d'Information de Grenoble. Grenoble : Bibliothque Municipale d'Etude et d'Information : catalogue des monnaies. II. Monnaies romaines. Monnaies impriales romaines. 2. Caligula - Neron . Index. / Bernard Rmy, Frdric Bontoux, Virginie Risler. (1998)
Full Record: Gainor, John R. The image of the Julio-Claudian dynasty from coins / by John R. Gainor.
Full Record: Martini, Rodolfo. Monete romane imperiali del Museo G. B. Adriani. Parte 3, Caius (37-41 d.C.) / Rodolfo Martini. (2001)
Full Record: ACCLA privy to presentation by Richard Baker on Caligula. (2002)
Full Record: Wend, David A. Caligula, the emperor as autocrat. Part 1. (2002)
Full Record: Wend, David A. Caligula, the emperor as autocrat. Part 2. (2002)
Full Record: Wend, David A. Caligula, the emperor as autocrat. Part 3. (2002)
Full Record: Kemmers, Fleur. Caligula on the Lower Rhine : Coin finds from the Roman Fort of Albaniana (The Netherlands) / Fleur Kemmers. (2004)
Full Record: Estiot, Sylviane. Le trsor de Meussia (Jura) : 399 monnaies d'argent d'poques rpublicaine et julio-claudienne / Sylviane Estiot, Isabelle Aymar. (2002)
Full Record: Gocht, Hans. Namenstilgungen an Bronzemünzen des Caligula und Claudius / Hans Gocht. (2003)
Full Record: Gomis Justo, Marivi. Ercavica : La emision de Caligula. Estimacion del numero de cunos originales.
Full Record: Sayles, Wayne G. Fakes on the Internet. (2002)
Full Record: Kemmers, Fleur. The coin finds from the Roman fort Albaniana, the Netherlands / Fleur Kemmers . (2005)
Full Record: Lopez Snchez, Fernando. La afirmacion soberana de Caligula y de Claudio y el fin de las acunaciones ciudadanas en occidente / Fernando Lopez Snchez. (2000)
Full Record: Besombes, Paul-Andr. Les monnaies hispaniques de Claude Ier des dpôts de la Vilaine (Rennes) et de Saint-Lonard (Mayenne) : tmoins de quel type de contact entre l'Armorique et la pninsule ibrique ? / Paul-Andr Besombes. (2005)
Full Record: Catalli, Fiorenzo. Le thesaurus de Sora / Fiorenzo Catalli et John Scheid.
Full Record: Giard, Jean-Baptiste. Faux deniers de Caligula de la Renaissance.
Full Record: Vermeule, Cornelius. Faces of Empire (Julius Caesar to Justinian). Part II(B), More young faces : Caligula again and Nero reborn / Cornelius Vermeule. (2005)
Full Record: Geranio, Joe. Portraits of Caligula : the seated figure? / Joe Geranio. (2007)
Full Record: Aguilera Hernandez, Alberto. Acerca de un as de Caligula hallado en Zaragoza / Alberto Aguilera Hernandez. (2007)
Full Record: Butcher, K. E. T. Caligula : the evil emperor. (1985)
Full Record: Fuchs, Michaela. Frauen um Caligula und Claudius : Milonia Caesonia, Drusilla und Messalina. (1990)
Full Record: Faur, Jean-Claude. Moneda de Caligula de Museo Arqueologico Provincial de Tarragona. (1979)
Full Record: British Museum. Dept. of coins and medals. Coins of the Roman Empire in the British museum. Vol. I: Augustus to Vitellius / by Harold Mattingly. (1976)
Full Record: Conrad, Edwin. A Caligula Isotope of Hadrian. (1968)
Full Record: Conrad, Edwin. The Metamorphosis of an Allegad 'As of Hadrian.' (1968)
Full Record: Bendall, Simon. A 'new' gold quinarius of Caligula. (1985)
Full Record: Cortellini, Nereo. Le monete di Caligola nel Cohen.
Full Record: Guey, Julien. Les "bains d'or" de Caligula "Immensi Avreorvm Acervi (Sutone, Cal., 42,3).
Full Record: Guey, J. Les "bains d'or" de Caligula : Sutone, Cal. 42, 3.
Full Record: Curry, Michael R. The Aes Quadrans of Caligula. (1968)
Full Record: Jonas, Elemr. L'emploi dar "damnatio memoriae" sur l'un des "dupondius" de Calgula. (1937)
Full Record: Julian, R. W. The coins of Caligula. (1994)
Full Record: Donciu, Ramiro. Cu privire la activitatea militara a lui Caius (Caligula) in anul 40 e.n. (1983)
Full Record: Hansen, Peter. A history of Caligula's Vesta. (1992)
Full Record: Kaenel, Hans-Markus von. Augustus, Caligula oder Caludius? (1978)
Full Record: Kaenel, Hans-Markus von. Die Organisation der Münzprgung Caligulas. (1987)
Full Record: Johansen, Flemming S. The sculpted portraits of Caligula. (1987)
Full Record: Carter, G. F. Chemical compositions of copper-based Roman coins. V : imitations of Caligula, Claudius, and Nero / G. F. Carter and others. (1978)
Full Record: Giard, Jean-Baptiste. L'atelier de Lyon sous Auguste : Tibre et Caligula. (1979)
Full Record: Giard, Jean-Baptiste. Les missions d'or et d'argent de Caligula dans l'atelier de Lyon. (1976)
Full Record: Giard, Jean-Baptiste. Le monnayage de l'atelier de Lyon des origines au rgne de Caligula (43 avant J.-C. - 41 aprs J.-C.). (1983)
Full Record: Nony, D. Quelques as d'imitation de Caligula trouves a Bordeaux (Gironde). (1981)
Full Record: Levy, Brooks Emmons. Caligula's radiate crown. (1988)
Full Record: Poulsen, Vagn. Un nouveau visage de Caligula. (1972)
Full Record: Price, Martin Jessop. Elephant in Crete? New light ona cistophorus of Caligula. (1973)
Full Record: MacInnis, H. Frank. Ego-driven emperor commits excesses. (1979)
Full Record: McKenna, Thomas P. The case of the curious coin of Caligula : a provincial bronze restruck with legend-only dies. (1994)
Full Record: Mowat, Robert. Bronzes remarquables de Tibre, de son fils, de ses petits-fils et de Caligula. (1911)
Full Record: Koenig, Franz E. Roma, monete dal Tevere : l'imperatore Gaio (Caligola). (1988)
Full Record: Kollgaard, Ron. Caligula's coins profile despot. (1993)
Full Record: Kollgaard, Ron. A numismatic mystery : "the Caligula quadrans." (1994)
Full Record: Martini, Rodolfo. Osservazioni su contromarche ed erosioni su assi de Caligula. (1980)
Full Record: Szaivert, Wolfgang. Moneta Imperii Romani. Band 2 und 3. Die Münzprgung der Kaiser Tiberius und Caius (Caligula) 14/41 / von Wolfgang Szaivert. (1984)
Full Record: Boschung, Dietrich. Die Bildnisse des Caligula. Kaenel, Hans-Markus von. Jucker, Hans. Deutsches Archaologisches Institut. Das Romische Herrscherbild. 1. Abt., Bd. 4, Die Bildnisse des Caligula / Dietrich Boschung ; mit einem Beitrag von Hans-Markus von Kaenel ; auf Grund der Vorarbeiten und Marterialsammlungen von Hans Jucker. (1989)
Full Record: Rosborough, Ruskin R. An epigraphic commentary on Suetonius's life of Gaius Caligula. A thesis...for the...Doctor of Philosophy. (1920)
Full Record: Richard, Jean-Claude. A propos de l'aureus de Caligula dcouvert Saint-Colomban-des-Villards (Savoie). (1982)
Full Record: Richard, Jean-Claude. Un aureus de Caligula dcouvert Saint-Colomban-des-Villards (Savoie). (1982)
Full Record: Ritter, Hans-Werner. Adlocutio und Corona Civica unter Caligula und Tiberius. (1971)
Full Record: Kumpikevicius, Gordon C. A numismatic look at Gaius. (1979)
Full Record: Savio, Adriano. La coerenza di Caligola nella gestione della moneta / Adriano Savio. (1988)
Full Record: Savio, Adriano. Note su alcune monete di Gaio-Caligola. (1973)
Full Record: Stylow, Armin U. Die Quadranten des Caligula als Propaganda-münzen.münzen" aus der stdtischen sammlung zu Osnabrück. (1971)
Full Record: Schwartz, Jacques. Le Monnayage Snatorial entre 37 et 42 P.C. (1951)
Full Record: Rodolfo Martini, ed. Sylloge nummorum Romanorum. Italia. Milano, Civiche Raccolte Numismatiche Vol. 1 Giulio-Claudii / a cura di Rodolfo Martini. (1990)
Full Record: Szaivert, Wolfgang. Zur Julisch-Claudischen Münzprgung. (1979)
Full Record: Vedrianus. The Roman Imperial series. V. Gaius. (1963)
Full Record: Tietze, Christian M. Kaiser Cajus Caesar, genannt Caligula. (1979)
Full Record: Wood, Susan. Diva Drusilla Panthea and the sisters of Caligula / Susan Wood. (1995)
Full Record: Sutherland, Carol Humphrey Vivian. Coinage in Roman imperial policy 31 B.C.-A.D. 68. (1951)
Full Record: Sutherland, C. H. V. The mints of Lugdunum and Rome under Gaius : an unsolved problem. (1981)
Full Record: Trillmich, Walter. Familienpropaganda der Kaiser Caligula und Claudius : Agrippina Maior und Antonia Augusta auf Münzen. (1978)
Full Record: Voirol, August. Eine Warenumsatzsteuer im antiken Rom und der numismatische Beleg inher Aufhebung : Centesima rerum venalium. (1943)
Full Record: Trillmich, Walter. Zur Münzprgung des Caligula von Caesaraugusta (Zaragoza). (1973)
This story actually happened. Claire is not, or ever was, the girl in this story’s name. Other than that, the events are accurately depicted as they occurred.
Claire, an only child, received this antique ring from her Grandmother on her sixteenth birthday. Just two months later her Grandmother passed away unexpectedly. From the Grandmother’s estate, her parents gave Claire a small end cabinet that her Great Uncle, a Free Mason carpenter, had made. It was here, on an old fringed Doily of her Grandmother’s, that Clair kept the antique ring when not being worn for Church or some other fancy dress occasion.
On the morning after her senior prom Clair awoke to find that the ring had vanished from the fringed doily. She definitely remembered taking it off and placing it with the expensive necklace, earrings, and bracelet set her mother had lent her to wear. Her mothers’ jewelry was still there, but not her Grandmother’s ring. The end cabinet was searched; Clair’s room was searched multiple times. The whole house was then searched, and a lost ad was even placed in the local paper. No word or trace of the ring could be found, nor its disappearance explained.
Six years later, after completing her masters at the university, Claire move out of her parents’ house and into an apartment on the other side of town. With her went the old end cabinet and the fringed doily where Clair took off and kept the jewelry she wore on a daily basis when she retired for the evening.
Four years had gone by in the new apartment when Clair received an invitation in the mail to her private girls high school ten year class reunion. It was to be held in conjunction with the same private boy’s school that her class had shared graduation with. The night before the Saturday reunion there was to be a fancy dress dance in reminiscence of her prom. On a lark Claire decided to wear the same satin gown she had worn ten years earlier. When the day before the evening dance came, she stopped at her parents to pull the gown out of mothballs. She even borrowed her Mothers jewels again to wear.
That evening Claire partied deep into the night, finally collapsing into a deep sleep on her bed without even undressing. Late the next morning she woke up, groggy and hung-over. She suddenly startled herself awake when she started to take off her jewelry and discovered it was missing. She looked over at the end cabinet and breathed a sigh of relief, their it was, all laid out, even though she had no memory of removing it. Suddenly a creeping chill ran up along her spine, freezing her on the spot. There, on the fringed doily, surrounded by her mothers’ jewels, was the antique ring belonging to her grandmother that had disappeared mysteriously ten years prior. Claire picked up the sparkling ring and examined it, her hands shaking so bad she nearly dropped it. It was her Grandmothers ring, no doubt of that. Even her mother recognized it as such, but could also offer no credible explanation for the rings reappearance!
Over twenty years have since passed. The ring, when not worn by Claire on special occasions, still spends its time on the aged fringed Doily. It has never shown any sign of going back to wherever it had disappeared to for ten years.
5725 Crawfordsville Road
Indianapolis, IN 46224
This is a particularly infamous Burger Chef. This is the location where, in November of 1978, four workers were kidnapped and later found murdered. The case is still unsolved.
Homicide Memorial for 27 year old James Arroyo aka "Elmo" who was gunned down a few feet away from this location, at the Coastal gas station, located at 19th street and Walnut Avenue in Niagara Falls, New York. Many of his friends, family and several members of the Bloods gang community laid down red rags and food in his memory. His murder case is currently unsolved and no suspects have been named.
Link:
www.wgrz.com/mb/news/local/overnight-homicide-in-niagara-...
Disclaimer: Niagara Falls residents deny gang activity in Niagara Falls New York. Most residents will tell you there are no such things as gangs in Niagara Falls NY.
#compton #bompton #watts #inglewood #bloods #crips #blood #crip #losangeles #LA #southcentral #southLA #philadelphia #westcoast #losangelesconfidential #gang #ganggang #chiraq #brooklyn #bronx #harlem #queens #chicago #bloodgang #cripgang #meekmill #newyork #nyc #newyorkcity #houston
Caligula (Gaius) & Augustus AR Denarius. C. CAESAR AVG GERM P M TR POT COS, bare head right For more on Caligulan Numismatic Articles see: Coins courtesy cngoins.com
Related Articles of Caligula from American Numismatic Society Library Search
Library Catalog Search (Preliminary Version)
Full Record: Barrett, Anthony A. The invalidation of currency in the Roman Empire : the Claudian demonetization of Caligula's AES. (1999)
Full Record: Bost, Jean-Pierre. Routes, cits et ateliers montaires : quelques remarques sur les officines hispaniques entre les rgnes d'Auguste en de Caligula. (1999)
Full Record: Bibliothque Municipale d'Etude et d'Information de Grenoble. Grenoble : Bibliothque Municipale d'Etude et d'Information : catalogue des monnaies. II. Monnaies romaines. Monnaies impriales romaines. 2. Caligula - Neron . Index. / Bernard Rmy, Frdric Bontoux, Virginie Risler. (1998)
Full Record: Gainor, John R. The image of the Julio-Claudian dynasty from coins / by John R. Gainor.
Full Record: Martini, Rodolfo. Monete romane imperiali del Museo G. B. Adriani. Parte 3, Caius (37-41 d.C.) / Rodolfo Martini. (2001)
Full Record: ACCLA privy to presentation by Richard Baker on Caligula. (2002)
Full Record: Wend, David A. Caligula, the emperor as autocrat. Part 1. (2002)
Full Record: Wend, David A. Caligula, the emperor as autocrat. Part 2. (2002)
Full Record: Wend, David A. Caligula, the emperor as autocrat. Part 3. (2002)
Full Record: Kemmers, Fleur. Caligula on the Lower Rhine : Coin finds from the Roman Fort of Albaniana (The Netherlands) / Fleur Kemmers. (2004)
Full Record: Estiot, Sylviane. Le trsor de Meussia (Jura) : 399 monnaies d'argent d'poques rpublicaine et julio-claudienne / Sylviane Estiot, Isabelle Aymar. (2002)
Full Record: Gocht, Hans. Namenstilgungen an Bronzemünzen des Caligula und Claudius / Hans Gocht. (2003)
Full Record: Gomis Justo, Marivi. Ercavica : La emision de Caligula. Estimacion del numero de cunos originales.
Full Record: Sayles, Wayne G. Fakes on the Internet. (2002)
Full Record: Kemmers, Fleur. The coin finds from the Roman fort Albaniana, the Netherlands / Fleur Kemmers . (2005)
Full Record: Lopez Snchez, Fernando. La afirmacion soberana de Caligula y de Claudio y el fin de las acunaciones ciudadanas en occidente / Fernando Lopez Snchez. (2000)
Full Record: Besombes, Paul-Andr. Les monnaies hispaniques de Claude Ier des dpôts de la Vilaine (Rennes) et de Saint-Lonard (Mayenne) : tmoins de quel type de contact entre l'Armorique et la pninsule ibrique ? / Paul-Andr Besombes. (2005)
Full Record: Catalli, Fiorenzo. Le thesaurus de Sora / Fiorenzo Catalli et John Scheid.
