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"Adventure In Space: Space Travel" by Willy Ley (1958 General Mills/Simon & Schuster - illustrated by John Polgren - this book is amazing...utterly astounding, and I need to scan more of this.
The preface reads: "TO THE READER: Space Travel is the fourth and last in a series on Adventure In Space. This series is the story of the rocket age, of how Man will escape from the air ocean surrounding the earth and conquer the open space beyond it. The age has already begn; its beginning was signalled by the putting of the first artificial satellite into an orbit arond the earth."
Update (10/14/10) - check out John Polgreen's original artwork for this.
Mammalogie, ou, Description des espèces de mammifères
A Paris :Chez Mme. Veuve Agasse, imprimeur-libraire,1820-1822.
MAMAC - Exposition Sarah Sze.
"Cette pièce de Sarah Sze aborde le passé et le futur comme étant à la fois une ruine archéologique et un site en construction."
Mammalogie, ou, Description des espèces de mammifères
A Paris :Chez Mme. Veuve Agasse, imprimeur-libraire,1820-1822.
Chambers’s Encyclopaedia - a Dictionary of Universal Knowledge for the People. (1868).
Illustrated with Maps and numerous Wood Engravings..
Published by W. And R. Chambers, London. Half leather bound, 10 Vols total 8400 pages, 18cm x 26cm.
Ipê Amarelo, Tabebuia [chrysotricha or ochracea].
Ipê-amarelo em Brasília (UnB), Brasil.
This tree is in Brasília, Capital of Brazil.
Text, in english, from Wikipedia, the free encyclopedia
"Trumpet tree" redirects here. This term is occasionally used for the Shield-leaved Pumpwood (Cecropia peltata).
Tabebuia
Flowering Araguaney or ipê-amarelo (Tabebuia chrysantha) in central Brazil
Scientific classification
Kingdom: Plantae
(unranked): Angiosperms
(unranked): Eudicots
(unranked): Asterids
Order: Lamiales
Family: Bignoniaceae
Tribe: Tecomeae
Genus: Tabebuia
Gomez
Species
Nearly 100.
Tabebuia is a neotropical genus of about 100 species in the tribe Tecomeae of the family Bignoniaceae. The species range from northern Mexico and the Antilles south to northern Argentina and central Venezuela, including the Caribbean islands of Hispaniola (Dominican Republic and Haiti) and Cuba. Well-known common names include Ipê, Poui, trumpet trees and pau d'arco.
They are large shrubs and trees growing to 5 to 50 m (16 to 160 ft.) tall depending on the species; many species are dry-season deciduous but some are evergreen. The leaves are opposite pairs, complex or palmately compound with 3–7 leaflets.
Tabebuia is a notable flowering tree. The flowers are 3 to 11 cm (1 to 4 in.) wide and are produced in dense clusters. They present a cupular calyx campanulate to tubular, truncate, bilabiate or 5-lobed. Corolla colors vary between species ranging from white, light pink, yellow, lavender, magenta, or red. The outside texture of the flower tube is either glabrous or pubescentThe fruit is a dehiscent pod, 10 to 50 cm (4 to 20 in.) long, containing numerous—in some species winged—seeds. These pods often remain on the tree through dry season until the beginning of the rainy.
Species in this genus are important as timber trees. The wood is used for furniture, decking, and other outdoor uses. It is increasingly popular as a decking material due to its insect resistance and durability. By 2007, FSC-certified ipê wood had become readily available on the market, although certificates are occasionally forged.
Tabebuia is widely used as ornamental tree in the tropics in landscaping gardens, public squares, and boulevards due to its impressive and colorful flowering. Many flowers appear on still leafless stems at the end of the dry season, making the floral display more conspicuous. They are useful as honey plants for bees, and are popular with certain hummingbirds. Naturalist Madhaviah Krishnan on the other hand once famously took offense at ipé grown in India, where it is not native.
Lapacho teaThe bark of several species has medical properties. The bark is dried, shredded, and then boiled making a bitter or sour-tasting brownish-colored tea. Tea from the inner bark of Pink Ipê (T. impetiginosa) is known as Lapacho or Taheebo. Its main active principles are lapachol, quercetin, and other flavonoids. It is also available in pill form. The herbal remedy is typically used during flu and cold season and for easing smoker's cough. It apparently works as expectorant, by promoting the lungs to cough up and free deeply embedded mucus and contaminants. However, lapachol is rather toxic and therefore a more topical use e.g. as antibiotic or pesticide may be advisable. Other species with significant folk medical use are T. alba and Yellow Lapacho (T. serratifolia)
Tabebuia heteropoda, T. incana, and other species are occasionally used as an additive to the entheogenic drink Ayahuasca.
Mycosphaerella tabebuiae, a plant pathogenic sac fungus, was first discovered on an ipê tree.
Tabebuia alba
Tabebuia anafensis
Tabebuia arimaoensis
Tabebuia aurea – Caribbean Trumpet Tree
Tabebuia bilbergii
Tabebuia bibracteolata
Tabebuia cassinoides
Tabebuia chrysantha – Araguaney, Yellow Ipê, tajibo (Bolivia), ipê-amarelo (Brazil), cañaguate (N Colombia)
Tabebuia chrysotricha – Golden Trumpet Tree
Tabebuia donnell-smithii Rose – Gold Tree, "Prima Vera", Cortez blanco (El Salvador), San Juan (Honduras), palo blanco (Guatemala),duranga (Mexico)
A native of Mexico and Central Americas, considered one of the most colorful of all Central American trees. The leaves are deciduous. Masses of golden-yellow flowers cover the crown after the leaves are shed.
Tabebuia dubia
Tabebuia ecuadorensis
Tabebuia elongata
Tabebuia furfuracea
Tabebuia geminiflora Rizz. & Mattos
Tabebuia guayacan (Seem.) Hemsl.
Tabebuia haemantha
Tabebuia heptaphylla (Vell.) Toledo – tajy
Tabebuia heterophylla – roble prieto
Tabebuia heteropoda
Tabebuia hypoleuca
Tabebuia impetiginosa – Pink Ipê, Pink Lapacho, ipê-cavatã, ipê-comum, ipê-reto, ipê-rosa, ipê-roxo-damata, pau d'arco-roxo, peúva, piúva (Brazil), lapacho negro (Spanish); not "brazilwood"
Tabebuia incana
Tabebuia jackiana
Tabebuia lapacho – lapacho amarillo
Tabebuia orinocensis A.H. Gentry[verification needed]
Tabebuia ochracea
Tabebuia oligolepis
Tabebuia pallida – Cuban Pink Trumpet Tree
Tabebuia platyantha
Tabebuia polymorpha
Tabebuia rosea (Bertol.) DC.[verification needed] (= T. pentaphylla (L.) Hemsley) – Pink Poui, Pink Tecoma, apama, apamate, matilisguate
A popular street tree in tropical cities because of its multi-annular masses of light pink to purple flowers and modest size. The roots are not especially destructive for roads and sidewalks. It is the national tree of El Salvador and the state tree of Cojedes, Venezuela
Tabebuia roseo-alba – White Ipê, ipê-branco (Brazil), lapacho blanco
Tabebuia serratifolia – Yellow Lapacho, Yellow Poui, ipê-roxo (Brazil)
Tabebuia shaferi
Tabebuia striata
Tabebuia subtilis Sprague & Sandwith
Tabebuia umbellata
Tabebuia vellosoi Toledo
Ipê-do-cerrado
Texto, em português, da Wikipédia, a enciclopédia livre.
Ipê-do-cerrado
Classificação científica
Reino: Plantae
Divisão: Magnoliophyta
Classe: Magnoliopsida
Subclasse: Asteridae
Ordem: Lamiales
Família: Bignoniaceae
Género: Tabebuia
Espécie: T. ochracea
Nome binomial
Tabebuia ochracea
(Cham.) Standl. 1832
Sinónimos
Bignonia tomentosa Pav. ex DC.
Handroanthus ochraceus (Cham.) Mattos
Tabebuia chrysantha (Jacq.) G. Nicholson
Tabebuia hypodictyon A. DC.) Standl.
Tabebuia neochrysantha A.H. Gentry
Tabebuia ochracea subsp. heteropoda (A. DC.) A.H. Gentry
Tabebuia ochracea subsp. neochrysantha (A.H. Gentry) A.H. Gentry
Tecoma campinae Kraenzl.
ecoma grandiceps Kraenzl.
Tecoma hassleri Sprague
Tecoma hemmendorffiana Kraenzl.
Tecoma heteropoda A. DC.
Tecoma hypodictyon A. DC.
Tecoma ochracea Cham.
Ipê-do-cerrado é um dos nomes populares da Tabebuia ochracea (Cham.) Standl. 1832, nativa do cerrado brasileiro, no estados de Amazonas, Pará, Maranhão, Piauí, Ceará, Pernambuco, Bahia, Espírito Santo, Goiás, Mato Grosso, Mato Grosso do Sul, Minas Gerais, Rio de Janeiro, São Paulo e Paraná.
Está na lista de espécies ameaçadas do estado de São Paulo, onde é encontrda também no domínio da Mata Atlântica[1].
Ocorre também na Argentina, Paraguai, Bolívia, Equador, Peru, Venezuela, Guiana, El Salvador, Guatemala e Panamá[2].
Há uma espécie homônima descrita por A.H. Gentry em 1992.
Outros nomes populares: ipê-amarelo, ipê-cascudo, ipê-do-campo, ipê-pardo, pau-d'arco-do-campo, piúva, tarumã.
Características
Altura de 6 a 14 m. Tronco tortuso com até 50 cm de diâmetro. Folhas pilosas em ambas as faces, mais na inferior, que é mais clara.
Planta decídua, heliófita, xerófita, nativa do cerrado em solos bem drenados.
Floresce de julho a setembro. Os frutos amadurecem de setembro a outubro.
FloresProduz grande quantidade de sementes leves, aladas com pequenas reservas, e que perdem a viabilidade em menos de 90 dias após coleta. A sua conservação vem sendo estudada em termos de determinação da condição ideal de armazenamento, e tem demonstrado a importância de se conhecer o comportamento da espécie quando armazenada com diferentes teores de umidade inicial, e a umidade de equilíbrio crítica para a espécie (KANO; MÁRQUEZ & KAGEYAMA, 1978). As levíssimas sementes aladas da espécie não necessitam de quebra de dormência. Podem apenas ser expostas ao sol por cerca de 6 horas e semeadas diretamente nos saquinhos. A germinação ocorre após 30 dias e de 80%. As sementes são ortodoxas e há aproximadamente 72 000 sementes em cada quilo.
O desenvolvimento da planta é rápido.
Como outros ipês, a madeira é usada em tacos, assoalhos, e em dormentes e postes. Presta-se também para peças torneadas e instrumento musicais.
Tabebuia alba (Ipê-Amarelo)
Texto, em português, produzido pela Acadêmica Giovana Beatriz Theodoro Marto
Supervisão e orientação do Prof. Luiz Ernesto George Barrichelo e do Eng. Paulo Henrique Müller
Atualizado em 10/07/2006
O ipê amarelo é a árvore brasileira mais conhecida, a mais cultivada e, sem dúvida nenhuma, a mais bela. É na verdade um complexo de nove ou dez espécies com características mais ou menos semelhantes, com flores brancas, amarelas ou roxas. Não há região do país onde não exista pelo menos uma espécie dele, porém a existência do ipê em habitat natural nos dias atuais é rara entre a maioria das espécies (LORENZI,2000).
A espécie Tabebuia alba, nativa do Brasil, é uma das espécies do gênero Tabebuia que possui “Ipê Amarelo” como nome popular. O nome alba provém de albus (branco em latim) e é devido ao tomento branco dos ramos e folhas novas.
As árvores desta espécie proporcionam um belo espetáculo com sua bela floração na arborização de ruas em algumas cidades brasileiras. São lindas árvores que embelezam e promovem um colorido no final do inverno. Existe uma crença popular de que quando o ipê-amarelo floresce não vão ocorrer mais geadas. Infelizmente, a espécie é considerada vulnerável quanto à ameaça de extinção.
A Tabebuia alba, natural do semi-árido alagoano está adaptada a todas as regiões fisiográficas, levando o governo, por meio do Decreto nº 6239, a transformar a espécie como a árvore símbolo do estado, estando, pois sob a sua tutela, não mais podendo ser suprimida de seus habitats naturais.
Taxonomia
Família: Bignoniaceae
Espécie: Tabebuia Alba (Chamiso) Sandwith
Sinonímia botânica: Handroanthus albus (Chamiso) Mattos; Tecoma alba Chamisso
Outros nomes vulgares: ipê-amarelo, ipê, aipê, ipê-branco, ipê-mamono, ipê-mandioca, ipê-ouro, ipê-pardo, ipê-vacariano, ipê-tabaco, ipê-do-cerrado, ipê-dourado, ipê-da-serra, ipezeiro, pau-d’arco-amarelo, taipoca.
Aspectos Ecológicos
O ipê-amarelo é uma espécie heliófita (Planta adaptada ao crescimento em ambiente aberto ou exposto à luz direta) e decídua (que perde as folhas em determinada época do ano). Pertence ao grupo das espécies secundárias iniciais (DURIGAN & NOGUEIRA, 1990).
Abrange a Floresta Pluvial da Mata Atlântica e da Floresta Latifoliada Semidecídua, ocorrendo principalmente no interior da Floresta Primária Densa. É característica de sub-bosques dos pinhais, onde há regeneração regular.
Informações Botânicas
Morfologia
As árvores de Tabebuia alba possuem cerca de 30 metros de altura. O tronco é reto ou levemente tortuoso, com fuste de 5 a 8 m de altura. A casca externa é grisáceo-grossa, possuindo fissuras longitudinais esparas e profundas. A coloração desta é cinza-rosa intenso, com camadas fibrosas, muito resistentes e finas, porém bem distintas.
Com ramos grossos, tortuosos e compridos, o ipê-amarelo possui copa alongada e alargada na base. As raízes de sustentação e absorção são vigorosas e profundas.
As folhas, deciduais, são opostas, digitadas e compostas. A face superior destas folhas é verde-escura, e, a face inferior, acinzentada, sendo ambas as faces tomentosas. Os pecíolos das folhas medem de 2,5 a 10 cm de comprimento. Os folíolos, geralmente, apresentam-se em número de 5 a 7, possuindo de 7 a 18 cm de comprimento por 2 a 6 cm de largura. Quando jovem estes folíolos são densamente pilosos em ambas as faces. O ápice destes é pontiagudo, com base arredondada e margem serreada.
As flores, grandes e lanceoladas, são de coloração amarelo-ouro. Possuem em média 8X15 cm.
Quanto aos frutos, estes possuem forma de cápsula bivalvar e são secos e deiscentes. Do tipo síliqua, lembram uma vagem. Medem de 15 a 30 cm de comprimento por 1,5 a 2,5 cm de largura. As valvas são finamente tomentosas com pêlos ramificados. Possuem grande quantidade de sementes.
As sementes são membranáceas brilhantes e esbranquiçadas, de coloração marrom. Possuem de 2 a 3 cm de comprimento por 7 a 9 mm de largura e são aladas.
Reprodução
A espécie é caducifólia e a queda das folhas coincide com o período de floração. A floração inicia-se no final de agosto, podendo ocorrer alguma variação devido a fenômenos climáticos. Como a espécie floresce no final do inverno é influenciada pela intensidade do mesmo. Quanto mais frio e seco for o inverno, maior será a intensidade da florada do ipê amarelo.
As flores por sua exuberância, atraem abelhas e pássaros, principalmente beija-flores que são importantes agentes polinizadores. Segundo CARVALHO (2003), a espécie possui como vetor de polinização a abelha mamangava (Bombus morio).
As sementes são dispersas pelo vento.
A planta é hermafrodita, e frutifica nos meses de setembro, outubro, novembro, dezembro, janeiro e fevereiro, dependendo da sua localização. Em cultivo, a espécie inicia o processo reprodutivo após o terceiro ano.
Ocorrência Natural
Ocorre naturalmente na Floresta Estaciobal Semidecicual, Floresta de Araucária e no Cerrado.
Segundo o IBGE, a Tabebuia alba (Cham.) Sandw. é uma árvore do Cerrado, Cerradão e Mata Seca. Apresentando-se nos campos secos (savana gramíneo-lenhosa), próximo às escarpas.
Clima
Segundo a classificação de Köppen, o ipê-amarelo abrange locais de clima tropical (Aw), subtropical úmido (Cfa), sutropical de altitude (Cwa e Cwb) e temperado.
A T.alba pode tolerar até 81 geadas em um ano. Ocorre em locais onde a temperatura média anual varia de 14,4ºC como mínimo e 22,4ºC como máximo.
Solo
A espécie prefere solos úmidos, com drenagem lenta e geralmente não muito ondulados (LONGHI, 1995).
Aparece em terras de boa à média fertilidade, em solos profundos ou rasos, nas matas e raramente cerradões (NOGUEIRA, 1977).
Pragas e Doenças
De acordo com CARVALHO (2003), possui como praga a espécie de coleópteros Cydianerus bohemani da família Curculionoideae e um outro coleóptero da família Chrysomellidae. Apesar da constatação de elevados índices populacionais do primeiro, os danos ocasionados até o momento são leves. Nas praças e ruas de Curitiba - PR, 31% das árvores foram atacadas pela Cochonilha Ceroplastes grandis.
ZIDKO (2002), ao estudar no município de Piracicaba a associação de coleópteros em espécies arbóreas, verificou a presença de insetos adultos da espécie Sitophilus linearis da família de coleópteros, Curculionidae, em estruturas reprodutivas. Os insetos adultos da espécie emergiram das vagens do ipê, danificando as sementes desta espécie nativa.
ANDRADE (1928) assinalou diversas espécies de Cerambycidae atacando essências florestais vivas, como ingazeiro, cinamomo, cangerana, cedro, caixeta, jacarandá, araribá, jatobá, entre outras como o ipê amarelo.
A Madeira
A Tabebuia alba produz madeira de grande durabilidade e resistência ao apodrecimento (LONGHI,1995).
MANIERI (1970) caracteriza o cerne desta espécie como de cor pardo-havana-claro, pardo-havan-escuro, ou pardo-acastanhado, com reflexos esverdeados. A superfície da madeira é irregularmente lustrosa, lisa ao tato, possuindo textura media e grã-direita.
Com densidade entre 0,90 e 1,15 grama por centímetro cúbico, a madeira é muito dura (LORENZI, 1992), apresentando grande dificuldade ao serrar.
A madeira possui cheiro e gosto distintos. Segundo LORENZI (1992), o cheiro característico é devido à presença da substância lapachol, ou ipeína.
Usos da Madeira
Sendo pesada, com cerne escuro, adquire grande valor comercial na marcenaria e carpintaria. Também é utilizada para fabricação de dormentes, moirões, pontes, postes, eixos de roda, varais de carroça, moendas de cana, etc.
Produtos Não-Madeireiros
A entrecasca do ipê-amarelo possui propriedades terapêuticas como adstringente, usada no tratamento de garganta e estomatites. É também usada como diurético.
O ipê-amarelo possui flores melíferas e que maduras podem ser utilizadas na alimentação humana.
Outros Usos
É comumente utilizada em paisagismo de parques e jardins pela beleza e porte. Além disso, é muito utilizada na arborização urbana.
Segundo MOREIRA & SOUZA (1987), o ipê-amarelo costuma povoar as beiras dos rios sendo, portanto, indicado para recomposição de matas ciliares. MARTINS (1986), também cita a espécie para recomposição de matas ciliares da Floresta Estacional Semidecidual, abrangendo alguns municípios das regiões Norte, Noroeste e parte do Oeste do Estado do Paraná.
Aspectos Silviculturais
Possui a tendência a crescer reto e sem bifurcações quando plantado em reflorestamento misto, pois é espécie monopodial. A desrrama se faz muito bem e a cicatrização é boa. Sendo assim, dificilmente encopa quando nova, a não ser que seja plantado em parques e jardins.
Ao ser utilizada em arborização urbana, o ipê amarelo requer podas de condução com freqüência mediana.
Espécie heliófila apresenta a pleno sol ramificação cimosa, registrando-se assim dicotomia para gema apical. Deve ser preconizada, para seu melhor aproveitamento madeireiro, podas de formação usuais (INQUE et al., 1983).
Produção de Mudas
A propagação deve realizada através de enxertia.
Os frutos devem ser coletados antes da dispersão, para evitar a perda de sementes. Após a coleta as sementes são postas em ambiente ventilado e a extração é feita manualmente. As sementes do ipê amarelo são ortodoxas, mantendo a viabilidade natural por até 3 meses em sala e por até 9 meses em vidro fechado, em câmara fria.
A condução das mudas deve ser feita a pleno sol. A muda atinge cerca de 30 cm em 9 meses, apresentando tolerância ao sol 3 semanas após a germinação.
Sementes
Os ipês, espécies do gênero Tabebuia, produzem uma grande quantidade de sementes leves, aladas com pequenas reservas, e que perdem a viabilidade em poucos dias após a sua coleta. A sua conservação vem sendo estudada em termos de determinação da condição ideal de armazenamento, e tem demonstrado a importância de se conhecer o comportamento da espécie quando armazenada com diferentes teores de umidade inicial, e a umidade de equilíbrio crítica para a espécie (KANO; MÁRQUEZ & KAGEYAMA, 1978).
As levíssimas sementes aladas da espécie não necessitam de quebra de dormência. Podem apenas ser expostas ao sol por cerca de 6 horas e semeadas diretamente nos saquinhos. A quebra natural leva cerca de 3 meses e a quebra na câmara leva 9 meses. A germinação ocorre após 30 dias e de 80%.
As sementes são ortodoxas e há aproximadamente 87000 sementes em cada quilo.
Preço da Madeira no Mercado
O preço médio do metro cúbico de pranchas de ipê no Estado do Pará cotado em Julho e Agosto de 2005 foi de R$1.200,00 o preço mínimo, R$ 1509,35 o médio e R$ 2.000,00 o preço máximo (CEPEA,2005).
Plymouth Valiant
From Wikipedia, the free encyclopedia
For the 1962-81 Chrysler Valiant sold in Australia, New Zealand, and South Africa, see Chrysler Valiant.
Plymouth Valiant
ManufacturerChrysler Corporation
Production1960–1976
Body and chassis
ClassCompact
LayoutFR layout
PlatformA-body
Chronology
SuccessorPlymouth Volare
The Plymouth Valiant (first appearing in 1960 as simply the Valiant) was an automobile manufactured by Plymouth in the United States from 1960 to 1976. It was created to give the company an entry in the compact car market emerging in the late 1950s. The Valiant was also built and marketed, without the Plymouth name, worldwide in countries including Australia, Canada, Mexico, New Zealand, South Africa, Argentina, Brazil, Finland, Sweden, and Switzerland, as well as other countries in South America and Western Europe.
11960–1962
1.1Hyper-Pak
1.2Design and mechanical revisions
1.2.11960
1.2.21961
1.2.31962
21963–1966
2.1V8 engine
31967–1973
41974–1976
4.1Replacement with Plymouth Volaré and Dodge Aspen
4.2A38 police package
5Derivative models
5.1Barracuda
5.2Duster
6International variants
6.1Canada (1960–1966)
6.2Australia (1962–1981)
6.3Mexico (1963–1988)
6.4Argentina (1962–1968)
7Collectibility
8References
9External links
1960–1962
First generation
J66105 Bazou 20130810-162312
Overview
Production1959–1962
AssemblyDodge Main Assembly, Hamtramck, Michigan
Los Angeles Assembly, Maywood, California
Lynch Road Assembly, Detroit, Michigan
Newark Assembly, Newark, Delaware
Saint Louis Assembly, Fenton, Missouri
Body and chassis
Body style4-door 3-seat wagon (1960–61)
4-door 2-seat wagon (1960–62)
4-door sedan (1960–62)
2-door sedan (1961-62)
2-door hardtop (1961–62)
RelatedDodge Lancer
Chrysler Valiant
Powertrain
Engine170 cu in (2.8 L) LG Slant-6 I6
225 cu in (3.7 L) RG Slant-6 I6
Transmission3-speed manual
3-speed Torqueflite automatic
Dimensions
Wheelbase106.5 in (2,710 mm)
Length183.7 in (4,670 mm)
Width70.4 in (1,790 mm)
Height53.3 in (1,350 mm)
Curb weight2,750 lb (1,250 kg)
1961 Plymouth Valiant Wagon.
Plymouth Valiant dealer.
In May 1957, Chrysler president Lester Lum "Tex" Colbert established a committee to develop a competitor for the increasingly popular small imports. Virgil Exner designed a car that was smaller and lighter than a full-size car without sacrificing passenger and luggage space.[2] Originally named the Falcon after Exner's 1955 Chrysler Falcon concept car, the vehicle was renamed the 'Valiant' honoring Henry Ford II's request to use the name for the Ford Falcon.[3] The Valiant debuted at the 44th International Motor Show in London on October 26, 1959.[4] It was introduced as a 1960 model and was officially considered a distinct brand,[5] advertised with the tagline 'Nobody's kid brother, this one stands on its own four tires.' For the 1961 model year, the Valiant was classified as a Plymouth model.[6] The 1961-62 Dodge Lancer was essentially a rebadged Valiant with different trim and styling details. For the 1962 model year, the Valiant returned without Plymouth or Dodge branding but was sold only in Plymouth Chrysler, Chrysler Dodge, or the rare standalone Plymouth dealerships. For model year 1963 and onwards the car was sold in the United States only as a Plymouth Valiant. In Canada (1960–66) the car was marketed as a separate brand, with "Valiant by Chrysler" appearing on the rear trunk lids of cars sold there. The Valiant was also built and sold as a "Valiant" in Argentina (1962–68). The primarily US built Plymouth Valiant was sold in Mexico as a Chrysler Valiant starting with the 1963 model year.
The semi-fastback gave it a sleek, European look
The Valiant was less radical in configuration than General Motors' compact Chevrolet Corvair, which had an air-cooled rear-mounted engine, but was considered more aesthetically daring than the also-new Falcon which had a more conventional look, while the Valiant boasted a radical design that continued Exner's Forward Look styling. With its semi-fastback and lengthy hood line, many automotive publications of the time thought the Valiant's styling was European inspired. While the Valiant was all new, specific design elements tied it to other contemporary Chrysler products. Features such as the canted tail fins tipped with cat's-eye shaped tail lamps and the simulated spare tire pressing on the deck lid were thematically similar to those on the Imperial and the 300F. to one side. The cast-iron block Slant-6 gained a reputation for dependability as it was initially engineered as an aluminum block engine with a robust casing. Over 50,000 die-cast aluminum versions of the 225 cu in (3.7 L) engine were produced between late 1961 and early 1963.
The 1960 Valiant exemplified Chrysler's leadership in aluminum die casting. While the aluminum Slant-6 engine block wouldn't enter production until 1961, the Kokomo, Indiana, foundry produced a number of aluminum parts for the 1960 Valiant, and was instrumental in reducing the total weight of the car. The 1960 model contained as much as 60 lb (27 kg) of aluminum in structural and decorative forms, with the majority of the material used in cast form as chassis parts.[8] These parts included the oil pump, water pump, alternator housing, Hyper-Pak and standard production intake manifolds, Torqueflite A-904 automatic transmission and torque converter housing and extension, and numerous other small parts. If this same assembly had been made of die-cast zinc, as many grilles of the era were, it would have weighed an estimated 13 lb (5.9 kg).[8] An estimated 102 lb (46 kg)—about 4% of a Valiant's total shipping weight—was saved with the 60 lb (27 kg) of aluminum parts.
An all-aluminum Slant-6 engine with reproduction Hyper Pak intake manifold
Plymouth product planning director Jack Charipar gave impetus for a stock car racing version of the Valiant,[9] and while Chrysler engineers developed the Hyper-Pak for the track, the Hyper-Pak dealer tuning kit option was made available in limited quantities on December 1, 1959. Features included 153 lb·ft (207 N·m) of torque, a 10.5:1 compression ratio, dual exhaust pipes on a single muffler, a manual choke and a larger 15 US gal (57 l) fuel tank.[
NASCAR's new Compact Car category debuted at the Daytona International Speedway on January 31, 1960. The first of two races was a road course, which used a 1.5 mi (2.4 km) portion of the high-banked tri-oval together with a twisting infield road for a lap distance of 3.81 mi (6.13 km). The race length was 10 laps, 38.1 mi (61.3 km). Averaging a speed of 88.134 mph (141.838 km/h),[11] Marvin Panch drove his Hyper-Pak into first place; all the Hyper-Paks swept the field taking the first seven places. The second race of the day used only the tri-oval track 20 laps on its full 2.5 mi (4.0 km) length totaling 50 mi (80 km). A multi-car accident on the fourth lap took out the four Valiant leaders including one driven by Richard Petty. Panch was not among them because car trouble delayed his start and he was busy passing slower cars from the rear of the field when the leaders crashed. After a restart, Panch worked to first place and stayed there averaging a speed of 122.282 mph (196.794 km/h).[11] The remaining Valiants placed 1-2-3 and Panch again went into the winner's circle. Maxwell again recalls that "It was a Plymouth runway. We finished first through seventh. Our cars were so fast, NASCAR never did that race again."[12]
Design and mechanical revisions
The first-generation Valiants, though sold in three model years, existed in four distinct configurations: early 1960, late 1960, 1961, and 1962. The base-model V100 cars received relatively minimal ornamentation.
1960[edit]
1960 back showing the spare-tyre stamping on the lid
Early 1960 models, particularly the V200 high-trim cars, featured extensive brightwork and ornamentation. An 8 in (20 cm) chrome spear atop each front fender, an inner reveal ring on the deck lid's spare tire stamping, a "V200" nameplate on the dashboard, and stainless steel windshield and backlight reveal moldings were deleted from production—the latter replaced with less costly flexible mylar-faced plastic locking strips—in approximately January, 1960.
Nº 45.
Peugeot 305 GL (1980).
Escala 1/43.
"Nuestros Queridos Coches Años 80" - Altaya.
Ixo.
España.
Año 2007.
-------------------------------------------------------------------
Peugeot 305
From Wikipedia, the free encyclopedia
"The Peugeot 305 is a small family car produced by the French automaker Peugeot from 1977 to 1989.
It was offered as a four-door saloon, five-door estate, and as a three-door van body derivative."
(...)
"During the mid to late 1970s, the motoring press speculated that a new Peugeot would soon arrive, in order to update the company's model lineup, in an attempt to make the Peugeot more internationally appealing.
Since Peugeot had only recently discontinued their Peugeot 404 model, many people thought that the purpose of the new car was to fill the gap, previously occupied by the 404, between the Peugeot 304 & Peugeot 504 models.
