The 500-seat bouleuterion or council chamber, one of the best-preserved parliamentary chambers from antiquity.

 

As in any Greek city, the agora was Priene’s commercial and political centre, and it is one of the most instructive examples of its kind

  

Priene, ancient city of Ionia about 6 miles (10 km) north of the Menderes (Maeander) River and 10 miles (16 km) inland from the Aegean Sea, in southwestern Turkey. Its well-preserved remains are a major source of information about ancient Greek town.

  

Priene, ancient city of Ionia about 6 miles (10 km) north of the Menderes (Maeander) River and 10 miles (16 km) inland from the Aegean Sea, in southwestern Turkey. Its well-preserved remains are a major source of information about ancient Greek town.

 

By the 8th century bc Priene was a member of the Ionian League, whose central shrine, the Panionion, lay within the city’s territory. Priene was sacked by Ardys of Lydia in the 7th century bc but regained its prosperity in the 8th. Captured by the generals of the Persian king Cyrus (c. 540), the city took part in several revolts against the Persians (499–494). Priene originally lay along the Maeander River’s mouth, but about 350 bc the citizens built a new city farther inland, on the present site. The new city’s main temple, of Athena Polias, was dedicated by Alexander the Great in 334. The little city grew slowly over the next two centuries and led a quiet existence; it prospered under the Romans and Byzantines but gradually declined, and after passing into Turkish hands in the 13th century ad, it was abandoned. Excavations of the site, which is occupied by the modern town of Samsun Kale, began in the 19th century.

Modern excavations have revealed one of the most beautiful examples of Greek town planning. The city’s remains lie on successive terraces that rise from a plain to a steep hill upon which stands the Temple of Athena Polias. Built by Pythius, probable architect of the Mausoleum of Halicarnassus, the temple was recognized in ancient times as the classic example of the pure Ionic style. Priene is laid out on a grid plan, with 6 main streets running east-west and 15 streets crossing at right angles, all being evenly spaced. The town was thereby divided into about 80 blocks, or insulae, each averaging 150 by 110 feet (46 by 34 m). About 50 insulae are devoted to private houses; the better-class insulae had four houses apiece, but most were far more subdivided. In the centre of the town stand not only the Temple of Athena but an agora, a stoa, an assembly hall, and a theatre with well-preserved stage buildings. A gymnasium and stadium are in the lowest section. The private houses typically consisted of a rectangular courtyard enclosed by living quarters and storerooms and opening to the south onto the street by way of a small vestibule. planning.

 

www.britannica.com/place/Priene

  

T e m p l e o f A t h e n a P o l i a s

a t P r i e n e - The Temple of Athena

 

www.goddess-athena.org/Museum/Temples/Priene/index.htm

 

The Sanctuary of Athena Polias at Priene

 

The Temple of Athena

This Temple, located on the culminating point of the city, rose over a wide terrace of rocks and the defense walls, and was the oldest, the most important, the largest and the must magnificent building in Priene. It was oriented on an east-west axis in conformity with the city plan and faced east.

 

Map of Priene, the Acropolis, the Temples and the village.

It is believed that the construction of the Temple was begun at the same time as the founding of Priene (4th century BCE). The architect of the building was Pythius, who also constructed the Mausoleum of Halicarnassus, counted as one of the seven wonders of the world. The Temple is accepted as being a classical example of the Anatolian-Ionian architectural style.

The building was destroyed completely in an earthquake in ancient times and the pieces were scattered over a large area. It also suffered great destruction in a later fire. However, the construction of the plan and the reconstruction of the building have been possible through the fragments found in the excavations.

Large-grained grey-blue local marble brought from Mycale was used as construction material.

The Temple, constructed in the Ionic style, consists of a pronaos (an entrance-hall), a naos (the sacred chamber where the statue of the cult was kept) and an opisthodomus (a porch at the rear). The pronaos is larger than in earlier examples. There was no opisthodomus in previous Temples; it is first seen here. Pythius has taken this characteristic from the Doric style and applied it to his plan, and has thus set a model for later Temples. The building, a combination of the Ionic and Doric architectural styles, emerges as a different architectural example.

   

How Memphis Water Works Is Planning For Future Needs

 

Recommended Program of Engineers—How It Is Being Carried Out— Detailed Description of Improvements—Cost Nearly Three Million

 

THE handling of large and important water works problems, especially when the future of a city hangs upon the proper formulation and carrying out of the program of development of its water supply, is always interesting. The following outline of the system being introduced in the water works of Memphis, Tenn., written by the engineer in charge of these developments, will be found particularly instructive. The experience of Mr. McClintock for the past seventeen years has been entirely identified with the work of George W. Fuller and the late Rudolph Hering. Mr. Fuller and Mr. McClintock have been in partnership since 1912 and from 1915 up to the present time the business has been under the firm name of Fuller & McClintock. For the past three years Mr. McClintock spent the greater portion of his time on the report of the Memphis water works project and that of Kansas City, Mo. Previous to that time he had charge of comprehensive sewer work and the sewage pumping station in the city of Toledo.

 

In March 1922, the writer’s firm submitted a report on the Water Supply of Memphis following a detailed investigation of the local water problem. The principal recommendations and conclusions of the report were as follows:

 

Recommended Program for New Supply Works

 

It is entirely practicable to develop a well water supply at Memphis of 75 million gallons daily or more, and there is no probability of a well designed and adequately developed artesian supply failing to meet all municipal and industrial needs during the next thirty years.

 

The artesian water is naturally excellent in quality, being clear, cool, soft and practically free from organic matter and bacteria. This ground water, however, contains considerable free carbonic acid, the amount ranging from 90 to 130 parts per million, which makes it highly corrosive of cast iron pipe.

 

The iron content of the Memphis wells varies from about 0.2 parts per million to a maximum of 6 parts per million and the high carbonic acid causes substantial amounts of iron to be dissolved as the water flows through the iron pipe system. When dissolved iron is present in quantities greater than about 0.4 parts per million it causes unsightly stains upon plumbing fixtures, kitchen utensils, and particularly white goods in the laundry. The removal of iron and carbonic acid is therefore an essential feature for a satisfactory future well supply.

 

It was recommended that the Auction Avenue development be abandoned as soon as new supply works could be put in service. Most of the present wells arc of such age and condition as to be of doubtful serviceability and are potentially subject to pollution. The fine sands in this vicinity preclude large yields of water being economically secured and there is grave doubt as to the continued integrity of the main tunnel and more particularly the timber lined drifts connecting with the wells. It was also deemed advisable to abandon the Central Avenue plant as soon as practicable, because it is uneconomical to operate and the site is not a good one for the further development of wells because of the distance from the ground surface to the artesian water plane.

 

The fourteen segregated wells are expensive to operate regularly and at times they discharge troublesome quantities of sand into the pipe system. On starting up these wells, after a shut down, objectionable amounts of rust are delivered into the mains. Some of them should prove serviceable for 8 or 10 years for emergency use during periods of high consumption, and their continued use as a reserve is perhaps advisable.

 

The Mississippi River has been frequently suggested as a source of water supply for Memphis and it is perfectly feasible to obtain a satisfactory filtered water supply from the river as is done at St. Louis and New Orleans. Such a supply would be much harder than the artesian water and also noticeably warmer in summer although free front iron and excessive free carbonic acid. It would be cheaper to treat the artesian supply by aeration and filtration to remove iron and carbonic acid than to remove the sediment and bacteria from the river water.

 

A satisfactory intake in the Mississippi River would be relatively difficult and expensive to obtain at Memphis owing to the absence of rock bottom and the shifting character of the river channel.

 

The investment for a river supply would be nearly twice that necessary for a complete, first class, modern, artesian water development of equal capacity and the total annual costs would be largely in excess of the corresponding annual costs for a well water supply. It was therefore recommended that the Mississippi River be dismissed from consideration as a source of supply.

 

The probable increase in population has been judged by the past growth of Memphis and compared with the earlier growth of similar cities. The assumed growth for Memphis is similar to that enjoyed by Cincinnati for several decades and a little higher than the growth of Louisville and New Orleans. It is not so rapid, however, as has occured in Indianapolis, Kansas City and St. Louis.

 

The water consumption estimates were based on the actual per capita consumption at Memphis, but for the future have been increased somewhat, as such a tendency to increase throughout a period of years is generally noted in most cities, notwithstanding all attempts to curtail waste.

 

The city may be arbitrarily divided into two areas designated the Eastern and Western Districts, respectively.

 

The plot of land in the northwest portion of the city, already owned by the water department, known as the Dunlap Street site is favorably situated for a new well water development. This site is adjacent to the North Parkway, which is an excellent location for wells, and it is also reasonably near to the more densely built up western portion of the city where the heaviest water consumption occurs. After careful study of other well projects it was determined that the most economical plan would be to develop works at Dunlap Street of sufficient capacity to provide for the full draft in the Western District for a period of 30 years or more. Such a plant would then have sufficient capacity to supply the entire city for a period of 8 or 10 years. Before the capacity of the Dunlap Street station is exceeded by the increasing consumption in the Western District, a new eastern station should be constructed at some location where the length of connecting lines to the distribution system will not be excessive, and a suitable area for sinking wells can be obtained, at which the depths from the surface to the artesian water plane is not too great for economical operation.

 

The new works should comprise a modern, steamoperated, high lift pumping station; a covered reservoir to equalize peak rates of water consumption and furnish a reserve for fire purposes; suitable aerating arrangements and filters for removing free carbonic acid and iron; and a new system of wells extending eastward along North Parkway for supplying this station through a suitable collecting conduit. Discharge mains should be installed to deliver the water into the present distribution system.

 

The free carbonic acid content is greatly reduced by the air lift method of pumping water from the wells, about 80 per cent. being removed. This was conclusively proven by experiment and by observation of air lift installations in various parts of the city. To insure against corrosion in street mains and consequent increase in iron content, the carbonic acid should be reduced to 10 parts or less, which result can best be obtained by suitable aeration through coke beds together with the application of small quantities of lime.

The iron can be readily and completely removed by passing the water through rapid sand filters at normal rates for mechanical filters and can be completely removed from fully aerated water by such means only.

The advantages of a highly polished, sparkling product from the city water works fully warrant the relatively small expense of removing the iron and carbonic acid. By carrying out these recommendations the citizens will obtain freedom from iron stains and the unusually high corrosive action of the artesian water. Memphis will then have a city water equaled by few sizeable cities in the world and surpassed by none.

The air lift is the best method for raising water from wells and delivering it to the treatment works at Dunlap Street. Electrically operated deep well pumps would be somewhat more expensive and do not showthe advantage which the air lift possesses in removing the larger part of the free carbonic acid.

 

As a result of the report the city decide to construct new water supply works in substantial accordance with the recommendations. Work on plans and specifications were commenced in April, 1922, and contracts for machinery let in July 1922. To date, practically all work is under contract and construction of the pumping station, pumping equipment, and other portions of the works is well advanced. It is expected that the new works will be completed and in operation early in 1924. The following is a general description of the work:

 

Parkway Station Layout

 

The water of the Parkway Station from the wells enters the equalizing basin which provides for variations between the flow from the wells and the rate of operation of the aerator and iron removal plant. From the equalizing basin the water flows to the secondary pumps in the north end of the pumping station which discharge through a 42-inch cast iron conduit to the aerator. A Venturi meter is provided in this conduit for measuring the flow of water to the aerator. After passing through the aerator the water goes through the filters of the iron removal plant and thence back to the pumping station through another 42-inch cast iron conduit. The purified water will then pass either directly to the high lift pumps for delivery to the city, or if there is a surplus, it is discharged through a concrete conduit into the main storage reservoir.

 

Finished Grading Plan

 

In the proposed finished grading about the Parkway Station, a series of drives have been laid out to give convenient access to all portions of the works and a siding from the L. and N. Railroad is provided for the delivery of coal. The station is located in a good residential district and it is proposed to make it as attractive as possible by parking the grounds and making the buildings of pleasing architectural appearance.

 

Reservoir and Equalizing Basin

 

The reservoir and equalizing basin is a reinforced concrete structure with a total capacity of about 10,000,000 gallons, but one corner is walled off, giving 1,000,000 gallons capacity for equalizing the flow from the wells. The roof is of the flat slab type of construction with panels 18 feet square and is designed for a live load of 100 lbs. per square foot in addition to the weight of the earth fill. The reservoir is to be covered with earth and finished as a level terrace on which it is proposed to construct six tennis courts.

 

The Pumping Station

 

The exterior of the building is being built of mat-face texture brick with a range of shades from gun-metal to light red laid in Flemish Bond. The corner pylons, base course, cornice and other exterior trim are of buff Bedford limestone. The interior of the pump room will be faced with light buff, Kittanning brick. Steel sash will be used throughout and as far as practicable windows have been provided to light the basement.

 

As will be seen by the illustration, the placing of the machinery in a double row has necessitated a clear span of about 120 feet for the pump room of the pumping station. The coal bunker is suspended from the boiler room roof trusses, which avoids the obstruction of additional supporting columns. A 15-ton electric travelling crane of 117 foot clear span will serve the pump room. There is a 12-foot basement under the pump and boiler rooms to accommodate condensers, steam piping and other auxiliaries.

 

(Continued on page 220)

 

(Continued from page 204)

 

Crank and Fly Wheel Pumping Engines

 

There arc two Snow pumping engines of the horizontal, cross compound, crank and fly wheel type with a nominal capacity of 15 m. g. d. but designed to deliver 16.5 m. g. d. continuously when necessary, the total head pumped against being 200 feet. Each unit will have a surface condenser of the water works type in the suction, attached air and condensate pumps, and a vacuum condensate heater. The valve gear is designed for steam at 200 pounds pressure and 200 degrees superheat with poppet valves on the high pressure cylinders. In view of the direct pumpage into the mains it is expected to use the crank and fly wheel units for most of the work as they will maintain good economy over wide ranges in capacity.

 

Turbo-Centrifugal Pumping Units

 

There will be two turbo-centrifugal pumping units, each consisting of a 16-inch single stage Worthington pump, gear driven by a General Electric steam turbine. The capacity of each unit is 16.5 m. g. d. against a total head of 200 feet and the turbines are designed for the same steam conditions as the crank and fly wheel pumping engines.

 

Each unit will have a surface condenser of the water works type in the suction with a condensate heater. The air pumps will be of the Worthington water jet type and the condensate from each unit will be handled by a centrifugal pump direct connected to a small water turbine. Pressure water from the main discharge line will drive the condensate pump turbine and then pass through the water jet air pump and be returned to the suction conduit. The resultant duty guaranteed was 144,000,000 foot pounds.

 

Air Compressors

 

The four air compressors, which are of the horizontal, cross compound, crank and fly wheel, two stage type are being built by the Nordberg Manufacturing Company. Each unit will have a capacity of 2,700 cubic feet net, of free air per minute, against a gauge pressure of 100 pounds, but will be designed to operate with maximum economy at 85 pounds pressure. The valve gear is designed for the same steam conditions as the pumping units with poppet valves on the high pressure cylinder.

 

Each unit will have a surface condenser with condensate heater and attached air and condensate pumps. The circulating water for the condensers will be taken from the discharge of the water turbines operating the secondary pumps. Two of the compressors will be sufficient for the maximum station load and the two other units are for reserve.

 

Secondary Pumping Units

 

The secondary pumping units, for delivering water to the aerator, are three in number, and each will consist of a horizontal, centrifugal pump direct connected to a water turbine, driven by pressure water from the high lift pumps. Both pumps and turbines are being built by the Worthington Pump and Machinery Corporation and each unit will have a nominal capacity of 9 m. g. d. against a total head of 26 feet. The overall efficiency of the pumps and turbines will be about 65 per cent, which is equivalent, in combination with the high lift pumping engines, to a duty of 93,000,000 foot pounds per 1,000,000 B. T. U. This method of pumping is therefore much more economical than the use of small steam turbine or engine driven units.

 

In event of a very severe conflagration it is possible to by-pass the aerator and iron removal plant and shut down these units so that the entire capacity of the high lift pumps would be available.

 

Boiler Plant

 

The boiler plant will comprise four 350 horse power, Cascv-Hedges, boilers of the horizontally inclined, water tube type with longitudinal drums built for an operating steam pressure of 225 pounds. Each boiler is to be equipped with a Foster superheater and in order to try out the practical advantage of different degrees of superheat, two units have been designed for 75 degrees superheat and the other two for 200 degrees superheat.

 

Each boiler will have a Sanford Riley, four retort, underfeed stoker with its own driving engine. Forced draft for each stoker is to be furnished by an electric motor driven fan and there will be a reserve fan, steam turbine driven, with air ducts so arranged that it may serve any boiler. The boilers have steel plate casings to reduce air leakage through the setting. To provide liberal combustion space the boilers have been set 12 feet above the floor. A radial brick stack 225 high with an inside top diameter of 9 feet will provide draft for the boiler plant.

 

General Plan of Basement

 

The arrangement of the elaborate header system for controlling the discharge from the high lift pumps. There are eighteen 24-inch hydraulic operated, gate valves so arranged that no single failure of either a valve or section of piping will put out of service more than one pumping unit or one force main. The hydraulic valves are all controlled from an operating table in the entrance hall of the station. Duplicate sources of pressure water are to be provided to insure operation of the valves at all times. Venturi meters arc provided on each pump discharge.

 

All steam and feed water piping and other important lines have in general been laid out in loops and careful study given to the location of valves and connections so as to secure the greatest reliability of service.

 

Duplicate 100-K. W. A. C. generators arc to be installed, each driven by a Chuse Unaflow engine to furnish 3-phasc, 60 cycle current at 240 volts for the operation of the stoker fans, coal handling equipment, crane and shop tools as well as for lighting the station.

 

A complete central oiling system will be installed with the necessary storage tanks, filters and other appurtenances to supply the different grades of oil required to all main units of the station equipment.

 

An interesting feature of the station equipment are four Thomas thermo-electric meters which will be installed, one on each main air line. These meters will accurately measure the quantity of air delivered under varying conditions of pressure and temperature and will be used to check the total air going to each group of wells as well as to determine the true delivery of the compressors during duty trials.

 

In order to reduce the lift from the artesian water level to the station and secure a suitable hydraulic gradient for the wells and collecting conduit it was necessary to place the pumping station at a relatively low elevation and construct the reservoir almost wholly in cut. This resulted in a surplus of over 50,000 cubic yards of material which had to be removed from the site.

 

Iron Removal Plant

 

The iron removal plant is essentially a rapid sand filter plant with a nominal capacity of 18 m. g. d. On the main floor of the plant the eight 2.25 m. g. d. filter units are arranged on two sides of a central operating gallery. In the north wing of the head-house are provided an office, toilet and locker rooms and liberal laboratory space. The south end of the head-house is occupied by a chemical room which contains duplicate dry feed lime machines and space for the storage of lime.

 

A reinforced concrete wash water tank, 35 feet in diameter by 10 feet in depth, with a capacity of 70,000 gallons, occupies the upper part of the head-house.

 

The iron removal plant, will he constructed to correspond with the pumping station. The entrance lobby, laboratory rooms, toilets, and office will have walls of impervious grey brick like the pump room and the filter and chemical rooms will be faced with buff Kittanning brick like the boiler room. The entrance lobby and operating gallery will have red quarry tile floors and the laboratories will have floors of rubber tile.

 

The filter tanks and pipe gallery, reinforced concrete flumes are to be used for the main influent and effluent conduits and drains. The collecting conduits beneath each filter unit are also of reinforced concrete and of relatively large size to reduce friction losses and give uniform distribution of wash water. Each filter unit is to have a central wash water trough with twelve lateral gutters, all of reinforced concrete.

 

The net filtering area of each filter is 825 square feet which is equivalent to practically 360 square feet per m. g. d. of rated capacity. Small case iron sleeves are to be set in the top of the main under drains, to receive the tees of the perforated lateral pipes.

 

The arrangements of the piping connections, valves, and controllers in the pipe gallery are such that the plant will have hydraulic valves throughout, controlled from tables on the filter operating floor and each filter unit will discharge through a Simplex rate controller.

 

The filter strainer system will consist of 2 1/2-inch galvanized wrought iron pipes, spaced 9 inches on centers, with special cast iron tees at the center with long spigots which will be leaded into the floor sleeves. The lateral pipes will have two 1/4-inch holes spaced every 4 inches, the holes being located 30 degrees from the center line of the bottom of the lateral. The outer ends of each lateral will have special screwed caps provided with lugs for supporting the ends of the lateral and these caps will each be tapped with two 1/4-inch holes to insure satisfactory washing of the outside edges of the filters.

 

Aerator, Sections, Details, and Superstructure Plan

 

The aerator substructure is designed in the form of a cross to give large wall area for ventilation. The well water enters through a conduit to a central riser chamber from which it is distributed through four conduits, one for each arm of the cross. The collecting conduits arc arranged to bring aerated water to a trough at the front of the structure where it can be treated with a small dose of lime to remove any residual free carbonic acid. The substructure forms a basin for the aerated water with a capacity of 240,000 gallons through which the water may circulate after the lime is applied.

 

The aerator units are forty in number, ten being placed in each wing of the structure. The separate units are 2 feet wide by 7 feet long giving a total area of 560 square feet. Each set of ten is arranged on both sides of a central supply conduit at the top and collecting conduit at the bottom and ample space is allowed around each unit to promote free circulation of air. The aerating units have concrete ends, supporting a distribution trough above and with notched sides to support the concrete side boards forming the aerator trays. The outlet from each unit to the collecting conduit is trapped to prevent reabsorption of carbonic acid. On both sides of each wing are provided vents in the floor leading to the outside air to facilitate the removal of the carbonic acid released from the water.

 

At the top there is a distributing box with concrete sides connecting with the main supply conduit. The bottom of this box is formed of No. 20 corrugated sheet brass or copper, supported on ledges in the concrete sides and also by pieces of brass pipe. This bottom is perforated with 1/8-inch holes spaced 0.8 inch apart in both directions. The aerating troughs are four in number, spaced 9 inches apart one above the other and each trough is about 10 inches in depth. They are formed of concrete side boards supported on notches in the end pieces and held in place by brass bolts. The bottoms of the troughs are constructed of 5/8-inch mesh brass wire cloth which rests on three brass pipe supports at intermediate points and at the ends is clamped to small brass angles bolted to the end pieces. All metal work of the aerator will be brass or copper on account of the corrosive action of carbonic acid. The aerating troughs are to be filled with clean crushed coke which will pass a 2-inch ring and be retained on a 1-inch ring.

 

Well System

 

The new well system will comprise 23 wells for the present installation, four of which are located on the Parkway Station site and the balance easterly along North Parkway and the L. & N. Railroad for a distance of almost two miles. The wells are in general placed about 500 feet apart to avoid undue interference. The wells have 12-inch casings and 50 feet of 10-inch brass strainer of the Cook type. It is expected to secure a yield of about one million gallons daily per well with a draw down of 25 feet and the average pumping lift from the wells to the surface is estimated at 75 feet. A larger yield per well can undoubtedly be secured in emergencies but in general it is planned to operate sufficient wells to obtain an economical draw down rather than attempt to secure the maximum capacity.

 

It was originally intended to place the wells on the mall in the center of the Parkway, but owing to opposition from property owners, a number of lots were bought for well locations and at the easterly end a strip of land paralleling the L. & N. Railroad was purchased. The collecting conduit and air lines are designed so that several additional wells may be added at the easterly end of the system if desired in the future.

 

The Well Houses

 

Each well house will be arranged so that a portable derrick may be mounted upon the roof when it may be necessary to work on a well. The wells will be equipped with all necessary gauges, controllers and meters so that the air lifts may be carefully regulated and operated in the most efficient manner. Considerable study is being given to the development of a tapered copper eduction pipe by means of which it is expected to materially improve the efficiency of pumping.

 

The entire project, which will cost about $2,800,000 is being carried out by the Memphis Artesian Water Commission, Messrs. F. G. Front, chairman; Milton J. Anderson, vicechairman, and Thomas F. Stratton, commissioner. Much credit is due to Mayor J. Rowlett Paine for getting under way this important municipal improvement. James Sheahan is general superintendent and Carl E. Davis, engineer for the commission. The works were designed by Fuller & McClintock, engineers, and are being constructed under their direction with F. G. Cunningham, resident supervising engineer.

 

(Excerpts from paper read at the Detroit annual convention of the American Water Works Association.)

 

www.fireengineering.com/articles/print/volume-74/issue-5/...

A girl stands by her house for a portrait near the Palmeiras cable car station.

  

"It is going to be a beautiful World Cup, but it won't be the World cup of the Brazilian people, because they won't be able to afford tickets. The richer will attend the games, will see nice modern stadiums ... but the whole people will pay the bill."

Those words of Romario, now a member of federal parliament resonate as the 2014 World Cup is about to start. I decided to release a few pictures I shot in 2013 in one of Rio's biggest favela. This set will take you to the "Complexo do Alemao", literally the "Complex of the German" (en.wikipedia.org/wiki/Complexo_do_Alem%C3%A3o). It is an aggregate of several favelas on a few hills and the home of about 70000 people in the northern area of Rio de Janeiro.

The Complex used to host some drug trafficking gangs until it was pacified by the military police and the Brazilian army back in 2010. The pacification process unfortunately did not occur without civilian losses and if security improved since then, the nature of the danger for its inhabitants changed.

The Complex is famous for many reasons among which is the recently built cable car. After the pacification, the police built police stations within the favela for military police units which mission consists in maintaining the "pacified order". Their presence and action are sometimes source of some scandals such as the disappearance of Amarildo in 2013 in the favela of Rocinha (www.bbc.com/news/world-latin-america-24362311). Along with the police stations came an usual infrastructure supposed to improve the daily life of local inhabitants : a cable car linking the top of the hills to the nearest suburban train station. As an member of the residents association said, the cable car was a not negotiable project for the authorities. Despite its very expensive construction and maintenance prices and the fact that most of the favela did not benefit from basic infrastructures such as basic sanitation. If the cable car now enable some people to save time on their daily journeys, it remains used by a mere 12% of the residents although they are given free tickets (ultimosegundo.ig.com.br/brasil/rj/construido-por-r-210-mi...). The presence of this infrastructure thus raises questions about its relevancy.

Unfortunately, this very ambitious project must feel very lonely in Rio's metropolitan area. Indeed, most of the public transportation projects once set for the 2014 World Cup and the 2016 Olympics were purely abandoned in the last years. It is again instructive to dig into Romario's outspoken words : "FIFA got what it came for: money," he told the New York Times. "Things like transportation that affect the public after the tournament is over? They don’t care. They don’t care about what is going to be left behind. They found a way to get rich on the World Cup and they robbed the people instead. This is the real shame."