Full Record: Giard, Jean-Baptiste. Faux deniers de Caligula de la Renaissance.
Full Record: Vermeule, Cornelius. Faces of Empire (Julius Caesar to Justinian). Part II(B), More young faces : Caligula again and Nero reborn / Cornelius Vermeule. (2005)
Full Record: Geranio, Joe. Portraits of Caligula : the seated figure? / Joe Geranio. (2007)
Full Record: Aguilera Hernandez, Alberto. Acerca de un as de Caligula hallado en Zaragoza / Alberto Aguilera Hernandez. (2007)
Full Record: Butcher, K. E. T. Caligula : the evil emperor. (1985)
Full Record: Fuchs, Michaela. Frauen um Caligula und Claudius : Milonia Caesonia, Drusilla und Messalina. (1990)
Full Record: Faur, Jean-Claude. Moneda de Caligula de Museo Arqueologico Provincial de Tarragona. (1979)
Full Record: British Museum. Dept. of coins and medals. Coins of the Roman Empire in the British museum. Vol. I: Augustus to Vitellius / by Harold Mattingly. (1976)
Full Record: Conrad, Edwin. A Caligula Isotope of Hadrian. (1968)
Full Record: Conrad, Edwin. The Metamorphosis of an Allegad 'As of Hadrian.' (1968)
Full Record: Bendall, Simon. A 'new' gold quinarius of Caligula. (1985)
Full Record: Cortellini, Nereo. Le monete di Caligola nel Cohen.
Full Record: Guey, Julien. Les "bains d'or" de Caligula "Immensi Avreorvm Acervi (Sutone, Cal., 42,3).
Full Record: Guey, J. Les "bains d'or" de Caligula : Sutone, Cal. 42, 3.
Full Record: Curry, Michael R. The Aes Quadrans of Caligula. (1968)
Full Record: Jonas, Elemr. L'emploi dar "damnatio memoriae" sur l'un des "dupondius" de Calgula. (1937)
Full Record: Julian, R. W. The coins of Caligula. (1994)
Full Record: Donciu, Ramiro. Cu privire la activitatea militara a lui Caius (Caligula) in anul 40 e.n. (1983)
Full Record: Hansen, Peter. A history of Caligula's Vesta. (1992)
Full Record: Kaenel, Hans-Markus von. Augustus, Caligula oder Caludius? (1978)
Full Record: Kaenel, Hans-Markus von. Die Organisation der Münzprgung Caligulas. (1987)
Full Record: Johansen, Flemming S. The sculpted portraits of Caligula. (1987)
Full Record: Carter, G. F. Chemical compositions of copper-based Roman coins. V : imitations of Caligula, Claudius, and Nero / G. F. Carter and others. (1978)
Full Record: Giard, Jean-Baptiste. L'atelier de Lyon sous Auguste : Tibre et Caligula. (1979)
Full Record: Giard, Jean-Baptiste. Les missions d'or et d'argent de Caligula dans l'atelier de Lyon. (1976)
Full Record: Giard, Jean-Baptiste. Le monnayage de l'atelier de Lyon des origines au rgne de Caligula (43 avant J.-C. - 41 aprs J.-C.). (1983)
Full Record: Nony, D. Quelques as d'imitation de Caligula trouves a Bordeaux (Gironde). (1981)
Full Record: Levy, Brooks Emmons. Caligula's radiate crown. (1988)
Full Record: Poulsen, Vagn. Un nouveau visage de Caligula. (1972)
Full Record: Price, Martin Jessop. Elephant in Crete? New light ona cistophorus of Caligula. (1973)
Full Record: MacInnis, H. Frank. Ego-driven emperor commits excesses. (1979)
Full Record: McKenna, Thomas P. The case of the curious coin of Caligula : a provincial bronze restruck with legend-only dies. (1994)
Full Record: Mowat, Robert. Bronzes remarquables de Tibre, de son fils, de ses petits-fils et de Caligula. (1911)
Full Record: Koenig, Franz E. Roma, monete dal Tevere : l'imperatore Gaio (Caligola). (1988)
Full Record: Kollgaard, Ron. Caligula's coins profile despot. (1993)
Full Record: Kollgaard, Ron. A numismatic mystery : "the Caligula quadrans." (1994)
Full Record: Martini, Rodolfo. Osservazioni su contromarche ed erosioni su assi de Caligula. (1980)
Full Record: Szaivert, Wolfgang. Moneta Imperii Romani. Band 2 und 3. Die Münzprgung der Kaiser Tiberius und Caius (Caligula) 14/41 / von Wolfgang Szaivert. (1984)
Full Record: Boschung, Dietrich. Die Bildnisse des Caligula. Kaenel, Hans-Markus von. Jucker, Hans. Deutsches Archaologisches Institut. Das Romische Herrscherbild. 1. Abt., Bd. 4, Die Bildnisse des Caligula / Dietrich Boschung ; mit einem Beitrag von Hans-Markus von Kaenel ; auf Grund der Vorarbeiten und Marterialsammlungen von Hans Jucker. (1989)
Full Record: Rosborough, Ruskin R. An epigraphic commentary on Suetonius's life of Gaius Caligula. A thesis...for the...Doctor of Philosophy. (1920)
Full Record: Richard, Jean-Claude. A propos de l'aureus de Caligula dcouvert Saint-Colomban-des-Villards (Savoie). (1982)
Full Record: Richard, Jean-Claude. Un aureus de Caligula dcouvert Saint-Colomban-des-Villards (Savoie). (1982)
Full Record: Ritter, Hans-Werner. Adlocutio und Corona Civica unter Caligula und Tiberius. (1971)
Full Record: Kumpikevicius, Gordon C. A numismatic look at Gaius. (1979)
Full Record: Savio, Adriano. La coerenza di Caligola nella gestione della moneta / Adriano Savio. (1988)
Full Record: Savio, Adriano. Note su alcune monete di Gaio-Caligola. (1973)
Full Record: Stylow, Armin U. Die Quadranten des Caligula als Propaganda-münzen.münzen" aus der stdtischen sammlung zu Osnabrück. (1971)
Full Record: Schwartz, Jacques. Le Monnayage Snatorial entre 37 et 42 P.C. (1951)
Full Record: Rodolfo Martini, ed. Sylloge nummorum Romanorum. Italia. Milano, Civiche Raccolte Numismatiche Vol. 1 Giulio-Claudii / a cura di Rodolfo Martini. (1990)
Full Record: Szaivert, Wolfgang. Zur Julisch-Claudischen Münzprgung. (1979)
Full Record: Vedrianus. The Roman Imperial series. V. Gaius. (1963)
Full Record: Tietze, Christian M. Kaiser Cajus Caesar, genannt Caligula. (1979)
Full Record: Wood, Susan. Diva Drusilla Panthea and the sisters of Caligula / Susan Wood. (1995)
Full Record: Sutherland, Carol Humphrey Vivian. Coinage in Roman imperial policy 31 B.C.-A.D. 68. (1951)
Full Record: Sutherland, C. H. V. The mints of Lugdunum and Rome under Gaius : an unsolved problem. (1981)
Full Record: Trillmich, Walter. Familienpropaganda der Kaiser Caligula und Claudius : Agrippina Maior und Antonia Augusta auf Münzen. (1978)
Full Record: Voirol, August. Eine Warenumsatzsteuer im antiken Rom und der numismatische Beleg inher Aufhebung : Centesima rerum venalium. (1943)
Full Record: Trillmich, Walter. Zur Münzprgung des Caligula von Caesaraugusta (Zaragoza). (1973)
I ahve seen at least 8 specimens with the "C" chiseled off. This seems to be the modus operendi on his Coinage? Not to go after the face, but the name= C = Caius or Gaius.
See Also:
Related Articles of Caligula from American Numismatic Society Library Search
Library Catalog Search (Preliminary Version)
Full Record: Barrett, Anthony A. The invalidation of currency in the Roman Empire : the Claudian demonetization of Caligula's AES. (1999)
Full Record: Bost, Jean-Pierre. Routes, cits et ateliers montaires : quelques remarques sur les officines hispaniques entre les rgnes d'Auguste en de Caligula. (1999)
Full Record: Bibliothque Municipale d'Etude et d'Information de Grenoble. Grenoble : Bibliothque Municipale d'Etude et d'Information : catalogue des monnaies. II. Monnaies romaines. Monnaies impriales romaines. 2. Caligula - Neron . Index. / Bernard Rmy, Frdric Bontoux, Virginie Risler. (1998)
Full Record: Gainor, John R. The image of the Julio-Claudian dynasty from coins / by John R. Gainor.
Full Record: Martini, Rodolfo. Monete romane imperiali del Museo G. B. Adriani. Parte 3, Caius (37-41 d.C.) / Rodolfo Martini. (2001)
Full Record: ACCLA privy to presentation by Richard Baker on Caligula. (2002)
Full Record: Wend, David A. Caligula, the emperor as autocrat. Part 1. (2002)
Full Record: Wend, David A. Caligula, the emperor as autocrat. Part 2. (2002)
Full Record: Wend, David A. Caligula, the emperor as autocrat. Part 3. (2002)
Full Record: Kemmers, Fleur. Caligula on the Lower Rhine : Coin finds from the Roman Fort of Albaniana (The Netherlands) / Fleur Kemmers. (2004)
Full Record: Estiot, Sylviane. Le trsor de Meussia (Jura) : 399 monnaies d'argent d'poques rpublicaine et julio-claudienne / Sylviane Estiot, Isabelle Aymar. (2002)
Full Record: Gocht, Hans. Namenstilgungen an Bronzemünzen des Caligula und Claudius / Hans Gocht. (2003)
Full Record: Gomis Justo, Marivi. Ercavica : La emision de Caligula. Estimacion del numero de cunos originales.
Full Record: Sayles, Wayne G. Fakes on the Internet. (2002)
Full Record: Kemmers, Fleur. The coin finds from the Roman fort Albaniana, the Netherlands / Fleur Kemmers . (2005)
Full Record: Lopez Snchez, Fernando. La afirmacion soberana de Caligula y de Claudio y el fin de las acunaciones ciudadanas en occidente / Fernando Lopez Snchez. (2000)
Full Record: Besombes, Paul-Andr. Les monnaies hispaniques de Claude Ier des dpôts de la Vilaine (Rennes) et de Saint-Lonard (Mayenne) : tmoins de quel type de contact entre l'Armorique et la pninsule ibrique ? / Paul-Andr Besombes. (2005)
Full Record: Catalli, Fiorenzo. Le thesaurus de Sora / Fiorenzo Catalli et John Scheid.
Full Record: Giard, Jean-Baptiste. Faux deniers de Caligula de la Renaissance.
Full Record: Vermeule, Cornelius. Faces of Empire (Julius Caesar to Justinian). Part II(B), More young faces : Caligula again and Nero reborn / Cornelius Vermeule. (2005)
Full Record: Geranio, Joe. Portraits of Caligula : the seated figure? / Joe Geranio. (2007)
Full Record: Aguilera Hernandez, Alberto. Acerca de un as de Caligula hallado en Zaragoza / Alberto Aguilera Hernandez. (2007)
Full Record: Butcher, K. E. T. Caligula : the evil emperor. (1985)
Full Record: Fuchs, Michaela. Frauen um Caligula und Claudius : Milonia Caesonia, Drusilla und Messalina. (1990)
Full Record: Faur, Jean-Claude. Moneda de Caligula de Museo Arqueologico Provincial de Tarragona. (1979)
Full Record: British Museum. Dept. of coins and medals. Coins of the Roman Empire in the British museum. Vol. I: Augustus to Vitellius / by Harold Mattingly. (1976)
Full Record: Conrad, Edwin. A Caligula Isotope of Hadrian. (1968)
Full Record: Conrad, Edwin. The Metamorphosis of an Allegad 'As of Hadrian.' (1968)
Full Record: Bendall, Simon. A 'new' gold quinarius of Caligula. (1985)
Full Record: Cortellini, Nereo. Le monete di Caligola nel Cohen.
Full Record: Guey, Julien. Les "bains d'or" de Caligula "Immensi Avreorvm Acervi (Sutone, Cal., 42,3).
Full Record: Guey, J. Les "bains d'or" de Caligula : Sutone, Cal. 42, 3.
Full Record: Curry, Michael R. The Aes Quadrans of Caligula. (1968)
Full Record: Jonas, Elemr. L'emploi dar "damnatio memoriae" sur l'un des "dupondius" de Calgula. (1937)
Full Record: Julian, R. W. The coins of Caligula. (1994)
Full Record: Donciu, Ramiro. Cu privire la activitatea militara a lui Caius (Caligula) in anul 40 e.n. (1983)
Full Record: Hansen, Peter. A history of Caligula's Vesta. (1992)
Full Record: Kaenel, Hans-Markus von. Augustus, Caligula oder Caludius? (1978)
Full Record: Kaenel, Hans-Markus von. Die Organisation der Münzprgung Caligulas. (1987)
Full Record: Johansen, Flemming S. The sculpted portraits of Caligula. (1987)
Full Record: Carter, G. F. Chemical compositions of copper-based Roman coins. V : imitations of Caligula, Claudius, and Nero / G. F. Carter and others. (1978)
Full Record: Giard, Jean-Baptiste. L'atelier de Lyon sous Auguste : Tibre et Caligula. (1979)
Full Record: Giard, Jean-Baptiste. Les missions d'or et d'argent de Caligula dans l'atelier de Lyon. (1976)
Full Record: Giard, Jean-Baptiste. Le monnayage de l'atelier de Lyon des origines au rgne de Caligula (43 avant J.-C. - 41 aprs J.-C.). (1983)
Full Record: Nony, D. Quelques as d'imitation de Caligula trouves a Bordeaux (Gironde). (1981)
Full Record: Levy, Brooks Emmons. Caligula's radiate crown. (1988)
Full Record: Poulsen, Vagn. Un nouveau visage de Caligula. (1972)
Full Record: Price, Martin Jessop. Elephant in Crete? New light ona cistophorus of Caligula. (1973)
Full Record: MacInnis, H. Frank. Ego-driven emperor commits excesses. (1979)
Full Record: McKenna, Thomas P. The case of the curious coin of Caligula : a provincial bronze restruck with legend-only dies. (1994)
Full Record: Mowat, Robert. Bronzes remarquables de Tibre, de son fils, de ses petits-fils et de Caligula. (1911)
Full Record: Koenig, Franz E. Roma, monete dal Tevere : l'imperatore Gaio (Caligola). (1988)
Full Record: Kollgaard, Ron. Caligula's coins profile despot. (1993)
Full Record: Kollgaard, Ron. A numismatic mystery : "the Caligula quadrans." (1994)
Full Record: Martini, Rodolfo. Osservazioni su contromarche ed erosioni su assi de Caligula. (1980)
Full Record: Szaivert, Wolfgang. Moneta Imperii Romani. Band 2 und 3. Die Münzprgung der Kaiser Tiberius und Caius (Caligula) 14/41 / von Wolfgang Szaivert. (1984)
Full Record: Boschung, Dietrich. Die Bildnisse des Caligula. Kaenel, Hans-Markus von. Jucker, Hans. Deutsches Archaologisches Institut. Das Romische Herrscherbild. 1. Abt., Bd. 4, Die Bildnisse des Caligula / Dietrich Boschung ; mit einem Beitrag von Hans-Markus von Kaenel ; auf Grund der Vorarbeiten und Marterialsammlungen von Hans Jucker. (1989)
Full Record: Rosborough, Ruskin R. An epigraphic commentary on Suetonius's life of Gaius Caligula. A thesis...for the...Doctor of Philosophy. (1920)
Full Record: Richard, Jean-Claude. A propos de l'aureus de Caligula dcouvert Saint-Colomban-des-Villards (Savoie). (1982)
Full Record: Richard, Jean-Claude. Un aureus de Caligula dcouvert Saint-Colomban-des-Villards (Savoie). (1982)
Full Record: Ritter, Hans-Werner. Adlocutio und Corona Civica unter Caligula und Tiberius. (1971)
Full Record: Kumpikevicius, Gordon C. A numismatic look at Gaius. (1979)
Full Record: Savio, Adriano. La coerenza di Caligola nella gestione della moneta / Adriano Savio. (1988)
Full Record: Savio, Adriano. Note su alcune monete di Gaio-Caligola. (1973)
Full Record: Stylow, Armin U. Die Quadranten des Caligula als Propaganda-münzen.münzen" aus der stdtischen sammlung zu Osnabrück. (1971)
Full Record: Schwartz, Jacques. Le Monnayage Snatorial entre 37 et 42 P.C. (1951)
Full Record: Rodolfo Martini, ed. Sylloge nummorum Romanorum. Italia. Milano, Civiche Raccolte Numismatiche Vol. 1 Giulio-Claudii / a cura di Rodolfo Martini. (1990)
Full Record: Szaivert, Wolfgang. Zur Julisch-Claudischen Münzprgung. (1979)
Full Record: Vedrianus. The Roman Imperial series. V. Gaius. (1963)
Full Record: Tietze, Christian M. Kaiser Cajus Caesar, genannt Caligula. (1979)
Full Record: Wood, Susan. Diva Drusilla Panthea and the sisters of Caligula / Susan Wood. (1995)
Full Record: Sutherland, Carol Humphrey Vivian. Coinage in Roman imperial policy 31 B.C.-A.D. 68. (1951)
Full Record: Sutherland, C. H. V. The mints of Lugdunum and Rome under Gaius : an unsolved problem. (1981)
Full Record: Trillmich, Walter. Familienpropaganda der Kaiser Caligula und Claudius : Agrippina Maior und Antonia Augusta auf Münzen. (1978)
Full Record: Voirol, August. Eine Warenumsatzsteuer im antiken Rom und der numismatische Beleg inher Aufhebung : Centesima rerum venalium. (1943)
Full Record: Trillmich, Walter. Zur Münzprgung des Caligula von Caesaraugusta (Zaragoza). (1973)
Ikat, or ikkat, is a dyeing technique used to pattern textiles that employs resist dyeing on the yarns prior to dyeing and weaving the fabric.