It therefore would have been natural for the new car to be called the 405. The car was to be developed from and use the running gear from the 304, but in terms of size and price, it was to succeed the already-defunct 404, especially considering that the top model in the new range would cost more than the entry-level 504, and that the 304 would remain in production some time after the new car was introduced. Instead of being called the 405, the new car was called the 305.
When it made its press début in November 1977, the motoring press were initially confused as to why it was called a 305 rather than a 405, but it sold well anyway.
It was similar in size to its French competitor the Renault 18, which was launched around the same time.
Across Europe it competed with cars like the Ford Cortina/Taunus, Vauxhall Cavalier/Opel Ascona and Simca 1307/Chrysler Alpine."
(...)
"The Peugeot 305 was unveiled in November 1977, and was initially available as a four-door saloon with a choice of two petrol engines: a 1,290 cc, 65 PS (48 kW; 64 hp) unit for the GL and GR models or a 1,472 cc, 74 PS (54 kW; 73 hp) for the top-specification SR model.
Four months later Peugeot announced the 305 GRD, discreetly identified from the outside by the letters "GRD" on the left side of the boot/trunk lid, and powered by a 1,548 cc diesel unit incorporating an aluminium engine block with an overhead camshaft along with a Bosch injector pump, and offering up to 50 PS (37 kW; 49 hp) of power.
At Paris 1980, the sportier 305 S with twin carburettors and 89 PS (65 kW; 88 hp) was introduced. After the 1982 facelift, the top model became the GTX, with 105 PS (77 kW).
The 305 was the first of the "05" generation of Peugeots, a generation which survived until the end of 605 production in 1999."
(...)
"Its key competitors were the Ford Escort, Volkswagen Golf & Opel Kadett/Vauxhall Astra, but it was actually considerably larger than most other cars in its class.
In fact, it was almost as large as the Ford Cortina, Opel Ascona/Vauxhall Cavalier & Fiat 132."
(...)
"The facelifted 'series 2' models arrived at the Paris Salon in late 1982, to keep the 305 competitive with newer designs like the Ford Sierra and the new version of the Vauxhall Cavalier/Opel Ascona.
They had revised frontal styling, new improved front suspension and steering, a new dashboard and a modified under bonnet and subframe layout to allow the new generation of XU series engines with 5-speed gearbox to be fitted. "
(...)
"In 1979, the 305 won 1979 the What Car? Car of the Year in the United Kingdom, although it was largely overlooked by the motoring press for that year's European Car of the Year award, who voted the Chrysler/Simca Horizon as the winner, the Fiat Ritmo/Strada in second place and the Audi 80 in third place.
Production of saloons ceased in 1988, following the launch of the slightly larger and more powerful Peugeot 405, which was a much stronger seller in the United Kingdom.
Production of 305 estates ceased in 1989 and vans a few years later. "
(...)
-------------------
Peugeot 305
Manufacturer
Peugeot
Production
1977–1989
Class
Small family car (C)
Body style
4-door sedan
5-door station wagon
3-door panel van
Layout
FF layout
Engine
1,290 cc XL5 I4
1,472 cc ''XR5/XR5S I4
1,580 cc XU5 I4
1,905 cc XU9 I4
1,548 cc XIDL diesel I4
1,905 cc XUD9 diesel I4
Dimensions
Wheelbase
2,620 mm (103 in) saloon
Length
4,240 mm (167 in) saloon
Width
1,635 mm (64.4 in)
Chronology
Predecessor
Peugeot 304
Peugeot 204
Successor
Peugeot 405
Information From:
en.wikipedia.org/wiki/East_Village,_Manhattan
East Village, Manhattan
From Wikipedia, the free encyclopedia
Jump to: navigation, search
East Village, Manhattan
New York City Neighborhood
Location in Lower Manhattan
Named: 1960s[1]
Streets: 2nd Avenue, 1st Avenue, Avenue A, The Bowery, St. Mark's Place
Subway: F, V, 6 and L
Zip code: 10009, 10003 and 10002
Government
Federal: Congressional Districts 8, 12 and 14
State: New York State Assembly Districts 64, 66 and 74, New York State Senate Districts 25 and 29
City: New York City Council District 2
Local Manhattan Community Board 3
Neighborhood map
The East Village is a neighborhood in the borough of Manhattan in New York City. It lies east of Greenwich Village, south of Gramercy and Stuyvesant Town, and north of the Lower East Side. Within the East Village there are several smaller neighborhoods, including Alphabet City and The Bowery.
The neighborhood was once considered part of the Lower East Side, but in the 1960s it began to develop its own culture and became known as the East Village. Scores of artists and hippies began to move into the area, attracted by the base of Beatniks that had lived there since the 1950s. It has been the site of counterculture, protests and riots. The neighborhood is known as the birthplace and historical home of many artistic movements, including punk rock[2] and the Nuyorican literary movement.[3]
It is still known for a diverse community, vibrant nightlife and artistic sensibility, although in recent decades gentrification has changed the character of the neighborhood
History
Tompkins Square Park is the recreational and geographic heart of the East Village. It has historically been a part of counterculture, protest and riots.
New York City's Fourth of July fireworks over the neighborhood. The East Village's East River Park is a popular viewing destination.[edit] Formation of the neighborhood
Today's East Village was originally a farm owned by Dutch Governor Wouter van Twiller. Petrus Stuyvesant received the deed to this farm in 1651, and his family held on to the land for over seven generations, until a descendant began selling off parcels of the property in the early 1800s. Wealthy townhouses dotted the dirt roads for a few decades until the great Irish and German immigration of the 1840s and 1850s.
Speculative land owners began building multi unit dwellings on lots meant for single family homes, and began renting out rooms and apartments to the growing working class. The "East Village" was formerly known as Klein Deutschland ("Little Germany, Manhattan"); however, Little Germany dissolved after the SS General Slocum burned into the water in New York's East River on June 15, 1904. From the years roughly between the 1850s and the first decade of the 20th century, the "East Village" hosted the largest urban populations of Germans outside of Vienna and Berlin. It was America's first foreign language neighborhood; hundreds of political, social, sports and recreational clubs were set up during this period, some of these buildings still exist.
What is now the East Village once ended at the East River where Avenue C is now located. A large portion of the neighborhood was formed by landfill, including World War II debris and rubble from London, which was shipped across the Atlantic to provide foundation for the Franklin D. Roosevelt Drive.[5]
[edit] The 'East Village' separates from the Lower East Side
Definitions vary, but the boundaries are roughly defined as east of Broadway and the Bowery from 14th Street down to Houston Street.[1]
Looking south from 6th Street down Second Avenue, one of the main thoroughfares through the East Village.Until the mid-1960s, this area was simply the northern part of the Lower East Side, with a similar culture of immigrant, working class life. In the 1950s the migration of Beatniks into the neighborhood later attracted hippies, musicians and artists well into 1960s.[1] The area was dubbed the "East Village", to dissociate it from the image of slums evoked by the Lower East Side. According to the New York Times, a 1964 guide called, "Earl Wilson's New York," wrote that "artists, poets and promoters of coffeehouses from Greenwich Village are trying to remelt the neighborhood under the high-sounding name of 'East Village.'"[1]
Newcomers and real estate brokers popularized the East Village name, and the term was adopted by the popular media by the mid-1960s.[6][7] In 1966 a psychedelic weekly newspaper, The East Village Other, appeared and The New York Times declared that the neighborhood "had come to be known" as the East Village in the June 5, 1967 edition.[1]
[edit] The music scene develops
In 1966 Andy Warhol promoted a series of shows, entitled The Exploding Plastic Inevitable, and featuring the music of the Velvet Underground, in a Polish ballroom on St Marks Place. On June 27, 1967, the Electric Circus opened in the same space with a benefit for the Children's Recreation Foundation (Chairman: Bobby Kennedy). The Grateful Dead, The Chambers Brothers, Sly & the Family Stone, the Allman Brothers were among the many rock bands that performed there before it closed in 1971.
Punk rock icon and writer Richard Hell still lives in the same apartment in Alphabet City that he has had since the 1970s.On March 8, 1968 Bill Graham opened the Fillmore East in a Yiddish Theatre on 2nd Avenue. The venue quickly became known as "The Church of Rock and Roll," with two-show concerts several nights a week. While booking many of the same bands that had played the Electric Circus, Graham particularly used the venue – and its West Coast counterpart, to establish new British bands like The Who, Pink Floyd, The Jimi Hendrix Experience, Cream, and Led Zeppelin. It, too, closed in 1971.
CBGB, the nightclub considered by some to be the birthplace of punk music, was located in the neighborhood, as was the early punk standby A7. No Wave and New York hardcore also emerged in the area’s clubs. Among the many important bands and singers who got their start at these clubs and other venues in downtown Manhattan were: Patti Smith, Arto Lindsay, the Ramones, Blondie, Madonna, Talking Heads, the Plasmatics, Glenn Danzig, Sonic Youth, the Beastie Boys, Anthrax, and The Strokes. From 1983–1993, much of the more radical audio work was preserved as part of the Tellus Audio Cassette Magazine recording project, which was based in the nearby Lower East Side.
[edit] Rise in artistic prominence
Allen Ginsberg, a long-time resident, with poet Peter Orlovsky.Over the last 100 years, the East Village/Lower East Side neighborhood has been considered one of the strongest contributors to American arts and culture in New York.[8] During the great wave of immigration (Germans, Ukrainians, Polish) in the late 19th and early 20th centuries, countless families found their new homes in this area.
The East Village has been the birthplace of cultural icons and movements from the American gangster to the Warhol Superstars, folk music to punk rock, anti-folk to hip-hop, advanced education to organized activism, experimental theater to the Beat Generation and the community of experimental musicians, composers and improvisers now loosely known as the Downtown Scene.
Club 57, on St. Mark's Place, was an important incubator for performance art and visual art in the late 1970s and early 1980s; followed by Now Gallery, 8BC and ABC No Rio.
During the 1980s the East Village art gallery scene helped to galvanize a new post-modern art in America; showing such artists as Kiki Smith, Peter Halley, Keith Haring, Stephen Lack, Greer Lankton, Joseph Nechvatal, Nan Goldin, Jean-Michel Basquiat, David Wojnarowicz, Rick Prol, and Jeff Koons.[9]
[edit] The musical 'Rent'
The East Village is the setting for Jonathan Larson's musical Rent; set in the early 1990s, the story chronicles a group of friends over a year in their struggles against poverty, drug abuse and AIDS.
The musical Rent chronicled a period in the neighborhood's history that is bygone. It opened at the New York Theater Workshop in February 1996.[10] It described a New York City devastated by the AIDS epidemic, drugs and high crime, and followed several characters in the backdrop of their effort to make livings as artists.[11]
[edit] Decline of the art scene
The "Downtown Legends" wall at Mo Pitkins House of Satisfaction featured artists known in the East Village performance scene. A few featured in this photo include the Reverend Jen, Nick Zedd, Allen Ginsberg, Reverend Billy and Murray Hill (pictured).The East Village's performance and art scene has declined since its hey-day of the 1970s and 1980s.[12] One club that had opened to try to resurrect the neighborhood's past artistic prominence was Mo Pitkins' House of Satisfaction, part-owned by Jimmy Fallon of Saturday Night Live. It closed its doors in 2007, and was seen by many as another sign of the continued decline of the East Village performance and art scene, which has mostly moved to Williamsburg, Brooklyn.[13] Rapture Cafe also shut down in April 2008, and the neighborhood lost an important performance space and gathering ground for the gay community. There are still some performance spaces, such as Sidewalk Cafe on Avenue A, where downtown acts find space to exhibit their talent, and the poetry clubs.[14]
Punk scene icons stayed in the neighborhood as it changed. Richard Hell lives in the same apartment he has lived in since the 1970s, and Handsome Dick Manitoba of The Dictators owns and reigns over Manitoba's bar on Avenue B.
[edit] Internal neighborhoods
The East Village contains several hamlets of vibrant communities within itself.
[edit] Alphabet City
Main article: Alphabet City, Manhattan
The Nuyorican Poets Cafe has been located off Avenue C and East 3rd Street since its founding in 1973.Alphabet City comprises nearly two-thirds of the East Village. It also once was the archetype of a dangerous New York City neighborhood. Its turn-around was cause for The New York Times to observe in 2005 that Alphabet City went "from a drug-infested no man's land to the epicenter of downtown cool."[15] Its name comes from Avenues A, B, C, and D, the only avenues in Manhattan to have single-letter names. It is bordered by Houston Street to the south and 14th Street to the north where Avenue C ends. Some famous landmarks include Tompkins Square Park, the Nuyorican Poets Cafe and the Stuyvesant Town private residential community.
[edit] Loisaida
Main article: Loisaida
A Loisaida street fair in the Summer of 2008.Loisaida is a term derived from the Latino (and especially Nuyorican) pronunciation of "Lower East Side", a neighborhood in Manhattan, New York City. The term was originally coined by poet/activist, Bittman "Bimbo" Rivas in his 1974 poem "Loisaida". Loisaida Avenue is now an alternative name for Avenue C in the Alphabet City neighborhood of New York City, whose population has largely been Hispanic (mainly Nuyorican) since the late 1960s.
[edit] St. Mark's Place
Main article: St. Mark's Place
Artist Jim Power, known as the "Mosaic Man" for his public art tiling the neighborhood[16], at the 2009 St. Mark's Place Block Party.Eighth Street becomes St. Mark's place east of Third Avenue. It once had the cachet of Sutton Place, known as a secluded rich enclave in Manhattan, but which by the 1850s had become a place for boarding houses and a German immigrant community.[17] It is named after St Mark's Church in-the-Bowery, which was built on Stuyvesant Street but is now on 10th Street. St. Mark's Place once began at the intersection of the Bowery and Stuyvesant Street, but today the street runs from Third Avenue to Avenue A. Japanese street culture and a Japanese expatriate scene forms in the noodle shops and bars that line St. Mark's Place, also home to an aged punk culture and CBGB's new store. It is home to one of the only Automats in New York City (it has since closed).[18]
St. Mark's is along the “Mosaic Trail”, a trail of 80 mosaic-encrusted lampposts that runs from Broadway down Eighth Street to Avenue A, to Fourth Street and then back to Eighth Street. The project was undertaken by East Village public artist Jim Power, known as the "Mosaic Man".[16]
[edit] The Bowery
Main article: The Bowery
Once synonymous with 'Bowery Bums', the avenue has become a magnet for luxury condominiums as the neighborhood's rapid gentrification continues.The Bowery, former home to the punk-rock nightclub CBGB, was once known for its many homeless shelters, drug rehabilitation centers and bars. The phrase "On The Bowery", which has since fallen into disuse, was a generic way to say one was down-and-out.[19]
The Bow’ry, The Bow’ry!
They say such things,
and they do strange things
on the Bow’ry —From the musical A Trip to Chinatown, 1891
Today, the Bowery has become a boulevard of new luxury condominiums. It also is home to the Amato Opera and the Bowery Poetry Club, contributing to the neighborhood's reputation as a place for artistic pursuit. Artists Amiri Baraka and Taylor Mead hold regular readings and performances in the space.
The redevelopment of the avenue from flophouses to luxury condominiums has met with resistance from long-term residents, who agree the neighborhood has improved, but that its unique, gritty character is also disappearing.[20]
[edit] Parks and green space
[edit] Tompkins Square Park
Main article: Tompkins Square Park
The Tompkins Square dog run was the first in New York City, and is a social scene unto itself.[5]Tompkins Square Park is a 10.5 acre (42,000 m²) public park in the Alphabet City section of the East Village neighborhood in the borough of Manhattan in New York City. It is square in shape, and is bounded on the north by East 10th Street, on the east by Avenue B, on the south by East 7th Street, and on the west by Avenue A. St. Marks Place abuts the park to the west.
[edit] Tompkins Square Park Police Riot
Main article: Tompkins Square Park Police Riot (1988)
The Tompkins Square Park Police Riot was a defining moment for the neighborhood. In the late hours of August 6 into the morning hours of August 7, 1988 a riot broke out in Alphabet City's Tompkins Square Park. Groups of "drug pushers, homeless people and young people known as 'skinheads'" had largely taken over the East Village park, but the neighborhood was divided about what, if anything, should be done about it.[21] The local governing body, Manhattan Community Board 3, adopted a 1 am curfew for the previously 24-hour park, in an attempt to bring it under control.[22] On July 31, a rally against the curfew resulted in several clashes between protesters and police.[23]
[edit] East River Park
Main article: East River Park
East River Park below the Williamsburg Bridge.The park is 57 acres (230,000 m2) that runs along the Franklin D. Roosevelt Drive from Montgomery Street to East 12th Street.[24] It was designed in the 1930s by Robert Moses, who wanted to ensure there was parkland on the Lower East Side.[24]
[edit] Community gardens
There are reportedly over 640 community gardens in New York City—gardens run by local collectives within the neighborhood who are responsible for the gardens' upkeep—and an estimated 10 percent of those are located on the Lower East Side and East Village alone.[25]
[edit] Tower of Toys on Avenue B
The Avenue B and 6th Street Community Garden is one of the neighborhood's more notable for a now removed outdoor sculpture, the Tower of Toys, designed by artist and long-time garden gate-keeper, Eddie Boros. Boros died April 27, 2007.[26] The Tower was controversial in the neighborhood; some viewed it as a masterpiece, others as an eyesore.[26][27] The tower appeared in the opening credits for the television show NYPD Blue and also appears in the musical Rent.[26] In May 2008, it was dismantled. According to NYC Parks Commissioner Adrian Benepe, the tower was rotting in sections that made it a safety hazard.[28] Its removal was seen as another symbol of the fading past of the neighborhood.[28]
[edit] Toyota Children’s Learning Garden
Located at 603 East 11th Street, the Toyota Children's Learning Garden is not technically a community garden, but it also fails to fit in the park category. Designed by landscape architect Michael Van Valkenburgh, the garden opened in May 2008 as part of the New York Restoration Project and is designed to teach children about plants.[29]
[edit] New York City Marble Cemetery
A production of John Reed's All the World's a Grave in the Marble Cemetery, which does not contain headstones.The cemetery is actually two, which sit on 2nd Street between 1st Avenue and 2nd Avenue. They are open the fourth Sunday of every month.[30] The first and more prominent is the City cemetery, which is second oldest non-sectarian cemetery in New York City. It sits next to the oldest public cemetery in New York City not affiliated with any religion, the "New York Marble Cemetery."[31] The cemetery was opened in 1831 and at one point contained ex-U.S. President James Monroe.[32]
[edit] Culture and events
Longtime Mistress of Ceremonies at eatery Lucky Cheng's, Miss Understood stops a bus in front of the restaurant on First Avenue.Other than geography, the East Village's most notable commonalities with Greenwich Village are a colorful history, vibrant social and cultural outlets, and street names that often diverge from the norm.
The Bowery is a north-south avenue which also lends its name to the somewhat overlapping neighborhood of the Bowery; St. Mark's Place, a crosstown street well-known for counterculture businesses; and Astor Place/Cooper Square, home of the Public Theater and the Cooper Union. Nearby universities like New York University (NYU), The New School, and The Cooper Union have dormitories in the neighborhood.
[edit] Ethnicity and religion
Photograph of St. Nicholas with parts of Second Street visible. The church and almost all buildings on the street were demolished in the 1960's and replaced with parking lots.
Former parishioners of St. Mary's Help of Christians pray outside the shuttered church in August 2008.According to 2000 census figures provided by the New York City Department of City Planning, which includes the Lower East Side in its calculation, the neighborhood was 35% Asian, 28% non-Hispanic white, 27% Hispanic and 7% black.[33]
On October 9, 1966, A.C. Bhaktivedanta Swami Prabhupada, founder of the International Society for Krishna Consciousness, held the first recorded outdoor chanting session of the Hare Krishna mantra outside of the Indian subcontinent at Tompkins Square Park.[34] This is considered the founding of the Hare Krishna religion in the United States, and the large tree close to the center of the Park is demarcated as a special religious site for Krishna adherents.[34] The late poet Allen Ginsberg, who lived and died in the East Village, attended the ceremony.
There are several Roman Catholic churches in the East Village which have fallen victim to financial hardship particularly in the past decade. Unable to maintain their properties, the Roman Catholic Church has shuttered many of them - including St. Mary's Help of Christians on East 12th Street, as well as St. Ann's. There has recently been much controversy over St. Brigid's, the historical parish on Tompkins Square Park.
[edit] Ukrainian history
Since the 1890s there has been a large Ukrainian concentration roughly from 10th Street to 5th Street, between 3rd Avenue and Avenue A. The post-World War II diaspora, consisting primarily of Western Ukrainian intelligentsia, also settled down in the area. Several churches, including St. George's Catholic Church; Ukrainian restaurants and butcher shops; The Ukrainian Museum; the Shevchenko Scientific Society; and the Ukrainian Cultural Center are evidence of the impact of this culture on the area.
[edit] Gentrification
[edit] New York University, a controversial resident
Residents of the East Village have a love-hate relationship with New York University, which owns and maintains many buildings, particularly in much of downtown Manhattan and in the neighborhoods surrounding its main campus in Greenwich Village (a distinct neighborhood from the East Village).[35]
St. Ann's Church, a rusticated-stone structure on East 12th Street with a Romanesque tower that dated to 1847 was sold to the University to make way for a monolithic 26-story, 700 bed dormitory for students. The University did protect and maintain St. Ann's original facade and small plaza immediately fronting the 12th Street sidewalk. The result is a blended, softer abutment of the new dorm building (which does rise dramatically above the facade) up behind the old St. Ann's entry way. New York University has built many dorms, and this one in particular is now the tallest structure in the area. "There are larger changes going on here," said Lynne Brown, vice president of university relations and public affairs. "I fear this tendency to blame any trend residents don't like happening at the doorstep of NYU," said Brown, mentioning that the university has been one of the longest inhabitants of the East Village. But Nancy Cosie, a 20 year resident and former St. Ann's parishioner, does not buy that argument. "Enough is enough," Cosie exclaimed to The Village Voice, "This is not a campus. This is a neighborhood, and this is my home."[35] NYU's destruction or purchasing of many historic buildings (such as the Peter Cooper post office) have made it symbolic of change that many long-time residents fear is destroying what made the neighborhood interesting and attractive.[36] "I live on Avenue B and 9th Street," an NYU student said. "I know I'm part of the problem - gentrification that is. But where am I supposed to live?"[36]
NYU has often been at odds with residents of both the East and West Villages, as legendary urban preservationist Jane Jacobs battled the school in the 1960s.[37] "She spoke of how universities and hospitals often had a special kind of hubris reflected in the fact that they often thought it was OK to destroy a neighborhood to suit their needs,” said Andrew Berman of the Greenwich Village Society for Historic Preservation.[38]
[edit] Museums, libraries, performance and art spaces
The Bowery Poetry Club.
Sherry Vine and Joey Arias during the 2009 HOWL! Festival.New York Public Library Tompkins Square branch [3]
The Fales Library of NYU
East Village Visitors Center - 308 Bowery
The Ukrainian Museum
New Museum of Contemporary Art
Museum of Jewish Heritage
Performance Space 122
Anthology Film Archives
The Stone
Bouwerie Lane Theatre
Amato Opera
Danspace Project
The Ontological-Hysteric Theater
The Pearl Theatre Company [4]
Stomp! (Theatrical show)
Metropolitan Playhouse[5]
Mercury Lounge (live music)
Sidewalk Cafe (performance and live music)
Bowery Ballroom (concerts and shows)
Nuyorican Poets Cafe (music, poetry, readings, slams)
Bowery Poetry Club (music, poetry, readings, slams)
La MaMa E.T.C. (performance theater)
Cooper Union (speeches, presentations, public lectures and readings)
[edit] Neighborhood festivals
Mayday Festival - May 1; yearly.
Charlie Parker Jazz Festival - August; yearly.[6]
HOWL! Festival - September; yearly.[7][8]
East Village Radio Festival - September 6, 2008 [9]
Tompkins Square Halloween Dog Parade - October; yearly.[10]
East Village Theater Festival - August 3–23, 2009.[11]
FAB! Festival & Block Party - Last weekend in September annually, Sept 25, 2010 [12]
[edit] Media
Many film shoots take place in the East Village; here a period movie with antique police cars is filmed on East 4th Street.[edit] Radio
East Village Radio
[edit] Local news
The Village Voice
The Villager
East-Village.com
EastVillageFeed.com
[edit] Cinemas
Anthology Film Archives
Landmark's Sunshine Theater
Village East Cinema
City Cinema Village East
Two Boots Pioneer Theater
[edit] Notable residents past and present
Handsome Dick Manitoba of The Dictators.
Madonna lived in the neighborhood when she was just starting out in her career.[39]Handsome Dick Manitoba, who owns Manitoba's bar on Avenue B off Tompkins Square Park.
Darren Aronofsky and his wife, Rachel Weisz
Chris Cain, Bassist for the Indie-Rock band We Are Scientists
Barbara Feinman
John Leguizamo
Daniel Radcliffe
Agim Kaba
Rosario Dawson
Tom Kalin
Vashtie Kola director
W. H. Auden[40]
Greer Lankton, Artist/Doll maker
Ellen Stewart founder of La MaMa, E.T.C. (Experimental Theatre Club) in 1961.
Madonna lived there in the 1980s.
John Lurie,musician, painter, actor, producer.
Jean-Michel Basquiat, graffiti artist
David Bowes, painter
Allen Ginsberg (1926–1997), Beat Generation poet and author of Howl.[41]
Keith Haring, neo-pop artist
Claes Oldenburg (1929-), sculptor, had a studio at 46 East 3rd Street in the late 1950s.[42]
Candy Darling, actress/Warhol superstar
Bill Raymond, actor
Ryan Adams, alt-country musician
David Cross, actor, comedian
Negin Farsad, writer, director, comedian
Nan Goldin, photographer
Stephen Lack, actor, painter
Ronnie Landfield, (1947-), painter, lived on E. 11th street, mid-1960s[43]
Kiki Smith sculptor
John Zorn composer, musician
Richard Hell, musician, author
Abbie Hoffman (1936–1989), 1960s political activist[44]
Ayun Halliday, actress and writer, and wife of playwright Greg Kotis
Greg Kotis, playwright, and husband of actress and writer Ayun Halliday
Jerry Rubin (1938–1994), 1960s political activist - with Hoffman founded the Yippies in a basement apartment at 30 St. Marks Place[44]
Cookie Mueller, actress, model
Paul Krassner (1932-), publisher of The Realist
Walter Bowart (1939–2007), co-founder editor/ of The East Village Other
Allan Katzman, co-founder/editor of The East Village Other
Tuli Kupferberg, (1923-), Beat Generation poet, and one of the original Fugs
Ed Sanders, (1939-), New York School poet and one of the original Fugs
Joseph Nechvatal (1951-) early digital artist and founder of the Tellus Audio Cassette Magazine
Randy Harrison, actor
Joel Resnicoff, artist and fashion illustrator.
Regina Spektor, (1980-) Singer-songwriter and pianist.
Rachel Trachtenburg (1993-) singer and musician
Tom Otterness sculptor
Steven Fishbach, runner-up of Survivor: Tocantins
Chloe Sevigny actress
Conor Oberst musician
Lou Reed, musician
Julian Casablancas, musician
Mark Ronson
Arthur Russell, musician[45]
Jack Smith filmmaker, artist
Iggy Pop, performer, musician
Ginetta Cars
From Wikipedia, the free encyclopedia
Ginetta Cars Limited Ginetta logo.png
Industry Automotive
Founded 1958
Founder Walklett brothers
Headquarters Leeds, West Yorkshire, United Kingdom
Key people
Lawrence Tomlinson, Chairman
Simon Finnis, Managing Director
Products Sports cars
Parent LNT Group
Website Ginetta.com
Ginetta Cars is a British specialist builder of racing and sports cars based in Garforth, Leeds, West Yorkshire.
Contents
1 History
1.1 20th century
1.2 21st century
1.3 Models
2 Ginetta Racing Championships
2.1 Michelin Ginetta GT4 SuperCup
2.2 Ginetta Junior Championship
2.3 Ginetta Junior Scholarship
2.4 Protyre Motorsport Ginetta GT5 Challenge
2.5 Ginetta Racing Drivers Club
3 See also
4 References
5 Bibliography
6 External links
History
1964-68 Ginetta G4R
1969 Ginetta G15
1974 Ginetta G21
1992 Ginetta G33
1996 Ginetta G27 series 3
2005 Ginetta G20
2006 Ginetta G12 by DARE
20th century
Ginetta was founded in 1958 by the four Walklett brothers (Bob, Ivor, Trevers and Douglas) in Woodbridge, Suffolk. Their first product sold as the Fairlight was a glass fibre body shell priced at £49 for fitting to Ford 8 or 10hp chassis.[1] The first car, not destined for production, which subsequently became known as the Ginetta G1, was based on a pre war Wolseley Hornet six.[2]
From their original base, the company moved to Witham, Essex in 1962, and between 1972 and 1974 operated from larger premises in Ballingdon Street adjacent to the railway bridge Sudbury, Suffolk before returning to Witham where they remained until 1989. Under the Walkletts, Trevers was mainly responsible for styling, Ivor for engineering, Douglas for management, and Bob for sales.
Following the retirement of the Walkletts in 1989 the company was sold but failed, and was then bought by an international group of enthusiasts, based in Sheffield, and run by managing director Martin Phaff producing the G20 and G33
21st century
In late 2005 Ginetta was acquired by LNT Automotive, a company run by experienced racing driver and successful businessman Lawrence Tomlinson. His aims remained in line with the original founders of Ginetta; to continue producing innovative, capable and above all, great value sports cars.
In mid-2007 Ginetta moved to a state-of-the-art factory near Leeds, with a target to sell 200 cars a year. Trained engineer Tomlinson himself penned the base specification for the Ginetta G50, which was produced to celebrate 50 years of Ginetta production, and became a successful GT4 and award winning car.
In March 2010, Ginetta acquired the Somerset-based sports car manufacturer Farbio, and re-badged their car the Ginetta F400. In March 2011, Ginetta launched the G55, running in the Michelin Ginetta GT Supercup and built to the GT3 class regulations. In October 2011 Ginetta launched the G60, a two-door mid-engined sports car developed from the F400 and powered by a Ford-sourced 3.7-litre V6 engine.[3]
Currently, Ginetta have developed a range of award-winning road and race cars, making them a formidable player on the world motorsport scene.