"The Gibbes Museum of Art, formerly known as the Gibbes Art Gallery, is an art museum in Charleston, South Carolina. Established as the Carolina Art Association in 1858, the museum moved into a new Beaux Arts building at 135 Meeting Street, in the Charleston Historic District, in 1905. The Gibbes houses a premier collection of over 10,000 works of fine art, principally American works, many with a connection to Charleston or the South.

 

The benefactor, James Shoolbred Gibbes, donated $100,000 to the Carolina Arts Association for the "erection of a suitable building for the exhibitions of paintings." The city did not receive the money until after the resolution of a will contest filed by nieces and nephews of Gibbes. Their case was heard in the state court of New York during 1900 and 1901. On December 6, 1901, the New York Supreme Court (the state's trial-level court) issued an opinion declaring that the gift to Charleston was valid.

 

After receiving the money in 1903, the Association hired Frank Pierce Milburn to design the gallery. He planned a Tiffany-style dome, Doric columns, and pediment-capped windows and doors. Milburn completed the drawings of the building in mid-1903, and a drawing of the proposed building was published in the Charleston Evening Post on June 5, 1903. Notices were published seeking contractors' bids for the work starting in August 1903.

 

In September 1903, H.T. Zacharias was selected as the contractor and received a contract for $73,370 for the building. Zacharias started work on September 28, 1903, removing the remains of the South Carolina Agricultural Hall that had occupied the lot. Although work on the foundations had begun already, a ceremony was held on December 8, 1903, to lay the cornerstone of the building at the northeast corner.

 

The museum formally opened on April 11, 1905. The collection on display on the opening day included more than 300 pictures, many bronzes, and about 200 miniatures in addition to an "instructive collection" of Japanese prints.

 

After closing in the early 21st century for an extensive two-year, $13.5 million renovation, the museum reopened to the public on May 28, 2016. In renovating the museum, the development teams used the original blueprints, discovered in the City of Charleston archives in 2008, to return the building to its 1905 Beaux Arts style layout. The first floor has classrooms, artist studios, lecture and event spaces, a café, and a museum store. The rear reception area opens to the garden, part of Charleston’s historic Gateway Walk founded by the Garden Club of Charleston. The entire ground floor of the museum is admission-free.

 

The museum's collections include the work of numerous artists with connections to Charleston; among them are Henrietta Johnston, Mary Roberts, Charles Fraser, William Melton Halsey, Ned I.R. Jennings, and Jeremiah Theus. The museum also has collected photographs by George LaGrange Cook, including photographs taken after the 1886 Charleston earthquake.

 

Charleston is the largest city in the U.S. state of South Carolina, the county seat of Charleston County, and the principal city in the Charleston–North Charleston metropolitan area. The city lies just south of the geographical midpoint of South Carolina's coastline on Charleston Harbor, an inlet of the Atlantic Ocean formed by the confluence of the Ashley, Cooper, and Wando rivers. Charleston had a population of 150,277 as of the 2020 U.S. Census. The 2020 population of the Charleston metropolitan area, comprising Berkeley, Charleston, and Dorchester counties, was 799,636 residents, the third-largest in the state and the 74th-largest metropolitan statistical area in the United States.

 

Charleston was founded in 1670 as Charles Town, honoring King Charles II, at Albemarle Point on the west bank of the Ashley River (now Charles Towne Landing) but relocated in 1680 to its present site, which became the fifth-largest city in North America within ten years. It remained unincorporated throughout the colonial period; its government was handled directly by a colonial legislature and a governor sent by Parliament. Election districts were organized according to Anglican parishes, and some social services were managed by Anglican wardens and vestries. Charleston adopted its present spelling with its incorporation as a city in 1783. Population growth in the interior of South Carolina influenced the removal of the state government to Columbia in 1788, but Charleston remained among the ten largest cities in the United States through the 1840 census.

 

Charleston's significance in American history is tied to its role as a major slave trading port. Charleston slave traders like Joseph Wragg were the first to break through the monopoly of the Royal African Company and pioneered the large-scale slave trade of the 18th century; almost one half of slaves imported to the United States arrived in Charleston. In 2018, the city formally apologized for its role in the American Slave trade after CNN noted that slavery "riddles the history" of Charleston." - info from Wikipedia.

 

The fall of 2022 I did my 3rd major cycling tour. I began my adventure in Montreal, Canada and finished in Savannah, GA. This tour took me through the oldest parts of Quebec and the 13 original US states. During this adventure I cycled 7,126 km over the course of 2.5 months and took more than 68,000 photos. As with my previous tours, a major focus was to photograph historic architecture.

 

Now on Instagram.

 

Become a patron to my photography on Patreon or donate.

"And verily in cattle (too) will ye find an instructive sign. From what is within their bodies between excretions and blood, We produce, for your drink, Milk, pure and agreeable to those who drink it."

Surah An-Nahl - Verse 66.

-- Page 18

 

"Yoko Ono performs her work CUT PIECE

at Carnegie Hall

Concept-art, where you can be an Artist, goes

further and involves with the audience as in Ono's CUT

PIECE, where each member of the audience is asked

to come up on the stage one at a time and remove the

performer's clothing with a large pair of tailor's

shears. The performer sits motionless through the

whole operation in a kneeling position until all the

clothing has been removed or everybody has had a

chance to cut, usually about an hour. In contrast to

the rest of the ceoncert which is usually filled with

restlessness in the audience, this piece always takes

place in complete silence, with periods of several

minutes elapsing before the next performer (member

of the audience) gets enough courage to come up on the

stage. Usually only one third of the audience performs

while the rest apparently consider the prospect."

  

-- Page 17

  

"Ono leads in a direction that might be called Concept-Art

   

INSTRUCTIVE AUTO-DESTRUCTION

    

THE FULL MOON hangs over the Lower East Side, its light

shines on paper-littered streets. In the daytime 2nd Avenue

is jammed with traffic and it's possible to look up through

the dust and heat at the sky and imagine what those few

seconds would be like before it came if eternity were to fit.

What an EVENT!

What is an Event and what does it have to do with Art?

Circa 1950: Yoko Ono is sitting around some-place

striking matches. She is observing the significance of a

natural act. Many matches later she finds that by lighting

a match and watching til it has gone out she is making

something that has a shorter existence than herself, and

by comparison is making her life longer.

When people are asked to observe the passage of time

they may feel ill at ease. Is this why we have a term like

auto-destruction? One of Yoko Ono's first events is

called LIGHTING PIECE: 'Light a match and watch

till it goes out.'

1961: her first one-man show in New York, in which

fifteen works were what she calls INSTRUCTUER;

'Something that emerged from instruction and yet not

quite emerged - not quite structured - never quite struc-

tured --- like an unfinished church with a sky ceiling.'

One of these works which was described by a critic as 'a

grimy unstrung canvas with a hole in it' is SMOKE

PAINTING: 'Light canvas or any finished painting with

a cigarettes at any time for any length of time. See the smoke

movement. The painting ends when the whole canvas is

gone.'* For Ono, paintings like Event do end: an ad-

ditional act in life; something to solve the temptation of

insanity.

Other works in her 1961 show were, PAINTING TO

BE STEPPED ON: 'Leave a piece of canvas or finished

painting on the floor or in the street.'* A + B PAINTING;

'Cut out a circle on canvas. A. Place a numeral figure, a

roman letter, or a katakanao on canvas B at an arbitrary

point. Place canvas A on canvas B and hang them together.

The figure on canvas B may show, may show partially, or

may not show. You may use old paintings, photographs, etc.

instead of blank canvases.'* PAINTING FOR THE

WIND: 'Make a hole. Leave it in the wind.'* PAINT-

ING TO SEE THE SKIES: 'Drill two holes into a can-

vas. Hang it where you can see the sky. (Change the place

of hanging. Try both the front and the rear windows, to

see if the skies are different.')* PAINTING TO LET

THE EVENING LIGHT GO THROUGH: 'Hang a

bottle behind a canvas. Place the canvas where the west

light comes in. The painting will exist when the bottle

creates a shadow on the canvas, or it does not have to

exist. The bottle may contain liquor, water, grasshoppers,

ants or singing insects, or it does not have to contain.'*

BLOOD PIECE: 'Use your blood to paint. Keep painting

until you faint (A). Keep painting until you die (B).'*

These and the others in the show were designed to be

done by anybody although at the time it was not apparent

to most observers and as well the works had been made by

Ono, they were regarded as going in one direction only:

purely auto-destructive. Actually all her paintings exist

in two phases. (1) The instruction phase; which may be

compared to a musical composition; written, copywritten,

distributed, and generally at large for anybody to make

(perform) and show (2) the existence of the particular

piece, which generally has some aspect which is in a state

of flux. Sometimes this may be only one-way, sometimes

it may be oscillating, or the piece may just need to be

refuelled, so to speak.

The one aspect which is considered so important in

most painting, the graphic element, or visual design, is

almost never stated except in the vaguest way as in A + B

PAINTING, and like a Swiss Patent, it is never clear

exactly how the formula goes. This is left up to the indi-

vidual who is to construct the work and how he feels about

such things. For the maker of the work and the audience

this opens up all sorts of possibilities. One is able to

observe certain relationships between art and life that are

usually overlooked in purely graphic art. Instead of saying

how the hell did he do that one might say why the hell do

I have to do that. The owner and/or maker of the painting

must continually come to grips with certain problems that

force him to consider what the concept of art is all about.

  

Recently, while the works of hers constructed by various

painters and sculptors were being collected in a gallery

for a show this coming fall, a piece was accidentally sold.

The piece WORD MACHINE #1 SKY MACHINE,

which produces a card with the word 'sky' on it when 25c

is deposited was acquired by Mr. & Mrs. Robert Scull. In

order to complete the sale in the case of this particular

piece it was necessary for Mr. Scull to sign a contract in

which he only received the right to possess the machine

but had to agree that serving of the machine would

remain the right of the maker and the maker would

receive 60% of the proceeds of the sake of 'sky' cards.

The pure iconism of the work is at question. It is a

machine, it has to be cleaned, repaired, cards replaced,

money extracted, in short, handled like crazy and the owner

and the maker have become involved in a continual

bureaucratic even in order to meet the terms of the con-

tract. Her original composition for this work states that

these machines should eventually replace all Coca-cola

and chewing gum machines, etc. everywhere. Immediately

there is a threat on these manmoth industies which have

always been auto-destructive in nature anyway - this

piece is a kind of a parody of them - and pocesses certain

interesting problems as the underworld usually controls

the vending machine operations here in New York. Is

there something wrong with a society that vends art in

machines instead of phosphate? Many agree that the coke

bottole has long been of better use and more valuable than

its contents anyway, and certain artists have even emulated

it in what has come to be known as Pop art.

Ono's work involves many facets and many roots that

are deeply traditional in Eastern and Western thought. In

the East there are traditions that have been obscured by

the advent of the West and one might hope that the reverse

may take place in the West: interbreeding considered

healthful. In Japan it was common and still is to a lesser

degree, to wrap one's lunch in a beautiful package -

intricately embossed gold foil was ideal (there are still

many things we don't know about food) - to contemplate

while eating in the woods; of course the wrapping would

be thrown away ... or for many people to gather with

the express purpose of observing the moon, without any

particular motive scientific or otherwise. This approach is

referred to as 'wabi and sabi' and it is considered that no

clear translation should be available.

In the West Ono relates to that arear referred to by Gene

Swenson as 'The Other Tradiotion'; Duchamp, Ernst,

Cage, Rauschenberg, Johns, etc., and it is interesting that

these men were attracted to her and attended her concerts

and events held in 1959-61 at her loft on Chambers St.

in New York before her return to Tokyo (at one point she

was close to Cage and tourned Japan with him in 1962, but

her music which has been described as 'music of the mind'

is diametrically opposed to his in philosophy and has no

audible sound in the conventional sense.)

What about painting of the mind? One of Ono's works

in her series 'imaginary paintings', is PAINTING TO BE

CONSTRUCTED IN YOUR HEAD: 'Imagine a flower

made of hard material such as gold, silver, stainless

steel, tin, marble, copper, etc. Imagine that the

pedals suddenly become soft like cotton or like living flesh.

In three hours prick all the petals. Save one and press it in a

book. In the margin of the page where the petal is pressed

note the derivation of the petal and the name of the petal.

At least eight hours should be spent in the construction

of the painting.'*

 

ANTHONY COX

New York City, July 4, 1966

   

For this special number of Art and Artists Yoko Ono

contributed the following: AUTO-DESTRUCTIVE

EVENTS; 1 - Dissapearing of snow, 2 - Thinking, 3 -

Dreaming, 4 - Waiting/not waiting, 5 - A wind, 6 -

Travel, 7 - Make wishknots in your head. Forget the

wish.

* reproduced by permission from Grapefruit, published by

Weltinnenraums Press, Box 186, NYC 14 USA."

   

Art and Artists

Volume One, Number Five

August 1966

Edited by Mario Amaya

London: Hansom Books, 1966

   

Private Collection of Mikihiko Hori

  

Pencil drawing of a landscape by a Master Draughtsman. Of course his oils are well-known, but I find his pencils to be instructive as well. (The original view is large enough to give you some great pointers on drawing.)

New England Aquarium on Central Wharf in Boston, Massachusetts, USA.

 

Boston previously had three other aquariums over the period of 150 years: the Boston Aquarial Gardens (1859), the Boston Aquarial Gardens and Zoological Gardens (1861), and the South Boston Aquarium (1912).

 

The demise of the South Boston Aquarium left a void in Boston. Through the South Boston Aquarium, generations of Bostonians had learned to appreciate the wonders of marine life. The seed had been sown for something larger and more ambitious.

 

The failures of both the Boston Aquarial Gardens and the South Boston Aquarium were instructive. The first was a purely mercantile venture that measured its success by its profits. The second was a civic institution with very limited goals, severe budget restrictions, and political pressures. Even prior to the closing of the South Boston Aquarium, a replacement was envisaged as a private, non-profit organization that would incorporate the best elements of the previous aquariums, while avoiding their pitfalls.

 

At first, a small, modern aquarium was projected as part of the Museum of Science and preliminary studies were undertaken in this direction. In 1957, however, a group of local businesspeople formed what the New England Aquarium Corporation with the intent of founding an aquarium that would be independent. The directors of the new organization chose the then-rundown Boston waterfront as the site for their project.

 

Planning for the aquarium began in 1962, with the principal designer being Peter Chermayeff of Cambridge Seven Associates. The building was opened to the public in 1969. The Giant Ocean Tank opened in 1970, and at the time was the largest circular ocean tank in the world.

 

It is one of the world’s first modern aquariums. Visitors can explore the oceans and visit thousands of marine animals in four levels of world-class exhibits.

 

Information Sources:

en.wikipedia.org/wiki/New_England_Aquarium

www.neaq.org/about-us/mission-vision/#history

 

The Museum's placard for this car reads:

 

1938 PACKARD

Model: 1607 Convertible Coupe

Built by: Packard Motor Car Co., Detroit, Michigan

Price: $4,370

Engine: 12 Cylinder, 175 H.P.

Bore: 3-7/16 in.

Stroke: 4-1/4 in.

Displacement: 473.4 cu. in.

 

From the turn of the century, the Packard Motor Company built a reputation for producing some of America’s finest cars. In the period between the two world wars, Packard was clearly the most successful production luxury line. Packard’s advertising slogan, “Ask the Man Who Owns One,” was known worldwide. The company was conservative, solid, and respected. During the Depression, however, while competitors such as Cadillac developed 16-cylinder engines and lavish custom bodies, Packard introduced lower-cost lines that tarnished its luster as the luxury leader, and sowed seeds of problems that would lead to the company’s failure in the 1950’s.

 

Senior line Packards were always fine automobiles. Top-of-the-line were the 12-cylinder Packards. These prestigious automobiles can be easily identified by their distinctive red cloisonné hubcap medallions, three adjustable louvers on each side of the hood, and painted metallic gray instrument panels. There were only 323 12-cylinder Packards produced in 1938, and 12-cylinder production stopped altogether in 1939.

 

Donated by: Harrah’s Hotels & Casinos

Adopted by: Packard Auto Classics (E)

 

Supplemental note by photographer: It is instructive to understand how the model number "1607" was assigned to this car. First, the vehicles produced in 1938 were referred to by Packard as their "sixteenth series"; as a result, the model number would necessarily be "16xx", where the "xx" is determined by the engine size and chassis/wheelbase. Consistent with Packard's customized car building system, buyers had a choice of four engine sizes -- the "Six" (their smallest, 245 cu. in. in-line six-cylinder engine), the "Eight" (a 282 cu. in. in-line 8), the "Super Eight" (a 320 cu. in. in-line 8), and the "Twelve" (a 473 cu. in. V-12 formerly called the "Twin Six"). The "Twelve" series came on chassis having two alternative wheelbases: 134 in. and 139 in. For the particular 16-series car shown in this photo, with a "Twelve" mounted on a 134-in wheelbase, the model number would be 1607.

 

In addition to the "1607" assigned to this 1938 engine/chassis combination, there were further digits added to reflect the body style mounted on the 1607. When the 4-passenger convertible coupe body style shown here was mounted on a 1607 engine/chassis, it was assigned the further designation "1139". So the complete formal name for the car shown here would be: "1938 Packard 1607 Twelve Convertible Coupe 1139".

 

The only 1938 body styles that Packard offered on the "Twelve" with the larger 139-inch chassis -- i.e., larger than the 134-in. car shown here -- were a 5-passenger sedan convertible and various 7-passenger touring cars, limos, and cabriolets.

Kennesaw Mountain. 9/4/2013. Female plumage.

 

There are a few things that I find instructive in regards to this image. First this bird was traveling with a flock of migrants numbering at least 30. Second it shows the immaculate white plumage below which is overexposed in the image due to direct sun-light. The yellow wing bars show up well.

The thing I like best is it shows the acrobatic feeding behavior of this species. Notice the bird is holding on to a leaf rather than a twig or branch and hanging upside down like a Chickadee as it forages. Arthur Cleveland Bent in part one of his two part book, Life Histories of North American Wood Warblers ( the work was first published in 1953), referring to the foraging behavior of this species, writes, "...hanging like chickadees as they probe among the curled up leaves (insect nests) for food hidden there...". Jon Dunn in his excellent Peterson Field Guide, Warblers, writes the following about this species under Behavior, " Foraging is acrobatic, and the birds often hang upside-down in the manner of a chickadee."

In comments below is an image of the beautiful adult male plumage from 2012.

"...about how things don't always have to line up; instructive for a photographer with obsessive compulsive tendencies. the fence misalignment well and good, but there are other off-perpendicular and off-parallel issues here, and there really ought to be balance. balance über alles. i think i might go back in and rotate a degree clockwise," she thought. [if you are reading this, it is probably before she went back in]

MAHAVATAR BABAJI CAVE

Mahāvatār Bābājī (literally; Great Avatar Dear Father) is the name given to an Indian saint and yogi by Lahiri Mahasaya and several of his disciples,[2] who reported meeting him between 1861 and 1935. Some of these meetings were described by Paramahansa Yogananda in his book Autobiography of a Yogi, including a first-hand report of Yogananda's own meeting with the yogi.[3]Another first hand account was given by Yukteswar Giri in his book The Holy Science.[4] According to Sri M's autobiography (Apprenticed to a Himalayan Master) Babaji, was Shiva. In the second last chapter of his book, he mentions Babaji changing his form to that of Shiva. All of these accounts, along with additional reported meetings, are described in various biographies.[5][6][7]According to Yogananda's autobiography, Babaji has resided for at least hundreds of years in the remote Himalayan regions of India, seen in person by only a small number of disciples and others.[3][8] The death less Master is more than 2000 years old. He belongs to a very powerful lineage of Siddha Boganthar and Rishi Agastya as his Gurus. He acquired this deathless, non perishable body through tough yogik kriyas.

Again, according to his autobiography, shortly before Yogananda left for America in 1920, Babaji came to his home in Calcutta, where the young monk sat deeply praying for divine assurance regarding the mission he was about to undertake. Babaji said to him: "Follow the behest of your guru and go to America. Fear not; you shall be protected. You are the one I have chosen to spread the message of Kriya Yoga in the West

There are very few accounts of Babaji's childhood. One source of information is the book Babaji and the 18 Siddha Kriya Yoga tradition by Marshal Govindan.[9]According to Govindan, Babaji was named Nagarajan (king of serpents) by his parents. [8] V.T. Neelakantan and S.A.A. Ramaiah founded on 17 October 1952, (they claim – at the request of Babaji) a new organization, "Kriya Babaji Sangah," dedicated to the teaching of Babaji's Kriya Yoga. They claim that in 1953 Mahavatar Babaji told them that he was born on 30 November 203 CE in a small coastal village now known as Parangipettai, Cuddalore district of Tamil Nadu, India.[10] Babaji's Kriya Yoga Order of Acharyas Trust (Kriya Babaji Sangah) and their branch organizations claim his place and date of birth.[10] He was a disciple of Bogar and his birth name is Nagarajan.[9][10]

In Paramahansa Yogananda's Autobiography of a Yogi, many references are made to Mahavatar Babaji, including from Lahirī and Sri Yukteshwar.[3] In his book The Second Coming of Christ, Yogananda states that Jesus Christ went to India and conferred with Mahavatar Babaji.[8] This would make Babaji at least 2000 years old.[11] According to Govindan's book, Babaji Nagaraj's father was the priest of the village's temple. Babaji revealed only those details which he believed to be formative as well as potentially instructive to his disciples. Govindan mentioned one incident like this: "One time Nagaraj's mother had got one rare jackfruit for a family feast and put it aside. Babaji was only 4 years old at that time. He found the jackfruit when his mother was not around and ate it all. When his mother came to know about it, she flew in blind rage and stuffed a cloth inside Babaji's mouth, nearly suffocating him, but he survived. Later on he thanked God for showing him that she was to be loved without attachment or illusion. His Love for his mother became unconditional and detached."[9]

When Nagaraj was about 5 years old, someone kidnapped him and sold him as a slave in Calcutta (now Kolkata). His new owner however was a kind man and he freed Nagaraj shortly thereafter. Nagaraj then joined a small group of wandering sannyāsin due to their radiant faces and love for God. During the next few years, he wandered from place to place, studying holy scriptures like the Vedas, Upanishad, Mahabharata, Ramayana, Bhagavad Gita.

According to Marshall Govindan's book, at the age of eleven, he made a difficult journey on foot and by boat with a group of ascetics to Kataragama, Sri Lanka. Nagaraj met Siddha Bhogarnathar and became his disciple. Nagaraj performed intensive yogic sadhana for a long time with him. Bhogarnathar inspired Nagaraj to seek his initiation into Kriya Kundalini Pranayam from Siddha Agastya. Babaji became a disciple of Siddha Agastya. Nagaraj was initiated into the secrets of Kriya Kundalini Pranayama or "Vasi Yogam". Babaji made a long pilgrimage to Badrinath and spent eighteen months practising yogic kriyataught to him by Siddha Agastya and Bhogarnathar. Babaji attained self-realization shortly thereafter.[9]

It is claimed that these revelations were made by Babaji himself to S.A.A. Ramaiah, a young graduate student in geology at the University of Madras and V.T. Neelakantan, a famous journalist, and close student of Annie Besant, President of the Theosophical Society and mentor of Krishnamurti. Babaji was said to have appeared to each of them independently and then brought them together to work for his Mission in 1942

By Kailash Mansarovar Foundation Swami Bikash Giri www.sumeruparvat.com , www.naturalitem.com

 

PRESS RELEASE

Date

 

28 Feb 2019

 

ADD TO DOWNLOADS

Maserati at the 89th edition of the Geneva International Motor Show

   

Levante Trofeo V8 Launch Edition premieres at the Show: a limited edition of 100 units

An interactive journey through selected Italian excellences: Maserati presents the first step towards personalization

The stand features the entire MY19 Range, in the GranLusso and GranSport trims

Quattroporte S Q4 GranLusso and Levante S Q4 GranSport MY19 customized with Zegna PELLETESSUTA™

In order to showcase the sporty DNA of the Trident brand, the GranTurismo MC in the Grigio Lava Matte colour, in an exclusive new configuration, is on display

The future of the historic manufacturing plant in Modena defined

Modena, 28 February 2019 – Maserati is highlighting in the first and most important exhibition of the year in Europe

 

the Levante Trofeo SUV in the Launch Edition, a limited edition of 100 units, which will be the protagonist of the stand, along with the other models of the MY19 range. Another premiere of the Geneva Show are the new interiors in PELLETESSUTA™, an exclusive new material made by Ermenegildo Zegna exclusively for Maserati. To recall the Brand’s sporty DNA, Maserati will exhibit a GranTurismo MC (acronym for Maserati Corse), for the first time with an exterior in Grigio Lava Matte colour combined with interiors in carbon fibre. Maserati announced start of sales in Europe of the Levante Trofeo and Levante GTS.

 

Another new development will be revealed at the opening of the show, one that exemplifies Maserati’s ability to construct customized automobiles: an exciting one-off model, created according to the requests of a particular customer.

 

LEVANTE TROFEO LAUNCH EDITION - A LIMITED EDITION

 

To launch the new model in the market, Maserati is presenting the Levante Trofeo Launch Edition, a limited edition of 100 units. The Levante Trofeo Launch Edition will be available not only in the Blu Emozione Matte colour presented at the Geneva International Motor Show but also in the unique paints Giallo Modenese and Rosso Magma. The interior features sports seats with a premium full-grain "Pieno Fiore” natural leather, with contrasting stitching and a "Trofeo" logo embroidered on the headrest, available in blue, red or yellow. The exclusive carbon fibre inserts on the bumpers, side skirts and specially designed bonnet stand out.

 

The 22" Orione rims can be matte or glossy black finish, while the brake calipers are available in silver, blue, yellow or red.

 

The Levante Trofeo is equipped with one of the most powerful engines ever fitted in a Maserati road car. This is the 3.8 litre Twin Turbo V8, calibrated to mate perfectly with the Q4 Intelligent All-Wheel Drive system, providing it with a new crankcase design, specific crankshaft assembly, new oil pump and auxiliary belt and a different wiring layout.