In ikat the resist is formed by binding individual yarns or bundles of yarns with a tight wrapping applied in the desired pattern. The yarns are then dyed. The bindings may then be altered to create a new pattern and the yarns dyed again with another colour. This process may be repeated multiple times to produce elaborate, multicolored patterns. When the dyeing is finished all the bindings are removed and the yarns are woven into cloth. In other resist-dyeing techniques such as tie-dye and batik the resist is applied to the woven cloth, whereas in ikat the resist is applied to the yarns before they are woven into cloth. Because the surface design is created in the yarns rather than on the finished cloth, in ikat both fabric faces are patterned.
A characteristic of ikat textiles is an apparent "blurriness" to the design. The blurriness is a result of the extreme difficulty the weaver has lining up the dyed yarns so that the pattern comes out perfectly in the finished cloth. The blurriness can be reduced by using finer yarns or by the skill of the craftsperson. Ikats with little blurriness, multiple colours and complicated patterns are more difficult to create and therefore often more expensive. However, the blurriness that is so characteristic of ikat is often prized by textile collectors.
Ikat is produced in many traditional textile centres around the world, from India to Central Asia, Southeast Asia, Japan (where it is called "kasuri"), Africa and Latin America. Double ikats - in which both the warp and weft yarns are tied and dyed before being woven into a single textile - are relatively rare because of the intensive skilled labour required to produce them. They are produced in Okinawa islands of Japan, the village of Tenganan in Indonesia, and the villages of Puttapaka and Bhoodan Pochampally in Telangana and Gujarat in India.
TYPES
In warp ikat it is only the warp yarns that are dyed using the ikat technique. The weft yarns are dyed a solid colour. The ikat pattern is clearly visible in the warp yarns wound onto the loom even before the weft is woven in. Warp ikat is, amongst others, produced in Indonesia; more specifically in Kalimantan, Sulawesi, and Sumatra by respectively the Dayaks, Torajans and Bataks.
In weft ikat it is the weaving or weft yarn that carries the dyed patterns. Therefore, the pattern only appears as the weaving proceeds. Weft ikats are much slower to weave than warp ikat because the weft yarns must be carefully adjusted after each passing of the shuttle to maintain the clarity of the design.
Double Ikat is a technique in which both warp and the weft are resist-dyed prior to weaving. Obviously it is the most difficult to make and the most expensive. ouble ikat is only produced in three countries: India, Japan and Indonesia. The double ikat made in Patan, Gujarat in India is the most complicated. Called "patola," it is made using fine silk yarns and many colours. It may be patterned with a small motif that is repeated many times across the length of a six-meter sari. Sometimes the Patan double ikat is pictorial with no repeats across its length. That is, each small design element in each colour was individually tied in the warp and weft yarns. It's an extraordinary achievement in the textile arts. These much sought after textiles were traded by the Dutch East Indies company for exclusive spice trading rights with the sultanates of Indonesia. The double ikat woven in the small Bali Aga village, Tenganan in east Bali in Indonesia reflects the influence of these prized textiles. Some of the Tenganan double ikat motifs are taken directly from the patola tradition. In India double ikat is also woven in Puttapaka, Nalgonda District and is called Puttapaka Saree. In Japan, double ikat is woven in the Okinawa islands where it is called tate-yoko gasuri.
ETYMOLOGY
Ikat is an Indonesian language word, which depending on context, can be the nouns: cord, thread, knot and the finished ikat fabric as well as the verbs "to tie" or "to bind". It has a direct etymological relation to Javanese language of the same word. Thus, the name of the finished ikat woven fabric originates from the tali (threads, ropes) being ikat (tied, bound, knotted) before they are being put in celupan (dyed by way of dipping), then berjalin (woven, intertwined) resulting in a berjalin ikat- reduced to ikat.
The introduction of the term ikat into European language is attributed to Rouffaer. Ikat is now a generic English loanword used to describe the process and the cloth itself regardless of where the fabric was produced or how it is patterned.
In Indonesian the plural of ikat remains ikat. However, in English a suffix plural 's' is commonly added, as in ikats. This is true in other some other languages. All are correct.
DISTRIBUTION
Ikat is a weaving style common to many world cultures. It is probably one of the oldest forms of textile decoration. However, it is most prevalent in Indonesia, India and Japan. In Central and South America, ikat is still common in Argentina, Bolivia, Ecuador, Guatemala and Mexico.
In the 19th century, the Silk Road desert oases of Bukhara, Samarkand, Hotan and Kashgar (in what is now Uzbekistan and Xinjiang in Central Asia) were famous for their fine silk Uzbek/Uyghur ikat.
India, Japan, Indonesia and many other Southeast Asian nations including Cambodia, Myanmar, Philippines and Thailand have weaving cultures with long histories of ikat production.
Double ikat weaving is still found in India, Japan and Indonesia. In Indonesia, it is still woven in Bali, Java, Kalimantan or Borneo and Sumatra.
HISTORY
As textiles do not last well through history, scholars have so far been unable to determine where the technique of ikat originated. Nevertheless, some parts of Asia demonstrates strong ikat traditions which suggest its possible origin; they are Maritime Southeast Asia, Indian subcontinent and Central Asia. However, it probably developed in several different locations independently, since ikat was known to be produced in several pre-Columbian Central and South American cultures.
The term "ikat" has Indonesian origin, and it was introduced into European textile vocabulary back in early 20th century, when the Dutch scholars begin to study the rich textile traditions of East Indies archipelago (today Indonesia).
Uyghurs call it atlas (in IPA [ɛtlɛs]) and use it only for woman's clothing. The historical record indicates that there were 27 types of atlas during Qing occupation. Now there are only four types of Uyghur atlas remaining: Qara-atlas (Darayi, black ikat used for older women's clothing), Khoja'e-atlas (yellow, blue, purple ikat used for married women), Qizil-atlas (red ikat used for girls) and Yarkant-atlas (Khan-atlas). Yarkant-atlas has more diverse styles; during Yarkant Khanate (16th century), there ten different styles of Yarkant-atlas.
PRODUCTION
WARP IKAT
Ikat created by dyeing the warp are simpler to make than either weft ikat or double ikat. First the yarns - cotton, silk, wool or other fibres - are wound onto a frame. Then they are tied into bundles. The bundles may be covered with wax, as in batik. (However, in making batik, the craftsperson applies the resist to the finished cloth rather than to the yarns to be woven.) The warp yarns are then wrapped tightly with thread or some other dye-resistant material to prevent unwanted dye permeation. The procedure is repeated, depending on the number of colours required to complete the design. Multiple coloration is common, requiring multiple rounds of tying and dyeing. The newly dyed and thoroughly washed bundles are wound onto the loom to produce the warp (longitudinal yarns). Warp threads are adjusted for the desired alignment for precise motifs.
Some ikat traditions, such as Central Asia's, embrace a blurred aesthetic in the design. Other traditions favour a more precise and more difficult to achieve refinement in the placement of the ikat yarns. South American and Indonesian ikat are known for a high degree of warp alignment. Weavers must adjust the warp repeatedly to maintain pattern alignment.
Patterns result from a combination of the warp dye and the weft thread colour. Some warp ikat traditions are designed with vertical-axis symmetry or have a "mirror-image" running along their long centre line. That is, whatever pattern or design is woven on the right is duplicated on the left in reverse order about a central warp thread group. Patterns can be created in the vertical, horizontal or diagonal.
WEFT IKAT
Weft ikat uses resist-dyeing for the weft yarns. The movement of the weft yarns in the weaving process means precisely delineated patterns are more difficult to weave. The weft yarn must be adjusted after each passing of the shuttle to preserve the pattern.
Nevertheless, highly skilled artisans can produce precise weft ikat. Japanese weavers produce very accurate indigo and white weft ikat with small scale motifs in cotton. Weavers in Odisha, India have replicated fine Urdu script in weft ikat. In Thailand, weavers make very fine silk sarongs depicting birds and complex geometrical designs in seven colour weft ikat.
In some precise weft ikat traditions (Gujarat, India), two artisans weave the cloth: one passes the shuttle and the other adjusts the way the yarn lies in the shed.
As the weft is commonly a continuous strand, aberrations or variation in coloration are cumulative. Some weft ikat traditions incorporate this affect into their aesthetic. Patterns become transformed by the weaving process into irregular and erratic designs. Guatemalan ikat is well-noted for its beautiful "blurs."
DOUBLE IKAT
Double Ikat is created by resist-dyeing both the warp and weft prior to weaving.This form of weaving requires the most skill for precise patterns to be woven and is considered the premiere form of ikat. The amount of labour and skill required also make it the most expensive, and many poor quality cloths flood the tourist markets. Indian and Indonesian examples typify highly precise double ikat. Especially prized are the double ikats woven in silk known in India as patola (singular: patolu). These are from Gujarat (Cambay). During the colonial era, Dutch merchants used patola as prestigious trade cloths during the peak of the spice trade.
In Indonesia double ikat is only woven in the Bali Aga village of Tenganan. These cloths have high spiritual significance. In Tenganan they are still worn for specific ceremonies. Outside Tenganan, geringsing are treasured as they are purported to have magical powers.
The double ikat of Japan is woven in the Okinawa islands and is called tate-yoko gasuri.
Pochampally Sari, a variety from a small village in Nalgonda district, Andhra Pradesh, India is known for silk saris woven in the double Ikat.
The Puttapaka Saree is made in Puttapaka village, Samsthan Narayanpuram mandal in Nalgonda district, India. It is known for its unique style of silk saris. The symmetric design is over 200 years old. The Ikat is warp-based. The Puttapaka Saree is a double ikat.
Before the weaving is done, a manual winding of yarn, called Asu, needs to be performed. This process takes up to 5 hours per sari and is usually done by the womenfolk, who suffer physical strain through constantly moving their hands back and forth over 9000 times for each sari. In 1999, a young weaver C Mallesham developed a machine which automated Asu, thus developing a technological solution for a decades-old unsolved problem.
OSHIMA
Oshima ikat is a uniquely Japanese ikat. In Oshima, the warp and weft threads are both used as warp to weave stiff fabric, upon which the thread for the ikat weaving is spot-dyed. Then the mats are unravelled and the dyed thread is woven into oshima cloth.
The Oshima process is duplicated in Java and Bali, and is reserved for ruling royalty, notably Klungkung and Ubud: most especially the dodot cloth semi-cummerbund of Javanese court attire.
OTHER COUNTRIES
CAMBODIA
The Cambodian ikat is a weft ikat woven of silk on a multi-shaft loom with an uneven twill weave, which results in the weft threads showing more prominently on the front of the fabric than the back.
By the 19th century, Cambodian ikat was considered among the finest textiles of the world. When the King of Thailand came to the US in 1856, he brought as a gift for President Franklin Pierce fine Cambodian ikat cloth. The most intricately patterned of the Cambodian fabrics are the sampot hol - skirts worn by the women - and the pidans - wall hangings used to decorate the pagoda or the home for special ceremonies.
Unfortunately, Cambodian culture suffered massive disruption and destruction during the mid-20th century Indochina wars but most especially during the Khmer Rouge regime. Most weavers were killed and the whole art of Cambodian ikat was in danger of disappearing.
Kikuo Morimoto is a prominent pioneer in re-introducing ikat to Cambodia. In 1995, he moved from Japan and located one or two old lady weavers and Khmer Rouge survivors who knew the art and have taught it to a new generation.
THAILAND
In Thailand, the local weft ikat type of woven cloth is known as Matmi (also spelled 'Mudmee' or 'Mudmi'). Traditional Mudmi cloth was woven for daily use among the nobility. Other uses included ceremonial costumes. Warp ikat in cotton is also produced by the Karen and Lawa tribal peoples in northern Thailand.
This type of cloth is the favourite silk item woven by ethnic Khmer people living in southern Isaan, mainly in Surin, Sisaket and Buriram.
LATIN AMERICA
Ikat patterns are common among the Andes peoples, and native people of Argentina, Bolivia, Brazil, Chile, Colombia, Ecuador, Guatemala, Mexico, Peru, and Venezuela. The Mapuche shawl or poncho of the Huaso cowboys of Chile is perhaps the item best known in the West. Wool and cabuya fibre are the most commonly used.
The Mexican rebozos can be made from silk, wool or cotton and are frequently ikat dyed. These shawls are seen as a part of the Mexican national identity and most women own at least one.
Latin American ikat (Jaspe, as it is known to Maya weavers) textiles are commonly woven on a back-strap loom. Pre-dyed warp threads are a common item in traditional markets- saving the weaver much mess, expense, time and labour. A Latin American innovation which may also be employed elsewhere is to employ a round stick around which warp threads are wrapped in groups, thus allowing more precise control of the desired design. The "corte" is the typical wrap skirt used worn by Guatemalan women.
ACCREDITATION
As of 2010, the government of the Republic of Indonesia announced it would pursue UNESCO Intangible Cultural Heritage accreditation for its ikat weaving, along with songket, and gamelan having successfully attained this UNESCO recognition for its wayang, batik and the kris.
WIKIPEDIA
Agrippa, friend and son-in-law of Augustus, †12 BC. As, posthumous, struck by Caligula, 37-41. AE 11.43 g. M. AGRIPPA. L - .F. COS. III. Head l., wearing rostral crown. Rev. S-C Jupiter, nude, cloak in the back, standing facing, head turned l., holding trident with his l. hand, dolphin on his outstretched r. hand. RIC 112, 58. C. 3. BN I, 69, 77. For more on Caligulan Numismatic Articles see: Coins courtesy cngoins.com
Related Articles of Caligula from American Numismatic Society Library Search
Library Catalog Search (Preliminary Version)
Full Record: Barrett, Anthony A. The invalidation of currency in the Roman Empire : the Claudian demonetization of Caligula's AES. (1999)
Full Record: Bost, Jean-Pierre. Routes, cits et ateliers montaires : quelques remarques sur les officines hispaniques entre les rgnes d'Auguste en de Caligula. (1999)
Full Record: Bibliothque Municipale d'Etude et d'Information de Grenoble. Grenoble : Bibliothque Municipale d'Etude et d'Information : catalogue des monnaies. II. Monnaies romaines. Monnaies impriales romaines. 2. Caligula - Neron . Index. / Bernard Rmy, Frdric Bontoux, Virginie Risler. (1998)
Full Record: Gainor, John R. The image of the Julio-Claudian dynasty from coins / by John R. Gainor.