Models
The first car, the G2, was produced as a kit for enthusiasts and consisted of a tubular frame chassis to take Ford components and aluminium body. About 100 were made. The G3 was introduced with glass fibre body in 1959 to be followed by the G4 in 1961.[4]
The G4 used the new Ford 105E engine and had a glass fibre GT style body and the suspension was updated to coil springing at the front with Ford live axle at the rear. Whereas the G2 and G3 had been designed for competition the G4 was usable as an everyday car but still was very competitive in motor sport with numerous successes. Over 500 were made up to 1969 with a variety of Ford engines. In 1963 a coupé was introduced alongside the open car and a BMC axle replaced the Ford one at the rear.[5] On test the car reached 120 mph (190 km/h) with a 1500 cc engine.[6] The series III version of 1966 added the then-popular pop-up headlights. Production stopped in 1968 but was revived in 1981 with the Series IV which was two inches wider and three inches (76 mm) longer than the III.
The G10 and G11 from 1964 were higher-powered versions with 4.7-litre Ford V8 and MGB engines respectively. The G12 was a mid-engined competition car.
In 1967 the G15 was launched utilizing a rear mounted 875cc Sunbeam Imp engine.[7] This two-seater coupé had a glass fibre body bolted to a tube chassis and used Imp rear and Triumph front suspension. Approximately 800 were produced from 1967 to 1974 [7] and the car was fully type approved allowing for the first time complete Ginetta cars to be sold. Eight G15s were engineered for Volkswagen engines and called the "Super S".
In 1970 it was joined by the larger G21, which was initially available with either a 1599 cc Ford Kent engine, or a 3-litre Ford V6 engine.[8] The 1725 cc Sunbeam Rapier engine subsequently became the standard four-cylinder engine for the car. The model was later updated to become the closed G24 or open top G23. The G19 was a Formula 3 single seater but only one was ever made.
Following reorganisation the company moved to Scunthorpe and started making cars in kit form again in the 1980s starting with the G27 and followed by the G26, G28, G30 and G31, with all cars using Ford parts. It was also decided to re-enter the complete car business with the mid-engined G32 with a choice of 1.6- and 1.9-litre 4-cylinder engines available as a coupé or convertible and the G33 convertible with 3.9-litre Rover V8 capable of 145 mph (233 km/h) and a 0-60 mph time of 5 seconds. The G4 was re-introduced in 1981 as the G4 Series IV, with a new chassis.[9] It was produced through to 1984 with approximately 35 examples built.[9] In 1990 the G32 coupé cost £13,700, the convertible £14,600, and the G33 £17,800.
After Ginetta was acquired by Lawrence Tomlinson in 2005, the company began work on the design of the Ginetta G50 - a 3.5 litre V6 engine, producing 300 BHP - to celebrate the company's 50th birthday. In 2007, the car competed in its first race in the European GT4 Cup in Nogaro France, finishing second.
Soon after this success, the machine was officially launched at Autosport International in early 2008 alongside its sister car, the Ginetta G50 GT4. Together, they have become Ginetta’s biggest selling machine, and have raced (and won) in almost every continent, including the Dubai 24 Hour endurance race in 2012 with Optimum Motorsport.
In March 2010, Lawrence acquired the Somerset-based sports car manufacturer Farbio, and in doing so inherited the F400, which was subsequently redesigned, redeveloped and rebranded from the Farbio Marque, into a Ginetta G60; a two-door mid-engined powerhouse which shares the same 3.7 litre V6 engine as its G55 GT3 stablemate and packs a real punch, capable of 0 – 60 mph in 4.9 seconds, with a top speed of 165 mph.
In the same year, Lawrence implemented a newer, safer car into the existing Ginetta Junior series and in doing so, replaced the old Ginetta G20 race car with a G40J. In concordance with his belief in nurturing young racing talent through the motorsport ladder, today’s G40J is designed for young racing drivers, offering an entry-level 1800cc, 100 bhp racing car with such safety features as a full integral FIA approved roll cage and fibre-glass shell.
Following the success of the G40J, Ginetta decided to introduce a Ginetta G40 Challenge car for the adult racers in its Challenge series. With the same engine as its sister car, the G40 Challenge car is capable of 165 bhp and competes against existing G20 models. Today, the car features heavily in the Total Quartz Ginetta GT5 Challenge, one of the most popular competitive racing series in Britain.
With strong demand for a G40 race car, Ginetta unveiled its second road car - the Ginetta G40R - in 2011, designed to mimic the Walklett brothers' original vision of 'a race car for the road'. Capable of 0-60 in 5.8 seconds, the G40R shares a number of characteristics with its racing siblings.
2011 also saw the introduction of the G55 Cup car to the Ginetta GT Supercup, which, until that point, had only featured the G50 Cup car. Offering a 3.7 litre V6 engine with 380 BHP, the car provided Ginetta with the basis for their Ginetta G55 GT3 Car; a larger spec machine which gives GT teams a 4.35L V8 powerplant, complete with an aggressive-looking body which masks an efficient aerodynamic package.
Ginetta Racing Championships
Ginetta Chairman Lawrence Tomlinson’s vision for Ginetta is to provide competitive and affordable motorsport for drivers as young as 14 to be able to progress through the Ginetta championships comprehensive career ladder, before ultimately competing in top level GT or single-seater arenas.
No other British manufacturer runs three championships within the two biggest racing packages in Britain and receives the levels of media exposure gained throughout the season. The Michelin Ginetta GT4 SuperCup and Ginetta Junior Championship can be seen running alongside the British Touring Car Championship, whilst the Protyre Motorsport Ginetta GT5 Challenge is a firm favourite on the British GT package.
Over the past five years, Ginetta have supported over 240 drivers as they took their first steps into the world of motor racing, and have established routes from entry-level racing to the 24 Hours of Le Mans, helped most recently by the introduction of the Ginetta Racing Drivers Club.
Ploumanac'h Lighthouse
Mean Ruz Lighthouse
Feu de Min-Ruiz (pierre rouge)
Phare de Men Ruz
From Wikipedia, the free encyclopedia
Ploumanac'h lighthouse
The lighthouse on the Côte de Granit Rose
Location: Perros-Guirec, Côtes-d'Armor, France
Coordinates: 48°50′15″N 3°29′00″W
Tower
Constructed: 1860 (first) distroyed August 4, 1944
Current: 1946.(First lit: 1948)
Construction: red granite tower
Height49 feet (15 m)
Shapetapered square tower with balcony and lantern
Markingsunpainted tower, red lantern
Heritagelisted in the general inventory of cultural heritage
Light
First lit1948 (current)
Focal height: 85 feet (26 m)
Range: 12 Nautical miles (22 km; 14 mi) (white), 9 Nautical mile (17 km; 10 mi) (red)
Characteristic: Occ. W R 4s
The Ploumanac'h Lighthouse (officially the Phare de Men Ruz) is an active lighthouse in Côtes-d'Armor, France, located in Perros-Guirec.
The lighthouse is closed to the public.
The structure is composed of pink granite, and marks the entrance to the channel leading to the port of Ploumanac'h.
History
The first lighthouse in Ploumanac'h dates from 1860 . Destroyed by German troops on August 4, 1944 , it was replaced by the current lighthouse in 1946 (first ignition in October 1948 ). At night, it can be identified by its red occultation light with a white sector. This last color being visible only between Tomé Island and Rouzic Island. The current version was built by Martin et frère (local construction company of the time) according to the plans of architects Henry Auffret and Hardion. The latter had to work together with the Beaux Arts to build the pink granite tower of La Clarté, so that it harmonized with the surrounding setting, classified and protected shortly before the war. The interior mosaics are the work of the artist Odorico.
From the lighthouse, you have a direct view of the castle of Costaérès , Renote Island and the Sept-Îles archipelago .
To view more of my images, Abbey Gardens, and St Edmundsbury Cathedral, please click "here" !
St Edmundsbury Cathedral is the cathedral for the Church of England's Diocese of St Edmundsbury and Ipswich. It is the seat of the Bishop of St Edmundsbury and Ipswich and is in Bury St Edmunds. A church has stood on the site of the cathedral since at least 1065, when St Denis's Church was built within the precincts of Bury St Edmunds Abbey. In the early 12th century the Abbot, Anselm had wanted to make a pilgrimage along the Way of St James to Santiago de Compostela. He was unsuccessful and instead rebuilt St Denis's and dedicated the new church to Saint James, which served as the parish church for the north side of Bury St Edmunds. This church was largely rebuilt, starting in 1503, with more alterations in the 18th and 19th centuries. When the Diocese of St Edmundsbury and Ipswich was created in 1914, St James Church was made the cathedral. In 1959 Benjamin Britten wrote the Fanfare for St Edmundsbury for a "Pageant of Magna Carta" held in the cathedral grounds. From 1960 onwards, there was renewed building work designed to transform the parish church into a cathedral building, with the rebuilding of the chancel and the creation of transepts and side chapels. The cathedral architect from 1943 to 1988 was Stephen Dykes Bower and he left £2 million for the completion of the cathedral. In the cathedral grounds a new choir school and visitor's centre were built which were opened in 1990. A Gothic revival tower was built between 2000 and 2005. The font was designed in 1870 by George Gilbert Scott, constructed on a medieval shaft, with a cover by F. E. Howard of Oxford. The decoration was added in 1960. In addition to guided tours of the cathedral itself, visitors can view changing exhibits of art in the Edmund Gallery, and an exhibit of historic and religious regalia and artefacts in the Cathedral Treasures display. The painting "The Martyrdom of St Edmund" by Brian Whelan hangs in the Lady Chapel.
Image from the Brockhaus and Efron Encyclopedic Dictionary, published in Russia,1890-1907.
Most images best viewed in the original (largest) size.
The book copyright has expired, so these images are in the public domain.
Mammalogie, ou, Description des espèces de mammifères
A Paris :Chez Mme. Veuve Agasse, imprimeur-libraire,1820-1822.
From Wikipedia, the free encyclopedia
Skagen Lighthouse
Skagen Lighthouse Denmark
Skagen Lighthouse (Danish: Skagen Fyr), also known as Skagen's Grey Lighthouse (Det Grå Fyr), is an active lighthouse 4 km (2.5 mi) northeast of Skagen in the far north of Jutland, Denmark. Designed by architect Niels Sigfred Nebelong, it was brought into operation on 1 November 1858.
Description
Skagen's first lighthouse, the White Lighthouse (Det Hvide Fyr), designed by Philip de Lange and completed in 1747, was the first lighthouse in Denmark to be built in brick. The Skagen Lighthouse which replaced it consists of an unpainted round brick tower with a lantern and gallery, reaching a height of 151 ft (46 m). The two-storey keeper's house to which it is attached is painted bright yellow. When it was built is was more or less at the centre of the Skagen Odde peninsula, but as a result of coastal erosion, it is now very near the Kattegat coast to the southeast.
The lighthouse has a two-ton rotating lens resting on mercury. Originally there was a five-wicked paraffin lamp which was successively replaced with a 1,000 Watt then a 1,500 Watt electric lamp. Today there is a 400 Watt sodium lamp which every four seconds can be seen up to 37 km (20 mi) away.
Until 1952 Skagen Lighthouse was the country's tallest Dueodde Lighthouse on Bornholm is now just one meter higher.
In 2016 the lighthouse will be launched as a new international bird station with ornithologists working at the location. Skagen and the Grenen area is known for its wide range of migrating birds and eagles, so the lighthouse is a perfect place for birdwatching.
Open to visitors
The lighthouse is open to visitors every day from 10 am to 4 pm
From Wikipedia, the free encyclopedia
History
United States
Name:USS Vesuvius (AE-15)
Namesake:Mount Vesuvius
Launched:26 May 1944
Commissioned:16 January 1945
Decommissioned:20 April 1946
Recommissioned:15 November 1951
Decommissioned:14 August 1973
Struck:14 August 1973
Honors and
awards:
2 battle stars (World War II)
2 battle stars (Korea)
10 battle stars (Vietnam)
Fate:scrapped, 1974
Badge:USS Vesuvius (AE-15) insignia, circa in the 1960s (NH 71935-KN).png
General characteristics
Length:459 ft 2 in (140 m)
Beam:63 ft (19.2 m)
Draft:28 ft 3 in (8.6 m)
Propulsion:
Geared turbine
1 × shaft
6,000 shp (4.5 MW)
Speed:16 knots (30 km/h)
Capacity:7,700 long tons (7,800 t) deadweight
Complement:267 officers and enlisted
Armament:4 × 3"/50 caliber guns
The fourth USS Vesuvius (AE-15) was laid down under a Maritime Commission contract (MC hull 1381) by the North Carolina Shipbuilding Company, Wilmington, N.C.; launched on 26 May 1944; acquired by the United States Navy on 4 July 1944; and commissioned on 16 January 1945, Comdr. Flavius J. George in command.
Service history
World War II, 1945–1946
The ship underwent builder's trials out of Brooklyn, New York, and then began shakedown out of Hampton Roads, Virginia, in Chesapeake Bay. On 17 February, she sailed to Earle, New Jersey, to load ammunition. She then headed for the island of Ulithi, via the Panama Canal, on 5 March. She reached her destination on 5 April and promptly unloaded and took on more cargo. Vesuvius departed for Okinawa on 10 April where she became part of Service Squadron 6. In this role, she replenished ammunition to the Fleet in the waters around Okinawa. In July 1945, Vesuvius joined a rearming group off Honshū, Japan, to support raids on Japan by the 3rd Fleet. She detached on 2 August and set sail for Leyte Gulf, Philippines. While there, word of the Japanese capitulation was received on 15 August 1945. The ship remained in the Philippines until 28 October, when she left for the United States.
After transiting the Panama Canal, Vesuvius joined the Service Force, Atlantic Fleet. The ship arrived at Yorktown, Virginia, on 14 December 1945. Vesuvius departed Yorktown on 10 January 1946, bound for Leonardo, N.J., to discharge her cargo and ship's ammunition to the Naval Ammunition Depot. On 7 February, she headed for Orange, Texas, arriving there on 13 February to commence her pre-inactivation overhaul. Vesuvius was placed out of commission, in reserve, at Orange on 20 August 1946.
Korean War, 1951–1952
In response to the needs imposed by the Korean War, Vesuvius was recommissioned on 15 November 1951. She remained at Orange and Beaumont, Texas, for outfitting and readying for sea until 7 January 1952, when she departed for San Diego. Having arrived on 14 February, the ship conducted exercises and loaded ammunition at Port Chicago, California, before sailing on 22 March for Sasebo, Japan. She arrived at Sasebo on 3 May 1952 and, after voyage repairs, began supplying ammunition to the ships of Task Force (TF) 77 on patrol off the east coast of Korea. On 1 December, Vesuvius headed for the United States, arriving at San Francisco on 18 December for overhaul.
Pacific Fleet, 1953–1967
Over the next decade, Vesuvius was to make 11 more extended deployments to the western Pacific where she serviced units of the 7th Fleet. These operations were interspersed with port visits to Japan, Okinawa, Taiwan, the Philippines, and Hong Kong. Periods on the west coast of the United States were spent in overhaul and in the conduct of underway training.
On 24 June 1963, Vesuvius commenced her 13th post-World War II deployment to the western Pacific, making stops at Pearl Harbor and at Guam for repairs and arriving at Yokosuka on 4 August. She serviced the 7th Fleet throughout August. In October, she visited Sasebo and Kagoshima, Japan; Subic Bay, Philippines; and Buckner Bay, Okinawa. In November, she visited Hong Kong and spent the entire month of December 1963 in and out of Yokosuka, Japan. She also visited Beppu, and Komatsushima, Japan. (1st American Navy ship to visit since end of World War II).
Vesuvius began 1964 in Yokosuka making final preparations for her homeward passage. On 7 January, she got underway for San Francisco via the great circle route. She arrived on 31 January and spent February and March moored to the pier at Port Chicago. A brief trip to San Diego and participation in an exercise with other units of the 1st Fleet occupied April, and Vesuvius spent May in an upkeep status at Concord, California. On 6 July, she was underway for coastal operations. August and September saw the ship in and out of port, training and providing services to the Fleet Training Group. In October, she participated in operations with members of the 1st Fleet. On 20 November 1964, Vesuvius returned to Concord for upkeep and a holiday leave period. She got underway on 18 December for the Mare Island Annex, where she spent the holiday season.
Vietnam, 1965–1972
The ship made a brief trip to San Diego beginning on 4 January 1965 before returning to Concord on 13 January. She began reloading cargo in preparation for deployment and got underway for the Far East on 1 February. Vesuvius reached Subic Bay, via Pearl Harbor and Guam, on 28 February. She then began operations in the South China Sea interrupted by brief returns for the onload of cargo in Subic Bay. In July 1965, she received a respite from her duties in Hong Kong. After a week there, she resumed operations. Having made 182 underway replenishments during the deployment, Vesuvius returned to Concord, California, on 28 November.
Vesuvius began the year 1966 by steaming on 3 January to the Puget Sound Naval Shipyard at Bremerton, Washington, to undergo repairs for six weeks. After leaving Bremerton, the ship headed south to Concord to onload ammunition. On 5 March, she sailed for San Diego for refresher training. Shortly after arrival, a 26-inch crack in one of her hull plates was discovered. She promptly began transferring her load of ammunition to other ships. By 26 March, the ammunition had been successfully offloaded; and, on 28 April 1966, Vesuvius proceeded to the Bethlehem Steel Shipyard in San Francisco. On 14 May, Vesuvius deployed for the western Pacific. From 13 June through 27 November 1966, Vesuvius conducted replenishment operations between the Philippines and the South China Sea. In December, she stopped at Pearl Harbor on her way home, where an unusual cargo was embarked — $9,700,000 was brought on board for a special currency lift back to the United States. Shortly before Christmas, Vesuvius reached Concord.
The year 1967 found the ship berthed at Mare Island preparing to undergo her first major overhaul since 1962. Following completion of overhaul at the Mare Island Naval Shipyard and underway training, Vesuvius departed for the western Pacific on 15 July 1967, bound for Subic Bay. Except for brief periods in Hong Kong, Vesuvius came off the line in the South China Sea only long enough to fill her hold with more ammunition.
Near the end of January 1968, Vesuvius sailed to Yokosuka on her return trip to the United States, only to be recalled to the seas off Vietnam following the Pueblo Incident to support Operation Formation Star. Vesuvius finally returned to the San Francisco Bay area on 17 March 1968, offloaded, proceeded to the Naval Shipyard at Mare Island and, on 4 April, entered the Triple A Shipyard in San Francisco for extensive repairs and upkeep. Repairs were completed on 10 May, and the ship began refresher training in June. Following inspections and loadout, Vesuvius deployed again on 31 July 1968. She reached Subic Bay on 20 August for receipt of ammunition, then began operations in the Vietnam area. She remained on line through 3 December, when she left for a period of rest and recreation in Hong Kong. She departed there on 10 December to return to Vietnam.
Vesuvius remained on line through January and February 1969. In late February, she sailed into Bangkok, Thailand. From Bangkok, the ship went to Subic Bay to commence her final loadout before heading home. After a brief stop in Hawaii, Vesuvius arrived in Concord on 1 April 1969. In late April, the ship underwent six weeks of restricted availability at a commercial yard in San Francisco. Late in June, she steamed for San Diego and refresher training and exercises. By 23 July, she had returned to San Francisco and began three weeks of loadout for yet another deployment. Vesuvius departed for the western Pacific on 17 September 1969. After stopovers in Pearl Harbor and Yokosuka, she touched at Subic Bay for a few days before starting her line period off Vietnam.
During this deployment, Vesuvius conducted seven line runs in the South China Sea and the Tonkin Gulf in support of 7th Fleet operations. On 25 April, she left for home with stops at Kobe, Japan, and Pearl Harbor. She arrived at Concord on 23 May 1970. The ship entered a three-month upkeep in San Francisco from July to October followed by a pre-deployment inspection. On 9 November, Vesuvius departed the San Francisco area for intensive training in San Diego and, on 6 December, steamed back to Port Chicago for a holiday leave period.
Vesuvius again departed for the western Pacific on 4 January 1971. She arrived at Subic Bay on 25 January, and, one week later, was underway for her first line run of the deployment. On 20 February, she pulled into Singapore and then proceeded shortly thereafter to the Philippines for a 15-day upkeep period. Vesuvius then resumed her assignment of providing ammunition logistics support to the 7th Fleet and Royal Australian Navy units off the coast of Vietnam. On 2 August 1971, Vesuvius left Subic Bay for San Francisco, arriving on 1 September. After offloading ammunition at Concord, the ship moved to the Mare Island Naval Shipyard for a month of stand-down. On 4 October, she entered a six-week upkeep. Upon completion, she returned to Concord on 19 November. Vesuvius departed Concord on 29 November for refresher training off San Diego, returning to Mare Island on 4 December.
Vesuvius got underway on 3 January 1972 and, on 5 January, commenced refresher training in San Diego. She returned to Concord on 29 January. Preparations for deployment began immediately, and the ship left California on 14 February. Upon arrival at Subic Bay, Vesuvius again supported combat operations for the 7th Fleet. On 29 June, she began upkeep and returned to action on 18 July. Her duties were interrupted for short trips to Hong Kong and Bangkok in August and October. In December, she entered drydock at Subic Bay to replace her propeller, but she promptly returned to Vietnam and ended the year in the combat zone.
Decommissioning, 1973
The ship returned to Concord on 3 March 1973. After offloading ammunition, the ship moved to Mare Island. The ship was scheduled for upkeep from April to July. However, a message was received from the Chief of Naval Operations in July to prepare the ship for decommissioning. On 14 August 1973, Vesuvius was decommissioned and transferred to the Inactive Ship Maintenance Facility at Mare Island for further disposition and was struck from the Navy List. Vesuvius was reported to have been used for target practice, shortly after decommissioning.
Awards
Vesuvius received two battle stars for World War II, two battle stars for the Korean War, and 10 battle stars for her service in Vietnam.
At Italian restaurant, Nagoya, Japan
I found Compton's Encyclopedia at the restaurant I had lunch today. Copilot says this is genuine book published in the 80s.
Map of comparative sizes of major rivers and mountains of the World 1868. (see comment below for Numbered Reference to Principal Mountains). Two page engraving.
From the National Encyclopedia Atlas 1868.
Published by William Mackenzie London. 19cm x 29cm
....Shows the Way.
Written by Donald Sobol
Illustrated by Leonard Shortall
Published by Weekly Reader Books (1972)
Chambers’s Encyclopaedia - a Dictionary of Universal Knowledge for the People. (1868).
Illustrated with Maps and numerous Wood Engravings..
Published by W. And R. Chambers, London. Half leather bound, 10 Vols total 8400 pages, 18cm x 26cm.
Nº61.
Mazda RX-7 Third generation (1991-2002).
Escala 1/43.
"Car Collection" - Ediciones Del Prado (España).
Año 1999.
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Mazda RX-7
From Wikipedia, the free encyclopedia
"The Mazda RX-7 is a sports car produced by the Japanese automaker Mazda from 1978 to 2002.
The original RX-7 featured a 1,146 cc (69.9 cu in) twin-rotor Wankel rotary engine and a front-midship, rear-wheel drive layout.
The RX-7 replaced the RX-3, with both models sold in Japan as the Mazda Savanna.
The original RX-7 was a sports car with pop-up headlamps. The compact and lightweight Wankel rotary engine is situated slightly behind the front axle, a configuration marketed by Mazda as "front mid-engine". It was offered as a two-seat coupé, with optional "occasional" rear seats in Japan, Australia, the United States, and other parts of the world. The rear seats were initially marketed as a dealer-installed option for the North American markets.
The RX-7 made Car and Driver magazine's Ten Best list five times. 811,634 RX-7s were produced.
The RX-7 has become notable through pop culture such as The Fast and the Furious series, Initial D, Need for Speed, Wangan Midnight, Forza Motorsport and Gran Turismo."
----------------------------------------------------------------
- First Generation (SA22C/FB)
( Production 1978–1985 / 471,018 produced )
. Series 1 (1978–1980)
. Series 2 (1981–1983)
. Series 3 (1984–1985)
------------------------------------------------------------------
- Second generation (FC)
( Production 1985 - 1991 / 272,027 produced )
. Series 4 (1985–1988)
. Series 5 (1989 - 1991)
-------------------------------------------------------------------
- Third generation (FD)
( Production 1991–2002 / 68,589 produced )
. Series 6 (1991–1995)
" was exported throughout the world and had the highest sales. In Japan, Mazda sold the RX-7 through its ɛ̃fini brand as the ɛ̃fini RX-7. Models in Japan included the Type R, the lightweight sports model Type RZ, the Type RB, the A-spec and the Touring X, which came with a four-speed automatic transmission. Only the 1993–1995 model years were sold in the U.S. and Canada. Series 6 came with 255 PS (188 kW; 252 hp) and 294 N·m (217 lb·ft)."
. Series 7 (1996–1998)
"included minor changes to the car. Updates included a simplified vacuum routing manifold and a 16-bit ECU which combined with an improved intake system netted an extra 10 PS (7 kW). This additional horsepower was only available on manual transmission cars as the increase in power was only seen above 7000rpm, which was the redline for automatic transmission equipped cars. The rear spoiler and tail lights were also redesigned. The Type RZ model was now equipped with larger brake rotors as well as 17 inch BBS wheels. In Japan, the Series 7 RX-7 was marketed under the Mazda and ɛ̃fini brand name. The Series 7 was also sold in Australia, New Zealand and the UK. Series 7 RX-7s were produced only in right-hand-drive configuration."
. Series 8 (January 1999– August 2002)
"was the final series, and was only available in the Japanese market. More efficient turbochargers were available on certain models, while improved intercooling and radiator cooling was made possible by a redesigned front fascia with larger openings. The seats, steering wheel, and instrument cluster were all changed. The rear spoiler was modified and gained adjustability on certain models. Three horsepower levels are available: 255ps for automatic transmission equipped cars, 265ps for the Type RB, and 280ps available on the top-of-the-line sporting models."
(...)
Mazda RX-7 Third generation (FD)
Also called
ɛ̃fini RX-7
Production
1991–2002
68,589 produced
Designer
Yoichi Sato (1988)
Engine
1.3L Twin turbo 255 PS (188 kW; 252 hp) 13B-REW
1.3L Twin turbo 265 PS (195 kW; 261 hp) 13B-REW
1.3L Twin turbo 280 PS (206 kW; 276 hp) 13B-REW
Transmission
4-speed automatic
5-speed manual
Successor
Mazda RX-8
Source: en.wikipedia.org/wiki/Mazda_RX-7
Almudena Cathedral
From Wikipedia, the free encyclopedia
Santa María la Real de La Almudena is a Catholic cathedral in Madrid.
When the capital of Spain was transferred from Toledo to Madrid in 1561, the seat of the Church in Spain remained in Toledo; so the new capital – unusually for a Catholic country – had no cathedral. Plans were discussed as early as the 16th century to build a cathedral in Madrid dedicated to the Virgin of Almudena, but construction did not begin until 1879.
Francisco de Cubas, the Marquis of Cubas, designed and directed the construction in a Gothic revival style. Construction ceased completely during the Spanish Civil War, and the project was abandoned until 1950, when Fernando Chueca Goitia adapted the plans of de Cubas to a neoclassical exterior to match the grey and white façade of the Palacio Real, which stands directly opposite. The cathedral was not completed until 1993, when it was consecrated by Pope John Paul II. On May 22, 2004, the marriage of Felipe, Prince of Asturias to Letizia Ortiz Rocasolano (known thereafter as Letizia, Princess of Asturias) took place at the cathedral.
The Neo-Gothic interior is uniquely modern, with chapels and statues of contemporary artists, in heretogeneous styles, from historical revivals to "pop-art" decor.
The Neo-Romanesque crypt houses a 16th century image of the Virgen de la Almudena. Nearby along the Calle Mayor excavations have unearthed remains of Moorish and medieval city walls.
On the 28th of April 2004, Cardinal Antonio María Rouco Varela, Archbishop of Madrid blessed the new paintings in the apse, painted by Kiko Arguello, founder of the Neocatechumenal Way. The cathedral is the seat of the Patriarch of the Indies and the Ocean Sea, an honorific patriarchate created in the sixteenth century, and subsequently an honorific title for the Spanish court's chaplain.
I would like you to join me into the early history of the Russian automobile industry.
Russia knew a few automobile manufacturers in the first quarter of the 20th Century, (thanks Anton VG for the lacking info) but until the 1920s vehicle industry in general was mainly limited to utility and agricultural vehicles, and for transport of goods and raw materials.
Contacts with Ford offered better quality trucks like the GAZ-AA truck (or NAZ-AA as it was called in the first production year). Later also a passenger car was developed, the GAZ-A Sedan (or NAZ-A).
The GAZ M11-73, or just M11, was presented in 1940. It was the direct successor of the GAZ-M1.
After WWII the M11-73 was replaced by the M20 Pobieda, which means Victory.
3485 cc L6 Chrysler engine.
Performance: 76 bhp.
C. 1370 kg.
Production GAZ M-1 series: 1936-1943.
Production GAZ M11-73 series: 1940-1941/1945-1948.
Without reg. number.
Photo taken from:
The Complete Encyclopedia of Motorcars 1885 to the Present, London, Ebury Press, 1973.
Original photo source: NAMI, Moscow.
Original photographer, place and date unknown.
(book was a gift from Karel, Dec. 2024).
Halfweg, Jan. 12, 2025.
© 2025 Sander Toonen Halfweg | All Rights Reserved
Royal Insurance Building, Liverpool
From Wikipedia, the free encyclopedia
Built1896–1903
Built forRoyal Insurance Company
ArchitectJames F. Doyle
Architectural style(s)Neo-Baroque
Listed Building – Grade II*
Designated28 June 1952
Reference no.1070582
Royal Insurance Building,
The Aloft Liverpool Hotel, formerly the Royal Insurance Building, is a historic building located at 1-9 North John Street, Liverpool, Merseyside, England. It was built as the head office of the Royal Insurance Company.
History
The building was constructed between 1896 and 1903 as the head office of the Royal Insurance Company (Since 1996 part of the ″RSA Insurance Group″). The design was the result of a competition won by James F. Doyle in 1895. The assessor for the competition was Norman Shaw, who was retained as an advisory architect for the project, but it is uncertain what part he played in it. The building is constructed around a steel frame and is the earliest example of this type of construction in the United Kingdom. It ceased to be used by the late 1980s, and its condition deteriorated so much that it was placed on the Buildings at Risk Register of English Heritage.
In 2013 its freehold was bought by Liverpool City Council, and it was converted it into a hotel. It opened as the Aloft Liverpool Hotel on 29 October 2014. At the 20 years of the register, the renovation of the Royal Insurance Building was named as one of the successful rescues.