 

Like all Maserati petrol engines, this V8 is assembled by Ferrari in Maranello. In terms of 0-100km/h acceleration, it stops the chronometer at 4.1”, while the maximum speed is close to the 300 km/h threshold.

 

The Levante Trofeo is fitted with the eight-speed ZF automatic gearbox used on all the Levante versions, acclaimed for its versatility and sporty character.

 

The “Corsa" driving mode with Launch Control functionality (in addition to the existing Normal, I.C.E., Sport and Off Road modes) has been adopted to enhance the sporty character of the ultimate Maserati SUV. “Corsa” driving mode further improves engine response and opens exhaust valves in acceleration, as well as providing faster gear shifting, lower air suspension height levels, sportier Skyhook damping and optimized Q4 Intelligent All-Wheel Drive settings. It also interacts with the Traction Control and ESP systems to maximize driving pleasure.

 

The Levante features the Integrated Vehicle Control (IVC) system for impressive driving dynamics, better performance, and a genuine Maserati driving experience, by helping to prevent vehicle instability, instead of correcting “driver mistakes” as a traditional Electronic Stability Program (ESP) system does.

 

The ideal 50:50 weight balance and the low centre of gravity - common to all Levante models, in combination with the finely tuned double-wishbone front / Multi Link rear suspension, as well as the wider 22-inch rear tyres on forged aluminium alloy wheels, provide the new Trofeo with perfectly balanced handling and lateral stability.

 

The unmistakable Levante design has reached new levels of sportiness in this model like the lower splitter, the side blades in the front air intakes, the side skirt inserts and the rear extractor, made of ultralight high-gloss carbon fibre.

 

At the front, the Levante Trofeo has Full Matrix LED adaptive headlights, a front grille with double vertical bars in Black Piano finish, lower honeycomb mesh fascia, body colour door handles and high-performance brake calipers available in red, blue, black, silver or yellow. And to cap it off, the “Saetta” Trofeo logo adorns the iconic C-pillar of the coupé styled Levante.

 

Inside the Levante Trofeo cabin is a wealth of elegant features which create an environment of pure luxury. “Pieno Fiore” is like no other leather used in the automotive industry for its natural, soft feel and for the unique character it develops throughout the years.

 

This amazing Levante's quintessentially sporty personality is highlighted by new details in "3D Touch" matt carbon fibre, the specific instrument cluster graphics, floor mats with metal Trofeo badges, and a Maserati clock with a unique dial. The on-board set up is completed by a 1,280-watt, 17-speaker Bowers & Wilkins premium surround sound audio system for a concert hall sound experience.

 

The Levante Trofeo is the first ever Maserati equipped with 22-inch forged aluminium wheels, so Maserati cooperated with Continental to provide the new SportContact™ 6 tyre as standard equipment. The new ultra-sport tyre has substantially contributed to achieving the excellent and balanced handling and outstanding cornering performance of the most powerful Maserati in production today.

 

PERSONALIZATION

 

The special things about the Maserati stand at this 89th edition of the Geneva International Motor Show is the way it focuses on highlighting a distinctive Italianness and the process of craftsmanship and customization, considerations that have prompted Maserati to host on their stand - together with Ermenegildo Zegna, a longstanding partner and a leader in the field of men’s luxury clothing, two other leading artisanal firms in their field: Giorgetti, the internationally renowned Italian woodworking company, known for its furniture and unique design pieces, and De Castelli, a leading metalworking firm, specializing in the production of unique home design accessories, custom surfaces and projects.

 

At Maserati tradition becomes innovation, combining fine craftsmanship, advanced technology and sophisticated design for the sort of exclusive, unique mix only Maserati knows how to apply to its cars.

 

The stand provides an instructive tour through three different dedicated thematic areas. Each area will feature a display of tools, materials and components that, specially crafted by Zegna, De Castelli and Giorgetti, bear witness to the unending quest for excellence, style and originality, typical of products designed and Made in Italy, and therefore typical of Maserati.

 

Speaking of innovation and design, when it comes to customizing the stand, for the first time ever Maserati is taking advantage in the Customization Area of a D-Table, the only interactive table which combines the latest-generation software and elegant, sophisticated design.

 

ERMENEGILDO ZEGNA

 

Zegna is a longstanding partner of Maserati and for the Geneva show will be presenting the world premiere of its new car interiors in PELLETESSUTA™, a special woven nappa leather, the product of pioneering research by Ermenegildo Zegna, seeking to create a luxurious, innovative, lightweight and soft fabric that is versatile and well suited for the creation of products, ranging from home design complements to multimedia accessories.

 

The bond between Zegna and Maserati grows stronger with each passing year, in no small part due to the historical similarities of the two brands.

 

The Ermenegildo Zegna Group is one of the most distinguished businesses in all of Italy. Founded back in 1910 in Trivero, in the Biellese Alps, by a young entrepreneur named Ermenegildo, whose vision was to ethically produce the most sumptuous fabrics in the world by means of innovation and the utilization of the best luxury fibres, sourced directly in their countries of origin, the company is currently guided by the fourth generation of the Zegna family. The Group, which since the late 80’s has been implementing a strategy of vertical integration, has created a global luxury brand which currently offers fabrics, clothing and accessories. Today there are 504 single-label stores in over 100 countries, of which 272 are company-owned.

 

GIORGETTI

 

The Giorgetti cabinet-making tradition started in Brianza in 1898, and more than 120 years later is still continuing to evolve and innovate. The company looks to the future, how to convey and stay on top of all the changes in a dynamically transforming world. Giorgetti’s approach to interior design involves interpreting behaviours and tastes in various different markets, creating pieces that are free of all formal conventions, capable of coexisting harmoniously in any context, dissolving cultural and temporal distances.

 

The products made by Giorgetti epitomize the best in the proud catchline, “Made and Manufactured in Italy”. Starting from design, creativity and style, and all the way to the actual manufacture of a finished product, the entire manufacturing process is completely carried out in Italy by highly qualified personnel, boasting consummate skill in the furniture sector.

 

The craft-based means of production associated with the phrase, Made in Italy, transcends the rationale of standardized, mass-produced products, guaranteeing high levels of product customization.

 

The indispensable work of master craftsmen is capable of imbuing Giorgetti projects with that magical allure of unique, handmade pieces.

 

DE CASTELLI

 

True to its commitment to restore metal’s privileged role in projectual experimentation, De Castelli is grafting a craft-based concept and approach to work onto typically industrial processes, a bold synthesis that leads to unprecedented results. The encounter with design engenders an approach to the material founded on respect for its vast potential, including the less obvious possibilities, the ones that gradually emerge in a collection of mass-produced products that are, at the same time, unique. Not only because the hand creating them is unique, but due to the uniqueness of the cultural process that puts the main emphasis on the aesthetic value - rather than purely functional ones - of the primal material with which De Castelli shapes living spaces. One thus overturns the dictum that confines the coldness of metal to the outer margins of interior design project, bringing steel, brass and copper, in their multiple variations and finishes, to the centre of a a completely renovated scenario where they can finally glow in self-generated radiance.

 

Delabré is the name of an artisanal finish conceived of and realized by De Castelli. It consists in the manual oxidation of materials like steel, copper and brass, capable of imbuing them with unique, unrepeatable chromatic effects.

 

THE OTHER MODELS IN THE MASERATI RANGE: GRANTURISMO MC, QUATTROPORTE AND GHIBLI

 

Visitors to the Geneva International Motor Show will find on display the GranTurismo MC (acronym for Maserati Corse) which perfectly represents the sporty DNA of the Modena company. The GranTurismo MC boasts an exclusive new configuration, for the first time ever with the Grigio Lava Matte as the exterior colour and “Nerissimo Carbon Pack” trim with the Black Chrome contrasting finishes for the various details: the upper portion of the grille with black vertical slats, the profiles of the boot, the lettering on the tailgate, the logo on the pillars, the side air intakes, exhaust outlets and window frames. With the Nerissimo Carbon pack the door handles, mirror caps, front splitter, and rear spoiler are in Carbon fibre. The same material will be available for the interior customization packs.

 

The stand also features various different Maserati models, including a Levante S Q4 GranSport in an exclusive trim with the exterior in a Bronze colour, which boasts interiors in Zegna PELLETESSUTA™. The car sports 21” polished Helios rims. For the first time in the history of this longstanding partnership with Zegna, the customization has been extended to also include the GranSport trims of the Maserati range. An especially sophisticated combination for this Levante, the first SUV in the more than one-hundred year history of Maserati.

 

On display, the Maserati Quattroporte S Q4 GranLusso with its Blu Sofisticato coloured body combined with interiors in PELLETESSUTA™ Zegna, an extremely elegant configuration to once again underscore the exclusive, luxurious character of this Italian manufacturer flagship, whose origins date back to Series I designed in 1963 to be the fastest sedan in the world. The 21” Atlante alloy rims with blue brake calipers and the sport seats underscore the dual nature of this model.

 

Two Maserati Ghibli S Q4 (GranSport and GranLusso trims), 430 hp, can be viewed on the stand. The GranSport trim is equipped with metallic Grigio Maratea paint on the outside and Nerissimo pack with a red interior in full-grain “Pieno Fiore” leather and black stitching, plus roof lining in black Alcantara. The rims are 21” in Glossy Black Titanium, which imbue the Maserati sedan, boasting Q4 Intelligent All-Wheel Drive system, with a unique, unmistakable character. The elegance of the GranLusso trim is highlighted by the tri-coat exterior Bianco Alpi paint and by the 20” Teseo rims; on the inside the full-grain “Pieno Fiore” black leather has been combined with Oak trim and roof lining in grey Alcantara.

 

The entire MY19 range, composed of Ghibli, Quattroporte and Levante models, has benefited from a luxurious restyling which combined targeted interventions in terms of both style and new contents.

 

Both the sedans and the SUV with MY19 specifications are equipped with a redesigned shorter-travel gearshift lever featuring a more intuitive shift pattern and improved operation.

 

The Maserati Levante Trofeo for the European market is capable of delivering 580 hp at 6,250 rpm, achieving extremely high peak rotation, maintaining the same torque of 730 Nm, usable in a wide range between 2,500 and 5,000 rpm. The Levante Trofeo therefore displays the characteristic of immediately providing high levels of torque even at low revs, a feature that is appreciated by the customers of this type of SUV. Thanks to new turbochargers with increased flow, a redesigned cylinder head with specific camshafts and valves, new pistons and new connecting rods, the Levante Trofeo is able to achieve impressive power peaks, in combination with specific engine calibration mapping.

 

The new Levante Trofeo features Full Matrix LED adaptive headlights as standard. Compared to Bi-Xenon headlamps, LED technology offers 20% better visibility, 32% cooler light and headlights that last twice as long.

 

The full LED headlights utilize a digital camera mounted behind the rear-view mirror that supports the Glare-free High Beam detection system, allowing the driver to keep the high beam on without dazzling oncoming drivers. The system is able to create a “zone of shade” around other vehicles switching dynamically on and off the LED matrixes. The full Matrix LED headlights can create up to four light tunnels simultaneously with each tunnel as large as the obstacle.

 

The Brembo braking system deals superbly with the high performance of the Levante Trofeo. The front brakes have adopted 6-piston aluminium monobloc calipers working on 380 mm x 34 mm drilled discs, while 4-piston aluminium monobloc calipers with 330 mm x 28 mm ventilated drilled discs are fitted at the rear. The ABS has undergone a specific setup for the Trofeo version.

 

Levante, Ghibli and Quattroporte share the same MTC+ infotainment system, which is based on a high resolution 8.4” multi-touch screen and a double rotary knob on the centre console.

 

For MY19 there is a choice of nine body colours for the Quattroporte and 10 for each of the Ghibli and Levante models. A new tri-coat colour is now available, born to enhance the design of each: the elegant Blu Nobile.

 

In the wide collection of alloy wheels designed specifically for every single Maserati model, there are five brand new designs in the MY19 catalogue in 20 and 21-inch sizes, two for each of the Levante and Quattroporte models and one for the Ghibli.

 

THE HISTORIC MODENA PLANT

 

Speaking of the historic Modena plant, recently Maserati announced that it reconfirms its strategic mission. The plant will be dedicated to the manufacturing of special high performance, high technology sports cars, in line with the tradition and values of the Brand, which has been present at Modena since 1939.

 

This will exploit the know-how and experience of the staff involved in the production of the cars, which require a very special fabrication cycle: a fully-fledged synergy of craftsmanship and innovation, scrupulous attention to detail and the highest quality standards, resulting in the manufacture of unique, exclusive products which represent the very best of the “Made in Italy” brand worldwide.

 

The current production lines will be upgraded, indeed, totally renewed, starting this Autumn: the first pre-series production of a new model, a characteristically Maserati sports car, will roll off the lines in the first half of next year.

 

Octo Maserati GranLusso and GranSport by Bulgari

 

Maserati's prestige partnership with Bulgari, launched in 2012, has led to the creation of two exclusive wristwatches: Octo Maserati GranLusso and Octo Maserati GranSport by Bulgari Specifically intended for owners of the Brand's cars, they feature the spectacular dial (with retrograde minutes and jumping hours) resembling the rpm-counter of a Maserati, while the stitched leather strap recalls the upholstery of Trident cars.

 

Ermenegildo Zegna Maserati Capsule Collection for Spring Summer 2019

 

At the Geneva Motor Show, Ermenegildo Zegna and Maserati are delighted to present the new Maserati Capsule Collection for Spring Summer 2019: an exquisite collection of leather goods, travel clothing and elegant accessories, displaying all the excellence for which these two iconic Italian brands are famed. Building on a well-established partnership launched early in 2013, Maserati and Zegna offer products of unrivalled quality of details, performance and design, made to measure for those wishing to surround themselves with luxury. The Maserati Capsule Collection is available in selected Ermenegildo Zegna stores worldwide and on Zegna.com

 

Maserati S.p.A.

 

Maserati produces a complete range of unique cars with an amazing personality, immediately recognisable anywhere. With their style, technology and innately exclusive character, they delight the most discerning, demanding tastes and have always been an automotive industry benchmark. Ambassadors of this heritage are the Quattroporte flagship, the Ghibli sports sedan, the Levante, Maserati’s very first SUV, and the GranTurismo and GranCabrio sports cars. A range complete as never before, with petrol and diesel engines, rear or all-wheel drive, the finest materials and outstanding engineering. A tradition of successful cars, each of them redefining what makes an Italian sports car in terms of design, performance, comfort, elegance and safety.

2 white cheek goose species

 

Canada Goose CANG* (Branta canadensis)

&

Cackling Goose CACG* (Branta hutchinsii)

 

Martindale Flats

Saanich, British Columbia, Canada

 

DSCN8900

 

No I didn't take these pix out of focus on purpose however the effect is useful & instructive to emphasize General Structural Differences

 

Field Mark Cues ^i^

CACG

Shorter necks and head size not much different than thickness of neck

Wings longer proportionally than CANG (front or back view is best for this)...

 

Wing tips appear appear more pointed

 

try to cue in more & more on

cacg vs cang structural xref

 

Besides the (most times obvious) size difference

Cue into the

Proportions

of

body size/neck length/head size vs neck thickness

  

Small Silent flocks of one species or subspecies can be surprisingly challenging at times

 

The difference between CACG minima and our regular geese is easiest

 

The difference between CACG Taverner's and

Canada Goose CANG* (Branta Canadensis occidentalis)

"Dusky" race

can be quite subtle especially in flight and when backlit or poor light

   

///sipping.instructive.flaking

The hands of women, (the power of organizations and infancy education) hold the power to change reality, reaching out to every woman wherever she is, we need to choose the right path for us and make sure to embark on this journey strong and determined.

 

Equality and adequate representation in the work world is possible, rewarding, and is worth fighting for. This book is an invitation to a journey through (via) authentic life stories of 111 women in the Israeli society who have not given up, fell and rose up over and over again. They made their voices heard, progressed and made a personal breakthrough.

 

The writing in the book is about real life and career. A Women and Career Book -A Leading Influential Presence - A fascinating, instructive and transformative journey which transforms business discourse about leadership.

 

www.womencareerilLcom

 

www.facebook.com/womencareeriL.com

Title: The Arctic regions, illustrated with photographs taken on an art expedition to Greenland

Creator: Bradford, William, 1823-1892

Imprint: London, S. Low, Marston, Low, and Searle, 1873

Format (Extent) : x, 89 p. 115 illus. (photos.) 25 photos. 64 cm

Exhibition Label: Arctic Regions exhibited February 7 to May 5, 2002.

"In 1999 the Clark Art Institute Library acquired a copy of The Arctic Regions with funds given by the Scott Opler Foundation. The book has been temporarily disassembled for necessary conservation treatment, providing a unique opportunity to display the individual pages. All of the photographs in this exhibition are from The Arctic Regions unless otherwise noted."

During the 1860s and 1870s the Arctic was a central preoccupation for the American artist William Bradford (1823-1892). Captivated by what he described as "the terrible aspects of the Frigid Zone" Bradford mounted his most ambitious Arctic expedition in 1869 and enlisted the services of professional photographers John L. Dunmore and George Critcherson to document the voyage. Bradford used these photographs to illustrate The Arctic Regions: Illustrated with Photographs taken on an Art Expedition to Greenland, a travelogue recounting the expedition, which is today considered a landmark in the history of the photographically illustrated book. He also used the photographs, together with his own sketches, as inspiration for large-scale paintings executed later in his New York studio. Arctic Diary: Paintings and Photographs by William Bradford explores the relationship between image and narrative in The Arctic Regions and the paintings the 1869 expedition generated.

The Arctic Regions was printed in London in 1873 in a limited edition of three hundred copies. Like other Arctic travelogues of the period, Bradford's account combines sober scientific observation with romantic hyperbole. The book's 141 original albumen photographs, however, set The Arctic Regions apart from other accounts, which were often illustrated with engravings. Dunmore and Critcherson's photographs were welcomed as testament to the alienness of the Arctic scene. Hence, The Art Journal of London claimed that The Arctic Regions would "form the most instructive work on the frozen seas that has ever appeared."

Exhibition webpage: www.clarkart.edu/exhibitions/bradford/

Exhibition: Arctic diary : paintings and photographs by William Bradford (Exhibition : 2002)

Contributors: DeCosta, B. F. (Benjamin Franklin), 1831-1904

Repository: Sterling and Francine Clark Art Institute. Library

I was honored to be asked to write the foreword to JD Lenzen's new book, Paracord Fusion Ties and received copies from the author today.

 

This is the first volume in a planned series of books of paracord ties that JD of Tying It All Together(TIAT) will be publishing. Anyone with an interest in creative and decorative knot work is sure to find the book instructive and enjoyable.

Black British people and Black people in Britain have always been part of the English folk revival, from artists as diverse as Davey Graham (innovative folk guitar tunings and playing), Nadia Cattouse (British/Caribbean folk), and Dorris Henderson (American folk and folk rock), to Edward II now (folk reggae), but it's less well known how far back Black British ballad singing was a daily part of the English music scene.

 

Joseph Johnson was a Black merchant navy veteran who, because he had been born abroad and wasn't entitled to a pension or parish relief, earned his living as a street singer in London, Romford, St Albans, Staines, and the villages in between, reputedly hitching lifts with passing wagoners. He performed while wearing an elaborate hand-crafted model of the Royal Navy ship HMS Nelson on his head, a sculpture he presumably created himself. According to Vagabondiana, Anecdotes of Mendicant Wanderers through the Streets of London, a series of prints of well-known street traders and beggars, published in 1815-17, Johnson sang "The Wooden Walls of Old England" and "The British Seaman's Praise" - most likely the songs now known as "The Tough Wooden Walls" (Roud V11049) and "The Neglected Tar" (Roud V4171, aka "The Hardy Tar"), both of which positioned him as a British sailor worthy of the money he was earning as a disabled veteran. Since neither song seems to have either a clear text transcript or a brief history available on the internet, I've provided both below. The most interesting additional fact is that one of Johnson's signature songs was probably originally authored by political radical, disability activist, and anti-slavery campaigner Edward Rushton, of whom I've also included a brief biography below (under 1806).

 

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

 

"I sing the British seaman's praise", aka The Neglected Tar, aka Hardy Tar, Roud V4171, recorded from 1791 onwards. It was published regularly for 15 years before being claimed by radical Liverpudlian author Edward Rushton, who is indeed a likely candidate for the poem's authorship. The book Thames Valley Villages, 1910, claims Neglected Tar was sung to the tune Country Garden (a tune mentioned as early as 1728).

 

1790-1840, Hardy Tar, London, broadside ballad in Bodleian collection.

 

Bodleian: ballads.bodleian.ox.ac.uk/search/roud/V4171/

 

1791, The Neglected Tar, London, prints in Yale and British Library collections.

 

Yale: findit.library.yale.edu/catalog/digcoll:553527

 

British Museum: www.britishmuseum.org/research/collection_online/collecti...

 

The Neglected Tar, 1791, transcript from print in Yale collection

 

I sing the British seaman's praise;

A theme renown'd in story;

It well deserves more polish'd lays;

Oh! 'tis your boast and glory.

When mad brain'd war spreads death around,

By them you are protected;

But when in peace the nation's found,

These bulwarks are neglected.

 

Chorus.

Then, Oh! protect the hardy tar,

Be mindful of his merit;

And when again you'r plung'd in war,

He'll show his daring spirit.

 

When thickest darkness covers all,

Far on the trackless ocean;

When lightnings dart, when thunders roll,

And all is wild commotion;

When o'er the bark the white topp'd waves,

With boist'rous sweep are rolling,

Yet coolly still, the whole he braves,

Untam'd amidst the howling.

 

Then, Oh! protect &c.

 

When deep immers'd in sulphurous smoke,

He feels a glowing pleasure;

He loads his gun, he cracks his joke,

Elated beyond measure.

Though fore and aft the blood-stain'd deck,

Should lifeless trunks appear;

Or should the vessel float a wreck,

The sailor knows no fear.

 

Then, Oh! protect &c.

 

When long becalm'd on southern brine,

Where scorching beams assail him;

When all the canvas hangs supine,

And food and water fail him;

Then oft he dreams of Britain's shore,

Where plenty still is reigning;

They call the watch, his rapture's o'er,

He sighs, but scorns complaining.

 

Then, Oh! protect &c.

 

Or burning on that noxious coast,

Where death so oft befriends him;

Or pinch'd by hoary Greenland frost,

True courage still attends him:

No clime can this eradicate,

He glories in annoyance;

He fearless braves the storms of fate,

And bids grim death defiance.

 

Then, Oh! protect &c.

 

Why should the man who knows no fear,

In peace be then neglected?

Behold him move along the pier,

Pale, meagre and dejected!

Behold him begging for employ!

Behold him disregarded!

Then view the anguish in his eye,

And say, are Tars rewarded?

 

Then, Oh! protect &c.

 

To them your dearest rights you owe,

In peace then would you starve them?

What say ye Britain's sons? - oh! no!

Protect them and preserve them.

Shield them from poverty and pain,

'Tis policy to do it;

Or when grim war shall come again,

Oh Britons, ye may rue it!

 

Then, Oh! protect &c.

 

1792, Edinburgh syren, or, Musical bouquet, Being a new selection of modern songs, sung at the various places of amusement in Great Britain and Ireland, 1792, Edinburgh, book in the National Library of Scotland collection. Only minor typographical differences from the 1791 print in the Yale collection.

 

National Library of Scotland: digital.nls.uk/special-collections-of-printed-music/paget...

 

1805, A collection of songs, moral, sentimental, instructive, and amusing, edited by James Plumtre, 1805, London, book. Minor typographical and phraseological variations. The Neglected Tar is credited to a "gentleman of Liverpool".

 

"Serene amidst the howling." was "Untam'd amidst the howling."

 

"He loads his gun - right heart of oak - " was "He loads his gun, he cracks his joke,"

 

"He sighs - forbears complaining." was "He sighs, but scorns complaining."

 

"He's calm amidst annoyance;" was "He glories in annoyance;"

 

1806, Edward Rushton (1756–1814), as a boy and young man, was a sailor on slave trading ships between Africa and the Americas. While on board one insanitary slave ship Rushton was blinded by an infection. He returned to his home in Liverpool and became a political radical, including campaigning for the abolition of slavery. Rushton published his West Indian Eclogues in 1787. He opened the successful and lasting Liverpool School for the Indigent Blind in 1791. He published a reprimand to George Washington for owning slaves in 1797. Rushton published his Poems in 1806, including a poem of praise to Toussaint L'Overture and the Black Haitian revolutionaries. Rushton's anti-slavery writings also included cultural details he had learned from his earlier contacts with enslaved Africans, such as a "negro" "Egbo", held in slavery in the British West Indies, who swears by "Obi" and has a wife named "Zuna". In 1807 an operation partially restored Edward Rushton's eyesight and he saw his wife and children for the first time.

 

Neglected Tar, 1806, from Poems by Edward Rushton

 

To ocean's sons I lift the strain,

A race renown'd in story;

A race whose wrongs are Britain's stain,

Whose deeds are Britain's glory.

By them, when courts have banish'd peace,

Your sea-girt land's protected,

But when war's horrid thunderings cease,

These bulwarks are neglected.

 

When thickest darkness covers all,

Far on the trackless ocean,

When lightnings dart, when thunders roll,

And all is wild commotion;

When o'er the barque the foam-capt waves,

With boisterous sweep are rolling,

The seaman feels, yet nobly braves,

The storm's terrific howling.

 

When long becalm'd on southern brine,

Where scorching beams assail him,

When all the canvas hangs supine,

And food and water fail him,

Then oft he dreams of that loved shore,

Where joys are ever reigning, -

The watch is called, his rapture's o'er,

He sighs, but scorns complaining.

 

Now deep immers'd in sulphurous smoke,

Behold him at his station,

He loads his gun, he cracks his joke,

And moves, all animation.

The battle roars, the ship's a wreck,

He smiles amid the danger,

And though his messmates strew the deck,

To fear his soul's a stranger.

 

When long becalm'd on southern brine,

Where scorching beams assail him,

When all the canvass hangs supine,

And food and water fail him,

Then oft he dreams of that loved shore,

Where joys are ever reigning;

The watch is called - his rapture's o'er,

He sighs, but scorns complaining.

 

Or burning on that noxious coast,

Where death so oft befriends him;

Or pinch'd by hoary Greenland's frost,

True courage still attends him.

No clime can this eradicate,

He glories in annoyance,

He, fearless, braves the storms of fate,

And bids grim death defiance.

 

Why should the man, who knows no fear,

In peace be thus neglected?