Full Record: Martini, Rodolfo. Monete romane imperiali del Museo G. B. Adriani. Parte 3, Caius (37-41 d.C.) / Rodolfo Martini. (2001)
Full Record: ACCLA privy to presentation by Richard Baker on Caligula. (2002)
Full Record: Wend, David A. Caligula, the emperor as autocrat. Part 1. (2002)
Full Record: Wend, David A. Caligula, the emperor as autocrat. Part 2. (2002)
Full Record: Wend, David A. Caligula, the emperor as autocrat. Part 3. (2002)
Full Record: Kemmers, Fleur. Caligula on the Lower Rhine : Coin finds from the Roman Fort of Albaniana (The Netherlands) / Fleur Kemmers. (2004)
Full Record: Estiot, Sylviane. Le trsor de Meussia (Jura) : 399 monnaies d'argent d'poques rpublicaine et julio-claudienne / Sylviane Estiot, Isabelle Aymar. (2002)
Full Record: Gocht, Hans. Namenstilgungen an Bronzemünzen des Caligula und Claudius / Hans Gocht. (2003)
Full Record: Gomis Justo, Marivi. Ercavica : La emision de Caligula. Estimacion del numero de cunos originales.
Full Record: Sayles, Wayne G. Fakes on the Internet. (2002)
Full Record: Kemmers, Fleur. The coin finds from the Roman fort Albaniana, the Netherlands / Fleur Kemmers . (2005)
Full Record: Lopez Snchez, Fernando. La afirmacion soberana de Caligula y de Claudio y el fin de las acunaciones ciudadanas en occidente / Fernando Lopez Snchez. (2000)
Full Record: Besombes, Paul-Andr. Les monnaies hispaniques de Claude Ier des dpôts de la Vilaine (Rennes) et de Saint-Lonard (Mayenne) : tmoins de quel type de contact entre l'Armorique et la pninsule ibrique ? / Paul-Andr Besombes. (2005)
Full Record: Catalli, Fiorenzo. Le thesaurus de Sora / Fiorenzo Catalli et John Scheid.
Full Record: Giard, Jean-Baptiste. Faux deniers de Caligula de la Renaissance.
Full Record: Vermeule, Cornelius. Faces of Empire (Julius Caesar to Justinian). Part II(B), More young faces : Caligula again and Nero reborn / Cornelius Vermeule. (2005)
Full Record: Geranio, Joe. Portraits of Caligula : the seated figure? / Joe Geranio. (2007)
Full Record: Aguilera Hernandez, Alberto. Acerca de un as de Caligula hallado en Zaragoza / Alberto Aguilera Hernandez. (2007)
Full Record: Butcher, K. E. T. Caligula : the evil emperor. (1985)
Full Record: Fuchs, Michaela. Frauen um Caligula und Claudius : Milonia Caesonia, Drusilla und Messalina. (1990)
Full Record: Faur, Jean-Claude. Moneda de Caligula de Museo Arqueologico Provincial de Tarragona. (1979)
Full Record: British Museum. Dept. of coins and medals. Coins of the Roman Empire in the British museum. Vol. I: Augustus to Vitellius / by Harold Mattingly. (1976)
Full Record: Conrad, Edwin. A Caligula Isotope of Hadrian. (1968)
Full Record: Conrad, Edwin. The Metamorphosis of an Allegad 'As of Hadrian.' (1968)
Full Record: Bendall, Simon. A 'new' gold quinarius of Caligula. (1985)
Full Record: Cortellini, Nereo. Le monete di Caligola nel Cohen.
Full Record: Guey, Julien. Les "bains d'or" de Caligula "Immensi Avreorvm Acervi (Sutone, Cal., 42,3).
Full Record: Guey, J. Les "bains d'or" de Caligula : Sutone, Cal. 42, 3.
Full Record: Curry, Michael R. The Aes Quadrans of Caligula. (1968)
Full Record: Jonas, Elemr. L'emploi dar "damnatio memoriae" sur l'un des "dupondius" de Calgula. (1937)
Full Record: Julian, R. W. The coins of Caligula. (1994)
Full Record: Donciu, Ramiro. Cu privire la activitatea militara a lui Caius (Caligula) in anul 40 e.n. (1983)
Full Record: Hansen, Peter. A history of Caligula's Vesta. (1992)
Full Record: Kaenel, Hans-Markus von. Augustus, Caligula oder Caludius? (1978)
Full Record: Kaenel, Hans-Markus von. Die Organisation der Münzprgung Caligulas. (1987)
Full Record: Johansen, Flemming S. The sculpted portraits of Caligula. (1987)
Full Record: Carter, G. F. Chemical compositions of copper-based Roman coins. V : imitations of Caligula, Claudius, and Nero / G. F. Carter and others. (1978)
Full Record: Giard, Jean-Baptiste. L'atelier de Lyon sous Auguste : Tibre et Caligula. (1979)
Full Record: Giard, Jean-Baptiste. Les missions d'or et d'argent de Caligula dans l'atelier de Lyon. (1976)
Full Record: Giard, Jean-Baptiste. Le monnayage de l'atelier de Lyon des origines au rgne de Caligula (43 avant J.-C. - 41 aprs J.-C.). (1983)
Full Record: Nony, D. Quelques as d'imitation de Caligula trouves a Bordeaux (Gironde). (1981)
Full Record: Levy, Brooks Emmons. Caligula's radiate crown. (1988)
Full Record: Poulsen, Vagn. Un nouveau visage de Caligula. (1972)
Full Record: Price, Martin Jessop. Elephant in Crete? New light ona cistophorus of Caligula. (1973)
Full Record: MacInnis, H. Frank. Ego-driven emperor commits excesses. (1979)
Full Record: McKenna, Thomas P. The case of the curious coin of Caligula : a provincial bronze restruck with legend-only dies. (1994)
Full Record: Mowat, Robert. Bronzes remarquables de Tibre, de son fils, de ses petits-fils et de Caligula. (1911)
Full Record: Koenig, Franz E. Roma, monete dal Tevere : l'imperatore Gaio (Caligola). (1988)
Full Record: Kollgaard, Ron. Caligula's coins profile despot. (1993)
Full Record: Kollgaard, Ron. A numismatic mystery : "the Caligula quadrans." (1994)
Full Record: Martini, Rodolfo. Osservazioni su contromarche ed erosioni su assi de Caligula. (1980)
Full Record: Szaivert, Wolfgang. Moneta Imperii Romani. Band 2 und 3. Die Münzprgung der Kaiser Tiberius und Caius (Caligula) 14/41 / von Wolfgang Szaivert. (1984)
Full Record: Boschung, Dietrich. Die Bildnisse des Caligula. Kaenel, Hans-Markus von. Jucker, Hans. Deutsches Archaologisches Institut. Das Romische Herrscherbild. 1. Abt., Bd. 4, Die Bildnisse des Caligula / Dietrich Boschung ; mit einem Beitrag von Hans-Markus von Kaenel ; auf Grund der Vorarbeiten und Marterialsammlungen von Hans Jucker. (1989)
Full Record: Rosborough, Ruskin R. An epigraphic commentary on Suetonius's life of Gaius Caligula. A thesis...for the...Doctor of Philosophy. (1920)
Full Record: Richard, Jean-Claude. A propos de l'aureus de Caligula dcouvert Saint-Colomban-des-Villards (Savoie). (1982)
Full Record: Richard, Jean-Claude. Un aureus de Caligula dcouvert Saint-Colomban-des-Villards (Savoie). (1982)
Full Record: Ritter, Hans-Werner. Adlocutio und Corona Civica unter Caligula und Tiberius. (1971)
Full Record: Kumpikevicius, Gordon C. A numismatic look at Gaius. (1979)
Full Record: Savio, Adriano. La coerenza di Caligola nella gestione della moneta / Adriano Savio. (1988)
Full Record: Savio, Adriano. Note su alcune monete di Gaio-Caligola. (1973)
Full Record: Stylow, Armin U. Die Quadranten des Caligula als Propaganda-münzen.münzen" aus der stdtischen sammlung zu Osnabrück. (1971)
Full Record: Schwartz, Jacques. Le Monnayage Snatorial entre 37 et 42 P.C. (1951)
Full Record: Rodolfo Martini, ed. Sylloge nummorum Romanorum. Italia. Milano, Civiche Raccolte Numismatiche Vol. 1 Giulio-Claudii / a cura di Rodolfo Martini. (1990)
Full Record: Szaivert, Wolfgang. Zur Julisch-Claudischen Münzprgung. (1979)
Full Record: Vedrianus. The Roman Imperial series. V. Gaius. (1963)
Full Record: Tietze, Christian M. Kaiser Cajus Caesar, genannt Caligula. (1979)
Full Record: Wood, Susan. Diva Drusilla Panthea and the sisters of Caligula / Susan Wood. (1995)
Full Record: Sutherland, Carol Humphrey Vivian. Coinage in Roman imperial policy 31 B.C.-A.D. 68. (1951)
Full Record: Sutherland, C. H. V. The mints of Lugdunum and Rome under Gaius : an unsolved problem. (1981)
Full Record: Trillmich, Walter. Familienpropaganda der Kaiser Caligula und Claudius : Agrippina Maior und Antonia Augusta auf Münzen. (1978)
Full Record: Voirol, August. Eine Warenumsatzsteuer im antiken Rom und der numismatische Beleg inher Aufhebung : Centesima rerum venalium. (1943)
Full Record: Trillmich, Walter. Zur Münzprgung des Caligula von Caesaraugusta (Zaragoza). (1973)
CALIGULA. Sesterz. Belorbeerter Kopf l. Rs: Kaiser steht l. auf Plattform, hält Ansprache an 5 Soldaten, von denen 4 eine Adlerstandarte halten. C. -. R.I.C. 32. Etwas fleckige Patina. Felder leicht geglättet. vz
Die Soldaten werden durch die Umschrift als Prätorianer identifiziert. Die Münze erinnert an die Akklamation Caligulas durch die Prätorianer in Misenum am 16. März 37 n. Chr.For more on Caligulan Numismatic Articles see: Coins courtesy cngoins.com
Related Articles of Caligula from American Numismatic Society Library Search
Library Catalog Search (Preliminary Version)
Full Record: Barrett, Anthony A. The invalidation of currency in the Roman Empire : the Claudian demonetization of Caligula's AES. (1999)
Full Record: Bost, Jean-Pierre. Routes, cits et ateliers montaires : quelques remarques sur les officines hispaniques entre les rgnes d'Auguste en de Caligula. (1999)
Full Record: Bibliothque Municipale d'Etude et d'Information de Grenoble. Grenoble : Bibliothque Municipale d'Etude et d'Information : catalogue des monnaies. II. Monnaies romaines. Monnaies impriales romaines. 2. Caligula - Neron . Index. / Bernard Rmy, Frdric Bontoux, Virginie Risler. (1998)
Full Record: Gainor, John R. The image of the Julio-Claudian dynasty from coins / by John R. Gainor.
Full Record: Martini, Rodolfo. Monete romane imperiali del Museo G. B. Adriani. Parte 3, Caius (37-41 d.C.) / Rodolfo Martini. (2001)
Full Record: ACCLA privy to presentation by Richard Baker on Caligula. (2002)
Full Record: Wend, David A. Caligula, the emperor as autocrat. Part 1. (2002)
Full Record: Wend, David A. Caligula, the emperor as autocrat. Part 2. (2002)
Full Record: Wend, David A. Caligula, the emperor as autocrat. Part 3. (2002)
Full Record: Kemmers, Fleur. Caligula on the Lower Rhine : Coin finds from the Roman Fort of Albaniana (The Netherlands) / Fleur Kemmers. (2004)
Full Record: Estiot, Sylviane. Le trsor de Meussia (Jura) : 399 monnaies d'argent d'poques rpublicaine et julio-claudienne / Sylviane Estiot, Isabelle Aymar. (2002)
Full Record: Gocht, Hans. Namenstilgungen an Bronzemünzen des Caligula und Claudius / Hans Gocht. (2003)
Full Record: Gomis Justo, Marivi. Ercavica : La emision de Caligula. Estimacion del numero de cunos originales.
Full Record: Sayles, Wayne G. Fakes on the Internet. (2002)
Full Record: Kemmers, Fleur. The coin finds from the Roman fort Albaniana, the Netherlands / Fleur Kemmers . (2005)
Full Record: Lopez Snchez, Fernando. La afirmacion soberana de Caligula y de Claudio y el fin de las acunaciones ciudadanas en occidente / Fernando Lopez Snchez. (2000)
Full Record: Besombes, Paul-Andr. Les monnaies hispaniques de Claude Ier des dpôts de la Vilaine (Rennes) et de Saint-Lonard (Mayenne) : tmoins de quel type de contact entre l'Armorique et la pninsule ibrique ? / Paul-Andr Besombes. (2005)
Full Record: Catalli, Fiorenzo. Le thesaurus de Sora / Fiorenzo Catalli et John Scheid.
Full Record: Giard, Jean-Baptiste. Faux deniers de Caligula de la Renaissance.
Full Record: Vermeule, Cornelius. Faces of Empire (Julius Caesar to Justinian). Part II(B), More young faces : Caligula again and Nero reborn / Cornelius Vermeule. (2005)
Full Record: Geranio, Joe. Portraits of Caligula : the seated figure? / Joe Geranio. (2007)
Full Record: Aguilera Hernandez, Alberto. Acerca de un as de Caligula hallado en Zaragoza / Alberto Aguilera Hernandez. (2007)
Full Record: Butcher, K. E. T. Caligula : the evil emperor. (1985)
Full Record: Fuchs, Michaela. Frauen um Caligula und Claudius : Milonia Caesonia, Drusilla und Messalina. (1990)
Full Record: Faur, Jean-Claude. Moneda de Caligula de Museo Arqueologico Provincial de Tarragona. (1979)
Full Record: British Museum. Dept. of coins and medals. Coins of the Roman Empire in the British museum. Vol. I: Augustus to Vitellius / by Harold Mattingly. (1976)
Full Record: Conrad, Edwin. A Caligula Isotope of Hadrian. (1968)
Full Record: Conrad, Edwin. The Metamorphosis of an Allegad 'As of Hadrian.' (1968)
Full Record: Bendall, Simon. A 'new' gold quinarius of Caligula. (1985)
Full Record: Cortellini, Nereo. Le monete di Caligola nel Cohen.
Full Record: Guey, Julien. Les "bains d'or" de Caligula "Immensi Avreorvm Acervi (Sutone, Cal., 42,3).
Full Record: Guey, J. Les "bains d'or" de Caligula : Sutone, Cal. 42, 3.