Architecture
Constructed around a steel frame, the building is in Portland stone, with a granite basement and ground floor. Its architecture is described as "sumptious Neo-Baroque on the grandest scale". The building is in four storeys with a basement and an attic. Its long front on North John Street has eleven bays, with three bays on Dale Street. The ground floor and basement are rusticated. The windows are three-light sash windows with round heads. Those on the first floor have Gibbs surrounds and iron balconies. In the second and third floors the windows are recessed behind a Doric colonnade and entablature. In the attic are dormers. Some of these have architraves, keystones, and either segmental or triangular pediments; the others are flat-topped and contain casement windows. The entrance is on the second bay from the left in North John Street. The doorway has Doric columns and is round-headed. The first floor contains a round-headed window surrounded by a portico with a broken segmental pediment containing carved figures. Above this bay rises a three-stage campanile bearing an octagonal cupola with a gilded dome. On the Dale Street façade is a Venetian window. The second floor contains a frieze designed by C. J. Allen depicting themes relating to insurance. At the corners of this front are octagonal turrets with cupolas and finials. Between the turrets at attic level are three round-headed windows with rusticated Ionic pilasters, an entablature, and an iron balcony.
The interior contains the former General Office on the ground floor which, because of the steel frame, is free from any columns. Above this, the former Board Room has a tunnel vault. Both rooms are decorated with stucco in 17th-century style. The building is recorded in the National Heritage List for England as a designated Grade II* listed building.
There is an earlier Royal Insurance Building, dating from 1839, in nearby Queen Avenue, also Grade II* listed.
Israel Museum
From Wikipedia, the free encyclopedia
Jump to navigationJump to search
Not to be confused with Eretz Israel Museum.
The Israel Museum, Jerusalem
Israel museum.JPG
Established1965
LocationJerusalem
Coordinates31.772379°N 35.204524°E
TypeArt and history
VisitorsMore than one million in one year (2011)[1]
DirectorIdo Bruno - Director
Websitewww.imj.org.il/en/
The Israel Museum (Hebrew: מוזיאון ישראל, Muze'on Yisrael) was established in 1965 as Israel's national museum. It is situated on a hill in the Givat Ram neighborhood of Jerusalem, ajacent to the Bible Lands Museum, the Knesset, the Israeli Supreme Court, and the Hebrew University of Jerusalem.
Among the unique objects on display are the Venus of Berekhat Ram; the interior of a 1736 Zedek ve Shalom synagogue from Suriname; necklaces worn by Jewish brides in Yemen; a mosaic Islamic prayer niche from 17th-century Persia; and a nail attesting to the practice of crucifixion in Jesus’ time.[2] An urn-shaped building on the grounds of the museum, the Shrine of the Book, houses the Dead Sea Scrolls and artifacts discovered at Masada. It is one of the largest museums in the region.
Contents
1History
2Archaeology Wing
3Shrine of the Book
4Second Temple model
5Fine Arts Wing
5.1European, Modern, and Israeli art
6Jack, Joseph, and Morton Mandel Wing for Jewish Art and Life
6.1Isidore and Anne Falk Information Center for Jewish Art and Life
7Art Garden
8Youth Wing
9Rockefeller Archaeological Museum and the Ticho House
10Management
10.1Funding
10.2Attendance
11Prizes awarded by the Museum
12Notable staff
13See also
14Further reading
15References
16External links
History
Jerusalem mayor Teddy Kollek was the driving spirit behind the establishment of the Israel Museum, one of the leading art and archaeology museums in the world. The Museum houses works dating from prehistory to the present day in its Archaeology, Fine Arts, and Jewish Art and Life Wings, and features extensive holdings of biblical and Land of Israel archaeology.[2] Since its establishment in 1965, the Museum has built up a collection of nearly 500,000 objects, representing a broad sample of world material culture.[3]
On October 25, 2017, Prof. Ido Bruno was appointed Director of the Israel Museum in Jerusalem as the Anne and Jerome Fisher Director. Bruno served as a professor in the Industrial Design Department of the Bezalel Academy of Arts & Design, Jerusalem. He brings to the position decades of experience as a curator and designer of exhibitions presented in Israel and across the world with a focus on art, archeology, science, and history. He was unanimously elected by the Museum’s Board of Directors, chaired by Isaac Molho, following an extensive search and review process of candidates from Israel and abroad. Bruno assumed his position at the Museum in November 2017.[4]
James S. Snyder, former Deputy Director of the Museum of Modern Art in New York, was appointed director of the museum in 1997.[5]
From 1965, the museum was housed in a series of masonry buildings designed by the Russian-born Israeli architect Alfred Mansfeld. A $100-million campaign to renovate the museum and double its gallery space was completed by Israeli architects Efrat-Kowalsky Architects who renovated the existing buildings [6] in July 2010.[7] The wings for archaeology, the fine arts, and Jewish art and life were completely rebuilt and the original buildings were linked through a new entrance pavilion. The passageways that connect between the buildings and five new pavilions were designed by James Carpenter.[8]
New Wing Exterior with Anish Kapoor sculpture
Heliodorus Stele
The 19th Century Room
The museum covers nearly 50,000 sq. meters and attracts 800,000 visitors a year, including 100,000 children who visit and attend classes in its Youth Wing.[citation needed]
Archaeology Wing
The Samuel and Saidye Bronfman Archaeology Wing tells the story of the ancient Land of Israel, home to peoples of different cultures and faiths, using unique examples from the Museum’s collection of Holy Land archaeology, the foremost holding in the world. Organized chronologically, from prehistory through the Ottoman Empire, the transformed wing presents seven “chapters” of this archaeological narrative, weaving together momentous historical events, cultural achievements, and technological advances, while providing a glimpse into the everyday lives of the peoples of the region. This narrative is supplemented by thematic groupings highlighting aspects of ancient Israeli archaeology that are unique to the region’s history, among them Hebrew writing, glass, and coins. Treasures from neighboring cultures that have had a decisive impact on the Land of Israel – such as Egypt, the Near East, Greece and Italy, and the Islamic world – are on view in adjacent and connecting galleries. A special gallery at the entrance to the wing showcases new findings and other temporary exhibition displays.
Highlights on view include: Pilate Stone, "House of David” inscription (9th century BCE), A comparative display of two shrines (8th–7th century BCE), The Heliodorus Stele (178 BCE), Royal Herodian bathhouse (1st century BCE), Hadrian’s Triumph: Inscription from a triumphal arch (136 CE), the Mosaic of Rehob (3rd century CE) and Gold-glass bases from the Roman Catacombs (4th century CE), the Ossuary of Jesus son of Joseph.[9]
From Wikipedia, the free encyclopedia
The SS Nieuw Amsterdam
S.S. Nieuw Amsterdam
Career (Netherlands)
Flag of the Netherlands.svg
Name: Nieuw Amsterdam
Namesake: New Amsterdam (New York)
Operator: Holland America Line
Builder: N.V. Rotterdam Drydock Company, Rotterdam, Netherlands
Laid down: January 5, 1936
Launched: April 10, 1937
Christened: April 10, 1937
Maiden voyage: May 10, 1938
Fate: Scrapped in 1974
General characteristics
Tonnage: 36,287 gross tons (36,667 tons after 1947 refit)
Length: 758 feet (231.5 m)
Beam: 88 feet (26.9 m)
Installed power: Single reduction geared turbines; 34,000 shp
Propulsion: Twin screws
Speed: 20.5 knots (38.0 km/h)
Capacity: 1,220: 556 First Class, 455 Second Class, 209 Third Class
The Nieuw Amsterdam was a Dutch ocean liner built in Rotterdam for the Holland America Line. This Nieuw Amsterdam, the second of four Holland America ships with that name, is considered by many to have been Holland America's finest ship.
Originally she was to be named Prinsendam, however during construction, Holland America Line decided to name their new flagship Nieuw Amsterdam, in honor of the Dutch settlement of New Amsterdam, modern day New York.
Construction on the new liner was carried out at the N.V. Rotterdam Drydock Company. Christened by Queen Wilhelmina in April 1937, Nieuw Amsterdam was, at 36,982 tonnes, the largest liner ever constructed in the Netherlands up to that time. Proudly she was dubbed the Dutch "Ship of peace" since there were no provisions for possible war use incorporated in her design.
Interior[edit]
The Nieuw Amsterdam was the Netherlands' "ship of state", just as the Normandie was France's, the Queen Mary was Britain's and United States was the United States', and numerous Dutch artists vied for the honor of creating some part of the ship.
The first-class dining room aboard the Nieuw Amsterdam
Their creation emerged in the spring of 1938, a light-colored and very spacious ship throughout, and although she had spacious public rooms, the colour scheme used gave her an even larger feel. Modern in every way, her owners proclaimed her "the ship of tomorrow". She followed the Art Deco trend of the day in both interior decorations and exterior design. The interiors were distinguished by fluorescent lighting, aluminum motifs, and gentle pastels throughout the ship that created an understated elegance that would make the liner a favorite among seasoned transatlantic passengers.[1]
One of the ship’s centerpieces was the first class restaurant, having a Moroccan leather ceiling which was adorned by numerous Murano glass light fixtures, and columns covered in gold leaf. Tinted mirrors, ivory walls and satinwood furniture all contributed to create the luxurious atmosphere. The restaurant had no portholes or windows facing the open sea, making it depend solely on artificial illumination. This might sound a bit odd, but it was just the same in the first class restaurant on board the fabulous Normandie of 1935.[2] There also were two swimming pools on board, one outdoor and the other indoors on E-deck. It featured expensive Delft tiling which was an impressive sight.
Passengers must have found it difficult to believe they were at sea when in the air-conditioned First Class Theater. The deeply cushioned seats commanded an unobstructed view of the stage, and the egg-shaped contour of the auditorium took advantage of the latest in scientific sound-proofing materials and amplifying equipment to ensure perfect acoustics for concerts, dramatic performances and pre-release motion pictures. Found at the front end of the Theatre was a striking mural in red, black and gold by Reyer Stolk. The Nieuw Amsterdam was the second ship in the world after the Normandie to boast a theater, a feature the larger and faster Queen Mary did not have.
A favorite rendezvous of many Nieuw Amsterdam passengers was the handsome First Class Smoking Room with its rich Circassian walnut paneling and deep, luxurious armchairs and settees. Flanked by two enclosed sun verandas extending to the sides of the ship, the Smoking Room had its own modern bar stocked with a connoisseur choice of fine liquors.
First Class staterooms on the Nieuw Amsterdam were unusually attractive, ranging in size from cozy single person cabins to elaborate cabins-de-luxe. The handsome and modern decorative scheme made the cabins comfortable spots for daytime and evening relaxation. All First Class cabins on Nieuw Amsterdam had a private bathroom, a unique feature which no previous liner could boast.
Early career[edit]
On April 23, 1938, the Nieuw Amsterdam set out on her sea trials, which were to take place on the North Sea. Testing her speed and manoeuvring capability, the new vessel turned out to be all that she was supposed to be. Upon her return from the sea trials, the Nieuw Amsterdam was transferred to Holland America ownership and officially registered in the Dutch merchant fleet.
The sleek new liner's maiden voyage was set for May 10, 1938, and upon her arrival in New York she immediately won adulation and acclaim.
Although she was neither as large or fast as many of her contemporaries, she was to be a popular liner for the Dutch and was showered with superlatives. Her sleek outline and two slim funnels provided a striking profile and she soon garnered a loyal following amid stiff competition from great liners such as Cunard's Queen Mary and the superb Normandie of the French Line. Despite the fierce competition, Nieuw Amsterdam proved to be one of the few money-making vessels of the day.[3]
Wartime service[edit]
The Netherlands’ “ship of peace” was not to enjoy the praise lavished on her for long. After only seventeen voyages, Nieuw Amsterdam was laid up at Hoboken, New Jersey in 1939 after the German invasion of Poland. She would be idle for only a year, however, and was requisitioned by the British Ministry of Transport after Holland fell to Hitler’s armies. She would spend the remainder of the war years as a troop transport, despite the fact she had been constructed without the consideration of ever being used in a military capacity. During the course of the conflict she would transport over 350,000 troops and steam some 530,452 nautical miles (982,397 km) before being returned to the Holland America Line in 1946.
Refitting the Nieuw Amsterdam[edit]
The Nieuw Amsterdam triumphantly returned to her home port of Rotterdam on April 10, 1946. Fifteen weeks were required to remove the troop fittings: the special kitchens, alarm systems, hammocks, and 36 guns.
Then 2,000 tons of furniture and decorations were shipped to the Netherlands from wartime storage in San Francisco. The furnishings were for the most part in very poor condition, a result of six years of neglect. About 3,000 chairs and 500 tables were sent back to their original builders for reupholstering and refinishing. One quarter of the furnishings had to be replaced entirely.
Factories and warehouses in Europe combed their supplies for materials and fabrics, much of which had been concealed from the Nazis during the occupation. Many smaller parts, such as hinges and clamps, had to be made by hand, since the machinery that once made them had been stolen or destroyed by the enemy.
The first-class main hall aboard the Nieuw Amsterdam
The entire rubber flooring was renewed, as was nearly all of the carpeting. All of the steel work was scaled and preserved and all piping cleaned. All ceilings and floors were removed; all of the liners 374 bathrooms were rebuilt. In the passenger spaces the wood paneling, which had been scratched and mutilated, was sanded down to half its thickness and relacquered. All the cabin's closets and fixtures were replaced. The entire electrical wiring system was renewed.
Having been painted over for blackouts and cracked in tropical climates, 12,000 square feet (1,100 m2) of glass was refurbished. Even the hand rails had to be repolished to eradicate thousands of carved initials. The project was monumental, because of the material shortages and the decline of the number of skilled craftsmen.
On October 29, 1947, after 18 months at the shipyard, the Nieuw Amsterdam reentered transatlantic service. Over 100 liners were restored with similar efforts.
Post war career and demise[edit]
The Nieuw Amsterdam as a cruise ship
The refit took eighteen months and cost more than her original construction, but on October 29, 1947, the Nieuw Amsterdam was finally back on the transatlantic run. Her passenger accommodations had been slightly altered, and the ship emerged with a gross tonnage some 400 tons larger than before, ending up at 36,667.[4]
For the next twenty years Nieuw Amsterdam would enjoy a loyal following and financial success. Even when joined by a more contemporary fleet mate in 1959, the SS Rotterdam, the Nieuw Amsterdam still commanded a loyal following and remained one of the most popular ships on the north Atlantic. Her several refits in the 1950s ensured she remained in top condition and continued service despite her being near thirty years of age. In 1967 severe boiler problems seemed to indicate an end to the venerable liner’s career, however new US Navy surplus boilers were installed during a sixteen week shipyard period at Wilton-Fijenoord in Schiedam and her career continued.
Painting of the Nieuw Amsterdam
In the same decade jet travel had made continued Atlantic passenger runs impractical, so Nieuw Amsterdam was shifted to cruising in the Caribbean. Soon escalating operating cost and competition from newer cruise vessels meant an end to the grand liner’s service career. Nieuw Amsterdam had been an enduring icon on the North Atlantic for the better part of three decades—certainly her refined interiors and impeccable service added much to her appeal.
The ship sailed to the breakers in 1974
From Wikipedia, the free encyclopedia
USS Greer (DD-145)
History
United States
Namesake:James A. Greer
Builder:William Cramp & Sons, Philadelphia
Yard number:460
Laid down:24 February 1918
Launched:1 August 1918
Commissioned:
31 December 1918 to 22 June 1922
31 March 1930 to 13 January 1937
4 October 1939 to 19 July 1945
Struck:13 August 1945
Fate:Sold for scrapping, 30 November 1945
General characteristics
Class and type:Wickes-class destroyer
Displacement:1,165 tons
Length:314 ft 4 in (95.81 m)
Beam:30 ft 11 in (9.42 m)
Draft:9 ft (2.74 m)
Speed:35 knots (65 km/h)
Complement:133 officers and enlisted
Armament:4 × 4"/50 calibre guns (102 mm), 1 × 3 in (76 mm), 12 × 21 inch (533 mm) torpedo tubes.
USS Greer (DD–145) was a Wickes-class destroyer in the United States Navy, the first ship named for Rear Admiral James A. Greer (1833–1904). In what became known as the "Greer incident," she became the first US Navy ship to fire on a German ship, three months before the United States officially entered World War II. The incident led President Franklin D. Roosevelt to issue what became known as his "shoot-on-sight" order. Roosevelt publicly confirmed the "shoot on sight" order on 11 September 1941, effectively declaring naval war against Germany and Italy in the Battle of the Atlantic.
Greer was launched by William Cramp & Sons Ship & Engine Building Co., Philadelphia, 1 August 1918; sponsored by Miss Evelina Porter Gleaves, daughter of Rear Admiral Albert Gleaves; and commissioned 31 December 1918, Commander C. E. Smith in command.
Service history
1919 to 1941
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Greer's shake down took her to Azores, from which she rendezvoused with George Washington, carrying President Woodrow Wilson home from the Versailles Peace Conference, and escorted her to the United States. After exercises in coastal waters, Greer was assigned to Trepassy Bay, Newfoundland, for duties during a transatlantic flight by four Navy seaplanes, one of which, NC-4, safely completed the historic undertaking. After further training exercises and a European cruise, Greer was assigned to the Pacific Fleet, reaching San Francisco 18 November 1919.
Six months' duty with the Pacific Fleet terminated 25 March 1920, when Greer sailed to join the Asiatic Fleet. After standing by off Shanghai to protect American lives and property during riots there in May, Greer sailed to Port Arthur and Dairen on intelligence missions and returned to Cavite, Philippines, for fleet exercises. The destroyer returned to San Francisco 29 September 1921 via Guam, Midway, and Pearl Harbor. Greer decommissioned at San Diego 22 June 1922, and was placed in reserve.
Greer recommissioned 31 March 1930, Commander J. W. Bunkley in command. Operating with the Battle Fleet, she participated in a variety of exercises along the coast from Alaska to Panama, with an occasional voyage to Hawaii. Transferred to the Scouting Fleet 1 February 1931, she cruised off Panama, Haiti, and Cuba before being attached to the Rotating Reserve from August 1933 to February 1934. Training exercises, battle practice, and plane guard duty filled Greer's peacetime routine for the next 2 years. She sailed for the East Coast and duty with the Training Squadron 3 June 1936. After conducting Naval Reserve cruises throughout that summer, Greer sailed for the Philadelphia Navy Yard 28 September and decommissioned there 13 January 1937.
As war swept across Europe, Greer recommissioned 4 October 1939, Commander J. J. Mahoney in command, and joined Destroyer Division 61 as flagship. After patrolling the East Coast and Caribbean, Greer joined the Neutrality Patrol in February 1940. Detached from this duty 5 October, the destroyer patrolled the Caribbean that winter. She joined other American ships on operations in the North Atlantic early in 1941, out of Reykjavík, Iceland, and NS Argentia, Newfoundland. United States ships, as non-belligerents, could not attack Axis submarines; but, as the German High Command stepped up the pace of the war through the summer of 1941, Greer found herself involved in an incident which brought America's entry into the war nearer.
The Greer incident, September 1941
The "Greer incident" occurred 4 September. By all accounts, a German submarine (later identified as U-652) fired upon the Greer, but made no contact. When news of the encounter reached the United States, public concern ran high. Initial reports reported that a British aircraft aided in repelling the attack.
In response, Germany claimed "that the attack had not been initiated by the German submarine; on the contrary, ... the submarine had been attacked with depth bombs, pursued continuously in the German blockade zone, and assailed by depth bombs until midnight."[1] The communique implied that the US destroyer had dropped the first depth bombs.[1] Germany accused President Roosevelt of "endeavoring with all the means at his disposal to provoke incidents for the purpose of baiting the American people into the war."[2]
The United States Department of the Navy replied that the German claims were inaccurate and that "the initial attack in the engagement was made by the submarine on the Greer."[3] Roosevelt made the Greer incident the principal focus of one of his famed "fireside chats", where he explained a new order he issued as commander-in-chief that escalated America nearer to outright involvement in the European war. In Roosevelt's words:
The Greer was flying the American flag. Her identity as an American ship was unmistakable. She was then and there attacked by a submarine. Germany admits that it was a German submarine. The submarine deliberately fired a torpedo at the Greer, followed by another torpedo attack. In spite of what Hitler's propaganda bureau has invented, and in spite of what any American obstructionist organisation may prefer to believe, I tell you the blunt fact that the German submarine fired first upon this American destroyer without warning, and with the deliberate design to sink her.[4]
Declaring that Germany had been guilty of "an act of piracy,"[4] President Roosevelt announced what became known as his "shoot-on-sight" order: that Nazi submarines' "very presence in any waters which America deems vital to its defense constitutes an attack. In the waters which we deem necessary for our defense, American naval vessels and American planes will no longer wait until Axis submarines lurking under the water, or Axis raiders on the surface of the sea, strike their deadly blow—first."[4] He concluded:
The aggression is not ours. [Our concern] is solely defence. But let this warning be clear. From now on, if German or Italian vessels of war enter the waters, the protection of which is necessary for American defence, they do so at their own peril. . . . The sole responsibility rests upon Germany. There will be no shooting unless Germany continues to seek it.[4]
Senator David I. Walsh (Democrat–Massachusetts), isolationist Chair of the Senate Committee on Naval Affairs, scheduled a committee hearing to unearth the details of the incident, which prompted Admiral Harold R. Stark, Chief of Naval Operations, to issue a written report. Stark's account, made public in October 1941, confirmed that the Greer dropped its charges only after the submarine fired its first torpedo at it, but revealed that the Greer had gone in search of the submarine after its presence was noted by the British aircraft. Admiral Stark's report stated:
At 0840 that morning, Greer, carrying mail and passengers to Iceland, "was informed by a British plane of the presence of a submerged submarine about 10 miles [(16 km)] directly ahead. . . . Acting on the information from the British plane the Greer proceeded to search for the submarine and at 0920 she located the submarine directly ahead by her underwater sound equipment. The Greer proceeded then to trail the submarine and broadcast the submarine's position. This action, taken by the Greer, was in accordance with her orders, that is, to give out information but not to attack." The British plane continued in the vicinity of the submarine until 1032, but prior to her departure the plane dropped four depth charges in the vicinity of the submarine. The Greer maintained [its] contact until about 1248. During this period (three hours 28 minutes),the Greer manoeuvred so as to keep the submarine ahead. At 1240 the submarine changed course and closed the Greer. At 1245 an impulse bubble (indicating the discharge of a torpedo by the submarine) was sighted close aboard the Greer. At 1249 a torpedo track was sighted crossing the wake of the ship from starboard to port, distant about 100 yards [(100 m)] astern. At this time the Greer lost sound contact with the submarine. At 1300 the Greer started searching for the submarine and at 1512 . . . the Greer made underwater contact with a submarine. The Greer attacked immediately with depth charges.[5]
Stark went on to report that the result of the encounter was undetermined,[5] although most assumed from the German response that the sub had survived. In fact, U-652 had indeed survived and promptly headed west to participate in the devastating U-boat pack attack on convoy SC 42 in early September.[6]
Historian Charles A. Beard would later write that Admiral Stark's report to the Senate Committee "made the President's statement... appear in some respects inadequate, and, in others, incorrect."[7] In his postwar summary of the Stark report, Beard emphasised that (1) the Greer had chased the sub and held contact with the sub for 3 hours and 28 minutes before the sub fired its first torpedo; (2) the Greer then lost contact with the sub, searched, and after re-establishing contact two hours later, attacked immediately with depth charges, then (3) searched for three more hours before proceeding to its destination.[7]
The Stark report's account of how the Greer's engagement began caused Pulitzer-prizewinning New York Times reporter Arthur Krock to address it (and the Nazi sub engagements with the Kearny, and the Reuben James) when speaking about "who 'attacked' whom."[8][9] Krock defined the term "attack" as "an onset, an aggressive initiation of combat, a move which is the antithesis of 'defense.'"[8] "In that definition," he said, "all three of our destroyers attacked the German submarines."[8]
A 2005 book concluded that Senator Walsh's "very aggressive actions in the USS Greer case prevented war from breaking out in the Atlantic."[10]
1941 to 1945
Greer remained in the North Atlantic through 1941, shepherding convoys to and from MOMP, the mid-ocean meeting point at which American ships took over escort duties from the hard-pressed Royal Navy. After overhaul at Boston, she turned south 3 March 1942 to resume patrol duty in the Caribbean. In addition to regular escort duties, Greer performed many other tasks, including rescuing 39 victims of German U-boats. In May she stood guard off Pointe a Pitre, Guadaloupe, trying to keep the Vichy French government from getting Jeanne d'Arc to sea.
Sailing from Guantanamo Bay 23 January 1943, Greer sailed to Boston then headed for the Atlantic convoy duty. Departing NS Argentia, Newfoundland 1 March 1943, she escorted merchantmen for Northern Ireland. During heavy North Atlantic gales, Convoy SC 121 lost seven ships to three separate U-boat attacks before reaching Londonderry Port on 13 March. Greer then escorted 40 merchantmen on the return voyage without incident, and continued on to Hampton Roads 15 April with tanker Chicopee.
After exercises in Casco Bay, Greer departed New York City 11 May with a convoy of 83 ships. Reaching Casablanca, Morocco, 1 June, the destroyer patrolled off the North African port and then recrossed the Atlantic, arriving New York 27 June. After another run to Northern Ireland, Greer returned to New York 11 August.
After steaming to Norfolk, she sailed for the British West Indies 26 August to serve briefly as plane guard to Santee. She rendezvoused with a convoy in the Caribbean and headed for North Africa. Diverted to New York, she docked there 14 September. Routine training exercises turned into tragedy 15 October as Greer collided with Moonstone off the mouth of Indian River, Delaware Capes (35 miles (56 km) south-east of Cape May, New Jersey). Moonstone sank in less than 4 minutes, but Greer rescued all the crew but one.
After repairs, the destroyer escorted the Free French cruiser Gloire from New York to Norfolk. Greer sailed 26 December with another Casablanca-bound convoy and after an uneventful crossing returned to Boston 9 February 1944. This was the final transatlantic crossing for the old four-stack destroyer, as she and her sister ships were replaced by newer and faster escorts.
Convoys escorted
ConvoyEscort GroupDatesNotes
ON 2413–15 Oct 1941[11]from Iceland to Newfoundland prior to US declaration of war
SC 4816–17 Oct 1941[12]battle reinforcement prior to US declaration of war
ON 3722–30 Nov 1941[11]from Iceland to Newfoundland prior to US declaration of war
HX 16517–24 Dec 1941[13]from Newfoundland to Iceland
ON 512–11 Jan 1942[11]from Iceland to Newfoundland
HX 17016–17 Jan 1942[13]from Newfoundland to Iceland
SC 121MOEF group A33–12 March 1943[12]from Newfoundland to Northern Ireland
ON 175MOEF group A325 March-8 April 1943[11]from Northern Ireland to Newfoundland
Auxiliary service
The veteran destroyer spent the remainder of her long career performing a variety of necessary tasks in American waters. After a tour of submarine training duty at New London, Greer became plane guard for several new aircraft carriers during the summer of 1944. Operating from various New England ports, she served with Ranger, Tripoli, Mission Bay, and Wake Island. Sailing to Key West in February 1945, Greer continued plane guard duty until 11 June when she sailed to the Philadelphia Navy Yard.
Greer decommissioned 19 July 1945. Her name was struck from the Navy list 13 August and her hull was sold to the Boston Metal Salvage Company of Baltimore, Maryland on 30 November 1945.
Awards
Greer received one battle star for her World War II service.
As of 2017, no other ship in the United States Navy has borne this name.
Children's Encyclopedia, edited by Arthur Mee, and published in 10 volumes by the Educational Book Company, London. It was published from 1908 to 1964
Chambers’s Encyclopaedia - a Dictionary of Universal Knowledge for the People. (1868).
Illustrated with Maps and numerous Wood Engravings..
Published by W. And R. Chambers, London. Half leather bound, 10 Vols total 8400 pages, 18cm x 26cm.
From Wikipedia, the free encyclopedia
LocationAstoria, Oregon, U.S.
Coordinates46°10′53″N 123°49′03″WCoordinates: 46°10′53″N 123°49′03″W
Built1926, 95 years ago
NRHP reference No.74001681
Added to NRHPMay 2, 1974
The Astoria Column is a tower in the northwest United States, overlooking the mouth of the Columbia River on Coxcomb Hill in Astoria, Oregon. Built in 1926, the concrete and steel structure is part of a 30-acre (12 ha) city park. The 125-foot (38 m)-tall column has a 164-step spiral staircase ascending to an observation deck at the top and was added to the National Register of Historic Places on May 2, 1974.
History
The tower was built in 1926 with financing by the Great Northern Railway and Vincent Astor, the great-grandson of John Jacob Astor, in commemoration of the city's role in the family's business history. Patterned after the Trajan Column in Rome (and Place Vendôme Column in Paris), the Astoria Column was dedicated on July 22, 1926.[1][2][3] In 1974, the column was listed in the National Register of Historic Places.[4] The murals that make up the column were refurbished in 1995 and a granite plaza was added in 2004.[5]
The column was one of a series of monuments erected by Great Northern Railway in 1925 and 1926.[6]
The 125-foot-tall (38 m) column stands atop 600-foot (180 m) Coxcomb Hill and includes an interior spiral staircase that leads to an observation deck at the top.[1] The spiral sgraffito frieze on the exterior of the structure has a width of nearly seven feet (2.1 m) and a length of 525 feet (160 m).[1] Painted by Electus D. Litchfield and Attilio Pusterla, the mural shows 14 significant events in the early history of Oregon, as well as 18 scenes from the history of the region, including Captain Gray's discovery of the Columbia River in 1792 and the Lewis & Clark Expedition.[1] The frieze starts with the "pristine forest" and concludes with the arrival of the railway in Astoria.[7]
Constructed of concrete, its foundation is twelve feet (3.7 m) deep.[5] Built at a cost of $27,134 ($391,860 in 2019 dollars), the tower has 164 steps to the top, where there is a replica of the State Seal of Oregon.[5]
A plaque near the column commemorates the pioneering Community Antenna Television (CATV) system built by local resident Leroy E. "Ed" Parsons, initially at the Hotel Astoria, in which twin-lead transmission wires redistributed the signal of KRSC-TV (now KING-TV) in Seattle, Washington to area homes. Former Astoria resident Byron Roman was also involved in early cable invention and distribution.[8][9]
The cast-iron spiral staircase inside the column was closed for safety reasons in November 2007. It was reopened to the public in time for the Regatta in August 2009.[10]
Following, a text, in english, from Wikipedia, the Free Encyclopedia:
en.wikipedia.org/wiki/Teatro_Colón
Teatro Colón
The Teatro Colón (Spanish) (Columbus Theatre) is the main opera house in Buenos Aires, Argentina, acoustically considered to be amongst the five best concert venues in the world.[1]
The present Colón replaced an original theatre which opened in 1857. Towards the end of the century it became clear that a new theatre was needed and, after a 20-year process, the present theatre opened on May 25, 1908, with Giuseppe Verdi's Aïda.