Behold him move along the pier,

Pale, meagre, and dejected;

He asks a berth with downcast eye,

His prayers are disregarded,

Refus'd — ah hear the veteran sigh,

And say, are tars rewarded?

 

Much to these fearless souls you owe,

In peace then would you starve them?

What say you, patriot souls? Oh no!

Admire, protect, preserve them.

And oh! reflect, if war again

Should menace your undoing,

Reflect, who then would sweep the main,

And shield your realm from ruin.

 

CHORUS

 

Then oh! protect the hardy tar,

Be mindful of his merit,

And if pure justice urge the war,

He'll show his daring spirit.

 

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

 

1820, The Tough Wooden Walls, Roud V11049, recorded from 1820 (title recorded from 1804)

 

Reputedly sung at Vauxhall Gardens by the famous Mr Dignum in 1804 (according to books such as The Whim of the Day, and other sources), and possibly on the streets of London by the almost equally famous Black British naval veteran and street singer Joseph Johnson by 1817 (according to Vagabondiana, which names the song as "The Wooden Walls of Old England"), and perhaps popular enough to be parodied not long after.

 

Vaughan Williams Memorial Library: www.vwml.org/record/RoudBS/B86180

 

The Tough Wooden Walls (Roud V11049, oddly one number after the apparently later parody), 1820, from The Vocal Library, book

 

When the despots of France felt a wish to invade

The island that freedom had long call'd her own,

The impulse of honour each Briton obey'd,

Determined to fight for his country and crown:

Then encircled by fleets she has nothing to fear,

While no civil commotions her people dissever;

This adage remains ev'ry Briton to cheer,

The tough Wooden Walls of Old England for ever.

 

Then what fear can invasion impress on the mind

If Britons for ever united we stand,

While our brave Volunteers in true valour combin'd,

Step forward to fight for our dear native land:

With such guardians as these, let the boasters appear,

Shall we e'er yield to Frenchmen? Oh Englishmen, never;

For this adage remains, ev'ry Briton to cheer,

The tough Wooden Walls of Old England for ever.

 

Then a health to the fleets which our islands surround,

Success to their Adm'rals courageously brave;

With their actions of valour the heavens resound,

The deeds of our Navy, our country to save.

Approbation this toast from each Briton must meet,

Prosper well ev'ry Englishman's loyal endeavour,

May God save the King, his army and fleet,

The tough Wooden Walls of Old England for ever.

Dracula-esque - in fact Dracula (Vlad III or Vlad Tepeš) attended here at the court of the Hungarian warlord János (John) Hunyadi (Iancu de Hunedoara in Romanian), hero of Belgrade and father of Matthew Corvinus (the celebrated Hungarian 'Renaissance king" [TM]) who imprisoned Vlad for 12-14 years at Visegrad on the Danube in Hungary. (Why don't they tell you that at Visegrad? I didn't know that when I was there. Ironically, the locals here have begun to falsely claim that Vlad was held captive in a dungeon in this castle [again, rather than at Visegrad], and ticket sales and proceeds will have risen accordingly.) However Dracula was crowned voivode of Wallachia here, and soon entered into a political alliance with Hunyadi, notwithstanding that his father Vlad Dracul II had been assassinated and his elder brother Mircea II had been blinded and buried alive by the boyars of Târgoviste, both on Hunyadi's orders several years earlier.

 

- This castle is so famous and so celebrated by Hungarians that a smaller facsimile was built to scale in a park in Budapest for the millenial Honfoglolas celebration in 1896.

- Much of the castle was behind scaffolding when I was here, so this is the best shot I could get. Here's a much better view.: www.flickr.com/photos/denmartin/36092192783/in/photolist-...

- This, "the Buzdugan Tower (a buzdugan is a type of mace) was solely built for defensive purposes." (Wikipedia)

- The huge, gothic, atmospheric labyrinth that is Corvin castle is right from your childhood fantasies. (A friend had the FP 'castle' in this e-bay video which I coveted when I was a little kid.: www.youtube.com/watch?v=jwGLxN5IjEk ) It's one of the largest castles in Europe, and could be the most impressive for its age. "It's moated to a depth of 30 m.s and is approached by a narrow bridge upheld by tall stone piers, terminating beneath a mighty barbican, its roof bristling with spikes, overlooked by multitudes of towers." (RG) A small oval fortress with towers was built on this site, that of an ancient Roman camp, by Charles I of Hungary (of the Anjou line) in the early 14th cent., which was then given to John Hunyadi's father, Voicu Hunedoara, a Romanian noble, by Sigismund of Luxembourg, king of Hungary and Croatia, as severance in 1409. (Legend had it that Hunyadi was Sigismund's illegitimate son, which is why he gave the castle to his nominal father.) Hunyadi inherited the castle, took up residence in it, and initiated its reconstruction in 1446, the same year in which the Diet elected him Regent. Following his death in 1456, new commissions were initiated by his son Matthias Corvinus in 1458 to construct a renaissance-style wing, and baroque additions were later added by Gabriel Bethlen, prince of Transylvania (1613-29), from 1618.

- "Within is an extravaganza of galleries, spiral staircases and gothic vaulting, most impressively the Knight's Hall, a great reception hall with rose-coloured marble pillars. On the 2nd pillar a carved Latin inscription reads "this work has been performed by the great and handsome Iancu de Hunedoara in God's year, 1452.' Frescos on the wall of the Hall depict medallion portraits of the Bethlen family and their acquaintances." (RG) According to one site online, these include Wallachian and Moldavian voivodes Matei Basarab and Vasile Lupu.

- Other significant parts of the castle, which contains over 50 rooms, include the massive, double-walled 5-story-high defensive tower named "Nje Boisia" ("Don't be afraid" in Serbo-Croatian, as it housed Serb mercenaries, members of the castle's garrison, during the 15th cent. Ottoman invasion) and the 30 m. high hanging gallery, preserved from Hunyadi's time; the Capistrano Tower (named after St. John of Capistrano, the Franciscan friar who at age 70 led a crusade against the invading Turks together with Hunyadi at the siege of Belgrade in 1456); the 'Council hall'; a narrow gothic chapel with a high ceiling (15th cent.); the 'bear pit'; etc. A subterranean room near the entrance was held out in 2000 to have been a prison cell and 'torture chamber'. In the Corvinus wing, a fresco depicts the legend of the raven from which the name of Hunyadi's descendants 'Corvinus' originates. (See below) And In the castle yard, above the 30-m.-deep 'Turkish well', an etched inscription in Turkish reads "he who wrote this inscription is Hasan, who lives as a slave of the giaours [the infidels], in the fortress near the church."

www.youtube.com/watch?v=w-7SdiM7kwI

- www.mdpi.com/2571-9408/2/2/85/htm

- www.youtube.com/shorts/eJKrsnpBw7c www.youtube.com/watch?v=vwhCFCVnsoc

- youtu.be/gcN7wF9DjZA?si=R-67zHyvTk5METRL "It's siiick."

 

- Update Jan. 2025: I just saw Robert Eggers' homage to Murnau's 'Nosferatu' in the theatres, in which this castle, filmed on location, is the clear stand-in for 'Castle Orlok' (ie. 'Castle Dracula'), as seen in the moon-light beyond the draw-bridge as the caleche carries Nicholas Hoult towards it. [Update April '25: See it, with this tower at the left, from the 14 sec. pt. to 23 sec.s in this clip from the film.: youtu.be/yHa5G41tRkg?si=eq-YWTjiLr6pkPDi ] When Hoult cuts his thumb while slicing his bread soon after he arrives and the Count perks up and Hoult emotes (in what I found to be the most intense scene in the film), the head of a short stone statue by the fireplace, which looked familiar, turns slightly towards him. I've just confirmed that it was modelled on the effigy of John Hunyadi in Alba Iulia. commons.wikimedia.org/wiki/File:Tomb_of_John_Hunyadi.jpg Wow. I call that attention to detail.

- Update, April '25: Here it is, already. The Count has more to say in this clip re 'the eve of Szent Andras' (St. George's eve, April 23, in Dracula; St. Andrew's eve, Nov. 29, is "the Romanian Halloween") than he did in the cut shown in the theatre. See Hunyadi's effigy at the 3:45 min pt. youtu.be/Fu9V7cY6OGI?si=mG7fwBBaJ03cfuAg I wondered what I might've missed in that castle in light of a detail like that. This article filmandfurniture.com/2025/03/the-design-of-nosferatu-the-... discusses Orlok's impressive coffin youtu.be/lmBwJGR3lks?si=D1nYiXIwrrtZahb3 which features heptagrams, skulls, wolves' heads and images of 'Dacian dragons' "inspired by the ['Draco' or 'Wolf-dragon' on the] Trajan column" seen at the 5:40 min. pt. in the video in the link below, with the head of a wolf and tail of a dragon and which featured on the Dacian battle-flag. Wolves, the 'Wolf-dragon', and a white werewolf (a high priest transformed into 'the Great White Wolf' in Transylvania by the Dacian god Zamolxis to lead the wolves and protect Dacia, the earliest werewolf [6th cent. BC] known to mythology anywhere) were central to ancient Dacian mythology and cosmology, and to the history of the famous Dacian 'Wolf warriors' (of course), as discussed (I think) in the film in the next link, lacking subtitles sadly, at the 3:42 min. pt. (See the ritual circle in which I slept at its centre one night [see below] at the 2:30 min. pt.) youtu.be/_O48gg5oY6Y?si=RRghelCOyHNY-pSz

 

- Re: the ethnicity of the celebrated Mattei or Matthias Corvinus, the Hungarian 'Renaissance king'. (I'll cut and paste the following into the description of a photo taken at Visegrad, Hungary when I get @ to scanning it sometime.) Corvinus' paternal grandfather was ostensibly one Voicu or Vajk, a Romanian noble. The identity of his father's mother is in question. His father Hunyadi (or Hunedoara) rose and rose through the ranks as a result of his abilities and military successes, and came to be known as 'the Hero of Belgrade' and posthumously as 'the White Knight' (a name resulting from a misreading of Blachus/Vlachus for Blancus in Western Europe, see below), took power as Voivode of Transylvania in 1441, and was then elected Regent of Hungary. But, again, he was a Romanian who would presume to rule Hungarians. A helpful rumour began to spread, and became a legend sedulously fostered during the reign of his son Matei or Matthias, that Hunyadi's father had been cuckolded by none other than Sigismund of Luxembourg, king of Hungary and Croatia, and that Hunyadi was his illegitimate son. Matthias' new moniker Corvin or Corvinus alludes to a far-fetched tale that while Sigismund was travelling in Transylvania, he met Hunyadi's mother and that some romance transpired /b/ them after which Sigismund gave her a special gold ring later to be given to the resulting, unborn child. One day while Hunyadi was a boy, a raven espied his shiny ring while he was playing with it, swooped down to nab it and flew off with it. Hunyadi cried out for help, the raven was shot with an arrow, and the ring, proof that he was Sigismund's son and not 'just some Vlach (Romanian)', was retrieved. 'Corvin' is a reference to corvus, Latin for raven, and an image of a raven with a ring in its beak was made central to Corvinus' family crest, and can be seen here at Hunedoara in both frescos and stone reliefs, and elsewhere in Hungary too.: youtu.be/WJgpXJfipeU?si=cHJLjW_evrS7XzzB (An interesting passage follows from Sandor Csernu's 'Myth, Propaganda, and Popular Etymology: János Hunyadi, "White" or "Vlach" Knight?': "Matthias and his environment, possibly infected by the mood of the frustration over the "low" origins of the king, and the concomitant compulsion to prove, apparently did not "buy" the "White Knight" version, that is to say, the connection of Johannes Blancus - Chevalier Blanc to János Hunyadi. Of course, in the Hungarian court everyone knew or at least guessed that Blanc was actually Blak, and therefore Blancus was actually Blachus/Vlachus, and that in this form probably irritated Matthias, who could be best infuriated by references to his low origins, as Bonfini tells us. It would seem that the Roman descent established by Bonfini, as well as the story of the paternity of King Sigismund also originating from him but elaborated in the text of Gáspár Heltai, were the result of that collective frustration, too.") Corvinus could never have acceded to the crown of Hungary if he had been openly ethnically Romanian, at least on his father's side. (It was much more acceptable in Buda that he be the son of a bastard raised by a cuckold and an unfaithful mother than the son of a 'legitimate' Romanian 'Vlach' noble. Think about that.) Rather, he might have endeared himself to the Hungarian nobility by taking such pains to distance himself from his ethnicity and heritage. I'd elaborated on this point earlier to suggest that his inclination to distance himself from his Romanian roots might be one reason for Corvinus' refusal to assist Vlad III Dracula and for arresting him and confining him for @ 12 years. With some more reading, I've learned that Vlad's captivity had everything to do with $$; Corvinus made peace with the Turks (with a cession of territory in SE Europe) so as to keep Catholic Christendom's war chest for himself. The evidence is excellent that Corvinus plotted to frame and defame ole Vlad, which he did, and how (with the enthusiastic assistance of some Transylvanian Saxons), and that Corvinus, the celebrated 'Renaissance king' (TM) of Hungary, was a real jerk. That said, he's celebrated in Hungary today as one of the greatest kings of medieval Europe. He raised taxes to create a standing army, one of only 3 in Europe at that time, conquered Vienna and expanded his empire. But the Austrians were easier pickings than the Ottomans in the 1460s. Hungary would fall to the Turks at Mohacs 66 years after Corvinus imprisoned Vlad and put that war chest in the bank to then be spent on libraries, palaces and frescos. www.youtube.com/watch?v=CVBymgg6VHU

 

- I arrived in the town of Hunedoara (Hoon-aye-dwarah) late in the afternoon and was soon invited to stay for a night as a guest at the home of a local family. They were great hosts, of course. At supper I asked why in northern Transylvania the locals still put garlic round their windows (something I'd read or heard somewhere en route). For protection from vampires? The son (who was studying English at school) said, very deadpan (IF he was kidding), "no, that's for the werewolves." I didn't know if he was serious and I changed the subject, but that could've been an interesting discussion if he was.

- www.youtube.com/watch?v=U_z3IoagFP0

  

- I spent most of the next day exploring this castle, which had exhibits in cases in either the 'Knight's Hall' or the Diet Hall or both, toured every inch of it, and then late that afternoon I retraced part of my route of the day before hitching north up the 687 and east along the E79 and 68 to Orăștie I think (as I passed through it again the next day), and then south on the twisty 705A and up n' up into the hills, and then walked part of the way up to the ancient site of the Dacian fortress and temple of Sarmizegetusa Regia (Sar-mee-zeg-ah-toosa).

 

- The site at Sarmizegetusa Regia is extensive, a grassy expanse on artificial terraces with the ruins and remains of ancient Dacian temples and walls and such from the days of Decebalus, Trajan and the Roman conquest of 102-106 A.D.

- "Sarmizegetusa Regia was the Dacian capital and the most important military, religious and political Dacian centre before the wars with the Romans. Erected atop a 1200 m. high mtn., the fortress, comprising 6 citadels, was the core of a strategic defensive system in the Orăștie mtn.s. The site also contained residential areas with dwellings, workshops, and a sacred zone." (Wikipedia) It was designated a 'World Heritage site' by Unesco in 1999, which I didn't know when I was there.

- "The fortress is a quadrilateral formed by massive stone blocks (murus dacicus), constructed on 5 terraces, on an area of almost 30,000 m²s." (Wikipedia) This area was overgrown and all I could see of it or saw of it was a lengthy, low, 3-m.-thick wall of large, dressed, stone blocks. I was told by a lift en route that the locals believe there's much gold to be found there and that metal-detecting enthusiasts are drawn to the place.

- The sacred zone includes the sites of rectangular temples which can be seen in outline and which contain round limestone and andesite bases for long-gone wooden columns in regular arrays. The most enigmatic sacred feature is the site of a large circular sanctuary on which modern squared beams have been inset upright into ancient post-holes in the shape of a D, which is within a larger concentric circle, which in turn is surrounded by a low stone kerb. www.flickr.com/photos/askjellr/34522664022 (I'll scan a photo or 2 of my own.) A large, flat, andesite stone disc, "the 'Andesite Sun', seems to have been used as a sundial" or as an altar.

- "Civilians lived below the citadel itself in settlements built on artificial terraces. A system of ceramic pipes channeled running water into the residences of the nobility. The archaeological inventory found at the site demonstrates that Dacian society had a relatively high standard of living."

 

- It was getting late (I'd made good time and was lucky to get there) and I was prepared to camp, but there was no-one around up there, no-one. So I put down my ground sheet and sleeping bag in the middle of the site of the D-shaped temple and slept right there under the stars, surrounded by those concentric circles of standing beams. Why not? (You'll see it here at the 2:30 min. pt. www.youtube.com/watch?v=_O48gg5oY6Y&list=TLPQMjQwMzIw... [There are plenty of videos that discuss the temples on youtube, but I can't find one in English.])

- www.youtube.com/watch?v=A_E4mqYA-_c

 

- "Towards the end of his reign, [the Dacian king] Burebista [r 61-82 AD] transferred the Geto-Dacian capital from Argedava to Sarmizegetusa, which served as the Dacian capital for at least 150 yr.s, and reached its zenith under King Decebal [aka Decebalus]. Archeological findings suggest that the Dacian god Zalmoxis and his chief priest played a central role in Dacian religious worship at this time." In Book IV of his 'Histories', Herodotus writes that "the Getae are the bravest of the Thracians and the most just. They believe that they are immortal ... and that the one who dies joins Zalmoxis, a divine being. ... Every 4 yr.s they send a messenger to him [a human sacrifice?] who is chosen by chance." Finds at the site also provide evidence of the Dacian skill in metallurgy, and of their technical and scientific knowledge, including "a medical kit in a brassbound wooden box containing a scalpel, tweezers, powdered pumice and miniature pots for pharmaceuticals; and a huge vase, 0.6 m.s high, 1.04 m.s wide, bearing an inscription in the Roman alphabet: DECEBAL PER SCORILO, i.e. ‘Decebalus, son of Scorilus’." (Wikipedia)

- In the 1st Dacian War (102 AD), Trajan invaded and defeated the Dacians who made concessions with the surrender of their territories of Banat, Tara Haţegului, Oltenia, and Muntenia in the region SW of Transylvania. However, in the years 103-105 AD, the Romans accused the Dacians of failing to respect the conditions of their surrender in 102, and sacked and burned the city in 106 (which is recorded on Trajan’s famous column in Rome). The city's walls had been partly dismantled at the end of the war in 102 AD, and were rebuilt as Roman fortifications. They were destroyed again and were rebuilt following the successful siege of the site in 105-106 AD. The Romans established a military garrison here, but later the capital of Roman Dacia was established 40 km.s further west, and was named after it - Colonia Ulpia Traiana Augusta Dacica Sarmizegetusa. www.youtube.com/watch?v=aRP0fh1IrPw I missed the extensive ruins of the later Roman city, which include an oval amphitheatre.

 

- The next morning, I explored @ the overgrown fortress for a spell, and then headed downhill and back up north walking and thumbing it to the city of Orăștie. Walking through town I came upon a funeral procession in which the hearse was an old-fashioned, black, horse-drawn carriage with the casket under a canopy held up by 4 pillars, one in each corner, with little statues of angels atop each corner of the canopy (I can be that specific as I took a photo, from a distance), and which was being pulled on its route between blocks of communist-era apartment bldg.s. It was as if it had just been pulled through a door to the past.

 

- I hitched back east a little ways and then south, east, and south again down the E79, along the twisty part down through the Defileul Jiului park all the way to Târgu Jiu, having left Transylvania and entered Wallachia. The area just west of that road has much ancient history and there were a few misses near Roman Sarmizegetusa, incl. 13th cent. churches at Densuș and Sântămăria-Orlea with 14th and 15th cent. frescoes, the former cannibalized from a 4th cent. Roman mausoleum, and the famous Iron Gate, the narrow pass where the Dacians were finally defeated by the Romans in 106.

 

- Târgu Jiu is famous for the art of its native son Brâncuși (Bran-choosh), specifically his 'Infinity column', 'Gate of the Kiss" and "Table of Silence". I knew he had some work to be seen in parks there, but I wasn't keen and didn't make the time to go look for it. Now I wish I had or that I'd known how close that column was to the 67 and my route, only @ 150 m.s. It's photogenic, and it's hard to believe I didn't see it walking or being driven past it. ? The column, "inaugurated in Oct. 1938, has a height of 29.35 m.s, is composed of 16 octahedral modules superimposed, and was dedicated to Romanian soldiers who fell in 1916 in battles on the banks of the Jiu river." (Wikipedia) It's now on the Coat of Arms of Târgu Jiu Municipality. ro.wikipedia.org/wiki/Coloana_Infinitului#/media/Fi%C8%99...

- www.youtube.com/watch?v=grrwy3gOV78 Update: 'Brâncuși['s] Monumental Ensemble', the column, the 'gate' and the 'table', have been designated a 'World Heritage site' by Unesco in 2024.

 

- From Târgu Jiu I hitched east and NE along the 67 to the 144 and up to the Horezu or Hurezi monastery. I had an interesting and entertaining experience on that route which I write about in my description to another photo here: www.flickr.com/photos/97924400@N00/2796780209/in/photostr...

- Misses in the vicinity of this route include "the Polovragi cave, once believed to be the abode of Zalmoxis, the Dacians’ chief deity, ... [now] renowned for the stalactites in its “Candlesticks Gallery”, and in "a beautiful grotto", the "Womens' cave" with 2 "impressive illuminated passages" in one of which "the skeletons of 183 cave bears [!] have been discovered". (RG)

  

- The Hurezi or Horezu 'monastery' (it's now a convent), is the most important in Wallachia. Again, I stayed there overnight as a guest and as a 'pilgrim'. Founded in 1690 by Prince Constantine Brancoveanu, it's "a masterpiece known for its architectural purity and balance, the richness of its sculptural detail, the treatment of its religious compositions, its votive portraits and its painted works." (Wikipedia) It's most famous for the fine frescoes that cover the walls and ceiling and the 10-pillared porch of the 'Great Church (1693) at the centre, created by 12 artists under the direction of Masters Constantinos and Ioan /b/ 1692 and 1702, and which represent the advent of the Brâncovenesc style. These include a gallery of royal portraits of Brancoveanu and co. "The school of mural and icon painting established here in the 18th cent., and which developed the Brâncovenesc style, soon became famous throughout the Balkans." www.youtube.com/watch?v=mHQdwbgCb38

- There's a large fresco of the last judgment in the porch by the entrance, with an instructive scene of the damned in a river of fire, each individual beneath writing or labeling to warn the faithful as to what sins he or she committed or the details of their punishment, I presume. The river of fire flows into or out of the mouth of some angry, toothy monster. Some of the damned wear robes covered in crosses (priests?) and bow on their knees to a demon; the rest are nude, and many are stooped with things hanging with ropes from @ their necks. The artist was no Hieronymus Bosch, but it's an attempt.

- The complex is home to 5 churches, a 'Sanctuary for the infirm', rows of cells behind arcades on 2 floors @ the interior of the quadrangle, the abbey, a bakery, bell-tower, a library, etc. I don't recall, but I would've toured the 2 art galleries (if they were open in 2000), and the Treasury with its icons and such.

- This monastery is another Unesco site (the only cultural Unesco site in Wallachia).

- From the porch I watched as a priest blessed individuals one by one in a crowd gathered @ him with a group of nuns, all standing outside by the entrance to the church.

 

- Politically, Brancoveanu had sought to distance Wallachia from its Ottoman overlords (in part as he hoped to keep some of the huge taxes they demanded for use in his building projects). At the outbreak of a Russo-Turkish War in 1710 he sought an alliance with the Russians and with the Habsburgs, while he was also prepared to fight for the Turks if they seemed likely to win. He had hoped to be buried in the 'Great church' at Hurezi, but his sarcophagus remains empty as the Sultan accused him of treachery and he was arrested and then tortured and beheaded with his 4 sons on Aug. 15, 1714 at Yedikule in 'Stamboul'. (RG)

  

- From the Hurezi or Horezu monastery, I walked and hitched down country roads /b/ green, restful apple and plum orchards back to the 67 (I took a photo of a black horse resting on its knees in the shade by one of those country roads) and hitched east along that twisty road and the 73C to the famous Mănăstirea Curtea de Argeș (Cur-tee-ah de Ar-jesh).