Full Record: Curry, Michael R. The Aes Quadrans of Caligula. (1968)
Full Record: Jonas, Elemr. L'emploi dar "damnatio memoriae" sur l'un des "dupondius" de Calgula. (1937)
Full Record: Julian, R. W. The coins of Caligula. (1994)
Full Record: Donciu, Ramiro. Cu privire la activitatea militara a lui Caius (Caligula) in anul 40 e.n. (1983)
Full Record: Hansen, Peter. A history of Caligula's Vesta. (1992)
Full Record: Kaenel, Hans-Markus von. Augustus, Caligula oder Caludius? (1978)
Full Record: Kaenel, Hans-Markus von. Die Organisation der Münzprgung Caligulas. (1987)
Full Record: Johansen, Flemming S. The sculpted portraits of Caligula. (1987)
Full Record: Carter, G. F. Chemical compositions of copper-based Roman coins. V : imitations of Caligula, Claudius, and Nero / G. F. Carter and others. (1978)
Full Record: Giard, Jean-Baptiste. L'atelier de Lyon sous Auguste : Tibre et Caligula. (1979)
Full Record: Giard, Jean-Baptiste. Les missions d'or et d'argent de Caligula dans l'atelier de Lyon. (1976)
Full Record: Giard, Jean-Baptiste. Le monnayage de l'atelier de Lyon des origines au rgne de Caligula (43 avant J.-C. - 41 aprs J.-C.). (1983)
Full Record: Nony, D. Quelques as d'imitation de Caligula trouves a Bordeaux (Gironde). (1981)
Full Record: Levy, Brooks Emmons. Caligula's radiate crown. (1988)
Full Record: Poulsen, Vagn. Un nouveau visage de Caligula. (1972)
Full Record: Price, Martin Jessop. Elephant in Crete? New light ona cistophorus of Caligula. (1973)
Full Record: MacInnis, H. Frank. Ego-driven emperor commits excesses. (1979)
Full Record: McKenna, Thomas P. The case of the curious coin of Caligula : a provincial bronze restruck with legend-only dies. (1994)
Full Record: Mowat, Robert. Bronzes remarquables de Tibre, de son fils, de ses petits-fils et de Caligula. (1911)
Full Record: Koenig, Franz E. Roma, monete dal Tevere : l'imperatore Gaio (Caligola). (1988)
Full Record: Kollgaard, Ron. Caligula's coins profile despot. (1993)
Full Record: Kollgaard, Ron. A numismatic mystery : "the Caligula quadrans." (1994)
Full Record: Martini, Rodolfo. Osservazioni su contromarche ed erosioni su assi de Caligula. (1980)
Full Record: Szaivert, Wolfgang. Moneta Imperii Romani. Band 2 und 3. Die Münzprgung der Kaiser Tiberius und Caius (Caligula) 14/41 / von Wolfgang Szaivert. (1984)
Full Record: Boschung, Dietrich. Die Bildnisse des Caligula. Kaenel, Hans-Markus von. Jucker, Hans. Deutsches Archaologisches Institut. Das Romische Herrscherbild. 1. Abt., Bd. 4, Die Bildnisse des Caligula / Dietrich Boschung ; mit einem Beitrag von Hans-Markus von Kaenel ; auf Grund der Vorarbeiten und Marterialsammlungen von Hans Jucker. (1989)
Full Record: Rosborough, Ruskin R. An epigraphic commentary on Suetonius's life of Gaius Caligula. A thesis...for the...Doctor of Philosophy. (1920)
Full Record: Richard, Jean-Claude. A propos de l'aureus de Caligula dcouvert Saint-Colomban-des-Villards (Savoie). (1982)
Full Record: Richard, Jean-Claude. Un aureus de Caligula dcouvert Saint-Colomban-des-Villards (Savoie). (1982)
Full Record: Ritter, Hans-Werner. Adlocutio und Corona Civica unter Caligula und Tiberius. (1971)
Full Record: Kumpikevicius, Gordon C. A numismatic look at Gaius. (1979)
Full Record: Savio, Adriano. La coerenza di Caligola nella gestione della moneta / Adriano Savio. (1988)
Full Record: Savio, Adriano. Note su alcune monete di Gaio-Caligola. (1973)
Full Record: Stylow, Armin U. Die Quadranten des Caligula als Propaganda-münzen.münzen" aus der stdtischen sammlung zu Osnabrück. (1971)
Full Record: Schwartz, Jacques. Le Monnayage Snatorial entre 37 et 42 P.C. (1951)
Full Record: Rodolfo Martini, ed. Sylloge nummorum Romanorum. Italia. Milano, Civiche Raccolte Numismatiche Vol. 1 Giulio-Claudii / a cura di Rodolfo Martini. (1990)
Full Record: Szaivert, Wolfgang. Zur Julisch-Claudischen Münzprgung. (1979)
Full Record: Vedrianus. The Roman Imperial series. V. Gaius. (1963)
Full Record: Tietze, Christian M. Kaiser Cajus Caesar, genannt Caligula. (1979)
Full Record: Wood, Susan. Diva Drusilla Panthea and the sisters of Caligula / Susan Wood. (1995)
Full Record: Sutherland, Carol Humphrey Vivian. Coinage in Roman imperial policy 31 B.C.-A.D. 68. (1951)
Full Record: Sutherland, C. H. V. The mints of Lugdunum and Rome under Gaius : an unsolved problem. (1981)
Full Record: Trillmich, Walter. Familienpropaganda der Kaiser Caligula und Claudius : Agrippina Maior und Antonia Augusta auf Münzen. (1978)
Full Record: Voirol, August. Eine Warenumsatzsteuer im antiken Rom und der numismatische Beleg inher Aufhebung : Centesima rerum venalium. (1943)
Full Record: Trillmich, Walter. Zur Münzprgung des Caligula von Caesaraugusta (Zaragoza). (1973)
A Donative given to the troops, note no SC or approval of the senate on this coin?
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!
Some background:
Due to increasing tensions in Europe which led to World War 2, AVRO Aircraft started developing combat aircraft, and as a subsidiary of Hawker, they had access to the Hurricane plans. At the time that the Hurricane was developed, RAF Fighter Command consisted of just 13 squadrons, each equipped with either the Hawker Fury, Hawker Demon, or the Bristol Bulldog – all of them biplanes with fixed-pitch wooden propellers and non-retractable undercarriages. After the Hurricane's first flight, Avro started working on a more refined and lighter aircraft, resulting in a similar if not higher top speed and improved maneuverability.
The result was Avro’s project 675, also known as the "Swallow". The aircraft’s profile resembled the Hawker Hurricane, but appeared more squatted and streamlined, almost like a race version. Compared with the Hurricane, overall dimensions were reduced and the structure lightened wherever possible. The wings were much thinner, too, and their shape reminded of the Supermarine Spitfire’s famous oval wings. The main landing gear was retractable and had a wide track. The tail wheel was semi-retractable on the prototype, but it was replaced by a simpler, fixed tail wheel on production models.
The Swallow made its first flight on 30th December 1937 and the Royal Air Force was so impressed by its performance against the Hurricane that they ordered production to start immediately, after a few minor tweaks to certain parts of the aircraft had been made.
On 25 July 1939, the RAF accepted their first delivery of Avro Swallow Mk. Is. The first machines were allocated to No.1 Squadron, at the time based in France, where they were used in parallel to the Hurricanes for evaluation. These early machines were powered by a 1.030 hp (770 kW) Rolls-Royce Merlin Mk II liquid-cooled V-12, driving a wooden two-bladed, fixed-pitch propeller. The light aircraft achieved an impressive top speed of 347 mph (301 kn, 558 km/h) in level flight – the bigger and heavier Hurricane achieved only 314 mph (506 km/h) with a similar engine. Like the Hurricane, the Swallow was armed with eight unsynchronized 0.303 in (7.7 mm) Browning machine guns in the outer wings, outside of the propeller disc.
In spring 1940, Avro upgraded the serial production Swallow Mk.I's to Mk.IA standard: the original wooden propeller was replaced by a de Havilland or Rotol constant speed metal propeller with three blades, which considerably improved field performance. Many aircraft were retrofitted with this update in the field workshops in the summer of 1940.
In parallel, production switched to the Swallow Mk. II: This new version, which reached the front line units in July 1940, received an uprated engine, the improved Rolls-Royce Merlin III, which could deliver up to 1,310 hp (977 kW) with 100 octane fuel and +12 psi boost. With the standard 87 Octane fuel, engine performance did not improve much beyond the Merlin II's figures, though.
A redesigned, more streamlined radiator bath was mounted, too, and altogether these measures boosted the Swallow’s top speed to 371 mph (597 km/h) at 20,000 ft (6,096 m). This was a considerable improvement, and the contemporary Hurricane II achieved only 340 mph (547 km/h).
However, several fundamental weak points of the Swallow remained unsolved: its limited range could not be boosted beyond 300 miles (500 km) and the light machine gun armament remained unchanged, because the Swallow’s thin wings hardly offered more space for heavier weapons or useful external stores like drop tanks. Despite these shortcomings, the pilots loved their agile fighter, who described the Swallow as an updated Hawker Fury biplane fighter and less as a direct competitor to the Hurricane.
Nevertheless, Avro kept on working to improve the Swallow, but with limited success. For instance, in early 1941, a Swallow Mk. II was modified to carry a pair of 20mm Hispano cannons instead of the inner pair of machine guns. Due to the aircraft’s thin wings, this update necessitated bulged fairings and a modified internal structure for the cannons' ammunition drums. The prototype was operationally tested at the home defense front and the additional firepower was warmly welcomed by the pilots who flew it, since the cannons allowed them to stay out of the German bombers’ machine gun range of and added more punch against German escort fighters in dogfights.
This innovation directly led to the Swallow Mk. III, introduced in August 1941, the fighter’s final production variant. Beyond the armament changes and the respective structural changes to the wings, the Mk. III was still powered by the Rolls-Royce Merlin III from the swallow Mk. II, but the variant introduced clipped wing tips in order to compensate for the slightly higher weight of the airframe and to improve roll characteristics at low and medium altitude. Otherwise, the Mk. III was virtually identical to the earlier Mk. II.
Another Mk. II was experimentally converted with a lowered spine and a framed bubble canopy for a better all-around field of view (reminiscent of the Hawker Typhoon's design), but this experiment did not reach production status. The Swallow had already reached its limited development potential and was, by mid-1942, outdated.
Since the Supermarine Spitfire had in the meantime proven its worth and promised a much bigger development potential, production of the Avro Swallow already ceased in late 1942 after 435 aircraft had been built. Around the same time, the Swallows were quickly phased out from front-line service, too.
Several machines were retained as trainers, messenger aircraft or instructional airframes. 20 late production Mk. IIs were sold to the Irish Air Corps, and a further 50 aircraft were sent to Canada as advanced fighter trainers, where they served until the end of the hostilities in 1945.
General characteristics:
Crew: 1
Length: 28 ft 1 in (8.57 m)
Wingspan: 33 ft 7 in (10.25 m)
Height: 8 ft 6 in (2.60 m)
Wing area: 153 ft² (16.40 m²)
Empty weight: 3,722 lb (1,720 kg)
Gross weight: 5,100 lb (2,315 kg)
Powerplant:
1× Rolls-Royce Merlin III liquid-cooled V-12, rated at 1,310 hp (977 kW) at 9,000 ft (2,700 m)
Performance:
Maximum speed: 366 mph (590 km/h) at 20,000 ft (6,096 m)
Range: 320 miles (515 km)
Service ceiling: 36,000 ft (10,970 m)
Rate of climb: 2,780 ft/min (14.1 m/s)
Wing loading: 29.8 lb/ft² (121.9 kg/m²)
Power/mass: 0.15 hp/lb (0.25 kW/kg)
Armament:
2× 0.787” (20mm) Hispano Mk II cannon with 60 RPG
4× 0.303” (7,7mm) Browning Mk. II machine guns with 350 RPG
The kit and its assembly:
This is actually a remake of a whif that I have built some time ago for the Battle of Britain Group Build at whatifmodelers.com. This fictional machine – or better: the model – is based on a profile drawing conceived by fellow forum member nighthunter: an Avia B.135, outfitted with a Merlin engine, a ventral radiator in the style of a Hawker Hurricane, and carrying RAF markings.
I had another B.35 kit at hand, as well as other ingredients, so I decided to re-create the same aircraft, just in a later variant that differs in some minor details from the first one. The basis is, once again, a vintage KP Models kit of the early B.35 fighter with a fixed landing gear. It’s a sleek and pretty aircraft, but the kit’s quality is rather so-so (the molds date back to 1974). Details are quite good, esp. on the exterior. You get a mix of engraved and raised surface details, but fit is mediocre, there is lots of flash and the interior is quite bleak. But, with some effort, things can be mended.
Many donation parts for the Swallow, including the Merlin engine, propeller, landing gear and radiator, were taken from an AZ Models Spitfire Mk. I/II/V, from a Joy Pack, which comes with three of these kits without decals.
New landing gear wells had to be carved out of the massive lower wing halves. Since the original Swallow profile did not indicate the landing gear design, I went for an inward-retracting solution, using parts from an early Spitfire. Due to the oil cooler in one of the wing roots, though, the stance ended up a little wide, but it’s still acceptable and I stuck to the same solution as on my first build of the Swallow. But now I know why the real world B.135 prototype had its landing gear retract outwards – it makes more sense.
The Merlin fitted very well onto the B.35 fuselage, diameter and shape match very well, even though the Spitfire Merlin and its respective fuselage intersection is a little too deep for the B.35. As a consequence, some light sculpting with putty was necessary under the fuselage – nothing dramatic, though.
Inside of the cockpit, this time I used more Spitfire material than during my first Swallow build, namely the floor, seat and rear bulkhead/headrest. Like before, I added a tank behind the seat in order to fill the OOB void there, and used the B.35’s OOB headrest struts, as well as the dashboard.
The blurry, single-piece canopy was cut into three pieces for optional open display on the ground, but this was not a smart move since the material turned out to be very thin and, even worse, brittle – cracks were the unfortunate result. L
Since one of the B.35’s wing tips was missing (there’s a deep edge at the tips, and one tip had been broken off and got lost), I reduced the span of both wings, resulting in a square shape that resembles a narrow Hawker Tempest wing.
Another change concerns the armament: trying to beef it up, I added a pair of Hispano cannon to the wings, with the barrels protruding from the wings’ leading edges, reminiscent of the Spitfire’s “B” wing – even though I kept the outer machine guns at the Swallow’s original position.
Finally, I installed my trademark propeller adapter: a styrene tube inside of the fuselage that holds a long metal axis with the propeller, so that it can spin freely.
Painting and markings:
Once again I went for a conservative route, this time I chose the new standard “Day Fighter” camouflage that the RAF introduced in summer 1941: Dark Green/Ocean Grey (using Humbrol 116 and 106, respectively) with Medium Sea Grey (Humbrol 64) undersides.
The typical fuselage ID band and the spinner became Sky (Revell 59) and yellow ID bands were added to the outer wings’ leading edges, created with yellow decal sheet material.
The roundels were chosen to match the 1941 era, with A.1 roundels on the fuselage, B roundels on top of the wings and Type A underneath, they actually belong to P-40s in RAF service and come, including the fin flash, from a Sky Models sheet. The code letters in Sky come from an Xtradecal sheet, the serial number actually belongs to a contemporary RAF P-40C – I was too lazy to create an individual serial number that actually fills a gap in the RAF’s inventory list.
Some light weathering and panel shading was done, as well as some light soot stains around the exhausts and the gun ports on the wings (grinded graphite). Finally, everything sealed under a coat of matt acrylic varnish (Italeri) and wire antennae (stretched sprue material) added.
A simple project, realized in a couple of days – thanks to the experience gathered during the first build of this fictional aircraft. However, the Avro Swallow looked already promising in nighthunter's original profile, almost like a missing link between the sturdy Hurricane and the more glorious Spitfire. The result looks very convincing, and with the clipped wingtips, born as a makeshift solution, it looks even faster than the original build!
I am amazed how good this thing looks overall, with its elegant, slender wings and the sleek fuselage lines. At first glance, it looks like an early Spitfire, but then you notice the different wings, the low canopy and the shorter but deeper tail. Then you can think it was a travestied Yak-3 or LaGG aircraft, but again the details don’t match. It’s a quite subtle creation. Maybe, someday, a third one will join my RAF Swallow duo, but this time in Irish Air Corps colors.
In Remembrance of Deanna Cremin • Her Family and Friends miss her so much!
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Caligula AE sestertius. C CAESAR AVG GERMANICVS PON M TR POT, laureate head left / AGRIPPINA DRVSILLA IVLIA, the sisters of Caligula standing, bearing the attributes of various goddesses, SC in ex. Cohen 4. For more on Caligulan Numismatic Articles see: Coins courtesy cngoins.com
Related Articles of Caligula from American Numismatic Society Library Search
Library Catalog Search (Preliminary Version)
Full Record: Barrett, Anthony A. The invalidation of currency in the Roman Empire : the Claudian demonetization of Caligula's AES. (1999)
Full Record: Bost, Jean-Pierre. Routes, cits et ateliers montaires : quelques remarques sur les officines hispaniques entre les rgnes d'Auguste en de Caligula. (1999)
Full Record: Bibliothque Municipale d'Etude et d'Information de Grenoble. Grenoble : Bibliothque Municipale d'Etude et d'Information : catalogue des monnaies. II. Monnaies romaines. Monnaies impriales romaines. 2. Caligula - Neron . Index. / Bernard Rmy, Frdric Bontoux, Virginie Risler. (1998)
Full Record: Gainor, John R. The image of the Julio-Claudian dynasty from coins / by John R. Gainor.
Full Record: Martini, Rodolfo. Monete romane imperiali del Museo G. B. Adriani. Parte 3, Caius (37-41 d.C.) / Rodolfo Martini. (2001)
Full Record: ACCLA privy to presentation by Richard Baker on Caligula. (2002)
Full Record: Wend, David A. Caligula, the emperor as autocrat. Part 1. (2002)
Full Record: Wend, David A. Caligula, the emperor as autocrat. Part 2. (2002)
Full Record: Wend, David A. Caligula, the emperor as autocrat. Part 3. (2002)
Full Record: Kemmers, Fleur. Caligula on the Lower Rhine : Coin finds from the Roman Fort of Albaniana (The Netherlands) / Fleur Kemmers. (2004)
Full Record: Estiot, Sylviane. Le trsor de Meussia (Jura) : 399 monnaies d'argent d'poques rpublicaine et julio-claudienne / Sylviane Estiot, Isabelle Aymar. (2002)
Full Record: Gocht, Hans. Namenstilgungen an Bronzemünzen des Caligula und Claudius / Hans Gocht. (2003)
Full Record: Gomis Justo, Marivi. Ercavica : La emision de Caligula. Estimacion del numero de cunos originales.