The Teatro Colón was visited by the foremost singers and opera companies of the time, who would sometimes go on to other cities including Montevideo, Rio de Janeiro and São Paulo.
After this period of huge international success, the theatre's decline became clear and plans were made for massive renovations. After an initial start of works to restore the landmark in 2005, the theatre was closed for refurbishment from October 2006 to May 2010. It re-opened on May 24, 2010, with a program for the 2010 season.[2]
The first Teatro Colón:
By the mid-1850s, with the flourishing of opera performed by touring companies, the need for a new theatre became obvious. In 1854 alone, 53 different operas were performed in the city. The first Teatro Colón building, overlooking Plaza de Mayo, was started in 1856 and opened on April 27, 1857, with Verdi's La traviata, just four years after its Italian premiere. The production starred Sofia Vera Lorini as Violetta and Enrico Tamberlik as Alfredo. The theatre was designed by Charles Pellegrini, and proved to be a successful venue for over 30 years, with 2,500 seats and the inclusion of a separate gallery reserved only for women.
Before the construction of the current Teatro Colón, opera performances were given in several theatres, of which the first Teatro Colón and the Teatro Opera were the most important. The principal company that performed at the Teatro Opera moved to the Teatro Colón in 1908. However, important companies also performed at the Teatro Politeama and the Teatro Coliseo which opened in 1907.
The present Teatro Colón:
Characteristics:
The theatre is bounded by the wide 9 de Julio Avenue (technically Cerrito Street), Libertad Street (the main entrance), Arturo Toscanini Street, and Tucumán Street.[3] It is in the heart of the city on a site once occupied by Ferrocarril Oeste's Plaza Parque station.
The auditorium is horseshoe-shaped, has 2,487 seats (slightly more than the Royal Opera House in Covent Garden, London), standing room for 1,000 and a stage which is 20 m wide, 15 m high and 20 m deep.[4] The Colon's acoustics are considered to be so good as to place it in the top five performance venues in the world.[1] Luciano Pavarotti held a similar opinion[5]
Opening and subsequent history:
The present theatre, the second with that name, opened on May 25, 1908, after twenty years under construction,[6] and was inaugurated with Aida by the Italian company directed by Luigi Mancinelli and tenor Amadeo Bassi, soprano Lucia Crestani (as Aida). The second performance was Thomas' Hamlet with the baritone Titta Ruffo[7] During the inaugural season seventeen operas were performed with famous stars such as Ruffo, Feodor Chaliapin in Boito's Mefistofele, Antonio Paoli in Verdi's Otello, and the world
The cornerstone of the present Teatro Colón was laid in 1889 under the direction of architect Francesco Tamburini and his pupil, Vittorio Meano, who designed a theater in the Italian style on a scale and with amenities which matched those in Europe. However, delays followed due to financial difficulties, arguments regarding the location, the death of Tamburini in 1891, the murder of Meano in 1904 and the death of Angelo Ferrari, an Italian businessman who was the financing the new theatre. The building was finally completed in 1908 under the direction of the Belgian architect Julio Dormal who made some changes in the structure and left his mark in the French style of the decoration. The bas-reliefs and busts on the facade are the work of sculptor Luigi Trinchero.
The theatre's opening on May 25, the Día de la Patria in Argentina, featured a performance of Verdi's Aida and it quickly became a world-famous operatic venue rivaling La Scala and the Metropolitan Opera in attracting most of the world's best opera singers and conductors.
Ballet stars performed at the Colón alongside Argentine dancers and classical instrumentalists. The tragic 1971 aviation death of two of the best known of these, Norma Fontenla and José Neglia, was commemorated with a monument in neighboring Lavalle Square.
With excellent acoustics and modern stage areas, the theatre's interior design features a rich scarlet and gold decor. The cupola contains frescoes painted in 1966 by the 20th-century artist Raúl Soldi during renovation work.
Refurbishment, 2005 - 2010:
In recent years, given the political and economic circumstances of Argentina, the Colón Theatre has suffered considerably, but a period of slow recovery began. The theatre underwent massive phased remodeling of both interior and exterior, initially while the house was still open, but production activities ceased at the end of October 2006 to allow full refurbishment.
Initially, "what had been planned as an 18-month, $25-million renovation with 500 workers, scheduled for a May 2008 reopening with Aida, became a three-year $100-million extravaganza with 1,500 workers including 130 professional architects and engineers."[8] In addition, an exterior open-air stage was planned for an opening in 2011.[8] In all, 60,000 square metres (645,835 sq ft) underwent updating, both inside and out.
Some of the last performances immediately before closure of the theatre's building were Swan Lake on 30 September with the Ballet Estable del Teatro Colón and the Buenos Aires Philharmonic (Orquesta Filarmónica de Buenos Aires).[9] and, on 28 October, the opera Boris Godunov was given featuring Orquesta Estable del Teatro Colón and the house chorus.[10]
The theatre's final performance before its closure for refurbishment works in 2005 was a concert on November 1 starring folklore singer Mercedes Sosa in performance with the Argentine National Symphony Orchestra, conducted by Pedro Ignacio Calderón.
While it was originally planned to reopen in time for the centenary on 25 May 2008, delays prevented this, and the house was finally reopened with a gala concert and 3D animations on 24 May 2010, the eve of its own 102nd birthday and the Argentina Bicentennial. Tchaikovsky's Swan Lake and Act 2 of Puccini's La bohème were performed. A private concert to test the acoustics attended by employees, architects, and others involved in the renovation occurred on 6 May 2010.[11]
References
Notes
^ a b Long, Marshall, "What is So Special About Shoebox Halls? Envelopment, Envelopment, Envelopment", Acoustics Today, April 2009, pp.21-25. The other venues are Berlin's Konzerthaus, Vienna's Musikverein, the Concertgebouw in Amsterdam, and Boston's Symphony Hall.
^ Robert Turnbull, "An Operatic Drama Performed Mostly Offstage", New York Times, 16 June 2010 Retrieved 10 Nov 2010
^ History of the Colón Theatre (in English)
^ Official website
^ Luciano Pavarotti's reaction to the acoustics in Lynn, p.30: The theatre's "acoustics (have) the greatest defect: its acoustics are perfect! Imagine what this signifies for the singer: if one sings something bad, one notices immediately"
^ History of the Teatre Colon from haciendoelcolon.buenosaires.gob.ar (in Spanish) Retrieved 9 Nov 2010
^ Teatro Colon website (in Spanish)
^ a b Lynn, p. 29
^ Official Schedule for September 2006
^ Official Schedule for October 2006
^ Daniel Fernández Quinti (May 7, 2010). "Probaron que la acústica del Teatro Colón está intacta". Clarín (Buenos Aires). Retrieved 5 July 2010 (in Spanish).
Sources
Caamaño, Roberto. Historia del Teatro Colón, Vol I-III, Cinetea, Buenos Aires, 1969.
Ferro, Valenti. Las voces del Teatro Colón, Buenos Aires, 1982
Garland, Marguerite. Mas allá del gran telón. Buenos Aires, 1990
Hoos, Monica, El Teatro Colón, 2003, ISBN 978-9879479032
Lynn, Karyl Charna, "Restoration Drama", Opera Now, (London) Sept/Oct 2010, pp. 28–30
Matera, J. H., Teatro Colón Años de gloria 1908-1958, Buenos Aires, 1958. ML1717.8.B9 T4
Moyano, Julia. Teatro Colon A telon abierto. ISBN 987-97920-0-9
Pollini, Margarita. Palco, cazuela y paraíso. Las historias más insólitas del Teatro Colón. 2002
Sessa, Aldo, Manuel Mujica Láinez, Vida y gloria del Teatro Colón. 1983. ISBN 9789509140011
Sessa, Aldo. El mágico mundo del Teatro Colón. 1995. ISBN 9509140228
Sessa, Aldo. ALMAS, ANGELES Y DUENDES DEL TEATRO COLON, ISBN 978-950-9140-50-9
A seguir, um texto, em português, sobre o Teatro Colón, da Wikipédia, a Enciclopédia Livre:
Teatro Colón
pt.wikipedia.org/wiki/Teatro_Colón
O Teatro Colón (em português Teatro Colombo) é a mais importante sala de espetáculos de Buenos Aires, Argentina. Inaugurado em 25 de maio de 1908, é um dos teatros de ópera mais famosos do mundo, desenhado por Francesco Tamburini e Víctor Meano.
Com capacidade para 3000 pessoas e em um entorno de estilo eclético, mescla do neo-renascentismo italiano e do barroco francês, o desenho do teatro apresenta uma rica decoração em dourado e escarlate. A cúpula mostra figuras pintadas pelo reconhecido artista contemporâneo Raúl Soldi.
Ao longo de sua história o Teatro Colón tem abrigado grandes personagens como Arturo Toscanini, Jane Bathori, Enrico Caruso, Maria Callas, Plácido Domingo, Luciano Pavarotti e Astor Piazzolla.
Também é um habitual cenário de espectáculos de balé e, ocasionalmente, de atos oficiais e privados e de música popular. Seu status artístico está arraigado de tal forma no imaginário coletivo argentino que se saúda ao grito de ¡Al Colón! aos triunfadores das mais diversas expressões culturais.
Desde novembro de 1989 o teatro é um dos monumentos históricos nacionais.[1]
Dada a precária situação econômica argentina, nos últimos anos o Teatro tem vivido momentos de dificuldade, sendo atacado por alguns setores que tem posto em questão o financiamento estatal de seu elevado custo. Atualmente, em 2006, está passando por uma remodelação integral da sala, pelo qual sua atividade será limitada e fechará suas portas até 25 de maio de 2008 quando reabrirá para o Centenário de sua inauguração.
Atualmente (2011), após vários anos das obras de restauração, o Teatro Colon encontra-se em pleno vigor de sua monumental arquitetura. O cuidado trabalho de restauro pode ser apreciado nas visitas guiadas, que reabriram há poucos meses. O suntuoso foyer se abre para uma das salas de espetáculos mais imponentes do mundo. Além da qualidade e nobreza dos acabamentos o próprio tamanho impressiona. Perto dele o Operá de Paris parece pequeno.
Dizem os portenhos que também sua acústica é das melhores do mundo.
Referências
↑ Decreto do Poder Executivo Nacional 1259/89
Veja mais no site oficial do Teatro Colón, no endereço a seguir:
From Wikipedia, the free encyclopedia
History
Weimar Republic
Laid down: 28 April 1928
Launched: 18 October 1929
Commissioned: 8 October 1931
Fate: Scuttled July 1946
General characteristics
Class and type: Leipzig-class cruiser
Displacement: 8,100 t (8,000 long tons; 8,900 short tons)
Length: 177 m (580 ft 9 in)
Beam: 16.3 m (53 ft 6 in)
Draft: 5.69 m (18 ft 8 in)
Propulsion:
Steam turbines and Diesels
3 shafts (Diesels on center shaft)
60,000 shp (45 MW) turbines + 12,400 hp (9.3 MW) diesels
Speed: 32 knots (59 km/h; 37 mph)
Range: 3,900 nmi (7,200 km; 4,500 mi) at 10 knots (19 km/h; 12 mph)
Complement:
26 officers
508 enlisted men
Armament:
9 × 15 cm (5.9") SK C/25 guns
2 × 8.8 cm (3.46") SK L/45 anti-aircraft guns
12 × 50 cm (20 in) torpedo tubes
120 mines
Armor:
Belt armor: 50 mm (2.0 in)
Deck: 30 mm (1.2 in)
Conning tower: 100 mm (3.9 in)
Aircraft carried: 2 × Arado 196 floatplanes
Service record
Operations:
Spanish Civil War
Operation Barbarossa
German Mine Sweeping Administration
Leipzig was the lead ship of her class of light cruisers built by the German navy. She had one sister ship, Nürnberg. Leipzig was laid down in April 1928, was launched in October 1929, and was commissioned into the Reichsmarine in October 1931. Armed with a main battery of nine 15 cm (5.9 in) guns in three triple turrets, Leipzig had a top speed of 32 knots (59 km/h; 37 mph).
Leipzig participated in non-intervention patrols during the Spanish Civil War. In the first year of World War II, she performed escort duties for warships in the Baltic and North seas. While on one of these operations in December 1939, the ship was torpedoed by a British submarine and badly damaged. Repairs were completed by late 1940, when she returned to service as a training ship. She provided gunfire support to the advancing Wehrmacht troops as they invaded the Soviet Union in 1941.
In October 1944, Leipzig collided with the heavy cruiser Prinz Eugen; the damage was so severe that the navy decided complete repairs were unfeasible. The ship was patched up to keep her afloat, and she helped to defend Gotenhafen from the advancing Red Army in March 1945. She then carried a group of fleeing German civilians, reaching Denmark by late April. After the end of the war, Leipzig was used as a barracks ship for minesweeping forces and was scuttled in July 1946.
Design
Leipzig recognition chart
Main article: Leipzig-class cruiser
Leipzig was 177 meters (581 ft) long overall and had a beam of 16.3 m (53 ft) and a maximum draft of 5.69 m (18.7 ft) forward. She displaced 8,100 metric tons (8,000 long tons; 8,900 short tons) at full combat load. Her propulsion system consisted of two steam turbines and four 7-cylinder MAN two-stroke double-acting diesel engines,[1] which were the basis for the unsuccessful US Navy Hooven-Owens-Rentschler design.[2] Steam for the turbines was provided by six Marine-type double-ended oil-fired boilers. The ship's propulsion system provided a top speed of 32 knots (59 km/h; 37 mph) and a range of approximately 3,900 nautical miles (7,200 km; 4,500 mi) at 10 knots (19 km/h; 12 mph) using only the diesel engines. Leipzig had a crew of 26 officers and 508 enlisted men.[3]
The ship was armed with nine 15 cm SK C/25 guns mounted in three triple gun turrets. One was located forward, and two were placed in a superfiring pair aft, all on the centerline. They were supplied with between 1,080 and 1,500 rounds of ammunition, for between 120 and 166 shells per gun. As built, the ship was also equipped with two 8.8 cm SK L/45 anti-aircraft guns in single mounts; they had 400 rounds of ammunition each. Leipzig also carried four triple torpedo tube mounts located amidships; they were supplied with twenty-four 50 cm (20 in) torpedoes. She was also capable of carrying 120 naval mines.[4] The ship was protected by an armored deck that was 30 mm (1.2 in) thick amidships and an armored belt that was 50 mm (2.0 in) thick. The conning tower had 100 mm (3.9 in) thick sides.[3]
Service history
Leipzig was laid down at the Reichsmarinewerft shipyard in Wilhelmshaven on 28 April 1928 and launched on 18 October 1929. She was commissioned into the Reichsmarine on 8 October 1931.[1] The ship trained extensively in the Baltic Sea throughout 1932 and 1933, and also made several goodwill cruises overseas. In 1934, she and the cruiser Königsberg made the first goodwill visit to the United Kingdom since the end of World War I.[5] In late 1934, Leipzig went into drydock for modifications. An aircraft catapult was installed on the aft superstructure and a crane for handling float planes replaced one of her boat derricks. The original single-mount 8.8 cm anti-aircraft guns were replaced with twin mounts.[6] These modifications were made in Kiel. In early 1935, Leipzig joined the old pre-dreadnought battleship Schlesien, the new heavy cruiser Deutschland, and the light cruiser Köln for major fleet exercises.[5]
Later in 1935, Adolf Hitler visited the ship during training maneuvers with the rest of the fleet. The ship joined her sister Nürnberg and Köln for exercises in the Atlantic Ocean in early 1936. In August, Leipzig took part in the non-intervention patrols off Spain during the Spanish Civil War. She conducted several patrols between August 1936 and June 1937,[5] and in late June, she was allegedly attacked with torpedoes; this prompted Germany and Italy to withdraw from the non-intervention patrols.[7] She thereafter returned to Germany and went into the Baltic Sea for training, which lasted through 1938. In March 1939, she participated in the annexation of Memel which Germany had demanded from Lithuania. The following month, she joined the battleship Gneisenau, the cruiser Deutschland, and several destroyers and U-boats for major exercises in the Atlantic. Additional maneuvers were conducted through the middle of 1939.[5]
World War II
At the outbreak of World War II in September 1939, Leipzig was assigned to the blocking force that was intended to prevent the escape of the Polish Navy from the Baltic; they were unsuccessful. Leipzig thereafter went to the North Sea, where she and the other light cruisers laid a series of defensive minefields. This task lasted through the end of the month, after which she returned to the Baltic for training maneuvers.[5] On 17–19 November, Leipzig covered a minelaying operation in the North Sea. She joined Deutschland, Köln, and three torpedo boats for a sweep in the Skagerrak for Allied shipping on 21–22 November. Leipzig was tasked with escorting the battleships Scharnhorst and Gneisenau through the Skagerrak, and with covering their return on the 27th.[8]
On 13 December, Leipzig was tasked with escorting a flotilla of destroyers and other small vessels as they proceeded through the Skagerrak to lay a minefield. While en route, the British submarine HMS Salmon attacked the German warships, and at 11:25, hit Leipzig with a torpedo.[5] The torpedo hit Leipzig just below the waterline, where a bulkhead separated two of the ship's three boiler rooms. The explosion bent her armored deck and damaged her keel; some 1,700 t (1,700 long tons; 1,900 short tons) of water flooded the ship, and the damage cut electrical power to the ship's pumping system. The two boiler rooms were flooded, steam lines were damaged, and the port turbine was shut down. At around the same time, her sister Nürnberg was also torpedoed. A pair of destroyers arrived to escort the damaged cruisers back to port; an hour after Leipzig was torpedoed, one of the escorting destroyers was also torpedoed, just outside the mouth of the Elbe. Another torpedo passed just ahead of Leipzig, nearly hitting the damaged cruiser.[9]
After safely returning to port in Kiel, Leipzig was taken into the Deutsche Werke shipyard for repairs. She was decommissioned while under repair and reclassified as a training ship. To accommodate additional training crews, four of the ship's boilers were removed. She returned to service in late 1940.[9] In early June 1941, she escorted the heavy cruiser Lützow (formerly Deutschland) to Norway. After she returned to the Baltic, she and the cruiser Emden provided artillery support to advancing German ground forces during Operation Barbarossa, the invasion of the Soviet Union.[10] In September, she supported the invasion of the Baltic islands in the West Estonian archipelago. While bombarding Soviet positions on Moon Island, Leipzig was attacked unsuccessfully by the Soviet submarine Shch-317.[11] In late September, the ship joined the German Baltic Fleet, centered on the battleship Tirpitz; the fleet was tasked with blocking a possible Soviet attempt to break out of the Baltic.[12] Leipzig returned to Kiel in October, and conducted maneuvers with the heavy cruiser Admiral Scheer. Leipzig became the flagship of the training fleet in 1942; she spent the year performing training duties.[10]
Leipzig was decommissioned briefly in March 1943, and recommissioned on 1 August. She was in need of an overhaul, however, and the work significantly delayed her return to operational status. Furthermore, an outbreak of meningitis killed two crewmen and created an additional delay. Leipzig returned to escort duties in the Baltic in mid-September 1944. Her first operation covered troop transports between Gotenhafen and Swinemünde in company with Admiral Scheer. On 14 October, Leipzig departed Gotenhafen, bound for Swinemünde, to take on a load of mines. In a heavy fog, she collided with the heavy cruiser Prinz Eugen, which was steaming at 20 knots (37 km/h; 23 mph). At the time of collision, Leipzig was switching from her diesel cruise engines to her steam turbine main engines, a process of first uncoupling the diesels from the shafts and then coupling turbines to the shafts, which left the ship temporary without propulsion drifting out of her fairway into the path of Prinz Eugen which was moving in the opposite way[13] Prinz Eugen struck C on her port side, just forward of her funnel, cutting her nearly in half - the forward point of the clipper bow of Prinz Eugen actually stuck out beyond the starboard side of Leipzig. The collision destroyed the number 3 (port) engine room, flooded a second engine room and killed or wounded 39 crewmen. The ships remained stuck fast for over a day, after which Leipzig was towed back to Gotenhafen.[14][15] The damage was so severe that repairs were deemed impractical, especially considering Germany's pressing military situation by late 1944. Only repairs to keep her afloat in the harbor were effected.[15]
Leipzig provided fire support to the defending German forces in March 1945, while Soviet Red Army forces advanced on the city. On 24 March, Leipzig was moved to Hela, laden with refugees; she was capable of steaming at only 6 knots (11 km/h; 6.9 mph). She was repeatedly attacked by Soviet aircraft, and Allied submarines attempted to torpedo her twice. She nevertheless safely reached Denmark on 29 April. Due to her poor state following the end of the war, she was used as a barracks ship for the men of the German Mine Sweeping Administration, tasked with clearing mines off the German coast. The battered ship was eventually towed out and scuttled in July 1946.[16]
"The Golden Pathway to a Treasury of Knowledge" by the International University Society of England, Canada and Australia. Printed in Great Britain. Undated. This is Volume IV. Our Wonderful World.
From Wikipedia, the free encyclopedia
Kaiser Wilhelm Monument.
The National Kaiser Wilhelm Monument (Kaiser-Wilhelm-Nationaldenkmal) was a memorial structure in Berlin dedicated to Wilhelm I, first Emperor of a unified Germany. It stood in front of the Stadtschloss from 1897 through 1950, when both structures were demolished by the GDR government.
The monument was an equestrian statue of the first German Emperor Wilhelm I, on the Spree Canal along the Eosander portal on the west side of the Berlin City Palace. The design of the memorial was directly influenced by Wilhelm I's grandson, Kaiser Wilhelm II, and the neo-baroque style of the memorial is the main work of sculptor Reinhold Begas, who had also designed the Victory Boulevard and the Bismarck National Memorial.
The planned Monument to Freedom and Unity is to be located on the base originally constructed for the monument.
Competitions and the intervention of the Emperor
Final concept by Gustav Halmhuber.
After the death of Wilhelm I in the Year of Three Emperors (1888) an open competition for the establishment of a central national monument to his memory was tendered the next year. The first competition, in which the architect Bruno Schmitz with the draft "Imperial Forum" was chosen,[1] did not bring the desired results. So in 1891 a second, limited bid to only eight selected artists was tendered. The location of the monument was laid down on the west side of the City Palace, along the Spree Canal. The design of Reinhold Begas and Gustav Halmhuber was eventually chosen.
When it became known that the Emperor desired to have one of his favorite artists, Reinhold Begas, added to the list of the original eight artists invited to submit designs for the second competition, four of those artists withdrew. As might be expected, Begas won the competition and contracted sculptor Wilhelm von Rümann and his students to assist with creating the statues for his memorial design. The architectural part of the design was devised by the Stuttgart architect Gustav Halmhuber, who won the competition with his collaborator Begas, even against the design submitted by favored court architect Ernst von Ihne.
In June 1894, construction began with the demolition of the houses that lined the street between the canal and Eosander Portal of the City Palace. On August 18, 1895, the 25th anniversary of the Battle of Gravelotte, the foundation stone for the memorial was laid. During the ten-day centennial celebrations held on the 100th anniversary of Wilhelm I birth, the monument was debuted on the late Emperor's birthday, 22 March 1897. The construction cost was four million marks, and represented a considerable sum when compared with the soon to be built Old Town Hall, which cost seven million marks to construct.
Description of the memorial design
The central point of the 21-meter-high (69 ft) monument was the 9-meter-high (30 ft) equestrian statue of the Emperor, to the left accompanied by a female representation of Peace holding the reins of his horse. The orientation of the equestrian statue was directly facing the Eosander portal (Portal III), which was the main entrance of the City Palace. This followed a similar pattern of statues around the palace, such as the monument of the Great Elector on the Elector Bridge which was aligned to the palace's Portal I; and the monument to Wilhelm I's father, King Frederick William III in the Lustgarten, which was aligned with the palace's Portal IV.
Around the equestrian statue's bronze pedestal, at the corners floated four Goddesses of Victory on balls. The front the pedestal bore the inscription "William the Great, German Emperor, King of Prussia 1861-1888" and on the back was the inscription "in gratitude and true love, the German people." On the granite steps of the substructure on the north was a colossal statue of War and to the south one of Peace, created by Eugen Boermel. On the four projecting corners guarded four lion statues. From the north, the rear part of the monument was the Spree Canal. There is a still preserved today the jetty, which was used for barges on the canal. Except for some ventilation shafts are no other entrances from the jetty to the vault under-structure of the monument.
The design was mockingly known by the nicknamed Wilhelm in the lions' den. This alluded to the compositional appeal of the central figure in a semicircle, which was similar to Briton Rivière recent painting Daniel's Answer to the King.
The entire memorial complex stood on a raised base of polished red granite from Sweden. This raised platform was nine steps up from the sidewalk and was suitable for national celebrations of all kinds.[2]
The equestrian statue was enclosed on three sides facing away from the palace by a sandstone hall formed by coupled Ionic columns, which were enclosed at the ends by two corner pavilions. To emphasize the terraced rise of the square even more,[2] the hall was increased in height by four meters. In the open and light design of the hall, only the corner pavilions were formed in a massive style. This allowed a good view on all sides of the equestrian statue and the palace beyond. The floor of the hall was covered by a sandstone mosaic floor.[2]
On the ledge of the front four groups of figures embodied the Kingdoms of Prussia (by Peter Breuer), Bavaria (by August Gaul), Saxony (by August Kraus) and Württemberg (by Peter Christian Breuer). The four groups on the back against the Spree represented trade and shipping (by Ludwig Cauer), art (by Hermann Hidding), science (by Karl Begas) and agriculture and industriousness (by Ludwig Cauer). The southern corner pavilion was crowned by the bronze quadriga of Bavaria, the work of Carl Hans Bernewitz. The counterpart on the northern corner pavilion, the four horse quadriga representing Borussia, created by John Goetz.
History until removal
During the November Revolution of 1918, the monument was damaged in parts. During the early days of the Weimar Republic the government decided to restore the monument instead of removing it. The monument came through The Second World War relatively undamaged. In the winter of 1949/50, the GDR's ruling party, the SED decided to demolish the monument to its base. The demolition was politically motivated, as was the case a short time later with the decision to demolish the City Palace. The base still exists today on the southwestern edge of the castle square and is a listed building. The base floor is partially decorated with mosaics that are now protected under a layer of asphalt from the elements.
In the underground vaults of the pedestal, street artists are known to leave their works, which can be visited at irregular intervals at one's own risk on descending a steep ladder into a revision shaft.
From the actual monument, the four lions survived and now are on display outside the lion house at the Berlin Zoo. Furthermore, one remaining eagle statue by August Gaul is now owned by the Mark Brandenburg Museum.[3]
Wat Pho, also spelled Wat Po, is a Buddhist temple complex in the Phra Nakhon District, Bangkok, Thailand. It is on Rattanakosin Island, directly south of the Grand Palace. Known also as the Temple of the Reclining Buddha, its official name is Wat Phra Chetuphon Wimon Mangkhalaram Rajwaramahawihan. The more commonly known name, Wat Pho, is a contraction of its older name, Wat Photaram
The temple is first on the list of six temples in Thailand classed as the highest grade of the first-class royal temples. It is associated with King Rama I who rebuilt the temple complex on an earlier temple site. It became his main temple and is where some of his ashes are enshrined. The temple was later expanded and extensively renovated by Rama III. The temple complex houses the largest collection of Buddha images in Thailand, including a 46 m long reclining Buddha. The temple is considered the earliest centre for public education in Thailand, and the marble illustrations and inscriptions placed in the temple for public instructions has been recognised by UNESCO in its Memory of the World Programme. It houses a school of Thai medicine, and is also known as the birthplace of traditional Thai massage which is still taught and practiced at the temple.
Wat Pho is one of Bangkok's oldest temples. It existed before Bangkok was established as the capital by King Rama I. It was originally named Wat Photaram or Podharam, from which the name Wat Pho is derived. The name refers to the monastery of the Bodhi tree in Bodh Gaya, India where Buddha is believed to have attained enlightenment. The date of the construction of the old temple and its founder are unknown, but it is thought to have been built or expanded during the reign of King Phetracha (1688–1703). The southern section of Wat Pho used to be occupied by part of a French Star fort that was demolished by King Phetracha after the 1688 Siege of Bangkok.
After the fall of Ayutthaya in 1767 to the Burmese, King Taksin moved the capital to Thonburi where he located his palace beside Wat Arun on the opposite side of the Chao Phraya River from Wat Pho. The proximity of Wat Pho to this royal palace elevated it to the status of a wat luang ('royal monastery').
In 1782, King Rama I moved the capital from Thonburi across the river to Bangkok and built the Grand Palace adjacent to Wat Pho. In 1788, he ordered the construction and renovation at the old temple site of Wat Pho, which had by then become dilapidated. The site, which was marshy and uneven, was drained and filled in before construction began. During its construction, Rama I also initiated a project to remove Buddha images from abandoned temples in Ayutthaya, Sukhothai, as well other sites in Thailand, and many of these retrieved Buddha images were kept at Wat Pho. These include the remnants of an enormous Buddha image from Ayuthaya's Wat Phra Si Sanphet destroyed by the Burmese in 1767, and these were incorporated into a chedi in the complex. The rebuilding took over seven years to complete. In 1801, twelve years after work began, the new temple complex was renamed Phra Chetuphon Vimolmangklavas in reference to the vihara of Jetavana, and it became the main temple for Rama I.
The complex underwent significant changes over the next 260 years, particularly during the reign of Rama III (1824-1851). In 1832, King Rama III began renovating and enlarging the temple complex, a process that took 16 years and seven months to complete. The ground of the temple complex was expanded to 56 rai (9.0 ha; 22 acres), and most of the structures now present in Wat Pho were either built or rebuilt during this period, including the Chapel of the Reclining Buddha. He also turned the temple complex into a public center of learning by decorating the walls of the buildings with diagrams and inscriptions on various subjects.: 90 The inscriptions were written by about 50 people from the court of Rama III and learned monks led by Supreme Patriarch Prince Paramanuchitchinorot (1790-1853), the abbot of Wat Pho, a Buddhist scholar, historian and poet. On 21 February 2008, these marble illustrations and inscriptions was registered in the Memory of the World Programme launched by UNESCO to promote, preserve and propagate the wisdom of the world heritage. Wat Pho is regarded as Thailand's first university and a center for traditional Thai massage. It served as a medical teaching center in the mid-19th century before the advent of modern medicine, and the temple remains a center for traditional medicine today where a private school for Thai medicine founded in 1957 still operates.
The name of the complex was changed again to Wat Phra Chetuphon Vimolmangklararm during the reign of King Rama IV. Apart from the construction of a fourth great chedi and minor modifications by Rama IV, there had been no significant changes to Wat Pho since. Repair work, however, is a continuing process, often funded by devotees of the temple. The temple was restored again in 1982 before the Bangkok Bicentennial Celebration.