 

- Curtea de Argeş ('The Court upon [the river] Argeş') was Wallachia’s 1st capital according to the Wallachian chronicles. They recount that Radu Negru crossed the Carpathians from Transylvania to found that city and Câmpulung in 1290. In 1330, Charles I of Hungary organized an expedition against the "unfaithful" Wallachian Voivode Basarab I and destroyed the Argeș stronghold. After 1340, a new royal court was built at Argeș, and it was here that the Metropolitan Orthodox Church of Wallachia was founded in 1359. The town traded with Transylvania, focusing on the town of Sibiu, to which there was a direct road north crossing the Olt Valley. In the 15th cent., the court in Argeș was used alternately with that in Târgoviște, which became the capital in the 16th cent. The Orthodox Metropolitan's seat moved to Târgoviște in 1517." (Wikipedia)

- I toured the iconic 'Dormition of the Mother of God' Orthodox cathedral built by the legendary Master Manole from 1512 to 1517 at the north end of town. It was renovated in 1875-85 by Frenchman Lecomte de Noüy who "grafted on all the Venetian mosaics and Parisian woodwork" in the interior, in which the church founder, and kings Carol I (1866–1914) and Ferdinand (1914–27) are buried. "Resembling the creation of an inspired confectioner, it’s a boxy structure enlivened by whorls, rosettes and fancy trimmings, rising into [4 belfries], 2 [smaller, cylindrical] 'twisted' belfries [at the front], and 2 [larger] octagonal [ones behind]." (RG) The 2 cylindrical belfries are distinctive and emblematic as their long, slit-thin windows or openings all slant dramatically from the lower right to the upper left to give the impression that the belfries had been twisted, one clockwise and the other counter-clockwise. It's a simple effect, but I don't think I've seen anything like it anywhere else. www.youtube.com/watch?v=nov1IdfFUJg

- "Legend has it that Manole was marooned on the roof of the church when Prince Neagoe Basarab, who had commissioned him to build it, ordered the scaffolding to be removed to ensure that he could not repeat his masterwork elsewhere. Manole tried to escape with the use of wings made from roofing shingles, only to crash to his death, whereupon a spring gushed forth creating 'Manole's Well' nearby. The story is perhaps one of a crude form of justice, for legend also has it that Manole had immured his wife within the walls of the church, for at the time it was believed that 'stafia' or ghosts kept buildings from collapsing." (RG)

- "United Romania's first modern king, Carol I of Romania, renovated the Curtea de Argeș monastery and selected it to be a royal necropolis in 1886 ... for the Royal House of Romania (a branch of the Hohenzollern-Sigmaringen dynasty), including himself, Ferdinand I and Queen Marie, [et al.]" (Wikipedia)

- "On July 7, 1947, the total rainfall in Curtea de Argeș was 205.7 mm (8.10 in) in 20 minutes, which is a world record." (Wikipedia)

 

- More Dracula: When I was @ 11 or 12 I read Radu Florescu's 'In Search of Dracula'. (This 'In Search of' episode from the Leonard-Nimoy-narrated TV series was based on the book. www.youtube.com/watch?v=WLy19ttRzpU ) One thing Floresu discovered in his research was that the only candidate for the title of 'Dracula's castle', one built or reconstructed by and/or belonging to Vlad II Dracula, is the mountaintop ruin of Cetatea Poenari (Poe-eh-narry), 20-25 clicks north of Curtea de Argeş. And so a hike up to that castle was in the cards, handy as it was to the church of Master Manole and the 1st or 2nd capital of Wallachia, and as I'd heard it has great views north into the Carpathians (the best mountain views that I'd have in fact /b/ the High Tatras and the Rila mtn.s in Western Bulgaria). Having toured the Orthodox Cathedral and its grounds at Curtea de Argeş, I headed north to one of the quiet little villages just south of the castle (Corbeni or Căpăţânenii Pământeni [say that 10 x fast]) where I rented a cheap room and hit the hay early with plans to get up before sunrise, which I did and hiked over to and up and up the 1,480 steps to the fortress. It was compact (1/3rd of it had collapsed in 1888) but impressively situated with walls above steep cliffs. The view to the south was of mtn.s across the river-valley below that I'd just crossed, and the view to the north was of a steep, green ridge facing the castle, the gorge and the Argeș river below, and of the ridges and peaks stretching beyond it, with small clouds rising from below. (I'll scan photos that don't do the view justice.) I saw all the nooks and crannies, took my time so as to see the light change as the sun rose, and had the whole place to myself before heading back down after a couple of hours or less. On the stairs I met an older man walking up who might've been the custodian or ticket-seller (although there was no gate), who gave me the stink-eye. (I'd just gone up for free, and I bet tourists have climbed up at night and camped up there for something to do, like I'd done in the temple at Sarmizegetusa.)

 

- "It was to here, in 1457, that the survivors of Vlad Tepeş' massacre of the boyars in Târgovişte [a myth, as contemporary records attest] were marched to begin the construction or the repair and consolidation of his castle. This is the real 'Dracula’s Castle'; his only connection with the popular Bran castle is that he may have attacked it once. ... The Poenari castle, or part of it, had been built in the early 13th cent. and would become a primary citadel of the Basarab rulers in @ the 14th cent. It was then abandoned and fell into ruin, but Vlad appreciated its strategic location and potential. It contains the crumbling remains of 2 towers within; one, prism-shaped, was the old keep, Vlad’s residential quarters, from where, according to legend, his wife or concubine flung herself out the window in 1462 during a successful siege by the Turks, led by Vlad's 1/2-brother 'Radu the handsome', declaring that she “would rather have her body rot and be eaten by the fish of the Argeş” than be captured. Legend also has it that Vlad escaped via a secret passageway leading north through the mountains. According to other accounts, he escaped on horseback, fooling his pursuers by shoeing his mount backwards or by affixing horseshoes that left the impression of cow prints." (RG)

- www.youtube.com/watch?v=nIj28GQsuoM

 

- Walking and hitching back into town down the 7C that morning, I was offered a lift by a British tourist clear across to Bran where he was heading, and although I'd planned to tour the old centre of Curtea de Argeş, I couldn't say no (with my eye on the clock and the calendar). The turn-off for the 73C was north of it, but I wish I'd asked if he'd seen or might like to see the 'Princely Church' in the Court of Argeş, the oldest church in Wallachia (1352) (with "wonderfully alive" frescoes [1384], and in which Radu Negru, founder of Wallachia, and other early Basarab rulers are entombed."[RG]). So that was a miss. www.youtube.com/watch?v=b8cmH0kdBYY De Noüy had plans to renovate or reconstruct the Princely Church as well, but historian Nicolae Iorga managed to get legal backing to stop him.

 

- From Curtea de Argeş we headed NE up the twisty 73C and the 73 and took a stop just south of Câmpulung to tour the excavated and preserved remains of the Roman fort or castrum stativum of Jidava, "part of the Limes Transalutanus defensive line, [@ 235 km.s in length,] destroyed by the Goths in 244 AD." (RG). (I've also read that the fort was destroyed by the Carpi, aka the Carpiani. - ?) A stretch of the stone enclosure wall and a curtain tower on the wall had been reconstructed, as well as hypocaust in the praetorium. The sites of bldgs. within the citadel were outlined with the bases of walls. We probably toured the small museum there too, with coins, etc. found on the site of the camp, but I don't recall.

- This had been the strongest Roman camp of the limes Transalutanus. Its ancient name is lost to history. Built of stone, it guarded the access to Wallachia through the Bran-Rîşnov (Cumidava) pass. The citadel was quadrilateral, covered an area of 98.5 x 132 m.s., and had 4 gates and square towers at the corners and 4 in the curtains (I think). The wall, 1.8 m.s wide, is preserved to a height of 2 m.s. Inside were found the remains of a praetorium, officers' quarters, a horreum (grain store), bathing facilities, and hibernalia (barracks) (2nd - 3rd cent.s). The camp was built /b/ 190 and 211, during the reigns of Commodus (180-192) and Septimius Severus (193-211.). The composition of the garrison was legionary with auxiliary detachments, and a troop of Eastern archers (Cohors I Flavia Commagenorum) was stationed there until, as excavations have revealed, the citadel was burned, destroyed and abandoned in haste during the reign of Philip the Arab (244-249), less than 60 yr.s after it had been built, when the Romans lost all the limes Transalutanus. Dacia was the last territory to be conquered by Rome and the first to be abandoned. (The Princeton Encyclopedia of Classical Sites) www.youtube.com/watch?v=bxYEvSGp3D4 "Just beyond the gates [of the camp are] vestiges of a Roman colony, variously identified with Romula, Stepenium and Ulpia Traiana." (Wikipedia)

 

- Otherwise we missed all the sights and sites of Câmpulung, a town we drove through, said to be Wallachia's 1st capital "after the Voivodate was forged @ 1300" (RG), which include the Negru Vodă monastery, attributed to the 13th-cent. Black Prince, much of it reconstructed in 1837 with a chapel from 1718. (RG) Câmpulung had been another segregated Saxon city, founded no later than 1300 but by the 15th cent. the Romanian and Saxon communities had merged, unlike in the Siebenbergen. New Romanian churches were built near the Catholic areas, and some Romanian județs were elected. Bogomil Bulgarians [persecuted as heretics in Bulgaria, and officially condemned at the Synod of Tarnovo by Tsar Boril in 1211] settled in a Șchei neighborhood (Șchei is old Romanian for Slavic), and there was a leper colony on a hill o/s the town with its own church and mill. (Wikipedia).

- En route we would've passed (but I don't recall) the Mateias Mausoleum, a lighthouse-esque memorial on the site where Romanian troops repelled a German offensive over 45 days in 1916. The remains of more than 2,000 Romanians who died there are kept in a large glass chest in the ossuary, and beautiful mosaics decorate the walls and ceiling. (RG) Oh well.

 

- From Jidava and Câmpulung, we continued up the 73C towards Castle Bran, the most popular, touristy sight or site in Romania, crossing back into Transylvania from Wallachia en route.

(See the next photo).

Stained glass Masonic Square and Compasses hang at the foot of my bed.

 

Masonic Square and Compasses.

 

The Square and Compasses (or, more correctly, a square and a set of compasses joined together) is the single most identifiable symbol of Freemasonry. Both the square and compasses are architect's tools and are used in Masonic ritual as emblems to teach symbolic lessons. Some Lodges and rituals explain these symbols as lessons in conduct: for example, Duncan's Masonic Monitor of 1866 explains them as: "The square, to square our actions; The compasses, to circumscribe and keep us within bounds with all mankind".

 

However, as Freemasonry is non-dogmatic, there is no general interpretation for these symbols (or any Masonic symbol) that is used by Freemasonry as a whole.

 

Square and Compasses:

 

Source: Mackey's Encyclopedia of Freemasonry

 

These two symbols have been so long and so universally combined — to teach us, as says an early instruction, "to square our actions and to keep them within due bounds," they are so seldom seen apart, but are so kept together, either as two Great Lights, or as a jewel worn once by the Master of the Lodge, now by the Past Master—that they have come at last to be recognized as the proper badge of a Master Mason, just as the Triple Tau is of a Royal Arch Mason or the Passion Cross of a Knight Templar.

 

So universally has this symbol been recognized, even by the profane world, as the peculiar characteristic of Freemasonry, that it has recently been made in the United States the subject of a legal decision. A manufacturer of flour having made, in 1873, an application to the Patent Office for permission to adopt the Square and Compasses as a trade-mark, the Commissioner of Patents, .J. M. Thatcher, refused the permission as the mark was a Masonic symbol.

 

If this emblem were something other than precisely what it is—either less known", less significant, or fully and universally understood—all this might readily be admitted. But, Considering its peculiar character and relation to the public, an anomalous question is presented. There can be no doubt that this device, so commonly worn and employed by Masons, has an established mystic significance, universally recognized as existing; whether comprehended by all or not, is not material to this issue. In view of the magnitude and extent of the Masonic organization, it is impossible to divest its symbols, or at least this particular symbol—perhaps the best known of all—of its ordinary signification, wherever displaced, either as an arbitrary character or otherwise.

 

It will be universally understood, or misunderstood, as having a Masonic significance; and, therefore, as a trade-mark, must constantly work deception. Nothing could be more mischievous than to create as a monopoly, and uphold by the poser of lacy anything so calculated. as applied to purposes of trade. to be misinterpreted, to mislead all classes, and to constantly foster suggestions of mystery in affairs of business (see Infringing upon Freemasonry, also Imitative Societies, and Clandestine).

In a religious work by John Davies, entitled Summa Totalis, or All in All and the Same Forever, printed in 1607, we find an allusion to the Square and Compasses by a profane in a really Masonic sense. The author, who proposes to describe mystically the form of the Deity, says in his dedication:

Yet I this forme of formelesse Deity,

Drewe by the Squire and Compasse of our Creed.

In Masonic symbolism the Square and Compasses refer to the Freemason's duty to the Craft and to himself; hence it is properly a symbol of brotherhood, and there significantly adopted as the badge or token of the Fraternity.

Berage, in his work on the higher Degrees, Les plus secrets Mystéres des Hauts Grades, or The Most Secret Mysteries of the High Grades, gives a new interpretation to the symbol. He says: "The Square and the Compasses represent the union of the Old and New Testaments. None of the high Degrees recognize this interpretation, although their symbolism of the two implements differs somewhat from that of Symbolic Freemasonry.

 

The Square is with them peculiarly appropriated to the lower Degrees, as founded on the Operative Art; while the Compasses, as an implement of higher character and uses, is attributed to the Decrees, which claim to have a more elevated and philosophical foundation. Thus they speak of the initiate, when he passes from the Blue Lodge to the Lodge of Perfection, as 'passing from the Square to the Compasses,' to indicate a progressive elevation in his studies. Yet even in the high Degrees, the square and compasses combined retain their primitive signification as a symbol of brotherhood and as a badge of the Order."

 

Square and Compass:

 

Source: The Builder October 1916

By Bro. B. C. Ward, Iowa

 

Worshipful Master and Brethren: Let us behold the glorious beauty that lies hidden beneath the symbolism of the Square and Compass; and first as to the Square. Geometry, the first and noblest of the sciences, is the basis on which the superstructure of Masonry has been erected. As you know, the word "Geometry" is derived from two Greek words which mean "to measure the earth," so that Geometry originated in measurement; and in those early days, when land first began to be measured, the Square, being a right angle, was the instrument used, so that in time the Square began to symbolize the Earth. And later it began to symbolize, Masonically, the earthly-in man, that is man's lower nature, and still later it began to symbolize man's duty in his earthly relations, or his moral obligations to his Fellowmen. The symbolism of the Square is as ancient as the Pyramids. The Egyptians used it in building the Pyramids. The base of every pyramid is a perfect square, and to the Egyptians the Square was their highest and most sacred emblem. Even the Chinese many, many centuries ago used the Square to represent Good, and Confucius in his writings speaks of the Square to represent a Just man.

 

As Masons we have adopted the 47th Problem of Euclid as the rule by which to determine or prove a perfect Square. Many of us remember with what interest we solved that problem in our school days. The Square has become our most significant Emblem. It rests upon the open Bible on this altar; it is one of the three great Lights; and it is the chief ornament of the Worshipful Master. There is a good reason why this distinction has been conferred upon the Square. There can be nothing truer than a perfect Square--a right angle. Hence the Square has become an emblem of Perfection.

 

Now a few words as to the Compass: Astronomy was the second great science promulgated among men. In the process of Man's evolution there came a time when he began to look up to the stars and wonder at the vaulted Heavens above him. When he began to study the stars, he found that the Square was not adapted to the measurement of the Heavens. He must have circular measure; he needed to draw a circle from a central point, and so the Compass was employed. By the use of the Compass man began to study the starry Heavens, and as the Square primarily symbolized the Earth, the Compass began to symbolize the Heavens, the celestial canopy, the study of which has led men to think of God, and adore Him as the Supreme Architect of the Universe. In later times the Compass began to symbolize the spiritual or higher nature of man, and it is a significant fact that the circumference of a circle, which is a line without end, has become an emblem of Eternity and symbolizes Divinity; so the Compass, and the circle drawn by the Compass, both point men Heavenward and Godward.

 

The Masonic teaching concerning the two points of the Compass is very interesting and instructive. The novitiate in Masonry, as he kneels at this altar, and asks for Light sees the Square, which symbolizes his lower nature, he may well note the position of the Compass. As he takes another step, and asks for more Light, the position of the Compass is changed somewhat, symbolizing that his spiritual nature can, in some measure, overcome his evil tendencies. As he takes another step in Masonry, and asks for further Light, and hears the significant words, "and God said let there be Light, and there was Light," he sees the Compass in new light; and for the first time he sees the meaning, thus unmistakably alluding to the sacred and eternal truth that as the Heavens are higher than the Earth, so the spiritual is higher than the material, and the spiritual in man must have its proper place, and should be above his lower nature, and dominate all his thoughts and actions. That eminent Philosopher, Edmund Burke, once said, "It is ordained that men of intemperate passions cannot be free. Their passions forge the chains which bind them, and make them slaves." Burke was right. Masonry, through the beautiful symbolism of the Compass, tells us how we can be free men, by permitting the spiritual within us to overcome our evil tendencies, and dominate all our thoughts and actions. Brethren, sometimes in the silent quiet hour, as we think of this conflict between our lower and higher natures, we sometimes say in the words of another, "Show me the way and let me bravely climb to where all conflicts with the flesh shall cease. Show me that way. Show me the way up to a higher plane where my body shall be servant of my Soul. Show me that way."

Brethren, if that prayer expresses desire of our hearts, let us take heed to the beautiful teachings of the Compass, which silently and persistently tells each one of us,

 

"You should not in the valley stay

While the great horizons stretch away

The very cliffs that wall you round

Are ladders up to higher ground.

And Heaven draws near as you ascend,

The Breeze invites, the Stars befriend.

All things are beckoning to the Best,

Then climb toward God and find sweet Rest.”

 

The secrets of Freemasonry are concerned with its traditional modes of recognition. It is not a secret society, since all members are free to acknowledge their membership and will do so in response to enquiries for respectable reasons. Its constitutions and rules are available to the public. There is no secret about any of its aims and principles. Like many other societies, it regards some of its internal affairs as private matters for its members. In history there have been times and places where promoting equality, freedom of thought or liberty of conscience was dangerous. Most importantly though is a question of perspective. Each aspect of the craft has a meaning. Freemasonry has been described as a system of morality, veiled in allegory and illustrated by symbols. Such characteristics as virtue, honour and mercy, such virtues as temperance, fortitude, prudence and justice are empty clichés and hollow words unless presented within an ordered and closed framework. The lessons are not secret but the presentation is kept private to promote a clearer understanding in good time. It is also possible to view Masonic secrecy not as secrecy in and of itself, but rather as a symbol of privacy and discretion. By not revealing Masonic secrets, or acknowledging the many published exposures, freemasons demonstrate that they are men of discretion, worthy of confidences, and that they place a high value on their word and bond.

 

Masonic Square and Compasses.

 

The Square and Compasses (or, more correctly, a square and a set of compasses joined together) is the single most identifiable symbol of Freemasonry. Both the square and compasses are architect's tools and are used in Masonic ritual as emblems to teach symbolic lessons. Some Lodges and rituals explain these symbols as lessons in conduct: for example, Duncan's Masonic Monitor of 1866 explains them as: "The square, to square our actions; The compasses, to circumscribe and keep us within bounds with all mankind".

 

However, as Freemasonry is non-dogmatic, there is no general interpretation for these symbols (or any Masonic symbol) that is used by Freemasonry as a whole.

 

Square and Compasses:

 

Source: Mackey's Encyclopedia of Freemasonry

 

These two symbols have been so long and so universally combined — to teach us, as says an early instruction, "to square our actions and to keep them within due bounds," they are so seldom seen apart, but are so kept together, either as two Great Lights, or as a jewel worn once by the Master of the Lodge, now by the Past Master—that they have come at last to be recognized as the proper badge of a Master Mason, just as the Triple Tau is of a Royal Arch Mason or the Passion Cross of a Knight Templar.

 

So universally has this symbol been recognized, even by the profane world, as the peculiar characteristic of Freemasonry, that it has recently been made in the United States the subject of a legal decision. A manufacturer of flour having made, in 1873, an application to the Patent Office for permission to adopt the Square and Compasses as a trade-mark, the Commissioner of Patents, .J. M. Thatcher, refused the permission as the mark was a Masonic symbol.

 

If this emblem were something other than precisely what it is—either less known", less significant, or fully and universally understood—all this might readily be admitted. But, Considering its peculiar character and relation to the public, an anomalous question is presented. There can be no doubt that this device, so commonly worn and employed by Masons, has an established mystic significance, universally recognized as existing; whether comprehended by all or not, is not material to this issue. In view of the magnitude and extent of the Masonic organization, it is impossible to divest its symbols, or at least this particular symbol—perhaps the best known of all—of its ordinary signification, wherever displaced, either as an arbitrary character or otherwise.

 

It will be universally understood, or misunderstood, as having a Masonic significance; and, therefore, as a trade-mark, must constantly work deception. Nothing could be more mischievous than to create as a monopoly, and uphold by the poser of lacy anything so calculated. as applied to purposes of trade. to be misinterpreted, to mislead all classes, and to constantly foster suggestions of mystery in affairs of business (see Infringing upon Freemasonry, also Imitative Societies, and Clandestine).

In a religious work by John Davies, entitled Summa Totalis, or All in All and the Same Forever, printed in 1607, we find an allusion to the Square and Compasses by a profane in a really Masonic sense. The author, who proposes to describe mystically the form of the Deity, says in his dedication:

Yet I this forme of formelesse Deity,

Drewe by the Squire and Compasse of our Creed.

In Masonic symbolism the Square and Compasses refer to the Freemason's duty to the Craft and to himself; hence it is properly a symbol of brotherhood, and there significantly adopted as the badge or token of the Fraternity.

Berage, in his work on the higher Degrees, Les plus secrets Mystéres des Hauts Grades, or The Most Secret Mysteries of the High Grades, gives a new interpretation to the symbol. He says: "The Square and the Compasses represent the union of the Old and New Testaments. None of the high Degrees recognize this interpretation, although their symbolism of the two implements differs somewhat from that of Symbolic Freemasonry.

 

The Square is with them peculiarly appropriated to the lower Degrees, as founded on the Operative Art; while the Compasses, as an implement of higher character and uses, is attributed to the Decrees, which claim to have a more elevated and philosophical foundation. Thus they speak of the initiate, when he passes from the Blue Lodge to the Lodge of Perfection, as 'passing from the Square to the Compasses,' to indicate a progressive elevation in his studies. Yet even in the high Degrees, the square and compasses combined retain their primitive signification as a symbol of brotherhood and as a badge of the Order."

 

Square and Compass:

 

Source: The Builder October 1916

By Bro. B. C. Ward, Iowa

 

Worshipful Master and Brethren: Let us behold the glorious beauty that lies hidden beneath the symbolism of the Square and Compass; and first as to the Square. Geometry, the first and noblest of the sciences, is the basis on which the superstructure of Masonry has been erected. As you know, the word "Geometry" is derived from two Greek words which mean "to measure the earth," so that Geometry originated in measurement; and in those early days, when land first began to be measured, the Square, being a right angle, was the instrument used, so that in time the Square began to symbolize the Earth. And later it began to symbolize, Masonically, the earthly-in man, that is man's lower nature, and still later it began to symbolize man's duty in his earthly relations, or his moral obligations to his Fellowmen. The symbolism of the Square is as ancient as the Pyramids. The Egyptians used it in building the Pyramids. The base of every pyramid is a perfect square, and to the Egyptians the Square was their highest and most sacred emblem. Even the Chinese many, many centuries ago used the Square to represent Good, and Confucius in his writings speaks of the Square to represent a Just man.

 

As Masons we have adopted the 47th Problem of Euclid as the rule by which to determine or prove a perfect Square. Many of us remember with what interest we solved that problem in our school days. The Square has become our most significant Emblem. It rests upon the open Bible on this altar; it is one of the three great Lights; and it is the chief ornament of the Worshipful Master. There is a good reason why this distinction has been conferred upon the Square. There can be nothing truer than a perfect Square--a right angle. Hence the Square has become an emblem of Perfection.

 

Now a few words as to the Compass: Astronomy was the second great science promulgated among men. In the process of Man's evolution there came a time when he began to look up to the stars and wonder at the vaulted Heavens above him. When he began to study the stars, he found that the Square was not adapted to the measurement of the Heavens. He must have circular measure; he needed to draw a circle from a central point, and so the Compass was employed. By the use of the Compass man began to study the starry Heavens, and as the Square primarily symbolized the Earth, the Compass began to symbolize the Heavens, the celestial canopy, the study of which has led men to think of God, and adore Him as the Supreme Architect of the Universe. In later times the Compass began to symbolize the spiritual or higher nature of man, and it is a significant fact that the circumference of a circle, which is a line without end, has become an emblem of Eternity and symbolizes Divinity; so the Compass, and the circle drawn by the Compass, both point men Heavenward and Godward.

 

The Masonic teaching concerning the two points of the Compass is very interesting and instructive. The novitiate in Masonry, as he kneels at this altar, and asks for Light sees the Square, which symbolizes his lower nature, he may well note the position of the Compass. As he takes another step, and asks for more Light, the position of the Compass is changed somewhat, symbolizing that his spiritual nature can, in some measure, overcome his evil tendencies. As he takes another step in Masonry, and asks for further Light, and hears the significant words, "and God said let there be Light, and there was Light," he sees the Compass in new light; and for the first time he sees the meaning, thus unmistakably alluding to the sacred and eternal truth that as the Heavens are higher than the Earth, so the spiritual is higher than the material, and the spiritual in man must have its proper place, and should be above his lower nature, and dominate all his thoughts and actions. That eminent Philosopher, Edmund Burke, once said, "It is ordained that men of intemperate passions cannot be free. Their passions forge the chains which bind them, and make them slaves." Burke was right. Masonry, through the beautiful symbolism of the Compass, tells us how we can be free men, by permitting the spiritual within us to overcome our evil tendencies, and dominate all our thoughts and actions. Brethren, sometimes in the silent quiet hour, as we think of this conflict between our lower and higher natures, we sometimes say in the words of another, "Show me the way and let me bravely climb to where all conflicts with the flesh shall cease. Show me that way. Show me the way up to a higher plane where my body shall be servant of my Soul. Show me that way."

Brethren, if that prayer expresses desire of our hearts, let us take heed to the beautiful teachings of the Compass, which silently and persistently tells each one of us,

 

"You should not in the valley stay

While the great horizons stretch away

The very cliffs that wall you round

Are ladders up to higher ground.

And Heaven draws near as you ascend,

The Breeze invites, the Stars befriend.

All things are beckoning to the Best,

Then climb toward God and find sweet Rest."

The FUJI ES-30TW is actually interesting:

"1988. Still video camera. ½-inch 400K CCD. ISO 100 to 400. 7mm f/3.4 and 14mm f/4 lenses. Auto focus and built-in flash. Shutter ¼ to 1/500 second. As with other still video cameras of the time, the ES-30TW recorded images on mini floppy disks. $720 in Japan."

www.digicamhistory.com/1988.html

 

Also a Minolta SR-7 partly seen on the right.

 

EDIT:

 

Now - 7 years later that I took this shot - with more experience of second hand film camera market, my feeling is that:

- either Japanese seller are 95% or more sure that the camera will deliver, and in this case they will charge you top most $$$ for it,

- ...or they are not, and they will charge you a super hyper cheap price for it.

 

In booth cases, this looks like a good deal to me. I should probably go back to Japan. To a bare minimum, I'd have a good instructive and relaxed talk with camera shop owner.

 

(And I like Japan anyway.)