Full Record: Sayles, Wayne G. Fakes on the Internet. (2002)
Full Record: Kemmers, Fleur. The coin finds from the Roman fort Albaniana, the Netherlands / Fleur Kemmers . (2005)
Full Record: Lopez Snchez, Fernando. La afirmacion soberana de Caligula y de Claudio y el fin de las acunaciones ciudadanas en occidente / Fernando Lopez Snchez. (2000)
Full Record: Besombes, Paul-Andr. Les monnaies hispaniques de Claude Ier des dpôts de la Vilaine (Rennes) et de Saint-Lonard (Mayenne) : tmoins de quel type de contact entre l'Armorique et la pninsule ibrique ? / Paul-Andr Besombes. (2005)
Full Record: Catalli, Fiorenzo. Le thesaurus de Sora / Fiorenzo Catalli et John Scheid.
Full Record: Giard, Jean-Baptiste. Faux deniers de Caligula de la Renaissance.
Full Record: Vermeule, Cornelius. Faces of Empire (Julius Caesar to Justinian). Part II(B), More young faces : Caligula again and Nero reborn / Cornelius Vermeule. (2005)
Full Record: Geranio, Joe. Portraits of Caligula : the seated figure? / Joe Geranio. (2007)
Full Record: Aguilera Hernandez, Alberto. Acerca de un as de Caligula hallado en Zaragoza / Alberto Aguilera Hernandez. (2007)
Full Record: Butcher, K. E. T. Caligula : the evil emperor. (1985)
Full Record: Fuchs, Michaela. Frauen um Caligula und Claudius : Milonia Caesonia, Drusilla und Messalina. (1990)
Full Record: Faur, Jean-Claude. Moneda de Caligula de Museo Arqueologico Provincial de Tarragona. (1979)
Full Record: British Museum. Dept. of coins and medals. Coins of the Roman Empire in the British museum. Vol. I: Augustus to Vitellius / by Harold Mattingly. (1976)
Full Record: Conrad, Edwin. A Caligula Isotope of Hadrian. (1968)
Full Record: Conrad, Edwin. The Metamorphosis of an Allegad 'As of Hadrian.' (1968)
Full Record: Bendall, Simon. A 'new' gold quinarius of Caligula. (1985)
Full Record: Cortellini, Nereo. Le monete di Caligola nel Cohen.
Full Record: Guey, Julien. Les "bains d'or" de Caligula "Immensi Avreorvm Acervi (Sutone, Cal., 42,3).
Full Record: Guey, J. Les "bains d'or" de Caligula : Sutone, Cal. 42, 3.
Full Record: Curry, Michael R. The Aes Quadrans of Caligula. (1968)
Full Record: Jonas, Elemr. L'emploi dar "damnatio memoriae" sur l'un des "dupondius" de Calgula. (1937)
Full Record: Julian, R. W. The coins of Caligula. (1994)
Full Record: Donciu, Ramiro. Cu privire la activitatea militara a lui Caius (Caligula) in anul 40 e.n. (1983)
Full Record: Hansen, Peter. A history of Caligula's Vesta. (1992)
Full Record: Kaenel, Hans-Markus von. Augustus, Caligula oder Caludius? (1978)
Full Record: Kaenel, Hans-Markus von. Die Organisation der Münzprgung Caligulas. (1987)
Full Record: Johansen, Flemming S. The sculpted portraits of Caligula. (1987)
Full Record: Carter, G. F. Chemical compositions of copper-based Roman coins. V : imitations of Caligula, Claudius, and Nero / G. F. Carter and others. (1978)
Full Record: Giard, Jean-Baptiste. L'atelier de Lyon sous Auguste : Tibre et Caligula. (1979)
Full Record: Giard, Jean-Baptiste. Les missions d'or et d'argent de Caligula dans l'atelier de Lyon. (1976)
Full Record: Giard, Jean-Baptiste. Le monnayage de l'atelier de Lyon des origines au rgne de Caligula (43 avant J.-C. - 41 aprs J.-C.). (1983)
Full Record: Nony, D. Quelques as d'imitation de Caligula trouves a Bordeaux (Gironde). (1981)
Full Record: Levy, Brooks Emmons. Caligula's radiate crown. (1988)
Full Record: Poulsen, Vagn. Un nouveau visage de Caligula. (1972)
Full Record: Price, Martin Jessop. Elephant in Crete? New light ona cistophorus of Caligula. (1973)
Full Record: MacInnis, H. Frank. Ego-driven emperor commits excesses. (1979)
Full Record: McKenna, Thomas P. The case of the curious coin of Caligula : a provincial bronze restruck with legend-only dies. (1994)
Full Record: Mowat, Robert. Bronzes remarquables de Tibre, de son fils, de ses petits-fils et de Caligula. (1911)
Full Record: Koenig, Franz E. Roma, monete dal Tevere : l'imperatore Gaio (Caligola). (1988)
Full Record: Kollgaard, Ron. Caligula's coins profile despot. (1993)
Full Record: Kollgaard, Ron. A numismatic mystery : "the Caligula quadrans." (1994)
Full Record: Martini, Rodolfo. Osservazioni su contromarche ed erosioni su assi de Caligula. (1980)
Full Record: Szaivert, Wolfgang. Moneta Imperii Romani. Band 2 und 3. Die Münzprgung der Kaiser Tiberius und Caius (Caligula) 14/41 / von Wolfgang Szaivert. (1984)
Full Record: Boschung, Dietrich. Die Bildnisse des Caligula. Kaenel, Hans-Markus von. Jucker, Hans. Deutsches Archaologisches Institut. Das Romische Herrscherbild. 1. Abt., Bd. 4, Die Bildnisse des Caligula / Dietrich Boschung ; mit einem Beitrag von Hans-Markus von Kaenel ; auf Grund der Vorarbeiten und Marterialsammlungen von Hans Jucker. (1989)
Full Record: Rosborough, Ruskin R. An epigraphic commentary on Suetonius's life of Gaius Caligula. A thesis...for the...Doctor of Philosophy. (1920)
Full Record: Richard, Jean-Claude. A propos de l'aureus de Caligula dcouvert Saint-Colomban-des-Villards (Savoie). (1982)
Full Record: Richard, Jean-Claude. Un aureus de Caligula dcouvert Saint-Colomban-des-Villards (Savoie). (1982)
Full Record: Ritter, Hans-Werner. Adlocutio und Corona Civica unter Caligula und Tiberius. (1971)
Full Record: Kumpikevicius, Gordon C. A numismatic look at Gaius. (1979)
Full Record: Savio, Adriano. La coerenza di Caligola nella gestione della moneta / Adriano Savio. (1988)
Full Record: Savio, Adriano. Note su alcune monete di Gaio-Caligola. (1973)
Full Record: Stylow, Armin U. Die Quadranten des Caligula als Propaganda-münzen.münzen" aus der stdtischen sammlung zu Osnabrück. (1971)
Full Record: Schwartz, Jacques. Le Monnayage Snatorial entre 37 et 42 P.C. (1951)
Full Record: Rodolfo Martini, ed. Sylloge nummorum Romanorum. Italia. Milano, Civiche Raccolte Numismatiche Vol. 1 Giulio-Claudii / a cura di Rodolfo Martini. (1990)
Full Record: Szaivert, Wolfgang. Zur Julisch-Claudischen Münzprgung. (1979)
Full Record: Vedrianus. The Roman Imperial series. V. Gaius. (1963)
Full Record: Tietze, Christian M. Kaiser Cajus Caesar, genannt Caligula. (1979)
Full Record: Wood, Susan. Diva Drusilla Panthea and the sisters of Caligula / Susan Wood. (1995)
Full Record: Sutherland, Carol Humphrey Vivian. Coinage in Roman imperial policy 31 B.C.-A.D. 68. (1951)
Full Record: Sutherland, C. H. V. The mints of Lugdunum and Rome under Gaius : an unsolved problem. (1981)
Full Record: Trillmich, Walter. Familienpropaganda der Kaiser Caligula und Claudius : Agrippina Maior und Antonia Augusta auf Münzen. (1978)
Full Record: Voirol, August. Eine Warenumsatzsteuer im antiken Rom und der numismatische Beleg inher Aufhebung : Centesima rerum venalium. (1943)
Full Record: Trillmich, Walter. Zur Münzprgung des Caligula von Caesaraugusta (Zaragoza). (1973)
Ref Caligula AE Sestertius, RIC 33, Cohen 4, BMC 36
Caligula AE sestertius. C CAESAR AVG GERMANICVS PON M TR POT, laureate head left / AGRIPPINA DRVSILLA IVLIA, the sisters of Caligula standing, bearing the attributes of various goddesses, SC in ex. Cohen 4.
If you are interested in Julio Claudian Iconography and portrait study you may enjoy these two links:
Julio Claudian Iconographic Association- Joe Geranio- Administrator at groups.yahoo.com/group/julioclaudian/
The Portraiture of Caligula- Joe Geranio- Administrator- at
Both are non-profit sites and for educational use only.For more on Caligulan Numismatic Articles see: Coins courtesy cngoins.com
Related Articles of Caligula from American Numismatic Society Library Search
Library Catalog Search (Preliminary Version)
Full Record: Barrett, Anthony A. The invalidation of currency in the Roman Empire : the Claudian demonetization of Caligula's AES. (1999)
Full Record: Bost, Jean-Pierre. Routes, cits et ateliers montaires : quelques remarques sur les officines hispaniques entre les rgnes d'Auguste en de Caligula. (1999)
Full Record: Bibliothque Municipale d'Etude et d'Information de Grenoble. Grenoble : Bibliothque Municipale d'Etude et d'Information : catalogue des monnaies. II. Monnaies romaines. Monnaies impriales romaines. 2. Caligula - Neron . Index. / Bernard Rmy, Frdric Bontoux, Virginie Risler. (1998)
Full Record: Gainor, John R. The image of the Julio-Claudian dynasty from coins / by John R. Gainor.
Full Record: Martini, Rodolfo. Monete romane imperiali del Museo G. B. Adriani. Parte 3, Caius (37-41 d.C.) / Rodolfo Martini. (2001)
Full Record: ACCLA privy to presentation by Richard Baker on Caligula. (2002)
Full Record: Wend, David A. Caligula, the emperor as autocrat. Part 1. (2002)
Full Record: Wend, David A. Caligula, the emperor as autocrat. Part 2. (2002)
Full Record: Wend, David A. Caligula, the emperor as autocrat. Part 3. (2002)
Full Record: Kemmers, Fleur. Caligula on the Lower Rhine : Coin finds from the Roman Fort of Albaniana (The Netherlands) / Fleur Kemmers. (2004)
Full Record: Estiot, Sylviane. Le trsor de Meussia (Jura) : 399 monnaies d'argent d'poques rpublicaine et julio-claudienne / Sylviane Estiot, Isabelle Aymar. (2002)
Full Record: Gocht, Hans. Namenstilgungen an Bronzemünzen des Caligula und Claudius / Hans Gocht. (2003)
Full Record: Gomis Justo, Marivi. Ercavica : La emision de Caligula. Estimacion del numero de cunos originales.
Full Record: Sayles, Wayne G. Fakes on the Internet. (2002)
Full Record: Kemmers, Fleur. The coin finds from the Roman fort Albaniana, the Netherlands / Fleur Kemmers . (2005)
Full Record: Lopez Snchez, Fernando. La afirmacion soberana de Caligula y de Claudio y el fin de las acunaciones ciudadanas en occidente / Fernando Lopez Snchez. (2000)
Full Record: Besombes, Paul-Andr. Les monnaies hispaniques de Claude Ier des dpôts de la Vilaine (Rennes) et de Saint-Lonard (Mayenne) : tmoins de quel type de contact entre l'Armorique et la pninsule ibrique ? / Paul-Andr Besombes. (2005)
Full Record: Catalli, Fiorenzo. Le thesaurus de Sora / Fiorenzo Catalli et John Scheid.
Full Record: Giard, Jean-Baptiste. Faux deniers de Caligula de la Renaissance.
Full Record: Vermeule, Cornelius. Faces of Empire (Julius Caesar to Justinian). Part II(B), More young faces : Caligula again and Nero reborn / Cornelius Vermeule. (2005)
Full Record: Geranio, Joe. Portraits of Caligula : the seated figure? / Joe Geranio. (2007)
Full Record: Aguilera Hernandez, Alberto. Acerca de un as de Caligula hallado en Zaragoza / Alberto Aguilera Hernandez. (2007)
Full Record: Butcher, K. E. T. Caligula : the evil emperor. (1985)
Full Record: Fuchs, Michaela. Frauen um Caligula und Claudius : Milonia Caesonia, Drusilla und Messalina. (1990)
Full Record: Faur, Jean-Claude. Moneda de Caligula de Museo Arqueologico Provincial de Tarragona. (1979)
Full Record: British Museum. Dept. of coins and medals. Coins of the Roman Empire in the British museum. Vol. I: Augustus to Vitellius / by Harold Mattingly. (1976)
Full Record: Conrad, Edwin. A Caligula Isotope of Hadrian. (1968)
Full Record: Conrad, Edwin. The Metamorphosis of an Allegad 'As of Hadrian.' (1968)
Full Record: Bendall, Simon. A 'new' gold quinarius of Caligula. (1985)
Full Record: Cortellini, Nereo. Le monete di Caligola nel Cohen.
Full Record: Guey, Julien. Les "bains d'or" de Caligula "Immensi Avreorvm Acervi (Sutone, Cal., 42,3).
Full Record: Guey, J. Les "bains d'or" de Caligula : Sutone, Cal. 42, 3.