Wat Pho is one of the largest and oldest wats in Bangkok covering an area of 50 rai or 80,000 square metres. It is home to more than one thousand Buddha images, as well as one of the largest single Buddha images at 46 metres (151 ft) in length. The Wat Pho complex consists of two walled compounds bisected by Chetuphon Road running in the east–west direction. The larger northern walled compound, the phutthawat, is open to visitors and contains the finest buildings dedicated to the Buddha, including the bot with its four directional viharn, and the temple housing the reclining Buddha. The southern compound, the sankhawat, contains the residential quarters of the monks and a school. The perimeter wall of the main temple complex has sixteen gates, two of which serve as entrances for the public (one on Chetuphon Road, the other near the northwest corner).
The temple grounds contain four great chedis, 91 small chedis, two belfries, a bot (central shrine), a number of viharas (halls) and various buildings such as pavilions, as well as gardens and a small temple museum. Architecturally the chedis and buildings in the complex are different in style and sizes. A number of large Chinese statues, some of which depict Europeans, are also found in the complex guarding the gates of the perimeter walls as well as other gates in the compound. These stone statues were originally imported as ballast on ships trading with China.
Wat Pho was also intended to serve as a place of education for the general public. To this end a pictorial encyclopedia was engraved on granite slabs covering eight subject areas: history, medicine, health, custom, literature, proverbs, lexicography, and the Buddhist religion. These plaques, inscribed with texts and illustrations on medicine, Thai traditional massage, and other subjects, are placed around the temple, for example, within the Sala Rai or satellite open pavilions. Dotted around the complex are 24 small rock gardens (khao mor) illustrating rock formations of Thailand, and one, called the Contorting Hermit Hill, contains some statues showing methods of massage and yoga positions. There are also drawings of constellations on the wall of the library, inscriptions on local administration, as well as paintings of folk tales and animal husbandry.
Phra Ubosot (Phra Uposatha) or bot is the ordination hall, the main hall used for performing Buddhist rituals, and the most sacred building of the complex. It was constructed by King Rama I in the Ayuthaya-style, and later enlarged and reconstructed in the Rattanakosin-style by Rama III. The bot was dedicated in 1791, before the rebuilding of Wat Pho was completed. This building is raised on a marble platform, and the ubosot lies in the center of courtyard enclosed by a double cloister (Phra Rabiang).
Inside the ubosot is a gold and crystal three-tiered pedestal topped with a gilded Buddha made of a gold-copper alloy, and over the statue is a nine-tiered umbrella representing the authority of Thailand. The Buddha image, known as Phra Buddha Theva Patimakorn and thought to be from the Ayutthaya period, was moved here by Rama I from Wat Sala Si Na (now called Wat Khuhasawan) in Thonburi. Rama IV later placed some ashes of Rama I under the pedestal of the Buddha image so that the public may pay homage to both Rama I and the Buddha at the same time. There are also ten images of Buddha's disciples in the hall: Moggalana is to the left of Buddha and Sariputta to the right, with eight Arahants below.
The exterior balustrade surrounding the main hall has around 150 depictions in stone of the epic, Ramakien, the ultimate message of which is transcendence from secular to spiritual dimensions. The stone panels were recovered from a temple in Ayuthaya. The ubosot is enclosed by a low wall called kamphaeng kaew, which is punctuated by gateways guarded by mythological lions, as well as eight structures that house bai sema, stone markers that delineate the sacred space of the bot.
Phra Rabiang - This double cloister contains around 400 images of Buddha from northern Thailand selected out of the 1,200 originally brought by King Rama I. Of these Buddha images, 150 are on the inner side of the double cloister, another 244 images are on the outer side. These Buddha figures, some standing and some seated, are evenly mounted on matching gilded pedestals. These images are from different periods in Siamese history, such as the Chiangsaen, Sukhothai, U-Thong, and Ayutthaya eras, but they were renovated by Rama I and covered with stucco and gold leaves to make them look similar.
The Phra Rabiang is intersected by four viharns. The viharn in the east contains an eight metre tall standing Buddha, the Buddha Lokanatha, originally from Ayutthaya. In its antechamber is Buddha Maravichai, sitting under a bodhi tree, originally from Sawankhalok of the late-Sukhothai period. The one on the west has a seated Buddha sheltered by a naga, the Buddha Chinnasri, while the Buddha on the south, the Buddha Chinnaraja, has five disciples seated in front listening to his first sermon. Both Buddhas in the south and west viharns were brought from Sukhothai by Rama I. The Buddha in the north viharn, called Buddha Palilai, was cast in the reign of Rama I. The viharn on the west contains a small museum.
Phra Prang - There are four towers, or phra prang, at each corner of the courtyard around the bot. Each of the towers is tiled with marble and contains four Khmer-style statues which are the guardian divinities of the Four Cardinal Points.
This is a group of four large stupas, each 42 metres high. These four chedis are dedicated to the first four Chakri kings. The first, in green mosaic tiles, was constructed by Rama I to house the remnants of the great Buddha from Ayuthaya, which was scorched to remove its gold covering by the Burmese. Two more were built by Rama III, one in white tiles to hold the ashes of his father Rama II, another in yellow for himself. A fourth in blue was built by Rama IV who then enclosed the four chedis leaving no space for more to be built.
The viharn or wihan contains the reclining Buddha and was constructed in the reign of Rama III emulating the Ayutthaya style. The interior is decorated with panels of mural.
Adjacent to this building is a small raised garden (Missakawan Park) with a Chinese-style pavilion; the centre piece of the garden is a bodhi tree which was propagated from the Jaya Sri Maha Bodhi tree in Sri Lanka that is believed to have originally came from a tree in India where Buddha sat while awaiting enlightenment.
Phra Mondop or the ho trai is the Scripture Hall containing a small library of Buddhist scriptures. The building is not generally open to the public as the scriptures, which are inscribed on palm leaves, need to be kept in a controlled environment for preservation. The library was built by King Rama III. Guarding its entrance are figures called Yak Wat Pho ('Wat Pho's Giants') placed in niches beside the gates. Around Phra Mondop are three pavilions with mural paintings of the beginning of Ramayana.
Phra Chedi Rai - Outside the Phra Rabiang cloisters are dotted many smaller chedis, called Phra Chedi Rai. Seventy-one of these small chedis were built by Rama III, each five metres in height. There are also four groups of five chedis that shared a single base built by Rama I, one on each corner outside the cloister. The 71 chedis of smaller size contain the ashes of the royal family, and 20 slightly larger ones clustered in groups of five contain the relics of Buddha.
Sala Karn Parien - This hall is next to the Phra Mondop at the southwest corner of the compound, and is thought to date from the Ayutthaya period. It serves as a learning and meditation hall. The building contains the original Buddha image from the bot which was moved here to make way for the Buddha image currently in the bot. Next to it is a garden called The Crocodile Pond.
Sala Rai - There are 16 satellite pavilions, most of them placed around the edge of the compound, and murals depicting the life of Buddha may be found in some of these. Two of these are the medical pavilions between Phra Maha Chedi Si Ratchakarn and the main chapel. The north medicine pavilion contains Thai traditional massage inscriptions with 32 drawings of massage positions on the walls while the one to the south has a collection of inscriptions on guardian angel that protects the newborn.
Phra Viharn Kod - This is the gallery which consists of four viharas, one on each corner outside the Phra Rabiang.
Tamnak Wasukri - Also called the poet's house, this is the former residence of Prince Patriarch Paramanuchitchinorot, a scholar, historian and poet. The house was a gift from his nephew Rama III. This building is in the living quarters of the monks in the southern compound and is open once a year on his birthday.
The wat and the reclining Buddha (Phra Buddhasaiyas, Thai: พระพุทธไสยาสน์) were built by Rama III in 1832. The image of the reclining Buddha represents the entry of Buddha into Nirvana and the end of all reincarnations. The posture of the image is referred to as sihasaiyas, the posture of a sleeping or reclining lion. The figure is 15 m high and 46 m long, and it is one of the largest Buddha statues in Thailand.
The figure has a brick core, which was modelled and shaped with plaster, then gilded. The right arm of the Buddha supports the head with tight curls, which rests on two box-pillows encrusted with glass mosaics. The soles of the feet of the Buddha are 3 m high and 4.5 m long, and inlaid with mother-of-pearl. They are each divided into 108 arranged panels, displaying the auspicious symbols by which Buddha can be identified, such as flowers, dancers, white elephants, tigers, and altar accessories. At the center of each foot is a circle representing a chakra or 'energy point'. There are 108 bronze bowls in the corridor representing the 108 auspicious characters of Buddha. Visitors may drop coins in these bowls as it is believed to bring good fortune, and it also helps the monks to maintain the wat.
Although the reclining Buddha is not a pilgrimage destination, it remains an object of popular piety. An annual celebration for the reclining Buddha is held around the time of the Siamese Songkran or New Year in April, which also helps raise funds for the upkeep of Wat Pho.
The temple is considered the first public university of Thailand, teaching students in the fields of religion, science, and literature through murals and sculptures. A school for traditional medicine and massage was established at the temple in 1955, and now offers four courses in Thai medicine: Thai pharmacy, Thai medical practice, Thai midwifery, and Thai massage. This, the Wat Pho Thai Traditional Medical and Massage School, is the first school of Thai medicine approved by the Thai Ministry of Education, and one of the earliest massage schools. It remains the national headquarters and the center of education of traditional Thai medicine and massage to this day. Courses on Thai massage are held in Wat Pho, and these may last a few weeks to a year. Two pavilions at the eastern edge of the Wat Pho compound are used as classrooms for practising Thai traditional massage and herbal massage, and visitors can received massage treatment here for a fee. The Thai massage or Nuad Thai taught at Wat Pho has been included in UNESCO's list of Intangible Cultural Heritage, and Wat Pho has trained more than 200,000 massage therapists who practice in 145 countries.
There are many medical inscriptions and illustrations placed in various buildings around the temple complex, some of which serve as instructions for Thai massage therapists, particularly those in the north medical pavilion. They were inscribed by scholars during the reign of King Rama III. Among these are 60 inscribed plaques, 30 each for the front and back of human body, showing pressure points used in traditional Thai massage. These therapeutic points and energy pathways, known as sen, with explanations given on the walls next to the plaques.
Bangkok, officially known in Thai as Krung Thep Maha Nakhon and colloquially as Krung Thep, is the capital and most populous city of Thailand. The city occupies 1,568.7 square kilometres (605.7 sq mi) in the Chao Phraya River delta in central Thailand and has an estimated population of 10.539 million as of 2020, 15.3 percent of the country's population. Over 14 million people (22.2 percent) lived within the surrounding Bangkok Metropolitan Region at the 2010 census, making Bangkok an extreme primate city, dwarfing Thailand's other urban centres in both size and importance to the national economy.
Bangkok traces its roots to a small trading post during the Ayutthaya Kingdom in the 15th century, which eventually grew and became the site of two capital cities, Thonburi in 1768 and Rattanakosin in 1782. Bangkok was at the heart of the modernization of Siam, later renamed Thailand, during the late-19th century, as the country faced pressures from the West. The city was at the centre of Thailand's political struggles throughout the 20th century, as the country abolished absolute monarchy, adopted constitutional rule, and underwent numerous coups and several uprisings. The city, incorporated as a special administrative area under the Bangkok Metropolitan Administration in 1972, grew rapidly during the 1960s through the 1980s and now exerts a significant impact on Thailand's politics, economy, education, media and modern society.
The Asian investment boom in the 1980s and 1990s led many multinational corporations to locate their regional headquarters in Bangkok. The city is now a regional force in finance and business. It is an international hub for transport and health care, and has emerged as a centre for the arts, fashion, and entertainment. The city is known for its street life and cultural landmarks, as well as its red-light districts. The Grand Palace and Buddhist temples including Wat Arun and Wat Pho stand in contrast with other tourist attractions such as the nightlife scenes of Khaosan Road and Patpong. Bangkok is among the world's top tourist destinations, and has been named the world's most visited city consistently in several international rankings.
Bangkok's rapid growth coupled with little urban planning has resulted in a haphazard cityscape and inadequate infrastructure. Despite an extensive expressway network, an inadequate road network and substantial private car usage have led to chronic and crippling traffic congestion, which caused severe air pollution in the 1990s. The city has since turned to public transport in an attempt to solve the problem, operating eight urban rail lines and building other public transit, but congestion still remains a prevalent issue. The city faces long-term environmental threats such as sea level rise due to climate change.
The history of Bangkok, the capital of Thailand, dates at least to the early 15th century, when it was under the rule of Ayutthaya. Due to its strategic location near the mouth of the Chao Phraya River, the town gradually increased in importance, and after the fall of Ayutthaya King Taksin established his new capital of Thonburi there, on the river's west bank. King Phutthayotfa Chulalok, who succeeded Taksin, moved the capital to the eastern bank in 1782, to which the city dates its foundation under its current Thai name, "Krung Thep Maha Nakhon". Bangkok has since undergone tremendous changes, growing rapidly, especially in the second half of the 20th century, to become the primate city of Thailand. It was the centre of Siam's modernization in the late 19th century, subjected to Allied bombing during the Second World War, and has long been the modern nation's central political stage, with numerous uprisings and coups d'état having taken place on its streets throughout the years.
It is not known exactly when the area which is now Bangkok was first settled. It probably originated as a small farming and trading community, situated in a meander of the Chao Phraya River within the mandala of Ayutthaya's influence. The town had become an important customs outpost by as early as the 15th century; the title of its customs official is given as Nai Phra Khanon Thonburi (Thai: นายพระขนอนทณบุรี) in a document from the reign of Ayutthayan king Chao Sam Phraya (1424–1448). The name also appears in the 1805 revised code of laws known as the Law of Three Seals.
At the time, the Chao Phraya flowed through what are now the Bangkok Noi and Bangkok Yai canals, forming a large loop in which lay the town. In the reign of King Chairacha (either in 1538 or 1542), a waterway was excavated, bypassing the loop and shortening the route for ships sailing up to Ayutthaya. The flow of the river has since changed to follow the new waterway, dividing the town and making the western part an island. This geographical feature may have given the town the name Bang Ko (บางเกาะ), meaning 'island village', which later became Bangkok (บางกอก, pronounced in Thai as [bāːŋ kɔ̀ːk]). Another theory regarding the origin of the name speculates that it is shortened from Bang Makok (บางมะกอก), makok being the name of Spondias pinnata, a plant bearing olive-like fruit. This is supported by the fact that Wat Arun, a historic temple in the area, used to be named Wat Makok. Specific mention of the town was first made in the royal chronicles from the reign of King Maha Chakkraphat (1548–1568), giving its name as Thonburi Si Mahasamut (ธนบุรีศรีมหาสมุทร). Bangkok was probably a colloquial name, albeit one widely adopted by foreign visitors.
The importance of Bangkok/Thonburi increased with the amount of Ayutthaya's maritime trade. Dutch records noted that ships passing through Bangkok were required to declare their goods and number of passengers, as well as pay customs duties. Ships' cannons would be confiscated and held there before they were allowed to proceed upriver to Ayutthaya. An early English language account is that of Adam Denton, who arrived aboard the Globe, an East India Company merchantman bearing a letter from King James I, which arrived in "the Road of Syam" (Pak Nam) on 15 August 1612, where the port officer of Bangkok attended to the ship. Denton's account mentions that he and his companions journeyed "up the river some twenty miles to a town called Bancope, where we were well received, and further 100 miles to the city...."
Ayutthaya's maritime trade was at its height during the reign of King Narai (1656–1688). Recognition of the city's strategic location guarding the water passage to Ayutthaya lead to expansion of the military presence there. A fort of Western design was constructed on the east side of the river around 1685–1687 under the supervision of French engineer de la Mare, probably replacing an earlier structure, while plans to rebuild the fort on the west bank were also made. De la Mare had arrived with the French embassy of Chevalier de Chaumont, and remained in Siam along with Chevalier de Forbin, who had been appointed governor of Bangkok. The Bangkok garrison under Forbin consisted of Siamese, Portuguese, and French reportedly totalling about one thousand men.
French control over the city was further consolidated when the French General Desfarges, who had arrived with the second French embassy in 1687, secured the king's permission to board troops there. This, however, lead to resentment among Siamese nobles, led by Phetracha, ultimately resulting in the Siamese revolution of 1688, in which King Narai was overthrown and 40,000 Siamese troops besieged Bangkok's eastern fort for four months before an agreement was reached and the French were allowed to withdraw. The revolution resulted in Siam's ties with the West being virtually severed, steering its trade towards China and Japan. The eastern fort was subsequently demolished on Phetracha's orders.
Ayutthaya was razed by the Burmese in 1767. In the following months, multiple factions competed for control of the kingdom's lands. Of these, Phraya Tak, governor of Tak and a general fighting in Ayutthaya's defence prior to its fall, emerged as the strongest. After succeeding in reclaiming the cities of Ayutthaya and Bangkok, Phraya Tak declared himself king (popularly known as King Taksin) in 1768 and established Thonburi as his capital. Reasons given for this change include the totality of Ayutthaya's destruction and Thonburi's strategic location. Being a fortified town with a sizeable population meant that not much would need to be reconstructed. The existence of an old Chinese trading settlement on the eastern bank allowed Taksin to use his Chinese connections to import rice and revive trade.
King Taksin had the city area extended northwards to border the Bangkok Noi Canal. A moat was dug to protect the city's western border, on which new city walls and fortifications were built. Moats and walls were also constructed on the eastern bank, encircling the city together with the canals on the western side. The king's palace (Thonburi Palace) was built within the old city walls, including the temples of Wat Chaeng (Wat Arun) and Wat Thai Talat (Wat Molilokkayaram) within the palace grounds. Outlying orchards were re-landscaped for rice farming.
Much of Taksin's reign was spent in military campaigns to consolidate the Thonburi Kingdom's hold over Siamese lands. His kingdom, however, would last only until 1782 when a coup was mounted against him, and the general Chao Phraya Chakri established himself as king, later to be known as Phutthayotfa Chulalok or Rama I.
Rama I re-established the capital on the more strategic east bank of the river, relocating the Chinese already settled there to the area between Wat Sam Pluem and Wat Sampheng (which developed into Bangkok's Chinatown). Fortifications were rebuilt, and another series of moats was created, encircling the city in an area known as Rattanakosin Island.
The erection of the city pillar on 21 April 1782 is regarded as the formal date of the city's establishment. (The year would later mark the start of the Rattanakosin Era after calendar reforms by King Rama V in 1888.) Rama I named the new city Krung Rattanakosin In Ayothaya (กรุงรัตนโกสินทร์อินท์อโยธยา). This was later modified by King Nangklao to be: Krungthepmahanakhon Bowonrattanakosin Mahintha-ayutthaya. While settlements on both banks were commonly called Bangkok, both the Burney Treaty of 1826 and the Roberts Treaty of 1833 refer to the capital as the City of Sia-Yut'hia. King Mongkut (Rama IV) would later give the city its full ceremonial name:
Rama I modelled his city after the former capital of Ayutthaya, with the Grand Palace, Front Palace and royal temples by the river, next to the royal field (now Sanam Luang). Continuing outwards were the royal court of justice, royal stables and military prison. Government offices were located within the Grand Palace, while residences of nobles were concentrated south of the palace walls. Settlements spread outwards from the city centre.
The new capital is referred to in Thai sources as Rattanakosin, a name shared by the Siamese kingdom of this historical period. The name Krung Thep and Krung Thep Maha Nakhon, both shortened forms of the full ceremonial name, began to be used near the end of the 19th century. Foreigners, however, continued to refer to the city by the name Bangkok, which has seen continued use until this day.
Most of Rama I's reign was also marked by continued military campaigns, though the Burmese threat gradually declined afterwards. His successors consistently saw to the renovation of old temples, palaces, and monuments in the city. New canals were also built, gradually expanding the fledgling city as areas available for agriculture increased and new transport networks were created.
At the time of the city's foundation, most of the population lived by the river or the canals, often in floating houses on the water. Waterways served as the main method of transportation, and farming communities depended on them for irrigation. Outside the city walls, settlements sprawled along both river banks. Forced settlers, mostly captives of war, also formed several ethnic communities outside the city walls.
Large numbers of Chinese immigrants continued to settle in Bangkok, especially during the early 19th century. Such was their prominence that Europeans visiting in the 1820s estimated that they formed over half of the city population. The Chinese excelled in trade, and led the development of a market economy. The Chinese settlement at Sampheng had become a bustling market by 1835.
By the mid-19th century, the West had become an increasingly powerful presence. Missionaries, envoys and merchants began re-visiting Bangkok and Siam, bringing with them both modern innovations and the threat of colonialism. King Mongkut (Rama IV, reigned 1851–1868) was open to Western ideas and knowledge, but was also forced to acknowledge their powers, with the signing of the Bowring Treaty in 1855. During his reign, industrialization began taking place in Bangkok, which saw the introduction of the steam engine, modern shipbuilding and the printing press. Influenced by the Western community, Charoen Krung Road, the city's first paved street, was constructed in 1862–1864. This was followed by Bamrung Mueang, Fueang Nakhon, Trong (now Rama IV) and Si Lom Roads. Land transport would later surpass the canals in importance, shifting people's homes from floating dwellings toward permanent buildings. The limits of the city proper were also expanded during his reign, extending to the Phadung Krung Kasem Canal, dug in 1851.
King Mongkut's son Chulalongkorn (r. 1868–1910) was set upon modernizing the country. He engaged in wide-ranging reforms, abolishing slavery, corvée (unfree labour) and the feudal system, and creating a centralized bureaucracy and a professional army. The Western concept of nationhood was adopted, and national borders demarcated against British and French territories. Disputes with the French resulted in the Paknam Incident in 1893, when the French sent gunboats up the Chao Phraya to blockade Bangkok, resulting in Siam's concession of territory to France.
With Chulalongkorn's reforms, governance of the capital and the surrounding areas, established as Monthon Krung Thep Phra Mahanakhon (มณฑลกรุงเทพพระมหานคร), came under the Ministry of Urban Affairs (Nakhonban). During his reign many more canals and roads were built, expanding the urban reaches of the capital. Infrastructure was developed, with the introduction of railway and telegraph services between Bangkok and Samut Prakan and then expanding countrywide. Electricity was introduced, first to palaces and government offices, then to serve electric trams in the capital and later the general public. The King's fascination with the West was reflected in the royal adoption of Western dress and fashions, but most noticeably in architecture. He commissioned the construction of the neoclassical Ananta Samakhom Throne Hall at the new Dusit Palace, which was linked to the historic city centre by the grand Ratchadamnoen Avenue, inspired by the Champs-Élysées in Paris. Examples of Western influence in architecture became visible throughout the city.
By 1900, rural market zones in Bangkok began developing into residential districts. Rama VI (1910–1925) continued his predecessor's program of the development of public works by establishing Chulalongkorn University in 1916, and commissioned a system of locks to control waterway levels surrounding the developing city, he also provided the city's first and largest recreational area, Lumphini Park. The Memorial Bridge was constructed in 1932 to connect Thonburi to Bangkok, which was believed to promote economic growth and modernization in a period when infrastructure was developing considerably. Bangkok became the centre stage for power struggles between the military and political elite as the country abolished absolute monarchy in 1932. It was subject to Japanese occupation and Allied bombing during World War II. With the war over in 1945, British and Indian troops landed in September, and during their brief occupation of the city disarmed the Japanese troops. A significant event following the return of the young king, Ananda Mahidol, to Thailand, intended to defuse post-war tensions lingering between Bangkok's ethnic Chinese and Thai people, was his visit to Bangkok's Chinatown Sam Peng Lane (ซอยสำเพ็ง), on 3 June 1946.
As a result of pro-Western bloc treaties Bangkok rapidly grew in the post-war period as a result of United States developmental aid and government-sponsored investment. Infrastructure, including the Don Mueang International Airport and highways, was built and expanded. Bangkok's role as an American military R&R destination launched its tourism industry as well as sex trade. Disproportionate urban development led to increasing income inequalities and unprecedented migration from rural areas into Bangkok; its population surged from 1.8 to 3 million in the 1960s. Following the United States' withdrawal from Vietnam, Japanese businesses took over as leaders in investment, and the expansion of export-oriented manufacturing led to growth of the financial market in Bangkok. Rapid growth of the city continued through the 1980s and early 1990s, until it was stalled by the 1997 Asian financial crisis. By then, many public and social issues had emerged, among them the strain on infrastructure reflected in the city's notorious traffic jams. Bangkok's role as the nation's political stage continues to be seen in strings of popular protests, from the student uprisings in 1973 and 1976, anti-military demonstrations in 1992, and successive anti-government protests by the "Yellow Shirt" and "Red Shirt" movements from 2008 on.
Administratively, eastern Bangkok and Thonburi had been established as separate provinces in 1915. (The province east of the river was named Phra Nakhon (พระนคร.) A series of decrees in 1971–1972 resulted in the merger of these provinces and its local administrations, forming the current city of Bangkok which is officially known in Thai as Krung Thep Maha Nakhon. The Bangkok Metropolitan Administration (BMA) was created in 1975 to govern the city, and its governor has been elected since 1985.
"editor-in-chief" James H.Marsh.
Edmonton, Hurtig Publishers Limited, [january] 1985. ISBN o-8883o-269-X.
3 volumes in 9-1/8 12-1/16 x 5 ivory linen-covered brown board slipbox, both sides printed gold foil letterpress:
1. THE CANADIAN ENCYCLOPEDIA VOLUME I A - For..
ISBN o-8883o-27o-3.
8-7/16 x 1o-7/8, 176 sheets white Rolland 5o Lb S.T. Encyclopedia Opaque folded to 22 signatures of 8 sheets each, sewn pearl white in 11 stitches & glued into white heavy bond endpapers & 8-13/16 x 11-5/16 navy linen-covered boards with approx.1-7/16" yellow & blue cloth applique head~ & tailbands, spine only printed gold foil letterpress, interiors all except 5 pp (versos of free endleaves & 3rd, 4th & 19th leaves) printed black offset with 3-colour process additions to 257 pp (436 black only); paginated i-xxxvii/1-666;
2. THE CANADIAN ENCYCLOPEDIA VOLUME II For - Pat.
ISBN o-8883o-271-1.
as volume 1 but sewn pearl cream in double-stitches, 3-colour process additions to 339 pp (365 black only); paginated 669-137o;
3. THE CANADIAN ENCYCLOPEDIA VOLUME III Pat - Z.
ISBN o-8883o-272-X.
as volume 1 but 18o sheets in 23 signatures (the 18th of 4 sheets), with 3-colour process additions to 284 pp (431 black only); paginated 1373-2o89.
all volumes with uniform endpaper graphic by Tom McNeely.