OPENING CALENDAR

 

Presentation of the Colors

Admiral William F. Halsey, Jr. Leadership Academy JROTC

 

Pledge of Allegiance

Zynida Lamar, 8th grade student

Toussaint L’Ouverture-Marquis de Lafayette School No. 6

 

Star Spangled Banner by Francis Scott Key

Students: Medjine Desire, Aliya Filipowicz and Widline Exalus

Sandra Evaristo, Vice Principal

September Daniels, Music Teacher

Jada Golden, Classroom Assistant

Toussaint L’Ouverture-Marquis de Lafayette School No. 6

 

The Haitian National Anthem – “La Dessalinienne” by Justin Lhérisson

Performed by Students of: John E. Dwyer Technology Academy

 

Cuban National Anthem – “La Bayamesa” by Perucho Figueredo

Performed by:

Marlenes L. Teixeira, Music Teacher - Terence C Reilly School No. 7

Sylvia Jacobson, Assistant - Albert Einstein Academy School No. 29

 

Portuguese National Anthem – “A Portuguesa” by Henrique Lopes de Mendonça

Performed by Students: Gustavo Agostinho, Thomas Jefferson Arts Academy

Crystal Urrutia, Thomas Jefferson Arts Academy

 

Pledge of Ethics

Xochil Aguirre, 8th Grade Student

Toussaint L’Ouverture-Marquis de Lafayette School No. 6

 

Core Beliefs - Video

 

PERFORMANCES

 

In Recognition of Cuban Heritage

 

Mi Tierra by Gloria Estefan

Dance Performance

Students from Mabel G. Holmes School No. 5

 

In honor of Haitian Heritage

 

Contemporary Haitian Dance - Pi WO (Higher) Wyclef Jean

Students from John E. Dwyer Technology Academy

 

In Honor of Portuguese Heritage

 

“Os Lusiadas” by Luis Camões

Pome recited by:

Aline Pereira and Andrew Seabra, 8th grade students

Madison Monroe School No. 16

 

“Mar Portuguese” by Fernando Pessoa

Poem recited by:

Krystal Maldonado

Camila Rodriguez

Gloria Cavalheiro

Angelica Bautista Rojas

Portuguese Language students at Thomas Jefferson Arts Academy

 

PRESENTATIONS

 

Student Excellence

 

New Jersey USA Wrestling Championship Winner

Jasiah Queen, 5th grade student, Toussaint L’Ouverture-Marquis de Lafayette School No. 6

  

Outstanding Ratings in Solo Vocalist Category - 2016 Union County Teen Arts Competition

Qyaisha Peeples, 7th grade student, Toussaint L’Ouverture-Marquis de Lafayette School No. 6

Medjine Desire, 6th grade student, Toussaint L’Ouverture-Marquis de Lafayette School No. 6

 

Stars of Excellence

 

Dedication to the students of the Elizabeth Public Schools for the past 36 years.

Amelia Turner, Guidance Counselor

  

Act of Heroism performing Heimlich Maneuver and saving our student from chocking

Anthony Mendes –Physical Education Teacher, Christopher Columbus School No. 15

  

Elizabeth Public Schools selected by State of New Jersey Department of Education as a Bilingual Model Program

Dr. Lisette Calvo, Director of Bilingual/ESL Education

Veronica Alvero, Bilingual/ESL and World Language Supervisor

Sandra Nunes, Bilingual/ESL and World Language Supervisor

 

Community Excellence

 

Resolution Honoring Cuban Community

 

Miguel Jimenez, President

 

Resolution Honoring Haitian Community

 

Aksyon Kominote Entenasyonal Pou Developman Pisto Haiti “AKEDP”

Feret Fenelis, Executive Director

 

Resolution Honoring Portuguese Community

 

Elizabeth Portugal Day – Carla Rodrigues, President

Elizabeth Portuguese Lions/Leos – Idalina Lopes, President

Portuguese Instructive Social Club – Jose Brito, President

 

Waterloo District War Memorial Hall foundation stone was laid by W H Turner on 15 November 1957.

On 8 May 1865 a stone was laid by Waterloo CWA in honour of all who served.

 

Prior to the erection of their hall, community events were held at the hotel, council chambers and private homes.

Originally the settlement’s hotel was the “Wellington” – later changing to the “Waterloo” where there was a very large room referred to as the “Hall”.

 

Henry Kruse operated a blacksmith and farrier shop in the town from 1904 to 1980, located next to the hotel.

There is still a family-owned Kruse Earthmoving company in the town. The earthmoving company was established by Tom Kruse MBE, known for his feats of endurance while he was the mailman to the outback for 25 years. His usual run was the Birdsville track and the return journey took 6 days, except for times when there were floods and vehicle breakdown, when sometimes the trip could take two weeks.

 

*Waterloo – Ploughing Match

This event took place on Thursday 28th August, in Mr Eckerman's Paddock, near the township. There was a large attendance of spectators, Mrs Williams had a booth on the ground and supplied refreshments to the exhausted. The Kapunda Band was in attendance and played some pleasant airs during the day.

 

The dinner took place in the evening, when about 40 or 50 sat down to a very excellent spread prepared by Hostess Williams: Mr E Ward MP, in the chair. [Ref: South Australian Chronicle and Weekly Mail 6-9-1873]

 

*Twenty-five miles from the Burra, and an equal distance from Kapunda, is Waterloo. The township is small, but of late years has made great progression in the matter of business. This is partly due, no doubt, to the advantageous use of fertilisers, and to the adoption of sowing wheats on fallow, which has had the effect of increasing production in the district. A sign of the progress is the commodious stone establishment erected recently by Mr Kruse, the blacksmith and machinist. [Kapunda Herald 3-6-1904]

 

*Waterloo Council June 10

No. 54, O Blucher £10 15/ lump sum: supplying pegs for cemetery, H Kruse, £4 10/ lump sum.

Resolved that Overseer and Clerk peg out cemetery.

Mrs Watts granted renewal of slaughtering licences. [Ref: Kapunda Herald 16-6-1911]

 

*A largely attended and most successful social in connection with the Liberal Union was held at the Wellington Hall, Waterloo on November 3. The hall was artistically decorated with pine, willows, and roses. Mr H J Dunn, who occupied the chair, remarked that this branch had made decidedly encouraging progress in the course of the past year.

 

The speakers dwelt chiefly on preference to unionists, arbitration, and immigration. They strongly urged members to extend the cause of the Liberal Union and to do all in their power to get the young men to join. The speakers were attentively followed by an appreciative audience.

Refreshments were provided by the ladies. [Ref: Register 11-11-1911]

 

*Council meeting. Present-All. Tenders accepted-No 56. J Shanahan: No 57. F Kruse.

Deputy Postmaster General wrote giving different routes of mail service open for tender. Decided that this council strongly object to alteration, and strongly advocate the present route, as being most suitable for the district. [Ref: Kapunda Herald 18-7-1913]

 

*A meeting of the Waterloo branch [Liberal Union] was held in Mr Bruhn's Hall on March 10. Mr E F Denton presided. Members were urged to "get ready for business." Messrs H J Dunn and C Wiech were chosen to represent this branch at the forthcoming district committee conference at Petersburg. The sum of £11 5/ was devoted as a contribution to the district funds. The annual Social will be held in September or October. [Ref: Register 14-3-1914]

 

*The annual meeting of this branch of the Liberal Union was held in the Waterloo Hall on July 3. Mr H J Dunn presided over a large and enthusiastic attendance of members, correspondence from the central executive in reference to the Federal campaign was dealt with.

The financial position of the branch was discussed.

An honorarium of £5 was voted to the Secretary. [Register 9-7-1914]

 

*On Australia Day the Waterloo and neighbouring schoolchildren assembled and marched to the grounds, headed by Mr Owen dressed as a general, and Mr D Slattery, as Commissioner of Police. Others in fancy dress followed. A broken-down buckboard, drawn by a big, lean horse and a very small pony, in charge of Messrs Arbon and Bruhn, was conspicuous, and did service on the grounds in carrying off the injured players.

 

The children were addressed on the grounds by Pastor Homann, and the Chairman of the Board of Advice. A mock Court was in session during the afternoon, and many prominent men were charged with serious offences, and fined.

A Dutch auction was held, and numerous gifts were sold. This was in the hands of Messrs Shanahan, Schmidt, Milde, & Parkin [sic].

The total amount received was more than the most sanguine expected—£214. A dance was held at Mr Moller's in the evening. [Ref: Observer 7-8-1915]

 

*A Kruse waited on Council and complained of water in the spring at Giersch’s reserve: Cr Slattery to have spring emptied and water tests. [Ref: Kapunda Herald 16-5-1919]

 

*Clerk instructed to forward to W Kruse 15/- owing for work done at sheep dip, Waterloo. [Ref: Kapunda Herald 2-7-1920]

 

*The half-yearly business meeting of this branch [Liberal Union] was held in Bruhn’s Assembly Rooms on September 6. There was a good attendance. [Ref: Register 11-9-1920]

 

*The Waterloo and Steelton Red Cross Circle was formed on September 28th 1939 at the request of Mr H J Dunn Chairman of the Saddleworth District Council.

Monthly meetings are held in the Waterloo Hall, with Mrs W Slattery president, Mr, Harmes, vice-president, Mrs C Webb, secretary, Mesdames Simpson and A Blucher, joint treasurers.

At present there is a membership of 62 ladies, from Waterloo, Steelton, Tothills Belt and Black Springs district, and all are working with great enthusiasm and a very patriotic spirit, to do their part in the great war.

 

Afternoon tea and trading table at each meeting, strawberry fetes, garden parties, at Mr C Webb and Pastor Harmes’ residence, together with dances arranged by the Amusement Committee, serve to augment the funds for working purposes.

Money raised by the Circle amounts to £180/14/3.

A committee meeting is also held during the month to cut out garments etc, and a parcel of sewing and knitted goods is forwarded regularly to Headquarters.

Also parcel of knitted goods, knitted by the Red Cross ladies and presented to the following at their Farewell social:— Pte K Phillips, Cpl Ross Harvey, Pte Eric Phillips and Pte K R Cooper, Platoon Com D C Chambers.

Great credit is due to the Amusement Committee (who work in conjunction with the Red Cross) for funds, which they have handed to the circle, as well as other charitable organisations.

The sum of £163/12/0 was recently handed to the Saddleworth District Council for the King Competition in aid of Mobile Surgical Unit.

 

On Friday evening, November 29 at the Waterloo Hall, a social was tendered to Platoon Com D C Chambers and Pte K R Cooper.

Messrs Dunn, Grinter and Turner expressed their deep appreciation for the brave and gallant action and wished both in the future a speedy return to South Australia.

Items were rendered by the Waterloo School Children, Mrs H Turner, Miss Margaret Slattery, together with community singing. Miss Francis Slattery was pianist.

Supper and dance followed. [Ref: Burra Record 10-12-1940]

 

*To assist the Red Cross Prisoner of War Fund, a successful evening arranged by the Waterloo and Steelton VSD was held at Waterloo on Wednesday, July 16.

Mr H J Dunn (Chairman) then introduced Dr Finey, who gave a very instructive address on VSD work and stressed the value of this activity in Australia.

A demonstration in First Aid was then given by the members of the above detachment and all very ably attended to their casualties and were congratulated by many on the manner in which they carried out their duties.

Supper and dance followed. The proceeds amounted to £6/5/0. [Ref: Burra Record 22-7-1941]

 

*The Waterloo and Steelton VSD members and friends spent an enjoyable social afternoon at Waterloo on Thursday. December 18th.

A 'Quizz' conducted by Miss Viola Eckermann created great interest, and another competition was won by Miss Jean Fraser.

 

Members of the detachment expressed their appreciation by presenting gifts to Dr Finey and Mrs Hersey (lecturers in First Aid and Home Nursing) and Mr Wilks (drill instructor).

 

'Christmas Cheer' gifts were handed in and forwarded to sick and invalided men spending Christmas in Keswick Repatriation Hospital. [Ref: Burra Record 5-1-1942]

   

Sanahin ("Սանահին" in Armenian) is a village in the Northern Lori province of Armenia, now considered part of the city of Alaverdi and is listed as a UNESCO World Heritage Site along with monasteries in Haghpat.

The architectural complexes of Sanahin and Haghpat are among the outstanding works of medieval Armenian architecture. In their artistic merits they transcend the limits of national culture.

The ensembles of Sanahin and Haghpat stand out not only for the original architecture of religious and especially civil buildings. They are also most instructive as samples of town building art which show high skill of Armenian architects. Marked by the unity and compactness of their asymmetrical layout, they had a tremendous influence on the development of medieval Armenian architecture. (from Wikipedia)

A view of the favela near the Itararé cable car station. The modern cable car lines flies above rudimentary houses.

  

"It is going to be a beautiful World Cup, but it won't be the World cup of the Brazilian people, because they won't be able to afford tickets. The richer will attend the games, will see nice modern stadiums ... but the whole people will pay the bill."

Those words of Romario, now a member of federal parliament resonate as the 2014 World Cup is about to start. I decided to release a few pictures I shot in 2013 in one of Rio's biggest favela. This set will take you to the "Complexo do Alemao", literally the "Complex of the German" (en.wikipedia.org/wiki/Complexo_do_Alem%C3%A3o). It is an aggregate of several favelas on a few hills and the home of about 70000 people in the northern area of Rio de Janeiro.

The Complex used to host some drug trafficking gangs until it was pacified by the military police and the Brazilian army back in 2010. The pacification process unfortunately did not occur without civilian losses and if security improved since then, the nature of the danger for its inhabitants changed.

The Complex is famous for many reasons among which is the recently built cable car. After the pacification, the police built police stations within the favela for military police units which mission consists in maintaining the "pacified order". Their presence and action are sometimes source of some scandals such as the disappearance of Amarildo in 2013 in the favela of Rocinha (www.bbc.com/news/world-latin-america-24362311). Along with the police stations came an usual infrastructure supposed to improve the daily life of local inhabitants : a cable car linking the top of the hills to the nearest suburban train station. As an member of the residents association said, the cable car was a not negotiable project for the authorities. Despite its very expensive construction and maintenance prices and the fact that most of the favela did not benefit from basic infrastructures such as basic sanitation. If the cable car now enable some people to save time on their daily journeys, it remains used by a mere 12% of the residents although they are given free tickets (ultimosegundo.ig.com.br/brasil/rj/construido-por-r-210-mi...). The presence of this infrastructure thus raises questions about its relevancy.

Unfortunately, this very ambitious project must feel very lonely in Rio's metropolitan area. Indeed, most of the public transportation projects once set for the 2014 World Cup and the 2016 Olympics were purely abandoned in the last years. It is again instructive to dig into Romario's outspoken words : "FIFA got what it came for: money," he told the New York Times. "Things like transportation that affect the public after the tournament is over? They don’t care. They don’t care about what is going to be left behind. They found a way to get rich on the World Cup and they robbed the people instead. This is the real shame."

On a trip for Urbex-shots......it was fun and instructive to do....

 

View On Black

Using a Dazzne P2 mini sports camera, I attempted to acquire closeup images of the two most frequented birds at my bird feeder; the House Sparrow and Horned Lark. I thought it would be amazing, entertaining, and instructive to see the feeding characteristics of these birds. Using several days of video (about 8 hours in total), I was able to pull the best 5 minutes worth. I'm hoping in the spring to see more variety of birds. Anyway, I hope you enjoy this clip and constructive feedback is certainly welcomed. For anyone who might be concerned that I stressed any of these birds, rest assured that my camera was placed so to be completely inconspicuous. Much of the footage was reduced to 1/10th normal speed since these birds move very very quickly.

Canonet GIII QL17 / Fuji Superia XTRA 400

 

This is my first foray with film and I must say the process is quite addictive and instructive. With digital, you can be as wanton as you can be since if you do not like the picture, you can just delete it and take another. With film, everything should be planned and deliberate. It seemed that every shot should count. I would also add here extra excitement from waiting on how your pictures turned out based on the interactions of several variables such as the type of film used, the camera used and the developing process. I love it! =)

This is why the hawks fly past here when they are migrating.

 

OPENING CALENDAR

 

Presentation of the Colors

Admiral William F. Halsey, Jr. Leadership Academy JROTC

 

Pledge of Allegiance

Zynida Lamar, 8th grade student

Toussaint L’Ouverture-Marquis de Lafayette School No. 6

 

Star Spangled Banner by Francis Scott Key

Students: Medjine Desire, Aliya Filipowicz and Widline Exalus

Sandra Evaristo, Vice Principal

September Daniels, Music Teacher

Jada Golden, Classroom Assistant

Toussaint L’Ouverture-Marquis de Lafayette School No. 6

 

The Haitian National Anthem – “La Dessalinienne” by Justin Lhérisson

Performed by Students of: John E. Dwyer Technology Academy

 

Cuban National Anthem – “La Bayamesa” by Perucho Figueredo

Performed by:

Marlenes L. Teixeira, Music Teacher - Terence C Reilly School No. 7

Sylvia Jacobson, Assistant - Albert Einstein Academy School No. 29

 

Portuguese National Anthem – “A Portuguesa” by Henrique Lopes de Mendonça

Performed by Students: Gustavo Agostinho, Thomas Jefferson Arts Academy

Crystal Urrutia, Thomas Jefferson Arts Academy

 

Pledge of Ethics

Xochil Aguirre, 8th Grade Student

Toussaint L’Ouverture-Marquis de Lafayette School No. 6

 

Core Beliefs - Video

 

PERFORMANCES

 

In Recognition of Cuban Heritage

 

Mi Tierra by Gloria Estefan

Dance Performance

Students from Mabel G. Holmes School No. 5

 

In honor of Haitian Heritage

 

Contemporary Haitian Dance - Pi WO (Higher) Wyclef Jean

Students from John E. Dwyer Technology Academy

 

In Honor of Portuguese Heritage

 

“Os Lusiadas” by Luis Camões

Pome recited by:

Aline Pereira and Andrew Seabra, 8th grade students

Madison Monroe School No. 16

 

“Mar Portuguese” by Fernando Pessoa

Poem recited by:

Krystal Maldonado

Camila Rodriguez

Gloria Cavalheiro

Angelica Bautista Rojas

Portuguese Language students at Thomas Jefferson Arts Academy

 

PRESENTATIONS

 

Student Excellence

 

New Jersey USA Wrestling Championship Winner

Jasiah Queen, 5th grade student, Toussaint L’Ouverture-Marquis de Lafayette School No. 6

  

Outstanding Ratings in Solo Vocalist Category - 2016 Union County Teen Arts Competition

Qyaisha Peeples, 7th grade student, Toussaint L’Ouverture-Marquis de Lafayette School No. 6

Medjine Desire, 6th grade student, Toussaint L’Ouverture-Marquis de Lafayette School No. 6

 

Stars of Excellence

 

Dedication to the students of the Elizabeth Public Schools for the past 36 years.

Amelia Turner, Guidance Counselor

  

Act of Heroism performing Heimlich Maneuver and saving our student from chocking

Anthony Mendes –Physical Education Teacher, Christopher Columbus School No. 15

  

Elizabeth Public Schools selected by State of New Jersey Department of Education as a Bilingual Model Program

Dr. Lisette Calvo, Director of Bilingual/ESL Education

Veronica Alvero, Bilingual/ESL and World Language Supervisor

Sandra Nunes, Bilingual/ESL and World Language Supervisor

 

Community Excellence

 

Resolution Honoring Cuban Community

 

Miguel Jimenez, President

 

Resolution Honoring Haitian Community

 

Aksyon Kominote Entenasyonal Pou Developman Pisto Haiti “AKEDP”

Feret Fenelis, Executive Director

 

Resolution Honoring Portuguese Community

 

Elizabeth Portugal Day – Carla Rodrigues, President

Elizabeth Portuguese Lions/Leos – Idalina Lopes, President

Portuguese Instructive Social Club – Jose Brito, President

 

OPENING CALENDAR

 

Presentation of the Colors

Admiral William F. Halsey, Jr. Leadership Academy JROTC

 

Pledge of Allegiance

Zynida Lamar, 8th grade student

Toussaint L’Ouverture-Marquis de Lafayette School No. 6

 

Star Spangled Banner by Francis Scott Key

Students: Medjine Desire, Aliya Filipowicz and Widline Exalus

Sandra Evaristo, Vice Principal

September Daniels, Music Teacher

Jada Golden, Classroom Assistant

Toussaint L’Ouverture-Marquis de Lafayette School No. 6

 

The Haitian National Anthem – “La Dessalinienne” by Justin Lhérisson

Performed by Students of: John E. Dwyer Technology Academy

 

Cuban National Anthem – “La Bayamesa” by Perucho Figueredo

Performed by:

Marlenes L. Teixeira, Music Teacher - Terence C Reilly School No. 7

Sylvia Jacobson, Assistant - Albert Einstein Academy School No. 29

 

Portuguese National Anthem – “A Portuguesa” by Henrique Lopes de Mendonça

Performed by Students: Gustavo Agostinho, Thomas Jefferson Arts Academy

Crystal Urrutia, Thomas Jefferson Arts Academy

 

Pledge of Ethics

Xochil Aguirre, 8th Grade Student

Toussaint L’Ouverture-Marquis de Lafayette School No. 6

 

Core Beliefs - Video

 

PERFORMANCES

 

In Recognition of Cuban Heritage

 

Mi Tierra by Gloria Estefan

Dance Performance

Students from Mabel G. Holmes School No. 5

 

In honor of Haitian Heritage

 

Contemporary Haitian Dance - Pi WO (Higher) Wyclef Jean

Students from John E. Dwyer Technology Academy

 

In Honor of Portuguese Heritage

 

“Os Lusiadas” by Luis Camões

Pome recited by:

Aline Pereira and Andrew Seabra, 8th grade students

Madison Monroe School No. 16

 

“Mar Portuguese” by Fernando Pessoa

Poem recited by:

Krystal Maldonado

Camila Rodriguez

Gloria Cavalheiro

Angelica Bautista Rojas

Portuguese Language students at Thomas Jefferson Arts Academy

 

PRESENTATIONS

 

Student Excellence

 

New Jersey USA Wrestling Championship Winner

Jasiah Queen, 5th grade student, Toussaint L’Ouverture-Marquis de Lafayette School No. 6

  

Outstanding Ratings in Solo Vocalist Category - 2016 Union County Teen Arts Competition

Qyaisha Peeples, 7th grade student, Toussaint L’Ouverture-Marquis de Lafayette School No. 6

Medjine Desire, 6th grade student, Toussaint L’Ouverture-Marquis de Lafayette School No. 6

 

Stars of Excellence

 

Dedication to the students of the Elizabeth Public Schools for the past 36 years.

Amelia Turner, Guidance Counselor

  

Act of Heroism performing Heimlich Maneuver and saving our student from chocking

Anthony Mendes –Physical Education Teacher, Christopher Columbus School No. 15

  

Elizabeth Public Schools selected by State of New Jersey Department of Education as a Bilingual Model Program

Dr. Lisette Calvo, Director of Bilingual/ESL Education

Veronica Alvero, Bilingual/ESL and World Language Supervisor

Sandra Nunes, Bilingual/ESL and World Language Supervisor

 

Community Excellence

 

Resolution Honoring Cuban Community

 

Miguel Jimenez, President

 

Resolution Honoring Haitian Community

 

Aksyon Kominote Entenasyonal Pou Developman Pisto Haiti “AKEDP”

Feret Fenelis, Executive Director

 

Resolution Honoring Portuguese Community

 

Elizabeth Portugal Day – Carla Rodrigues, President

Elizabeth Portuguese Lions/Leos – Idalina Lopes, President

Portuguese Instructive Social Club – Jose Brito, President

 

Johannes and Mona live according to the tradition of the "journeyman years".

 

The journeyman years (Wanderjahre) refer to the tradition of setting out on travel for several years after completing apprenticeship as a craftsman. The tradition dates back to medieval times and is still alive in German-speaking countries and in France:

The journeyman brotherhoods had established a standard to ensure that wandering journeymen are not mistaken for tramps and vagabonds. The journeyman is required to be unmarried, childless and debt-free - so that the journeyman years will not be taken as a chance to run away from social obligations. In modern times the brotherhoods often require a police clearance. Additionally, journeymen are required to wear a specific uniform (German: Kluft) and to present themselves in a clean and friendly manner in public. This helps them to find shelter for the night and a ride to the next town.

In contemporary brotherhoods the "Walz" is required to last at least three years and one day (sometimes two years and one day). During the journeyman years the wanderer is not allowed to return within a perimeter of 50 km of his home town, except in specific emergency situations, such as the impending death of an immediate relative.

 

At the beginning of the journey, the wanderer takes only a small, fixed sum of money with him (exactly five Deutsch-marks was common, now five Euros); at its end, he should come home with exactly the same sum of money in his pocket. Thus, he is supposed neither to squander money nor to store up any riches during the journey, which should be undertaken only for the experience.

 

As of 2005 there were 600 to 800 journeymen "on the Walz", either associated with a brotherhood or running free. While the great majority is still male, young women are no longer unheard-of on the Walz today.

 

Johannes belongs to a brotherhood, is by profession stonemason and for four years on tour. He is originally from Berlin.

Mona comes from Rottweil is a running free craftswoman and by profession woodwind instrument maker. For half a year Mona is on the roll.

It was a very very nice conversation. Both patiently answered my questions. Sometimes I already saw journymen, but this was the first conversation that I ever had held with this travelling people. It has given to me an highly interesting conversation about the backgrounds, the conditions and the difficulties, I did not know until then. It was an instructive in-sight look into the German tradition of craftsmanship.

 

Many thanks to Jahannes and Mona, this friendly people "on the Walz".

I wish you all the best, always a roof over your head, nice employers and good luck on your further journey.

I would be pleased to get a mail from you now and then to hear what happened furtheron and if you are well.

 

This picture is #81 of my 100 Strangers project. Find out more about the project and see pictures taken by other photographers at the 100 Strangers Flickr Group page

 

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

 

Ich traf Johannes und Mona in Leipzig, sind auf der Walz, also auf Wanderschaft in Deutschland. Im Gespräch habe ich einiges darüber erfahren:

Es handelt sich um eine Tradition, die in Deutschland bis in das Mittelalter zurückgeht. Handwerksgesellen begeben sich auf Wanderschaft nach dem Abschluss ihrer Lehrzeit.

Die Wanderschaft war seit dem Spätmittelalter eine der Voraussetzungen der Zulassung zur Meisterprüfung. Die

Gesellen sollten vor allem neue Arbeitspraktiken, fremde Orte, Regionen und Länder kennen lernen sowie Lebens-erfahrung sammeln. Ein Handwerker, der sich auf dieser traditionellen Wanderschaft befindet, wird als Fremd-geschriebener oder Fremder bezeichnet.Diese Handwerker sind in Gesellenvereinigungen (Schächten) organisiert. Wer nicht in einem Schacht organisiert ist, wird fremder Freireisender genannt.

Die Wanderschaft ist an bestimmte Bedingungen geknüpft.

In der Regel sind drei Jahre und ein Tag Wanderschaft das Minimum bei Schächten wie den Rechtschaffenen Fremden.