Full Record: Curry, Michael R. The Aes Quadrans of Caligula. (1968)
Full Record: Jonas, Elemr. L'emploi dar "damnatio memoriae" sur l'un des "dupondius" de Calgula. (1937)
Full Record: Julian, R. W. The coins of Caligula. (1994)
Full Record: Donciu, Ramiro. Cu privire la activitatea militara a lui Caius (Caligula) in anul 40 e.n. (1983)
Full Record: Hansen, Peter. A history of Caligula's Vesta. (1992)
Full Record: Kaenel, Hans-Markus von. Augustus, Caligula oder Caludius? (1978)
Full Record: Kaenel, Hans-Markus von. Die Organisation der Münzprgung Caligulas. (1987)
Full Record: Johansen, Flemming S. The sculpted portraits of Caligula. (1987)
Full Record: Carter, G. F. Chemical compositions of copper-based Roman coins. V : imitations of Caligula, Claudius, and Nero / G. F. Carter and others. (1978)
Full Record: Giard, Jean-Baptiste. L'atelier de Lyon sous Auguste : Tibre et Caligula. (1979)
Full Record: Giard, Jean-Baptiste. Les missions d'or et d'argent de Caligula dans l'atelier de Lyon. (1976)
Full Record: Giard, Jean-Baptiste. Le monnayage de l'atelier de Lyon des origines au rgne de Caligula (43 avant J.-C. - 41 aprs J.-C.). (1983)
Full Record: Nony, D. Quelques as d'imitation de Caligula trouves a Bordeaux (Gironde). (1981)
Full Record: Levy, Brooks Emmons. Caligula's radiate crown. (1988)
Full Record: Poulsen, Vagn. Un nouveau visage de Caligula. (1972)
Full Record: Price, Martin Jessop. Elephant in Crete? New light ona cistophorus of Caligula. (1973)
Full Record: MacInnis, H. Frank. Ego-driven emperor commits excesses. (1979)
Full Record: McKenna, Thomas P. The case of the curious coin of Caligula : a provincial bronze restruck with legend-only dies. (1994)
Full Record: Mowat, Robert. Bronzes remarquables de Tibre, de son fils, de ses petits-fils et de Caligula. (1911)
Full Record: Koenig, Franz E. Roma, monete dal Tevere : l'imperatore Gaio (Caligola). (1988)
Full Record: Kollgaard, Ron. Caligula's coins profile despot. (1993)
Full Record: Kollgaard, Ron. A numismatic mystery : "the Caligula quadrans." (1994)
Full Record: Martini, Rodolfo. Osservazioni su contromarche ed erosioni su assi de Caligula. (1980)
Full Record: Szaivert, Wolfgang. Moneta Imperii Romani. Band 2 und 3. Die Münzprgung der Kaiser Tiberius und Caius (Caligula) 14/41 / von Wolfgang Szaivert. (1984)
Full Record: Boschung, Dietrich. Die Bildnisse des Caligula. Kaenel, Hans-Markus von. Jucker, Hans. Deutsches Archaologisches Institut. Das Romische Herrscherbild. 1. Abt., Bd. 4, Die Bildnisse des Caligula / Dietrich Boschung ; mit einem Beitrag von Hans-Markus von Kaenel ; auf Grund der Vorarbeiten und Marterialsammlungen von Hans Jucker. (1989)
Full Record: Rosborough, Ruskin R. An epigraphic commentary on Suetonius's life of Gaius Caligula. A thesis...for the...Doctor of Philosophy. (1920)
Full Record: Richard, Jean-Claude. A propos de l'aureus de Caligula dcouvert Saint-Colomban-des-Villards (Savoie). (1982)
Full Record: Richard, Jean-Claude. Un aureus de Caligula dcouvert Saint-Colomban-des-Villards (Savoie). (1982)
Full Record: Ritter, Hans-Werner. Adlocutio und Corona Civica unter Caligula und Tiberius. (1971)
Full Record: Kumpikevicius, Gordon C. A numismatic look at Gaius. (1979)
Full Record: Savio, Adriano. La coerenza di Caligola nella gestione della moneta / Adriano Savio. (1988)
Full Record: Savio, Adriano. Note su alcune monete di Gaio-Caligola. (1973)
Full Record: Stylow, Armin U. Die Quadranten des Caligula als Propaganda-münzen.münzen" aus der stdtischen sammlung zu Osnabrück. (1971)
Full Record: Schwartz, Jacques. Le Monnayage Snatorial entre 37 et 42 P.C. (1951)
Full Record: Rodolfo Martini, ed. Sylloge nummorum Romanorum. Italia. Milano, Civiche Raccolte Numismatiche Vol. 1 Giulio-Claudii / a cura di Rodolfo Martini. (1990)
Full Record: Szaivert, Wolfgang. Zur Julisch-Claudischen Münzprgung. (1979)
Full Record: Vedrianus. The Roman Imperial series. V. Gaius. (1963)
Full Record: Tietze, Christian M. Kaiser Cajus Caesar, genannt Caligula. (1979)
Full Record: Wood, Susan. Diva Drusilla Panthea and the sisters of Caligula / Susan Wood. (1995)
Full Record: Sutherland, Carol Humphrey Vivian. Coinage in Roman imperial policy 31 B.C.-A.D. 68. (1951)
Full Record: Sutherland, C. H. V. The mints of Lugdunum and Rome under Gaius : an unsolved problem. (1981)
Full Record: Trillmich, Walter. Familienpropaganda der Kaiser Caligula und Claudius : Agrippina Maior und Antonia Augusta auf Münzen. (1978)
Full Record: Voirol, August. Eine Warenumsatzsteuer im antiken Rom und der numismatische Beleg inher Aufhebung : Centesima rerum venalium. (1943)
Full Record: Trillmich, Walter. Zur Münzprgung des Caligula von Caesaraugusta (Zaragoza). (1973)
Charlotte Lane, East Sydney. Scene of the unsolved, fatal shooting of Sydney's No.1 criminal of the day, Norman Bruhn, on June 22nd 1927.
For more on Caligulan Numismatic Articles see: Coins courtesy cngoins.com
Related Articles of Caligula from American Numismatic Society Library Search
Library Catalog Search (Preliminary Version)
Full Record: Barrett, Anthony A. The invalidation of currency in the Roman Empire : the Claudian demonetization of Caligula's AES. (1999)
Full Record: Bost, Jean-Pierre. Routes, cits et ateliers montaires : quelques remarques sur les officines hispaniques entre les rgnes d'Auguste en de Caligula. (1999)
Full Record: Bibliothque Municipale d'Etude et d'Information de Grenoble. Grenoble : Bibliothque Municipale d'Etude et d'Information : catalogue des monnaies. II. Monnaies romaines. Monnaies impriales romaines. 2. Caligula - Neron . Index. / Bernard Rmy, Frdric Bontoux, Virginie Risler. (1998)
Full Record: Gainor, John R. The image of the Julio-Claudian dynasty from coins / by John R. Gainor.
Full Record: Martini, Rodolfo. Monete romane imperiali del Museo G. B. Adriani. Parte 3, Caius (37-41 d.C.) / Rodolfo Martini. (2001)
Full Record: ACCLA privy to presentation by Richard Baker on Caligula. (2002)
Full Record: Wend, David A. Caligula, the emperor as autocrat. Part 1. (2002)
Full Record: Wend, David A. Caligula, the emperor as autocrat. Part 2. (2002)
Full Record: Wend, David A. Caligula, the emperor as autocrat. Part 3. (2002)
Full Record: Kemmers, Fleur. Caligula on the Lower Rhine : Coin finds from the Roman Fort of Albaniana (The Netherlands) / Fleur Kemmers. (2004)
Full Record: Estiot, Sylviane. Le trsor de Meussia (Jura) : 399 monnaies d'argent d'poques rpublicaine et julio-claudienne / Sylviane Estiot, Isabelle Aymar. (2002)
Full Record: Gocht, Hans. Namenstilgungen an Bronzemünzen des Caligula und Claudius / Hans Gocht. (2003)
Full Record: Gomis Justo, Marivi. Ercavica : La emision de Caligula. Estimacion del numero de cunos originales.
Full Record: Sayles, Wayne G. Fakes on the Internet. (2002)
Full Record: Kemmers, Fleur. The coin finds from the Roman fort Albaniana, the Netherlands / Fleur Kemmers . (2005)
Full Record: Lopez Snchez, Fernando. La afirmacion soberana de Caligula y de Claudio y el fin de las acunaciones ciudadanas en occidente / Fernando Lopez Snchez. (2000)
Full Record: Besombes, Paul-Andr. Les monnaies hispaniques de Claude Ier des dpôts de la Vilaine (Rennes) et de Saint-Lonard (Mayenne) : tmoins de quel type de contact entre l'Armorique et la pninsule ibrique ? / Paul-Andr Besombes. (2005)
Full Record: Catalli, Fiorenzo. Le thesaurus de Sora / Fiorenzo Catalli et John Scheid.
Full Record: Giard, Jean-Baptiste. Faux deniers de Caligula de la Renaissance.
Full Record: Vermeule, Cornelius. Faces of Empire (Julius Caesar to Justinian). Part II(B), More young faces : Caligula again and Nero reborn / Cornelius Vermeule. (2005)
Full Record: Geranio, Joe. Portraits of Caligula : the seated figure? / Joe Geranio. (2007)
Full Record: Aguilera Hernandez, Alberto. Acerca de un as de Caligula hallado en Zaragoza / Alberto Aguilera Hernandez. (2007)
Full Record: Butcher, K. E. T. Caligula : the evil emperor. (1985)
Full Record: Fuchs, Michaela. Frauen um Caligula und Claudius : Milonia Caesonia, Drusilla und Messalina. (1990)
Full Record: Faur, Jean-Claude. Moneda de Caligula de Museo Arqueologico Provincial de Tarragona. (1979)
Full Record: British Museum. Dept. of coins and medals. Coins of the Roman Empire in the British museum. Vol. I: Augustus to Vitellius / by Harold Mattingly. (1976)
Full Record: Conrad, Edwin. A Caligula Isotope of Hadrian. (1968)
Full Record: Conrad, Edwin. The Metamorphosis of an Allegad 'As of Hadrian.' (1968)
Full Record: Bendall, Simon. A 'new' gold quinarius of Caligula. (1985)
Full Record: Cortellini, Nereo. Le monete di Caligola nel Cohen.
Full Record: Guey, Julien. Les "bains d'or" de Caligula "Immensi Avreorvm Acervi (Sutone, Cal., 42,3).
Full Record: Guey, J. Les "bains d'or" de Caligula : Sutone, Cal. 42, 3.
Full Record: Curry, Michael R. The Aes Quadrans of Caligula. (1968)
Full Record: Jonas, Elemr. L'emploi dar "damnatio memoriae" sur l'un des "dupondius" de Calgula. (1937)
Full Record: Julian, R. W. The coins of Caligula. (1994)
Full Record: Donciu, Ramiro. Cu privire la activitatea militara a lui Caius (Caligula) in anul 40 e.n. (1983)
Full Record: Hansen, Peter. A history of Caligula's Vesta. (1992)
Full Record: Kaenel, Hans-Markus von. Augustus, Caligula oder Caludius? (1978)
Full Record: Kaenel, Hans-Markus von. Die Organisation der Münzprgung Caligulas. (1987)
Full Record: Johansen, Flemming S. The sculpted portraits of Caligula. (1987)
Full Record: Carter, G. F. Chemical compositions of copper-based Roman coins. V : imitations of Caligula, Claudius, and Nero / G. F. Carter and others. (1978)
Full Record: Giard, Jean-Baptiste. L'atelier de Lyon sous Auguste : Tibre et Caligula. (1979)
Full Record: Giard, Jean-Baptiste. Les missions d'or et d'argent de Caligula dans l'atelier de Lyon. (1976)
Full Record: Giard, Jean-Baptiste. Le monnayage de l'atelier de Lyon des origines au rgne de Caligula (43 avant J.-C. - 41 aprs J.-C.). (1983)
Full Record: Nony, D. Quelques as d'imitation de Caligula trouves a Bordeaux (Gironde). (1981)
Full Record: Levy, Brooks Emmons. Caligula's radiate crown. (1988)
Full Record: Poulsen, Vagn. Un nouveau visage de Caligula. (1972)
Full Record: Price, Martin Jessop. Elephant in Crete? New light ona cistophorus of Caligula. (1973)
Full Record: MacInnis, H. Frank. Ego-driven emperor commits excesses. (1979)
Full Record: McKenna, Thomas P. The case of the curious coin of Caligula : a provincial bronze restruck with legend-only dies. (1994)
Full Record: Mowat, Robert. Bronzes remarquables de Tibre, de son fils, de ses petits-fils et de Caligula. (1911)
Full Record: Koenig, Franz E. Roma, monete dal Tevere : l'imperatore Gaio (Caligola). (1988)
Full Record: Kollgaard, Ron. Caligula's coins profile despot. (1993)
Full Record: Kollgaard, Ron. A numismatic mystery : "the Caligula quadrans." (1994)
Full Record: Martini, Rodolfo. Osservazioni su contromarche ed erosioni su assi de Caligula. (1980)
Full Record: Szaivert, Wolfgang. Moneta Imperii Romani. Band 2 und 3. Die Münzprgung der Kaiser Tiberius und Caius (Caligula) 14/41 / von Wolfgang Szaivert. (1984)
Full Record: Boschung, Dietrich. Die Bildnisse des Caligula. Kaenel, Hans-Markus von. Jucker, Hans. Deutsches Archaologisches Institut. Das Romische Herrscherbild. 1. Abt., Bd. 4, Die Bildnisse des Caligula / Dietrich Boschung ; mit einem Beitrag von Hans-Markus von Kaenel ; auf Grund der Vorarbeiten und Marterialsammlungen von Hans Jucker. (1989)
Full Record: Rosborough, Ruskin R. An epigraphic commentary on Suetonius's life of Gaius Caligula. A thesis...for the...Doctor of Philosophy. (1920)
Full Record: Richard, Jean-Claude. A propos de l'aureus de Caligula dcouvert Saint-Colomban-des-Villards (Savoie). (1982)
Full Record: Richard, Jean-Claude. Un aureus de Caligula dcouvert Saint-Colomban-des-Villards (Savoie). (1982)
Full Record: Ritter, Hans-Werner. Adlocutio und Corona Civica unter Caligula und Tiberius. (1971)
Full Record: Kumpikevicius, Gordon C. A numismatic look at Gaius. (1979)
Full Record: Savio, Adriano. La coerenza di Caligola nella gestione della moneta / Adriano Savio. (1988)
Full Record: Savio, Adriano. Note su alcune monete di Gaio-Caligola. (1973)
Full Record: Stylow, Armin U. Die Quadranten des Caligula als Propaganda-münzen.münzen" aus der stdtischen sammlung zu Osnabrück. (1971)
Full Record: Schwartz, Jacques. Le Monnayage Snatorial entre 37 et 42 P.C. (1951)
Full Record: Rodolfo Martini, ed. Sylloge nummorum Romanorum. Italia. Milano, Civiche Raccolte Numismatiche Vol. 1 Giulio-Claudii / a cura di Rodolfo Martini. (1990)
Full Record: Szaivert, Wolfgang. Zur Julisch-Claudischen Münzprgung. (1979)
Full Record: Vedrianus. The Roman Imperial series. V. Gaius. (1963)
Full Record: Tietze, Christian M. Kaiser Cajus Caesar, genannt Caligula. (1979)
Full Record: Wood, Susan. Diva Drusilla Panthea and the sisters of Caligula / Susan Wood. (1995)
Full Record: Sutherland, Carol Humphrey Vivian. Coinage in Roman imperial policy 31 B.C.-A.D. 68. (1951)
Full Record: Sutherland, C. H. V. The mints of Lugdunum and Rome under Gaius : an unsolved problem. (1981)
Full Record: Trillmich, Walter. Familienpropaganda der Kaiser Caligula und Claudius : Agrippina Maior und Antonia Augusta auf Münzen. (1978)
Full Record: Voirol, August. Eine Warenumsatzsteuer im antiken Rom und der numismatische Beleg inher Aufhebung : Centesima rerum venalium. (1943)
Full Record: Trillmich, Walter. Zur Münzprgung des Caligula von Caesaraugusta (Zaragoza). (1973)
Gaius (Caligula). AD 37-41. Æ Quadrans (18mm, 2.77 g, 6h). Rome mint. Struck AD 40-41. Pileus between S C / Large R C C. RIC I 52. For more on Caligulan Numismatic Articles see: Coins courtesy cngoins.com
Related Articles of Caligula from American Numismatic Society Library Search
Library Catalog Search (Preliminary Version)
Full Record: Barrett, Anthony A. The invalidation of currency in the Roman Empire : the Claudian demonetization of Caligula's AES. (1999)
Full Record: Bost, Jean-Pierre. Routes, cits et ateliers montaires : quelques remarques sur les officines hispaniques entre les rgnes d'Auguste en de Caligula. (1999)
Full Record: Bibliothque Municipale d'Etude et d'Information de Grenoble. Grenoble : Bibliothque Municipale d'Etude et d'Information : catalogue des monnaies. II. Monnaies romaines. Monnaies impriales romaines. 2. Caligula - Neron . Index. / Bernard Rmy, Frdric Bontoux, Virginie Risler. (1998)
Full Record: Gainor, John R. The image of the Julio-Claudian dynasty from coins / by John R. Gainor.
Full Record: Martini, Rodolfo. Monete romane imperiali del Museo G. B. Adriani. Parte 3, Caius (37-41 d.C.) / Rodolfo Martini. (2001)
Full Record: ACCLA privy to presentation by Richard Baker on Caligula. (2002)
Full Record: Wend, David A. Caligula, the emperor as autocrat. Part 1. (2002)
Full Record: Wend, David A. Caligula, the emperor as autocrat. Part 2. (2002)
Full Record: Wend, David A. Caligula, the emperor as autocrat. Part 3. (2002)
Full Record: Kemmers, Fleur. Caligula on the Lower Rhine : Coin finds from the Roman Fort of Albaniana (The Netherlands) / Fleur Kemmers. (2004)
Full Record: Estiot, Sylviane. Le trsor de Meussia (Jura) : 399 monnaies d'argent d'poques rpublicaine et julio-claudienne / Sylviane Estiot, Isabelle Aymar. (2002)
Full Record: Gocht, Hans. Namenstilgungen an Bronzemünzen des Caligula und Claudius / Hans Gocht. (2003)
Full Record: Gomis Justo, Marivi. Ercavica : La emision de Caligula. Estimacion del numero de cunos originales.
Full Record: Sayles, Wayne G. Fakes on the Internet. (2002)
Full Record: Kemmers, Fleur. The coin finds from the Roman fort Albaniana, the Netherlands / Fleur Kemmers . (2005)
Full Record: Lopez Snchez, Fernando. La afirmacion soberana de Caligula y de Claudio y el fin de las acunaciones ciudadanas en occidente / Fernando Lopez Snchez. (2000)
Full Record: Besombes, Paul-Andr. Les monnaies hispaniques de Claude Ier des dpôts de la Vilaine (Rennes) et de Saint-Lonard (Mayenne) : tmoins de quel type de contact entre l'Armorique et la pninsule ibrique ? / Paul-Andr Besombes. (2005)
Full Record: Catalli, Fiorenzo. Le thesaurus de Sora / Fiorenzo Catalli et John Scheid.