2676 contributors ID'd (note: 376 asterisked names contribute to all 3 volumes; questioned names appear in the index without their contribution(s) having been located):
Caroline Louise Abbott*, Irving Abella*, Thomas S.Abler*, Baha R.Abu-Laban, Donald F.Acton, W.Peter Adams, Peter A.Adie, Catherine Ahearn, David E.Aiken*, Jim Albert, Frederick A.Aldrich, Peter Aliknak, Gratien Allaire, Jacques Allard, A.Richard Allen, Karyn Elizabeth Allen, Max Allen, Robert S.Allen*, Willard F.Allen, Marlene Michele Alt*, John Amatt, Laurent Amiot, Pierre Anctil, Bob Anderson, Donald W.Anderson*, Doris H.Anderson*, Duncan M.Anderson, Frank W.Anderson, Grace Merle Anderson, Peter S.Anderson*, Christopher A.Andreae, Bernard Andres*, Sheila Andrew, Florence K.Andrews, Donald F.P.Andrus, Paul Anicef, Thomas H.Anstey*, Louis Applebaum, Christon I.Archer*, David J.W.Archer, Clinton Archibald, Mary Archibald, Eugene Arima, Allan Arlett, Leslie Armour, G.M.H.Armstrong(?), Pat Armstrong, W.Armstrong, John T.Arnason, Georges Arsenault, Celine Arseneault*, Eric R.Arthur, Alan F.J.Artibise*, Michael I.Asch, Kenojuak Ashevak, Kiugak Ashoona, Athanasios Asimakopulos, Alain Asselin, Barbara Astman, John Atchison, Margaret Atwood, Irene E.Aubrey, Alasi Audla, Karl Aun, Peter J.Austin-Smith, Helgi H.Austman, Donald H.Avery, William A.Ayer, Hugh D.Ayers, G.Burton Ayles, John Ayre, Maureen Aytenfisu, Douglas R.Babcock, Robert H.Babcock, Robert E.Babe, Morrell P.Bachynski, George Back, Harry Baglole, David H.Bai, Margaret J.Baigent, Karen E.Bailey, David M.Baird, Patricia A.Baird, Allan J.Baker, G.Blaine Baker, Melvin Baker*, Douglas O.Baldwin, John R.Baldwin, Gordon Bale, Robert J.Bandoni, Paul A.Banfield, Marilyn J.Barber, Douglas F.Barbour*, Clifford A.V.Barker, Jon C.Barlow, Jean Barman, David T.Barnard, John Barnes, Reg Barnes, Elinor Barr, John J.Barr, Robert F.Barratt*, [--?--] Barrett, Tony Barrett, Wayne R.Barrett, H.J.Barrie, Ted Barris*, George S.Barry, Donald R.Bartlett, William Henry Bartlett, James F.Basinger, Peter A.Baskerville, Marilyn J.Baszczynski, Alan H.Batten*, Jean-Louis Baudouin(?), Carol Baum, Jules Bazin, Gladys Bean, William R.Beard, Belinda A.Beaton*, Henri Beau, Gerald-A.Beaudoin*, Rejean Beaudoin, Jacqueline Beaudoin-Ross, Louise Beaudry, France Beauregard, Brian P.N.Beaven, J.Murray Beck*, Margaret Beckman, John Beckwith, Roger Bedard, Michael Bedford, Don R.Beer, Michael D.Behiels*, Madeleine Beland, Mario Beland, Guy Belanger, Real Belanger, Rene Belanger, Jean Belisle, Norman W.Bell, Ruben C.Bellan, Andre Belleau, Jacques-Nicolas Bellin, Rene J.Belzile*, J.W.Bengough, Gerry Bennett, John Bennett*, Edward Horton Bensley, Douglas Bentham, D.M.R.Bentley, W.D.Bentley, David J.Bercuson, William Von Moll Berczy, John J.Bergen, Jeniva Berger, Thomas R.Berger, Claude Bergeron, A.T.Bergerud, Norbert Berkowitz, Andre Bernard, Frank R.Bernard*, Jean-Paul Bernard, Jean-Thomas Bernard, Jacques Bernier*, Marc Bernier, Silvie Bernier, Elliott Bernshaw, Nicole Bernshaw, Jonathan Berry, Michael J.Berry, Ralph Berry, Pierre Berton*, Neil Besner*, Diane E.Bessa, Carl Betke, Roger Betz, John Michael Bewers, Onnig Beylerian, M.Vincent Bezeau, Reginald W.Bibby, Gilles Bibeau, Ivan B.Bickell, Julius Bigauskas, Petro B.T.Bilaniuk, B.C.Binning, Carolyn J.Bird(?), Michael S.Bird, Richard M.Bird, Andrew Birrell, Carol Anne Bishop, Charles A.Bishop, Mary F.Bishop, Alastair Bissett-Johnson, Conrad M.Black, Joseph Laurence Black, Meredith Jean Black, Naomi Black, Robert G.Blackadar, Robert H.Blackburn, John D.Blackwell, Alex M.Blair, Robert Blair, Andre Blais, Phyllis R.Blakeley, Elsie Blaschke, J.Sherman Bleakney, Bertram C.Blevis, Lawrence C.Bliss, Michael Bliss, E.D.Blodgett, Jean Blodgett, Hans Blohn, Ronald Bloor, Arthur W.Blue, Robin W.Boadway, David A.Boag, Douglas H.Bocking*, Jack Boddington, Trevor Boddy, John M.Bodner, George J.Boer, James P.Bogart, Jean Sutherland Boggs, Tibor Bognar, Gilles Boileau, Aurelien Boivin, Bernard Boivin*, Jean Boivin, Andre Bolduc, Yves Bolduc, Glen W.Boles*, Francis W.P.Bolger, Kenneth E.Bollinger, George Bonavia, Flint Bondurant, Joseph Bonenfant, Gayle Bonish, Roy Bonisteel, Rudy Boonstra*, Paul-Emil Borduas, Robert Bothwell*, Robert D.Bott, Randy Bouchard*, Michel A.Boucher, Gilles Boulet, Roger H.Boulet, Doug Boult, Andre G.Bourassa*, Nicole Bourbonnais, Pierre L.Bourgault, Patricia E.Bovey, Wilbur Fee Bowker, Roy T.Bowles, Hartwell Bowsfield, Christine Boyanoski, Farrell M.Boyce, John Boyd, Oliver A.Bradt, William J.Brady, Chris Braiden, F.Gerald Brander, Guy R.Brassard, Ted J.Brasser, Bernard Brault, R.Matthew Bray*, David H.Breen*, Francois Bregha, Willard Brehaut*, J.William Brennan*, Paul W.Brennan, Fred Breummer, John E.C.Brierley*, Jean L.Briggs, David R.Brillinger, Jack Brink, Ralph O.Brinkhurst, Andre Brochu, Irwin M.Brodo, Somer Brodribb, Alan A.Brookes, Ian A.Brookes*, Bill Brooks*, David B.Brooks, Robert S.Broughton, David Brown, Desmond H.Brown*, E.Brown, Jennifer S.H.Brown*, R.G.B.Brown*, Robert Craig Brown, Roy I.Brown, Thomas E.Brown*, Lorne D.Bruce, John H.Brumley, Alan G.Brunger, Reinhart A.Brust, Rorke Bardon Bryan, Giles Bradley Bryant, Thomas A.Brzustowki, [--?--] Buache, Norman Buchignani, Ruth Matheson Buck, Phillip A.Buckner*, Geoff Budden, Susan Buggey, Lise Buisson, J.M.Bumsted*, James Burant, Joan Burke, Robert D.Burke, Jean Burnet, David Burnett*, Marilyn Schiff Burnett*, Dorothy K.Burnham, Eedson Louis Millard Burns, Robert J.Burns, Robin Burns, Ian Burton, Jack Bush, Paul Buteux*, Frank Taylor Butler, K.Jack Butler, William Butterfield, Edward Butts, Robert E.Butts, Marcel Cadotte, John C.Callaghan, John W.Callahan, Lorraine Camerlain, Bill Cameron, Christina Cameron, Duncan Cameron, Elspeth Cameron, Wendy Cameron*, A.Barrie Campbell, Beverly Campbell, Douglas F.Campbell, Gordon Campbell, Ian A.Campbell*, J.Milton Campbell, Neil John Campbell, Percy I.Campbell(?), Sandra Campbell, Richard Campion, William T.Cannon, Pierre Cantin, Usher Caplan, Emily F.Carasco, Clifton F.Carbin, Douglas Cardinal, Patrick Robert Thomas Cardy, Thomas H.Carefoot, J.M.S.Careless*, Jock Alan Carlisle, Derek Caron, Laurent G.Caron, Carole H.Carpenter, Ken Carpenter, Emily Carr, Gaston Carriere, Carman V.Carroll, Brian G.Carter, George E.Carter, Margaret Carter, Richard J.Cashin, Ian Casselman, George Catlin, Paul B.Cavers*, Richard Chabot, Roland Chagnon, Edward J.Chambers, Francis J.Chambers, James Chambers, Robert D.Chambers, Michel Champagne*, James K.Chapman, John D.Chapman, Louis Charbonneau, Murray Norman Charlton, L.Margaret Chartrand, Luc chatrand, Rene Chartrand, Brian D.E.Chatterton, Michael Vincent Cheff, Walter I.Childers, Peter D.Chimbos, Alexander J.Chisholm, Robert Choquette, Catherine D.Chorniawy, Timothy J.Christian, William E.Christian, Carl A.Christie, G.L.Christie, Innis Christie, B.Bert Chubey, Charles Stephen Churcher*, Janet Chute, S.Donald C.Chutter, Jacques Cinq-Mars, V.Claerhout*, John J.Clague, Michael Thomas Clandinin, A.McFadyen Clark, Howard C.Clark, Lovell C.Clark*, Paraskeva Clark, Robert H.Clark, T.Alan Clark, Thomas H.Clark, R.Allyn Clarke*, Stephen Clarkson, Wallace Clement, Nathalie Clerk*, Norman Clermont, Yves W.Clermont, Howard Clifford, Richard T.Clippingdae*, W.J.Clouston, Nicole Cloutier, Gigi Clowes, Brian W.Coad, John P.Coakley, Donna Coates, Bente Roed Cochran, J.P.Cockburn, James Cockburn, William James Cody*, Dale R.Cogswell, Fred Cogswell, Stanley A.Cohen, Susan G.Cole, Patricia H.Coleman, Elizabeth Collard, Malcolm M.C.Collins, John Robert Colombo*, Alex Colville, Charles Comfort, Odette Condemine, M.Patricia Connelly, James T.H.Connor, Leonard W.Conolly, Robert J.Conover*, Margaret Conrad, A.Brandon Conron, Brian E.Conway, F.Graham Cooch, Eung-Do Cook, Francis R.Cook, Owen Cook, Kenyon Cooke, O.A.Cooke*, David Cooper, Gordon William Cope, Pierre Corbeil, Frank Corcoran, J.Clement Cormier, Peter McCaul Cornell, Vincenzo Coronelli, Frank Cosentino*, Ronald L.Cosper, Jacques Cotnam, Robert T.Coupland, Thomas J.Courchene, John J.Courtney, John J.Cove, Jeff G.Cowan, Harold G.Coward, Bruce Cox, Diane Wilson Cox, Michael F.Crabb*, Laurence Harold Cragg, Mary M.Craig*, Terrence L.Craig, Ian K.Crain, Brian A.Crane, David Crane, John L.Cranmer-Byng, Donald A.Cranstone, David L.Craven, Roy D.Crawford, Tim Creery, Philippe Crine, Harold Crookell, John Crosby*, Michael S.Cross, Diane Crossley, E.J.Crossman, Omer Croteau, A.David Crowe, Keith Jeffray Crowe, David M.Cruden, David A.Cruickshank, Paul E.Crunican, Rudolf P.Cujes, Maurice Cullen, Carman W.Cumming, Leslie Merrill Cumming, Philip J.Currie, Raymond F.Currie, Walter A.Curtin*, Christopher G.Curtis*, James E.Curtis, Leonard J.Cusack, Maurice Cutler, Jerome S.Cybulski, Joachim B.Czypionka, Anne Innis Dagg, Lorraine G.D'Agincourt*, Edward H.Dahl, Hallvard Dahlie, Moshie E.Dahms, Hugh Monro Dale, Ralph Dale, John H.Dales, Micheline D'Allaire, F.Dally, D.Daly, Eric W.Daly, Pierre Dansereau, Ruth Danys, Regna Darnell, Hugh A.Daubeny, Paul Davenport, Gilbert David, Helene David, Peter P.David, William A.B.Davidson, Adriana A.Davies, Gwendolyn Davies, Jim Davies, John A.Davies, R.K.S.Davies, Thomas Davies, Ann Davis, Chuck Davis, Richard C.Davis, Michael J.Dawe, John M.Day, Lawrence Day, Barbara K.Deans, P.Dearden, Chris DeBresson, Theod De Bry, Malcolm Graeme Decarie, Samuel De Champlain*, Bart F.Deeg*, Ronald K.Deeprose, James DeFelice, C.G.Van Zyll De Jong, Nicolas J.De Jong*, J.De Lavoye, Vincent M.Del Buono, Guillaume Delisle, L.Denis Delorme, Hugh A.Dempsey*, L.James Dempsey, A.A.Den Otter, Dora De Pedery-Hunt, Honor De Pencier, D.De Richeterre, Jacques F.Derome, Duncan R.Derry, Ramsay Derry, Peter Desbarats, Pierre Desceliers, Donald Deschenes, Jean-Luc DesGranges, Andree Desilets*, Yvon Desloges, Gerald L.De Sorcy, Marquis De Tracy, John DeVisser*, Lyle Dick, Lloyd Merlin Dickie, John A.Dickinson, W.Trevor Dickinson, Nigel Dickson, Larry Dillon, Milan V.Dimic, Gerard Dion, Rene Dion, Gerald E.Dirks, Patricia G.Dirks, Richard J.Diubaldo, Murray Dobbin, Mike Dobel, A.Rodney Dobell, Diane Dodd, Donald Andrew Dodman, Audrey D.Doerr, Allen Doiron, Claude Ernest Dolman, Louise Dompierre, Mairi Donaldson, Sue Ann Donaldson, Mark A.Donelan(?), Margaret Mary Donnelly, John Donner, Andre Donneur, Penelope B.R.Doob*, Peter K.Doody, Joyce Doolittle, Anthony H.J.Dorsey, Gilles Dorian, Lydia Dotto, Roger A.Doucet, Leonard A.Doucette, Charles Dougall, Jane L.Dougan, Charles Douglas, W.A.B.Douglas*, William F.Dowbiggin, R.Keith Downey, Arthur T.Doyle*, Denzil J.Doyle, Richard J.Doyle, Pierre Doyon, Sharon Drache, Derek C.Drager, Wilhelmina M.Drake, D.W.Draper, James A.Draper, Nandor Fred Dreisziger, Kenneth F.Drinkwater, Bernadette Driscoll, Jean-Pierre Drolet, Glenn Drover, Ian M.Drummond*, R.Norman Drummond, Jean E.Dryden, Patrick D.Drysdale, Jean-Marie M.Dubois*, James R.Dubro, Leo Ducharme, Raymond Duchesne*, Francois Duchesneau, Jean-Marcel Duciaume, Madeleine Ducroq-Poirier, J.Dennis Duffy*, M.R.Dufresne, Walter W.Duley, Gaston Dulong, Micheline Dumont, Max J.Dunbar, Graham W.Duncan, Leonard Duncan, Neil J.Duncan, Marilyn E.Dunlop, A.Davidson Dunton, Jean R.Duperreault, Jean-Claude Dupont, Rene Durocher, Gabriel Dussault, Noel Dyck, Charles C.Dyer, James G.Dykes, John A.Eagle*, Peter R.Eakins, Ross Eaman, Harry C.Eastman, Dorothy Harley Eber, William John Eccles*, Christine Eddie, E.V.Eddie, Charles Edenshaw, Morris Edwards, Oliver Edward Edwards, Peggy Edwards, Roger B.Ehrhardt, Margrit Eichler, Neil Einarson, Wilfred L.Eisnor, R.Bruce Elder, Jean Elford, Peter Douglas Elias, C.W.J.Eliot, David R.Elliott, James A.Elliott, Kosso Eloul, John A.Elson, George Emery, Donald W.Emmerson, Douglas B.Emmons, Maurice Emond, William F.Empey, John R.English*, Murray W.Enkin, Philip C.Enros, Frank H.Epp, Robert Bruce Erb, Arthur Erickson, Anthony J.Erskine, Sorel Etrog, Brian L.Evans*, David Evans*, James Evans, John Evans, Ivan Kenneth Eyre, Joe Fafard, Curtis Fahey, Valerie J.Fall, A.Murray Fallis, Peter V.Fankboner, D.M.L.Farr*, Dorothy M.Farr, Fred Farrell*, Alison Feder, Sergey Fedoroff, Margery Fee, Kevin O'Brien Fehr, William Feindel, Seth R.Feldman, Donald Fenna, William O.Fennell, M.Brock Fenton, Terry L.Fenton, Bob L.Ferguson*, Howard L.Ferguson, Mary W.Ferguson*, Jean Ferron, Doug Fetherling*, George Field, John L.Field, Richard Henning Field, Leonard M.Findlay, Howard R.Fink, Maxwell Finklestein, Douglas A.Finlayson*, Gerard Finn, Douglas J.Fisher, Richard S.Fisher, Robin Fisher, Stan C.Fisher, John Walter Fitsell, Lionel LeMoine FitzGerald, Patrick J.Fitzgerald, Tim Fitzharris*, David J.Flaherty, Thomas Flanagan, R.B.Fleming, Sandford Fleming, Marilyn G.Flitton, Halle Flygare*, David G.Fong*, Maxwell L.Foran, Ernest R.Forbes*, R.E.Forbes, William B.Forbes, Richard G.Forbis, Dennis P.Forcese, Anne Rochon Ford, Clifford Ford, Derek C.Ford, Gillian Ford, Susan Ford, Bertrand Forest, Ronald W.Forrester, Warren D.Forrester, Eugene Alfred Forsey*, Frank R.Forsyth, Peter A.Forsyth, Claire-Andree Fortin, Gerald Fortin, Charles N.Forward, William F.Forward, Brian F.Foss, Franklin L.Foster, J.Bristol Foster, John E.Foster*, Michael K.Foster, Glenn B.Foulds, Nancy Brown Foulds, Edith M.Fowke, Marian Fowler, Charlie Fox, Paul W.Fox, Richard C.Fox, Daniel Francis*, Diane Francis, David Frank*, Julius F.Frank*, Colin Athel Franklin, C.E.S.Franks*, David Fransen, Robert T.Franson, Arman Frappier(?), Jorge Frascara, John A.Fraser, Kathleen D.J.Fraser, Robert Lochiel Fraser*, Pierre Frechette, Howard Townley Fredeen, Benjamin Freedman, Gordon Russel Freeman, Mac Freeman, Milton M.R.Freeman, Minnie Aodla Freeman, Roger D.Freeman, Walter H.P.Freitag, Carey French, Hugh M.French, James S.Frideres, Gerald Friesen, James D.Friesen, Stanley Brice Frost, Adam G.Fuerstenberg, Robert Fulford, Anthony M.Fuller, George R.Fuller, Thomas Fuller, William A.Fuller, Douglas H.Fullerton, Ian F.Furniss, Richard W.Fyfe*, William S.Fyfe, Rene Robert Gadacz*, Chad Gaffield, David P.Gagan, Michel Gagne, Francois-Marc Gagnon*, Victor Gaizauskas, Claude Galarneau, Peggy Gale, Gerald L.Gall*, Daniel T.Gallacher, Paul Gallagher, Strome Galloway, Natarajan Ganapathy, Herman Ganzevoort, David E.Gardner*, Eve Gardner, Norman Gardner, Ron Gardner, Christopher J.R.Garrett, John F.Garrett, Jane Gaskell, Lise Gauvin, M.J.Gauvin, Hugh J.Gayler, Douglas A.Geekie, John Grigsby Geiger*, Valerius Geist*, John Gellner, Paul Gendreau, Ghislain Gendron, M.V.George, Joseph F.Gerrath(?), Julia Gersovitz, Trisha Gessler, Ian A.L.Getty, Elmer N.Ghostkeeper(?), Jacques R.Giard, Sandra Gibb, Kenneth M.Gibbons, Graeme Gibson, Lee Gibson, William C.Gibson, Perry James Giffen, Elizabeth Hollingsworth Gignac, Richard Giguere, C.W.Gilchrist, J.N.Giles, John Patrick Gillese, Beryl C.Gillespie, Bill Gillespie, John M.Gillett, Margaret Gillett, Geraldine Gilliss, Alan M.Gillmor, Cedric Gillot, J.C.Gilson, Yves Gingras*, Andre Girouard, J.Gleadah, Burton Glendenning, Michael Gnarowski, David J.Goa, Barbara Godard, Ensley A.Godby, W.Earl Godfrey*, William G.Godfrey, R.Bruce Godwin(?), Cy Gonick, Cecilia A.Gonzales, Bryan N.S.Gooch, S.James Gooding, Jerry Goodis, John T.Goodman, R.G.Goold, Arthur S.Goos, Paul A.Goranson, Anne Gordon, Donald C.Gordon, Walter L.Gordon, Deborah Gorham, Harriet R.Gorham, Stanley W.Gorham, Calvin Carl Gotlieb, Daniel H.Gottesman, Barry Morton Gough, Joseph B.Gough, Judy Gouin*, Allan M.Gould*, Henri Goulet, Benoit-Beaudry Gourd*, James Iain Gow, Alan Gowans, J.Wesley Graham, Jane E.Graham, John F.Graham, Katherine A.Graham, Roger Graham, E.H.Grainger, J.L.Granatstein*, Alix Granger, Luc Granger, John A.G.Grant, John Webster Grant, Peter Grant*, Ted Grant, Carolyn Elizabeth Gray, David Robert Gray, Earle Gray*, G.Ronald Gray, James T.Gray, D'Arcy M.Greaves, Harold V.Green, J.Paul Green, Janet Green, Leslie C.Green*, Melvyn Green, Richard Green*, Reesa Greenberg, John P.Greene, Thomas B.Greenfield(?), Brereton Greenhous*, Cyril Greenland, John Edward Ross Greenshields, Allan Greer, Patrick T.Gregory, Robert W.Gregory, Julius H.Grey, Norman T.Gridgeman*, Foster J.K.Griezic, Herbert L.Griffin, John D.M.Griffin, Anthony J.F.Griffiths, Barry Griffiths, Graham C.D.Griffiths, Naomi E.S.Griffiths, Sergio Grinstein, Jack W.Grove, Patrick D.Gruber, Hans E.Gruen, Dennis Guest*, Hal J.Guest*, Arman Guilmette, Bernadette Guilmette, H.Pearson Gundy, Kristjana Gunnars, S.W.Gunner, Harry Emmet Gunning, Allan Guy, Julian Gwyn, Richard J.Gwyn, Peter P.Haanappel, Erich Haber, Carlotta Hacker, Jim Hackler, Yvonne Yazbeck Haddad, Keith D.Hage, H.Haig, G.Brenton Haliburton, David J.Hall*, Frederick A.Hall*, Jim Hall, John W.Hall, Roger Hall, Mary E.Hallett, Hugh A.Halliday, Ian Halliday, Mary Halloran, Gerald Hallowell, Beryl M.Hallworth*, Francess G.Halpenny, Marjorie M.Halpin, V.Carl Hamacher, Louis-Edmond Hamelin, Donald G.Hamilton, Sally A.Hamilton, William B.Hamilton, Brent M.Hamre, Geoffrey Hancock, Lyn Hancock*, Piers Handling*, James Hanrahan, Asbjorn T.Hansen, John D.Harbron, Peter Harcourt, David F.Hardwick, Jean-Pierre Hardy, Rene Hardy, F.Kenneth Hare, Clara Hargittay, J.Anthony Hargreaves, Alex M.Harper, J.Russell Harper*, Richard Harrington*, Cole Harris, G.J.Harris, Lawren Harris, Peter Harris, R.Cole Harris, Robert Harris, Stephen Harris*, Stuart A.Harris, Lionel G.Harrison, Peter J.Harte, Al Harvey, David J.Harvey, Fred J.Hatch, Wilbert O.Haufe, Jo Hauser, Ronald G.Haycock*, Michael Hayden, Florence C.Hayes, David M.Hayne*, Robert H.Haynes, Carol Hayter, Henry F.Heald, Trevor D.Heaver, Richard J.Hebda, Gerard Hebert, C.D.Heidenreich, Conrad E.Heidenreich, Frederick M.Helleiner, Rudolph A.Helling, June Helm, Bruce S.Heming, Odile Henault, William B.Henderson, Tom Hendry, E.Henn, Ralph L.Hennessy, Jacques Henripin, Michael M.Henry, Yude M.Henteleff, Frank Alec Herbert, George Heriot, Alex W.Herman, Craig Heron*, Don J.Herperger, Stephen M.Herrero, Ingo Hessel, Phillip Hewett, Irving Hexham, Benedykt Heydenkorn, Edward S.Hickcox, Michael Hickman, Donald Higgins, David Higgs, Walter Hildebrandt, Charles Christie Hill, Harry M.Hill, Stanley Hill, Tom Hill, James K.Hiller*, Anne Trowell Hillmer*, Norman Hillmer*, W.G.R.Hind, Ole Hindsgaul, Sherman Hines, Akira Hirose, Carolyn Hlus, Helen Hobbs, R.Gerald Hobbs, James Hockings, John Edwin Hodgetts*, Bruce W.Hodgins, J.W.Hodgins, Judith F.M.Hoeniger, J.J.Hogan*, Helen Sawyer Hogg, Gerald Holdsworth, H.T.Holman, C.Janet Holmes, Jeffrey Holmes, John W.Holmes, Eric J.Holmgren*, Alvin George Hong, Frances Ann Hopkins, Robin Hopper, Peter Hopwood, Michiel Horn, Alan S.Hourston, C.Stuat Houston*, James Houston, Ross K.Howard, Victor M.Howard, Colin D.Howell, Julie O.Hrapko, Raymond Hudon, Douglas R.Hudson, Raymond J.A.Huel, Fred Huffman, Richard David Hughes, Elizabeth Hulse, William Humber*, Stephen Hume, Monte Hummel, Jack Humphrey, Charles W.Humphries, Edward William Humphrys, [--?--] Hunsberger, Geoffrey Hunt, John R.Hunter, Tony Hunt, Kenneth E.Hunter, Mel Hurtig, Mervyn J.Huston, Linda Hutcheon, Gerald M.Hutchinson, Roger C.Hutchinson, Richard J.Huyda, A.M.J.Hyatt, Doreen Marie Indra, Elizabeth Ingolfsrud, Avrom Isaacs, Colin F.W.Isaacs, Bill Ivy, David Jackel, Susan Jackel*, Sydney W.Jackman, A.Y.Jackson, Bernard S.Jackson, Graham Jackson, Harold Jackson, John D.Jackson, John James Jackson, John N.Jackson, Lionel E.Jackson, Robert J.Jackson, Roger C.Jackson, Stephen O.Jackson, Peter Jacob, Ronny Jacques, Cornelius J.Jaenen*, Donna James, Ellen S.James, Ross D.James*, Sheilagh S.Jameson, Stuart M.Jamieson, Hudson N.Janisch, Christian T.L.Janssen, Lorraine L.Janus, Richard A.Jarrell, Marguerite Jean, Alan H.Jeeves, T.Jefferys, Robert Jekyll, Michael Jenkin, Phyllis Marie Jensen, Vickie D.Jensen, Jane Jenson, L.Martin Jerry, Alan M.Jessop, Dean Jobb, Louis Jobin, Jan C.Jofriet(?), Peter Johansen, Timothy Johns, Walter H.Johns, J.K.Johnson, Peter Wade Johnson, Alfred G.Johnston, C.Fred Johnston, Charles M.Johnston, Frances E.M.Johnston, Frank Johnston, Hugh Johnston, Patricia C.Johnston, Richard Johnston, W.Stafford Johnston, William Johnston, Brian Jones, David Phillip Jones, Elwood Hugh Jones, Gaynor G.Jones, Laura Jones, Richard A.Jones*, Alan V.Jopling*, Colin Jose, Neal R.Jotham, Walter Jungkind, Richard Kadulski, Joseph Kage, A.A.Kahil, Patricia Kaiser, Warren E.Kalbach, Henry Kalen, Stephan Felix Kaliski, Helmut Kallman*, Karen Dazelle Kallweit*, Harold D.Kalman*, Paul Kane*, George Kapelos, Martha Kaplan, William Edward Kaplan, Isabel Kaprielian, Urjo Kareda, Malak Karsh, Yousuf Karsh, Peter Karsten, Elinor Mary Kartzmark, Naim Kattan, Martin L.Kaufmann, Leslie S.Kawamura, Gregory S.Kealey*, David R.Keane, King S.Kearns, Michael J.Keen, David L.Keenlyside, Elaine Keillor, W.J.Keith, William Stirling Keizer*, Frances C.Kelley, Louis Gerard Kelly, David D.Kemp, Walter H.Kemp, Kay Kendall, John Edward Kendle, Dorothy Kennedy*, J.E.Kennedy, John L.Kennedy*, Elizabeth H.Kennell, John A.C.Kentfield, John P.B.Kenyon, Walter A.Kenyon, Kenneth Kernaghan, Lois Kathleen Kernaghan*, Adam J.Kerr, Gordon R.Kerr, Robert B.Kerr, Stephen R.Kerr, Paula Kestelman, Jean-Pierre Kesteman, Wilfred H.Kesterton, Keith S.Ketchen, Douglas Keith McEwan Kevan*, Peter G.Kevan(?), J.E.Michael Kew, John Keyes, Bruce Kidd, Thomas W.Kierans, Gerald Killan, M.G.Kingshott, Ray A.Kingsmith, Stanislav J.Kirschbaum, John James Kirton, Walter Klaassen, Murray S.Klamkin, Lewis N.Klar, Stanley Klenganberg, Harold R.Klinck, Robert B.Klymasz, Richard W.Knapton*, Judith Knelman, Alan R.Knight, David B.Knight, Robert Hugh Knowles, Brian M.Knudsen, Franz M.Koennecke, Wray E.Koepke, Lilly Koltun, Paul M.Koroscil, J.Anthony Koslow, Myrna Anne Kostash, Tony Kot, Vladimir J.Krajina, Kate Kranck, Stephen J.Kraseman, Cheryl Krasnick(?), Peter V.Krats, J.A.Kraulis*, Charles J.Krebs, F.Henry Krenz, Cornelius Krieghoff, Andrea Kristof, Jerg Kroener, Martin Krossel, Larry L.Kulisek, Walter O.Kupsch, William Kurelek, Eva M.Kushner, Ernie Kuyt*, David Kwavnick, C.Ian Kyar, Micheline Labelle, Danielle Laberge, Michele Lacombe*, [--?--] La Cosa, Estelle Lacoursiere*, Laurier Lacroix, Michel Laferriere, Guy Lafrance, William G.Laidlaw, Mabel H.Laine*, Dennis Laing, Gertrude M.Laing, Claude Lajeunesse, G.