Auf die Wanderschaft darf heute nur gehen, wer die Gesellenprüfung bestanden hat, ledig, kinderlos und schuldenfrei ist.

Der Fremdgeschriebene darf in seiner Reisezeit einen Bannkreis von 50 km um seinen Heimatort nicht betreten,

auch nicht im Winter oder zu Feiertagen. Er darf kein eigenes Fahrzeug besitzen und bewegt sich nur zu Fuß oder per Anhalter fort. Öffentliche Verkehrsmittel sind nicht verboten, aber verpönt. Länger als drei Monate wird nicht bei einem Handwerksbetrieb gearbeitet, dann muss der Handwerker weiterziehen. Weiterhin muss er in der Öffentlichkeit immer seine Kluft tragen. Da ein Fremder oftmals auf die Unterstützung der Bevölkerung angewiesen ist (zum Beispiel bei der Suche nach Arbeit oder einem Schlafplatz), hat er sich

immer ehrbar und zünftig zu verhalten, so dass der Nächste ebenfalls gern gesehen ist. Eine gepflegte Erscheinung erleichtert die Kontaktaufnahme und das Trampen.

 

Nun aber zu meinen Fremden:

Johannes ist rechtschaffender fremder Steinmetz und schon seit vier Jahren auf Wanderschaft. Er kommt ursprünglich aus Berlin.

Mona kommt aus Rottweil, ist fremde Freireisende und Holzblasinstrumentenmacherin. Seit einem halben Jahr ist Mona auf der Walz.

 

Es war ein sehr lehrreiches Gespräch für mich, da ich zwar schon öfter Menschen gesehen hatte, die auf Wanderschaft sind; aber die Hintergründe, die Bedingungen und die Schwierigkeiten kannte ich bis dahin noch nicht.

 

Vielen vielen Dank an Mona und Johannes, diese beiden freundlichen Menschen "auf der Walz".

 

Ich wünsche Euch alles Gute, immer ein Dach über dem Kopf, nette Arbeitgeber und viel Glück auf auf Eurer weiteren Reise. Ich würde mich sehr freuen, ab und zu eine Mail von Euch zu bekommen, um zu erfahren wie es Euch ergangen ist und ob es Euch gut geht.

 

Dies ist Bild #81 meines "100 Strangers-Projektes". Mehr zu dem Projekt und Fotos anderer Fotografen auf der Gruppenseite 100 Strangers Flickr Group page

2 Goose Species "Types" :: 'White Cheek' & "Gray"

  

Greater White-fronted Goose GWFG (Anser albifrons)

  

Canada Goose CANG* (Branta canadensis)

(Local VI mixed sub species )

  

Patricia Bay

North Saanich BC

  

DSCN6215 - CROPPED

htt size structure xref

 

Although backlit pix still VERY INSTRUCTIVE for size / structural XREF

There are times such as very backlit conditions where reading the structural details of a bird will "Cue" you in to something is worth investigating further...........

 

CANG are also a useful "standard" species

Widespread in North America , it is also numerous (in places) having been introduced or escaped (an invasive) species in Europe

 

Some XREF below

  

The GWFG head

head & bill profile head proportionally bigger

neck proportionally thicker

bill heavier and less tapered

 

Here we also see

Neck postures can be variable.

This is a consideration when doing size referencing and comparisons.

A highly alert or alarmed bird often stretches' its neck beyond normal - so the difference between a dozing bird and an alarmed or more wary bird can be drastic.

  

the GWFG & CANG are comparable neck posture while the other CANG (pair) are contemplating flying off... so have a 'somewhat excited " neck posture

 

Click on image once or twice for enlarged view

 

Female

Wood Duck WODU (Aix sponsa)

  

King’s Pond

Cedar Hill Golf Course

Saanich BC

 

Field Mark Cues ^i^

Photo Doc.

Comparison WODU & MADU

Although not the greatest shots they are instructive

 

DSCN3671

Similar white edging on folded wing feathers however ,WODU head has feathers that may show iridescence.

  

Keep in mind :: Each individual duck species varies within stages of season moulting,and here we have different individual WODU females & only one WODU individual.

 

Nice clock radio with the upper front painted on the reverse side, which has been stained over time. The chassis is Japanese and the watch is made in Switzerland. It comes with its box and instructive, which proclaims: THE WORLD´S FIRST AND SMALLEST POCKETSIZE CLOCK- RADIO.

An essay I wrote for publication and a pic of me and Hideo from the archives.

   

"Sometimes it's not what you have, but what you give up"

 

Years ago, I could’ve given up coffee, alcohol, or any number of vices; I could’ve given up demanding women, or even a nagging tendency toward self-pity in the late hours of the night. Instead, I gave up the pick.

 

In 2002 I left Japan for graduate school in California. I don’t know why I ever thought graduate school would guarantee me a better (happier) life. But any expat who has stayed long enough in Japan knows how you can begin to feel as if you’re spinning tires. I had to shake up my life, see what would fall away, molt. Graduate school provided a cloak of social legitimacy as I let two ulterior motives claim me. One was learning to play Delta blues. I’d been playing guitar for years with nothing to show for it but frustration. After seeing contemporary legend Terry Garland perform at the old Blue Note Fukuoka I knew that was the style I wanted to play. In response to my ardent if misguided vision, fate finally granted me a break. Back in Berkeley, CA, I built my music theory with Paul Kent before meeting one of the best jazz-blues acoustic guitarists I’ve ever seen. Irony abounds in all special moments including this one; I went all the way back to America to learn the blues only to find a teacher who was Japanese. In our first lesson Hideo Date made me give up the pick.

 

I’ve seen some of the best rock guitarists– Carlos Santana, Jerry Garcia, Trey Anastasio– and they all used picks. But Hideo assured me that picks were a crutch, that fingers play faster and better. It took two things to convince me. One was seeing an Allman Brothers performance with a pickless Derek Trucks, arguably the best electric slide guitarist alive (when Ry Cooder is playing acoustic)¬. The other was when I brought a DVD of Stevie Ray Vaughn’s Austin City Limits concert to my lesson. On a cover of Jimi Hendrix’s Voodoo Chile, Vaughn opens with the hallmark lick before unloading his demons on the stage in an unrepentant rage of blistering notes and banshee-like string bends. Yes, Vaughn uses a pick. I then watched Hideo listen to a few bars before playing right behind Vaughn, note for note, shadowing the god. No, he wasn’t using a pick.

 

I didn’t only forget my crutch, I forgot my limp, too. I began adapting the finger-picking patterns of great blues artists– Robert Johnson, Mississippi John Hurt, Muddy Waters. I learned to reach my thumb around to grab bass notes in violation of orthodox hand-positioning. My cheap guitar resonated with sounds I couldn’t believe my bare hands were producing. One day the momentous occurred; the fabric of my universe split and my own– my original– music issued forth. You can always look back and recognize missed harbingers of big events. Before I left Japan I had donated the contents of my apartment. I gave many of my clothes to a church in Fukuoka that supports the homeless. I gave up my cell phone the day I left Japan and never did re-subscribe to that invasive convenience back in America. I didn’t even have an answering machine for years until some employers demanded it. I gave up TV. But I guess there was more I could’ve given up.

 

In my 4th year, weeks before my PhD qualifying exams, I was rushed to the hospital in the middle of the night because of a possible heart attack. As I lay in the emergency room of that ghetto hospital, I remember thinking, “Here you are, not much more than 30 years old, an athlete all your life, surrounded by all your shit and none of your big dreams realized. What have you been living for?” Turns out I was fine. Stress, caffeine, alcohol (I had at least given up demanding women) had inflamed some nerves around scar tissue from an old accident, inducing muscle spasms. But I never forgot what I was thinking on that hospital gurney.

 

I’m now among the millions in this excess of a city called Tokyo. Voodoo Chile playing in my ipod as I’m packed into rush-hour trains takes on new meaning. I would’ve lost my sanity by now without music. But Japanese pop I can do without– I continue to be surprised at how awful most of it is. It’s not that there isn’t any talent. Before dumping TV I saw Utada Hikaru do a gorgeous cover of U2’s “With or Without You” on MTV’s Unplugged. It’s a shame she can’t give up her formulaic producers and record live with a good session band. But she’s not alone. It’s a shame the salaried workers mashed up against the train doors with me can’t give up their rigmarole. It’s a shame secondary students can’t give up rote learning. Or people at large, their compulsion to conformity. Politicians, their special interests. Haters, their hate. Lovers, fear. Ego, itself.

 

Everyone’s playing the blues here, and with a big fat pick. I’d be tempted myself if it weren’t for a few instructive memories. Maybe there are some things you shouldn’t give up– like an old camera, your first love, dreams. But eventually it comes everyone’s time to give their bare hands a try.

  

(And the Japanese)

 

数年前、コーヒーかアルコールか幾つかの悪癖を止められたのに止めなかった。それにこうるさい女のこと、自分が可哀想といつも深夜に思ってしまう癖も止められたのに•••でも、ギターのピックは止めた。

 

　２００２年にカリフォルニア大学バークレー校の大学院に入るために日本を去った。どうして大学院がもっと幸せな人生を与えてくれると思ったか、わからない。しかし、ずっと日本にいる外国人は、なんて進歩してないのだろうと、気づくようになる。自分の人生に刺激を与えなくちゃ、と思った。必要なことだけに気を配り。そして、脱皮。ちゃんとした大学院生に見えたけど、勉強より別の活動を密かに頑張っていた。その一つはデルタ•ブルース•ギターを習ったこと。ずっと前からギターを弾いていたが、全然満足できなかった。でも、福岡の元ブルーノートで現代神話のテリー•ガーランドを見て、どうしてもブルースが弾けるようになりたいと思った。変わった夢かもしれないけど、やっと運命は僕に微笑んだ。バークレーで半年ぐらいポール•ケントという人に音楽の論理を教えてもらった後で最高のブルース•アーチストに出会った。皮肉なことだけど、ブルースを習うために、わざわざアメリカまで行ったのに、その人は日本人だった。最初のレッスンに伊達英夫さんはピックを捨てさせた。

 

　今まで世界で何人かのギターの天才を見たことがある。皆、ピックを使っていた。しかし、英夫はピックを松葉杖で指だけの方が早くていいと言った。二つのことが僕を納得させた。一つはアーモンブラザーズのコンサートを見たこと。イレクトリック•スライド•ギターで世界で一番上手な人は（まあ、ライ•クーダーはアコースチックを弾いている限り）そのバンドのリードギターのデレック•トラックスです。彼はピックを使わない。もう一つは僕がスティーヴィー•レー•ヴァーンのライブDVD（オースティン•シティー•リミット）をレッスンに持っていったことだ。ジミ•ヘンドリックスのヴーデゥーチャイルをカバーする時は、よく知られたイントロを弾いてから、ステージでまるで悪魔を払い除くように、身を捩りながら弦を激しくベンドしたり、指の動きが見えないほど早く弾いたりする。そう、彼はピックを使う。英夫はちょっとだけ聞いていたが、それから５秒ぐらい遅れてヴァーンが弾いているのを聞きながら全く同じ調べを、ヴァーン神様の陰のように弾いていった。英夫はピックを使わなかった。

 

その時以来、僕は長い間使っていた松葉杖を捨てて歩き出した。ブルース聖人、例えば、ロバート•ジョンソン、ミシシッピ•ジョン•ハート、マディ•ワーターズなどのフィンガーピッキングの技を身につけた。伝統的な左手のポジショニングを止めて、ギターのネックの上から親指でベース弦を押さえる方法も習った。いつの間にか僕の安いギターが素敵な音を響かせるようになった。自分の手でこれができたって信じられないことだと思った。そんなある日、時は停まって、自分の音楽、自分の独特な曲が作れた。振り返ってみると、いつも大きいことが生まれるサインが発見できる。日本を出る前、アパートの家具などを、ホームレスを支える福岡の教会に寄付した。日本を出る日、携帯電話を解約した。アメリカでも、邪魔な携帯を買わなかった。バイト先が要求するまで、留守番電話さえなかった。テレビも止めた。でも、もっと止めればよかったかもしれない。

 

大学院の４年生の時に、博士課程の口頭試験のちょっと前、深夜に心停止の恐れによって、病院に運ばれた。ボロボロの病院のストレッチャで寝た時に、こう考えた。「３０ちょっと過ぎなのに、ずっと前からアスリートなのに、ここにいる。大きい夢は叶わず、周りにどうでもいいものばかり。何のために生きてきたのだろう」でも、原因は心臓じゃなかった。こうるさい女を止めていたが、ストレスやカフェインやアルコールで胸部の古い傷が腫れて神経細胞がおかしくなった。それで、筋肉が萎縮した。酷い病気じゃなかったのにストレッチャで考えたことは忘れない。

 

　今はこの馬鹿みたいに大きい東京と呼ばれる都会の夥しい群衆の一人です。鰯みたいにラッシュの電車に詰め込まれた時にipodでヴーデゥーチャイルを聞くとその曲は特別な意味を持つ。音楽がなかったら、狂っていただろう。でも、J-popはいらない。それは信じられないほどつまらない。日本に才能を持つ歌手がいないわけじゃない。テレビを止める前に、MTV Unpluggedで宇多田ヒカルがU2のWith or Without Youのカバーをかなり上手に歌うのを見た。彼女は無難な曲しか作らないプロデューサーが止められなくて哀れ。でもヒカルちゃんは独りぼっちじゃない。電車のドアーに潰されそうな通勤客もくだらない生活が止められなくて哀れ。 学生は暗記するだけの勉強が止められなくて哀れ。一般の人は集団心理で動くこと、政治家たちは取り巻きのこと、毛嫌いする人は自分の偏見、愛する人は自分の不安定、自己は自己的なこと•••皆止められなくて哀れ。

 

　ここで皆ブルースを弾いているようだが、でかいピックを使っているんじゃない？きっと、僕も病院での記憶がなかったら、ピックみたいなものに頼っていただろう。確か、捨てない方がいいものもあるかもしれない。例えば、古いカメラや初恋や色々な夢。しかし、結局、皆も指だけで頑張る時が来るだろう。

    

  

-- Page 18

 

"PIECE FOR THE WIND

 

Cut a painting up and let them be lost

in the wind.

 

1962 summer"

  

" PAINTING FOR THE SKIES

to Toshi Ichiyanagi

Drill a hole in the sky.

Cut out a paper the same size

as the hole.

Paste hair over the entire surface

of the paper.

Burn the paper.

The sky should be pure blue.

 

1962 summer"

  

"Yoko Ono performs her work CUT PIECE

at Carnegie Hall

Concept-art, where you can be an Artist, goes

further and involves with the audience as in Ono's CUT

PIECE, where each member of the audience is asked

to come up on the stage one at a time and remove the

performer's clothing with a large pair of tailor's

shears. The performer sits motionless through the

whole operation in a kneeling position until all the

clothing has been removed or everybody has had a

chance to cut, usually about an hour. In contrast to

the rest of the ceoncert which is usually filled with

restlessness in the audience, this piece always takes

place in complete silence, with periods of several

minutes elapsing before the next performer (member

of the audience) gets enough courage to come up on the

stage. Usually only one third of the audience performs

while the rest apparently consider the prospect."

  

-- Page 19

 

"Yoko Ono A + B Painting 1961

Almus Gallery, New York"

  

"Yoko Ono Painting to be Stepped On, 1961

Almus Gallery, New York"

   

-- Page 17

 

"Ono leads in a direction that might be called Concept-Art

   

INSTRUCTIVE AUTO-DESTRUCTION

    

THE FULL MOON hangs over the Lower East Side, its light

shines on paper-littered streets. In the daytime 2nd Avenue

is jammed with traffic and it's possible to look up through

the dust and heat at the sky and imagine what those few

seconds would be like before it came if eternity were to fit.

What an EVENT!

What is an Event and what does it have to do with Art?

Circa 1950: Yoko Ono is sitting around some-place

striking matches. She is observing the significance of a

natural act. Many matches later she finds that by lighting

a match and watching til it has gone out she is making

something that has a shorter existence than herself, and

by comparison is making her life longer.

When people are asked to observe the passage of time

they may feel ill at ease. Is this why we have a term like

auto-destruction? One of Yoko Ono's first events is

called LIGHTING PIECE: 'Light a match and watch

till it goes out.'

1961: her first one-man show in New York, in which

fifteen works were what she calls INSTRUCTUER;

'Something that emerged from instruction and yet not

quite emerged - not quite structured - never quite struc-

tured --- like an unfinished church with a sky ceiling.'

One of these works which was described by a critic as 'a

grimy unstrung canvas with a hole in it' is SMOKE

PAINTING: 'Light canvas or any finished painting with

a cigarettes at any time for any length of time. See the smoke

movement. The painting ends when the whole canvas is

gone.'* For Ono, paintings like Event do end: an ad-

ditional act in life; something to solve the temptation of

insanity.

Other works in her 1961 show were, PAINTING TO

BE STEPPED ON: 'Leave a piece of canvas or finished

painting on the floor or in the street.'* A + B PAINTING;

'Cut out a circle on canvas. A. Place a numeral figure, a

roman letter, or a katakanao on canvas B at an arbitrary

point. Place canvas A on canvas B and hang them together.

The figure on canvas B may show, may show partially, or

may not show. You may use old paintings, photographs, etc.

instead of blank canvases.'* PAINTING FOR THE

WIND: 'Make a hole. Leave it in the wind.'* PAINT-

ING TO SEE THE SKIES: 'Drill two holes into a can-

vas. Hang it where you can see the sky. (Change the place

of hanging. Try both the front and the rear windows, to

see if the skies are different.')* PAINTING TO LET

THE EVENING LIGHT GO THROUGH: 'Hang a

bottle behind a canvas. Place the canvas where the west

light comes in. The painting will exist when the bottle

creates a shadow on the canvas, or it does not have to

exist. The bottle may contain liquor, water, grasshoppers,

ants or singing insects, or it does not have to contain.'*

BLOOD PIECE: 'Use your blood to paint. Keep painting

until you faint (A). Keep painting until you die (B).'*

These and the others in the show were designed to be

done by anybody although at the time it was not apparent

to most observers and as well the works had been made by

Ono, they were regarded as going in one direction only:

purely auto-destructive. Actually all her paintings exist

in two phases. (1) The instruction phase; which may be

compared to a musical composition; written, copywritten,

distributed, and generally at large for anybody to make

(perform) and show (2) the existence of the particular

piece, which generally has some aspect which is in a state

of flux. Sometimes this may be only one-way, sometimes

it may be oscillating, or the piece may just need to be

refuelled, so to speak.

The one aspect which is considered so important in

most painting, the graphic element, or visual design, is

almost never stated except in the vaguest way as in A + B

PAINTING, and like a Swiss Patent, it is never clear

exactly how the formula goes. This is left up to the indi-

vidual who is to construct the work and how he feels about

such things. For the maker of the work and the audience

this opens up all sorts of possibilities. One is able to

observe certain relationships between art and life that are

usually overlooked in purely graphic art. Instead of saying

how the hell did he do that one might say why the hell do

I have to do that. The owner and/or maker of the painting

must continually come to grips with certain problems that

force him to consider what the concept of art is all about.

  

Recently, while the works of hers constructed by various

painters and sculptors were being collected in a gallery

for a show this coming fall, a piece was accidentally sold.

The piece WORD MACHINE #1 SKY MACHINE,

which produces a card with the word 'sky' on it when 25c

is deposited was acquired by Mr. & Mrs. Robert Scull. In

order to complete the sale in the case of this particular

piece it was necessary for Mr. Scull to sign a contract in

which he only received the right to possess the machine

but had to agree that serving of the machine would

remain the right of the maker and the maker would

receive 60% of the proceeds of the sake of 'sky' cards.

The pure iconism of the work is at question. It is a

machine, it has to be cleaned, repaired, cards replaced,

money extracted, in short, handled like crazy and the owner

and the maker have become involved in a continual

bureaucratic even in order to meet the terms of the con-

tract. Her original composition for this work states that

these machines should eventually replace all Coca-cola

and chewing gum machines, etc. everywhere. Immediately

there is a threat on these manmoth industies which have

always been auto-destructive in nature anyway - this

piece is a kind of a parody of them - and pocesses certain

interesting problems as the underworld usually controls

the vending machine operations here in New York. Is

there something wrong with a society that vends art in

machines instead of phosphate? Many agree that the coke

bottole has long been of better use and more valuable than

its contents anyway, and certain artists have even emulated

it in what has come to be known as Pop art.

Ono's work involves many facets and many roots that

are deeply traditional in Eastern and Western thought. In

the East there are traditions that have been obscured by

the advent of the West and one might hope that the reverse

may take place in the West: interbreeding considered

healthful. In Japan it was common and still is to a lesser

degree, to wrap one's lunch in a beautiful package -

intricately embossed gold foil was ideal (there are still

many things we don't know about food) - to contemplate

while eating in the woods; of course the wrapping would

be thrown away ... or for many people to gather with

the express purpose of observing the moon, without any

particular motive scientific or otherwise. This approach is

referred to as 'wabi and sabi' and it is considered that no

clear translation should be available.

In the West Ono relates to that arear referred to by Gene

Swenson as 'The Other Tradiotion'; Duchamp, Ernst,

Cage, Rauschenberg, Johns, etc., and it is interesting that

these men were attracted to her and attended her concerts

and events held in 1959-61 at her loft on Chambers St.

in New York before her return to Tokyo (at one point she

was close to Cage and tourned Japan with him in 1962, but

her music which has been described as 'music of the mind'

is diametrically opposed to his in philosophy and has no

audible sound in the conventional sense.)

What about painting of the mind? One of Ono's works

in her series 'imaginary paintings', is PAINTING TO BE

CONSTRUCTED IN YOUR HEAD: 'Imagine a flower

made of hard material such as gold, silver, stainless

steel, tin, marble, copper, etc. Imagine that the

pedals suddenly become soft like cotton or like living flesh.

In three hours prick all the petals. Save one and press it in a

book. In the margin of the page where the petal is pressed

note the derivation of the petal and the name of the petal.

At least eight hours should be spent in the construction

of the painting.'*

 

ANTHONY COX

New York City, July 4, 1966

   

For this special number of Art and Artists Yoko Ono

contributed the following: AUTO-DESTRUCTIVE

EVENTS; 1 - Dissapearing of snow, 2 - Thinking, 3 -

Dreaming, 4 - Waiting/not waiting, 5 - A wind, 6 -

Travel, 7 - Make wishknots in your head. Forget the

wish.

* reproduced by permission from Grapefruit, published by

Weltinnenraums Press, Box 186, NYC 14 USA."

   

Art and Artists

Volume One, Number Five

August 1966

Edited by Mario Amaya

London: Hansom Books, 1966

   

Private Collection of Mikihiko Hori

 

Reproduktion: Christus als Apotheker

 

It is instructive to note how in former centuries people believed in the all-curative power of medicine. An engraving of the sixteenth century by an unknown artist represents medical science as Panacea, the all-healing one. Furthermore, it was a common notion of the day that people expected to cure their bodily ailments by soothing them with spiritual means, and we cannot doubt that in this way much suffering has been assuaged although scarcely obliterated. Thus, we learn that what we now call Faith Cure, Mental Healing, or Christian Science, is not so new as to deserve the name of New Thought. It is based upon an ancient belief and has been practiced through centuries. Indeed, we cannot doubt that even in periods of which we have not sufficient historical documents, it existed and was utilized both in religion and in popular medicine.

 

Inventarnummer:

HB25455

Datierung:

1886/1915

Ort:

Deutschland; Deutschland (Regionalstil);

Material/Technik:

Papier / Tiefdruck

Maße:

40,9 x 31 (Darstellung) & 53,7 x 35,3 (Blatt) (Höhe*Breite/cm)

Sammlung:

Graphische Sammlung

 

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

objektkatalog.gnm.de/objekt/HB25455

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

  

Das Germanische Nationalmuseum ist das größte kulturgeschichtliche Museum des deutschen Sprachraums.

www.gnm.de/museum/

-------

 

www.google.hr/maps/contrib/111204886922236311430/place/Ch...

 

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

opensiuc.lib.siu.edu/cgi/viewcontent.cgi?referer=&htt...

   

The Roman Empire

Nero, 54 – 68

Sestertius, Lugdunum 67, Æ 26.67 g. IMP NERO CAESAR AVG P MAX TR POT P P Laureate head r. with small globe at point of bust. Rev. PACE P R TERRA MARIQ PARTA IANVM CLVSIT / S – C View of the temple of Ianus Geminus (Ianiculum) on the Forum Romanum with closed doors to the r., decorated with garland; latticed window in the upper part of the left-hand side; above, frieze decorated with tendrils, a second frieze on top decorated with palmettes. C 146. BMC –. Giard 126, 260. KOSH pl. 52, 205. MacDowall 191, 463. CBN –. RIC 585.

A magnificent portrait of masterly style and an exceptionally detailed reverse,

attractive dark green patina and good extremely fine Ex Tkalec, 2 February 2000, 241 and M&M 92, 2002, 41 sales.

  

One of Rome’s most ancient temples was dedicated to Janus, the god of beginnings and endings. It was comparatively small, consisting of two archways with doors that were joined by side-walls. The location of this temple, which was thought to have been built by Romulus after he made peace with the Sabines, is not known. King Numa was believed to have decreed that its doors would remain open when Rome was at war and must be closed in times of peace. But peace was rare in Roman history. Its doors had been closed only a few times prior to the reign of Nero: under Numa, by the consul T. Manlius Torquatus in 235, at the end of the Second Punic War, three times under Augustus, and, according to Ovid, once under Tiberius. Thus, when peace generally had been established on the empire’s borders in 65, Nero closed the temple’s doors and marked the occasion with great celebrations and an impressive series of coins that documented this rare event. The inscription IANVM CLVSIT PACE P R TERRA MARIQ PARTA that accompanies the type is one of the most literal and instructive on Roman coins; it announces ”the closed doors of Janus after he procured peace for the Roman People on the land and on the sea.” In relation to this, Suetonius (Nero 15) describes the visit to Rome of Tiridates, Rome’s candidate for the throne of Armenia, who had come to power in that nation due to the campaigns of the Roman general Corbulo, by which Parthian aggressions were defeated. Nero crowned Tiridates, was hailed Imperator, and ”...after dedicating a laurel-wreath in the Capitol, he closed the double doors of the Temple of Janus, as a sign that all war was at an end.” Despite the emperor’s contentment with affairs along the borders, the year 65 was not peaceful on the home front: much of Rome was still in ashes from the great fire of the previous year, Nero narrowly survived the Pisonian conspiracy, and not long afterward, in a moment of rage, he kicked to death his pregnant wife Poppaea.