Full Record: Giard, Jean-Baptiste. Faux deniers de Caligula de la Renaissance.
Full Record: Vermeule, Cornelius. Faces of Empire (Julius Caesar to Justinian). Part II(B), More young faces : Caligula again and Nero reborn / Cornelius Vermeule. (2005)
Full Record: Geranio, Joe. Portraits of Caligula : the seated figure? / Joe Geranio. (2007)
Full Record: Aguilera Hernandez, Alberto. Acerca de un as de Caligula hallado en Zaragoza / Alberto Aguilera Hernandez. (2007)
Full Record: Butcher, K. E. T. Caligula : the evil emperor. (1985)
Full Record: Fuchs, Michaela. Frauen um Caligula und Claudius : Milonia Caesonia, Drusilla und Messalina. (1990)
Full Record: Faur, Jean-Claude. Moneda de Caligula de Museo Arqueologico Provincial de Tarragona. (1979)
Full Record: British Museum. Dept. of coins and medals. Coins of the Roman Empire in the British museum. Vol. I: Augustus to Vitellius / by Harold Mattingly. (1976)
Full Record: Conrad, Edwin. A Caligula Isotope of Hadrian. (1968)
Full Record: Conrad, Edwin. The Metamorphosis of an Allegad 'As of Hadrian.' (1968)
Full Record: Bendall, Simon. A 'new' gold quinarius of Caligula. (1985)
Full Record: Cortellini, Nereo. Le monete di Caligola nel Cohen.
Full Record: Guey, Julien. Les "bains d'or" de Caligula "Immensi Avreorvm Acervi (Sutone, Cal., 42,3).
Full Record: Guey, J. Les "bains d'or" de Caligula : Sutone, Cal. 42, 3.
Full Record: Curry, Michael R. The Aes Quadrans of Caligula. (1968)
Full Record: Jonas, Elemr. L'emploi dar "damnatio memoriae" sur l'un des "dupondius" de Calgula. (1937)
Full Record: Julian, R. W. The coins of Caligula. (1994)
Full Record: Donciu, Ramiro. Cu privire la activitatea militara a lui Caius (Caligula) in anul 40 e.n. (1983)
Full Record: Hansen, Peter. A history of Caligula's Vesta. (1992)
Full Record: Kaenel, Hans-Markus von. Augustus, Caligula oder Caludius? (1978)
Full Record: Kaenel, Hans-Markus von. Die Organisation der Münzprgung Caligulas. (1987)
Full Record: Johansen, Flemming S. The sculpted portraits of Caligula. (1987)
Full Record: Carter, G. F. Chemical compositions of copper-based Roman coins. V : imitations of Caligula, Claudius, and Nero / G. F. Carter and others. (1978)
Full Record: Giard, Jean-Baptiste. L'atelier de Lyon sous Auguste : Tibre et Caligula. (1979)
Full Record: Giard, Jean-Baptiste. Les missions d'or et d'argent de Caligula dans l'atelier de Lyon. (1976)
Full Record: Giard, Jean-Baptiste. Le monnayage de l'atelier de Lyon des origines au rgne de Caligula (43 avant J.-C. - 41 aprs J.-C.). (1983)
Full Record: Nony, D. Quelques as d'imitation de Caligula trouves a Bordeaux (Gironde). (1981)
Full Record: Levy, Brooks Emmons. Caligula's radiate crown. (1988)
Full Record: Poulsen, Vagn. Un nouveau visage de Caligula. (1972)
Full Record: Price, Martin Jessop. Elephant in Crete? New light ona cistophorus of Caligula. (1973)
Full Record: MacInnis, H. Frank. Ego-driven emperor commits excesses. (1979)
Full Record: McKenna, Thomas P. The case of the curious coin of Caligula : a provincial bronze restruck with legend-only dies. (1994)
Full Record: Mowat, Robert. Bronzes remarquables de Tibre, de son fils, de ses petits-fils et de Caligula. (1911)
Full Record: Koenig, Franz E. Roma, monete dal Tevere : l'imperatore Gaio (Caligola). (1988)
Full Record: Kollgaard, Ron. Caligula's coins profile despot. (1993)
Full Record: Kollgaard, Ron. A numismatic mystery : "the Caligula quadrans." (1994)
Full Record: Martini, Rodolfo. Osservazioni su contromarche ed erosioni su assi de Caligula. (1980)
Full Record: Szaivert, Wolfgang. Moneta Imperii Romani. Band 2 und 3. Die Münzprgung der Kaiser Tiberius und Caius (Caligula) 14/41 / von Wolfgang Szaivert. (1984)
Full Record: Boschung, Dietrich. Die Bildnisse des Caligula. Kaenel, Hans-Markus von. Jucker, Hans. Deutsches Archaologisches Institut. Das Romische Herrscherbild. 1. Abt., Bd. 4, Die Bildnisse des Caligula / Dietrich Boschung ; mit einem Beitrag von Hans-Markus von Kaenel ; auf Grund der Vorarbeiten und Marterialsammlungen von Hans Jucker. (1989)
Full Record: Rosborough, Ruskin R. An epigraphic commentary on Suetonius's life of Gaius Caligula. A thesis...for the...Doctor of Philosophy. (1920)
Full Record: Richard, Jean-Claude. A propos de l'aureus de Caligula dcouvert Saint-Colomban-des-Villards (Savoie). (1982)
Full Record: Richard, Jean-Claude. Un aureus de Caligula dcouvert Saint-Colomban-des-Villards (Savoie). (1982)
Full Record: Ritter, Hans-Werner. Adlocutio und Corona Civica unter Caligula und Tiberius. (1971)
Full Record: Kumpikevicius, Gordon C. A numismatic look at Gaius. (1979)
Full Record: Savio, Adriano. La coerenza di Caligola nella gestione della moneta / Adriano Savio. (1988)
Full Record: Savio, Adriano. Note su alcune monete di Gaio-Caligola. (1973)
Full Record: Stylow, Armin U. Die Quadranten des Caligula als Propaganda-münzen.münzen" aus der stdtischen sammlung zu Osnabrück. (1971)
Full Record: Schwartz, Jacques. Le Monnayage Snatorial entre 37 et 42 P.C. (1951)
Full Record: Rodolfo Martini, ed. Sylloge nummorum Romanorum. Italia. Milano, Civiche Raccolte Numismatiche Vol. 1 Giulio-Claudii / a cura di Rodolfo Martini. (1990)
Full Record: Szaivert, Wolfgang. Zur Julisch-Claudischen Münzprgung. (1979)
Full Record: Vedrianus. The Roman Imperial series. V. Gaius. (1963)
Full Record: Tietze, Christian M. Kaiser Cajus Caesar, genannt Caligula. (1979)
Full Record: Wood, Susan. Diva Drusilla Panthea and the sisters of Caligula / Susan Wood. (1995)
Full Record: Sutherland, Carol Humphrey Vivian. Coinage in Roman imperial policy 31 B.C.-A.D. 68. (1951)
Full Record: Sutherland, C. H. V. The mints of Lugdunum and Rome under Gaius : an unsolved problem. (1981)
Full Record: Trillmich, Walter. Familienpropaganda der Kaiser Caligula und Claudius : Agrippina Maior und Antonia Augusta auf Münzen. (1978)
Full Record: Voirol, August. Eine Warenumsatzsteuer im antiken Rom und der numismatische Beleg inher Aufhebung : Centesima rerum venalium. (1943)
Full Record: Trillmich, Walter. Zur Münzprgung des Caligula von Caesaraugusta (Zaragoza). (1973)
Tertiary Grid Haunted House and Murder Mystery Game
Introduction
The Fleming estate is said to be haunted. It was the original house of Archibald Fleming, a famous Victorian play write who migrated to the town from Cornwall, England. It passed down through his line to each first born Fleming. In the history of the estate the ownership went to Archibald’s son Thomas and then to Thomas’s son George. It now stands empty because of complications around an unsolved crime from 10 years ago. The murder of its last owner; Adelaide Fleming-Winchester (George’s first born daughter), has never been solved. It was clear from her injuries that she was stabbed but the weapon responsible was never found. The Fleming Walters foundation maintains the home in her memory in hopes of someday having an answer to the question of who killed Adelaide. According to will and tradition, the ownership should have passed to the second born but as per the evidence given in the case legal authorities haven’t moved on the matter. The house is said to be haunted by Adelaide herself and some believe she’s still trying to help solve the case from beyond. She doesn’t speak but apparently likes to move things around in a very particular way. See if you can pick up on any clues and take note of them for later. Adelaide doesn’t appear to everyone but you might just get lucky.
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In early November we’ll begin using this story as the basis of a murder mystery game. The tentative start date is November 9th but it will also depend on the flow of requests for character parts. We’ll turn back time to the day after Adelaide was found dead and see if we can solve it through the portrayal of the other members of the household and inspectors. If you would like to take on a part as a household member read the character bios and contact me to request a specific character by dropping a notecard with your name and the character desired in the mailbox in front of the house.
slurl.com/secondlife/Elke/128/128/22
The roles will be filled on a first come first serve basis. If you want a household member role I request you have at least a few times available in the week or two we play it out so you can explore your role, interact with others and answer questions asked by inspectors. You will receive a secret character card with information only your character knows that others will try and find out. You decide how much to reveal but do play fair and contribute what you can to get your story out slowly and allow things to progress to a resolution eventually. If you do not wish to have a key part, but wish to participate you can play more casually as an inspector at any time. Inspectors can arrive at the house and ask questions of the residents to try and put the clues together. Household members can also role play with each other freely and try to figure out who the murderer is. I will play Adelaide’s ghost who does not speak and help keep the game running.
It will be your task (and hopefully a fun one) to create your character’s look. I can assist you if you need help but we have lots of resources on Elke to choose from.
To make things more authentic I will provide character tool HUDs so you can type in local chat as the name of your character. You don’t have to use the chat feature if you don’t want to but at the very least allow me to help you set the character’s name so it appears over your head and other players know who you are. Anything you say in chat range of the game should be in the voice of your character. If you need to speak out of character please type the ooc chat in ((double parenthesis)).
The Characters
Adelaide Fleming-Winchester (ghost of the deceased) 26 years old
Richard Winchester (widow) 30 years old
Isabelle Walters (sister) 23 years old
Gregory Holt (brother in law) 26 years old
Edward Robbins (butler) 67 years old
Jacqueline Marsh (maid) 24 years old
Oliver Marsh (gardener) 56 years old
Character Bios
Adelaide Fleming -Winchester’s ghost – Jamie Wright
Adelaide is the elusive and silent specter who wants to reveal the truth about what happened to her. As the game starts, the other players don’t know she has become a ghost. She will play her hand subtly and observe the household searching for proof she can point out. Adelaide had both softness and a sensibility to her persona. She was wife to Richard Winchester and half sister to Isabelle Walters. It is well known to all members of the house that her marriage was troubled by Richard’s flirtatious manner with other women; especially and in particular the house’s maid; Jacqueline Marsh. Adelaide has also had quite a bit of conflict with her half sister Isabelle over the running of the family publishing business and the more recent philanthropic foundation. The two share the same mother; Meredith Fleming -Walters but she was widowed young (George died in a car accident shortly after Adelaide was born at the age of 28) and married again, accounting for the sisters having different fathers. Meredith’s second husband was her first husband’s business partner Bertrand Walters. Adelaide’s father George and Bertrand had very different ideas on where the company should go and it seems the conflict of philosophy has been passed down to the girls. Adelaide wanted to keep traditions that build the company up and made it a slow growing stable fortune, where Isabelle wanted to modernize, diversify and take risks to see if they might double the numbers in one year. Adelaide took over her father’s position in the company and had all the rights to make Isabelle a full partner but held back from doing so because of the disagreements. Oddly and awkwardly Adelaide had a much more comfortable friendship with Isabelle’s husband Gregory Holt. According to neighbours, Adelaide and Gregory had once been sweethearts but after things ended they remained close friends and Adelaide gave him fill blessing to court her sister.
Richard Winchester
The newly widowed Richard is not down for the count despite grieving enough to barely keep up appearances. He’s been making obvious advances at many women including the maid; Jacqueline Marsh since long before his wife was murdered. Richard is a charmer and used to getting what he wants by pouring it on and flaunting his good looks. He’s a male model for a designer swimwear company and is quite vain. He’s hardly a man to get his hands dirty but there are many who believe he married Adelaide only for her fortune and estate as he aged and his work became sparse. Would he kill for the hope of financial gain?
Isabelle Walters
Isabelle is a confident and outspoken woman. She’s a stage actress who feels she never gets her due credit for her talent. Many reviewers feel her portrayals are harsh and somewhat overacted. She’s drawn to dark stories, urban grit and shock value. Isabelle tends to do everything to the extreme, work, exercise and spending; overspending. She’s a risk taker and lives hard. Isabelle wants a bigger part of the family business. She feels it’s her right and that her sister is being a control freak and ultra conservative. It seems to everyone observing that Isabelle is not terribly saddened by her sister’s murder but instead pushing to move forward and find out what was in the will regarding the company and estate. This has cause visible tension between her and her husband Gregory Holt.
Gregory Holt
Gregory is by all appearances the most emotionally overwhelmed by Adelaide’s murder. The two grew up together and were once connected romantically. After their relationship ended and she later married another, the two had remained friends and Gregory eventually developed feelings for Isabelle. Isabelle seemed to pursue him eagerly as soon as her sister married Richard and looked like the cat that swallowed the canary when he finally proposed marriage. Gregory is an introspective quiet soul who works as a professional photographer.
Edward Robbins
Mr. Robbins is a prim and proper gentleman who’s been serving the Fleming household now as a second generation Robbins’s butlers. His father Terence served the Fleming family before him. In fact Terrence came over from England with Archibald Fleming. Edward feels butlering is a lost art and it’s the only job he’s ever had. It’s his whole life. He’s the keeper of the way the household was desired to be run by George and Meredith as he inherited his father’s job as they joined in marriage. He and the Marsh family share the carriage house behind the manor with Edward having the small suite below and Oliver and his daughter (who only sleeps there on her days off now) having the upper suite. Before Adelaide died she was quite vocally in favour of letting all but Jacqueline go to simplify and reduce the household budget. Edward heard all of these conversations and kept a poker face while continuing to serve with dignity. He also developed an ulcer and high blood pressure. Perhaps he wasn’t taking it as well as he put on.
Jacqueline Marsh
Jacqueline Marsh trudges through being a maid to fund her dream. She’s a budding artist. However art doesn’t pay and she’s saving to one day host her own gallery. She was raised by her father Oliver at the Fleming estate carriage house. She toddled along beside him while he worked when she was a child and then eventually grew up got hired on as well. Last year she was invited by Adelaide to take a room in the manor; a practice unheard of in the Fleming tradition. Isabelle and Jacqueline have sort of a hot cold rapport but stay civil. On the other hand, Jacqueline and Adelaide had a very good rapport and Adelaide was supportive or Jackie’s art and gave her time off to pursue her craft whenever she could. However residing in the manor house has put her more directly in the path or Richard Winchester who flirts with her aggressively. Jackie politely dodges the attention and tries to go about her work although a few household members have seen her look thoroughly annoyed by it and she has candidly revealed to her father, Gregory and Isabelle that she is in fact a lesbian so Richard is truly wasting his time. Jackie also took Adelaide’s death very hard and grieved heavily accompanied by bouts of panic attacks.
Oliver Marsh
Oliver Marsh was lucky to get a job as a gardener at the Fleming estate. George Fleming literally picked him up of the street in the dead cold of winter and brought him home so he wouldn’t freeze to death. Before that, Oliver had been homeless and almost died twice from being beaten. He’s had a rough life and keeps to himself a lot. The only exception is his daughter Jackie who the sun rises and sets on for him. He thinks her art is great and lets it take over their small apartment on the second level of the carriage house. Oliver is great with plants and keeps the house and grounds in perfect repair. He has a street smart sense of the world but sadly never fully learned to read. He loves movies though and is a great verbal storyteller if you get him to open up. Oliver was greatly saddened by Adelaide’s death and also concerned for his daughter’s well being over her reaction. He tends to express himself more with body language and facial expression than with words.
Stay tuned for more information in the Elke Events Update Group and/or check back to this sign for new notecards and information. However you want to join, it promises to be a fun and creative time!