-Raymond Laliberte, Andre N.Lalonde, W.Kaye Lamb*, Geoffrey Lambert, James H.Lambert*, George E.Lammers, Yvan Lamonde, Peter Lancaster, R.Brian Land, Pierre Landreville, E.David Lane*, Robert B.Lane, Robert P.Langlands, Wayne Lankinen*, Robert Lansdale, Karlis O.Lapin, Pierre-Louis Lapointe, Eleanor R.Laquian, Peter Anthony Larkin, Jean B.D.Larmour, Emma D.LaRocque, Andre Larose, Serge Larose, Jeanette Larouche, Edward N.Larter, Pierre LaSalle, Daniel Latouche*, Viviane F.Launay, Gerard Laurence, Karen Laurence, Marc Laurendeau, Michael Lauzon, Omer Lavallee, Kathleen Laverty*, Kenneth R.Lavery, Marie Lavigne, Patricia Johnston Lavigueur(?), Leslie M.Lavkulich, Michel Lavoie*, Paul Lavoie, Pierre Lavoie, Charles Law, Don G.Law-West, Jim Laxer, Arleigh H.Laycock, David H.Laycock, Richard E.C.Layne, Marvin Lazerson, Fred Lebensold, Hugues LeBlanc, Charles P.Leblond, Paul H.LeBlond, Sylvio LeBlond, Antonio Lechasseur*, Donald J.Lecraw, Johanne Ledoux, Fernand Leduc, Laurence LeDuc, Rene Leduc-Park, David Lee, John Alan Lee, Robin Leech, John G.Leefe, Joseph Legare, Camille Legendre, Russel D.Legge, Robert F.Legget*, Doug Leighton, Jean M.Leiper, Michel Lemaire, Jean-Paul Lemay, Pierre H.Lemieux, Raymond U.Lemieux, Vincent Lemieux, Guy Lemire, Maurice Lemire, Robert Lemire, Robert E.Lemon(?), Dorothy A.Lenarsic, Jos L.Lennards, Frank Lennon, Yvan G.Lepage, Donald J.Le Roy, Rodney L.LeRoy, Peter M.Leslie, M.Claude Lessard, Carol Anne Letheren, Trevor H.Levere, Malcolm Levin, Allan E.Levine, Gilbert Levine, Joseph Levitt, Brian S.Lewis, John B.Lewis, Joyce C.Lewis, Laurie Lewis, Elliott H.Leyton, James W.Lightbody, Norman R.Lightfoot, Jack N.Lightstone, Gary M.Lindberg, Ernest Lindner, Evert E.Lindquist*, Peter L.Lindsay, Joseph D.Lindsey, Paul-Andre Linteau, Mary Jane Lipkin, Arthur Lismer, Marilyn Lister, Rota Herzberg Lister*, John W.Y.Lit, Moe M.Litman, Donna Livingstone, Douglas G.Lochhead, Carl J.Lochnan*, Anthony R.Lock, Jack L.Locke, Gulbrand Loken, D.Edwards Loney, Kathleen Lord, James Lorimer, Frances Loring, Marcel Lortie, Arthur Loughton, Laurence Dale Lovick, Raymond Nicholson Lowes, Peter J.M.Lown, W.Mark Lowry, Edward P.Lozowski*, Frere Luc, D.Paul Lumsden, Harry G.Lumsden, Ian Gordon Lumsden, John Lund, Gar Lunney, Mandy R.Lupul, Real Lussier, John M.Lyle, John Goodwin Lyman, Gerald Lynch, Deborah Maryth Lyon*, G.F.Lyon, William I.Macadam, J.Malcolm Macartney, Terence Macartney-Filgate, Hugh MacCallum, Cathy Macdonald, G.Edward MacDonald, Heather MacDonald*, J.E.H.MacDonald, Les MacDonald, Martha MacDonald, R.H.Macdonald, Roderick A.Macdonald, Stewart D.MacDonald, Valerie Isabel Macdonald, April J.MacDougall, Heather MacDougall, Laurel Sefton MacDowell*, Thomas F.Mace, Grant MacEwan, Royce MacGillivray, James G.MacGregor, Joseph B.MacInnis, Tessa macIntosh, David Clark MacKenzie, Heather M.Mackenzie, Robert C.MacKenzie, Ross G.MacKenzie, William C.MacKenzie, George O.Mackie, C.S.Mackinnon, Frank MacKinnon, William R.MacKinnon, Bruce B.MacLachlan, Roy MacLaren, Raymond A.MacLean, Kenneth Ogilvie MacLeod, Malcolm MacLeod, Pegi Nicol MacLeod, Roderick C.Macleod, Carrie H.MacMillan, Keith MacMillan, Andrew H.Macpherson, Duncan Macpherson, Ian MacPherson*, Kay Macpherson, Roger W.Macqueen, Donald A.MacRae, Anthony A.Magnin, Warren Magnuson, Gilles-D.Mailhiot, Laurent Mailhot*, Pierre Mailhot*, J.S.Maini, Lise Maisonneuve, Jean-Louis Major(?), Robert Major, Peter Malkin, David Malloch, Cedric R.Mann, Kenneth H.Mann, Martha Mann, J.R.Marchand, Anthony Mardiros, Michel Marengere, Leo Margolis, Salomon Marion, Philip De Lacey Markham, William E.Markham, James H.Marsh*, John S.Marsh*, J.Stewart Marshall, Victor W.Marshall, J.Douglas Martin, Jean-Claude Martin, John E.H.Martin, Sandra Martin, Andre Martineau(?), May Maskow, Allan M.Maslove, Donald C.Masters, Perry Mastrovito, John Ross Matheson, William A.Matheson, R.D.Mathews, Robin Mathews, William G.Mathewson, Thomas Mathien*, John R.Mathieson, Jacques Mathieu*, Keith Matthews, John S.Matthiasson, David Mattison, Mary McDougall Maude*, Jean Mauger, Christopher J.Maule, Alfred R.Maurer, Jean Mauvide, Valerie J.May, Valerie L.May, John Maybank*, Paul F.Maycock, Jack Maze, R.Ann McAfee, Don E.McAllister, William J.McAndrew, D.S.McBean, W.A.E.McBryde, Christina McCall, Douglas McCalla, Margaret Elizabeth McCallum, Lawrence D.McCann*, S.B.McCann, Bennett McCardle*, Peter J.McCart, Michael J.McCarthy, Catharine McClellan, P.McCloskey, W.H.McConnell, A.Ross McCormack, Jane McCracken, Harvey A.McCue, James A.W.McCulloch, A.B.McCullough, Michael McDonald, Allan K.McDougall, Anne McDougall*, John N.McDougall, Robert L.McDougall, Duncan McDowall, Alec C.McEwen, Freeman L.McEwen, K.D.McFadden, Jean McFall, Pat McFarlane(?), Tom McFeat, Elizabeth W.McGahan, Harold Franklin McGee Jr., Timothy J.McGee, Robert McGhee*, William B.McGill(?), Donald G.McGillivray, Roderick Alan McGinn, Janice Dickin McGinnis*, Pauline McGregor, Eric McGuinness, Dave McIntosh, W.John McIntyre, Alexander G.McKay, Gordon A.McKay, J.Alex McKeague, John McKee, Ruth McKendry, Barbara A.McKenna, Brian McKenna, Ruth McKenzie, Rita McKeough, A.Brian McKillop*, J.McLachlan, Angus McLaren, Ian A.McLaren, K.M.McLaughlin, Kenneth McLaughlin, Catherine M.McLay, A.Anne McLellan, Cam McLeod(?), Elizabeth McLuhan, Gerald R.McMaster, Barclay McMillan*, Donald Burley McMillan, Michael McMordie*, Lorraine McMullen*, Stanley E.McMullin, William C.McMurray, Debra A.McNabb*, Anne McNamara, Kenneth McNaught, Tom McNeely*, Martin K.McNicholl*, Jean McNulty, Hugo A.McPherson, Sandra F.McRae, King G.McShane*, Ian McTaggart-Cowan*, Peter B.E.McVetty, Ian R.McWhinney, Stanley R.Mealing*, Sheva Medjuck, John Medley, Harry Medovy, Sharon P.Meen, Benoit Melancon, William H.Melody*, James R.Melvin, Philip E.Merilees, Jim Merrithew*, Ann Messenger, George Metcalf, David R.Metcalfe, Janis John Mezaks, T.H.Glynn Michael, Jacques Michon, F.W.Micklethwaite, Tom Middlebro', Ivan Mihaychuk, James Francis Verchere Millar, A.J.Miller, Carman Miller*, Elizabeth Russell Miller, J.R.Miller, John A.Miller, Judith N.Miller, Mark Miller*, Mary Jane Miller, Orlo Miller, Leslie Millin, Peter B.Millman, Thomas R.Millman, Charles A.Mills, Dave Mills, David Mills*, Eric L.Mills, Isabel Margaret Mills, Trevor Mills, Brian Milne, David Milne, David A.Milne*, William J.Milne, Marc Milner, David G.Milton, Janice Milton, Gordon Minnes, Dale Miquelon*, Edward D.Mitchell*, Ken R.Mitchell, Lillian Mitchell, Wendy L.Mitchinson, Johann W.Mohr, John S.Moir*, George Dempster Molnar, Patrick M.Moncrieff, Jacques Monet*, Ian Montagnes, D.Wayne Moodie, Susanna Moodie, Barry M.Moody, Peter N.Moogk*, Kathleen A.Mooney, Christopher Moore, James G.G.Moore, Keith L.Moore, Teresa Moore, Andrew J.Moriarty, E.Alan Morinis, Pierre Morisset, Yves-Marie Morissette, Raymond Moriyama, Richard E.Morlan, J.Terence Morley*, Patricia A.Morley, T.J.Morley, J.W.Morrice, Cerise Morris, Peter Morris*, David A.Morrison, Jack W.Morrison, Jean Morrison*, Kenneth L.Morrison*, Rod Morrison, W.Douglas Morrison, William R.Morrison*, Norval Morrisseau, Don Morrow, Pat Morrow*, Desmond Morton*, John K.Morton, Allan Moscovitch, John Moss, Mary Jane Mossman, Roger Motut, Farley Mowat, Susanne Mowat, David S.Moyer, R.Gordon Moyles, Maria Muehlen, R.D.Muir, Del A.Muise, Francis C.Muldoon, Robert M.Mummery, Mohiudden Munawar, R.E.Munn, J.Ian Munro, Sean Murphy, Joan Murray*, Robert G.E.Murray, Brian T.P.Mutimer, Luba Mycio, John Myles, Robert Nadeau, Vincent Nadeau, Josephine C.Naidoo, George Nakash, Agnes Nanogak, A.Nantel, Roald Nasgaard, Roger P.Nason, Susan M.Nattrass, Francis P.D.Navin, Margaret Neal, Peter Neary, H.Blair Neatby, Leslie H.Neatby*, Edwin H.Neave, A.W.H.Needler, George T.Needler, James M.Neelin, Robert F.Neill, H.Vivian Nelles, Joseph S.Nelson, Pierre Nepveu*, David N.Nettleship*, Edward Peter Neufeld, Ronald W.Newfeldt, Shirley Neuman, William H.New, Michael J.Newark*, Dianne Newell, David L.Newlands, Peter C.Newman, Roy Nicholls, Norman L.Nicholson*, John S.Nicks, Murray William Nicolson, N.Ole Nielsen, Jorge E.Niosi*, Thomas Nisbet, Lawrence C.Nkendirim, William C.Noble, Ib L.Nonnecke, Kenneth H.Norrie, William Notman*, Barbara Novak*, J.Ralph Nursall, V.Walter Nuttall*, Allan O'Brien, John O'Brien, Lucius O'Brien, Serge Occhietti*, Shane O'Dea, Daphne Odjig, Ronald K.O'Dor, [--?--] Odesse, Jillian M.Officer*, Will Ogilvie, James A.Ogilvy*, Jean O'Grady, Timothy R.Oke, Kim Patrick O'Leary, R.V.Oleson, W.J.Oliver, Patrick B.O'Neill, Mario Onyszchuk, Robert R.Orford, Mark M.Orkin, Lionel Orlikow, Margaret A.Ormsby, Brian Stuart Osborne, Fernand Ouellet, Henri Ouellet, Real Ouellet, John N.Owens*, Doug R.Owram, Charles Pachter, John G.Packer(?), Donald M.Page, Garnet T.Page, James E.Page, Malcolm Page, Lee Paikin*, Sandra Paikowsky*, Howard Pain, Michael F.Painter, Jean Palardy, Murray S.Palay, Bryan D.Palmer, Howard Palmer, Tamara Jeppson Palmer, Khayyam Zev Paltiel, Leo Panitch, Frits Pannekoek*, Gerald Ernest Panting, Jean-Marc Paradis, Jean Pariseau*, Seth Park, George L.Parker, Graham E.Parker, Tom W.Parkin*, Timothy R.Parkins, [Joy?] Parr, Keith Parry, John Parsons, Ralph T.Pastore, Thomas H.Patching, Donald G.Paterson, Peter Paterson, W.Stan B.Paterson, Mariko Patrie*, E.P.Patterson, Freeman Patterson, G.James Patterson, Diane Paulette Payment, John G.Peacey*, Gordon B.Peacock, Frank A.Peake, Jane H.Pease, William H.Pease, Diana Pedersen, Susan Pedwell, Bruce Peel, Frank W.Peers, Alfred Pellan, Gerard Pelletier, Jacques Pelletier, Rejean Pelletier, W.Richard Peltier, Terence Penelhum, Norman Penner, M.James Penton*, Michael B.Percy, William T.Perks*, R.I.Perla, Trivedi V.N.Persaud, Erik J.Peters*, Robert Henry Peters, Jean Peterson, Jeannie Peterson, R.L.Peterson, Thomas E.Peterson, Jaroslav Petryshyn, Louis-Philippe Phaneuf, P.P.Phelan(?), Edward Phelps, Carol A.Phillips, David W.Phillips, Paul Phillips*, Roy A.Phillips*, Ruth Bliss Phillips, Truman P.Phillips, Ronald J.C.Phillipson*, Fred Phipps, Ellen I.Picard, Victor Piche, George L.Pickard, Richard A.Pierce, Claudine Pierre-Deschenes*, Ruth Roach Pierson, Juri Pill, Mike Pinder, K.A.Pirozynski, David G.Pitt, Janet E.M.Pitt*, Robert D.Pitt*, Joseph Pivato, Antoine Plamondon, Rejean Plamondon, Richard L.Plant, Jozinus Ploeg, Helene Plouffe*, T.J.Plunkett, Thomas K.Poiker, Mario Polese, H.Pollard, Frank Polnaszek, J.Rick Ponting, Annelies M.Pool*, Kananginak Pootoogook, Carol Ann Pope, Hugh A.Porteous, Arthur Porter, John R.Porter, Marion Porter, Michael Posluns, Bernard Pothier, Gilles Potvin, Gabrielle Poulin, Deborah J.Powell, James V.Powell, Margaret E.Prang, Christopher Pratt, Larry R.Pratt, Mary Pratt, Norman E.P.Pressman, E.Carter Preston, Richard A.Preston*, Richard J.Preston, Hugh Preston-Thomas, John A.Price, Alexander D.Pringle*, Gordon Pritchard*, John Pritchard, John T.A.Proctor, Michel Proulx, Pudlo Pudlat, Garth Charles Pugh, Nancy Pukingrnak, Terrence M.Punch, Eric D.Putt, Zenon W.Pylyshyn(?), Terence H.Qualter, Harvey A.Quamme, D.B.Quayle, Karl-Heinz Raach*, H.Keith Ralston, Victor J.Ramraj, Donald A.Ramsay, Peter G.Ramsden, P.Keith Raney, Toby Rankin, Egon Rapp, John Rasmussen, Mark A.Rasmussen*, Anthony W.Rasporich, Beverly J.Rasporich, George A.Rawlyk, Arthur J.Ray, Alan Rayburn, Gordon Rayner, Ed Rea, J.E.Rea*, John H.Read, Walter Redinger, Gerald Redmond*, Austin Reed, F.Leslie C.Reed, John Reeves, Randall R.Reeves*, Ellen M.Regan, T.D.Regehr*, Alison M.Reid, Bill Reid, David C.Reid, George Agnew Reid, Ian A.Reid, John G.Reid*, M.H.Lefty Reid, Richard Reid, Robert G.B.Reid, J.Nolan Reilly, Sharon Reilly, Henry M.Reiswig, Gil Remillard, A.Jim Rennie, Donald Andrews Rennie, Viljo Revell, Francois Ricard, Pierre Richard, John Richards, William D.Richards, Eric Harvey Richardson, Keith W.Richardson, W.George Richardson, Alex Richman, Roger R.Rickwood, Laurie Ricou, W.Craig Riddell, Peter E.Rider*, Robin Ridington, Walter E.Riedel, Paul W.Riegert*, Bert Riggs, Peter Rindisbacher, J.C.Ritchie, S.Andrew Robb, Jean-Claude Robert*, Lucie Robert, Eugene Roberto, Goodridge Roberts, John S.Roberts(?), William Roberts, Ian Ross Robertson*, J.A.L.Robertson, Raleigh John Robertson, Rejean Robidoux, Denise Robillard, Bart T.Robinson, J.Lewis Robinson*, Sinclair Robinson, Tom W.Robson, Yves Roby, Douglas Roche, Guy Rocher, William Rodney , Russell G.A.Rodrigo, Juan Rodriguez, Robert C.Roeder, Jacob Rogers*, Robert J.Rogerson*, Charles G.Roland, Eugene W.Romaniuk, Joseph R.Romanow(?), Barbara Romanowski, David Rome, George Romney, Keith Ronald, William Ronald, Donna Yavorsky Ronish, Edward Roper, Albert Rose, Phyllis Rose, Earl Rosen(?), Ann C.Rosenberg, Alexander M.Ross, Catherine Sheldrick Ross, David J.Ross, David P.Ross, Henry U.Ross, Gordon Rostoker, Gordon Oliver Rothney, George A.Rothrock, Samuel Rothstein, Abraham Rotstein, Leonard R.Roueche, Jacques Rouillard*, Guildo Rousseau, Henri-Paul Rousseau, Adolphe-Basile Routhier, Marie Routledge, Donald Cameron Rowat, R.Geoffrey Rowberry, Frederick W.Rowe, John Stanley Rowe, Kenneth Rowe, Percy A.Rowe, Gordon G.Rowland, Diana Rowley, Harry C.Rowsell, David J.Roy, Fernande Roy, Patricia E.Roy, Reginald H.Roy*, Kenneth Roy Rozee, Lorne Rubenstein*, Ken Rubin, Leon J.Rubin, Gerald J.Rubio, Mary H.Rubio, David-Thierry Ruddel, Norman J.Ruff, Wilson Ruiz, Norman A.Rukavina, Oliver John Clyve Runnalls, Robert John Rupert, Karl M.Ruppenthal, Roger Rushdy, Dale A.Russell, Hilary Russell, Loris S.Russell*, Peter A.Russell, Victor L.Russell*, Paul Frederick William Rutherford, R.W.Rutherford, Nathaniel W.Rutter, Douglas E.Ryan, James T.Ryan, John Ryan, Shannon Ryan, June M.Ryder, Stanley-Brehaut Ryerson(?), Oiva W.Saarinen, Ann P.Sabina, Nickolay Sabolotny, Moshe Safdie, Eric W.Sager, Marc Saint Hilaire*, Bernard Saint-Jacques, Gaston J.Saint Laurent, B.Saladin-D'Anglure, Arnaud Sales, Jeff Sallot, Liora Salter, Douglas D.Sameoto, G.M.Sanders, Marie E.Sanderson, Margaret J.Sandison, Joan Sangster, [N.B?] Sanson, Joy L.Santink*, Allen Sapp, A.Margaret Sarjeant, William A.S.Sarjeant, Roger Sarty*, David J.Sauchyn, John S.Saul, Pierre Sauriol, Harry Savage, Pierre Savard, D.B.O.Savile, Joel S.Savishinsky, Ronald Savitt, Rodney J.Sawatsky, Ronald G.Sawatsky, Lorne William Sawula, Deborah C.Sawyer*, John T.Saywell, Christopher M.Scarfe, M.H.Scargill, Otto Schaefer, Barbara Ann Schau, Sidney S.Schipper, Peter Schledermann, Benjamin Schlesinger, Wilhelm Schmidt, Nancy Schmitz*, Norbert Schoenauer*, Barbara Schrodt*, A.Karstad Schueler, George A.Schultz, Joan M.Schwartz*, Elizabeth J.Schweizer, Karl W.Schweizer, Charles Schwier, Stephen Scobie*, David S.Scott, Peter J.Scott, Stephen A.Scott, W.Beverly Scott*, Geoffrey G.E.Scudder, Allen Seager*, D.Bruce Sealey, Gary Sealey(?), Spencer G.Sealey, Louis M.Sebert, Harold N.Segall, Martin Segger, Norman Seguin, Alec H.Sehon, H.John Selwoood, Neil A.Semple*, Yoshio Senda, Elinor Senior, Hereward Senior, Robert Allan Serne, John Sewell, Christopher M.Seymour, Patrick D.Seymour, Aqjangajuk Shaa, Doris Shadbolt, Douglas Shadbolt, Ed Shaffer, Fouad E.Shaker, Elizabeth E.Shannon, Bernard J.Shapiro, Frances M.Shaver, Gordon C.Shaw, Joseph W.Shaw, L.Shaw, Murray C.Shaw*, Steve Shaw, Clifford D.Shearing, Carol Sheehan*, Nancy M.Sheehan*, Harry Sheffer, Edward Ottawa Sheffield, Rose Sheinen, Ben-Z.Shek, Jaroslaw W.Shelest, Roy J.Shephard, R.Ronald Sheppard, Robert Sheppard, Ellen Shifrin, Chang-Tai Shih, Rosemary Shipton, Thomas K.Shoyama, William L.H.Shuter, Nicholas Sidor, Arthur Siegel, David P.Silcox, Lennard Sillanpaa, Elaine Leslau Silver man, C.Ross Silversides, Richard Simeon*, Tom Sinclair-Faulkner*, Antoine Sirois, Rebecca Sisler, O.F.G.Sitwell, Alan Edward Skeoch, Grace Skogstad, Peter Slater, Yar Slavutych, H.Olav Slaymaker, William A.Sloan*, D.Scott Slocombe, Charles E.Slonecker, Peter Gerent Sly, Patricia Smart, Andre Smith, Barry L.Smith, Bill Smith, David B.Smith*, David E.Smith, Denis Smith*, Derek G.Smith, Donald A.Smith, Donald B.Smith*, Douglas A.Smith, Frances K.Smith, James G.E.Smith, James N.M.Smith, Kenneth V.Smith, Maurice V.Smith*, Peter C.Smith*, Peter J.Smith, Shirlee Anne Smith, T.Bradbrooke Smith, William Young Smith(?), Joseph Smucker, D.Laureen Snider, Dean R.Snow, Michael Snow, James D.Snowdon, Thomas P.Socknat, Omond M.Solandt, Margaret A.Somerville, Karl Sommerer, James Herbert Soper, John R.Sorfleet, Mary E.Southcott, Jack G.Souther, David A.E.Spalding, Roman Spalek, Stephen A.Speisman, Andrew N.Spencer, Deirdre Spencer, Don Spencer, John F.T.Spencer, John H.Spencer, Douglas O.Spettigue, Godfrey L.Spragge, D.N.Sprague*, William A.Spray, R.A.Sproule, Irene M.Spry, C.P.Stacey, C.R.Stacey, Robert Stacey*, Shirley Stacey, John K.Stager, Ronald J.Stagg, Elvira Stahl, Denis Stairs, Douglas G.Stairs, Robert M.Stamp*, W.T.Stanbury, David M.Stanley, Della M.M.Stanley*, George F.G.Stanley, Laurie C.C.Stanley, Charles R.Stanton, Gail Starr(?), Michael Staveley, Margaret M.Stayner, Gordon W.Stead, James Steele, Taylor A.Steeves, Baldur R.Stefansson, Con Stefurak, Janet R.Stein, Michael B.Stein, Gilbert A.Stelter, Philip C.Stenning, Philip H.R.Stepney*, Howard A.Steppler*, Theodor D.Sterling, H.H.Stern, Peter Stevens, Charlotte Stevenson, Garth Stevenson*, John T.Stevenson, F.Stewart, J.Douglas Stewart, John B.Stewart*, John R.Stewart*, Kenneth W.Stewart, Lillian D.Stewart*, Michael E.Stiles, John R.Stocking, Jennifer Stoddart, Boris Peter Stoicheff, Kay F.Stone, Donald H.Stonehouse, Anna K.Storgaard, Gerald J.Stortz, George Morley Story*, Jon C.Stott, Grant Strate*, Otto P.Strausz, Elwood W.Stringham, Charles Strong*, Veronica Strong-Boag, J.R.Tim Struthers, James Struthers, Richard Stuart, Ross Stuart, Konrad W.Studnicki-Gizbert, Franc Sturino, Peter Stursberg, Richard Stursberg, Brian E.Sullivan, William F.Summers, Ann G.Sunahara, Shan-Ching Sung, Maxwell Sutherland, Neil Sutherland, Sharon L.Sutherland, Stuart R.J.Sutherland*, Maia-Mari Sutnik, David Takayoshi Suzuki, Donald Swainson, Neil A.Swainson, Robert Sward, Alastair Sweeny, George Swinton, William Elgin Swinton, Frances A.Swyripa, T.Sykes, Philippe Sylvain*, Guy Sylvestre, Rodney Symington, E.Leigh Syms, Emoke J.E.Szathmary, Gerald Tailfeathers, James J.Talman, Adrian Tanner, Louis-Paul Tardif(?), Walter Surma Tarnopolsky, Leslie K.Tarr, Sylvie Taschereau, Jeremy B.Tatum, Thomas E.Tausky, C.J.Taylor*, Charles Taylor, Christopher Edward Taylor, J.Garth Taylor, J.Mary Taylor, Jeff Taylor, John H.Taylor, John Leonard Taylor, M.Brook Taylor*, Philip S.Taylor, Roy Lewis Taylor, Sylvia Taylor, William Clyne Taylor, William E.Taylor, Ghassem Tehrani, Robert G.Telewiak, R.John Templin, Brian D.Tennyson, Lorne Tepperman, Joan Terasmae, Yves Tessier, Pierre Theberge, Sharon Thesen*, George J.Thiessen, Stuart A.Thiesson, Marise Thivierge, Nicole Thivierge, Ann W.Thomas, Clara Thomas, Eileen Mitchell Thomas, Gregory Thomas, Morley K.Thomas*, Paul G.Thomas, Andrew Royden Thompson, Dixon A.R.Thompson, John R.Thompson, Teresa Thompson, William Paul Thompson*, Alex J.Thomson, J.Thomson, Malcolm [H?] Thomson, Malcolm M.Thomson, Reginald George Thomson, Stanley Thomson, Tom Thomson, Hugh G.Thorburn, Frederick J.Thorpe*, Catherine M.V.Thuro, John L.Tiedje, Herman Tiessen, Louis C.Tiffany, Seha M.Tinic, Ewen C.D.Todd, James M.Toguri, George S.Tomkins, Vladislav A.Tomovic, Peter M.Toner, Pierre Tousignant, Harold B.Town*, Joan B.Townsend, Richard G.Townsend, Charlotte Townsend-Gault, Anthony A.Travill*, Claire Tremblay*, Gaetan Tremblay, Jean-Yves Tremblay, Marc-Adelard Tremblay*, Pierre Trepanier, Stanley G.Triggs, Susan Mann Trofimenkoff, Harold Troper, Elizabeth A.Trott*, Barry D.Truax, Pierre Elliott Trudeau, Marc J.Trudel, Marcel Trudel, Mark E.H.Trueman, James A.Tuck*, Albert V.Tucker, Jaap J.Tuinman, Verena J.Tunnicliffe, Archie L.W.Tuomi, Allan Tupper, Gael Turnbull, H.E.Turner, Nancy J.Turner*, William J.Turnock, Katherine Tweedie, Christopher D.Tyler, Edward W.Tyrchniewicz, M.C.Urquhart, Auguste Vachon, G.Oliver Vagt, Gail C.Valaskakis, Frank G.Vallee, Marc Vallieres, Andre Vanasse, Rosamond M.Vendenburgh, Robert O.Van Everdingen, Blanche Lemco Van Ginkel, Walter Van Nus, Francoise Van Roey-Roux, Charles E.Van Wagner, Alice Van Wart, Christine Van Zwamen, Christopher Varley*, Frederick Horsman Varley, Joan M.Vastokas, Frederick Vaughan, Edmund W.Vaz, Bill Vazan, Richard Veatch, Michele M.Veeman, Terrence S.Veeman, Arjen Verkaik, Andre Vermeirre, F.A.Verner, Pierre Veronneau*, Claude Vezina, Raymond Vezina, Roger Vick*, Bernard L.Vigod*, Aubrey R.Vincent, Thomas B.Vincent, Kati Vita, Vadim D.Vladykov, Douglas Voice, Nive Voisine*, George M.Volkoff, Michael Vollmer, C.Haehling Von Lanzenauer, Roger D.Voyer, Richard Vroom*, Pamela S.Wachna, Stephen M.Waddams, Susan Wagg, Anton Wagner*, W.A.Waiser, P.B.Waite*, Michael John Wakroft, David B.Walden, Deward E.Walker Jr, James W.St.G.Walker, John P.Walker, Susan Walker, Thomas Walkom, Birgitta Linderoth Wallace, Carl M.Wallace*, Hugh N.Wallace, P.R.Wallace, Jean-Pierre Wallot*, J.A.Walper, Susan Walsh, J.Grant Wanzel*, Norman Ward*, Philip R.Ward, W.Peter Ward, Tracy Ware, John Warkentin, John Anson Warner, A.M.C.Waterman, Janice Waters, Elizabeth Waterston*, Mel Watkins, Homer Watson, Lorne Watson, Robert D.Watt, Ron Watts* Douglas Waugh, Earle H.Waugh, Morris Wayman, Christopher Weait, John C.Weaver, James L.Webb, Anna Weber, Roland Weber, D.B.Webster*, Douglas R.Webster, Gloria Cranmer Webster, Helen R.Webster, William G.Wegenast, Peter H.Weinrich, Robert Stanley Weir, Thomas R.Weir, Merrily Weisbord, G.Vernon Wellburn, John Wells, Harry L.Welsh, Carl J.Wenaas, Leo H.Werner, Douglas Wertheimer, D.V.Chip Weseloh, Benjamin West, J.Thomas West*, Roxroy West, Marla L.Weston, Robert Reginald Whale, Linda D.Whalen, C.F.J.Whebell, John O.Wheeler, Reginald Whitaker, Clinton Oliver White, John White, M.Lillian White, Alan Whitehorn, Leon Whiteson, James R.Whiteway, Gordon Francis Whitmore, Donald R.Whyte, Edgar B.Wickberg, Joyce Wieland, Thomas Wien, Clifford Wiens, Ernest J.Wiggins, Darlene Wight, Betty Wilcox, Frank Shorty Wilcox, Norman J.Wilimovsky, Karen Wilkin*, Bruce William Wilkinson, J.A.Wilkinson*, Robert C.Willey, Al Williams, David Ricardo Williams, Glyndwr Williams, Patricia Lynn Williams*, Richard M.Williams, S.Ridgeley Williams, Sydney B.Williams, M.W.Williams, Mary F.Williamson, Moncrieff Williamson, Christopher J.Willis, Norman M.Willis, Rod Willmot, Frank Wills, Bruce G.Wilson, H.E.Wilson, Ian E.Wilson, J.Donald Wilson, J.Tuzo Wilson, Jean Wilson*, Helmut K.Wimmer, Brent Windwick, Robin W.Winks, Gregory Wirick, Ronald G.Wirick, S.F.Wise, William J.Withrow, Henry Wittenberg, Leonhard S.Wolfe, William C.Wonders, Bernard Wood, George Woodcock*, John Woodruff, M.Emerson Woodruff, Robert James Woods, Glenn T.Wright, Harold E.Wright, J.F.C.Wright, J.V.Wright, Janet Wright*, Kenneth O.Wright, Roy A.Wright*, Paul Wyczynski, Jan Wyers, Max Wyman, Graeme Wynn, Leo Yaffe, Maxwell F.Yalden, Dong Yee, Derek York, A.J.Sandy Young, C.Maureen Young, David A.Young, Gayle Young, H.Brig Young, Jane Young, Jeffery Young, John H.Young, Roland S.Young, Walter D.Young, Manuel Zack, Jas Zagan, Suzanne E.Zeller*, Jarold K.Zeman, Joyce Zemans*, Norman W.Zepp, Jacob S.Ziegel, Bruce Ziff, Frank D.Zingrone, Stephen C.Zoltai*, Louise Zuk.
includes:
i) Governor General's Literary Awards, by [anonymous] (pp.758-761; in 2 parts, bpNichol listed for poetry, 197o, in part (chart) 2, Governor General's Award Winners)
ii) Humorous Writing in English, by Stephen Scobie (pp.847-848; prose, with a halfparagraph on Nichol's the martyrology)
iii) Literature in English, by W.H.New (pp1o17-1o2o; prose in 4 parts, passing reference to Nichol in part 4, History, itself in 6 parts, Nichol reference in part 6, 1959-80s)
iv) Nichol, Barrie Phillip, by Douglas Barbour (p.1259; prose)
v) Ondaatje, Michael, by Sharon Thesen (p.1318; prose, passing reference to Nichol/sons of captain poetry)
vi) Oral Literature in English, by Barbara Godard (pp.1331-1332; prose, passing reference to Nichol/Four Horsemen)
vii) Poetry in English, 1960-1980s, by Douglas Barbour (pp.1433-1434; prose, multiple references to Nichol)
viii) Short Fiction in English, by J.R.Tim Struthers (pp.1692-1693; prose in 9 parts, Nichol & Craft Dinner referenced in part 6, Experimental Writing)
ix) INDEX, by Eve Gardner & Ron Gardner (pp.1993-2o89; secondary references only includes Four Horsemen but with no way to access Nichol references other than (iv) above)
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- 2nd edition, 1988