 

NAC80, 67

These were done during Paul Wang and Tia's workshop.

I really appreciated how professionnal they were, and so generous!

I've tried things out, it was fun and instructive. Great!

The lantern and poteau of Palau de la musica were my subjects.

Studies for new masks, some came out kind of goofy, but they were instructive nonetheless.

UNDER SECRETARY SHERMAN: Thank you, Ambassador Pickering – Tom – for your kind words and also for being here tonight. And Dean and Mr. Hogan, thank you as well. And Barbara – I’ll get to you in a moment.

 

To those of you who may be too young to know – and that’s most of you in this room – for a diplomat to be introduced by Tom Pickering is the equivalent of a tennis player receiving a flattering tweet from Serena Williams, and I am most grateful. The roles are reversed – the master honors the student. I am deeply humbled to accept the Trainor award this evening, but I am humbled every day by the knowledge that the legendary and irreplaceable Tom Pickering once held the job I am now in and have been in now for three years. In a career spanning four decades – you must have started when you were a teenager – Ambassador Pickering represented the United States brilliantly, as Barbara said, in major capitals on almost every continent – earning the respect of presidents and prime ministers and the deep admiration of his colleagues. Thanks again, Tom, for all that you have done and, quite frankly, continue to do on behalf of our country, and most importantly, for all that you have taught me. Thank you.

 

Thanks, as well, to Ambassador Barbara Bodine who also had a long and remarkable career in the Foreign Service. Ambassador Bodine served in principally nice tranquil posts like Sana’a, Baghdad, and during the first Gulf War, Kuwait – occupied Kuwait, where she was held prisoner in the U.S. Embassy for more than four months, surviving on a diet of swimming pool water and tuna fish. So if you see her around campus, be sure to greet and thank her, take her to lunch, but do not offer to order a tuna fish sandwich.

 

Now, as Frank Hogan has explained, this is the 31st anniversary of the Trainor award, so-called in honor of a beloved former registrar of the School of Foreign Service. The list of prior award recipients is extraordinary and makes me really glad – when I was the age that many of you are at now – unlike my parents, I decided not to go into real estate. Instead I chose the arena of public service, which led ultimately to my daily immersion in world affairs. To those of you who are pondering a similar commitment, I am not sure whether to offer a welcome or a warning, but I can say that if you are a student of the Georgetown School of Foreign Service – which my husband graduated from and may be out there somewhere – you have made the very best start.

 

Thanks to exceptional leaders like Dean Reardon-Anderson and an incredibly talented faculty, the Walsh School and the Institute for the Study of Diplomacy are renowned both domestically and internationally. We are fortunate to have here, in the heart of Washington, a true oasis dedicated to the discipline of critical thinking about how to solve problems instead of just complain about them – which is very good, because tonight, I have some particularly complex issues to discuss with you, all pertaining to that fascinating region we call the Middle East.

 

It’s no secret that we live in an era when even the most graphic images and actions can be communicated instantly around the equator and from pole to pole. Many people are not listening to this speech in this room, but they’re listening to it remotely or electronically. Because of all this, we are not easily shocked. But in recent years, we have been confronted in the Middle East by atrocities that may be remembered with bitterness for generations. We have witnessed a rise in sectarian strife that is driving a sharp wedge between the people – between people of different ethnic and religious identities. And we have seen the ugly specter of terrorism once again cast a shadow of deepest darkness from the shores of the Mediterranean to the Tigris-Euphrates Valley.

 

Obviously, there are many other parts of the world that demand and each day receive the attention of American leaders. But much of what we see now in the Middle East is intimately related to our shared future, and richly deserves our focus this evening.

 

The United States cares about the Middle East because of the economic, political, and security interests we have, the many friendships we have forged, and the rich spiritual and ethnic traditions we have inherited. The region is home to Israel, our ally, and to important partners in the Gulf. It is also a venue where the values we cherish are under intense strain. So it should not be surprising that we are both alarmed and moved to act by the upheaval that now roils these ancient lands.

 

America’s policy in the Middle East begins with our understanding that the problems now plaguing the region have tangled roots. The internal divides, historic rivalries, and contemporary competitions feed off of one another. Fear and anger drive too many people in too many places into the snare of zero-sum thinking, thereby fueling conflict and playing into the hands of all who would harm us.

 

There is a need throughout the Middle East to change course and begin moving in the direction of common ground. But quite frankly for that to happen, the region’s leaders must live up to their responsibilities. The international community must put aside its divisions and exert a more positive influence. And the United States must help to show the way.

 

Last Wednesday, in his dramatic speech to the nation and to the world, President Obama made clear once again where America stands. We will defend our citizens by taking the fight directly to the terrorists who threaten us. We will work in close partnership with friendly governments to enhance their capacity to counter violent extremism. We will deal with multiple challenges simultaneously, applying to each the prescriptions appropriate to each, while honoring our commitments and principles – because that, quite frankly, is what great powers do. And we will move forward with men and women in the region to fulfill the affirmative agenda: to end conflicts; improve governance; increase economic opportunities; highlight the value of education; and enhance respect for democratic institutions, including freedom of the press, religious liberty, human rights, and the rule of law.

 

America’s policy is to assist those who believe, as we do, that people of different nationalities, ethnicities and creeds can live alongside one another constructively and in peace. That is our vision for the future. The Middle East, like other parts of the world, has its share of dividers and destroyers. The United States casts its lot with the problem solvers, the healers and the builders.

 

Now, some observers will argue that any vision of inter-cultural and inter-religious cooperation in the Middle East is an illusion. We reject that, because the real illusion is to believe that lasting stability without compromise is possible. To be a builder in the Middle East is not to view the region through rose-colored glasses. It is to understand that in a place with the Middle East’s history, geography, and demographics, a healthy dose of tolerance and inter-communal give and take is essential. Efforts by one group to dominate all others, whether that group is a political party or an ethnic or religious faction, will never succeed for long. To be guided by hate is to go nowhere. That is the reality, and it is a fact on view today in many parts of the Middle East.

 

Consider, for example, Iraq. The previous government there failed to address the longstanding political and economic grievances of the Sunni minority. This divided the country and made it vulnerable. A terrorist group calling itself the Islamic State of Iraq and the Levant took swift advantage. This past summer, ISIL fighters occupied a significant portion of Iraq, including the country’s second largest city.

 

President Obama responded by sending a team of U.S. military advisers to assess the situation, but he also made clear that our help could not be taken for granted. In the absence of positive political developments, military action on our part could easily have been misinterpreted as support for an unpopular and divisive government. By moving with deliberation, the President was able to observe how Iraqi leaders would face and cope with the crisis in front of them. The United States is encouraged that they chose, in accordance with constitutional procedures of Iraq, to install a new governing team pledged to a more inclusive approach.

 

In the months ahead, it is vital that the new leaders prevent a return to the political gridlock that opened the door to ISIL’s rise. Iraq’s neighbors must refrain from fomenting discord. And Iraqi citizens from north and south must come together, strengthen their internal institutions, and put the needs of the whole above the narrow desires of clan, creed and faction. The more effective and broadly popular Iraq’s government is, the more rapidly support for ISIL will erode, and the easier it will be for the United States and the international community to help.

 

On September 10th, President Obama outlined America’s strategy – as part of a broad coalition – to degrade and ultimately destroy ISIL’s ability to threaten international security. That strategy is multi-dimensional and will include a systematic campaign of airstrikes and increased support for those fighting terrorists on the ground. We have already begun a concerted effort to curb ISIL’s capabilities, hinder its recruitment, shrink its territory, cut off its financing, and expose its hypocrisy. At the same time, we have also joined in providing emergency aid to the many innocent victims of ISIL’s violence.

 

This firm policy is a fitting response to ISIL’s loathsome ideology and tactics. Because ISIL has nothing positive to offer anyone, its method is to compel submission by spreading fear. If captives refuse to pledge allegiance, they are executed. Women are routinely raped and treated as chattel. Children are forced to become soldiers. Religious shrines are desecrated. Prisoners have been crucified and buried alive. And aid workers like David Haines and truth-telling journalists such as America’s own James Foley and Steven Sotloff are among the murdered.

 

When we hear ISIL’s leaders insist that their campaign of killing, mutilation, torture, rape, and slavery is in fulfillment of God’s commands, we can only reply with a diplomatic term of art: “That is garbage.” Members of ISIL are often described as “Islamic” terrorists, but that is a lazy and inaccurate description. ISIL is the enemy of all that true Islam teaches. Every state in the Middle East – in fact, all states everywhere – have reason to oppose ISIL.

 

Secretary Kerry has just returned from visits to Europe and the Middle East, where he found a broad array of national leaders prepared to contribute practical assistance to defeat the terrorists. In Jeddah, he joined with the representatives of ten Arab states as a – in a declaration of shared resolve. This demonstration of support is critical because it shows the galvanizing nature of the ISIL threat, and because it can help to give Sunni communities in Iraq and Syria the confidence they need to expel ISIL from their lands. The global reach of our effort will be on display in the UN Security Council when, on Friday, the Secretary chairs a high-level debate on all aspects of the Iraq crisis.

 

The following week, President Obama will convene a special Security Council summit to focus on the ways to halt terrorist recruitment of foreign fighters both in the Middle East and in other regions, including Europe, Asia, Africa, and the United States. Governments and opinion leaders everywhere must convince prospective recruits that they are being asked to become murderers and dupes, not defenders of a faith. The quality that terrorist propagandists are looking for when drawing young people into their web is not courage; it is not piety; and it is certainly not an understanding of the tenets of Islam; it is the willingness to obey orders and the gullibility to believe whatever they are told. Like a pyramid scheme in the financial world – only far deadlier – ISIL and the groups like ISIL are conceived in duplicity and built on lies.

 

This leads to the dilemma posed by the terrible civil war in Syria, where ISIL’s ability to attract fighters surged in direct proportion to the Assad regime’s brutality.

 

Over the past three years, the Syrian Government’s repression has triggered one of the gravest humanitarian catastrophes in human modern history, with more than 190,000 people killed, 3 million refugees, and 6 million internally displaced people. The crisis began early in 2011 with public protests against economic hardships and corruption. Assad could have undertaken reforms but instead launched a crackdown, including and involving widespread torture and executions, indiscriminate bombing, and the deployment of chemical arms. What started as a struggle for dignity and fairness took on a sectarian edge when Assad turned for support to Iran and Lebanese Hezbollah. The political opposition, already hampered by internal divisions, became increasingly fragmented as Sunni Muslim extremists – including ISIL – saw a chance to battle their Shiite rivals. Many Syrians were caught in the crosshairs between a murderous dictator on one side and ruthless terrorists on the other.

 

United States policy is to provide diplomatic support and a robust training and equipment program to moderate elements of the Syrian opposition. In company with our many partners, we are enforcing strict economic sanctions against Damascus. At the UN, Ambassador Power has led a determined fight to enable the investigation of human rights abuses and the delivery of emergency aid. And over the past year, we participated in a remarkable and successful international effort to eliminate Syria’s declared arsenal of chemical weapons, thus removing 1300 tons of illicit arms, agents and precursors from the battlefield. These measures have saved lives, but a breakthrough is still needed to end the war.

 

Going forward, our coalition must work with all Syrians who will work with us to empower the center and weaken the extremes. That goal is achievable if we move toward it patiently and systematically; if we combine coercive measures with creative diplomacy; and if we demonstrate the kind of international cooperation that marked our effort to destroy chemical weapons. Although past diplomatic initiatives have not borne fruit, the most desirable outcome remains a negotiated political transition to a new and broadly representative government. That would be the best way to marginalize the terrorists, purge foreign fighters, enable the return of refugees, and begin a process of reconciliation. Given past horrors and present circumstances, this can only, sadly, be a gradual process. But ISIL’s emergence gives every concerned actor fresh cause to move in the right direction. This horrific circumstance is in some ways an opportunity we must seize.

 

Defeating violent extremists and ending Syria’s civil war are two crucial elements to the construction of a stable and forward-looking Middle East. Ensuring the wholly peaceful nature of Iran’s nuclear program is a third – not necessarily in any priority order.

 

Let me stress how significant this imperative is. An Iran armed with nuclear weapons would have the ability to project devastating power far beyond its borders, threaten Israel, and further assist violent extremists. If Tehran developed a nuclear weapon, other countries in the region might well pursue the same goal, generating a potentially catastrophic nuclear arms race and intensifying the sectarian divide that is a major source of Middle East tension.

 

For these reasons, President Obama has pledged that Iran will not be allowed to acquire a nuclear weapon. Since late last year, I have been leading the U.S. negotiating team that is seeking a diplomatic path to that objective. The talks, which have been extended through November 24 and are chaired by the EU High Representative Cathy Ashton, include Iran, Germany, and the five permanent members of the Security Council. America’s purpose in the negotiation is to develop a plan of lasting duration that would block all of the Islamic Republic’s potential paths to a nuclear weapon.

 

Thus far, we can say on the positive side that our talks have been serious and that we have identified potential answers to some key questions. However, to get to a comprehensive agreement, we remain far apart on other core issues, including the size and scope of Iran’s uranium enrichment capacity. I fully expect in the days ahead that Iran will try to convince the world that on this pivotal matter, the status quo – or its equivalent – should be acceptable. It is not. If it were, we wouldn’t be involved in this difficult and very painstaking negotiation. The world will agree to suspend and then lift sanctions only if Iran takes convincing and verifiable steps to show that its nuclear program is and will remain entirely peaceful. We must be confident that any effort by Tehran to break out of its obligations will be so visible and time-consuming that the attempt would have no chance of success. The ideas we have presented to Iran uphold this standard, and are also fair, flexible, and consistent with Iran’s civilian nuclear needs and scientific knowhow.

 

As should be obvious, a peaceful solution of this issue is highly desirable because, compared to any alternative, a diplomatic outcome is more likely to be permanent and less likely to generate new risks.

 

A fourth challenge for builders of security in the Middle East may be the steepest of all, and that is to forge a comprehensive peace agreement between Israel and the Palestinians. The latest round of violence highlights the obstacles that exist. Leaders on both sides have questioned the sincerity of the other. The terrorist group Hamas continues to play an intentionally destructive role. And each side is under pressure to take actions that would make the restoration of confidence even less likely.

 

According to the – bless you. According to the cliche, those in the Middle East who are weak feel that they cannot afford to compromise, while those who are strong see no need to compromise. But weak or strong, there is no avoiding the fact that Israelis and Palestinians must live as neighbors. Most leaders understand that, which is why Prime Minister Netanyahu and President Abbas welcomed Secretary of State Kerry’s tireless efforts to facilitate a two-state solution. But achieving such an outcome requires giving as well as taking, a reality that not everyone is yet ready to accept.

 

Going forward, let no one doubt that the United States will stand by its unshakable commitment to the security of Israel. We will oppose any efforts through international organizations or elsewhere to undermine Israel’s legitimacy or deny the right of the Israeli people to defend themselves by themselves. In using force, Israelis – like all nations – have a duty to abide by international law, but they also have a right to insist that missile, rocket, and terror attacks come to a permanent end.

 

At the same time, Israeli and Palestinian leaders have a joint responsibility – and a shared interest – in lowering tensions, countering extremism, and finding ways to cooperate where possible. The Obama Administration and its predecessors have repeatedly argued the case for Middle East peace; we believe that neither side will fully secure its legitimate goals in the absence of such an agreement. That remains our conviction, and we stand ready always to help, but it is up to the parties to act.

 

My remarks tonight would not be complete without a mention of Libya, where fighting among armed groups has slowed the economy, impeded the democratic transition, and created grave uncertainty about the future. Our policy is to work closely with the country’s neighbors, the UN, and our other international partners to help Libya right itself.

 

Here, as elsewhere in the Middle East, three fundamental needs must be met. First, those inside the country who want to build a true nation must join in support of that project. Second, those on the outside who have fueled the conflict must change course and instead collaborate to end it. And third, all must agree that Libya cannot become a safe haven for terrorists. As in Syria, the middle must find its voice and be supported against the violent extremes. In recent months, we have made progress in identifying the steps necessary for Libya to move forward, but the journey from swords to plowshares has many miles to go.

 

Surveying the Middle East can be disheartening, but let us not forget that even in recent memory the region has enjoyed moments of accomplishment and promise. Within the past quarter century, we have seen a broad coalition roll back a dictator’s aggression in Kuwait; we have cheered as Prime Minister Rabin and Chairman Arafat clasped hands on the White House lawn; we have observed Jordan’s King Hussein lead his people into peace with Israel; and we have watched as the tragic self-sacrifice of a Tunisian fruit peddler inspiring a democratic revolution – a revolution that is succeeding in his country and that has the potential to serve as an instructive example for others.

 

Today, even in nations such as Egypt where democracy’s hold is tenuous, the pressure for a more open and inclusive political system remains strong. Citizens and voters who have been given a first chance to participate democratically will never willingly forgo that right. Skeptics may argue that the so-called Arab Awakening has gone dormant, but beneath the surface, I profoundly believe that powerful new forces remain at work. These include an increasingly vibrant civil society, the expansion of social media, widening demands for official accountability, and growing support for the empowerment of women. All of this is vital, because new thinking and fresh energy are essential to brighten the region’s economic future.

 

The Middle East is blessed with a talented population, ample natural resources, and a genuine commitment in some countries to better education, economic diversity, and the rule of law. Aside from petroleum, however, the Middle East does not produce or export nearly enough.

 

The Obama Administration’s regional Trade and Investment Initiative is designed to foster growth, encourage reform, and spur innovation. The President has stated his personal commitment to the young women and men of the Middle East – to help them find the jobs they need by expanding educational exchanges, facilitating cooperation in science, and building networks of entrepreneurs. To these ends, we have enlisted the help of the American business community, academic institutions, and professional groups. This matters because prosperity in one region fuels growth elsewhere, and because economic desperation can make extreme political arguments more alluring.

 

Each day, millions of boys and girls sit in Middle East classrooms and absorb information about the world from their unique vantage point. Much depends on what happens when three or five or ten years from now, they leave those classrooms and take into their own hands the destiny of the region.

 

Will they have the incentive, the knowhow, and the chance to raise their families in dignity and hope? Will they be bridge-builders and healers who seek harmony with others? Or will they be pushed down a more twisted path?

 

Aside from the irreconcilable few, it is in everyone’s interest – whether Sunni, Shia, Jewish, Christian, Yezidi; Arab, Persian, Turkmen or Kurd – that the answers to those questions be the right ones.

 

The message I want to leave with you tonight – and you’ve been patient through this long speech – is both clear-eyed about present difficulties and realistic regarding future possibilities. We cannot afford to deceive ourselves. Violence can leave deep scars on both bodies and minds. Hatred and distrust are hard to dispel. And the politics of division are not unheard of even in America’s own great capital city.

 

And yet, we also know that there are many, many people in the Middle East – in and outside of government – who are searching for a better way, making connections, sharing ideas, creating new networks for peaceful change. They may not always agree with us or with each other, but they are willing to demand respect for themselves while still according respect to those with whom they do disagree. They are determined not to be prisoners of the past, but to shape the history to come; that is what “being awake” means.

 

Ultimately, the United States has faith that the region will emerge from its current trials with a deeper understanding of its own interest in settling disputes and rising above rancor.

 

We believe that progress can be made in preventing ideological and theological differences from degenerating into conflict, and that controversy about the role of religion in politics and governing can be managed.

 

We believe that nations that have been torn apart can knit themselves back together, as we, the United States, did long ago, and as Lebanon did after its own more recent civil war.

 

We believe that the battle cry of terror will be rejected because at the end of the day, it is far easier to make noise and attract a crowd than it is to transform people, however misguided, into murderers.

 

We believe in the future of the Middle East because we know something of the resilience of the human spirit, which along with the love of liberty and justice has sustained our own land for more than 200 years.

 

Equally important, we believe in the future because we have faith in all of you – the students of today, the builders, the healers, the leaders of tomorrow – not only in the Middle East but in Europe, Asia, Africa, the Americas, and across the globe. I say that not because your generation is likely to be smarter than any other; I say it because you tend to be more aware of the world around you, more comfortable with diversity in all its forms, and more conscious of the dependence we all have on one another. And in the case of this particular group, you also have the awesome advantage of being trained by the Georgetown School of Foreign Service.

 

On that note of hope, of you, I thank you for your hospitality, for your attention, for this honor, and in what time we have remaining to answer your questions. Thank you.

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

Wendy R. Sherman

Under Secretary for Political Affairs

 

Georgetown University

 

Washington, DC

 

September 16, 2014

  

I'm indebted to the photographer who made a similar view of another GT1, even closer up and more personal. *Next* time I'll be going all the way round getting the underside colors (hey, we have to paint model undersides...) and wheel arches... :^) Should have done that for the 906, 904, 917, 956 too! :^)

Interested scale modelers will note that the black undertray here is actually a dark gray, notably lighter than the painted metal tubes bracing the exhaust pipes and undertray... Well now! NOT bare carbon fiber (c'mon- the UV would make that UGLY). What's instructive is how its mostly dusty, clean and shiny, not some dirty piece of petroleum-drench automobile trim.... These things are kept in tip top shape, I promise you that!

 

This photo was inspired by and I owe thanks to kahmed79:

www.flickr.com/photos/kahmed79/3665934296/

 

DSC_0128

CILICIA, Tarsos. Mazaios. Satrap of Cilicia, 361/0-334 BC. AR Stater (24mm, 10.76 g, 3h). Crowned figure of Artaxerxes III in the guise of Baaltars seated right on throne with back terminating in swan’s head, holding lotus flower in right hand, lotus-tipped scepter in left; B’LTRZ (in retrograde Aramaic) to left, M (in Aramaic) to lower right / Lion recumbent left; bow above. Casabonne Series 6; SNG France 422 (Myriandros); SNG Levante Supp. 26 var. (legend not retrograde; Myriandros); Jameson 1621; Sunrise –. Near EF, lightly toned, a little die wear. Very rare, and the first specimen at auction since NFA XXV in 1990.

 

From the Sunrise Collection. Ex Prospero Collection (New York Sale XXVII, 4 January 2012), lot 587.

 

The attribution of the walking-lion series of Mazaios had originally been given to the mint of Tarsos, but Newell argued that they more likely were struck at Myriandros in his study of that mint in AJN 53 (1919). Later, J.D. Bing, in AJN 1 (1989), argued for an alternative attribution of the Myriandros coinage to the mint of Issos. While most numismatic works continue to follow Newell, Casabonne’s significant study of Cilicia during the Persian period convincingly returns these coins of Mazaios to the mint of Tarsos (cf. Casabonne, pp. 215–7).

 

The appearance of Baaltars on this issue is significantly different from the relatively standard depiction of the deity on other coins of Tarsos. While the diety is typically shown nude to his waist, here the figure is fully clothed with attire that closely resembles that on the figure that appears on the royal Persian coinage struck at Sardes. More importanly, though, is the headdress on the figure. Baaltars typically wears a laurel wreath or no headdress, while this portrait shows the figure wearing an elaborate headdress. In a recent article, Frank Kovacs analysed the type, and argues that this figure is actually the Great King Araxeres III Ochos, in the guise of Baaltars, and the headdress is the combined crown of Upper and Lower Egypt, thus his appearance here is as pharaoh of Egypt (cf. F. Kovacs, "Two Persian Pharaonic Potraits" in JNG L [2000]; see also M. Thompson, in MN XII [1968], pp. 11–2, who notes the figure wearing a "high crown of Egyptian type"). This is plausible, as Araxerxes was the first pharaoh of the Thirty-First Dynasty of Egypt, and the date of his rule there, 343-338 BC, comports well with this issue under Mazaios.

 

O. Casabonne, while acknowledging that the figure here may represent a synthesis of Baaltars and the Great King, disagrees with the identification of the headdress as the Egyptian crown. Instead, he views the headdress as being a Phrigian style cap that is often depicted in contemporary art as being worn by warriors (cf. Casabonne, p. 121, fig. 8), but is here shown with the cheek guards in a raised position.

 

Nonetheless, it is doubless that the figure here is a synthesized portrait of Baaltars and the Persian Great King. The fractional silver of this issue (see the following lot), interestingly, may be most instructive, as the headdress on the figure is shown wearing a crown that is identical to that on the figure of the royal Achaemenid coinage and his robes have interlocking circles reminiscent of the darics of Carradice Type IV Late (cf. M. Thompson, op. cit., p. 12).

 

CNGTritonXVIII, 88

Danique, a portrait shot taken of her at Epse, a beautiful town in the east part of The Netherlands surrounded by raw nature. We shared a weekend of experimenting and discussing photography out of the noise of the city together with my good friend and amazing photographer Renske. Definitely more peace-full and instructive weekends to look forward to soon. If you would like to see the full series, they will be online soon on Instagram. You can follow me here: bit.ly/2nmpmN1 Enjoy the sun today! You are always welcome for a cup of coffee at my studio in Haarlem! :-)

Zoom into this map at maps.bpl.org.

 

Author:

Publisher: American Publishing Company (Hartford, Conn.)

Date: 1890

Location: United States

 

Dimensions: 61 x 85 cm.

Scale: Not drawn to scale

Call Number: G3701.A9 1890 .R36

Klick Link For Read Online Or Download Cartooning for the Beginner (Christopher Hart Titles) Book : bit.ly/2hJGNTU

Synopsis

Aspiring cartoonists of all ages can begin drawing a repertoire of characters from the moment they follow the wide-ranging yet simplified lessons that fill these instructive pages, written and illustrated by an all-time best-selling artist/teacher.This complete course, covering both comic strip and animation techniques, begins with lessons on basic cartoon body shapes and facial features. Included are helpful comparisons between the real versus the cartoon head, a smile chart, and various ways to draw the most popular and expressive cartoon eyes and mouths. Next come lots of typical body poses, how to draw action lines, slow/fast movement, cartoon hands, fun hair and clothing styles, backgrounds, and cute cartoon pets. Excellent directions also focus on helping beginners to find and develop their own cartoon style.

MW receptor with 3 NEC transistors radio in the arms: one for RF in rigth arm and two for AF in left arm. Also, on the left side there is ON/OFF knob, small herarphone and pull out battery holder, the tuning knob it´s on rigth side. A piece of wire crossing the hinge connect RF/AF circuits and the power from battery (1.3V button type).

 

It comes with golden gift box, instructive and shipping carton box.